1480 461555 E-mail: a.brown@audiomedia.com

Angela Brown on +44 (0)1480 461555 

E-mail: a.brown@audiomedia.com 

AUDIO 

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Solid State Logic 

S O U N D | | V I S I O N 

20 EUPHONIX 

+ + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EU- 

EuCon: Connect and Control 

EuCon, Euphonix’s proprietary high-speed 

Ethernet control protocol not only provides 

deep integration with software applications, 

but also enables the control surface to switch 

between multiple workstations that directly 

suppor the protocol. EuCon recognises each 

software application and inte ligently switches 

control to match your favourite applications 

including Logic, Soundtrack Pro, Final Cut, 

Cubase, Digital Performer, Pyramix, Sonar, 

Maestro, MIO Console, and Nuendo, as 

we l as applications such as Pro Tools that 

support HUI. EuCon for the Artist Series 

works on Mac OSX; EuCon for the Pro 

Series works with Mac OSX and Windows. 

EuCon can manage multiple networked 

workstations and works with any application, 

mapping keystroke commands to the 

displays and dedicated soft keys of 

Euphonix control surfaces. 

Music and Audio Post-Production 

Euphonix provides audio production solutions 

at every level – from top professional studios 

to personal home studios. Euphonix‘s 

products – the System 5, S5 Fusion, MC Pro, 

System 5-MC, and Artist Series – are perfect 

for every level of audio production. 

A l Euphonix control surfaces are 

ergonomica ly designed, giving users 

simplifi ed control of a l aspects of the project. 

Euphonix improves the quality of any project, 

enhances the sound, speeds up the process, 

and provides users with tools to a low 

creativity to reign. 

System 5 

The fl agship digital audio mixing system 

Euphonix System 5 features high quality 

EQ and compression on every channel, 

su round capability, hundreds of DSP 

channels, and high resolution metering 

using on-screen displays. 

System 5 is easy to set up and use 

with a highly intuitive control surface that 

is simple, yet powerful enough, to ge the 

job done. System 5 includes a l the 

professional su round monitoring and 

machine control functions needed for even 

the most complex project. 

Its modular design can be tailored to any 

application, from commercial and project 

music a l the way through large systems 

for live venue music recording and mixing. 

The complete mixing solution includes 

control surface, I/O, DSP SuperCore, router, 

monitoring, fu l automation, and machine 

control. With the EuCon Hybrid option, 

to control its own DSP channels 

as channels from multiple external DAWs 

simultaneously. S5 Fusion boasts pristine 

sound quality, powerful automation features, 

and extensive surround sound mixing 

capability that easily satisfy the rigorous 

demands of music production. 

MC Pro 

Thanks to EuCon, the MC Pro is truly the 

fi rst universal workstation controller; its 

surface instantly changes to match the 

cu rent active application. It has faders, 

knobs, jog wheel, fu l-sized keyboard, 

touch-screen, and a professional monitoring 

section. It works equa ly we l with audio and 

video applications. The 56 programmable 

LCD SmartSwitches send out keyboard 

commands and can be tailored to your way 

of working – no more ‘keyboard shortcuts’ 

that are impossible to remember. 

System 5-MC 

Take an MC Pro and add the powerful 

les to make a 

Euphonix consoles and control surfaces provide 

unriva led integration with the industry’s leading audio 

and video applications. 

Euphonix: 

Reach a New Level of 

Creativity 

+ + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + classic con- 

It’s a Classic 

T 

he artistic Audio is one of the few areas 

of technology where older designs 

are not only revered by discerning 

people, but actively sought out and traded for 

high prices on the second-hand market. 

No one is going to lust over a 1970’s TV 

camera and, while classic cars are admired, 

not many of us would wan to drive an Austin 

Riley on their daily commute. Technology 

moves on and improves – or does it? 

The first problem you come across when 

trying to pu together an article on classic 

consoles is how to define exactly what a 

classic is. I could have spent many hours on 

research and pondered over what should 

or should not be considered a classic, 

but instead I chose to sidestep the issue 

completely and ask someone else. 

Mark Thompson runs Funky Junk in 

London (www.proaudioeurope.com), 

supplier of classic and not so classic hi-end 

gear to the famous and upcoming alike. 

O fering consultancy, a repair and restoration 

workshop, a retail shop, and sophisticated 

demonstration facilities with an acoustica ly 

accurate control room, Funky Junk has 

become Europe’s premier focus for those 

interested in classic consoles – so he should 

be in a decent position to define exactly 

what a ‘classic console’ is. 

“Genera ly, if you were to describe 

a console as ‘classic’ it would be built 

before 1980 using discrete components 

(i.e. no integrated circuits) and it would 

be made in a kind of sub-modular way,” 

says Thompson. “The classic EMI, Helios, 

and Neve consoles of the 60s and 70s 

were made so tha the EQ was a separate 

module and the routing was a separate 

module and so on – and the same applies 

to the classic German ones such as the 

Neumann and Telefunkens. In other words, 

the individual modules including the 

mic preamps and the line amps were a l 

‘casse tes’ that plugged into a mainframe. 

