AM_Consoles_2014 (2)

CONSOLE TECHNOLOGY

maintain”. He acknowledges many have a

“sweet” sound but that in deadline driven work, like his, things can be done quicker on a fast modern console, with the speed allowing more time to try things out.

In broadcasting, layout and ease of use have been important basic requirements on consoles; those that fulfilled the criteria well went on to be regarded as classics. At one time BBC desks were designed and built in-house, although later they were produced on a commercial basis by outside manufacturers. A key point here was the fader running the opposite way to how everyone else had them. The thinking was that the operator pulling back the fader to increase the level and pushing it away to decrease the volume was a more intuitive way of working.

Among the analogue stalwarts in TV broadcast were Neve and Calrec, while in radio

Alice, Sonifex, MBI, and Audix Broadcast were widely used. Today there has been a definite shift to digital. BBC Radio OB manager Richard Earle comments that all the major functions on a desk have to be easily and quickly located in a live situation. Because of this, he says, the SSL C200 is used for music mixing while the Studer Vista 8 is used for live sports and other fast-moving shows. Earle says a standout of the Vista 8 is its touchscreen access to EQ, aux sends, and dynamics, with the ability to bring ‘buried’ channels back to the top layer on the centre Vistonics panel.

Despite what would now be seen as its very specific needs in terms of desk lay-out and audio features, live sound had to make do in its early days with modified studio desks before purpose-built systems began to appear. The first console designed for live sound was the WEM Audiomaster. Although it had only five channels it could be connected with others in series and gave the sound engineer more

control over the output of the loudspeaker rig.

In the early 1970s, amplifier manufacturer

Midas produced the PR (aka Black) Series of desks, which spawned the classic PRO 4 and

PRO 5. Tim Boyle, managing director of Clair UK (formerly Concert Sound), agrees these are classics because of their sonic quality and ease

“Everyone I know now seems to have a favourite digital console and I firmly believe that the favourite one, and the one that sounds ‘the best’ is the board that the operator knows how to use.”

Tim Summerhayes

of use, although not so much for their lay-out:

“The earlier Midas desks had the sensitivity right next to the faders, which could cause problems. But channels could be removed with only three and a half screw turns. So if one went down it could be taken out and replaced later and everything was still set with the EQ.”

Another factor in Midas’ favour was its build quality, which should be a consideration for any type of mixing desk. Boyle comments that because the frames were well built they didn’t flex too much while in the truck, which avoided trouble with the electrical joints. Also a plus point – and again this applies to classic studio and broadcast consoles – was the use of good quality faders, in this case Penny & Giles, which were expensive but more reliable and smoother than cheaper alternatives.

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

Reliability and a solid support network make the Yamaha PM5D a ‘classic’ console for FOH engineer Ray Furze

going out on the Boyzone 20th anniversary tour later this year, comments that whether analogue or digital, a classic console has to be

“reliable and invisible, in that order”. Support on the road, when something could go wrong anywhere in the world, is a practical if not very glamorous reason why a desk might be regarded over others. “With a global act it is very important to be able to find a replacement or service very quickly in the most obscure parts of the world this is one of the main reasons I stuck with Yamaha, from the PM

3000/4000 to the PM5D, for so long,” Furze says.

On his second point, Furze also returns to the motoring analogy: “I believe a major consideration has to be the ergonomics. This is why I say the desk should be an ‘invisible’ tool not unlike an F1 car. When the operator/driver is working at their best it should disappear and leave them to get on with thinking about and reacting to the job in hand. The classic desk of the future might not be the one with the most functions or even be the best sounding but the one that makes most engineers comfortable and able to get on with the mix.”

On a purely aesthetic level old analogue consoles in particular look wonderful, with their rows of coloured knobs and faders. This adds to the nostalgia and reaffirms the classic status of any console. Certainly modern digital desks and emerging virtual mixers cannot match this but, as Andy Richards concludes, what they are able to do – record and re-call hundreds of 5.1 tracks almost in an instant – more than makes up for any lack of tactility or eye-pleasing design.

So perhaps a virtual mixing system with motion control instead of faders could be a classic console in another 40 years. And why?

Well, there might just be something about it...

12 November 2013

The International Guide To Consoles 2013

ALLEN & HEATH

Great British Mixing

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

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

GLD LIVE DIGITAL MIXING SYSTEM

GLD is a user-friendly, cost effective and scalable live digital mixing

system, conceptually based on the hugely successful iLive series.

