Consoles 2014

THE
BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING
BUYERS GUIDE
A Special Promotional Publication From Intent Media
Consoles
Guide 2014
Produced By:
In association with:
Professional Audio in Production
INTERNA TIONAL EDITION
CONTENTS
>>> CONTENTS
THE
Welcome to the newly updated 2013 Audio Console

Guide. At the heart of every great studio or production,
be it music, broadcast, live, or post, is a great console
and were here to help you navigate through the masses
of manufacturers and find whats right for you.
BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING
BUYERS GUIDE
A Special Promotional Publication From Intent Media
Consoles
Guide 2014
Produced By:
In association with:
Professional Audio in Production
>
INTERNA TIONAL EDITION
November Issue 2013
>
Size Matters
>
DiGiCo
>
New Classics
>
14
16
>
18
>
20
>
22
Calrec
>
Jory MacKay, Audio Media
36
Soundcraft
>
Cadac
>
34
Presonus
Avid
>
32
Mandozzi
AMS Neve
>
30
Lawo
Allen & Heath
>
26
>>> MEET THE TEAM

> Sales Manager
38
Stagetec
>
Mixing is an art form and one that is very personal with every
engineer having their own unique tricks when it comes to
making a performer sound just right. At the core of that process
is the almighty console, but whats right for you and your
specific needs? Are you going to go digital or analogue? What
sort of networking options do you need? Do you need
something specialised for your job, or will a more general board
do the trick?
Thats where this magazine comes into play. Within these
pages youll find information from 12 of the top console
manufacturers outlining their latest offering and who, exactly, its
meant for. Alongside these promotional articles weve included a
few extra bits to further help you in your console quest. If youre
not in the market for a large console, Paul Watson has done the
legwork to give you a rundown of the recent advancements in
small-footprint digital consoles. On the other hand, if you cant
picture a studio without a 96-channel desk at its heart, Kevin
Hilton dives into the archives and asks those who have spent
decades behind a number of boards to help answer the question
of what makes a console classic?
This, and the other Guides in the series (Monitors &
Headphones, Microphones, Live, Broadcast Audio, and DAWs
& Plug-ins) are produced in conjunction with Audio Media and
are designed to help you navigate your way though the
information explosion and find the product that suits you.
Audio Media is an internationally distributed magazine that
deals with professional audio production in film, TV, radio,
music, games, and on stage. Its available in both print and
digital editions. For more details, go to www.audiomedia.com.
Graham Kirk
graham.kirk@intentmedia.co.uk
> Deputy Editor

Jory MacKay
jory.mackay@intentmedia.co.uk
> Head of Design & Production
40
Directory
Adam Butler
adam.butler@intentmedia.co.uk
> Production Executive

Jason Dowie
jason.dowie@intentmedia.co.uk
> Designer
24
DHD
www.audiomedia.com
Jat Garcha
jat.garcha@intentmedia.co.uk
AUDIO MEDIA (UK)

Audio Media is published by
Intent Media London,
1st Floor, Suncourt House,
18-26 Essex Road,
London N1 8LN, England.
www.audiomedia.com
Telephone: 0207 354 6001
www.nbmedia.com
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The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.
2013 NewBay Media. All rights reserved.
November 2013 3
SMALL-FORMAT
All Things EQual?

