Angela Brown on +44 (0)<strong>1480</strong> <strong>461555</strong> E-<strong>mail</strong>: a.<strong>brown@audiomedia</strong>.<strong>com</strong> AUDIO AUDIO MEDIA MEDIA CLASSIFIED CLASSIFIED AIR CONDITIONING & VENTILATION TO SOUND STUDIOS IS OUR SPECIALITY We provide design only or design and installation for many well known clients. Whether it be for displacement, free cooling, V.A.V., V.R.V., split, unitary or centralised call Mike Hardy of Ambthair Services Ltd on 01403 250306 or Fax 01403 211269 WEB: www.ambthair.<strong>com</strong> E<strong>mail</strong>: cool@ambthair.<strong>com</strong> a i r c o n d i t i o n i n g s t u d i o a c o u s t i c s s e r v i c e s 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 <strong>com</strong>mands 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 <strong>com</strong>pression 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 <strong>com</strong>plex project. Its modular design can be tailored to any application, from <strong>com</strong>mercial and project music a l the way through large systems for live venue music recording and mixing. The <strong>com</strong>plete 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 <strong>com</strong>mands 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 <strong>com</strong>mute. Technology moves on and improves – or does it? The first problem you <strong>com</strong>e 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 <strong>com</strong>pletely and ask someone else. Mark Thompson runs Funky Junk in London (www.proaudioeurope.<strong>com</strong>), supplier of classic and not so classic hi-end gear to the famous and up<strong>com</strong>ing 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 be<strong>com</strong>e 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 <strong>com</strong>ponents (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 <strong>com</strong>edy 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 <strong>com</strong>pany, 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.<strong>com</strong>). These <strong>com</strong>ponents 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 <strong>com</strong>pany 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 <strong>com</strong>bination 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 <strong>com</strong>mon 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.<strong>com</strong>). 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 <strong>com</strong>es 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 <strong>com</strong>mon 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 <strong>com</strong>panies 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 <strong>com</strong>puter-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 <strong>com</strong>mon 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 <strong>com</strong>panies 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 <strong>com</strong>plex setup via <strong>com</strong>puter 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 un<strong>com</strong>pressed 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 <strong>com</strong>patible digital consoles, D&R broadcast digital consoles, and SoundCraft’s Vi Series. Ge ting sound from one place to another is a lot more <strong>com</strong>plicated 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 <strong>com</strong>plex 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 <strong>com</strong>puters 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/ <strong>com</strong>posing/video playback tool that is <strong>com</strong>pletely 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 <strong>com</strong>prehensive 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 <strong>com</strong>pletely 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 <strong>com</strong>pletely 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 <strong>com</strong>prehensive 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 <strong>com</strong>pletely 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 <strong>com</strong>promises regarding fl exibility. mc²66 – Inspired by your Needs Due to its lightweight construction, low power consumption, and <strong>com</strong>pact 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 <strong>com</strong>pany 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. withou the need for additional hardware. consumption for its customers. Unusually, 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 THE INTERNATIONAL CONSOLE BUYER’S GUIDE This gives broadcasters increased fl exibility withou the need for additional hardware. control surfaces to deal with the increased workload that HD broadcasting demands. Natura ly, Calrec already has the answer to a l of these concerns. not only excite students about learning Capture, Preview, Suspend Preview, Punch Preview, and Touch-Latch allows you to work 14 AVID 24 LAWO oadcast, 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. 