Of course, it is a slightly semantic problem 

as certain SSLs, for example, are often 

described as ‘classic’ – but if you take the 

example of cars, an old Ro ls or Ferrari 

might be described as a classic, but the 

same epithet might also be applied to a 

more modern car – bu the word then has a 

different connotation. It might be a classic 

of design or a modern classic – bu that’s 

very different from a true classic car!” 

American humorist Carol burnet 

described comedy as ‘Tragedy plus time’ 

so might ‘classic’ just actua ly mean 

‘certain design criteria plus time?’ 

Not according to Thompson. “The state 

of the analog(ue) audio art was probably 

reached in the 1970s and you have to bear 

in mind tha this was on the end of a 60 

to 70 year development period – so it’s 

not surprising tha the state of the digital 

art has not yet been reached! I’m of the 

opinion that all the developments since 

the 1980s have been solely with the aim of 

reducing manufacturing costs and genera ly 

improving the ease of manufacture, rather 

than improving audio quality – with 

one or two minor exceptions. 

These are usually to do with 

automated processes – and I don’t 

just mean console automation.” 

Rupert Neve 

In about 1965, a serious young man turned 

up at Penny & Giles, which was then a 

military equipment manufacturing company, 

with a box full of bits and said ‘Can you 

make me one of these?’ They were the 

parts for a plastic conductive fader and 

the young man was Rupert Neve (www. 

rupertneve.com). These components are 

now part of a multi million-dollar business 

and no serious console would sport 

anything else. Similarly, many of Neve’s 

audio designs have never been superseded 

to this day, and Rupert Neve’s own 

company is sti l making modules brimming 

with circuits which first saw the light of day 

in the 1960s – and which are still regarded 

as offering the ultimate sound quality. Of the 

classic Neves, the 8078 is considered by 

most to sit a the zenith of Neve’s mastery 

of the audio signal path and arguably at the 

zenith of desk design. Used on countless 

records in the 1970s, it’s a hand wired 

40-channel design that would be tota ly 

uneconomic to manufacture today. 

Only a handful remain in lucky studios 

such as Konk in London’s To tenham Lane 

and the Vi lage Recorder in Los Angeles. 

The console’s 31105 four-band combination 

pre-amplifiers/EQ are much sought after 

and often found racked separately – it’s a 

trend noted by Thompson. “I’ve recently 

been hunting out a vintage API for a ‘name’ 

band and have recently supplied classics 

to a number of other people. While the 

consoles in the ‘70s were rather large, 

these days, people with Pro Tools are 

happy with the limitations of routing and 

other facilities common on classics but 

want desks with smaller footprints. We’re 

now cu ting down classic Neves and even 

‘modern classics’ like SSLs to smaller 

channel counts.” Neve’s 8048 console was 

the last of the 80 series ‘hand wired’ desks 

and features the Neve 1081 EQ module – 

again much extracted, racked, and copied 

these days (www.ams-neve.com). 

Stephen Benne t asks what 

makes a classic console 

‘classic’, and to wha they owe 

their lasting appeal. 

+ + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROT 

Technology Snapshot: 

Digital Network & Transmission Protocols 

P 

rotocols – don’t you love ‘em? 

Just as you’ve got used to one, 

along comes another younger, 

be ter, faster, and sexier standard to knock 

the socket on the back of your desk into 

touch. With the increased popularity of 

digital consoles in the live and broadcast 

worlds, faster and more capable interfacing 

has proliferated. However, it’s common for 

many manufacturers to have different ideas 

of what constitutes the perfect connection 

for their digital audio gear. 

Protocol Genealogy 

The great granddaddy of connection 

protocols was, of course, MIDI (Musical 

Instrument Digital Interface). It’s hard to 

imagine in these days of digital cooperation 

what a revelation the ability to connect and 

control the equipment from many di ferent 

manufacturers was. It’s proved amazingly 

resilient to the developments in audio 

technology, and is sti l used to control 

DAWs and other software and hardware 

directly from control surfaces. Of course, 

MIDI is an 8-bit data-only protocol, so 

when you wan to distribute digital audio 

along with your data, things need to be 

speeded up a bit. S/PDIF (Sony/Philips 

Digital Interconnect Format) and the AES/ 

EBU (Audio Engineering Society/European 

Broadcasting Union) protocols were 

created to distribute stereo audio data at 

varying sample and bit rates, while Alesis’s 

ADAT connection allows for the transfer of 

eigh tracks at 48kHz down a single fi bre 

optic cable. 

A l are we l 

established 

– bu today’s 

multi-channel, high data rate world requires 

new improved protocols to ge the audio 

from A to B via C, and possibly D. 

The advantages of using digital 

transmission for multi-channel audio 

over the long distances used in live and 

broadcast applications are tha the signals 

are immune to radio frequency and mainsborne 

interference because the systems 

don’t need to use thick, expensive, audio 

grade multi-core cables – usua ly just a 

simple CAT 5 cable wi l do. Lower cost 

is also a factor, with some companies 

implementing the less expensive solutions 

(or their own propriety protocols) in their 

cheaper consoles and other hardware. 

