Consoles 2014

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 I n t e n t M e d i a

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:

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Professional Audio in Production

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Guide 2014

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CONTENTS

> Sales Manager Graham Kirk [email protected]

> Deputy EditorJory [email protected]

> Head of Design & ProductionAdam [email protected]

> Production ExecutiveJason [email protected]

> DesignerJat [email protected]

>>> CONTENTS

>>> MEET THE TEAM

> 4Size Matters

> 8New Classics

> 14Allen & Heath

> 16AMS Neve

> 18Avid

> 20Cadac

> 22Calrec

> 24DHD

> 26DiGiCo

> 30Lawo

> 32Mandozzi

> 34Presonus

> 36Soundcraft

> 38Stagetec

> 40Directory

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. 2013 NewBay Media. All rights reserved.

Welcome to the newly updated 2013 Audio ConsoleGuide. At the heart of every great studio or production,be it music, broadcast, live, or post, is a great consoleand were here to help you navigate through the massesof manufacturers and find whats right for you.

Mixing is an art form and one that is very personal with everyengineer having their own unique tricks when it comes tomaking a performer sound just right. At the core of that processis the almighty console, but whats right for you and yourspecific needs? Are you going to go digital or analogue? Whatsort of networking options do you need? Do you needsomething specialised for your job, or will a more general boarddo the trick?

Thats where this magazine comes into play. Within thesepages youll find information from 12 of the top consolemanufacturers outlining their latest offering and who, exactly, itsmeant for. Alongside these promotional articles weve included afew extra bits to further help you in your console quest. If yourenot in the market for a large console, Paul Watson has done thelegwork to give you a rundown of the recent advancements insmall-footprint digital consoles. On the other hand, if you cantpicture a studio without a 96-channel desk at its heart, KevinHilton dives into the archives and asks those who have spentdecades behind a number of boards to help answer the questionof what makes a console classic?

This, and the other Guides in the series (Monitors &Headphones, Microphones, Live, Broadcast Audio, and DAWs& Plug-ins) are produced in conjunction with Audio Media andare designed to help you navigate your way though theinformation explosion and find the product that suits you.

Audio Media is an internationally distributed magazine thatdeals with professional audio production in film, TV, radio,music, games, and on stage. Its available in both print anddigital editions. For more details, go to www.audiomedia.com.

Jory MacKay, Audio Media

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 I n t e n t M e d i a

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:

Consoles

Professional Audio in Production

Produced By:

Guide 2014

November Issue 2013

AUDIO MEDIA (UK)

Audio Media is published by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. www.audiomedia.comTelephone: 0207 354 6001

www.nbmedia.com

SMALL-FORMAT

All Things EQual?

DIGICODiGiCos smallest live console offering is the SD11, a 19-inch rackmount or tabletop mixer which packs plenty of punch thanks to acombination of Stealth Digital Processing and floating point SuperFPGA technology. In addition to standard channel processing, whichincludes channel delay, single and multi-channel presets, dual insertpoints, hi- and lo-pass filters @ 24dB/octave, and a four-band parametricEQ with band curve selection, DiGiCo provides DYN 1 (compressor,de-esser, or assignable multi channel compressor) and DYN 2 (gate,compressor or ducker).

Furthermore, the SD11 benefits from four dynamic EQ processors,which are all individually assignable to any input or output channel;these offer dynamic processing to each of the consoles four standardparametric bands, plus there are also four assignable multibandcompressors.

The console also has 12 gangable 32-band graphic EQs, four stereoeffects (from a palette of 33), and eight control groups (VCAs). Inaddition, there is an 8 x 8 output matrix, dual solo busses, and a masterbuss, so users essentially have 39 busses at their disposal.

SOUNDCRAFTBeing part of the Harman family, Soundcrafts small-footprint offeringsall benefit from Lexicon effects, BSS graphics, Studer signal processing,and dbx dynamic processing.

The Si Expression is the manufacturers smallest digital console andcomes in three guises: Si Expression 1, a 19-inch rack mount unit (16faders); Si Expression 2 (24 faders); and Si Expression 3 (32 faders).

The EQ and dynamics feature set is the same for all of the models: afour-band EQ offers low and hi shelf, two bands of parametric EQ withvariable Q, and a range of 22Hz to 20KHz to complement the 31 BSSGEQ processors and hi-pass filters; GEQ LO selects the lower half ofthe EQ from 31Hz to 630Hz, and GEQ HI caters from 800Hz to16kHz. There is a GEQ on every aux, matrix, and buss; and 20 auxbusses, four FX busses, and eight matrix busses, for a grand total of 35 busses.

The dynamics section has controls for the gate and compressor (onevery channel): the compressor controls are threshold, attack, release,make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF,threshold, depth, attack, and release.

There is a gate and compressor on every input, and a compressor on allof the output busses. In addition, four stereo Lexicon effects enginesprovide more than 20 preset effects. All effects returns are independentof the channel inputs and users are able to adjust all the parameters ofthe active FX patch.

The dynamics section has controls for the gate and compressor (onevery channel): the compressor controls are threshold, attack, release,make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF,threshold, depth, attack, and release. Gate and compressor are on everyinput, and its compressor only for all of the output busses.

4 November 2013 The International Guide To Consoles 2013

As small-footprint digital consoles continue to evolve, what's changing under the hood in terms of EQand dynamics? Paul Watson finds out what users can expect as standard from some of the industry'sleading manufacturers...

DiGiCos smallest live console, the SD11

Harmans SoundcraftSi Performer

SMALL-FORMAT

MIDASThe Midas PRO1/PRO1 C is the manufacturers smallest-footprintconsoles. It has a total of 27 sample-synchronous, phase-coherent mixbusses which comprise 16 user-configurable buses (mixes, subgroups, ormix minus groups), and eight matrix busses.

The matrix busses source from inputs as well as groups so can be usedas eight additional aux mixes (monitor mix and FX sends) if desired, toprovide a total of 24 mixes (plus L, R, and mono) for monitor mixing.All busses bar the mono one can be linked as stereo pairs.

The PRO1 also benefits from up to 12 multi-channel FX engines, 28Klark-Teknik DN370 31-band graphic EQs, and eight VCAs.

PRO1 also features eight aux returns, all of which feature four-bandMidas parametric EQ and insert points; these returns can be used asreturns for the PRO1s internal FX processors, or as additional micchannels, if sufficient mic inputs are available on the I/O hardware.

BEHRINGERBehringers X32 is a 25-buss digital console with main LCR busses, sixmatrix busses, and 16 mix busses each featuring inserts, a six-bandparametric EQ, and full dynamics processing, along with eight DCAand six mute groups.

Each channel has a compressor and four-band parametric EQ, andthe X32 also boasts an on-board Virtual FX rack which features eighttrue-stereo (16 mono) FX slots; these include delays, choruses, anddynamics as well as high-end simulations such as the Lexicon 480L,PCM70, and EMT250; and the Quantec QRS. According to themanufacturer, the rack is also capable of running four production-quality,true-stereo reverbs concurrently with eight channels of 31-band graphicequalisation.

ALLEN & HEATHAllen & Heaths modular MixRacks form the heart of themanufacturers iLive digital mixing system. The iDR10 features a 64input x 32 mix bus architecture with full processing on all input and mixchannels, so you dont need to allocate or share processing.

The iDR-64 RackExtra module provides enough DSP for all thechannel processing to be available all the time, together with eight stereointernal effects devices. Input processing includes hi-pass filter, noisegate, parametric EQ, compressor, limiter/de-esser, and delay. Mixprocessing includes both parametric and graphic EQ, compressor,limiter, and delay. The module is called RackExtra because it includes a virtual eight-slot rack, which can be loaded with up to eight additional processors from a library of many emulations of high-qualityeffects devices. The effects can add an extra eight short returns completewith parametric EQ bringing the total number of sources feeding themix to 72.

The RackExtra includes a DynEQ4 dynamic EQ, which is a model ofthe industry-standard stereo four-band dynamic equaliser; MultiBD3multiband compressor; MultiBD4 multiband compressor; SMR Live(Spatial Modelling Reverberator); 2Tap Delay; Gated Verb; and ADTDoubler.

AVIDAvids new S3L console boasts 27 busses, eight matrices, and eightVCAs, plus the capacity for as many AAX plug-ins as one might want torun. There is processing on all outputs and busses a first for Avid andthe S3L channel strip includes EQ, dynamics, filter, and gain effects.

Standard AAX plug-ins include Dynamics III which features acompressor/limiter, expander/gate, and de-esser; an EQ III which is ahigh-resolution, double-precision 48-bit EQ; Mod Delay III variabledelay processing; the Pultec Bundle analogue EQ simulator of threeclassic designs; BF-2A, which emulates the LA-2A vintage tubecompressor; BF-3A, a levelling amplifier for voice and instruments; thePurple Audio MC77 a digital replica of the Purple Audio MC77limiting amplifier; Reel Tape Saturation analogue tape colour,compression and saturation effects; and ReVibe, a high-quality room-modelling reverb.

