AM_Consoles_2014 (2)

CADAC

CDC FOUR

The CDC Four is an astonishingly compact digital console which boasts 32 inputs as standard, but can be expanded up to 64 inputs by the addition of an external stagebox, which can be located up to

150 metres (450 feet) from the console. CDC Four features classleading 24-bit, 96kHz conversion and processing, time-aligned, phase coherent mix buses, and digital replication of the legendary

Cadac J-type four-band equaliser. Add superb dynamics and FX processing, and all housed in a rugged, compact frame which can be mounted in a 19” rack, accessed by a clean, easy-to-use interface with the minimum of instruction. Remote control of the console is made easy by an iPad app.

MC MADI

The Cadac MC MADI provides a simple, effective conversion to

MADI (AES 10). Housed in a robust, 1U chassis, featuring dual redundant power supplies and providing two discrete MC-MADI channels, the MC MADI is the perfect solution for multitrack recording or interfacing a Cadac digital system with 3rd party hardware and software, such as plug-in hosts and DAW systems. Madi connectivity is provided on BNC and optical ports, and at either 48kHz or 96kHz sample rates.

CDC EIGHT

Cadac’s digital flagship is the 128 input channel CDC Eight.

Available in either single or dual-screen formats, and based around large, 24” full-colour capacitive multi-touch screens, the CDC

Eight elevates the art of mixing audio to the next level, and offers a unique, genuinely intuitive experience for the operator.

The concept begins with Cadac’s premium quality preamps, continues with state-of-the-art 24-bit 96kHz conversion and processing, and includes the most open-architecture user-interface available on an audio console today. The CDC Eight represents clarity and transparency for both audio and operator.

Each CDC Eight comprises a system of console, remote stageboxes and additional supporting hardware, including the options of format-conversion for connection to 3rd party hardware and networks, for live multitrack recording and signal distribution.

The console has a full suite of options including iPad remote control, offline editing software and configurable onboard I/O.

PRINCIPAL EUROPEAN DISTRIBUTION:		www.starbaek.com
Denmark	Starbaek
France	Audio2 Sarl	www.audio2.fr
Germany / Benelux	The Audio Specialists	www.theaudiospecialists.de
Greece	Telmaco	www.telmaco.gr
Italy	Audio Network Technology	www.audionetwork.it
Norway	Rubicon AS	www.rubi.no
Spain	Soinua eta argia	www.soinua.com
Switzerland	Studio Equipment	www.studioequipment.ch

INFORMATION

MEGACOMMS

Cadac digital hardware connects using MegaCOMMS, a proprietary multi-channel digital audio transport which features extremely low latency, high channel count and robust error-correction.

MegaCOMMS is capable of carrying 256 channels of 96kHz audio down a single coaxial cable, up to 150 metres (450 feet) and will support redundant operation. All Cadac stageboxes feature

MegaCOMMS interfaces.

International sales enquiries: Ben Millson [e-mail]

UK enquiries:

CUK audio

www.cuk-audio.com

USA enquiries: LIFT distribution

www.liftdistribution.com

www.cadac-sound.com

www.audiomedia.com

November 2013 21

CALREC AUDIO

Putting Sound In The Picture

As broadcast specialists for more than 35 years, Calrec is exclusively dedicated to excellence in audio mixing for on-air and live production. This understanding has helped Calrec develop a range of consoles relied on by the world’s most successful broadcasters.