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, Automation with TC-Cut, Audio-Fo low-Video, GPC with Camera Mic. Thanks to <strong>com</strong>prehensive 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 <strong>com</strong>pletely 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 <strong>com</strong>promises regarding fl exibility. mc²66 – Inspired by your Needs Due to its lightweight construction, low power consumption, and <strong>com</strong>pact dimensions, the mc²66 is ideally suited for OB vans, studios, broadcast, and live/ theatre applications. Sizes from 24 to 104 faders are available. With helping to reduce weight, space, and power consumption for its customers. Unusually, 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 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. a lowing mixes to be reca led 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 cu riculum. Command|8®, C|24, and/or ICON consoles with Pro Tools not only excite students about learning 7. Speed and Control Through Au 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 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 Capture, Preview, Suspend Preview, Punch Preview, and Touch-Latch allows you to work 14 7. Speed and Control Through Au Pro Tools with ICON gives you the speed you need with moving faders, touch-sensitive knobs (and encoders), and automation x systems and audio networks, carries out project engineering, and acts as main contractor fo radio OB vans. Throughout its history, the <strong>com</strong>pany has always kept learning and looking ahead, making it a pioneer in digitising radio and TV. After the first analogue radio and TV. After the first analogue 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. + + + + EUPHONIX+ + + + EUPHONIX+ Euphonix: Euphonix consoles and control surfaces unriva led integration with the indust and video applications. Euphonix: Reach a New Level of AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + unriva led integration with the indust AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + unriva led integration with the indust AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + 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 a l have spares as standard, and are a l contained within a solitary 8U rack. With this rack, Calrec is also helping to reduce weight, space, and power consumption for its customers. + + + + EUPHONIX+ + + + EUPHONIX+ + + + + EUPHONIX+ + + + EUPHONIX+ Tof technology w not many of us wo Riley on their d moves on and The first problem you <strong>com</strong>e a trying to pu to Reach a New Level of consoles 2010 AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + 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 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 a l have spares as standard, and are a l contained within a solitary 8U rack. With this rack, Calrec is also helping to reduce weight, space, and power consumption for its customers. 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. The DSP architecture is similarly designed 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 back as the mid 90s. 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 Au 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 Au , 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 audio networks, carries out project + + + + EUPHONIX+ + + + EUPHONIX+ + + + + EUPHONIX+ + + + EUPHONIX+ 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 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 + + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L shot from a console made noiselessly durin A <strong>com</strong>pletely new decentralised control 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 group over dedicated faders, enabling direct access to a l the individual channel parameter settings. Further key points are: Dynamic Automation with TC-Cut, Audio-Fo low-Video, 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 THE INTERNATIONAL BUYER’S GUIDE ON FROM THE NEWBAY MEDIA GROUP LIVE SOUND • MULTIMEDIA • POST PRODUCTION • LIVE SOUND TECHNOLOGY 2010 2010 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 ature MADI in their 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 Ge ting sound from one place to quite a few clever people of systems and protocols for the BUYER’S GUIDE ON FROM THE NEWBAY MEDIA GROUP made noiselessly durin A <strong>com</strong>pletely new decentralised control Reveal function opens to handle all made noiselessly durin A <strong>com</strong>pletely new decentralised control Reveal function opens to handle all 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 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 THE INTERNATIONAL BUYER’S GUIDE • ON FROM THE NEWBAY MEDIA GROUP LIVE SOUND TECHNOLOGY 2010 2010 2010 Ge ting sound from one place to quite a few clever people of systems and protocols for the THE INTERNATIONAL BUYER’S GUIDE • RECORDING ature MADI in their consoles including Studer, AM Neve, Fairlight, and Lawo. of digital snakes use the REAC (Rola Audio Communication) prot rolandsystemsgroup.net Use of optical fi bres m of large numbers of chann several <strong>com</strong>panies feature MADI in their consoles including Studer, AM Neve, Fairlight, and Lawo. REAC Roland’s S-4000 series of digital snakes use the REAC (Rola Audio Communication) prot rolandsystemsgroup.net rotocols – don’t you love ‘em? got used to one, along <strong>com</strong>es another younger, be ter, faster, and sexier standard to knock the socket on the back of your desk into the socket on the back of your desk into the socket on the back of touch. With the increased popularity of digital consoles in the live and broadcast worlds, faster and more capable interfacing <strong>com</strong>mon 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 <strong>com</strong>panies ensive solutions rotocols) in their cable types and over Use of optical fi bres m of large numbers of chann several <strong>com</strong>panies fe consoles including Studer, AM of systems and protocols for the P rotocols – don’t you love Just as you’ve got used to one, along <strong>com</strong>es another be ter, faster, and sexier stan the socket on the back of touch. With the increased digital consoles in the live and Ge ting sound from one place to quite a few clever people