YAMAHAEach of Yamahas new CL Series consoles feature three Virtual Racks ofprocessing: the GEQ rack, the Effect Rack; and the Premium Pac. ThePremium Pack features Yamahas acclaimed VCM technology, one of theleading features on the CL consoles; there are six varieties of EQ andcompressor including two from Rupert Neve Designs: the Portico 5033EQ and Portico 5043 compressor. Rupert Neve himself worked withYamaha on these.

Other rack devices are thorough replicas of analogue equipment, eventhe non-linear stuff like Transformer Performance. The Effect Rackfeatures eight units offering a choice of 46 ambient effects including thepopular Rev-X, and in addition, there are eight types of insertion effectssuch as multiband compression and tape saturation.

Yamaha has tuned many of these new reverbs specifically for liveapplications so users dont need to make many tweaks; the GEQ rackcontains 16 units of GEQ and if you use Yamahas Flex 15 option, youcan have bring that number up to 32 units of GEQ. Furthermore, someof the effects rack can be turned into GEQ if desired.

www.digico.bizwww.soundcraft.comwww.midasconsoles.comwww.behringer.comwww.allen-heath.comwww.avid.comwww.yamahaproaudio.com

6 November 2013 TThe International Guide To Consoles 2013

Yamahas CL5

Avids new S3L system

CONSOLE TECHNOLOGY

Future Classics

LIKE LOVE, hate, and genius, classic is anoverused word, to the point where it can bealmost meaningless. But in the right context itstill has some relevance, so that something thathas stood the test of time can be described asclassic. This is as true for mixing consoles as itis for cars, but, in both cases aside from thepractical matters of performance and ease ofdriving what makes for something thatendures can often be hard to quantify.

This nebulous quality is summed up by TimSummerhayes, who says that during the 1970she kept hearing people say Well, theres justsomething about it, when talking aboutequipment. It related to new or old outboardequipment, a console, a tape recorder, and evensamplers and drum machines, he explains.

In the classic car world, marque names thatare still producing new cars today like Jaguar,Ferrari, Alfa Romeo exist alongside makesthat are now only historic examples of pastglories: Austin Healy, Jensen, Alvis. The sameis true with consoles; SSL, Calrec, AMS Neve,

API, and Midas have all produced classics, asdid EMI, Helios (originally made for OlympicStudios), and MCI, which are no longerproduced.

Summerhayes grew up at RAK Studios inSt Johns Wood, London. RAK opened in 1976and is still going today with its original APIdesks in Studios 1 and 2. Studio 3 houses aNeve VRP Legend with Flying Faderautomation, while a SSL 4056 E with G seriescomputer is in Studio 4, making the complex aworking museum for vintage desks.

Starting out in studio work, Summerhayessays he learned the trade on API, MCI,Harrison, and, of course, SSL. He adds thatall were fabulous learning curves and were ableto capture the sounds of the time, making


Often the topic of fierce debate, Kevin Hilton attempts to answer theage-old question of what, exactly, makes a console classic?

I think there are few if anyclassic digital consoles. But indecades yet to come perhapstodays transparent beast willbecome tomorrows classic.

Somehow I doubt it.Dennis Weinreich

The SSL SL 4000E quicklybecame a standard in therecording industry afterits launch in 1981


CONSOLE TECHNOLOGY

them the studio desks of choice particularlyduring the 1970s and 80s. The of course inconnection to SSL is a sign of the brandsubiquity back then.

SSL is not as revered for its sound qualitybut is noted for its features and ease of use.SSLs are less desirable sonically but are a joyto work on, so are classics because of workflow,comments Dennis Weinreich, who also beganas a music recording engineer before movinginto post with his own Videosonics facility andthen Pinewood Studios.

A big selling point for SSL was its faderautomation. In 1981 the technology thatchanged the way many people mostly in theA&R department thought about musicmixing burst on the scene. Total Recall was acomputerised way to re-set the faders and EQon the analogue SL 4000 E according toprevious settings. It made SSL desks almoststandard in the recording business becauseA&R people would call studios asking if theyhad one. Those that said yes went on the list ofpossibles for sessions.

The thinking seems to have been thatcomputer assisted set-up and mixing madesessions run smoother and more quickly,making for less studio time (which has alwaysbeen expensive) needing to be booked.Musician and mixer Andy Richards spent a lot

of time in SSL-equipped control rooms duringthe 1980s playing keyboards for the likes ofFrankie Goes to Hollywood and The Pet ShopBoys. He says the reality was very different:The consoles were very expensive and youcould spend two or three days studio time re-setting the mix, even with the computer.

Dennis Weinreich observes that a classicconsole must have something unique about it.Total Recall, with the Ultimation moving fadersystem, wasnt unique Neve introduced thefirst moving fader system, Necam (Nevecomputer assisted mix down), in 1977 but itcaptured the imagination.

Another criteria for classic status, accordingto Weinreich, is a unique and desirable sound.Regardless of the size of the console, he says,Neve, Helios, Harrison and MCI desks soundamazing and are classics sonically. Neve desksin particular are noted for their excellent sound.The company came to attention with its 1073mic preamp, launched in 1970. Three yearslater it moved into full consoles with the 8048,which featured the 1081 mic preamp andequalizer.

Pondering whether any of todays digitalrecording consoles will be regarded in a similarway to the Neves and MCIs of the past,Weinreich says the technology brings moreoverall compromises sonically. By virtue of

them being digital that are supposedlytransparent, he says. But they lack the naturalcoloration of analogue circuits. I think there arefew if any classic digital consoles. But indecades yet to come perhaps todaystransparent beast will become tomorrowsclassic. Somehow I doubt it.

Tim Summerhayes moved from studio workto mobile recording with Fleetwood Mobilesand now broadcast and event work throughRed TX. When we put Fleetwood togetherwe opted for the new Euphonix CS2000s, herecalls. These were digitally controlledanalogue desks and were pretty much state ofthe art. And there was just something aboutthem. At Red TX we have the Studer Vista 8system, which sounds great. Everyone I knownow seems to have a favourite digital consoleand I firmly believe that the favourite one, andthe one that sounds the best is the board thatthe operator knows how to use.

Another leading practitioner in live musicfor broadcast and DVD/Blu-ray release is TobyAlington of Richmond Studios. In recent yearshe has worked on The BRIT Awards and otherevents using the Floating Earth mobile, whichhouses a SSL C200. Alington takes up theanalogy with classic cars, saying that like them,their console equivalents are lovely to look atand be nostalgic about but are a pain to

A classic AMS Neve Capricorn installed at Skywalker Sound


CONSOLE TECHNOLOGY

maintain. He acknowledges many have asweet sound but that in deadline driven work,like his, things can be done quicker on a fastmodern console, with the speed allowing moretime to try things out.

In broadcasting, layout and ease of use havebeen important basic requirements on consoles;those that fulfilled the criteria well went on tobe regarded as classics. At one time BBC deskswere designed and built in-house, althoughlater they were produced on a commercial basisby outside manufacturers. A key point here wasthe fader running the opposite way to howeveryone else had them. The thinking was thatthe operator pulling back the fader to increasethe level and pushing it away to decrease thevolume was a more intuitive way of working.

Among the analogue stalwarts in TVbroadcast were Neve and Calrec, while in radioAlice, Sonifex, MBI, and Audix Broadcast werewidely used. Today there has been a definiteshift to digital. BBC Radio OB managerRichard Earle comments that all the majorfunctions on a desk have to be easily andquickly located in a live situation. Because ofthis, he says, the SSL C200 is used for musicmixing while the Studer Vista 8 is used for livesports and other fast-moving shows. Earle saysa standout of the Vista 8 is its touchscreenaccess to EQ, aux sends, and dynamics, withthe ability to bring buried channels back tothe top layer on the centre Vistonics panel.

Despite what would now be seen as its veryspecific needs in terms of desk lay-out andaudio features, live sound had to make do in itsearly days with modified studio desks beforepurpose-built systems began to appear. Thefirst console designed for live sound was theWEM Audiomaster. Although it had only fivechannels it could be connected with others inseries and gave the sound engineer more

control over the outputof the loudspeaker rig.

In the early 1970s, amplifier manufacturerMidas produced the PR (aka Black) Series ofdesks, which spawned the classic PRO 4 andPRO 5. Tim Boyle, managing director of ClairUK (formerly Concert Sound), agrees these areclassics because of their sonic quality and ease

of use, although not so much for their lay-out: The earlier Midas desks had the sensitivityright next to the faders, which could causeproblems. But channels could be removed withonly three and a half screw turns. So if onewent down it could be taken out and replacedlater and everything was still set with the EQ.

Another factor in Midas favour was itsbuild quality, which should be a considerationfor any type of mixing desk. Boyle commentsthat because the frames were well built theydidnt flex too much while in the truck, whichavoided trouble with the electrical joints. Also aplus point and again this applies to classicstudio and broadcast consoles was the use ofgood quality faders, in this case Penny & Giles,which were expensive but more reliable andsmoother than cheaper alternatives.

Front of house engineer Ray Furze, who hastoured with James, The Spice Girls, and will be

going out on the Boyzone 20th anniversarytour later this year, comments that whether analogue or digital, a classic console has to bereliable and invisible, in that order. Supporton the road, when something could go wronganywhere in the world, is a practical if not veryglamorous reason why a desk might beregarded over others. With a global act it isvery important to be able to find a replacementor service very quickly in the most obscureparts of the world this is one of the mainreasons I stuck with Yamaha, from the PM3000/4000 to the PM5D, for so long, Furzesays.