Most of these technologies are based 

on bog-standard Ethernet hardware and 

audio transmission, and can often work 

together with existing distributed networks. 

However, the need for asynchronous multichannel 

data transfer requires software and 

hardware that needs to be able to cope with 

these transmissions without drop-outs and 

at useable low latencies. 

Physica ly, most of the available systems 

are similar, but di fer in their software 

implementations, with some using standard 

networking protocols, some proprietary, 

and some ‘standard’ transmission 

protocols. They are usua ly available 

directly via consoles, on computer-based 

cards or as stand-alone rack mount 

hardware. Data is sent via standard CAT 5 

Ethernet cables or fi bre optics. On either 

end of the system lurks a mixing console 

and/or stage or distribution boxes, or 

hardware interfaces for 

direct connection of 

line, microphone, and 

digital signals. 

MADI 

MADI (Multichannel 

Audio 

Digital Interface) 

is an obvious 

successor to the 

basic stereo interfaces described above. 

The AES document AES10-2003 describes 

the protocol that has features in common 

with AES/EBU, and is capable of coping 

with up to 64 channels of 24-bit audio at 

sample rates of up to 96kHz over various 

cable types and over long distances. 

Use of optical fi bres makes transmission 

of large numbers of channels a doddle, and 

several companies feature MADI in their 

consoles including Studer, AMS, 

Neve, Fairlight, and Lawo. 

REAC 

Roland’s S-4000 series of digital 

snakes use the REAC (Roland Ethernet 

Audio Communication) protocol (www. 

rolandsystemsgroup.net/en/0111d.htm). 

The REAC specifi cation provides a high 

quality, redundant digital audio transfer 

system that can be easily insta led or 

integrated for any audio snake application. 

REAC is a ‘plug and play’ system that is 

easy to confi gure and requires no complex 

setup via computer operation. Running 

over Ethernet, REAC has extremely low 

latency and is capable of transfe ring up to 

40 channels of 24-bit linear audio at 96kHz 

while generating a latency of only 0.375ms. 

CobraNet 

Ci rus Logic’s CobraNet (www. 

cobranet.info) was the fi rst successful 

implementation of multi-channel audio 

transmission over Ethernet. Sixty four 

channels of uncompressed audio can 

be transmi ted over a single CAT 5 

cable, and Cobranet is particularly useful 

in networked or distributed systems. 

However latency in CobraNet is relatively 

high (1.33 to 5.33ms) which may make 

it unsuitable in live situations. CobraNet 

is a licensed technology and OEM 

implementations are available for use in 

third-party products such as Yamaha’s 

MY-16 compatible digital consoles, 

D&R broadcast digital consoles, and 

SoundCraft’s Vi Series. 

Ge ting sound from one place to another is a lot more complicated than it sounds. Luckily, 

quite a few clever people have done the hard work for us, and there are now a good choice 

of systems and protocols for the digital journey. Stephen Benne t picks ou the gems… 

8 PROTOCOLS 

consoles 2010 

14 CALREC AUDIO THE INTERNATIONAL CONSOLE BUYER’S GUIDE 15 

+ + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AU- 

In 2006 Calrec’s Bluefin High-Density 

Signal Processing changed the way 

broadcasters regarded DSP. A truly 

revolutionary technology, it provided 

vastly superior levels of signal 

processing in a fraction of the space 

of conventional systems. 

Bluefin was the world’s first 

implementation of Field Programmable 

Gate Array (FPGA) technology for total 

DSP processing, providing enough 

processing on one DSP card to power 

an entire mixing console running 

su round-sound productions. 

Bluefin2 is the next generation of 

Calrec’s FPGA technology, and has 

been designed for su round operation 

at both 48kHz and 96kHz from the 

outset. It gives the Apollo console a 

staggering 1020 channel processing 

paths, and the Artemis console up to 

640. It provides up to 16 Main and up 

to 48 Group outputs (from a pool of 128 

resources), up to 96 track busses (64 

on the Artemis), up to 48 Aux busses 

Hydra2 links the Apo lo and Artemis 

consoles to their 8192² routers, 

and on to more complex networks 

if required. O fering up to 512 bidirectional 

channels of I/O per copper 

or fibre connection, Hydra2 o fers true 

‘one-to-many’ routing and a lows the 

require closing the system down to reboot, 

Calrec provides on-line redundant hardware 

for ALL critical systems as standard. 

Takeover is automatic and seamless, and all 

these elements are hot-pluggable for easy 

replacement. DSP, router, router expansion, 

processing, and PSU cards all have spares 

as standard, and are all contained within a 

solitary 8U rack. With this rack, Calrec is also 

helping to reduce weight, space, and power 

consumption for its customers. 

Unusua ly, multiple control surfaces can 

also be connected to the same rack to 

allow multiple operators access to the same 

processing resources. It is also possible 

to have a separate submix created in a 

separate location which feeds audio directly 

into the same buss output as the main mix 

without ever leaving the same system. 

