Consoles Guide 2015

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BUYERS GUIDE

THE

A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

I N T E R N A T I O N A L E D I T I O N

In association with:Produced By:

ConsolesGuide 2015


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www.audiomedia.com 3

Sign up for your digital AM atwww.audiomedia.com CONTENTS

> Commercial Director

Darrell Carter [email protected]

> Managing Editor Joanne Ruddock [email protected]

> Production Executive Jason Dowie [email protected]

> Designer Jat Garcha [email protected]

>>> CONTENTS

>>>MEET THE TEAM

> 4Console Convergence

> 8

An Engineers Guide> 10

AMS Neve

> 12Cadac

> 14Calrec

> 16DHD

> 18LAWO

> 20MANDOZZI

> 22PRESONUS

>24DIRECTORY

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whethermechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensureaccuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents orany omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor.

The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. 2014 NewBay Media. All rights reserved.

Welcome to the newly updated 2015

Audio Console Guide. At the heart of every

great studio or production, be it broadcast,live, or post production, is a great consoleand were here to help you navigate through

the masses of manufacturers and find whats

right for you.

Mixing is an art form in itself, and one that is very personal withevery engineer having their own unique tricks when it comes tomaking a performer sound just right. At the core of that is thealmighty console, but whats right for you and your specific needs?Are you going to go digital or analogue? What sort of networking

options do you need? Do you need something specialised for yourjob, or will a more general board do the trick?Thats where this guide comes into play. Within these pages

youll find information from some of the top console manufacturersoutlining their latest offering and who, exactly, its meant for.Alongside these promotional articles weve included a few extra bitsto further help you in your console quest.

Simon Allen takes a look at how technological advancements andchanging requirements are bringing the broadcast, studio, and liveconsoles markets closer together. In addition, FOH enginner BenHammond looks at how mixing in a live setting differs from beingin the studio and considers the characteristics needed in a console ineach environment.

This, and the other Guides in the series (Monitors &

Headphones, Microphones, Live, Broadcast Audio, and DAWs &Plug-ins) areAudio Media projects, designed to help you find yourway though the information explosion and find the product that suitsyour needs.Audio Mediais an internationally distributed magazinethat deals with professional audio production in film, TV, radio,music, games, and on stage. Its available in both print and digitaleditions. For more details, go to www.audiomedia.com.

Joanne Ruddock, Managing editor

BUYERS GUIDE

THE

A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m

BROADCASTINTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

INTERNA TIONAL EDITION

Inassociationwith:ProducedBy:

ConsolesGuide2015

AUDIO MEDIA (UK)

Audio Media is published by

NewBay Media,

Suncourt House,

18-26 Essex Road,

London N1 8LN, England.

www.audiomedia.com

Telephone: 0207 354 6001

www.nbmedia.com

>ADVERTISER INDEXAdvertiser Page

Stagetec 2

Presonus 5

Studiomaster 7

CADAC 9NewBay Connect 25

DHD 27

AMS Neve 28


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CONSOLE TECHNOLOGY

Taking a step back and looking at the audioconsole market over the last few years, or evenjust the last 12 months, not only shows howthings have changed, but the patterns andtrends that are coming together to form anexciting future. Technological advances are, asusual, driving these changes, but the businessside of the situation is changing in ways wehavent seen before in live, broadcast,and studio.

GETTING TOUCHYThe modern world in which we live today isover-run with touchscreen technology. ThisUI has enabled accessing and controlling

technology to be so much more intuitive.Console manufacturers have embraced thiswith many consoles even having multipletouchscreens. The major benefit is thereduction in the amount of physical controlsthat manufacturers need to include on anymixer, as Calrecs Ian Cookson comments: Ona soft surface this allows multiple functions tobe accessed from the same screen depending onhow the surface has been arranged by the user.This in turn provides greater power in a smallerfootprint, which is a fundamental consideration,

especially in the OB truck market.Touchscreens have brought many otheradvantages to digital consoles which werent asfeasible when solely using hardware controls.For example, consoles such as the SSL Live arebased around multiple touchscreens to embrace

the flexibility within their customisablesoftware of layers and menus.

These benefits are common in eachmarket. Wolfgang Huber from Lawo gives theexample of the manufacturers radio consolecrystalCLEAR, which is based completely ontouchscreen technology: You can adopt theuser surface not just to suit every individualusers needs even customising the surfaceand showing only those parameters the userneeds for the task at hand, so the users are notdistracted and can concentrate on their work.

Touchscreens lead on to another trend:remote control via tablets and smartphones. Asconsole manufacturers develop their software

for the touchscreen technology, it also mapsconveniently to other devices for remote controlpossibilities. Some recent discussions that Ivehad with distributors show remote features arenow a must-have feature for many customers.

However, there is a potential improvementin touchscreen technology that themanufacturers are waiting for. Cooksonexplains: In a live broadcast scenario theengineer will be constantly watching the videoscreens so faders and rotary controls have to bephysical so they can be used without looking at

them. The physical fader in this environmentis here to stay for the foreseeable future or untilthe next generation of haptic feedback fromtouchscreens makes it viable. The smartphone/tablet market is putting a lot of effort into newconcepts, which could provide the solution.

MODERN ALTERNATIVESAs computer processing power gets better andbetter, so do the abilities of DAWs and pro-audio software. PCs and computers can handleso much more, both in terms of multichannelmixing and audio processing, which of course isnow of a much higher quality.

DAW controllers arent a new concept, butthe recent releases of Avids S6 and YamahaNuage demonstrate how we can now see thepower of computing being able to handlemixing to a higher level. Ive even seen olderC24s and Pro Controls finding new leases oflife as studios utilise them as cheaper optionsfor workflow enhancements.

Andrew Hingley from HHBCommunications comments that many of theircustomers are considering the S6 and Nuage totraditional consoles. Recently, Scrub, a divisionof HHB installed an S6 at LipSync Post inSoho, London. LipSync senior re-recordingmixer and music composer Rob Hughes adds:When we came to update our desk in Studio6, we wanted ultimate flexibility and integrationwith our Pro Tools HDX system. Its a busyroom that needs to serve as a mix studio fordrama, short form, and documentaries, as well

as feeding work into our larger theatres andhandling re-versioning and deliverables.

SIMILARITIES ACROSS THE BOARDFrom my own engineers point of view,although there will always be differences

4 The International Guide To Consoles 2015

Simon Allenconsiders how technological advances and changing requirements are narrowing the

boundaries between the broadcast, studio, and live audio console markets.

Come Together

Avids modular

S6 console


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6 The International Guide To Console 2015

CONSOLE TECHNOLOGY

between the market extremes, todaystechnology is bringing the sectors closertogether. Yes, there are many functions on abroadcast console which you wouldnt need in alive scenario, for example, but at the same timemanufacturers are bridging their technologyacross the markets.

Huber highlights these growing similarities:Here at Lawo we feel the demands of thedifferent markets coming closer and closertogether. We have noticed that more of ourmc broadcast consoles are being asked for inthe live market, especially theatre, opera houses,and classical venues. If anything is paramount,it is reliability and redundancy. Events arebecoming much larger, with more sponsorsthat wont accept failure, and with shows and

concerts requiring increased DSP power allbroadcast features entering the live market.

Tom Graham, pro audio and pro mixingsegment marketing manager, Avid says:We are witnessing that the actual needsfor these specific segments [broadcast, live,and production] are becoming more aligned,whereas in the past they were very different:mixers in each of these genres are expected tonot just mix the show, song or film, but capturethe media, tag it, and utilise it to maximisethe experience for both artist and consumer.To achieve that, our customers need a highlyintegrated control surface that allows them tobuild a system to their specific needs and thatcan grow and keep up with the ever-changingdynamics for each of these markets.

Its the live market where weve seen themost cross-development of technologies.Theres the similarities of reliability andredundancy from the broadcast world, andmost digital live consoles now also offer a veryconvenient method of multitrack recordingproviding the virtual soundcheck feature thatlarger tours and shows are often using.