A standard GLD system offers 28 XLR mic inputs, expandable up to

48 inputs by adding plug n’ play audio racks connected over dSNAKE

Cat5 digital multicore, making it simple and affordable to build the

system as needs grow.

The GLD-80 and larger GLD-112, which has an extra bank of 8

control strips, boast analogue-style controls and an intuitive touchscreen interface. The layout and appearance can be customised quickly and

easily, and GLD delivers outstanding audio performance, with a high-

end mic preamp, low latency and the DSP muscle to provide full processing without compromise. The FX engines feature beautifully

crafted emulations of industry classics, many of which are taken directly from the iLive system.

Networking cards allow the user to link GLD systems, make multi- track recordings or connect with other systems, and an Aviom®

compatible Monitor port allows connection to personal monitoring systems. Finally, additional remote control options are provided by the

GLD Remote and GLD Editor apps.

QU-16 RACKMOUNT DIGITAL MIXER

Qu-16 is a compact digital mixer with a professional feature set and an entry-level price tag, packaged in a stylish 19”format. Inheriting technology from the acclaimed GLD and iLive digital mixing systems, Qu-16 features total recall of settings (including 17 motorised faders and digitally controlled preamps), an intuitive Touchscreen, Qu-Drive integrated multi-track recorder, dSNAKE for remote I/O and personal monitoring, multi-channel USB streaming to Mac, Qu-Pad control app, and a selection of emulations from iLive’s renowned FX library to deliver class-leading audio quality.

14 November 2013

ALLEN & HEATH

Frank Ocean’s recent world tour used an iLive system at FoH

ILIVE DIGITAL MIXING SYSTEM

Allen & Heath’s iLive digital mixing systems feature an extremely flexible architecture with large-scale audio distribution and control, and have built a strong reputation for audio quality and ease of use.

There are several Control Surface and MixRack variants, which can be mixed and matched in any combination and share the same firmware, so that show files are transferable between systems via a USB key.

They connect together with CAT5 cable and use the Ethernet protocol for control, such as Dante or Allen & Heath’s proprietary ACE (Audio

Control over Ethernet) link, which allows cost effective, long distance, point to point control and audio communication over a single CAT5 cable up to 120m in length by combining digital audio and

Ethernet traffic.

All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and 8 stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ and delay for all inputs and outputs simultaneously. iLive’s RackExtra FX suite includes a comprehensive range of classic emulations including reverb, delay, ADT, chorus, flanger, hypabass, and gated verb.

The Port B option slot allows further audio networking possibilities, for example digital mic splitting and multi-track recording, with ACE,

EtherSound, Dante, MADI, ADAT, WAVES and Aviom® interfaces available, while a built-in network switch and MIDI ports at each end allow remote control using laptops, touch tablets and MIDI devices. The racks are compatible with the Allen & Heath PL Series remote controllers and iLive Editor software, a user-friendly program that enables both offline set up and online real time operation of the system with or without a Surface connected. Allen & Heath has also designed the iLive Tweak app for iPhone and the MixPad app for iPad, providing control of iLive’s essential functions for live mixing.

ME PERSONAL MIXING SYSTEM

The ME Personal Mixing System is a next generation personal monitoring solution, universally compatible with Allen & Heath and other pro digital mixers. Central to the ME system is the small, easy to use and fully-customisable ME-1 personal mixer, powered and connected via CAT5 and capable of managing up to 42 sources. The accompanying ME-U hub enables star connection of multiple ME-1 mixers and interconnection to other professional digital mixers via MADI, Dante or EtherSound.

ZED SERIES

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

XB SERIES

The ultra-compact XB-10 and the larger XB-14 broadcast mixers are designed for a range of applications from small radio or internet broadcast studios, to college and university radios, podcasting and content creation. Both mixers are equipped with a range of features specifically for broadcasters, including a telephone communication channel, mic channel on switch sensing, stereo channel start/cue outputs for CD deck transport control, and automatic muting of speaker outputs.

INFORMATION

Allen & Heath Ltd. (HQ)

T: [phone]

E: [e-mail]

www.allen-heath.com

American Music & Sound

(USA Distributor)

T: [phone]

E: [e-mail]

www.americanmusicandsound.com

Audio-Technica Ltd. (UK Distributor)

T: [phone]

E: [e-mail]

www.eu.audio-technica.com/en/allenheath

www.audiomedia.com

November 2013 15

AMS NEVE LTD

Neve – the Rolls Royce

of Consoles

Custom-crafted in Burnley UK, to an uncompromising British specification and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll find them in legendary music studios such as The

Village, Ocean Way, British Grove, AIR and Abbey

Road, at every major Hollywood scoring stage, and in top post-production facilities in London,

Hollywood, Bollywood and beyond.