This gives broadcasters increased fl exibility 

withou the need for additional hardware. 

Using these innovative new technologies, 

Calrec consoles provide unparalleled 

processing power and a signifi cantly 

smaller physical footprin than any other 

product in the broadcast audio market. 

This technology’s fl exible architecture means 

tha the control surface can be updated to 

display anything Calrec’s customers require. 

The DSP architecture is similarly designed 

to upscale to handle any possible changes 

in multi-channel audio broadcast standards, 

for example 7.1 surround. 

Today, broadcasters need more and 

more digital audio channels at ever-higher 

resolutions. They need more and more 

processing power to handle the increase, 

and more assignable, more ergonomic 

control surfaces to deal with the increased 

workload that HD broadcasting demands. 

Natura ly, Calrec already has the answer 

to all of these concerns. 

+ + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + 

Forever changing the sound industry, 

plug-ins allow ICON consoles to remain 

untethered to a single equaliser or 

dynamics type. The sheer horsepower 

of Pro Tools|HD® and available plug-in 

selection have opened the door to 

endless creative possibilities. 

3. Extend Life Expectancy 

The Pro Tools session format lives on, 

a lowing mixes to be recalled from as far 

back as the mid 90s. 

4. Core Creative Cu riculum 

Based on its position as the industry 

standard fo recording, editing, and 

interchange, the educational world has made 

Pro Tools an integral part of its core creative 

curriculum. Command|8®, C|24, 

and/or ICON consoles with Pro Tools 

not only excite students about learning 

how to record, edit, and mix, but lead them 

to more fi nancially rewarding real-world 

opportunities after school. 

5. Customise Your Mixing World 

Pro Tools has evolved into an extremely 

powerful mixing solution that has ‘virtually’ 

defi ned the idea of customisation. Appealing 

to the heart and soul of the mixer, the tactile 

ICON surface adds to that by allowing you to 

slide any channel wherever you want it, layout 

any group o faders in any order, and custom 

map any group of knobs and faders to layout 

a plug-in. Maps created on ICON can also be 

exported for transportation and sharing. 

6. Sound Quality 

Even with all its fl exibility and functionality, 

Pro Tools|HD preserves the highest order 

of sonic integrity. Delivering pristine clarity, 

quality, and fi delity, Pro Tools|HD provides 

a 48-bit mixing architecture, high-resolution 

24-bit/192 kHz audio interfaces, and nearly 

300dB of dynamic range that make clipping 

and distorting the internal summing bus 

nearly impossible. 

7. Speed and Control Through Automation 

Pro Tools with ICON gives you the speed 

you need with moving faders, touch-sensitive 

knobs (and encoders), and automation 

of nearly everything. Choosing to tie your 

automation to the audio regions offers you 

the perfect system for dealing with big song 

or movie changes. Incorporating time-tested 

Big (Six Figure) Mixing console features like 

Auto-Join, Join, Capture, Snapshots, Punch 

Capture, Preview, Suspend Preview, Punch 

Preview, and Touch-Latch a lows you to work 

without a mouse or even a Pro Tools screen. 

It’s the perfect mix of traditional technology 

and automation innovation. 

8. Ultimate Recall 

Everything can be recalled in a ma ter of 

seconds, from settings and automation 

moves to alternate takes and multiple 

versions of every mix. And the best part is, 

you can take it all with you wherever you 

want to mix, send it over the Internet to other 

people, and have them return it back to you 

mixed even further. It’s a game-changer 

that buys back a signifi cant portion of your 

creative life by letting computers do what 

they do best – remember huge, detailed 

pieces of data with unpara leled exactness. 

9. Work Lean and Green 

Yesterday’s console is never powered down. 

It just goes on consuming a tremendous 

amount of power, which, even in a passive 

state, requires a copious amount of cooling. 

ICON and Pro Tools, on the other hand, 

are extremely energy effi cient. 

10. Pro Tools + ICON = Integrated Console 

ICON gives you the deciding advantage over 

any other console. With an editor/recorder/ 

composing/video playback tool that is 

completely integrated with touch-sensitive, 

confi gurable, and customisable surface, 

ICON lets you do things other non-integrated 

consoles just won’t let you do. The bottom 

line is, today’s client is more tech-sa vy and 

cost-conscious than ever before, so you need 

the kind of workfl ow that helps customers get 

the most out of their ‘paid studio experience’. 

Avid Digidesign ICON integrated console system 

and VENUE live sound environment provide the 

most creative, fl exible, and comprehensive set 

of tools for the music, post, broadcast, and live 

sound industries. 

Consoles For Studio 

& Live Sound 

14 AVID 

24 LAWO 

+ + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LA 

Power, Flexibility, Intuitive Operation, 

and Modern Design – The mc2 Series 

With more than 8000 by 8000 crosspoints 

and even more in networked systems, 

the mc² series is prepared to handle all 

requirements for OB vans and studios. 

Transfe ring snapshots from an mc²66 to 

a mc²56, loading a snapshot from a console 

imported providing a completely di ferent 

DSP capacity or fader count, underlines the 

principle of the mc² software architecture. 