of systems and protocols for the TECHNOLOGY 2010 2010 2010 2010 BUYER’S GUIDE ON FROM THE NEWBAY MEDIA GROUP LIVE SOUND TECHNOLOGY BUYER’S GUIDE ON FROM THE NEWBAY MEDIA GROUP LIVE SOUND LIVE SOUND TECHNOLOGY TECHNOLOGY 2010 TECHNOLOGY 2010 2010 LIVE SOUND LIVE SOUND LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L – Networking Audio Systems 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. A <strong>com</strong>pletely new decentralised control 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-panning, a su round Thanks to Lawo’s hyper-panning, a su round Thanks to Lawo’s hyper group can be rotated through 360°, and the Reveal function opens up a surround or VCA group over dedicated faders, enabling direct in the fi eld of and innovative technology ive Operation, and Modern Design – The mc2 Series 8000 crosspoints orked systems, to handle all + + + + LAWO+ + + + + + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + L LAWO+ + + + LAWO+ + + + L Lawo specialises in the manufacture of digital mixing consoles and routing systems fo radio and TV broadcasters, and for uality standards are supported – Networking Audio Systems Lawo specialises in the man digital mixing consoles a fo radio and TV broadcaste the live domain. High quality standards and innovative technology Lawo – Networking Audio Systems audio designs have never been superseded to this day, and Rupert Neve’s own <strong>com</strong>pany is still making modules brimming with circuits which first saw the light of day in the 1960s – and which are sti l regarded in the 1960s – and which are sti l regarded as o fering the ultimate sound quality. Of the anything else. Similarly, many of Neve’s audio designs have never been superseded to this day, and Rupert Neve’s own <strong>com</strong>pany is still making modules brimming with circuits which first saw the light of day with circuits which first saw the light of day in the 1960s – and which are sti l regarded in the 1960s – and which are sti l regarded TECHNOLOGY + + + + LAWO+ + + + + + + + LAWO+ + + + – Networking Audio Systems LAWO LAWO+ + + + LAWO+ + + + + + + + LAWO+ + + + Lawo rupertneve.<strong>com</strong>). These <strong>com</strong>ponents 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 rupertneve.<strong>com</strong>). These <strong>com</strong>ponents are now part of a multi million-dollar business and no serious console would spor anything else. Similarly, many of Neve’s TECHNOLOGY in live situations. ed technology an implementatio third-party produc MY-16 <strong>com</strong>patib dcast digital con ’s Vi Series. digital signals. MADI (Multihigh (1.33 to 5.3 it unsuitable in live situations. ed technology an implementatio third-party produc MADI MADI (Multi- MADI (Multichannel Audio Digital Interface) is an obvious successor to the implementatio third-party produc MY-16 <strong>com</strong>patib D&R broadcast digital con SoundCraft’s Vi Series. MADI (Multichannel Audio Digital Interface) is an obvious orked or distribute atency in CobraN high (1.33 to 5.3 orked or distribute atency in CobraN high (1.33 to 5.3 in the 1960s – and which are sti l regarded optic cable. in the 1960s – and which are sti l regarded as o fering the ultimate sound quality. Of the varying sample and bit r ADAT connection a lows for the transfer of eigh tracks at 48kHz down a single fi bre optic cable. created to distribute stereo au varying sample and bit r ADAT connection a eigh tracks at 48kHz down a optic cable. In association with: AUDIO MEDIA PRODUCED BY and HD cores. The mc² and innovative technology are supported by 40 years of experience in the fi eld of professional audio technology. and innovative technology by 40 years of experience professional audio techno and innovative technology are supported the live domain. High q and innovative technology + + + + classic consoles+ + + + classic cons + + + + classic consoles+ + + + classic cons THE INTERNATIONAL BUYER’S GUIDE rolandsystemsgroup.net The REAC specifi cation pro tal audio transfer system that can be easily snakes use the REAC (Rola Audio Communication) prot rolandsystemsgroup.net The REAC specifi cation pro quality, redundant digital audio transfer system that can be easily digital consoles in the live and worlds, faster and more capable interfacing has proliferated. However, it’s <strong>com</strong>mon 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 cheaper consoles and other hardware. e based the socket on the back of touch. With the increased digital consoles in the live and 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 Protocol Genealogy The great granddaddy of co protocols was, of cou Instrument Digital Interface). I imagine in these days o what a revelation the abili BUYER’S GUIDE ON FROM THE NEWBAY MEDIA GROUP LIVE SOUND LIVE SOUND what a revelation the abili 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 system that can be easily integrated for any audio snake play’ system that is easy to confi gure and req setup via <strong>com</strong>puter 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 <strong>com</strong>pressed 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 <strong>com</strong>puter-based rack mount a standard CAT 5 The REAC specifi cation pro quality, redundant digi system that can be easily integrated for any audio snake REAC is a ‘plug and play’ system that is easy to confi gure and req setup via <strong>com</strong>puter 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 un<strong>com</strong>pressed aud be transmi ted over many manufacturers to have d 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 different manufacturers was. It’s proved amazingly ments in audio