Whether it’s our flagship analogue 88RS and digital DFC consoles, our classic outboard units, CineFile and AudioFile dubbers and editors, or the compact modular Genesys, the same values always apply: sonic excellence, handmade-in-Britain quality, and – just as important for an industry where time is money

– workflow-enhancing ease of operation.

GENESYS

A hand-built expandable analogue recording console with digital workstation control and a base configuration starting under £30,000,

Genesys puts Neve quality within reach of the smaller studio. Building 40 years of technical heritage, it includes our legendary mic preamplifiers and highly revered analogue circuit design. But Genesys also accommodates the seismic changes in the methods of music recording, with extensive digital control and connectivity.

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

GENESYS

•New ground-up Neve analogue design

•Up to 64-faders/128 inputs

•DAW control, 5.1 monitoring and mixing

•Eight auxes, groups, two main outputs

•Four effect returns, two cue mixes

•16-ch, 8-track and 2-track metering

•Optional Neve EQ & Dynamics and transformer-coupled microphone pre-amp inputs

•Optional digital inputs & outputs with

FireWire interface, motorised faders (with

Encore automation software)

•Optional Total Recall™ software

auxiliary buses, eight group buses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring and mixing, two cue mixes, and talkback services.

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

One of two Neve Genesys consoles in Tokyo’s Syn Studios, co-owned by Nick Wood and Simon Le Bon.

mic amp control, and much more.

In any configuration, Genesys offers an excellent studio control surface with comprehensive monitoring and signal routing capabilities. This eliminates the typical mixture of awkwardly interfaced devices, and puts a proper console back in the heart of the studio.

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

88RS

With its unmistakeable Neve qualities of exquisite design, peerless craftsmanship, and legendary Neve sound, the 88RS continues the

Neve bloodline of analogue consoles with a remarkable advance on anything heard before. Professionals throughout the world have chosen the full clean sound of the 88RS console. Its high bandwidth, pure audio path, superior dynamics, greater dynamic range, and greater control make the 88RS the first choice for recording and mixing the purest fidelity recordings.

Designed in consultation with top producers and recording engineers, it is equally at home on music sessions and (especially with the addition of the SP2 Scoring Panel) for recording film scores, and it’s the unanimous choice of Hollywood’s big four scoring stages –

Fox, Skywalker, Sony and Warner.

SP2 SCORING PANEL FOR 88RS

A specially designed film-scoring option for the 88RS, the SP2 Scoring Panel and stemmaker delivers an astonishing increase in flexibility and productivity. When tracking it easily handles even the most complex scoring requirements including full orchestra in several sections plus pre-records and multiple reverbs.

16 November 2013

The International Guide To Consoles 2013

AMS NEVE LTD

The AMS Neve DFC Gemini at Alvernia Studios, Poland

88RS

	88RS
	• Designed for full surround from the
	ground up
	• Motorised large and small faders
	• AFL surround solo monitor
	• Overpress PFL on each channel fader
	• Four main output faders, L/R, C, S,	the standard among the world’s premier
	and LS/RS
	• Acoustically optimised frame	motion picture facilities.
	• Supplied with or without patch	From the outset, the DFC Gemini was
	• Enhanced ‘S’ channel strip	designed for optimum mix performance. At the
	• Enhanced spectral Neve format equalisation	heart of the DFC Gemini is USP, the world’s
	• Legendary Neve soft knee compression	most powerful mix engine, capable of
	• Audio performance beyond 24/192 digital	delivering the legendary Neve sound across
	SP-2 option for enormous scoring power	1,000 audio signal paths at 96kHz 24-bit in a
	and flexibility	single, high-resolution, DFC signal processing
		tower.
	It speeds up the mixing process, too, delivering	AMS Neve’s wealth of experience in
		ergonomic design has created the most flexible
	multiple 5.1 stems plus a full mix in a single	surface in the industry designed to maximise
	pass.	both controllability and feedback to the user.
	When Abbey Road – one of Britain’s	The control surface provides rapid access to
	leading score-recording studios – specified its	DFC GEMINI
	new Neve 88RS for Studio Two (which has a
		• High resolution TFT Channel display.
	fairly narrow control room), the engineers were
	asked to chose between a 72-fader console with	• Encore Plus automation system (compatible
	no Scoring Panel or a 60-fader version	with 1800 AMS Neve consoles).
		• Off-line edit options offering enormous
	including the SP2. No contest. They’d have
		cost savings
	liked the extra faders, but the SP2 was a must-
		• Neve EQ, Dynamics and filters
	have.
		• Expanded 12 Stem Mixing.
	DFC GEMINI	• Complete integrated machine control
	DFC Gemini is by far the most accomplished	• Optional Monitor Facilities Rack
		• WavTrakTM display providing the user
	digital mixing console designed specifically for
		with level and dynamics metering, graphical
	multi-format film dubbing and post
		EQ curve and audio waveform information
	production.
		on a path by path basis.
	With an unrivalled installation base, DFC is