We understand that fl exibility is one of the 

major contributors to cost savings, due 

to easy and fast adaptation, whatever 

the production. 

The Lawo-developed ‘Dual Star 

Technology’ has found its way into mixing 

console design. With this technology, Lawo 

has established a further milestone in 

reliability and redundancy for mixing consoles 

and HD cores. The mc² series impresses with 

its precise signal processing. Changes to 

the DSP path are possible without any clicks, 

and even delay se tings can be 

made noiselessly during runtime. 

A completely new decentralised control 

operation function – Iso Bay Access – 

gives you maximum control, even during 

two-man operation. 

Inte ligent use of colour and style, and the 

open design of a l the audio modules, gives 

the user a fantastic overview, even in critical 

live situations. The ‘assign-at-destination’ 

concept inspires with its particularly short 

learning curve, and mc² operation is 

virtua ly self-explanatory. With modern LED 

technology to colour code fader modules and 

channel strips, even with the maximum 200 

faders, you’ l never lose control. 

For modern productions that require 5.1, 

the mc² console is the ideal answer. 

Up to eight channels (7.1) can be contro led 

with one fader, which couples all channel 

parameters and eight-segment metering. 

Thanks to Lawo’s hyper-panning, a su round 

group can be rotated through 360°, and the 

Reveal function opens up a su round or VCA 

group over dedicated faders, enabling direct 

access to a l the individual channel parameter 

se tings. Further key points are: Dynamic 

Automation with TC-Cut, Audio-Fo low-Video, 

GPC with Camera Mic. 

Thanks to comprehensive plug-in 

integration with the Lawo Plug-in Server, it is 

now possible to use the live mixing facilities 

of the mc² series, while easily accessing the 

widest range of outboard FX. This innovation 

opens up completely new possibilities in 

audio production, o fering undreamed-of 

fl exibility for live and studio sessions. 

mc²90 – 

Optimum Control and Maximum Flexibility 

The mc²90 o fers a modular central control 

section to position the most signifi cant 

modules there where you need them. 

In addition, external control devices can 

be integrated smoothly. No compromises 

regarding fl exibility. 

mc²66 – Inspired by your Needs 

Due to its lightweight construction, low 

power consumption, and compact 

dimensions, the mc²66 is idea ly suited 

for OB vans, studios, broadcast, and live/ 

theatre applications. Sizes from 24 to 104 

faders are available. With remote fader 

bays, the desk can easily be split into two 

parts for effi cient use and transportation. 

Lawo specialises in the manufacture of 

digital mixing consoles and routing systems 

fo radio and TV broadcasters, and for 

the live domain. High quality standards 

and innovative technology are supported 

by 40 years of experience in the fi eld of 

professional audio technology. 

Lawo 

– Networking Audio Systems 

Lawo develops and builds digital audio 

mixing consoles fo radio, broadcast, 

production, and live applications, 

together with the necessary software. 

Lawo also builds matrix systems and 

audio networks, carries out project 

engineering, and acts as main contractor 

fo radio OB vans. 

Throughout its history, the company 

has always kept learning and looking 

ahead, making it a pioneer in digitising 

radio and TV. After the first analogue 

consoles, Lawo developed the hybrid 

PTR, analogue signal processing with 

digital control. Milestones of the ‘90s 

were the development of the fu ly 

digital mc series, the takeover and relaunch 

of the diamond console, and 

the presentation of the mc² series. The 

latest developed products are the mc² 

consoles of the third generation, idea ly 

suited for broadcast and production 

studios, OB vans, and the theatre/live 

domain. Over the years, Lawo has also 

developed a range of routing systems for 

applications of almost any size as we l as 

solutions for networked systems. 



Unusually, multiple control surfaces can 









THE INTERNATIONAL CONSOLE BUYER’S GUIDE 





Natura ly, Calrec already has the answer 

to a l of these concerns. 



Preview, and Touch-Latch allows you to work 

14 AVID 

24 LAWO 

oadcast, and live/ 


faders are available. With remote fader 

bays, the desk can easily be split into two 

parts for effi cient use and transportation. 

t any size as we l as 

solutions for networked systems. 

, even in critical 

live situations. The ‘assign-at-destination’ 

concept inspires with its particularly short 

learning curve, and mc² operation is 

virtua ly self-explanatory. With modern LED 

technology to colour code fader modules and 

channel strips, even with the maximum 200 

faders, you’ l never lose control. 

For modern productions that require 5.1, 


GPC with Camera Mic. 

Thanks to comprehensive plug-in 

integration with the Lawo Plug-in Server, it is 

now possible to use the live mixing facilities 

of the mc² series, while easily accessing the 

widest range of outboard FX. This innovation 

opens up completely new possibilities in 

audio production, o fering undreamed-of 

fl exibility for live and studio sessions. 

mc²90 – 

Optimum Control and Maximum Flexibility 

The mc²90 o fers a modular central control 

section to position the most signifi cant 

modules there where you need them. 