As small-footprint digital consoles continue to evolve, what's changing under the hood in terms of EQ
and dynamics? Paul Watson finds out what users can expect as standard from some of the industry's
leading manufacturers...
DiGiCos smallest live console, the SD11
DIGICO
DiGiCos smallest live console offering is the SD11, a 19-inch rack
mount or tabletop mixer which packs plenty of punch thanks to a
combination of Stealth Digital Processing and floating point Super
FPGA technology. In addition to standard channel processing, which
includes channel delay, single and multi-channel presets, dual insert
points, hi- and lo-pass filters @ 24dB/octave, and a four-band parametric
EQ with band curve selection, DiGiCo provides DYN 1 (compressor,
de-esser, or assignable multi channel compressor) and DYN 2 (gate,
compressor or ducker).
Furthermore, the SD11 benefits from four dynamic EQ processors,
which are all individually assignable to any input or output channel;
these offer dynamic processing to each of the consoles four standard
parametric bands, plus there are also four assignable multiband
compressors.
The console also has 12 gangable 32-band graphic EQs, four stereo
effects (from a palette of 33), and eight control groups (VCAs). In
addition, there is an 8 x 8 output matrix, dual solo busses, and a master
buss, so users essentially have 39 busses at their disposal.
SOUNDCRAFT
Being part of the Harman family, Soundcrafts small-footprint offerings
all benefit from Lexicon effects, BSS graphics, Studer signal processing,
and dbx dynamic processing.
The Si Expression is the manufacturers smallest digital console and
comes in three guises: Si Expression 1, a 19-inch rack mount unit (16
faders); Si Expression 2 (24 faders); and Si Expression 3 (32 faders).
The EQ and dynamics feature set is the same for all of the models: a
four-band EQ offers low and hi shelf, two bands of parametric EQ with
variable Q, and a range of 22Hz to 20KHz to complement the 31 BSS
GEQ processors and hi-pass filters; GEQ LO selects the lower half of
the EQ from 31Hz to 630Hz, and GEQ HI caters from 800Hz to
16kHz. There is a GEQ on every aux, matrix, and buss; and 20 aux
busses, four FX busses, and eight matrix busses, for a grand total of
35 busses.
The dynamics section has controls for the gate and compressor (on
every channel): the compressor controls are threshold, attack, release,
make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF,
threshold, depth, attack, and release.
There is a gate and compressor on every input, and a compressor on all
of the output busses. In addition, four stereo Lexicon effects engines
provide more than 20 preset effects. All effects returns are independent
of the channel inputs and users are able to adjust all the parameters of
the active FX patch.
The dynamics section has controls for the gate and compressor (on
every channel): the compressor controls are threshold, attack, release,
make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF,
threshold, depth, attack, and release. Gate and compressor are on every
input, and its compressor only for all of the output busses.
Harmans Soundcraft
Si Performer
4 November 2013
The International Guide To Consoles 2013
SMALL-FORMAT
MIDAS
The Midas PRO1/PRO1 C is the manufacturers smallest-footprint
consoles. It has a total of 27 sample-synchronous, phase-coherent mix
busses which comprise 16 user-configurable buses (mixes, subgroups, or
mix minus groups), and eight matrix busses.
The matrix busses source from inputs as well as groups so can be used
as eight additional aux mixes (monitor mix and FX sends) if desired, to
provide a total of 24 mixes (plus L, R, and mono) for monitor mixing.
All busses bar the mono one can be linked as stereo pairs.
The PRO1 also benefits from up to 12 multi-channel FX engines, 28
Klark-Teknik DN370 31-band graphic EQs, and eight VCAs.
PRO1 also features eight aux returns, all of which feature four-band
Midas parametric EQ and insert points; these returns can be used as
returns for the PRO1s internal FX processors, or as additional mic
channels, if sufficient mic inputs are available on the I/O hardware.
AVID
Avids new S3L console boasts 27 busses, eight matrices, and eight
VCAs, plus the capacity for as many AAX plug-ins as one might want to
run. There is processing on all outputs and busses a first for Avid and
the S3L channel strip includes EQ, dynamics, filter, and gain effects.
Standard AAX plug-ins include Dynamics III which features a
compressor/limiter, expander/gate, and de-esser; an EQ III which is a
high-resolution, double-precision 48-bit EQ; Mod Delay III variable
delay processing; the Pultec Bundle analogue EQ simulator of three
classic designs; BF-2A, which emulates the LA-2A vintage tube
compressor; BF-3A, a levelling amplifier for voice and instruments; the
Purple Audio MC77 a digital replica of the Purple Audio MC77
limiting amplifier; Reel Tape Saturation analogue tape colour,
compression and saturation effects; and ReVibe, a high-quality roommodelling reverb.
BEHRINGER
Behringers X32 is a 25-buss digital console with main LCR busses, six
matrix busses, and 16 mix busses each featuring inserts, a six-band
parametric EQ, and full dynamics processing, along with eight DCA
and six mute groups.
Each channel has a compressor and four-band parametric EQ, and
the X32 also boasts an on-board Virtual FX rack which features eight
true-stereo (16 mono) FX slots; these include delays, choruses, and
dynamics as well as high-end simulations such as the Lexicon 480L,
PCM70, and EMT250; and the Quantec QRS. According to the
manufacturer, the rack is also capable of running four production-quality,
true-stereo reverbs concurrently with eight channels of 31-band graphic
equalisation.
ALLEN & HEATH