Broadcasters are increasingly demanding more		integral Hydra2 router technology as the
versatility and integration from their audio	CALLISTO
equipment. In the current fast paced,	Callisto is designed for broadcast	Apollo and Artemis consoles. Bluefin2 and
technologically progressive era, TV companies	professionals who need to produce creative	Hydra2 technologies are in use 24 hours a day
want to ensure that their systems can produce	and engrossing broadcast audio easily, but may	at hundreds of facilities across the globe, and
programmes efficiently and to the required	not require the full resources of Calrec’s	are still the most advanced audio processing
specifications. For their audio systems to be	Apollo and Artemis audio consoles.	technologies available.
able to achieve this, greater consideration has	Calrec kept the Callisto user interface	Callisto has a pool of 180 channel
to be given to their networks as a whole and	simple and straightforward to ensure that	processing paths, which can be assigned as
how efficiently they can be controlled. Calrec	Callisto’s highly intuitive user interface would	mono, stereo, or 5.1 channels. As with all
has designed its range of consoles to meet these	be suitable for a broad range of operator levels.	Calrec consoles, there is no resource-sharing
demands.	Users control the console via a 17-inch	across the DSP, so all facilities are available on
	multitouch screen inspired by familiar tablet	all channels at all times. Callisto has eight
AHEAD OF THE PACK	technology, with a straightforward interface	groups, four mains (all of which can be mono,
Throughout Calrec’s history, its team of	that uses established finger gestures to	stereo, or 5.1), 16 auxes, and 32 tracks.
innovators has anticipated major changes, and	navigate the system. The crisp, high-
consistently provided superior products that	resolution display
have allowed forward-thinking broadcasters to	controls and clear
remain one step ahead: Calrec introduced the	information.
world’s first true stereo broadcast console and	Callisto simplifies
the first point-source surround microphone in	complex workflow
the 1970s, anticipating the growth of	such as creating
multichannel broadcast audio. Calrec produced	mix-minus feeds,
the world’s first digitally controlled assignable	with common
broadcast console in the early 1980s, predicting	procedures just one
the separation of control surfaces from	while each channel
networked processing hardware. In 2006 Calrec	most essential
launched Bluefin, the world’s first console	Callisto uses
processing engine based on FPGA (Field	Bluefin2 technology
Programmable Gate Array) technology,
enabling broadcast consoles to work efficiently	which encourage the use of third party control	channels for 5.1 surround production, and
with true discrete-channel 5.1 surround for the
first time.	protocols.	more user-friendly control surfaces to deal with
Bluefin2 and Hydra2 continue this		them. These control surfaces are flexible to
tradition. Bluefin2 provides elegant processing	THE NEXT GENERATION	accommodate operator’s needs - and in the case
for 5.1 production with no resource-sharing,	The Apollo, Artemis and new Callisto consoles	of Callisto, the intuitive and straightforward
and Hydra2 enables broadcasters to build	all leverage the increased power of modern	user interface simplifies tasks and speeds up
powerful networks and multi-studio solutions	FPGA technology, provide more digital audio	workflow. This enhanced flexibility and control

22 November 2013

The International Guide To Consoles 2013

CALREC AUDIO

HYDRA2 - A POWERFUL NETWORK FOR TOMORROW’S PRODUCTION NEEDS

Hydra2 links the Apollo, Artemis and Callisto consoles to their integral crosspoint routers, and on to more complex networks if required.

Offering up to 512 bi-directional channels of I/O per copper or fibre connection, Hydra2 offers true ‘one-to-many’ routing and allows the construction of large-scale distributed mixing networks with multiple control surfaces and routers/processors.

The Hydra2 control software makes connecting resources very straightforward.

Audio interfaces and consoles may be added and removed without the need for manual intervention making new resources available to console operators instantaneously.

Hydra2 also features Hydra Patchbays, which are virtual I/O within the Hydra2 domain allowing console operators to make console outputs available to other users on the network, as well as sources on mixing console inputs, and feeds to output ports, to be changed remotely – and without using up physical I/O or requiring extra cabling.

Hydra Patchbays are a powerful tool for control room and studio resource management, allowing network administrators to be able to put control rooms “on-air” and to manage the sources available to them.

allows consoles with relatively few physical controls to drive a much greater number of channels, busses and outputs.