In addition, external control devices can 

be integrated smoothly. No compromises 

regarding fl exibility. 

mc²66 – Inspired by your Needs 

Due to its lightweight construction, low 

power consumption, and compact 

dimensions, the mc²66 is ideally suited 

for OB vans, studios, broadcast, and live/ 


faders are available. With 



Unusually, multiple control surfaces can 









display anything Calrec s customers require. 


to upscale to handle any possible changes 

in multi-channel audio broadcast standards, 

for example 7.1 surround. 

Today, broadcasters need more and 

more digital audio channels at ever-higher 

resolutions. They need more and more 

processing power to handle the increase, 

and more assignable, more ergonomic 



a lowing mixes to be reca led from as far 


4. Core Creative Cu riculum 

Based on its position as the industry 

standard fo recording, editing, and 

interchange, the educational world has made 

Pro Tools an integral part of its core creative 

cu riculum. Command|8®, C|24, 

and/or ICON consoles with Pro Tools 


7. Speed and Control Through Au 




of nearly everything. Choosing to tie your 

automation to the audio regions o fers you 

the perfect system for dealing with big song 

or movie changes. Incorporating time-tested 

Big (Six Figure) Mixing console features like 

Auto-Join, Join, Capture, Snapshots, Punch 


Preview, and Touch-Latch allows you to work 

14 





x systems and 


engineering, and acts as main contractor 

fo radio OB vans. 

Throughout its history, the company 

has always kept learning and looking 

ahead, making it a pioneer in digitising 



radio and TV. After the fi 

consoles, Lawo developed the hybrid 

PTR, analogue signal processing with 

digital control. Milestones of the ‘90s 

were the development of the fu ly 

digital mc series, the takeover and relaunch 

of the diamond console, and 

the presentation of the mc² series. The 

latest developed products are the mc² 

consoles of the third generation, idea ly 

suited for broadcast and production 

studios, OB vans, and the theatre/live 

domain. Over the years, Lawo has also 

developed a range of routing systems for 

applications of almost any size as we l as 

solutions for networke 

Delivered to over 140,000 

professionals in print and 

digital format. 

The Buyers Guide is 

the place to be seen. 

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processing, and PSU cards a l have spares 

as standard, and are a l contained within a 






Tof technology w 

not many of us wo 

Riley on their d 

moves on and 

The first problem you come a 

trying to pu to 


consoles 2010 



In 2006 Calrec’s Bluefin High-Density 

Signal Processing changed the way 

broadcasters regarded DSP. A truly 

revolutionary technology, it provided 

vastly superior levels of signal 

processing in a fraction of the space 

of conventional systems. 

Bluefin was the world’s first 

implementation of Field Programmable 

Gate A ray (FPGA) technology for total 

DSP processing, providing enough 

processing on one DSP card to power 

an entire mixing console running 

su round-sound productions. 

Bluefin2 is the next generation of 







processing, and PSU cards a l have spares 

as standard, and are a l contained within a 




processing power and a signifi cantly 

smaller physical footprint than any other 

product in the broadcast audio market. 

This technology’s fl exible architecture means 

tha the control surface can be updated to 

display anything Calrec’s customers require. 


consoles 2010 

plug-ins allow ICON consoles to remain 

untethered to a single equaliser or 

dynamics type. The sheer horsepower 

of Pro Tools|HD® and available plug-in 

selection have opened the door to 

endless creative possibilities. 

3. Extend Life Expectancy 

The Pro Tools session format lives on, 

a lowing mixes to be reca led from as far 






















, whatever 

Technology’ has found its way into mixing 

console design. With this technology, Lawo 

has established a further milestone in 

reliability and redundancy for mixing consoles 

Lawo develops and builds digital audio 

mixing consoles fo radio, broadcast, 

production, and live applications, 

together with the necessary software. 

Lawo also builds matrix systems and 




Tare not only reve 

people, but acti 

high prices on 

No one is goi 

camera and, wh 

not many of us wo 

trying to pu to 

consoles is how t 

classic is. I could have spent m 

uld have spent m 

research and pondered over 

or should not be considered a 

but instead I chose to sidestep t 

consoles 2010 

consoles 2010 

consoles 2010 

THE INTERNATIONAL 

BUYER’S GUIDE 

A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP 

AUDIOMEDIA 

AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING 

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2010 

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shot from a console 

made noiselessly durin 


operation function – Iso Bay Access – 

gives you maximum control, even during 

two-man operation. 

Intelligent use of colour and style, and the 

open design of all the audio modules, gives 

the user a fantastic overview, even in critical 

live situations. The ‘assign 

1) can be controlled 

ouples a l channel 

ment metering. 

-panning, a su round 

rough 360°, and the 

Reveal function opens up a surround or VCA 


access to a l the individual channel parameter 

settings. Further key points are: Dynamic 


GPC with Camera Mic 

to handle all 

s and studios. 

an mc²66 to 

shot from a console 

letely di ferent 

count, underlines the 

are architecture. 

is one of the 

cost savings, due 

, whatever 



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LIVE SOUND • MULTIMEDIA • POST PRODUCTION • 

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TECHNOLOGY 

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1) can be controlled 

ouples a l channel 

ment metering. 