Allen & Heaths modular MixRacks form the heart of the
manufacturers iLive digital mixing system. The iDR10 features a 64
input x 32 mix bus architecture with full processing on all input and mix
channels, so you dont need to allocate or share processing.
The iDR-64 RackExtra module provides enough DSP for all the
channel processing to be available all the time, together with eight stereo
internal effects devices. Input processing includes hi-pass filter, noise
gate, parametric EQ, compressor, limiter/de-esser, and delay. Mix
processing includes both parametric and graphic EQ, compressor,
limiter, and delay. The module is called RackExtra because it includes
a virtual eight-slot rack, which can be loaded with up to eight
additional processors from a library of many emulations of high-quality
effects devices. The effects can add an extra eight short returns complete
with parametric EQ bringing the total number of sources feeding the
mix to 72.
The RackExtra includes a DynEQ4 dynamic EQ, which is a model of
the industry-standard stereo four-band dynamic equaliser; MultiBD3
multiband compressor; MultiBD4 multiband compressor; SMR Live
(Spatial Modelling Reverberator); 2Tap Delay; Gated Verb; and ADT
Doubler.
Avids new S3L system
6 November 2013
Yamahas CL5
YAMAHA
Each of Yamahas new CL Series consoles feature three Virtual Racks of
processing: the GEQ rack, the Effect Rack; and the Premium Pac. The
Premium Pack features Yamahas acclaimed VCM technology, one of the
leading features on the CL consoles; there are six varieties of EQ and
compressor including two from Rupert Neve Designs: the Portico 5033
EQ and Portico 5043 compressor. Rupert Neve himself worked with
Yamaha on these.
Other rack devices are thorough replicas of analogue equipment, even
the non-linear stuff like Transformer Performance. The Effect Rack
features eight units offering a choice of 46 ambient effects including the
popular Rev-X, and in addition, there are eight types of insertion effects
such as multiband compression and tape saturation.
Yamaha has tuned many of these new reverbs specifically for live
applications so users dont need to make many tweaks; the GEQ rack
contains 16 units of GEQ and if you use Yamahas Flex 15 option, you
can have bring that number up to 32 units of GEQ. Furthermore, some
of the effects rack can be turned into GEQ if desired.
www.digico.biz
www.soundcraft.com
www.midasconsoles.com
www.behringer.com
www.allen-heath.com
www.avid.com
www.yamahaproaudio.com
CONSOLE TECHNOLOGY
Future Classics
Often the topic of fierce debate, Kevin Hilton attempts to answer the
age-old question of what, exactly, makes a console classic?
LIKE LOVE, hate, and genius, classic is an

overused word, to the point where it can be
almost meaningless. But in the right context it
still has some relevance, so that something that
has stood the test of time can be described as
classic. This is as true for mixing consoles as it
is for cars, but, in both cases aside from the
practical matters of performance and ease of
driving what makes for something that
endures can often be hard to quantify.
This nebulous quality is summed up by Tim
Summerhayes, who says that during the 1970s
he kept hearing people say Well, theres just
something about it, when talking about
equipment. It related to new or old outboard
equipment, a console, a tape recorder, and even
samplers and drum machines, he explains.
8 November 2013
I think there are few if any