On his second point, Furze also returns tothe motoring analogy: I believe a majorconsideration has to be the ergonomics. This iswhy I say the desk should be an invisible toolnot unlike an F1 car. When the operator/driveris working at their best it should disappear andleave them to get on with thinking about andreacting to the job in hand. The classic desk ofthe future might not be the one with the mostfunctions or even be the best sounding but theone that makes most engineers comfortableand able to get on with the mix.

On a purely aesthetic level old analogueconsoles in particular look wonderful, withtheir rows of coloured knobs and faders. Thisadds to the nostalgia and reaffirms the classicstatus of any console. Certainly modern digitaldesks and emerging virtual mixers cannotmatch this but, as Andy Richards concludes,what they are able to do record and re-callhundreds of 5.1 tracks almost in an instant more than makes up for any lack of tactility oreye-pleasing design.

So perhaps a virtual mixing system withmotion control instead of faders could be aclassic console in another 40 years. And why?Well, there might just be something about it...

Reliability and a solid support network makethe Yamaha PM5D a classic console for FOH engineer Ray Furze

Everyone I know now seemsto have a favourite digital

console and I firmly believethat the favourite one, and

the one that sounds the bestis the board that the operator

knows how to use.Tim Summerhayes

ALLEN & HEATH

Great British Mixing

GLD LIVE DIGITAL MIXING SYSTEM GLD is a user-friendly, cost effective and scalable live digital mixingsystem, conceptually based on the hugely successful iLive series.

A standard GLD system offers 28 XLR mic inputs, expandable up to48 inputs by adding plug n play audio racks connected over dSNAKECat5 digital multicore, making it simple and affordable to build thesystem as needs grow.

The GLD-80 and larger GLD-112, which has an extra bank of 8control strips, boast analogue-style controls and an intuitive touchscreeninterface. The layout and appearance can be customised quickly andeasily, and GLD delivers outstanding audio performance, with a high-end mic preamp, low latency and the DSP muscle to provide fullprocessing without compromise. The FX engines feature beautifullycrafted emulations of industry classics, many of which are taken directlyfrom the iLive system.

Networking cards allow the user to link GLD systems, make multi-track recordings or connect with other systems, and an Aviomcompatible Monitor port allows connection to personal monitoringsystems. Finally, additional remote control options are provided by theGLD Remote and GLD Editor apps.

14 November 2013

For over 40 years, Allen & Heath has been at the forefront of professional sound. Renownedinternationally for its British-designed, high quality products, the company has set manybenchmarks in sound technology, developing industry standard products for the DJ, PA andHouse of Worship markets, and becoming an early pioneer of distributed digital mixing systems.

QU-16 RACKMOUNT DIGITAL MIXER Qu-16 is a compact digital mixer with a professional feature set andan entry-level price tag, packaged in a stylish 19format. Inheritingtechnology from the acclaimed GLD and iLive digital mixingsystems, Qu-16 features total recall of settings (including 17motorised faders and digitally controlled preamps), an intuitiveTouchscreen, Qu-Drive integrated multi-track recorder, dSNAKE forremote I/O and personal monitoring, multi-channel USB streamingto Mac, Qu-Pad control app, and a selection of emulations fromiLives renowned FX library to deliver class-leading audio quality.

Allen & Heath started out providing mixing consoles for the bands Genesis, The Whoand Pink Floyd. Its current portfolio covers a broad spectrum of the industry, withrecent users including Frank Ocean, Rita Ora, Adele, BBC Outside Broadcast,Maracana Stadium in Brazil, Pete Tong and John Digweed.


ALLEN & HEATH

ILIVE DIGITAL MIXING SYSTEM Allen & Heaths iLive digital mixing systems feature an extremelyflexible architecture with large-scale audio distribution and control, andhave built a strong reputation for audio quality and ease of use.

There are several Control Surface and MixRack variants, which canbe mixed and matched in any combination and share the same firmware,so that show files are transferable between systems via a USB key. They connect together with CAT5 cable and use the Ethernet protocolfor control, such as Dante or Allen & Heaths proprietary ACE (AudioControl over Ethernet) link, which allows cost effective, long distance,point to point control and audio communication over a single CAT5cable up to 120m in length by combining digital audio and Ethernet traffic.

All MixRacks feature the same 64x32 RackExtra DSP mix enginearchitecture, providing processing for 64 channels, 32 mixes, and 8 stereoFX processors. The latest dualcore DSP technology handles all the FXand mixing along with the full dynamics, EQ and delay for all inputsand outputs simultaneously. iLives RackExtra FX suite includes acomprehensive range of classic emulations including reverb, delay, ADT,chorus, flanger, hypabass, and gated verb.

The Port B option slot allows further audio networking possibilities,for example digital mic splitting and multi-track recording, with ACE,EtherSound, Dante, MADI, ADAT, WAVES and Aviom interfacesavailable, while a built-in network switch and MIDI ports at each endallow remote control using laptops, touch tablets and MIDI devices. Theracks are compatible with the Allen & Heath PL Series remotecontrollers and iLive Editor software, a user-friendly program thatenables both offline set up and online real time operation of the systemwith or without a Surface connected. Allen & Heath has also designedthe iLive Tweak app for iPhone and the MixPad app for iPad, providingcontrol of iLives essential functions for live mixing.

ME PERSONAL MIXING SYSTEMThe ME Personal Mixing System is a next generation personalmonitoring solution, universally compatible with Allen & Heath andother pro digital mixers. Central to the ME system is the small, easy touse and fully-customisable ME-1 personal mixer, powered andconnected via CAT5 and capable of managing up to 42 sources. Theaccompanying ME-U hub enables star connection of multiple ME-1mixers and interconnection to other professional digital mixers viaMADI, Dante or EtherSound.

ZED SERIESThe ZED range of small format, USB-equipped analogue mixers isdesigned to be flexible and affordable for the modern working musicianto use on the road or in the studio. The series currently comprises 14models ranging from the ZED-10FX mini mixer to the ZED-436 fourbus mixer.

XB SERIESThe ultra-compact XB-10 and the larger XB-14 broadcast mixers aredesigned for a range of applications from small radio or internetbroadcast studios, to college and university radios, podcasting andcontent creation. Both mixers are equipped with a range of featuresspecifically for broadcasters, including a telephone communicationchannel, mic channel on switch sensing, stereo channel start/cue outputsfor CD deck transport control, and automatic muting of speaker outputs.

INFORMATION

Allen & Heath Ltd. (HQ)

T: +44 (0)1326 372 070E: [email protected]

American Music & Sound (USA Distributor)

T: +1 800 431 2609E: [email protected]

Audio-Technica Ltd. (UK Distributor)

T: +44 113 277 1441E: [email protected]/en/allenheath

Frank Oceans recent world tour used an iLive system at FoH

AMS NEVE LTD

Neve the Rolls Royceof Consoles

Whether its our flagship analogue 88RS anddigital DFC consoles, our classic outboardunits, CineFile and AudioFile dubbers andeditors, or the compact modular Genesys, thesame values always apply: sonic excellence,handmade-in-Britain quality, and just asimportant for an industry where time is money workflow-enhancing ease of operation.

GENESYSA hand-built expandable analogue recordingconsole with digital workstation control and abase configuration starting under 30,000,Genesys puts Neve quality within reach of thesmaller studio. Building 40 years of technicalheritage, it includes our legendary micpreamplifiers and highly revered analoguecircuit design. But Genesys also accommodatesthe seismic changes in the methods of musicrecording, with extensive digital control andconnectivity.

In its basic configuration, Genesys offers 16channels of mic/line preamps, 16-channelDAW monitoring, hands-on DAW control forPro Tools, Logic, Nuendo and more, eight

auxiliary buses, eight group buses, two mainoutputs, four effects returns, comprehensivemetering, 5.1 monitoring and mixing, two cuemixes, and talkback services.

Genesys can be expanded to 64 channels ina straight or articulated frame, with optionsincluding motorised fader automation,Recall, mastering-grade 192kHz A/D andD/A converters with FireWire interface,digitally controlled EQ and dynamics, remote

mic amp control, and much more.In any configuration, Genesys offers an

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.

88RSWith its unmistakeable Neve qualities ofexquisite design, peerless craftsmanship, andlegendary Neve sound, the 88RS continues theNeve bloodline of analogue consoles with aremarkable advance on anything heard before.Professionals throughout the world havechosen 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 purest fidelityrecordings.

Designed in consultation with topproducers and recording engineers, it is equallyat home on music sessions and (especially withthe addition of the SP2 Scoring Panel) forrecording film scores, and its the unanimouschoice of Hollywoods big four scoring stages Fox, Skywalker, Sony and Warner.

SP2 SCORING PANEL FOR 88RSA specially designed film-scoring option forthe 88RS, the SP2 Scoring Panel and stem-maker delivers an astonishing increase inflexibility and productivity. When tracking iteasily handles even the most complex scoringrequirements including full orchestra in severalsections plus pre-records and multiple reverbs.