The very high level of audio quality that isnow capable from modern PA systems has hada chain reaction. Any audio processing frommodern digital mixers can go as far as reflectingstudio-level sound quality. Therefore werenow seeing better processing chains, whichinclude the same plug-ins and algorithms asfound in the studio. This is, of course, possibleby the increased processing power from todaysmachines, even on very high channel counts.

THE SOFTWARE ERA

As consoles are now able to do so muchmore in one unit, and traditional externalhardware is becoming less and less necessary,manufacturers are really starting to cometogether. Manufacturers of digital audioprocessing, often from the studio market,

are now able to collaborate with the consolemarket, providing them with a larger audienceand a new angle of development.Technologies such as plug-ins that run onAvids Venue consoles, for example, just asthey might inside Pro Tools or Logic in thestudio, are just the beginning.

Today, probably the most notabledevelopment of its kind is the Waves DiGiGridsystem, which opens up the suite of Wavesplug-ins in a hardware solution for simpleaccess via nearly any digital audio platform,including consoles. To achieve this, Wavesjoined forces with DiGiCo for its experiencein hardware processors. Then theres the latestrelease from Universal Audio, which teamed upwith Soundcraft to develop Realtime Rack; a

similar solution for UAD plug-ins to be utilisedby modern digital consoles.

But this new era of collaboration in the pro-audio world is even bringing together once-competitors within the console market itself,such as the recent DiGiCo, Allen & Heath,and Calrec merger. Although they will continueto trade as separate brands, this is an excitingtime as the manufacturers know they can learnfrom one another, even across markets.

LOOKING TO THE FUTURESo what can we look out for in the future? Tobe honest, its interesting what fed back tome as the hot topic for future development. Itwasnt higher channel counts, or developmentsin UI, or even better quality audio processing.It was to take the advantages of these verypowerful digital audio systems and take themto the next level of advanced audio networking.Again we find ourselves turning to thebroadcast market for clues, as they are alreadysetting the wheels in motion.

Weve been able to send uncompressedmultichannel audio down very small

numbers of cables with industry standardssuch as MADI connectivity for a few yearsnow. Following this was AoE (Audio overEthernet), with protocols such as Dante andAVB. Dante is now a strong player and hashelped open such a large pool of benefits,providing us with a tried and tested audionetwork for anything from multi-roomscenarios, or just high channel counts betweenmany different devices. This years release ofthe Vi3000 demonstrates Soundcrafts supportof this third-party protocol with the first ever

built-in Dante and MADI switchable port.However, there are limits. AoE can onlytravel up to 100m before a network switchor termination is required. This limits thepossibilities of what we know as networkingtoday. Here comes AoIP (Audio over IP).

New industry standards are here: Ravennaand AES67, as published by the AudioEngineering Society (AES) and EuropeanBroadcasting Union (EBU). CalrecsCookson comments: Its an exciting time

at the moment and we are very keen to seethe advancement of more open transporttechnology. The ratification of AES67 is asignificant step forward in this respect.

Lawo too is very keen about the new IPstandards, as Huber continues: The future liesin changing conventional workflows, as moreand more manufacturers join this standardby adapting their products. Transfer of audioand video signals will become easier and evenmore efficient by using IP networks. Feeds areuploaded to the IP Cloud and can becollected anywhere as long as there is networkaccess. Another point is that the new standardwill protect investments as facilities andmobile units can easily integrate systems ofdifferent manufacturers.

Hingley can even see potential growth ofthese IP-based networking solutions: Anotherinfluence on future audio distribution isthe adoption of IP-based broadcast videomanagement. Its likely that new 4K videofacilities will be developed around IP-baseddistribution, and audio distribution will belargely managed by these systems.

Whichever market you are in; studio,broadcast or live, there has been some verypowerful developments which we will wonderwhat we ever did without. However, its thisnew era of processing power, software, andnetworked audio which marks a turningpoint in the industries development. Thesenew platforms are opening up some newopportunities for further growth in technologyand the business around it like weve never seenbefore. These are very exciting times in theworld of pro-audio consoles.www.allen-heath.comwww.avid.comwww.calrec.comwww.hhb.co.ukwww.lawo.comwww.solid-state-logic.com

The CDC8-32 and CDC8-16 from Cadac


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AN ENGINEERS GUIDE

The main thing I look for in a live console isspeed. Studio consoles can afford themselves tobe complex and quirky, and this is often seenas an endearing factor. With things like theold Neve consoles, you need a degree in rocketscience to navigate the desk, but its worthspending the time for the sound it delivers.

In the live theatre though, time is always ofthe essence. Essentially we need a live consoleto be able to provide the same complex routingoptions (if not more), but we need to be able toaccess them immediately. This makes software

menu architecture extremely important as Ioften need to be able to set things up on thefly, but not be away from my main mix formore then a few seconds.

Obviously, with the inception and hugeuptake of digital consoles in the live circuit,

we now expect to have everything on board.Studio consoles of course do mostly one job,and do it extremely well if you want a reverbyou will reach for a 480/RMX16, etc. With liveconsoles, again for speed and also footprint,we rely on one box that does it all. Most liveconsoles will now offer you eight-plus differentFX processors that are accurately modelled onthe studio FX we have grown to love.

As I just mentioned, footprint is now ahuge factor to take into account. Productionmanagers have got used to a small, lightweight

digital desk that squeezes into a corner of thetruck/trailor, so they can now fill that extraspace with even more lights. Promoters havegot used to being able to half the size of FOHand sell another 10 or 20 tickets, and on thesubject of more money, management have got

used to the much cheaper hire costs of adigital console.

All of this makes taking an XL4 and racksof gear an exclusive club for the really big boys.As a result of this, we are limited in choice;I cant take 10 different compressors out sowe need our live consoles to be as flexible aspossible. A lot of digital consoles now offerdifferent dynamics modes again modelledon the classics we are used to hearing. Manyconsoles also now give you the choice of usingplug-ins this brings live and studio thatlittle bit closer together as you can spend time

auditioning in the studio, then bring thatsetting on the road.

We need much more comprehensive EQs,as in the live setting not only are we using EQto sweeten and shape the sound to somethingwe want to hear, but we are also a lot of thetime using the same EQ to problem solve(i.e. reduce feedback or get rid of bleed). Allthis being said, live console manufacturershave the unenviable job of taking every toolwe may need, in the large quantities that weneed them, and squeezing them into one tinylightweight box that can stand a goodkicking, and costs less then one channel of astudio console.

DECISIONS, DECISIONSWhat should be on a venues checklist if theyrelooking to invest in a digital mixer?

The main thing I would take into accountis engineer opinion. The last thing you wantis for crew to hate your venue as you boughtone of only seven of that particular consoleanywhere in the world. While you may nowbe part of an exclusive club, having a console

no one knows will only cause problems. Lookat bands riders and look for the consoles thatare being requested the most. There is a reasonthey are.

For an in-house console, I would look forin-depth scene/recall settings. You will wantto be able to accept touring engineers showfiles, while keeping routing and output settingsthat are unique to your venue. A consolewhere a show file will work on all consoles thatcompany manufactures opens things up andmakes it more likely that touring engineers will

have a file for your console.And lastly, something that your in-houseengineers know. There is nothing worsethen asking the house guy how to dosomething on his console and having a blankface look back at you.


Ben Hammond, studio owner and FOH engineer for Saxon and

Deaf Havana, looks at how mixing in a live setting differs from the

studio, and considers the characteristics needed in a console for

each environment.

Pick and Mix

On tour with Deaf Havana and an Allen & Heath iLive-112


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AMS NEVE

Whether its our flagship analogue 88RS anddigital DFC Gemini consoles, the compactmodular Genesys or our classic and modernoutboard units, the same values always apply:sonic excellence, handmade-in-Britain quality,and just as important for an industrywhere time is money workflow-enhancingease of operation.