classic digital consoles. But in
decades yet to come perhaps
todays transparent beast will
become tomorrows classic.
Somehow I doubt it.
Dennis Weinreich
In the classic car world, marque names that
are still producing new cars today like Jaguar,
Ferrari, Alfa Romeo exist alongside makes
that are now only historic examples of past
glories: Austin Healy, Jensen, Alvis. The same
is true with consoles; SSL, Calrec, AMS Neve,
The SSL SL 4000E quickly

became a standard in the
recording industry after
its launch in 1981
API, and Midas have all produced classics, as

did EMI, Helios (originally made for Olympic
Studios), and MCI, which are no longer
produced.
Summerhayes grew up at RAK Studios in
St Johns Wood, London. RAK opened in 1976
and is still going today with its original API
desks in Studios 1 and 2. Studio 3 houses a
Neve VRP Legend with Flying Fader
automation, while a SSL 4056 E with G series
computer is in Studio 4, making the complex a
working museum for vintage desks.
Starting out in studio work, Summerhayes
says he learned the trade on API, MCI,
Harrison, and, of course, SSL. He adds that
all were fabulous learning curves and were able
to capture the sounds of the time, making
CONSOLE TECHNOLOGY
A classic AMS Neve Capricorn installed at Skywalker Sound
them the studio desks of choice particularly

during the 1970s and 80s. The of course in
connection to SSL is a sign of the brands
ubiquity back then.
SSL is not as revered for its sound quality
but is noted for its features and ease of use.
SSLs are less desirable sonically but are a joy
to work on, so are classics because of workflow,
comments Dennis Weinreich, who also began
as a music recording engineer before moving
into post with his own Videosonics facility and
then Pinewood Studios.
A big selling point for SSL was its fader
automation. In 1981 the technology that
changed the way many people mostly in the
A&R department thought about music
mixing burst on the scene. Total Recall was a
computerised way to re-set the faders and EQ
on the analogue SL 4000 E according to
previous settings. It made SSL desks almost
standard in the recording business because
A&R people would call studios asking if they
had one. Those that said yes went on the list of
possibles for sessions.
The thinking seems to have been that
computer assisted set-up and mixing made
sessions run smoother and more quickly,
making for less studio time (which has always
been expensive) needing to be booked.
Musician and mixer Andy Richards spent a lot
10 November 2013
of time in SSL-equipped control rooms during

the 1980s playing keyboards for the likes of
Frankie Goes to Hollywood and The Pet Shop
Boys. He says the reality was very different:
The consoles were very expensive and you
could spend two or three days studio time resetting the mix, even with the computer.
Dennis Weinreich observes that a classic
console must have something unique about it.
Total Recall, with the Ultimation moving fader
system, wasnt unique Neve introduced the
first moving fader system, Necam (Neve
computer assisted mix down), in 1977 but it
captured the imagination.
Another criteria for classic status, according
to Weinreich, is a unique and desirable sound.
Regardless of the size of the console, he says,
Neve, Helios, Harrison and MCI desks sound
amazing and are classics sonically. Neve desks
in particular are noted for their excellent sound.
The company came to attention with its 1073
mic preamp, launched in 1970. Three years
later it moved into full consoles with the 8048,
which featured the 1081 mic preamp and
equalizer.
Pondering whether any of todays digital
recording consoles will be regarded in a similar
way to the Neves and MCIs of the past,
Weinreich says the technology brings more
overall compromises sonically. By virtue of
them being digital that are supposedly