Custom-crafted in Burnley UK, to anuncompromising British specification and usingonly top quality components, AMS Neves mixingconsoles both analogue and digital are thegold standard throughout the world. Youll findthem in legendary music studios such as TheVillage, Ocean Way, British Grove, AIR and AbbeyRoad, at every major Hollywood scoring stage,and in top post-production facilities in London,Hollywood, Bollywood and beyond.

GENESYS New ground-up Neve analogue design Up to 64-faders/128 inputs DAW control, 5.1 monitoring and mixing Eight auxes, groups, two main outputs Four effect returns, two cue mixes 16-ch, 8-track and 2-track metering Optional Neve EQ & Dynamics and

transformer-coupled microphone pre-amp inputs

Optional digital inputs & outputs with FireWire interface, motorised faders (withEncore automation software)

Optional Total Recall software

One of two Neve Genesys consoles in Tokyos SynStudios, co-owned by Nick Wood and Simon Le Bon.


AMS NEVE LTD

It speeds up the mixing process, too, deliveringmultiple 5.1 stems plus a full mix in a singlepass.

When Abbey Road one of Britainsleading score-recording studios specified itsnew Neve 88RS for Studio Two (which has afairly narrow control room), the engineers wereasked to chose between a 72-fader console withno Scoring Panel or a 60-fader versionincluding the SP2. No contest. Theyd haveliked the extra faders, but the SP2 was a must-have.

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

With an unrivalled installation base, DFC is

the standard among the worlds premiermotion picture facilities.

From the outset, the DFC Gemini wasdesigned for optimum mix performance. At theheart of the DFC Gemini is USP, the worldsmost powerful mix engine, capable ofdelivering the legendary Neve sound across1,000 audio signal paths at 96kHz 24-bit in asingle, high-resolution, DFC signal processingtower.

AMS Neves wealth of experience inergonomic design has created the most flexiblesurface in the industry designed to maximiseboth controllability and feedback to the user.

The control surface provides rapid access to

every aspect of routing and monitoring nomatter how complex the mix. Channel stripsprovide total control with the patented touchsensitive Logicator pots, giving instant visualreference to each knob setting. Enhanced visualfeedback is provided by high resolution TFTmonitors, powered by the AMS Neveproprietary ViewMix engine, allowing you,for the first time, to see as well as hear and feelyour mix. Through ease of use the DFCGemini has arisen as the market leader inpredominantly freelance markets.

ENCORE AUTOMATIONWhen you work on AMS Neve consoles, youdont just get a better result, you also get afaster result. Top engineers are always pushingthe envelope, and our R&D team worktirelessly to give them more flexibility, moreoptions and increased throughput. AMS Nevesproprietary Encore sutomation software is acase in point. The latest version Encore2 v7,for USP (Ultra Scale Processor) systems notonly adds several new beyond 7.1 3D surroundoptions, but delivers a massive hike inproductivity. Increased bandwidth means thatautomation throughput is now three timesgreater than v6, with a theoretical maximum offive million events per mix/pass (up from 1.5million in v6).

INFORMATION

AMS NEVE LtdBillington Road, Burnley,Lancashire BB11 5UBUK

t +44 (0)1282 457 011.f +44 (0)1282 417 282.e [email protected] www.ams-neve.com

The AMS Neve DFC Gemini at Alvernia Studios, Poland

DFC GEMINI High resolution TFT Channel display. Encore Plus automation system (compatible

with 1800 AMS Neve consoles). Off-line edit options offering enormous

cost savings Neve EQ, Dynamics and filters Expanded 12 Stem Mixing. Complete integrated machine control Optional Monitor Facilities Rack WavTrakTM display providing the user

with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.

88RS Designed for full surround from the

ground up Motorised large and small faders AFL surround solo monitor Overpress 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 power and flexibility

88RS

AVID

Avid: The MixingRevolution Continues

AVID S6MIXING REDEFINED

Mixing in a recording studio or post facility has evolved tremendouslyfrom the big iron consoles of 20 years ago. Professionals are now taskedwith doing moreoften with lessand the expectation to create anddeliver higher quality, more compelling content has never been greater.Theyre also faced with some serious new challenges:

Sessions are growing more complex and are often subject tofrequent changes

Mixers are tasked with creating and delivering more content in shorter timeframes

There are more demands for exacting levels and delivering in multiple formats

Clients want higher quality content faster, despite limited resources and budgets

These are the reasons why Avid began designing a next-generationcontrol surfaceone that would enable its customers to tackle theseissues head-on. To get more detailed feedback, Avid met with topproducers, engineers, mixers, and artists to understand their workflow intricacies.

FROM WISH LIST TO REALITYTo help them achieve success, music and post pros asked for an intuitivecontrol surface that speeds up workflows and minimizes complexity,leaving more time to create and deliver higher quality content. Theywanted a surface that deeply integrates with Pro Tools and other Avidsolutions, yet welcomes third-party DAWs to facilitate parallelworkflows and expand business opportunities. And they asked for asurface thats priced to meet current needs, but scalable for futurebusiness growth.

These form the foundation of S6, a revolutionary new control surfacewith a first-of-its-kind modular design. The surface comes with yourchoice of engineS6 M40 for large-scale productions that requiremaximum faders/channels, visual feedback, and customizability, or S6M10 for smaller rooms and budgetsplus individual modules thatprovide faders, knobs, high-res metering, and more.

BUILT FOR THE FUTURE

Initiated by customer feedback, heres some of what S6 offers:

Revolutionary modular designScale the surface horizontally and vertically, choosing the modules you need to match your current workflow and budget, with room for expansion as your business grows


Avid S6 features a unique modular design, enabling youto take total control of Pro Tools and other DAWs.

For over 25 years, Avid has led the way in professional audio innovation, from pioneering mixing in the box to developing console technology that controls multiple DAWs. But times are changing To help you overcometomorrows challenges today, discover Avid's latest innovations.

Whether you mix music, sound for film or television, or live performances, the industry has shifted dramatically in the last five years. For music andpost professionals, session complexity continues to grow, turnaround times are tighter, budgets are smaller, and theres more competition. Live soundprofessionals are routinely faced with complex and varying setups, shorter prep times, and an increasing demand for studio-quality live recordings.

Thats why Avid set out to design two revolutionary new consolesAvid S6 for music and post production, and Avid S3L for live soundtohelp audio professionals successfully conquer real-world issues, with technology built for the future. Heres a look at how Avid designed these twosystems with extensive input from its customers.

Customize the surfacewith the controls youneed now, with easyscalability for thefuture.

Superior ergonomicsFrom the multipoint touchscreen to top-lit knobs and Pro Tools waveform scrolling, S6 feels like a true physical extension of your software, providing the critical visual insight and workflows you need to mix faster and more creatively

Intelligent DAW controlTake simultaneous control of multiple Pro Tools, Logic, Nuendo, and other EUCON-enabled audio workstations, enabling you to handle complex sessions, make changes quickly, and diversify your services to stand out from the crowd

Proven and trusted technologyGet the exceptional performance and audio quality you need to deliver the best sounding mixes possibleon time, every time

AVID S3LINNOVATION TAKES CENTER STAGE

The world of live sound continues to shift, as more professionals leavetheir analog mixing consoles and processors behind and adopt an all-digital workflow. But whether youre mixing in the digital domain or straddling the fence between analog and digital, there are many ongoing challenges: Shows are growing more complex, with greater channel and

routing requirements The demand for studio-quality live recordings is soaring as a

revenue generator Setups can vary greatly with each performance set, with little

changeover time

Avids live sound systems have been #1 in concert touring for years, asthey address the challenges above. But the company recognized thatthose who mix in smaller venuessuch as in a club, house of worship,theater, or conferencehave additional needs.

To get a better understanding of their challenges and workflows, Avidmet with numerous live sound professionals from diverse backgrounds tosee how it could evolve its current successful technology into somethingeven more revolutionary.

DIFFERENT APPLICATIONSCOMMON GOALSSound engineers who tour the club circuit or work in corporate AVasked for a powerful yet compact and affordable system that can be easilycarried and transported in a car or bus. Those in house of worship, club,and theater sound wanted a more flexible system that quickly and easilyscales to accommodate a wide range of performance setupswithsimplicity that doesnt hinder visiting mixers and volunteers. And theyrequested a system that makes recording easy, so they can immediatelymake their mixes available to clients and audiences.

These are the reasons why Avid designed Avid S3L, a compact,modular, networked live sound system that offers the performance,sound quality, and features that countless live sound professionals havecome to rely on in a system thats built for the future.

TOMORROWS TECHNOLOGY TODAYInitiated by customer feedback, heres some of what S3L offers:

Power and portabilityWith its high-performance HDX-powered mix engine, superior AAX plug-in processing, and low-latency Ethernet AVB connectivity, you get uncompromising power in a cost-effective, compact system that easily loads into a car, bus, or plane

Easy scalabilityS3L is fully modular, enabling you to scale and reconfigure a system quickly, from 1664 I/O channels, with drag-and-drop ease, and it uses lightweight, inexpensive Cat5e cables, putting an end to expensive, bulky analog snakes

Studio-grade recordingConnect your laptop to the systems network and record or play back up to 64 audio tracks using industry-standard Pro Tools (included), plus built-in 2-track USB recording enables fast mix delivery

The software you know and trustEasy-to-use VENUE software accelerates mixing and recording efficiency, eliminating system complexity; because VENUE is at the heart of every Avid live soundsystem, S3L will be a familiar experience for many sound engineers


AVID

The ultra-compact Avid S3LSystem offers incredible sound,power, and versatility for thestage and studio.