every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the patented touch sensitive Logicator™ pots, giving instant visual reference to each knob setting. Enhanced visual feedback is provided by high resolution TFT monitors, powered by the AMS Neve proprietary ViewMix™ engine, allowing you, for the first time, to see as well as hear and feel your mix. Through ease of use the DFC

Gemini has arisen as the market leader in predominantly freelance markets.

ENCORE AUTOMATION

When you work on AMS Neve consoles, you don’t just get a better result, you also get a faster result. Top engineers are always pushing the envelope, and our R&D team work tirelessly to give them more flexibility, more options and increased throughput. AMS Neve’s proprietary Encore sutomation software is a case in point. The latest version – Encore2 v7, for USP (Ultra Scale Processor) systems – not only adds several new ‘beyond 7.1’ 3D surround options, but delivers a massive hike in productivity. Increased bandwidth means that automation throughput is now three times greater than v6, with a theoretical maximum of five million events per mix/pass (up from 1.5 million in v6).

INFORMATION

AMS NEVE Ltd

Billington Road, Burnley,

Lancashire

BB11 5UB

UK

t [phone]. f [phone]. e [e-mail] w www.ams-neve.com

www.audiomedia.com

November 2013 17

AVID

Avid: The Mixing

Revolution Continues…

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

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

That’s why Avid set out to design two revolutionary new consoles—Avid® S6 for music and post production, and Avid S3L for live sound—to help audio professionals successfully conquer real-world issues, with technology built for the future. Here’s a look at how Avid designed these two systems with extensive input from its customers.

AVID S6—MIXING REDEFINED

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

Mixing in a recording studio or post facility has evolved tremendously from the “big iron” consoles of 20 years ago. Professionals are now tasked with doing more—often with less—and the expectation to create and deliver higher quality, more compelling content has never been greater. They’re also faced with some serious new challenges:

•Sessions are growing more complex and are often subject to frequent changes

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

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

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

These are the reasons why Avid began designing a next-generation control surface—one that would enable its customers to tackle these issues head-on. To get more detailed feedback, Avid met with top producers, engineers, mixers, and artists to understand their workflow intricacies.

FROM WISH LIST TO REALITY

To help them achieve success, music and post pros asked for an intuitive control surface that speeds up workflows and minimizes complexity, leaving more time to create and deliver higher quality content. They wanted a surface that deeply integrates with Pro Tools® and other Avid solutions, yet welcomes third-party DAWs to facilitate parallel workflows and expand business opportunities. And they asked for a surface that’s priced to meet current needs, but scalable for future business growth.

These form the foundation of S6, a revolutionary new control surface with a first-of-its-kind modular design. The surface comes with your choice of engine—S6 M40 for large-scale productions that require maximum faders/channels, visual feedback, and customizability, or S6

M10 for smaller rooms and budgets—plus individual modules that provide faders, knobs, high-res metering, and more.

BUILT FOR THE FUTURE

Customize the surface with the controls you need now, with easy scalability for the future.

Initiated by customer feedback, here’s some of what S6 offers:

•Revolutionary modular design—Scale the surface horizontally and vertically, choosing the modules you need to match your

current workflow and budget, with room for expansion as your business grows

18 November 2013

The International Guide To Consoles 2013

AVID

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

•Intelligent DAW control—Take simultaneous control of multiple

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

•Proven and trusted technology—Get the exceptional performance and audio quality you need to deliver the best sounding mixes possible—on time, every time

AVID S3L—INNOVATION TAKES

CENTER STAGE

The ultra-compact Avid S3L System offers incredible sound, power, and versatility for the stage and studio.