SOLID YET FLEXIBLE

Despite the shift towards networked audio solutions, some things never change. Calrec consoles have an excellent reputation for reliability and on-air stability. Unlike many other consoles which claim redundant features,

Calrec provides on-line redundant hardware for all critical systems as standard. DSP, router, processing and PSU cards are all hot pluggable

and supplied with hot spares as standard, and are all contained within a single, lightweight, space saving, energy conscious 8U or

4U rack.

Multiple control surfaces can also be connected to the same rack to allow multiple operators access to the same processing resources. A separate submix can be created in another location which feeds audio directly into the same busses output as the main mix without ever leaving the system. This gives broadcasters increased flexibility without the need for additional hardware.

THE ROUTE TO INTEROPERABILITY - FULLY INTEGRATED THIRD PARTY PROTOCOLS

Hydra2 encourages several third party control protocols.

The SW-P-08 protocol allows router control from third party router panels. It enables remote control over source to destination crosspoint patching. In addition to direct routing of physical inputs to outputs, it can also route to and from a console DSP via Calrec’s Hydra Patchbays.

EMBER enables further system control including loading user defined memories, selecting I/O port alias files used by control surfaces, editing H2O I/O box and port labels, viewing the available metadata sets and selecting them for insertion into any

Hydra2 SDI embedder output stream and muting selected audio channels in an SDI embedder output stream.

The Calrec Serial Control Protocol offers mixer control to 3rd party video switchers and automated production controller technology, which allows visibility into and control over a number of Calrec console settings such as fader position, PFL and cut control for paths on faders, routing to auxes and mains from faders, output level control for auxes and mains, and LB/RB input switching for paths on faders.

Interoperability, the concept of data being shared freely between video and audio equipment, is increasingly seen as central to future audio networks. Transport protocols such as AVB and Ravenna continue to develop and mature, and Calrec will continue to take an agnostic approach to these technologies with a view to providing greater interoperability to its customers.

INFORMATION

Calrec Audio

Nutclough Mill,

Hebden Bridge,

HX7 8EZZ

T: [phone]

F: [phone]

E: [e-mail]

W: www.calrec.com

www.audiomedia.com

November 2013 23

DHD

DHD – Broadcast

Consoles for You

A broadcast console is not ‘just the mixing desk’ any longer. In today’s studios, it is the main command centre not only for audio, but also for many other systems needed to run the show. With DHD systems, you are in control – always.

DHD SYSTEMS – FLEXIBLE AND MODULAR

Our philosophy is simple: “Make it powerful, but easy to use.” DHD products are a successful combination of rock-solid hardware and sophisticated software. All devices are based on the same hardware platform, and allow you to choose the matching modules for your specific application. Of course, you can easily adapt or extend your DHD systems in the future.

Our products consist of several compact modules for different tasks: Core modules contain both audio signal processing and logic control – they are the heart of any DHD system. I/O modules are responsible for getting signals in and out of the system – they are available in different versions to meet your requirements. For control, you can choose from several mixer consoles and single control modules.The dedicated hardware inside all modules uses

very little power, there are no PCs and no hard disks inside.

RJ45 – MAKING THE NET WORK

All modules of a DHD system are connected to each other with standard CAT cables.They carry audio and control signals, as well as PoE (Power over Ethernet) to power console modules – all in one cable. Audio signals are connected via analogue or AES inputs, MADI, or the 3G/HD SDI De-embedder. In networked installations,

Core modules transport multi-channel audio (up to 512 audio channels) between each other over fibre optics connected to special DHD Gigabit Audio Ports.

If you need Audio-Over-IP connectivity, we provide the 52/XC Dante IP Audio Interface.

This module works as a bridge between any

Dante enabled system (hardware or software) and DHD devices (see inset on next page).

There is also an Ethernet connection with

TCP/IP available.This is typically used for configuration, remote control, and to connect special DHD software to the hardware devices. To integrate other systems, you can use GPIO connections as well as the open DHD Control Protocol on TCP/IP.

52/SX – COMPACT CONSOLE

This compact console includes everything you need for building audio workstations, small to mid-sized On-Air studios or OB vans.