INFORMATION

AvidUS Headquarters 6575 Network DriveBurlington, MA 01803 USA

t +1 978 640 6789f +1 978 640 3366

AvidEuropean Headquarters Pinewood Studios, Pinewood Road Iver Heath, Bucks, SL0 0NH UK

t +44 (0)17 5365 5999f +44 (0)17 5365 4999

Learn more: www.avid.com

Find your local reseller: www.avid.com/find-reseller

Connect up to four Stage 16 I/Oboxes and place them anywherein the venueup to 328 feetapartfor ultimate flexibility.

CADAC

Old School New Ideas

Starting in 1968, for the first 15 years of its existence Cadacdesigned and manufactured customrecording consoles for the worldsleading studios, many of whichproduced some of the greatest all-time recordings from artists asdiverse as The Sex Pistols andMotorhead, to Queen, Pink Floydand Paul Simon. In the mid-1980sCadac began designing consolesspecifically for live theatreapplications. In this specialised areaof sound reinforcement theultimate aim is to maintain theillusion that no amplification isbeing used. The uncompromisingtransparency of Cadac consoles tothis day meets this requirementperfectly.

Cadacs pristine audioreproduction has also found favourwith many touring artistes whodemand high standards. Cadacconsoles have been employed onnumerous international toursincluding Pavarotti, The RollingStones, and Van Halen.

Now that digital audio consolesare reaching maturity, many mixengineers and sound designers are20 November 2013 The International Guide To Consoles 2013

Although Cadac has been designing and manufacturing some of the worldsfinest recording and live production consoles since 1968, the latest Cadacconsoles represent radical yet genuinely intuitive new concepts ofoperation, while incorporating the latest in cutting-edge technology.

LIVE1If youre looking for an analogue solution to your mixingrequirements, then Cadac is the only manufacturer able to offer acomplete portfolio of products. From the industry-leading J-type,through the medium-format S-type to the LIVE1, Cadac analogueconsoles offer the highest possible performance and constitute aproven long-term investment.

LIVE1 is the distillation of Cadacs expertise in analogue consoledesign. The LIVE1s diminutive but robust frame contains superbmic pres, extremely low-noise summing buses, and is all you requirefor the best possible results when either recording or mixing liveaudio. Available in three frame sizes of 16, 24 or 32 inputs, LIVE1 isa surprisingly affordable Cadac console.

Every LIVE1 comes complete with external rack mounting powersupply, and the compact 16-input frame includes 19 rack mountinghardware for the console.

discovering the essential elementsof audio which have been neglectedin the rush to be the firstmanufacturer with the latestfeatures. The design brief for Cadacdigital consoles is simple, and isconsistent with the brands ethos ofthe last 45 years - audio first. Thisis why the latest digital consoleofferings from this classic marquestill bear the hallmark of theirdistinguished origins, which can betraced back beyond the now-legendary J-type, which itself is stillin production after nearly 25 years,to those classic consoles of thegolden age of recording studios.Sometimes, its good not to be thefirst. All Cadac digital consolesfeature superb quality mic pres, 24-bit, 96kHz A-D conversion, full-path 96kHz processing, andtime-aligned, phase coherentsumming buses. Supported by awide selection of remote control,editing software, format convertorsand I/O options, Cadac digital is the high-capacity solution for the worlds most demandingartists, prestigious venues andpremier theatres.


CADAC

INFORMATION

International sales enquiries: Ben Millson [email protected]

UK enquiries: CUK audiowww.cuk-audio.com

USA enquiries: LIFT distributionwww.liftdistribution.com

www.cadac-sound.com

CDC FOUR The CDC Four is an astonishingly compact digital console whichboasts 32 inputs as standard, but can be expanded up to 64 inputsby the addition of an external stagebox, which can be located up to150 metres (450 feet) from the console. CDC Four features class-leading 24-bit, 96kHz conversion and processing, time-aligned,phase coherent mix buses, and digital replication of the legendaryCadac J-type four-band equaliser. Add superb dynamics and FXprocessing, and all housed in a rugged, compact frame which canbe mounted in a 19 rack, accessed by a clean, easy-to-use interfacewith the minimum of instruction. Remote control of the console ismade easy by an iPad app.

CDC EIGHTCadacs digital flagship is the 128 input channel CDC Eight.Available in either single or dual-screen formats, and based aroundlarge, 24 full-colour capacitive multi-touch screens, the CDCEight elevates the art of mixing audio to the next level, and offers aunique, genuinely intuitive experience for the operator.

The concept begins with Cadacs premium quality preamps,continues with state-of-the-art 24-bit 96kHz conversion andprocessing, and includes the most open-architecture user-interfaceavailable on an audio console today. The CDC Eight representsclarity and transparency for both audio and operator.

Each CDC Eight comprises a system of console, remotestageboxes and additional supporting hardware, including theoptions of format-conversion for connection to 3rd party hardwareand networks, for live multitrack recording and signal distribution.The console has a full suite of options including iPad remotecontrol, offline editing software and configurable onboard I/O.

MC MADIThe Cadac MC MADI provides a simple, effective conversion toMADI (AES 10). Housed in a robust, 1U chassis, featuring dualredundant power supplies and providing two discrete MC-MADIchannels, the MC MADI is the perfect solution for multitrackrecording or interfacing a Cadac digital system with 3rd partyhardware and software, such as plug-in hosts and DAW systems.Madi connectivity is provided on BNC and optical ports, and ateither 48kHz or 96kHz sample rates.

MEGACOMMS Cadac digital hardware connects using MegaCOMMS, a proprietarymulti-channel digital audio transport which features extremely lowlatency, high channel count and robust error-correction.MegaCOMMS is capable of carrying 256 channels of 96kHz audiodown a single coaxial cable, up to 150 metres (450 feet) and willsupport redundant operation. All Cadac stageboxes featureMegaCOMMS interfaces.

PRINCIPAL EUROPEAN DISTRIBUTION:Denmark Starbaek www.starbaek.comFrance Audio2 Sarl www.audio2.frGermany / Benelux The Audio Specialists www.theaudiospecialists.deGreece Telmaco www.telmaco.grItaly Audio Network Technology www.audionetwork.itNorway Rubicon AS www.rubi.noSpain Soinua eta argia www.soinua.comSwitzerland Studio Equipment www.studioequipment.ch

CALREC AUDIO

Broadcasters are increasingly demanding moreversatility and integration from their audioequipment. In the current fast paced,technologically progressive era, TV companieswant to ensure that their systems can produceprogrammes efficiently and to the requiredspecifications. For their audio systems to beable to achieve this, greater consideration hasto be given to their networks as a whole andhow efficiently they can be controlled. Calrechas designed its range of consoles to meet thesedemands.

AHEAD OF THE PACKThroughout Calrecs history, its 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 microphone inthe 1970s, anticipating the growth ofmultichannel broadcast audio. Calrec producedthe worlds first digitally controlled assignablebroadcast console in the early 1980s, predictingthe separation of control surfaces fromnetworked processing hardware. In 2006 Calreclaunched Bluefin, the worlds first consoleprocessing engine based on FPGA (FieldProgrammable Gate Array) technology,enabling broadcast consoles to work efficientlywith true discrete-channel 5.1 surround for thefirst time.

Bluefin2 and Hydra2 continue thistradition. Bluefin2 provides elegant processingfor 5.1 production with no resource-sharing,and Hydra2 enables broadcasters to buildpowerful networks and multi-studio solutions

which encourage the use of third party controlprotocols.

THE NEXT GENERATIONThe Apollo, Artemis and new Callisto consolesall leverage the increased power of modernFPGA technology, provide more digital audio

channels for 5.1 surround production, andmore user-friendly control surfaces to deal withthem. These control surfaces are flexible toaccommodate operators needs - and in the caseof Callisto, the intuitive and straightforwarduser interface simplifies tasks and speeds upworkflow. This enhanced flexibility and control


As broadcast specialists for more than 35 years, Calrec is exclusively dedicated to excellence in audiomixing for on-air and live production. This understanding has helped Calrec develop a range ofconsoles relied on by the worlds most successful broadcasters.

Putting Sound In The Picture

CALLISTOCallisto is designed for broadcastprofessionals who need to produce creativeand engrossing broadcast audio easily, but maynot require the full resources of CalrecsApollo and Artemis audio consoles.

Calrec kept the Callisto user interfacesimple and straightforward to ensure thatCallistos highly intuitive user interface wouldbe suitable for a broad range of operator levels.Users control the console via a 17-inchmultitouch screen inspired by familiar tablettechnology, with a straightforward interfacethat uses established finger gestures tonavigate the system. The crisp, high-resolution display provides elegantcontrols and clear presentation ofinformation.

Callisto simplifies evencomplex workflow tasks,such as creatingmix-minus feeds,with commonprocedures just one tap away,while each channel strip has only themost essential mechanical controls.