GENESYS AND GENESYS BLACKA hand-built expandable analogue recordingconsole with digital workstation control and abase configuration starting under GB30,000,Genesys puts Neve quality within reachof the smaller studio. Building 40 years oftechnical hertage, it includes our legendarymic preamplifiers and highly revered analoguecircuit design. But Genesys also accommodates

the seismic changes in the methods of musicrecording, with extensive digital controland connectivity.

In its basic configuration, Genesys offers16 channels of Neve 1073 mic/line preamps,16-channel DAW monitoring, hands-onDAW control for Pro Tools, Logic, Nuendoand more, eight auxiliary buses, eight groupbuses, two main outputs, four effects returns,comprehensive metering, 5.1 monitoring andmixing, two cue mixes, and talkback services.Motorised faders, Total Reset feature and

incredible Total Recall softwareaccelerate workflow.Genesys can be expanded to 64 channels

in a straight or articulated frame, with optionsincluding mastering-grade 192kHz A/D/D/Aconverters with MADI, AES and FireWire

interfaces, digitally controlled analogueEQ and dynamics, remote mic amp control,and much more.

Genesys Black offers a totally integratedsolution for modern DAW-based studios. Witha dedicated DAW control section, incredibledigitally controlled analogue Neve processingand digital connectivity within a world-classNeve mixing console, the Genesys Black deliversthat extra edge to recordings and mixes.

In any configuration, Genesys offersan excellent studio control surface withcomprehensive monitoring and signal routingcapabilities. This eliminates the typical mixtureof awkwardly interfaced devices, and puts aproper console back in the heart of the studio.

As with all Neve products, Genesys offerssound and build quality beyond reproach.

GENESYS

New ground-up Neve analogue design Up to 64-faders/128 inputs Neve 1073 transformer-coupled

microphone preamps on each channel Motorised faders with Total Reset, Total

Recall and Encore Automation software DAW control, stereo & 5.1 monitoring

and mixing Six auxes, eight groups, two main outputs Four effect returns, two cue mixes Channel/Monitor path, 8-track and

2-track metering Optional digitally-controlled analogue

Neve Classic 1084 and/or Neve 88RS4-band EQ

Optional digitally-controlled analogueNeve VCA Dynamics

Optional channel and monitor sectionA/D/D/A conversion with MADI, AESand FireWire interfaces

GENESYS BLACK

Total integration of modern studioworkflow Up to 32-faders/64 inputs Neve 1073 transformer-coupled

microphone preamps on each channel Motorised faders with Total Reset and


Custom-crafted in Burnley UK, to an uncompromising British specification and using only top quality

components, AMS Neves mixing consoles both analogue and digital are the gold standard

throughout the world. Youll find them in legendary music studios such as The Village, Ocean

Way, British Grove, AIR and Abbey Road, at every major Hollywood scoring stage, and in top post-

production facilities in London, Hollywood, Bollywood and beyond.

Neve The Rolls Royce of Consoles


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Sign up for your digital AM atwww.audiomedia.com AMS NEVE

Total Recall software Dedicated DAW control section, with

DAW faders, Meters and Touch-display Stereo & 5.1 monitoring and mixing Six auxes, eight groups, two main outputs Four effect returns, two cue mixes Channel/Monitor path, 8-track and

2-track metering Neve 88RS 4-band EQ & channel

A/D/D/A conversion with MADI, AESand FireWire interfaces

Optional upgrade to digitally-controlledanalogue Neve Classic 1084 EQ and/orNeve VCA Dynamics

Optional monitor section A/D/D/Aconversion

88RS

With its unmistakable Neve qualities ofexquisite design, peerless craftsmanship, andlegendary Neve sound, the 88RS continuesthe Neve bloodline of analogue consoles witha remarkable advance on anything heardbefore. Professionals throughout the worldhave chosen the full clean sound of the 88RSconsole. Its high bandwidth, pure audio path,superior dynamics, greater dynamic range, andgreater control make the 88RS the first choicefor recording and mixing the highest fidelityrecordings.

Designed in consultation with top musicproducers and recording engineers, it is equallyat home on film scoring sessions and (especiallywith the addition of the SP2 Scoring Panel) andit is the console of choice for all Hollywoodsmajor scoring stages Fox, Skywalker, Sony andWarner.

88RS Designed for full surround from the

ground up Motorised large and small faders

AFL surround solo monitor PFL on each channel fader Four main output faders, L/R, C, S, and

LS/RS Acoustically optimised frame Supplied with or without patch

Enhanced S channel strip Enhanced spectral Neve format

equalisation Legendary Neve soft knee compression Audio performance beyond 24/192 digital

SP-2 option for enormous scoring powerand flexibility

SP2 SCORING PANEL FOR 88RSA specially designed film-scoring option for the88RS, the SP2 Scoring Panel and stem-makerdelivers an astonishing increase in flexibility andproductivity. When tracking it easily handleseven the most complex scoring requirementsincluding full orchestra in several sections pluspre-records and multiple reverbs. It speeds upthe mixing process, too, delivering multiple 5.1

stems plus a full mix in a single pass.When Abbey Road one of Britains leading

score-recording studios specified its newNeve 88RS for Studio Two (which has a fairlynarrow control room), the engineers were askedto choose between a 72-fader console with noScoring Panel or a 60-fader version includingthe SP2. No contest. Theyd have liked the extrafaders, but the SP2 was a must-have.

DFC GEMINI

DFC Gemini is by far the most accomplisheddigital mixing console designed specifically formulti-format film dubbing and post production.

With an unrivalled installation base, DFC is

the standard among the worlds premier motionpicture facilities.

The DFC Gemini is the first Post-Production tool to fully integrate the 3Dformats of Dolby Atmos and Auro3D.These formats are hosted natively within theDFC to provide the most efficient workflow formulti-format surround mixing and multi-formatdeliveries.

From the outset, the DFC Gemini wasdesigned for optimum mix performance. At theheart of the DFC Gemini is USP, the worlds

most powerful mix engine, capable of deliveringthe legendary Neve sound across 1,000 audiosignal paths at 96kHz 24-bit in a single, high-resolution, DFC signal processing tower.

AMS Neves wealth of experience inergonomic design has created the most flexible

surface in the industry designed to maximiseboth controllability and feedback to the user.

The control surface provides rapid accessto every aspect of routing and monitoringno matter how complex the mix. Channelstrips provide total control with the Logicatorcontrols, giving instant visual reference to eachparameter setting. Enhanced visual feedback isprovided by TFT metering displays, powered bythe AMS Neve proprietary ViewMix engine,allowing you to see as well as hear and feelyour mix.

DFC GEMINI TFT Meter display shows essential channel

and processing information at a glance,including the incoming audio waveform

display Powerful Encore2 automation system. Off-line edit options offer complete session

preparation away from the mix stage Neve EQ, Dynamics and filters 12 stem mixing with 192 tracks and up to

16 members per stem New software suite imports Cut List

and Conform data directly from thePicture Department files and allowssimplified editing

The most powerful monitoring facilities ofany large format console

ENCORE AUTOMATIONAMS Neves Encore automation system setsthe performance bar for automation systemsthe world over. The latest version Encore2v9.1, for USP (Ultra Scale Processor) systems includes direct integration with Dolby Atmosand Auro3D formats for single-pass multi-format surround mixing.

INFORMATION

[

]

AMS NEVE LtdBillington Road

BurnleyLancashireBB11 5UB

UK

T: +44 (0)1282 457 011.F: +44 (0)1282 417 282.E: [email protected]: www.ams-neve.com


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Sign up for your digital AM atwww.audiomedia.com CADAC

INFORMATION

[

]

Cadac Holdings Ltd1 New Street

LutonBedfordshire

LU1 5DXUK

T: +44 1582 404202

UK Sales Manager:Rob Hughes

[email protected]

US General Manager:

Paul [email protected]

W: www.cadac-sound.com

CDC MC ROUTER

The CDC MC Router provides the routing capability for Cadacs MegaCOMMSnetwork via 150 metres (496 feet) coaxial cable runs. The 2U unit has 12 MegaCOMMSports and can be configured to give up to 3072 channels of 24-bit/96 kHz audio within asingle audio network.