Community and college radio stations can use the 52/SX as their main console, thanks to its attractive pricing.The 52/SX is a complete console, which needs very little space. It is a real turn-key system; but there are software options available to extend its functionality in larger set-ups.

The console desk consists of a central control module, up to 16 faders, and a seven-inch TFT Touch Display. You can mount the modules flat within the furniture or put them in at a

slight angle on a table. Fader modules can also be split-mounted.

The signal processing modules of the 52/SX are just 1U high and provide inputs for microphones, headphones, analogue and digital signals.There are GPIO ports available, as well as two USB connectors that work as pro grade

USB sound cards on your PC.

52/SX. Compact and good value.

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The International Guide To Consoles 2013

DHD

52/RX. Solid hardware with full features.

52/RX – MODULAR CONSOLE

The modular 52/RX allows you to build consoles with up to 64 channels. Its fader modules are four faders wide and are available in different versions, including some with motor faders. Combine the fader modules of your choice with the central control module and TFT Touch Displays and you get a solid hardware base for your studio. If necessary, you can also integrate modules from the 52/MX system to build special talkback or control solutions.

The 52/RX is easy to integrate with other

Series 52 devices.This works very well, because all systems are based on the same hardware platform and share the same software.That way, you can configure them within the same Toolbox 5 project.The 52/RX control modules are connected to the core modules with standard

Cat5 cables and use power over Ethernet for their power supply.This makes it easy to use an existing cabling infrastructure.

52/MX – FULLY FLEXIBLE CONSOLE

The 52/MX is the flagship console of the Series

52. Its design is fully modular – there are many specialised module ‘strips’ available.To build a studio, you choose the matching modules for your application. No matter if you need a small talkback box with a few buttons or a ‘big’ console with lots of faders, buttons, and TFT Touch Displays as fader over bridge – all modules will work smoothly together.There are many different mounting options available. You can

52/MX. Fits your workflow.

www.audiomedia.com

also mount the 52/MX modules in rack or table top cases, and of course use TFT Touch Displays where necessary.

However, the real power comes with the Toolbox configuration software. With this Windows application, you configure your DHD system exactly the way you want it. Signal flows, audio processing, control functions, GPIO functions,TFT views, and many things more are entirely defined in software.The initial set-up is easy, and future changes are often done

with a few mouse clicks.

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

52/DX – SMALL FOOTPRINT DESKTOP MIXER

The 52/DX can be used as a full, stand-alone four-fader mixer. It consists of the Desktop

Control Unit, and both the XS DSP Core and the XS Multi I/O Module mounted together in a 1U rack case.This hardware bundle also includes the easy to use set-up software

‘DXConfig’.The optional DHD products ‘DSP

Control Software’ and ‘Remote Control PC

Software’ work with the 52/DX, too.

52/DX.

Small footprint.

However, if you want to integrate the 52/DX with other Series 52 set-ups or use Core and I/O modules from other

DHD product lines, there is an upgrade available.This software license enables enhanced custom configuration of the 52/DX hardware with the ‘Toolbox5’ software used with the

52/MX system.

52/XC AND 52/XD CORE – MIXING AND ROUTING MADE EASY

These core modules contain the processing power for all Series 52 devices.They have a small footprint (1U) and low power consumption.

Still, together with console modules, they provide audio and control processing for any mixer setup – from a small 52/DX Desktop Mixer up to a large 32 fader 52/MX console.

However, you can also use them stand-alone as routing matrix or processing devices. If used as an audio router, the core modules are not only able to switch audio signals, but can also fade and even apply DSP processing – like gain, EQ, or dynamics.The integrated control functions allow you to create complex On-Air switching systems or talkback applications.

For direct control, combine the 52/XC or 52/XD Cores with a great variety of DHD control modules, including fader modules, router control panels, and TFT Touch Displays. All control modules and TFT Touch Displays use standard CAT cables for communication with the cores.