Callisto uses Calrecs award-winningBluefin2 technology at its core, and the same

integral Hydra2 router technology as theApollo and Artemis consoles. Bluefin2 andHydra2 technologies are in use 24 hours a dayat hundreds of facilities across the globe, andare still the most advanced audio processingtechnologies available.

Callisto has a pool of 180 channelprocessing paths, which can be assigned asmono, stereo, or 5.1 channels. As with allCalrec consoles, there is no resource-sharingacross the DSP, so all facilities are available onall channels at all times. Callisto has eightgroups, four mains (all of which can be mono,stereo, or 5.1), 16 auxes, and 32 tracks.


CALREC AUDIO

allows consoles with relatively few physicalcontrols to drive a much greater number ofchannels, busses and outputs.

SOLID YET FLEXIBLE Despite the shift towards networked audiosolutions, some things never change. Calrecconsoles have an excellent reputation forreliability and on-air stability. Unlike manyother consoles which claim redundant features,Calrec provides on-line redundant hardware forall critical systems as standard. DSP, router,processing and PSU cards are all hot pluggable

and supplied with hot spares as standard, andare all contained within a single, lightweight,space saving, energy conscious 8U or 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 created inanother location which feeds audio directlyinto the same busses output as the main mixwithout ever leaving the system. This givesbroadcasters increased flexibility without theneed for additional hardware.

INFORMATION

Calrec AudioNutclough Mill, Hebden Bridge, HX7 8EZZ

T: +44 1422 842159F: +44 1422 842244E: [email protected]: www.calrec.com

HYDRA2 - A POWERFUL NETWORK FOR TOMORROWS PRODUCTION NEEDS

Hydra2 links the Apollo, Artemis and Callistoconsoles to their integral crosspoint routers,and on to more complex networks if required.Offering up to 512 bi-directional channels ofI/O per copper or fibre connection, Hydra2offers true one-to-many routing and allowsthe construction of large-scale distributedmixing networks with multiple controlsurfaces and routers/processors.

The Hydra2 control software makesconnecting resources very straightforward.Audio interfaces and consoles may be addedand removed without the need for manualintervention making new resources available toconsole operators instantaneously.

Hydra2 also features Hydra Patchbays,which are virtual I/O within the Hydra2domain allowing console operators to makeconsole outputs available to other users on thenetwork, as well as sources on mixing consoleinputs, and feeds to output ports, to bechanged remotely and without using upphysical I/O or requiring extra cabling.

Hydra Patchbays are a powerful tool forcontrol room and studio resourcemanagement, allowing network administratorsto be able to put control rooms on-air and tomanage the sources available to them.

THE ROUTE TO INTEROPERABILITY- FULLY INTEGRATED THIRD PARTYPROTOCOLS Hydra2 encourages several third partycontrol protocols.

The SW-P-08 protocol allows routercontrol from third party router panels. Itenables remote control over source todestination crosspoint patching. In additionto direct routing of physical inputs tooutputs, it can also route to and from aconsole DSP via Calrecs Hydra Patchbays.

EMBER enables further system controlincluding loading user defined memories,selecting I/O port alias files used by controlsurfaces, editing H2O I/O box and portlabels, viewing the available metadata setsand selecting them for insertion into anyHydra2 SDI embedder output stream andmuting selected audio channels in an SDIembedder output stream.

The Calrec Serial Control Protocoloffers mixer control to 3rd party videoswitchers and automated productioncontroller technology, which allows visibilityinto and control over a number of Calrecconsole settings such as fader position, PFLand cut control for paths on faders, routingto auxes and mains from faders, output levelcontrol for auxes and mains, and LB/RBinput switching for paths on faders.

Interoperability, the concept of databeing shared freely between video and audioequipment, is increasingly seen as central tofuture audio networks. Transport protocolssuch as AVB and Ravenna continue todevelop and mature, and Calrec willcontinue to take an agnostic approach tothese technologies with a view to providinggreater interoperability to its customers.

DHD

DHD SYSTEMS FLEXIBLE ANDMODULAROur philosophy is simple: Make it powerful, buteasy to use. DHD products are a successfulcombination of rock-solid hardware andsophisticated software. All devices are based onthe same hardware platform, and allow you tochoose the matching modules for your specificapplication. Of course, you can easily adapt orextend your DHD systems in the future.

Our products consist of several compactmodules for different tasks: Core modulescontain both audio signal processing and logiccontrol they are the heart of any DHD system.I/O modules are responsible for getting signalsin and out of the system they are available indifferent versions to meet your requirements. Forcontrol, you can choose from several mixerconsoles and single control modules. Thededicated hardware inside all modules uses very little power, there are no PCs and no harddisks inside.

RJ45 MAKING THE NET WORKAll modules of a DHD system are connected toeach other with standard CAT cables. They carryaudio and control signals, as well as PoE (Powerover Ethernet) to power console modules all inone cable. Audio signals are connected viaanalogue or AES inputs, MADI, or the 3G/HDSDI De-embedder. In networked installations,

Core modules transport multi-channel audio (upto 512 audio channels) between each other overfibre optics connected to special DHD GigabitAudio Ports.

If you need Audio-Over-IP connectivity, weprovide the 52/XC Dante IP Audio Interface.This module works as a bridge between anyDante enabled system (hardware or software)and DHD devices (see inset on next page).

There is also an Ethernet connection withTCP/IP available. This is typically used forconfiguration, remote control, and to connectspecial DHD software to the hardware devices.To integrate other systems, you can use GPIOconnections as well as the open DHD ControlProtocol on TCP/IP.

52/SX COMPACT CONSOLE This compact console includes everything youneed for building audio workstations, small tomid-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 a real turn-key system; but there are softwareoptions available to extend its functionality inlarger 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 flatwithin the furniture or put them in at a slight angle on a table. Fader modules can also

be split-mounted.The signal processing modules of

the 52/SX are just 1U high andprovide inputs for microphones,headphones, analogue and digitalsignals. There are GPIO portsavailable, as well as two USBconnectors that work as pro gradeUSB sound cards on your PC.

A broadcast console is not just the mixing desk any longer. In todays studios, it is the main commandcentre not only for audio, but also for many other systems needed to run the show. With DHDsystems, you are in control always.

DHD Broadcast Consoles for You

52/SX. Compact and good value.



DHD

52/RX MODULAR CONSOLEThe modular 52/RX allows you to build consoleswith up to 64 channels. Its fader modules arefour faders wide and are available in differentversions, including some with motor faders.Combine the fader modules of your choice withthe central control module and TFT TouchDisplays and you get a solid hardware base foryour studio. If necessary, you can also integratemodules from the 52/MX system to build specialtalkback or control solutions.

The 52/RX is easy to integrate with otherSeries 52 devices. This works very well, becauseall systems are based on the same hardwareplatform and share the same software. That way,you can configure them within the same Toolbox5 project. The 52/RX control modules areconnected to the core modules with standardCat5 cables and use power over Ethernet fortheir power supply. This makes it easy to use anexisting cabling infrastructure.

52/MX FULLY FLEXIBLE CONSOLEThe 52/MX is the flagship console of the Series52. Its design is fully modular there are manyspecialised module strips available. To build astudio, you choose the matching modules foryour application. No matter if you need a smalltalkback box with a few buttons or a big consolewith lots of faders, buttons, and TFT TouchDisplays as fader over bridge all modules willwork smoothly together. There are manydifferent mounting options available. You can

also mount the 52/MX modules inrack or table top cases, and of courseuse TFT Touch Displays wherenecessary.

However, the real power comeswith the Toolbox configurationsoftware. With this Windowsapplication, you configure yourDHD system exactly the way youwant it. Signal flows, audioprocessing, control functions, GPIOfunctions, TFT views, and manythings more are entirely defined insoftware. The initial set-up is easy,and future changes are often done

with a few mouse clicks.All 52/MX modules are connected with

power over Ethernet on standard Cat5 cabling,enabling you to place them anywhere in yourstudio set-up.

52/DX SMALL FOOTPRINT DESKTOP MIXERThe 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 together ina 1U rack case. This hardware bundle alsoincludes the easy to use set-up softwareDXConfig. The optional DHD products DSPControl Software and Remote Control PCSoftware work with the 52/DX, too.

However, if you want to integrate the 52/DXwith other Series 52 set-ups or useCore and I/O modules from otherDHD product lines, there is anupgrade available. This softwarelicense enables enhanced customconfiguration of the 52/DXhardware with the Toolbox5software used with the 52/MX system.

52/XC AND 52/XD CORE MIXING AND ROUTING MADE EASYThese core modules contain theprocessing power for all Series 52devices. They have a small footprint(1U) and low power consumption.

Still, together with console modules, they provideaudio and control processing for any mixer set-up from a small 52/DX Desktop Mixer up to alarge 32 fader 52/MX console.

However, you can also use them stand-aloneas routing matrix or processing devices. If used asan audio router, the core modules are not onlyable to switch audio signals, but can also fade andeven apply DSP processing like gain, EQ, ordynamics. The integrated control functions allowyou to create complex On-Air switching systemsor talkback applications.