The MegaCOMMS router has a number of pre-set maps which can be selected by theuser and include the ability to connect four CDC consoles, to eight MegaCOMMS units either stageboxes or network bridges within one network. Should any of the consolesconnected to the router adjust the input gain, the router will automatically compensate forall of the other consoles connected. The latency for a CDC eight network by adding a CDCRouter only increases by an incredibly low 10 micro seconds.

CDC FOUR:MThe CDC four:m is an astonishingly

compact digital console which boasts 32inputs as standard, but can be expandedup to 64 inputs by the addition of anexternal stagebox, which can be locatedup to 150 metres (496 feet) from theconsole. CDC four:m featuresclass-leading 24-bit, 96 kHz conversionand processing, time-aligned, phasecoherent mix busses, and digitalreplication of the legendary Cadac J-typefour-band equaliser. Complete withsuperb dynamics and FX processing,6 x 4 matrix accessed by a clean,easy-to-use interface with the minimumof instruction and all housed in a rugged,19 rack mountable frame. Remotecontrol of the console is made easy bythe TabMix iPad app.

LIVE1If youre looking for an analogue solution to your mixing requirements,then Cadac is the only manufacturer able to offer a complete portfolio of productsfrom the industry-leading J-type, through the medium-format S-type to the LIVE1.LIVE1 is the distillation of Cadacs expertise in analogue console design.The LIVE1s diminutive but robust frame(the LIVE 1642 is rack mountable)contains superb mic pres, extremelylow-noise summing busses, andis all you require for the bestpossible results wheneither recording or

mixing live audio.Available in three framesizes of 16, 24 or 32 inputs, theLIVE1 is a surprisingly affordableCadac console.

MEGACOMMSCadac digital hardware connects using MegaCOMMS, a proprietary multi-channeldigital audio transport which features extremely low latency, high channel count androbust error-correction.

MegaCOMMS is capable of carrying 128 channels of 96 kHz 24-bit audio down a singlerobust high-speed 75 ohm coaxial cable for up to 150 metres (496 feet) and it will supportaudio path redundancy. All Cadac stageboxes and network bridges feature MegaCOMMSinterfaces. The benefit of combining audio, control, and clock into one single networksimplifies connectivity, shortens set-up time and reduces investment in cabling infrastructure.


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CALREC AUDIO

Putting Sound in the Picture

The global transition to HD has been the mostradical change in the broadcast arena since themove from black and white to colour.TV output has changed, with more optionsand more immersive content across sports andentertainment. Second screen technologieshave changed the way we interact with our TV,and viewers are more involved in the process ofTV than ever before.

Broadcast audio, with immersive 5.1 mixesand the massive potential of object-based audio,continues to play huge part in this. And as a

result, television viewers are demanding moreand more from their experience in the home.

Consequently, broadcasters are alsodemanding more: more features, moreintegration and more flexibility from theiraudio equipment. Broadcasters continue topush the boundaries, and in this fast-paced,technologically progressive era, TV companieswant to ensure that their systems canproduce programmes efficiently and to thesedemanding specifications.

For their audio systems to be able to achieve

this, consideration has to be given not only tothe console itself but also to the audio networkand how efficiently it can be controlled, how itinteracts with other equipment and how all thisdata is managed.

Calrec has designed its range of consoles tomeet these demands.

AHEAD OF THE PACKThroughout the last 50 years, Calrecs team ofinnovators has anticipated major changes, andconsistently provided superior products thathave allowed forward-thinking broadcasters toremain one step ahead; Calrec introduced theworlds first true stereo broadcast console andthe first point-source surround microphonein the 1970s, anticipating the growth of

multichannel broadcast audio. Calrec producedthe worlds first digitally controlled assignablebroadcast console in the early 1980s, predictingthe separation of control surfaces fromnetworked processing hardware.

In 2007 Calrec launched Bluefin, the worldsfirst console processing engine based on FPGA(Field Programmable Gate Array) technology,enabling broadcast consoles to work efficientlywith true discrete-channel 5.1 surround for thefirst time.

Bluefin2 and Hydra2 continue this tradition.

Bluefin2 provides elegant processing for 5.1production with no resource-sharing, andHydra2 enables broadcasters to build powerfulnetworks and multi-studio solutions whichsupports the use of third-partycontrol protocols.


Celebrating 50 years commitment to audio, Calrec manufactures audio mixing products exclusively

for broadcasters. Calrec is dedicated to excellence in audio for on-air and live production and has a

range of consoles relied on by the worlds most successful broadcasters.

SUMMASumma is designed for broadcast professionals who need to produce creative and engrossingbroadcast audio easily, but may not require the full resources of Calrecs Apollo and Artemis

audio consoles.The Summa user interface is deliberately simple and straightforward to ensure that

Summas highly intuitive user interface is suitable for a broad range of operator levels.Console control is via a 17-inch multitouch screen inspired by familiar tablet technology,with a straightforward interface that uses established finger gestures to navigate the system.

Summa simplifies even complex workflow tasks, such as creating mix-minus feeds, withcommon procedures that are just one tap away, while each channel strip has only the mostessential mechanical controls.

Summa has Calrecs award-winning Bluefin2technology at its core, and the same integralHydra2 router technology as the Apollo andArtemis consoles. Summa has a pool

of either 180 or 128 channelprocessing paths and as withall Calrec consoles, there is noresource-sharing across the DSP, so allfacilities are available on all channels at all times.


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Sign up for your digital AM atwww.audiomedia.com CALREC AUDIO

NETWORKS AND INTEROPERABILITYHydra2 facilitates a number of third-partycontrol protocols, and provides an interfacefor transport protocols such as AVB, Ravenna,AES67 and Dante.

The SW-P-08 protocol allows routercontrol from third-party router panels,enabling remote control over source to

destination crosspoint patching. In addition todirect routing of physical inputs to outputs, itcan also route to and from a console DSP viaCalrecs Hydra Patchbays.

EMBER enables further system controlincluding loading user defined memories,selecting I/O port alias files, editing H2O I/Obox and port labels, viewing available metadatasets and selecting them for insertion into anyHydra2 SDI embedder output stream andmuting selected audio channels in an SDIembedder output stream.

The Calrec Serial Control Protocol offersmixer control to third-party video switchersand automated production controllertechnology, which allows visibility into andcontrol over a number of Calrec consolesettings such as fader position, PFL and cut

control for paths on faders, routing to auxesand mains from faders, output level control forauxes and mains, and LB/RB input switchingfor paths on faders.

Calrecs front-end interface provides a robustmanagement layer which manages signalsand data across the whole Hydra2 network.Increasingly there are demands for integration

with AOIP protocol standards and controlfunctions which incorporate third-partycontrollers. Hydra2 is flexible and integrateswith standards such as AES67, AVB, Danteand Ravenna to ensure that your equipmentis more than capable as the necessity becomesmore commonplace.

The scale of these developments meansthat an interoperable future is inevitable andthis aspect of broadcast networkingis constantly evolving with protocoldevelopment and manufacturer buy-in

continuing apace. It is vital that thatequipment manufacturers stay acrossthese developments. Networking technologyis on the brink of delivering unparalleledaudio and video integration to broadcastersin many areas.

THE NEXT GENERATIONThe Apollo, Artemis and Summa consolesall leverage the increased power of modernFPGA technology, provide more digitalaudio channels for 5.1 Surround production,and more user-friendly control surfaces todeal with them. These control surfaces areflexible to accommodate operators needs and in the case of Summa, the intuitive andstraightforward User Interface simplifiestasks and speeds up workflow. This enhancedflexibility and control allows consoles withrelatively few physical controls to drive a muchgreater number of channels, bussesand outputs.