52/XC DANTE™ IP AUDIO INTERFACE

This audio interface connects DHD devices to digital audio networks powered by

Audinate’s Dante™ technology. It supports up to 48 input and 48 output channels. These audio streams can be distributed over standard IT networks to other Dante compliant nodes in software (PC and Mac) and hardware, like other DHD Dante interfaces or third-party hardware.

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

For redundancy, Dante devices provide two separate network interfaces. These allow you to easily create error-tolerant set-ups.

INFORMATION

DHD Deubner Hoffmann Digital GmbH

Haferkornstr. 5

04129 Leipzig,

Germany

Phone: [phone]

Fax: [phone]

Email: [e-mail]

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

November 2013 25

DiGiCo

Olympics 2012

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

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

SD7 / SD7T / SD7B

The SD7 is top of the range and the first DiGiCo console to capture the power of Stealth Digital Processing™. Its footprint is smaller than other consoles in its class, yet it is vastly more powerful. The SD7 has two engines for full redundancy, as well as dual redundant power supplies.

A 2GB optical system allows up to two optical loops, giving 14 racks per loop (a total of 28), each with 56 inputs and 56 outputs. Multiple touch screens mean that the SD7 can accommodate more than one operator, and the ability to have two expander units attached via CAT5E allows for remote connection or simply additional operators.

SD7T – Jesus Christ Superstar

The theatre and broadcast specific versions of the SD7 give feature sets that provide additions such as Delay on Matrix inputs per node and complete integration of Cue Editor for fast editing of VCA (SD7T); and complete 5.1 monitoring with a 48 by 6 source to speaker selection, multi-channel folding, user defined stem order, Mix Minus buss – one per channel – back stop PFL (over press) and Auto PFL, Audio Follow

Video implementation for up to 32 cameras and Dual Solo busses for PFL and On Air soloing in Mono, Stereo, LCRS, or 5.1 (SD7B).

SD5 / SD5B

The next model in the range, and replacing the industry standard D5 Live, the SD5 also comes with multiple touch screens, as well as interactive dynamic metering (IDM) and Hidden Till Lit (HTL) technology, developed and used on the SD7. It still has a huge input and buss count, although not quite as larger as the SD7, and comes with a single engine and optic loop.

The SD5B includes dual solo busses for PFL and on-air soloing in mono, stereo LCRS and 5.1 and an LR/LCR/LCRS/5.1

Master buss.	SD5 – Victory World Church

26 November 2013

The International Guide To Consoles 2013

DiGiCo

SD10 / SD10T / SD10B / SD10-24

SD9 / SD9T / SD9B

SD10B – dbLux

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

The SD10B’s broadcast specific feature set includes innovations such as multi-channel ‘folding’ under a single fader, allowing users to configure stereo, LCR, 5.1, or up to 11 mono channels under a single fader strip.

The SD10-24 and SD10-24B are ideal for situations where space is at a premium. Both measure under a metre in width, but still benefit from all the advanced features of the standard SD10 and files are fully compatible between both frame sizes.

SD8 / SD8-24

SD8 – FIFA Confederations Cup

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

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

The compact SD8-24 package gives you the same power and functionality, but

with 24 main channel faders and a master fader.

UB MADI

UB MADI allows any computer – desktop or laptop – to instantly connect

MADI via the most standard connector USB 2.0, letting you playback and record

48 tracks to any DAW on MAC or PC

UB Madi

5www.audiomedia.com

SD9 – Saxon

Next in the range is the SD9, a powerful replacement for standard

48-channel digital or analogue consoles. Remote pre-amps, a digital multicore, and D-Rack digital stage interface via a CAT5E connection come as standard, but its sonic performance is identical to the rest of the SD Range. This means the SD9 – and particularly the special

Rack Pack configuration – comes at a price that makes it ideal for applications where exceptional performance and flexibility are needed on a tight budget.