For direct control, combine the 52/XC or52/XD Cores with a great variety of DHDcontrol modules, including fader modules, routercontrol panels, and TFT Touch Displays. Allcontrol modules and TFT Touch Displays usestandard CAT cables for communication withthe cores.

INFORMATION

DHD Deubner Hoffmann Digital GmbHHaferkornstr. 504129 Leipzig, Germany

Phone: +49 341 5897020Fax: +49 341 5897022Email: [email protected]

Please find our international sales contacts at www.dhd-audio.com

52/XC DANTE IP AUDIOINTERFACEThis audio interface connects DHD devicesto digital audio networks powered byAudinates Dante technology. It supportsup to 48 input and 48 output channels.These audio streams can be distributed overstandard IT networks to other Dantecompliant nodes in software (PC and Mac)and hardware, like other DHD Danteinterfaces or third-party hardware.

Dante technology enables monitoring,talkback and connection of remote facilitiesto the studio.

For redundancy, Dante devices providetwo separate network interfaces. These allowyou to easily create error-tolerant set-ups.

52/RX. Solid hardwarewith full features.

52/MX. Fits your workflow.

52/DX. Small footprint.

DiGiCo

SD7 / SD7T / SD7BThe SD7 is top of the range and the first DiGiCo console to capture thepower of Stealth Digital Processing. Its footprint is smaller than otherconsoles in its class, yet it is vastly more powerful. The SD7 has twoengines for full redundancy, as well as dual redundant power supplies. A 2GB optical system allows up to two optical loops, giving 14 racks perloop (a total of 28), each with 56 inputs and 56 outputs. Multiple touchscreens mean that the SD7 can accommodate more than one operator,and the ability to have two expander units attached via CAT5E allowsfor remote connection or simply additional operators.

The theatre and broadcast specific versions of the SD7 give featuresets that provide additions such as Delay on Matrix inputs per node andcomplete integration of Cue Editor for fast editing of VCA (SD7T); andcomplete 5.1 monitoring with a 48 by 6 source to speaker selection,multi-channel folding, user defined stem order, Mix Minus buss oneper channel back stop PFL (over press) and Auto PFL, Audio FollowVideo implementation for up to 32 cameras and Dual Solo busses forPFL and On Air soloing in Mono, Stereo, LCRS, or 5.1 (SD7B).

SD5 / SD5BThe next model in the range, andreplacing the industry standard D5Live, the SD5 also comes withmultiple touch screens, as well asinteractive dynamic metering(IDM) and Hidden Till Lit (HTL)technology, developed and used onthe SD7. It still has a huge inputand buss count, although not quiteas larger as the SD7, and comeswith a single engine and optic loop.

The SD5B includes dual solobusses for PFL and on-air soloingin mono, stereo LCRS and 5.1 and an LR/LCR/LCRS/5.1Master buss.


The use of Super FPGA technology in DiGiCos SD Range of consoles has revolutionised the designprocess of its audio engines. This allows the production of scalable solutions, without the need formassive design changes between products, and enhancements that ripple from product to product,across the entire range.

This approach has produced a collection of mixing tools, from the flagship SD7 to the highlycompact SD11, that can address the needs of just about any application, from live to theatre,broadcast (via the addition of the T and B application specific software sets) and fixed installation, and any size of project you could think of...

SD7T Jesus Christ Superstar SD5 Victory World Church

Olympics 2012

DiGiCo

SD10 / SD10T / SD10B / SD10-24

This is the highest specified single screen console in the SD Range. Itsmetering is integrated into the fader panels, allowing a better line ofsight for critical monitor situations and venues, such as performing artscentres where console locations can be awkward. As with all consoles inthe SD Range, the SD10 is tailored to both Front Of House andmonitor mixing.

The SD10Bs broadcast specific feature set includes innovations suchas multi-channel folding under a single fader, allowing users toconfigure stereo, LCR, 5.1, or up to 11 mono channels under a singlefader strip.

The SD10-24 and SD10-24B are ideal for situations where space isat a premium. Both measure under a metre in width, but still benefitfrom all the advanced features of the standard SD10 and files are fullycompatible between both frame sizes.

SD8 / SD8-24

The SD8 was the first of the SD Range to benefit from Flexi Channels,allowing the creation of stereo channels without eating into the existingchannel count. As with the SD10, the SD8 has the option of fitting anoptic loop, but comes with MADI as standard, providing a cost effective,multi-channel digital interface.

The SD8 has a similar footprint from left to right as the SD7. In fact,the majority of DiGiCo consoles are the same width, which has beenspecifically set to make it easy to reach the faders at the extremes ofeither side without moving from a central position.

The compact SD8-24 package gives you thesame power and functionality, butwith 24 main channel faders and amaster fader.

UB MADIUB MADI allows any computer desktop or laptop to instantly connect toMADI via the most standard connector of all,USB 2.0, letting you playback and record up to48 tracks to any DAW on MAC or PC formats.

SD9 / SD9T / SD9B

Next in the range is the SD9, a powerful replacement for standard 48-channel digital or analogue consoles. Remote pre-amps, a digitalmulticore, and D-Rack digital stage interface via a CAT5E connectioncome as standard, but its sonic performance is identical to the rest of the SD Range. This means the SD9 and particularly the special Rack Pack configuration comes at a price that makes it ideal forapplications where exceptional performance and flexibility are needed on a tight budget.

SD11 / SD11i / SD11BThis compact, 19-inchrackmount or tabletopconsole comes with the samesize touch screens as all otherDiGiCo consoles. Despite itsexceptionally small size, theSD11 has incredible power interms of channel count andprocessing.

The SD11i gives morethan any other console ofthat size: Flexi Channels (afull 32), more dynamic EQ,more FX processing, and theaddition of DiGiTuBes andmulti-channel inputs(previously only available onthe SD7). The broadcastspecific SD11B gives all thisplus the addition of multi-channel folding and sets andcan handle 5.1 surround previously unheard of in aconsole of this size.

INFORMATION

DiGiCo UK Ltd.Unit 10, Silverglade Business ParkLeatherhead Road, ChessingtonSurrey KT9 2QL

T: +44 (0) 1372 845 600F: +44 (0) 1372 845 656W: www.digico.bizE: [email protected]

SD10B dbLux

SD8 FIFA Confederations Cup

SD9 Saxon

SD11 Ed ShEeran

55www.audiomedia.com November 2013 27UB Madi

LAWO


Lawo consoles and routers have gained an international reputation for quality, user-friendliness,flexibility, capacity, and reliability; Lawo stands for customer partnership, efficient service, and fastsupport. Well over 1,500 systems for broadcast, radio on-air, and live applications are installedworldwide in studios, MCRs, OB vans and theatres, also serving dependably at international sportsevents such as world championships and the Summer and Winter Games, as well as big music events.From design to product, hardware and software, layout and design everything is developed andproduced at Lawos headquarters in Rastatt, Germany.

Lawo New Perspectives in Broadcast

MC90 OPTIMUMCONTROL ANDMAXIMUM FLEXIBILITY The mc90 offers a modularcentral control section toposition the most significantmodules where you needthem. In addition, externalcontrol devices can beintegrated smoothly. There are no compromisesregarding flexibility.

MC66 MKII INSPIRED BY YOUR NEEDSThanks to its lightweight construction, low power consumption, andcompact dimensions, the mc66 is ideally suited for OB vans,studios, broadcast, and live/theatre applications. Available fader sizesrange from 24 to 104.

LOUDNESS METERINGLoudness metering isdesigned to help eliminatejumps in audio loudnessbetween different TV/radioprogrammes, or even during asingle programme. Based onthe EBU R128 and ATSCA/85 standards, Lawo hasincorporated loudnessmetering in the mc seriesconsoles. This can becombined at any time with aTrue Peak display, and enablesloudness metering in anyindividual channel inMomentary or Short-termmode, with each main outputfacilitating the integration ofloudness metering over time.For ease of use, LawosLoudness Metering can beoperated using presets for thetwo standards. Furthermore,Loudness Meteringthroughout a completeproduction can bepermanently displayed in theGUI header display.

POWER, FLEXIBILITY, INTUITIVE OPERATION THE MC SERIESWith more than 8000 x 8000 crosspoints and even more in networkedsystems, plus up to 888 DSP channels, the mc series is ready to handleall the requirements for modern OB vans and studios and more.Transferring snapshots from an mc66 MKII to an mc56 or mc90 loading a snapshot from a console to provide a completely different DSPcapacity or fader count underlines the principle of the mc softwarearchitecture: we are absolutely certain that flexibility is one of the majorcontributors to cost efficiency, due to easy and fast adaptation, whateverthe production.

Lawos Dual Star Technology has found its way into mixing consoledesign, which has enabled Lawo to establish a further milestone inreliability and redundancy for mixing consoles and HD cores.

The mc series impresses with its precise signal processing. Changes tothe DSP path can be made without any clicks, and even delay settingscan be made noiselessly during runtime. For modern productions that require 5.1 Surround, mc consoles are the ideal answer. Its theirreliability and experience that has made Lawo the first choice for the2012 sports TV productions in Poland/Ukraine and London. Lawo iscontinuously expanding the toolbox for modern surround productions.The latest advancements are the AMBIT Upmix, providing a high-quality upmix in every surround channel, creating a 100% downmixcompatible, fully-fledged surround sound image. Innovative frontprocessing algorithms, the HD Core DSP redundancy, and very lowlatency make this Upmix tool superior.