SOLID YET FLEXIBLE

Calrec consoles still have the same excellentreputation for reliability and on-air stability.Unlike other consoles which claim redundantfeatures, Calrec provides on-line redundanthardware for all critical systems as standard.DSP, router, processing and PSU cards are allhot pluggable and supplied with hot spares asstandard, and are all contained within a single,lightweight, space saving, energy conscious 8Uor 4U rack.

Multiple control surfaces can also beconnected to the same rack to allow multipleoperators access to the same processingresources. A separate submix can be createdin another location which feeds audio directlyinto the same buss output as the main mixwithout ever leaving the system. This givesbroadcasters increased flexibility without theneed for additional hardware.

INFORMATION

[

]

Calrec AudioNutclough Mill

Hebden BridgeHX7 8EZ

UK

T: +44 1422 842159

Calrec America26330 Diamond Place

Suite 120Santa Clarita

CA 91350USA

T: +1-661-877-9775

E: [email protected]: www.calrec.com

HYDRA2 A POWERFUL NETWORK FOR TOMORROWS PRODUCTION NEEDS

Hydra2 links the Apollo, Artemis andSumma consoles to their integral crosspointrouters, and on to more complex networks ifrequired. Offering 512 bi-directional signalsper copper or fibre connection, Hydra2 offerstrue one-to-many routing and allows theconstruction of large-scale audio distributionnetworks with multiple control surfaces androuters/processors.

Hydra2 control software makes connectingresources very straightforward. Audiointerfaces and consoles may be added andremoved without the need for manualintervention making new resources available

to console operators instantaneously.Hydra2 also features Hydra Patchbays,

which are virtual I/O within the Hydra2domain allowing console operators to makeconsole outputs available to other userson the network. Additionally, sources onchannel inputs and feeds to output portscan be changed remotely without using upphysical I/O or requiring extra cabling.

Hydra Patchbays are a powerful toolfor control room and studio resourcemanagement, allowing networkadministrators to be able to put controlrooms on-air and to manage the sourcesavailable to them.


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DHD

DHD SYSTEMS FLEXIBLE ANDMODULAROur philosophy is simple: Make it powerful,but easy to use. DHD products are asuccessful combination of rock-solid hardwareand sophisticated software. All devices arebased on the same hardware platform andallow you to choose the matching modules foryour specific application. Of course, you caneasily adapt or extend your DHD systems inthe future.

Our products consist of several compact

modules for different tasks: Core Modulescontain both audio signal processing andlogic control they are the heart of any DHDsystem. I/O Modules are responsible forgetting signals in and out of the system theyare available in different versions to meet yourrequirements. For control, you can choosefrom several mixer consoles and single ControlModules. The dedicated hardware inside allmodules uses very little power, there are noPCs and no hard disks inside.

RJ45 COMPLETE NETWORKCONTROLAll modules of a DHD system are connectedto each other with standard CAT cables. Justone cable carries audio, control signals andpower for the modules. Audio signals are

connected via analogue or AES inputs, MADI,or the 3G/HD SDI embedder/de-embedder.In networked installations, Core modulestransport multi-channel audio (up to 512 audiochannels) between each other over fibre opticsconnected to DHD Gigabit Audio Ports.

For Audio over IP the well-establishedDante technology is used. The 52/XC DanteIP Audio Interface provides connectivity toother Dante nodes (hardware or software)on standard IP infrastructure. In the future,the emerging AES67 standard will also be

supported on this platform.Ethernet and IP are also used for many

other tasks. All configuration and monitoringis done over the network and there are optionsavailable to visualise the system status. Othersystems can be interfaced using the open DHDControl Protocol or classic GPIOs.

52/SX COMPACT CONSOLEThis compact console includes everything youneed for building audio workstations, smallto mid-sized On-Air studios or OB vans.

Community and college radio stations can usethe 52/SX as their main console, thanks to itsattractive pricing. The 52/SX is a completeconsole, which needs very little space. It is aturn-key system; but there are software optionsto extend its functionality in larger set-ups.

The console desk consists of a central controlmodule, up to 16 faders, and a seven-inch TFTTouch Display. You can mount the modules

flat within the furniture or put them at a slightangle on a table. Fader modules can also besplit-mounted.

The signal processing modules of the52/SX are just 1U high and provide inputs formicrophones, headphones, analogue and digitalsignals. There are GPIO ports available, as wellas two USB connectors that work as pro gradeUSB sound cards on your PC.

52/RX MODULAR CONSOLEThe modular 52/RX allows you to build

consoles with up to 64 channels. Its fadermodules are four faders wide and are availablein different versions, including some withmotor faders. Combine the fader modules ofyour choice with the central control moduleand TFT Touch Displays and you get a solid


A broadcast console is not just the mixing desk any longer. In todays studios, it is the main command

centre not only for audio, but also for many other systems needed to run the show. With DHD

systems, you are in control always.

DHD Broadcast

Consoles for You

52/SX. Compactand good value


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Sign up for your digital AM atwww.audiomedia.com DHD

hardware base for your studio. If necessary,you can also integrate modules from the52/MX system to build special talkback orcontrol solutions.

The 52/RX is easy to integrate with otherSeries 52 devices. This works very well, becauseall systems are based on the same hardware

platform and share the same software. Thatway, you can configure them within thesame Toolbox project. The 52/RX controlmodules are connected to the core moduleswith standard Cat5 cables and use power overEthernet for their power supply. This makes iteasy to use an existing cabling infrastructure.

52/MX FULLY FLEXIBLE CONSOLE

The 52/MX is the flagship console of theSeries 52. Its design is fully modular thereare many specialised module strips available.To build a studio, you choose the matchingmodules for your application. No matter if youneed a small talkback box with a few buttons ora big console with lots of faders, buttons, andTFT Touch Displays as fader over bridge allmodules will work smoothly together. There aremany different mounting options available. Youcan also mount the 52/MX modules in rack or

table top cases, and of course use TFT TouchDisplays where necessary.However, the real power comes with the

Toolbox configuration software. With thisWindows application, you configure your DHDsystem exactly the way you want it.

Signal flows, audio processing, controlfunctions, GPIO functions, TFT views,and many things more are entirely definedin software. The initial set-up is easy, andfuture changes are often done with a fewmouse clicks.

All 52/MX modules are connected withpower over Ethernet on standard Cat5 cabling,enabling you to place them anywhere in yourstudio set-up.

52/DX SMALL FOOTPRINTDESKTOP MIXER

The 52/DX can be used as a full, stand-alonefour-fader mixer. It consists of the DesktopControl Unit, and both the XS DSP Core andthe XS Multi I/O Module mounted togetherin a 1U rack case. This hardware bundlealso includes the easy to use set-up softwareDXConfig. The optional DHD productsDSP Control Software and Remote ControlPC Software work with the 52/DX, too.

However, if you want to integrate the52/DX with other Series 52 set-ups or useCore and I/O modules from other DHDproduct lines, there is an upgrade available.This software license enables enhancedcustom configuration of the 52/DX hardwarewith the Toolbox software used with the

52/MX system.

FLEXIBLE SOFTWARE OPTIONSSoftware plays a key role in all DHDsystems. For setup and configuration, theToolbox software is used. It also allowsyou to create a project on your PC withoutconnected hardware. This is useful for projectdevelopment and troubleshooting.

The Remote Control Software package isused to monitor and remote control a DHDsystem. You also can design custom control

screens both for TFT touch displays and largerstatus displays on standard monitors. Othersystems can be integrated using the open DHDControl Protocol.

If you need advanced routing and switchingfunctions, you can run the Routing Software

package. This application is used to control theaudio switcher and to visualise its operation.It also provides sophisticated schedulingfunctions for automatic operation.

All DHD software runs on standardWindows PCs and also includes functions foruser management and backup.