sed to control is also a factor, with some co implementing the less exp (or their own propriety p 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 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 directly via consoles, on <strong>com</strong>puter-based many manufacturers to have d of what constitutes the pe for their digital audio gea Protocol Genealogy The great granddaddy of co protocols was, of cou Instrument Digital Interface). I imagine in these days o what a revelation the abili control the equipment from control the equipment from manufacturers was. It’s proved amazingly 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 when you wan to distribute digital audio along with your data, things need to be (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 control the equipment from 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 parts for a plastic conductive fader and directly from control surf MIDI is an 8-bit data-only pr parts for a plastic conductive fader and the young man was Rupert Neve (www. rupertneve.<strong>com</strong>). These <strong>com</strong>ponents are now part of a multi million-dollar business parts for a plastic conductive fader and the young man was Rupert Neve (www. and/or stage or distribution boxes, or hardware interfaces fo direct connection of line, microphone, and digital signals. However l high (1.33 to 5.3 it unsuitable in live situations. is a licensed technology an implementatio third-party produc third-party produc Ethernet cables or fi bre opti end of the system lurks and/or stage or distri be transmi ted over Cobranet is particu orked or distribute 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 transmissi channels of un be transmi ted over cable, and Cobranet is particu in networked or distribute However latency in CobraN high (1.33 to 5.3 and some ‘standard’ trans protocols. They are usually directly via consoles, on <strong>com</strong>puter-based cards or as stand-alone rack mount hardware. Data is sent vi Ethernet cables or fi bre opti end of the system lurks Ethernet cables or fi bre opti end of the system lurks 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 Digital Interconnect Format) EBU (Audio Engineering MIDI is an 8-bit data-only pr 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 rotocols were dio data at ates, while Alesis’s and some ‘standard’ trans protocols. They are usually directly via consoles, o cards or as stand-alone hardware. Data is sent vi directly from control surf MIDI is an 8-bit data-only pr when you wan to distr along with your data, things ne speeded up a bit. S/PDIF Digital Interconnect Format) EBU (Audio Engineering Broadcasting Union) p created to distribute stereo au varying sample and bit rates, while Alesis’s ADAT connection a lows for the transfer of eigh tracks at 48kHz down a single fi bre Digital Interconnect Format) EBU (Audio Engineering Broadcasting Union) p created to distribute stereo au varying sample and bit r 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) <strong>1480</strong> <strong>461555</strong> g.kirk@audiomedia.<strong>com</strong> www.audiomedia.<strong>com</strong> AUDIO MEDIA JUNE 2011 56
AUDIO MEDIA CLASSIFIED Angela Brown on +44 (0)<strong>1480</strong> <strong>461555</strong> E-<strong>mail</strong>: a.<strong>brown@audiomedia</strong>.<strong>com</strong> s e r v i c e s r e c r u i t m e n t r e c r u i t m e n t Forensic Audio MAnAger £41,931 plus £1,883 locAtion AllowAnce newlAnds pArk, se26 You could be a forensic engineer working in law enforcement or a forensic institute. or you could have specialised in digital forensics within the audio or broadcast industry. Join the Metropolitan police service and your expertise will really count on issues as diverse as counter/anti-terrorism, event safety, <strong>com</strong>munications and intelligence. We use the latest technologies to fight crime and protect millions of Londoners. Our Digital & Electronics Forensic Service’s AV Laboratory processes audio-based evidence for use in court on behalf of police investigation teams. You’ll manage the laboratory – leading and developing a team of analysts, looking after the day-to-day workflow, and evaluating new technologies and working methods. Advising investigating teams on evidential matters and priorities will also be a crucial part of your role. You should be educated to HNC/D or degree level in electronic engineering or an IT or science subject, and have a demonstrable interest in digital forensics and audio/video technologies. But alongside your technical knowledge, you must have the proven ability to manage a highly specialist team, plus sound judgement and strong decision-making, problem-solving and interpersonal skills. A willingness to participate in an out-of-hours rota system and a full, clean driving licence are also essential. In return, we offer a range of benefits that includes choice of pension scheme, interest-free season ticket loan, generous holidays and access to an active sports and social club. to apply, please visit our website to download a role specific information pack and application form. if you have any further queries please contact our recruitment Helpline, Mon-Fri, 9am-5pm, on 0845 727 2212, quoting reference number irc28699. <strong>com</strong>pleted applications must be returned by Friday 8th July 2011. www.metpolicecareers.co.uk THE METrOpOLITAN pOLICE SErVICE IS AN EquAL OppOrTuNITIES EMpLOYEr. Advertise your vacancy in Audio Media and reach 32,000 audio professionals contact Graham Kirk on 01223 911224 or g.kirk@audiomedia.<strong>com</strong>" AUDIO MEDIA JUNE 2011 57
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