transparent, he says. But they lack the natural
coloration of analogue circuits. I think there are
few if any classic digital consoles. But in
decades yet to come perhaps todays
transparent beast will become tomorrows
classic. Somehow I doubt it.
Tim Summerhayes moved from studio work
to mobile recording with Fleetwood Mobiles
and now broadcast and event work through
Red TX. When we put Fleetwood together
we opted for the new Euphonix CS2000s, he
recalls. These were digitally controlled
analogue desks and were pretty much state of
the art. And there was just something about
them. At Red TX we have the Studer Vista 8
system, which sounds great. 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.
Another leading practitioner in live music
for broadcast and DVD/Blu-ray release is Toby
Alington of Richmond Studios. In recent years
he has worked on The BRIT Awards and other
events using the Floating Earth mobile, which
houses a SSL C200. Alington takes up the
analogy with classic cars, saying that like them,
their console equivalents are lovely to look at
and be nostalgic about but are a pain to
CONSOLE TECHNOLOGY
Reliability and a solid support network make

the Yamaha PM5D a classic console for
FOH engineer Ray Furze
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
12 November 2013
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
didnt 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
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...
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 highend 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 multitrack 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 19format. 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
iLives renowned FX library to deliver class-leading audio quality.
14 November 2013
ALLEN & HEATH
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.
Frank Oceans recent world tour used an iLive system at FoH
ILIVE DIGITAL MIXING SYSTEM

Allen & Heaths 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 & Heaths 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. iLives 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 iLives essential functions for live mixing.
www.audiomedia.com
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: +44 (0)1326 372 070
E: sales@allen-heath.com
www.allen-heath.com
American Music & Sound
(USA Distributor)
T: +1 800 431 2609
E: info@americanmusicandsound.com
www.americanmusicandsound.com
Audio-Technica Ltd. (UK Distributor)
T: +44 113 277 1441
E: sales@audio-technica.co.uk
www.eu.audio-technica.com/en/allenheath
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 Neves mixing
consoles both analogue and digital are the
gold standard throughout the world. Youll 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 its 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
One of two Neve Genesys consoles in Tokyos Syn

Studios, co-owned by Nick Wood and Simon Le Bon.
16 November 2013
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
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 its the unanimous
choice of Hollywoods 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.
AMS NEVE LTD
The AMS Neve DFC Gemini at Alvernia Studios, Poland
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.
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,
and LS/RS
Acoustically optimised frame
Supplied with or without patch
Enhanced S channel strip
Enhanced spectral Neve format equalisation
Legendary Neve soft knee compression
Audio performance beyond 24/192 digital
SP-2 option for enormous scoring power
and flexibility
It speeds up the mixing process, too, delivering
multiple 5.1 stems plus a full mix in a single
pass.
When Abbey Road one of Britains
leading score-recording studios specified its
new Neve 88RS for Studio Two (which has a
fairly narrow control room), the engineers were
asked to chose between a 72-fader console with
no Scoring Panel or a 60-fader version
including the SP2. No contest. Theyd have
liked the extra faders, but the SP2 was a musthave.
DFC GEMINI
DFC Gemini is by far the most accomplished
digital mixing console designed specifically for
multi-format film dubbing and post
production.
With an unrivalled installation base, DFC is
www.audiomedia.com
the standard among the worlds premier

motion picture facilities.
From the outset, the DFC Gemini was
designed for optimum mix performance. At the
heart of the DFC Gemini is USP, the worlds
most powerful mix engine, capable of
delivering the legendary Neve sound across
1,000 audio signal paths at 96kHz 24-bit in a
single, high-resolution, DFC signal processing
tower.
AMS Neves wealth of experience in
ergonomic design has created the most flexible
surface in the industry designed to maximise
both controllability and feedback to the user.
The control surface provides rapid access to
DFC GEMINI
High resolution TFT Channel display.
Encore Plus automation system (compatible
with 1800 AMS Neve consoles).
Off-line edit options offering enormous
cost savings
Neve EQ, Dynamics and filters
Expanded 12 Stem Mixing.
Complete integrated machine control
Optional Monitor Facilities Rack
WavTrakTM display providing the user
with level and dynamics metering, graphical
EQ curve and audio waveform information
on a path by path basis.
ENCORE AUTOMATION
When you work on AMS Neve consoles, you
dont 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 Neves
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 +44 (0)1282 457 011.
f +44 (0)1282 417 282.
e info@ams-neve.com
w www.ams-neve.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
tomorrows 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 theres 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.
Thats why Avid set out to design two revolutionary new consolesAvid S6 for music and post production, and Avid S3L for live soundto
help audio professionals successfully conquer real-world issues, with technology built for the future. Heres a look at how Avid designed these two
systems with extensive input from its customers.
AVID S6MIXING 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 moreoften with lessand the expectation to create and
deliver higher quality, more compelling content has never been greater.
Theyre also faced with some serious new challenges:
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 thats 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 engineS6 M40 for large-scale productions that require
maximum faders/channels, visual feedback, and customizability, or S6
M10 for smaller rooms and budgetsplus individual modules that
provide faders, knobs, high-res metering, and more.
BUILT FOR THE FUTURE
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
Customize the surface