INFORMATION

[

]

DHD Deubner HoffmannDigital GmbHHaferkornstr. 504129 Leipzig, Germany

T: +49 341 5897020

F: +49 341 5897022E: [email protected]

Please find our international

sales contacts atwww.dhd-audio.com

52/RX. Solidhardware withfull features

52/MX. Fits your workflow

52/DX.

Small footprint

AUDIO OVER IP BUILT IN

To run audio over standard IP networks,we use the established Dantetechnology from Audinate in the52/XC Dante IP Audio Interface.This module supports up to 48 inputand 48 output channels and connectsaudio from DHD systems to other Dantenodes. You can use it e.g. to interfaceyour playout system via the Dante VirtualSoundcard instead of an expensivehardware sound card. If you connect twoDHD Dante modules, you can create anaudio snake connection between twoor more DHD systems within a largerfacility. This gives you more flexibility forsignal routing, talkback and monitoring.

Also, in the future Dante will supportthe AES-67 standard, giving you betterinteroperability between devices ofdifferent vendors.


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LAWO

Lawo Network. Audio. Video.


With experience gathered over more than 40 years, Lawo is distinguished by its engineering and

manufacturing of most reliable and most advanced audio mixing consoles available. Originally

developed for broadcast environments with zero tolerance for failure, Lawo consoles are also widelychosen for their audio quality in theatres, studios and live performance applications.

Thanks to its broad range of audio and video products, Lawo can offer every customer a suitable

solution for every task. Lawos virtual mixing desks and radio tools software help to streamline

workflows in self-op situations and its RAVENNA / AES67 enabled audio and video products allow for

efficient integration into IP network infrastructures. With Lawo, customers choose high reliability, great

ease of use and maximum functionality and Lawo quality, made in Rastatt, Germany.

mc66 INSPIRED BY YOUR NEEDSThanks to its lightweight construction, low power consumption, and compactdimensions, the mc66 is ideally suited for OB vans, studios, broadcast, and live/

theatre applications. Available fader sizes range from 24 to 104.

LOUDNESS METERINGLoudness metering isdesigned to help eliminatejumps in audio loudnessbetween different TV/radio programmes, or evenduring a single programme.Based on the EBU R128and ATSC A/85 standards,Lawo has incorporatedloudness metering in the mcseries consoles. This can be

combined at any time witha True Peak display, andenables loudness meteringin any individual channel inMomentary or Short-termmode, with each main outputfacilitating the integrationof loudness metering overtime. For ease of use, LawosLoudness Metering canbe operated using presetsfor the two standards.

Furthermore, LoudnessMetering throughout acomplete production can bepermanently displayed in theGUI header display.

With more than 8000 x 8000 crosspoints and even more in networkedsystems, plus up to 888 DSP channels, the mc series is ready tohandle all the requirements for modern OB vans and studios andmore. Transferring snapshots from an mc66 to an mc56 or mc90,loading a snapshot from a console to provide a completely differentDSP capacity or fader count, underlines the principle of the mcsoftware architecture: Lawo is absolutely certain that flexibility isone of the major contributors to cost efficiency, due to easy and fastadaptation, whatever the production. Lawos Dual Star Technologyhas found its way into mixing console design, which has enabledLawo to establish a further milestone in reliability and redundancy for

mixing consoles and HD cores. The mc series impresses with itsprecise signal processing. Changes to the DSP path can be madewithout any clicks, and even delay settings can be made noiselesslyduring runtime.

For modern productions that require 5.1 Surround, mc consoles arethe ideal answer. Its their reliability and experience that made Lawothe first choice for the 2014 sports TV productions in Sochi and Brazil.Plus cost saving remote production features like RAVENNA / AES67compatibility and advanced networking options. These qualitiesand the number of installations have made the mc series a standardaround the world.

THE mc56 PERFORMANCE,PURE AND SIMPLEThis console brings you the sameprocessing power that alreadydistinguishes the mc66 andmc90. What makes the new

mc56 different to its siblings is itscompact layout. In a width of only1.2 metres, it provides 32 faders(64 faders fit in an OB van).

POWER, FLEXIBILITY, INTUITIVE OPERATION THE mc SERIES


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19

Sign up for your digital AM atwww.audiomedia.com LAWO

INFORMATION

[

]

Lawo AG (Headquarters)Am Oberwald 8

76437 RastattGERMANY

T: +49 7222 1002 0E: [email protected]: www.lawo.com

Sales

T: +49 7222 1002 0

E: [email protected]

For international sales contactsplease consult the Lawo website.

V_line VIDEO BY LAWOThe Lawo V_line is designed for one purpose:to provide tools that increase the flexibility ofany broadcast application while saving valuablerack-space, set-up time and production costs.

V_pro8 COMPACT VIDEO POWERThe V_pro8 is the perfect Swiss Army Knifevideo processing tool, interconnecting signalsof different video formats, as well as betweenaudio and video, all in highest quality, usingeither MADI or RAVENNA. User-friendlyoperation via HTML5 web browser.

V_link4 THE ALLINONEVIDEOOVERIP SOLUTIONIf you need to transport Video-over-IPin real-time, the new V__link4 is foryou. It includes everything from Video-over-IPcoding to various monitoring andprocessing tools.

crystal COMPACT, INTUITIVE,AUTOMAGICA cost-effective entry point into the Lawo

world of mixing, the new crystal bringscomprehensive out-of-the-box functionalityplus all of the flexibility and customisabilityfor which Lawo is renowned. The consolecomes with the powerful touchscreen-optimized VisTool PC software.

Accompanying the crystal hardwareconsole is the introduction of Lawos fullytouchscreen-based crystalCLEAR virtualradio mixing console, bringing the crystalproduct line to applications where nophysical faders are needed.

mxGUI THE PERFECT ON ANDOFFLINE SOFTWARE TOOL

The mc series is equipped with anmxGUI user interface and control software,providing many useful features:

Offline preparation: from consolelayout to matrix control, partialsnapshots and preamplifier settings,through to the creation of completesnapshot and production data.

Online remote: operation, maintenance,service, or configuration. Access tothe console via a laptop. Up to 16

mxGUI clients can simultaneouslysign on to the control system forsecondary users and service techniciansto support the audio engineer, evenduring live broadcasts.

Nova73 HD ROUTING SYSTEMNova73 HD is a high-capacity audiorouting matrix a perfect solution formission-critical signal transmission. With acapacity of more than 8K inputs/outputs in

a single core it is possible to create a fibre-optically linked network infrastructure, or toconnect multiple Nova73s over WANs.Nova73 HD integrates seamlessly into anexisting infrastructure, and can be controlledremotely this enables complex switchingand workflows to be reduced to the simplepush of a button. Via an intuitive display,the mxGUI package enables control fromany PC of all functions, offline preparation,or even online operation. Nova73 HDis based on Lawos STAR technologywith an internal dual star architecturethat supports comprehensive redundancyoptions for almost every active component.Hot-plugging, status monitoring of allcomponents, or reconfiguration andexpansion of the system during run-time ispossible, even when on-air.

sapphire A STEP AHEADThe sapphire, Lawos top of the line onair and production console, combinesproven cutting-edge technology and aneye-catching design. Up to 60 motor fadersmay be housed in an impressively shallowchassis that can be placed on your desk orfixed into the furniture. The sapphire comeswith networking capabilities unparalleledwhen creating radio or production studioenvironments for example using theNova29, Lawos small format router thatcan be seamlessly integrated with all radioproducts. The advantage: while technicianswill be assured by maximum flexibility andsophisticated functionality, broadcasters willbe continually impressed by the modern

control surface, which makes working withthe new sapphire fun. The sapphire deliverstop quality, intuitive user guidance and neatsolutions, all of which guarantee even greaterworking efficiency.

mc36 EASY, VERSATILE, RELIABLE

The mc36 console is an all-in-oneproduction console with a comprehensive

feature set that covers broadcast, theatre,house of worship, live and installapplications. Along with uncompromisedsound quality, Lawo-grade mic preampsand AES67 compatibility, it offersunprecedented value for money.