These qualities and the number of installations have made the mcseries a standard around the world.


LAWO

INFORMATION

Lawo AG (Headquarters)Am Oberwald 8, 76437 Rastatt, GERMANY

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

SalesT: +49 7222 1002 0E: [email protected]

For international sales contactsplease consult the Lawo website

V__PRO8 The V__pro8 audio/video processor is theperfect bridge builder for broadcastenvironments, thanks to an 8x8 videomatrix with 3G SDI I/Os and a 384x384audio matrix using MADI or RAVENNAfor audio connection plus comprehensivevideo processing.

Highlights: colour correction per videochannel, up to two channels of high qualityformat conversion, video and audio delayfor any channel, framestore per input, 2xdownmix per output, Quadsplit andThumbnail preview of all video outputs, and Waveform and Vectorscope for theselected video.

The V_pro8 is operated by using asimple web browser on a modern touchGUI based on HTML5.

CRYSTAL WELCOME TODIGITAL BROADCASTINGIntroduced in late 2008, crystalhas developed to become aproven standard console inmany broadcast andproduction studios around theworld. Breaking new groundwith a highly ergonomic andrevolutionary design, and with aprice range that should allow everyone to

invest in professional equipment,crystal is characterised by its easy to operatesurface guaranteeing a short training curveand the best operational security.

THE MC56 PERFORMANCE, PURE & SIMPLEThis console brings you the same processingpower that already distinguishes the mc66and mc90. What makes the new mc56different to its siblings is its compact layout.In a width of only 1.2 metres, it provides 32faders (64 faders fit in an OB van).

MXGUIThe mc series is equipped with an mxGUI providing many useful features:

Offline preparation: from console layout to matrix control, partial snapshots and preamplifier settings, through to the creation of complete snapshot and production data.

Online remote: maintenance, service, or configuration. Access to the console via a laptop. Up to 16 mxGUI clients can simultaneously sign on to the control system for secondary users and service technicians to support the audioengineer, even during 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 ina 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, themxGUI package enables control from anyPC of all functions, offline preparation, oreven online operation. Nova73 HD is basedon Lawos STAR technology with aninternal dual star architecture that supportscomprehensive redundancy options foralmost 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 on airand production console, combines provencutting edge technology and an eye-catchingnew design. Up to 60 motor faders may behoused in an impressively shallow chassis thatcan be placed on your desk or fixed into thefurniture. The sapphire comes withnetworking capabilities unparalleled whencreating radio or production studioenvironments for example using theNova29, Lawos small format router thatcan be seamlessly integrated withall radio products. Theadvantage: while

technicians will be assured by maximumflexibility and sophisticated functionality,broadcasters will be continually impressed bythe modern control surface, which makesworking with the new sapphire fun. Thesapphire delivers top quality, intuitive userguidance and neat solutions, all of whichguarantee even greater working efficiency.

MANDOZZI ELETTRONICA SA

Intelligent Mixer and Router Systems

PROFESSIONAL PRODUCTS FOR AUDIO BROADCASTINGDue to the close contacts with the customers over the last thirty years,Mandozzis broadcasting products have matured to offer comfortablefeatures that satisfy all technical and operational requirements. Mandozzi Elettronica is the ideal partner for realizing custom designed audio products

THE INTELLIGENT AUDIO ROUTERS IDEAMandozzis routers are best suited for switching centres, or for servingseveral mixers in a radio house. They are known for the extremely highreliability that is reached, among other reasons, by redundant vitalmodules, and for their comfortable control surfaces. The two redundanthalves of the router can be installed in separate rooms for immunityagainst incidents. The IDEA routers offer a great variety of interfacemodules including 2 Mbps and audio over IP modules with integratedaudio codecs. All routers feature comfortable scheduling functions andcontain DSP power for performing any signal processing up to completemixer functions. The routers of several radio stations can beinterconnected to control each other and can be monitored via SNMPand controlled by other systems via IP, serial interfaces, GPIO, etc.IDEA routers are the ideal heart of complex radio house installations

THE DIGITAL MIXERS GMIX

Mandozzi designed the GMIX system to realise radio stations with amaximum of interoperability between the mixers. The mixer consoles aremere remote control elements of the DSP and switching circuits that areinstalled in the central router. The router manages all audio and GPIOsignals of the station, i.e. the ones of the studios and mixer control rooms aswell as the external signals. The audio and GPIO interface modules of thestudio and mixer room signals are either built into concentrators (I/Oboxes) that are installed locally, or - if the distances are short - directly intothe router. The concentrators are connected to the router via redundantoptical fibres or CAT5 cables.

The centralised architecture of the GMIX system offers a lot of veryimportant advantages. Every mixer has access to any signal of the radiohouse. This allows a mixer to manage several studios that are easily selected by loading into the mixer pre-recorded snapshots. The intercombetween the studios is integrated, so there is no need for a third-partyintercom system.


The engineers working for the Swiss enterprise Mandozzi Elettronica SA near Lugano are inspired bythe beautiful landscape to design intelligent solutions that satisfy all operational and technicalrequirements of the users.

GMIX mixer at Swedish Radio Lule

Sixteen IP codecs installedinto an IDEA router

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MANDOZZI ELETTRONICA SA

Every mixer console can take over the job of any other one by a few keystrokes using the snapshot functions. A mixer can also send theconfiguration of a fader channel to any other mixer. The sound engineercan remotely control from his own mixer a fader channel of a DJ mixer. Themixers remotely control Mandozzis audio over IP codecs as well as third-party codecs and telephone hybrids that are installed in the central routerroom. GMIX mixers perform audio measurements according to R128.GMIX mixers are ideally suited for large broadcast installations withinteracting mixers.

THE DIGITAL MIXERS SERIXThe SERIX mixers were developed to satisfy the customers looking forstand alone mixers that work autonomously and do not necessarilydepend on a central router. These mixers allow the customers to start byinstalling a few single mixers and to expand the station step by step lateron. But SERIX mixers are also well suited to realise complex radio houseinstallations with a central router. In this case, the SERIX mixersremotely control the router in order to select the input and output lines,for intercom connections between the mixers, as well as to remotelycontrol the microphone pre-amplifiers, the mute and the GPIO of theother mixers, etc. Mandozzis audio over IP codecs can also be controlledby the SERIX mixers.

The SERIX mixer surface is composed of modules of four motorisedfaders and of a central module for configuration, communication andmonitoring, plus a touch screen to display the parameters, timers, etc.,and to set up the mixer. The modules are either supplied as individualmixer units that can be built into the console furniture at any placedesired by the customer, or assembled into a metal frame to obtain atable top mixer.

The SERIX consoles offer an easy and comfortable operation due tothe touch screen. The functions of the control keys and knobs are freelyconfigurable by the user. SERIX also offers the processing of 5.1 signalsand audio measurements according to R128.SERIX mixers are best suited for small to large broadcast installations, forDJ and assisted operation.

THE NEW SMALL DIGITAL MIXERThe small digital mixer is so new that it does not even have its ownname yet. Mandozzis engineers are working hard on it, and it will beready by mid 2014. We want it to be a big surprise for all broadcasters,therefore we do not yet show any pictures. The mixer will consist of atable top console with the fader and control modules, and a separatesmall I/O box. As all Mandozzi mixers, the new product can beintegrated into Mandozzis audio router concept.The new mixer is best suited for customers with a lower budget, but it offers many features of the GMIX or SERIX mixers.

SERIX mixer at Hessischer Rundfunk Frankfurt a.M

Mandozzis new smalldigital mixer

INFORMATION

Mandozzi Elettronica SA via Volta 2CH - 6946 Ponte CapriascaSwitzerland

T: +41 91 935 78 00F: +41 91 935 78 10E: [email protected]

SOME MILESTONES OF MANDOZZI ELETTRONICA SAMandozzi Elettronica SA was founded 1965. Due to its closecontacts with the customers, the enterprise realised the followingmilestones during its evolution:

The first analogue audio router was installed in 1982 in Rome(Italy), and the first digital routers in 1994, also for RAI in Italy. In2001 Mandozzi supplied the first radio station with five interlinkedrouters and 11 GMIX mixers to the German ORB. The first 2 Mbpsaudio codecs COMBIMUX were supplied to German Telekom in1999. Since 2002 Mandozzi has been supplying to Swedish Radio 25digital radio stations that are composed of a redundant central matrixand up to 12 GMIX mixers plus up to 6 SERIX mixers. In 2007 theSwiss Broadcasting Corporation ordered a radio house with aredundant central router and 33 SERIX mixers for Lausanne.Mandozzi developed in 2009 the Audio over IP codecs UMAC thatcan be integrated into and controlled by Mandozzis routers andmixers and have the unique feature of self-configuring. Since 2009,Mandozzi has successfully promoted a software tool to generate RDStexts for FM transmission and PAD contents for DAB. In 2010,Mandozzi supplied to Austrian Telecom a redundant router with 240integrated redundant analogue line equalisers. In the year 2011 wereceived the order from Hessischer Rundfunk F

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Consoles 2014