with the controls you
need now, with easy
scalability for the
future.
Initiated by customer feedback, heres some of what S6 offers:

These are the reasons why Avid began designing a next-generation
control surfaceone 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.
18 November 2013
Revolutionary modular designScale the surface horizontally and

vertically, choosing the modules you need to match your
current workflow and budget, with room for expansion as your
business grows
AVID
Superior ergonomicsFrom the multipoint touchscreen to top-lit

knobs and Pro Tools waveform scrolling, S6 feels like a true physical
extension of your software, providing the critical visual insight and
workflows you need to mix faster and more creatively
Intelligent DAW controlTake simultaneous control of multiple
Pro Tools, Logic, Nuendo, and other EUCON-enabled audio
workstations, enabling you to handle complex sessions, make
changes quickly, and diversify your services to stand out
from the crowd
Proven and trusted technologyGet the exceptional performance
and audio quality you need to deliver the best sounding mixes
possibleon time, every time
AVID S3LINNOVATION TAKES

CENTER STAGE
TOMORROWS TECHNOLOGY TODAY

Initiated by customer feedback, heres some of what S3L offers:
Power and portabilityWith its high-performance HDX-powered

mix engine, superior AAX plug-in processing, and low-latency
Ethernet AVB connectivity, you get uncompromising power in a
cost-effective, compact system that easily loads into a car, bus, or plane
Easy scalabilityS3L is fully modular, enabling you to scale and
reconfigure a system quickly, from 1664 I/O channels, with dragand-drop ease, and it uses lightweight, inexpensive Cat5e cables,
putting an end to expensive, bulky analog snakes
Studio-grade recordingConnect your laptop to the systems
network and record or play back up to 64 audio tracks using
industry-standard Pro Tools (included), plus built-in 2-track USB
recording enables fast mix delivery
The software you know and trustEasy-to-use VENUE software
accelerates mixing and recording efficiency, eliminating system
complexity; because VENUE is at the heart of every Avid live sound
system, S3L will be a familiar experience for many sound engineers
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 youre mixing in the digital domain
or straddling the fence between analog and digital, there are many
ongoing challenges:
Shows are growing more complex, with greater channel and
routing requirements
The demand for studio-quality live recordings is soaring as a
revenue generator
Setups can vary greatly with each performance set, with little
changeover time
Avids live sound systems have been #1 in concert touring for years, as
they address the challenges above. But the company recognized that
those who mix in smaller venuessuch as in a club, house of worship,
theater, or conferencehave additional needs.
To get a better understanding of their challenges and workflows, 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 APPLICATIONSCOMMON 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 setupswith
simplicity that doesnt 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 thats built for the future.
www.audiomedia.com
Connect up to four Stage 16 I/O

boxes and place them anywhere
in the venueup to 328 feet
apartfor ultimate flexibility.
INFORMATION
AvidUS Headquarters
6575 Network Drive
Burlington, MA 01803 USA
t +1 978 640 6789
f +1 978 640 3366
AvidEuropean Headquarters
Pinewood Studios, Pinewood Road
Iver Heath, Bucks, SL0 0NH UK
t +44 (0)17 5365 5999
f +44 (0)17 5365 4999
Learn more:
www.avid.com
Find your local reseller:
www.avid.com/find-reseller
November 2013 19
CADAC
Old School
New Ideas
Although Cadac has been designing and manufacturing some of the worlds
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 worlds
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.
Cadacs 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
20 November 2013
LIVE1
If youre 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 Cadacs expertise in analogue console
design. The LIVE1s diminutive but robust frame contains superb
mic pres, 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 brands 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, its 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 worlds most demanding
artists, prestigious venues and
premier theatres.
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
Cadacs 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 Cadacs 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:

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

Ben Millson
ben@cadac-sound.com
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.
www.audiomedia.com
UK enquiries:
CUK audio
www.cuk-audio.com
USA enquiries:
LIFT distribution
www.liftdistribution.com
www.cadac-sound.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 worlds most successful broadcasters.
Broadcasters are increasingly demanding more
versatility and integration from their audio
equipment. In the current fast paced,
technologically progressive era, TV companies
want to ensure that their systems can produce
programmes efficiently and to the required
specifications. For their audio systems to be
able to achieve this, greater consideration has
to be given to their networks as a whole and
how efficiently they can be controlled. Calrec
has designed its range of consoles to meet these
demands.
AHEAD OF THE PACK
Throughout Calrecs history, its team of
innovators has anticipated major changes, and
consistently provided superior products that
have allowed forward-thinking broadcasters to
remain one step ahead: Calrec introduced the
worlds first true stereo broadcast console and
the first point-source surround microphone in
the 1970s, anticipating the growth of
multichannel broadcast audio. Calrec produced
the worlds first digitally controlled assignable
broadcast console in the early 1980s, predicting
the separation of control surfaces from
networked processing hardware. In 2006 Calrec
launched Bluefin, the worlds first console
processing engine based on FPGA (Field
Programmable Gate Array) technology,
enabling broadcast consoles to work efficiently
with true discrete-channel 5.1 surround for the
first time.
Bluefin2 and Hydra2 continue this
tradition. Bluefin2 provides elegant processing
for 5.1 production with no resource-sharing,
and Hydra2 enables broadcasters to build
powerful networks and multi-studio solutions
22 November 2013
CALLISTO
Callisto is designed for broadcast
professionals who need to produce creative
and engrossing broadcast audio easily, but may
not require the full resources of Calrecs
Apollo and Artemis audio consoles.
Calrec kept the Callisto user interface
simple and straightforward to ensure that
Callistos highly intuitive user interface would
be suitable for a broad range of operator levels.
Users control the console via a 17-inch
multitouch screen inspired by familiar tablet
technology, with a straightforward interface
that uses established finger gestures to
navigate the system. The crisp, highresolution display provides elegant
controls and clear presentation of
information.
Callisto simplifies even
complex workflow tasks,
such as creating
mix-minus feeds,
with common
procedures just one tap away,
while each channel strip has only the
most essential mechanical controls.
Callisto uses Calrecs award-winning
Bluefin2 technology at its core, and the same
which encourage the use of third party control

protocols.
THE NEXT GENERATION
The Apollo, Artemis and new Callisto consoles
all leverage the increased power of modern
FPGA technology, provide more digital audio
integral Hydra2 router technology as the

Apollo and Artemis consoles. Bluefin2 and
Hydra2 technologies are in use 24 hours a day
at hundreds of facilities across the globe, and
are still the most advanced audio processing
technologies available.
Callisto has a pool of 180 channel
processing paths, which can be assigned as
mono, stereo, or 5.1 channels. As with all
Calrec consoles, there is no resource-sharing
across the DSP, so all facilities are available on
all channels at all times. Callisto has eight
groups, four mains (all of which can be mono,
stereo, or 5.1), 16 auxes, and 32 tracks.
channels for 5.1 surround production, and