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PRESONUS AUDIO ELECTRONICS, INC.

StudioLive RM Systems

Active Integration Mixingat your Fingertips

Designed for live-sound mixing and studiorecording and controlled with powerful UCSurface touch software for Mac, Windows,and iOS, StudioLive RM-series rack-mountdigital mixers Active Integration technologyprovides unrivalled sound quality, recallable

preamps, powerful DSP, direct Wi-Fi andwired LAN communication, fast and intuitiveworkflow, an onboard FireWire S800 interface,and tightly integrated software, creating astreamlined working environment.

Unlike most competing digital mixers,there are no limitations or compromises,no shared resources. All processing isavailable at all times.

PreSonus offers two StudioLive RMmodels. The RM32AI has 32 mic inputsand 16 Mix outputs and mounts in four rack

spaces; the RM16AI has 16 mic inputs and8 Mix outputs and mounts in three rackspaces. Otherwise, the two are identical, with32 internal channels and 25 buses; a 52x34FireWire S800 recording interface; 96 kHzoperation; and extensive signal processing.

Need more channels? Anupdate will soon allow you tocascade any two StudioLiveRM mixers so that they actas a single, integrated mixingsystem. Get up to 64 channels

for less than $4,000!

COMPLETE RECALLABLETOUCH CONTROLWhen youre mixing a liveshow, you dont have timeto search for controls andmeters, as you must do withmost digital mixers. WithUC Surface remote-controlsoftware and StudioLive RM-series mixers,every control you need to mix a show is

literally under your fingers because UC Surfacesupports iPad and Windows 8 touchscreens(not included), taking full advantage of theseintuitive multi-touch interface technologies.You can control your StudioLive RM mixerwith your laptop, with or without touchscreen,

or with your iPad, or any combination.To further enhance your workflow, you

can assign Channel Types that set a default,customisable channel name, along with achannel icon for quick identification. ChannelTypes set up unique channel filters for yourpresets, making it easy to find and auditionFat Channel settings designed specifically for


Based on the StudioLive AI-series mix engine and controlled with battle-ready UC Surface software

for Mac, Windows, and iOS, the StudioLive RM32AI and RM16AI 32-channel, 25-bus rack-mount

Active Integration digital mixers are scalable, compact, and 100 percent recallable.

PreSonus StudioLive RM-series ActiveIntegration rack-mount digital mixers arecontrolled with intuitive UC Surface software

for Mac, Windows, and iPad, which supportsWindows 8 touchscreens as well as iPad gestures

PreSonus StudioLive RM32AI and RM16AI 32-channel, 25-busrack-mount Active Integration digital mixers are scalable and100 percent recallable and are controlled with powerful UC

Surface software for Mac, Windows, and iPad


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Sign up for your digital AM atwww.audiomedia.com PRESONUS AUDIO ELECTRONICS, INC.

that Channel Type. They also automaticallycreate DCA Filters based on the ChannelTypes, giving you a great starting point forstreamlined navigation and control of your mix.

ACTIVELY INTEGRATED SOFTWAREIn addition to UC Surface, the StudioLiveRM suite of free, integrated software includesPreSonus Capture multitrack-recordingsoftware and Studio One Artist DAW for Macand Windows, which make it easy to mix andrecord a live performance and then take thatmix to the studio, complete with levels, pans,and processing. QMix-AI aux-mix control foriPhone/iPod touch is available free from theApple App Store. All of these applications aredesigned to communicate with each other and

with the mixer.You also get a Nimbit Free account to

market and sell your recordings, providing anend-to-end solution.

NETWORKING AND RECORDINGMADE EASYStudioLive RM mixers offer a USB 2.0 portwith a Wi-Fi LAN adapter, plus a standardEthernet port for control; you can connect to awireless router either way. Creating a wirelessnetwork is easy: You never have to create an IPaddress or enter a subnet mask, or even knowwhat those are. If youve ever connected yourcomputer, iPad, or iPhone to a wireless network,you know how to connect your StudioLive RMmixer to the network.

Every RM-series mixer sports a pair ofFireWire S800 ports that let you connect theStudioLive RM mixer to a Mac or WindowsPC and record up to 52 streams and play backup to 34 streams.

But you arent limited to FireWire andstandard Ethernet. The FireWire S800 andEthernet ports come preinstalled on a card that

can be replaced with optional Dante, AVB, orThunderbolt cards (coming soon) so you can usethe latest technology.

A GIGANTIC CONSOLE IN AFEW RACK SPACESEach StudioLive RM mixer channel and bushas its own studio-grade compressor, limiter,gate/expander, and 4-band parametric equalizer.Each input channel, aux and FX bus also has ahighpass filter, and input channels have polarityinvert. It all is part of a remarkable processing

and routing section known as the Fat Channel.You can even create two complete setsof EQ and dynamics-processor settings forevery channel and bus, then make quick A/Bcomparisons at the touch of a button in UCSurface. Its like having two complete channel

strips on every input and output but simplerand more efficient! You also get graphic EQ on12 aux buses and the 3 main channels, with twosettings for each and an A/B option.

Add to that two 32-bit stereo effects engineson dedicated buses, loaded with reverbs so richand detailed that you feel like youre there. Twomore dedicated buses are equipped with delayeffects that you can really use.

THE SOUND IS PURE PRESONUSUntil now, recallable mic preamps meant usinga cheap integrated circuit that compromisedsound quality. StudioLives XMAX Class Apreamplifiers deliver more headroom, deeperlows, smoother highs, and a richer overall soundthan the preamps found in competing mixers,and we didnt want to change that, so we cameup with a separate digital volume-control circuitahead of the analogue preamp. Voila! Digitalrecall of quality analogue mic preamps!

High-headroom, 32-bit floating-pointprocessing is used for all mixing. The Burr-Brown digital converters on every input andoutput are state-of-the art, with 118 dB

dynamic range. The StudioLive RM mixerssynchronisation to your computer is stable androbust, thanks to JetPLL synchronisationtechnology.

COMPLETE STORE AND RECALLINSTANTLYWith UC Surface, its quick and easy to saveyour StudioLive RM settings for quick setupand recall unlike some digital mixers. Save andname scenes that include every setting on themixer or save just the Fat Channel settings.Copy-and-paste settings across multiplechannels and buses. Save individual DSP effects.Eight user-assignable Quick Scenes allow you toquickly create and recall a scene without havingto navigate the list of 99 available scenes andgiving it a name.

SAFE AND SECURESecurity features protect the entire system in addition to whatever protection your

wireless router affords. UC Surface lets you setpermissions that determine which features canbe controlled from each iPad or laptop on thenetwork. You can completely block any devicefrom accessing the network, even if someone hasthe router password.