-panning, a su round 

rough 360°, and the 

up a surround or VCA 

Ge ting sound from one place to 

ature MADI in their 

Use of optical fi bres m 

of large numbers of chann 


new improved protocols to 

from A to B via C, and possib 

vantages of using digital 

lti-channel audio 

in live and 

cable types and over 

of systems and protocols for the 


quite a few clever people 




made noiselessly durin 


Reveal function opens 

to handle all made noiselessly durin 


Reveal function opens 

to handle all 



A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP 

AUDIOMEDIA 

AUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING 

T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E 



• 


LIVE SOUND 

TECHNOLOGY 

2010 

2010 

2010 






• RECORDING 


consoles including Studer, AM 


of digital 

snakes use the REAC (Rola 

Audio Communication) prot 

rolandsystemsgroup.net 



several companies feature MADI in their 



REAC 

Roland’s S-4000 series of digital 




rotocols – don’t you love ‘em? 

got used to one, 

along comes another younger, 

be ter, faster, and sexier standard to knock 



the socket on the back of 

touch. With the increased popularity of 

digital consoles in the live and broadcast 


common for 

i ferent ideas 

new improved protocols to 

from A to B via C, and possib 

The advantages of using digital 

transmission for multi-channel audio 

over the long distances used in live and 

broadcast applications are tha the signals 

are immune to radio frequency and mainsborne 

interference because the systems 

don’t need to use thick, expensive, audio 

grade multi-core cables – usua ly just a 

simple CAT 5 cable wi l do. Lower cost 

is also a factor, with some companies 

ensive solutions 

rotocols) in their 

cable types and over 



several companies fe 



P 

rotocols – don’t you love 

Just as you’ve got used to one, 

along comes another 

be ter, faster, and sexier stan 


touch. With the increased 

digital consoles in the live and 




TECHNOLOGY 

2010 

2010 

2010 

2010 



LIVE SOUND 

TECHNOLOGY 



LIVE SOUND 

LIVE SOUND 

TECHNOLOGY 

TECHNOLOGY 

2010 

TECHNOLOGY 

2010 

2010 

LIVE SOUND 

LIVE SOUND 

LAWO+ + + + LAWO+ + + + L 

LAWO+ + + + LAWO+ + + + L 

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and HD cores. The mc² 

its precise signal processing. Changes to 

the DSP path are possible without any clicks, 

and even delay se tings can be 

made noiselessly during runtime. 


Up to eight channels (7.1) can be controlled 

with one fader, which couples a l channel 

parameters and eight-segment metering. 



Thanks to Lawo’s hyper 

group can be rotated through 360°, and the 

Reveal function opens up a surround or VCA 


in the fi eld of 

and innovative technology 

ive Operation, 

and Modern Design – The mc2 Series 

8000 crosspoints 

orked systems, 

to handle all 

+ + + + LAWO+ + + + 

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Lawo specialises in the manufacture of 

digital mixing consoles and routing systems 

fo radio and TV broadcasters, and for 

uality standards 

are supported 


Lawo specialises in the man 

digital mixing consoles a 

fo radio and TV broadcaste 

the live domain. High quality standards 


Lawo 




company is still making modules brimming 


in the 1960s – and which are sti l regarded 


as o fering the ultimate sound quality. Of the 




company is still making modules brimming 





TECHNOLOGY 

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LAWO 

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and no serious console would sport 





and no serious console would spor 


TECHNOLOGY 

in live situations. 

ed technology an 

implementatio 

third-party produc 

MY-16 compatib 

dcast digital con 

’s Vi Series. 


MADI (Multihigh 

(1.33 to 5.3 

it unsuitable in live situations. 

ed technology an 

implementatio 


MADI 

MADI (Multi- 


Audio 


is an obvious 

successor to the 

implementatio 


MY-16 compatib 

D&R broadcast digital con 

SoundCraft’s Vi Series. 


Audio 


is an obvious 

orked or distribute 

atency in CobraN 

high (1.33 to 5.3 


atency in CobraN 

high (1.33 to 5.3 


optic cable. 


as o fering the ultimate sound quality. Of the 

varying sample and bit r 

ADAT connection a lows for the transfer of 


optic cable. 

created to distribute stereo au 


ADAT connection a 

eigh tracks at 48kHz down a 

optic cable. 