The world of live sound continues to shift, as more professionals leave their analog mixing consoles and processors behind and adopt an all-digital workflow. But whether you’re mixing in the digital domain or straddling the fence between analog and digital, there are many ongoing challenges:

•Shows are growing more complex, with greater channel and routing requirements

•The demand for studio-quality live recordings is soaring as a revenue generator

•Setups can vary greatly with each performance set, with little changeover time

Avid’s live sound systems have been #1 in concert touring for years, as they address the challenges above. But the company recognized that those who mix in smaller venues—such as in a club, house of worship, theater, or conference—have additional needs.

To get a better understanding of their challenges and workflows, Avid met with numerous live sound professionals from diverse backgrounds to see how it could evolve its current successful technology into something even more revolutionary.

DIFFERENT APPLICATIONS—COMMON GOALS

Sound engineers who tour the club circuit or work in corporate AV asked for a powerful yet compact and affordable system that can be easily carried and transported in a car or bus. Those in house of worship, club, and theater sound wanted a more flexible system that quickly and easily scales to accommodate a wide range of performance setups—with simplicity that doesn’t hinder visiting mixers and volunteers. And they requested a system that makes recording easy, so they can immediately make their mixes available to clients and audiences.

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

TOMORROW’S TECHNOLOGY TODAY

Initiated by customer feedback, here’s some of what S3L offers:

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

•Easy scalability—S3L is fully modular, enabling you to scale and reconfigure a system quickly, from 16–64 I/O channels, with drag- and-drop ease, and it uses lightweight, inexpensive Cat5e cables, putting an end to expensive, bulky analog snakes

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

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

Connect up to four Stage 16 I/O boxes and place them anywhere in the venue—up to 328 feet apart—for ultimate flexibility.

INFORMATION

Avid—US Headquarters

65–75 Network Drive

Burlington, MA 01803 USA

t [phone] f [phone]

Avid—European Headquarters

Pinewood Studios, Pinewood Road

Iver Heath, Bucks, SL0 0NH UK

t [phone] f [phone]

Learn more:

www.avid.com

Find your local reseller:

www.avid.com/find-reseller

www.audiomedia.com

November 2013 19

CADAC

Old School

– New Ideas

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

Starting in 1968, for the first

15 years of its existence Cadac designed and manufactured custom recording consoles for the world’s leading studios, many of which produced some of the greatest all-time recordings from artists as diverse as The Sex Pistols and

Motorhead, to Queen, Pink Floyd and Paul Simon. In the mid-1980s

Cadac began designing consoles specifically for live theatre applications. In this specialised area of sound reinforcement the ultimate aim is to maintain the illusion that no amplification is being used. The uncompromising transparency of Cadac consoles to this day meets this requirement perfectly.

Cadac’s pristine audio reproduction has also found favour with many touring artistes who demand high standards. Cadac consoles have been employed on numerous international tours including Pavarotti, The Rolling Stones, and Van Halen.

Now that digital audio consoles are reaching maturity, many mix engineers and sound designers are

LIVE1

If you’re looking for an analogue solution to your mixing requirements, then Cadac is the only manufacturer able to offer a complete portfolio of products. From the industry-leading J-type, through the medium-format S-type to the LIVE1, Cadac analogue consoles offer the highest possible performance and constitute a proven long-term investment.

LIVE1 is the distillation of Cadac’s expertise in analogue console design. The LIVE1’s diminutive but robust frame contains superb mic pre’s, extremely low-noise summing buses, and is all you require for the best possible results when either recording or mixing live audio. Available in three frame sizes of 16, 24 or 32 inputs, LIVE1 is a surprisingly affordable Cadac console.

Every LIVE1 comes complete with external rack mounting power supply, and the compact 16-input frame includes 19” rack mounting hardware for the console.

discovering the essential elements of audio which have been neglected in the rush to be the first manufacturer with the latest features. The design brief for Cadac digital consoles is simple, and is consistent with the brand’s ethos of the last 45 years - audio first. This is why the latest digital console offerings from this classic marque still bear the hallmark of their distinguished origins, which can be traced back beyond the nowlegendary J-type, which itself is still in production after nearly 25 years, to those classic consoles of the golden age of recording studios. Sometimes, it’s good not to be the first. All Cadac digital consoles feature superb quality mic pres, 24bit, 96kHz A-D conversion, fullpath 96kHz processing, and time-aligned, phase coherent summing buses. Supported by a wide selection of remote control, editing software, format convertors and I/O options, Cadac digital

is the high-capacity solution for the world’s most demanding artists, prestigious venues and premier theatres.

20 November 2013

The International Guide To Consoles 2013