SOUNDS LIKE A WINNER!This combination of intuitive, touchscreen-capable control; fast workflow; high-endaudio; no-compromises signal processing; aconvenient, rackmount design; and tightlyintegrated recording, computer control, andwireless control sets PreSonus StudioLive RMmixers apart. And it does so at an amazinglylow price.For more information, visit www.presonus.

com/products/StudioLive-RM-Series

INFORMATION

[

]

PreSonus Audio Electronics18011 Grand Bay CourtBaton Rouge

LA 70809USA

Tel. +1-225-216-7887

www.presonus.com/products/StudioLive-RM-Series

Source DistributionUnit 7 Pembroke Buildings

Cumberland House Business ParkLondonNW10 6RE

UK

T: +44 020 8962 5080

www.sourcedistribution.co.uk

Designed for live mixing but also great in

the studio, battle-ready UC Surface softwarefor Mac, Windows, and iPad supports

touchscreens so every control you need tomix a show is literally under your fingers.Note the small meter bridge at the bottom;

wherever you are in UC Surface, you canalways monitor channel and main bus levels

UC Surface makes it easy to work with saved,named mix scenes (bottom left) and save and

load up to eight user-assignable Quick Scenes(upper right). Note also the eight Mute Groups

(upper left)


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DIRECTORY

LAWOBased in Germany, Lawo was foundedin 1970 as an engineers office forelectronic equipment and later beganmanufacturing mixing consoles. It nowhas five subsidiaries around the world,and its consoles include the respectedmc290, mc266, and mc256 along with therecently launched mc236.www.lawo.de

LOGITEK ELECTRONICSYSTEMSManufacturers of the Mosaic andRemora consoles, Logitek designs anddevelops its products in-house usinglocal manufacturers based aroundHouston, Texas. CBS, NBC, and TheDisney Channel, as well as Sony andWarner Bros use Logitek systems.www.logitekaudio.com

LOLA AUDIO

Lola Audio is the leading Serbian firmin the AV media field, and for over 25years has been producing modular audiomixing consoles among other high-techproducts.www.lolaudio.com

MACKIEMackie is part of the LOUDTechnologies family of brands, whoselogo reads Small footprints, big features,great sound, and this is epitomised bythe Onyx and VLZ4 Series.www.mackie.com

MANDOZZILocated in the sunny Swiss corner of

Ticino, Mandozzi Electronics wasfounded in 1965. Its user-friendlyGMIX and SERIX mixers form theconsole backbone of its range.www.mandozzi.ch

MEDIA ENGINEERINGFounded in 1987 and based inSwitzerland, Media Engineering hassince 2001 concentrated its effortson developing pro-audio products.Memix is its modular analogue mixingconsole, designed to be used in radio andproduction studios.www.mediaengineering.com

MIDASMidas consoles are among the mostpopular in the market, and have beenfound in live applications around theworld since the 1970s. Its currentconsole line-up includes the XL8 andthe PRO Series.www.midasconsoles.com

OTARIAlthough its European branch hasclosed, Otari is still producing out ofJapan as it has for over 40 years, anddistributing worldwide. Its consolesinclude the DB-10.www.otari.com

PEAVEYThe PV, FX, and XR Series of consolesare among Peaveys SR line-upthat is produced out of Corby inNorthamptonshire, UK.www.peavey.com

PHONIC CORPORATIONPhonic is a customer-centric company;its mixers include the AM, Helix, andImpact Series.www.phonic.com

PRESONUSPreSonus has come far since the daysof trading from Jim Odoms garagein 1995. Highlights of its path are theDigiMax and FireStudio; while todayits products include the StudioLiveRM16AI and RM32AI 32x16x3 digitalconsoles.www.presonus.com

PROFESSIONAL SOUND CORP1986 was the year PSC was born, andbased in Valencia, US, the companysrange includes the Solica mixer.www.professionalsound.com

PUBLISON SYSTEMS

Publison designs and manufacturesintegrated post production systems,whose products include the Edimix IIand ProdMix.www.publison.fr

RAINDIRK AUDIORaindirks first console created by CyrilJones was sold to Kingsway Studios backin 1972. Todays rm3 and rm4 modularseries means a full console can be createdusing Raindirk components, while thecompany also supports Helios desks.www.raindirkaudio.com

RAMIThe Compact II and RP 2000S are two

of Ramis French-made broadcastingconsoles, among a range of other pro-audio products.www.ramiaudio.com

ROLAND SYSTEMS GROUPRoland Systems Group is a forward-looking company whose breakthroughV-Mixing system (combined digitalsnake and mixing console) is stillbuilding its fan base, now with severaloptions in both mixing and snakedepartments. Among its most recentreleases are the M-480 and M-200i livemixing consoles.www.rolandsystemsgroup.co.uk

RUPERT NEVE DESIGNSRupert Neve, founder of the companythat bears his name, has a discriminatingcareer in audio spanning 80 years. Abrand that implies excellence, the 5088 isNeves flagship console.www.rupertneve.com

SAMSON AUDIOStarting out designing wireless mics,and now with three brands under theSamson banner; 26 years has led to ahuge range of products including theL-Series consoles.www.samsontech.com

SEEMIX SOUNDSeemix is a Norwegian companyfounded in 2001, whose offeringsinclude the Seeport and Seelect mixer.www.seemix.no

SMART AVSmarts respected consoles include theTango and Smart Professional Series,designed for the most demandingapplications using ARC and MonARCtechnology.www.smartav.net

SOLID STATE LOGICSSL has had a long and noteworthyhistory since its formation in 1977,which via the Axiom, Aysis, XLogic,and C-Series, has led to todays popularDuende, and Duality consoles alongwith the Matrix2 and SSL Live.L300.www.solid-state-logic.com

SONIFEXSonifex began as a family company backin 1969. Today it boasts that over 90%of British radio broadcast studios haveused Sonifex products in the past. TheS1 and S0 are the companys current

broadcast mixers.www.sonifex.co.uk

SONOSAXSwiss Sonosax brought its first mixingconsole to market in 1980, the SonosaxSX-B. Recent additions to the Sonosaxrange include the SX62R and SX-M32.www.sonosax.ch

SOUNDCRAFTA Harman company, Soundcraft madeits mark in the early 1970s with theSeries 1, the first mixing console ina flight case. It remains a dedicatedpro mixing console designer andmanufacturer with consoles including

the Si and Vi series.www.soundcraft.co.uk

SPECK ELECTRONICSSpecks LiLo is not a conventionalmixer, but rather designed withminimalist ideals perfected for routingand blending external gear and DAW.www.speck.com

STAGETECThe Cantus was Stagetecs firstdigital console, a success of the 1990s;although today the Aurus is taking thecrown as Stagetecs first class mixingconsole.

www.stagetec.com

STUDERSince 1948, the name of Studer hasbecome synonymous with broadcastingand recording equipment. Its productrange, which includes the OnAirand Vista lines, is totally designed inSwitzerland.www.studer.ch

STUDIOMASTERMilton Keynes, UK-basedStudiomasters range of mixers andpowered mixers includes the C2,C3, and C6 families. In addition,the Horizon series of powered or

unpowered consoles are available in 12or 20 inputswww.studiomaster.com

TASCAM/TEAC PROFESSIONALTascam/TEAC products deliver tothe whole spectrum of musicians andengineers, from the hobbyist to pro.Headquartered in Japan, its consolestoday include the DM-3200, DM-4800, and M-164 (plus FX and UFderivatives).www.tascam.com

TL AUDIOTL Audio began in the 1990s, restoringand reselling vintage equipment, anddiscovered a hole in the market for new,affordable valve products spawningthe Classic range. The M1-F, VTC,and M4 are consoles based on tubetechnology.www.tlaudio.co.uk

TOFT AUDIO DESIGNSAmerica-based Toft Audio produces theATB analogue mixers, a platform that iscontinuously being developed under theguiding hand of Malcolm Toft.www.toftaudiodesigns.com

TONELUXPaul Wolff in Vegas is the mastermindbehind Toneluxs range of audio gear,including the 3, 4, 5, and 6 rack consolesand the Tonelux Universal ConsoleSeries.www.tonelux.com

TRIDENT AUDIOMalcolm Toft and Barry Porter

developed their first console, the ARange, for use at Trident RecordingStudios in the 1970s. Trident is nowdesigning and manufacturing new ideasunder the PMI flag.www.trident-audio.com

WHEATSTONE CORPORATIONFounded in the 1970s, Wheatstone isa world supplier of radio and televisionaudio equipment, including analogueand digital mixing consoles, digitalsignal processing, and networked audiosystems all designed and manufacturedin New Bern, NC, USA under theWheatstone and Audioarts Engineering

brand names.www.wheatstone.com

YAMAHAYamaha has a long and wide-reachingstory and similarly it produces a varietyof mixers including the CL and QLseries and PM5D.www.yamahaproaudio.com


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Consoles Guide 2015

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