In association with: 

AUDIO MEDIA 

PRODUCED BY 

and HD cores. The mc² 


by 40 years of experience in the fi eld of 

professional audio technology. 


by 40 years of experience 

professional audio techno 


the live domain. High q 


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The REAC specifi cation pro 

tal audio transfer 

system that can be easily 





quality, redundant digital audio transfer 




has proliferated. However, it’s common for 

many manufacturers to have di ferent ideas 

rfect connection 

don’t need to use thi 

grade multi-core cables – 

simple CAT 5 cable wi l do 

is also a factor, with some co 

implementing the less expensive solutions 

(or their own propriety protocols) in their 


e based 


touch. With the increased 


worlds, faster and more cap 

has proliferated. However, it’s 

many manufacturers to have d 

of what constitutes the pe 

for their digital audio gea 


The great granddaddy of co 

protocols was, of cou 

Instrument Digital Interface). I 

imagine in these days o 

what a revelation the abili 



LIVE SOUND 

LIVE SOUND 


control the equipment from 

manufacturers was. It’s p 

resilien to the develop 

technology, and is sti l u 

DAWs and other softw 

LIVE SOUND 

LIVE SOUND 


integrated for any audio snake 

play’ system that is 

easy to confi gure and req 

setup via computer operation 

over Ethernet, REAC h 

latency and is capable of tr 

40 channels of 24-bit l 

while generating a latenc 

s CobraNet (ww 

was the fi rst suc 

of multi-chan 

on over Etherne 

compressed aud 

be transmi ted over 

t hardware and 

often work 

ributed networks. 

r asynchronous multiquires 

software and 

able to cope with 

ithout drop-outs and 

vailable systems 

in their software 

ome using standard 

e proprietary, 

mission 

protocols. They are usually available 

n computer-based 

rack mount 

a standard CAT 5 


quality, redundant digi 


integrated for any audio snake 

REAC is a ‘plug and play’ system that is 

easy to confi gure and req 

setup via computer operation 

over Ethernet, REAC h 

latency and is capable of tr 

40 channels of 24-bit l 

while generating a latenc 

CobraNet 

Ci rus Logic’s CobraNet (ww 

cobranet.info) was the fi rst suc 

implementation of multi-chan 

transmission over Etherne 

channels of uncompressed aud 



of what constitutes the perfect connection 

for their digital audio gear. 


The great granddaddy of connection 

protocols was, of course, MIDI (Musical 

Instrument Digital Interface). It’s hard to 

imagine in these days of digital cooperation 

what a revelation the ability to connect and 

control the equipment from many different 


ments in audio 

sed to control 

is also a factor, with some co 

implementing the less exp 

(or their own propriety p 


Most of these technologies are based 

on bog-standard Ethernet hardware and 

audio transmission, and can often work 

together with existing distributed networks. 

However, the need for asynchronous multichannel 

data transfe requires software and 

hardware that needs to be able to cope with 

these transmissions without drop-outs and 

at useable low latencies. 

Physically, most of the available systems 

are similar, but di fer in their software 

implementations, with some using standard 

networking protocols, some proprietary, 

and some ‘standard’ transmission 

protocols. They are usually 



of what constitutes the pe 

for their digital audio gea 


The great granddaddy of co 

protocols was, of cou 

Instrument Digital Interface). I 

imagine in these days o 





resilien to the developments in audio 

technology, and is sti l used to control 

DAWs and other software and hardware 

directly from control surfaces. Of course, 

MIDI is an 8-bit data-only protocol, so 



(Sony/Philips 

these transmissions w 

at useable low latencie 

Physically, most of the a 

are similar, but di fer 

implementations, with s 

networking protocols, som 

and some ‘standard’ trans 


manufacturers was. It’s p 

resilien to the develop 

technology, and is sti l u 

DAWs and other softw 

directly from control surf 

MIDI is an 8-bit data-only pr 











hardware interfaces fo 


line, microphone, and 


However l 

high (1.33 to 5.3 

it unsuitable in live situations. 

is a licensed technology an 

implementatio 



Ethernet cables or fi bre opti 

end of the system lurks 

and/or stage or distri be transmi ted over 

Cobranet is particu 



hardware. Data is sent via standard CAT 5 

Ethernet cables or fi bre optics. On either 

end of the system lurks a mixing console 


hardware interfaces for 


transmissi 

channels of un 


cable, and Cobranet is particu 

in networked or distribute 

However latency in CobraN 

high (1.33 to 5.3 





hardware. Data is sent vi 





and/or stage or distri 

Digital Interconnect Format) 

EBU (Audio Engineering 

Broadcasting Union) protocols were 

created to distribute stereo audio data at 

ates, while Alesis’s 

speeded up a bit. S/PDIF 






speeded up a bit. S/PDIF (Sony/Philips 

Digital Interconnect Format) and the AES/ 

EBU (Audio Engineering Society/European 

rotocols were 

dio data at 

ates, while Alesis’s 



directly via consoles, o 

cards or as stand-alone 

hardware. Data is sent vi 



when you wan to distr 

along with your data, things ne 

speeded up a bit. S/PDIF 



Broadcasting Union) p 


varying sample and bit rates, while Alesis’s 

ADAT connection a lows for the transfer of 




Broadcasting Union) p 



LIVE SOUND 

APPLICATION 

2010 – 2011 

01-live-sound-application-2010-cover.indd 1 1/9/10 10:07:09 

call Graham Kirk on +44 (0) 1480 461555 

g.kirk@audiomedia.com 

www.audiomedia.com 

AUDIO MEDIA JUNE 2011 

56

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