SD11 / SD11i / SD11B

This compact, 19-inch rackmount or tabletop console comes with the same size touch screens as all other

DiGiCo consoles. Despite its exceptionally small size, the

SD11 has incredible power in terms of channel count and processing.

The SD11i gives more than any other console of that size: Flexi Channels (a full 32), more dynamic EQ, more FX processing, and the addition of DiGiTuBes and multi-channel inputs

(previously only available on the SD7). The broadcast specific SD11B gives all this plus the addition of multichannel folding and sets and can handle 5.1 surround – previously unheard of in a console of this size.

SD11 – Ed ShEeran

INFORMATION

DiGiCo UK Ltd.

Unit 10, Silverglade Business Park

Leatherhead Road,

Chessington

Surrey

KT9 2QL

T: [phone] F: [phone] W: www.digico.biz

E: [e-mail]

November 2013 27

LAWO

Lawo – New Perspectives

in Broadcast

Lawo consoles and routers have gained an international reputation for quality, user-friendliness, flexibility, capacity, and reliability; Lawo stands for customer partnership, efficient service, and fast support. Well over 1,500 systems for broadcast, radio on-air, and live applications are installed worldwide in studios, MCRs, OB vans and theatres, also serving dependably at international sports events such as world championships and the Summer and Winter Games, as well as big music events.

From design to product, hardware and software, layout and design – everything is developed and produced at Lawo’s headquarters in Rastatt, Germany.

POWER, FLEXIBILITY, INTUITIVE OPERATION – THE MC² SERIES

With more than 8000 x 8000 crosspoints and even more in networked systems, plus up to 888 DSP channels, the mc² series is ready to handle all the requirements for modern OB vans and studios – and more.

Transferring snapshots from an mc²66 MKII to an mc²56 or mc²90 – loading a snapshot from a console to provide a completely different DSP capacity or fader count – underlines the principle of the mc² software architecture: we are absolutely certain that flexibility is one of the major contributors to cost efficiency, due to easy and fast adaptation, whatever the production.

Lawo’s ‘Dual Star Technology’ has found its way into mixing console design, which has enabled Lawo to establish 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 can be made without any clicks, and even delay settings can be made noiselessly during runtime. For modern productions that require 5.1 Surround, mc² consoles are the ideal answer. It’s their reliability and experience that has made Lawo the first choice for the

2012 sports TV productions in Poland/Ukraine and London. Lawo is continuously expanding the toolbox for modern surround productions.

The latest advancements are the AMBIT Upmix, providing a highquality upmix in every surround channel, creating a 100% downmix compatible, fully-fledged surround sound image. Innovative front processing algorithms, the HD Core DSP redundancy, and very low latency make this Upmix tool superior.

These qualities and the number of installations have made the mc² series a standard around the world.

MC²90 – OPTIMUM CONTROL AND MAXIMUM FLEXIBILITY

The mc²90 offers a modular central control section to position the most significant modules where you need them. In addition, external control devices can be integrated smoothly.

There are no compromises regarding flexibility.

MC²66 MKII – INSPIRED BY YOUR NEEDS

Thanks to its lightweight construction, low power consumption, and compact dimensions, the mc²66 is ideally suited for OB vans, studios, broadcast, and live/theatre applications. Available fader sizes range from 24 to 104.

LOUDNESS METERING

Loudness metering is designed to help eliminate jumps in audio loudness between different TV/radio programmes, or even during a single programme. Based on the EBU R128 and ATSC

A/85 standards, Lawo has incorporated loudness metering in the mc² series consoles. This can be combined at any time with a True Peak display, and enables loudness metering in any individual channel in Momentary or Short-term mode, with each main output facilitating the integration of loudness metering over time. For ease of use, Lawo’s

Loudness Metering can be operated using presets for the two standards. Furthermore,

Loudness Metering throughout a complete production can be permanently displayed in the GUI header display.

30 November 2013

The International Guide To Consoles 2013