more user-friendly control surfaces to deal with
them. These control surfaces are flexible to
accommodate operators needs - and in the case
of Callisto, the intuitive and straightforward
user interface simplifies tasks and speeds up
workflow. This enhanced flexibility and control
CALREC AUDIO
HYDRA2 - A POWERFUL NETWORK FOR TOMORROWS 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.
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 Calrecs 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
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
www.audiomedia.com
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.
Calrec Audio
Nutclough Mill,
Hebden Bridge,
HX7 8EZZ
T: +44 1422 842159
F: +44 1422 842244
E: enquiries@dmh-global.com
W: www.calrec.com
November 2013 23
DHD
DHD Broadcast
Consoles for You
A broadcast console is not just the mixing desk any longer. In todays 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,
24 November 2013
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.
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
Audinates 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: +49 341 5897020
Fax: +49 341 5897022
Email: dhd@dhd-audio.com
Please find our international sales contacts at
www.dhd-audio.com
November 2013 25
DiGiCo
Olympics 2012
The use of Super FPGA technology in DiGiCos 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

26 November 2013
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
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 SD10Bs 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 to
MADI via the most standard connector of all,
USB 2.0, letting you playback and record up to
48 tracks to any DAW on MAC or PC formats.
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: +44 (0) 1372 845 600
F: +44 (0) 1372 845 656
W: www.digico.biz
E: info@digiconsoles.com
UB Madi
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 Lawos headquarters in Rastatt, Germany.
POWER, FLEXIBILITY, INTUITIVE OPERATION
THE MC SERIES
With more than 8000 x 8000 crosspoints and even more in networked
systems, plus up to 888 DSP channels, the mc series is ready to handle
all the requirements for modern OB vans and studios and more.
Transferring snapshots from an mc66 MKII to an mc56 or mc90
loading a snapshot from a console to provide a completely different DSP
capacity or fader count underlines the principle of the mc 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.
Lawos 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 mc 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, mc consoles are the ideal answer. Its 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 mc
series a standard around the world.
MC90 OPTIMUM
CONTROL AND
MAXIMUM FLEXIBILITY
The mc90 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.
MC66 MKII INSPIRED BY YOUR NEEDS

Thanks to its lightweight construction, low power consumption, and
compact dimensions, the mc66 is ideally suited for OB vans,
studios, broadcast, and live/theatre applications. Available fader sizes
range from 24 to 104.
30 November 2013
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 mc 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, Lawos
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.
LAWO
THE MC56 PERFORMANCE,

PURE & SIMPLE
This console brings you the same processing
power that already distinguishes the mc66
and mc90. What makes the new mc56
different to its siblings is its compact layout.
In a width of only 1.2 metres, it provides 32
faders (64 faders fit in an OB van).
NOVA73 HD ROUTING SYSTEM

Nova73 HD is a high-capacity audio
routing matrix a perfect solution for
mission-critical signal transmission. With a
capacity of more than 8K inputs/outputs in
a single core it is possible to create a fibreoptically linked network infrastructure, or to
connect multiple Nova73s over WANs.
Nova73 HD integrates seamlessly into an
existing infrastructure, and can be controlled
remotely this enables complex switching
and workflows to be reduced to the simple
push of a button. Via an intuitive display, the
mxGUI package enables control from any
PC of all functions, offline preparation, or
even online operation. Nova73 HD is based
on Lawos STAR technology with an
internal dual star architecture that supports
comprehensive redundancy options for
almost every active component. Hotplugging, status monitoring of all
components, or reconfiguration and
expansion of the system during run-time is
possible, even when on-air.
MXGUI
The mc series is equipped with an
mxGUI providing many useful features:
Offline preparation: from console

layout to matrix control, partial
snapshots and preamplifier settings,
through to the creation of complete
snapshot and production data.
Online remote: maintenance, service,
or configuration. Access to the console
via a laptop. Up to 16 mxGUI clients
can simultaneously sign on to the
control system for secondary users and
service technicians to support the audio
engineer, even during live broadcasts.
www.audiomedia.com
CRYSTAL WELCOME TO
DIGITAL BROADCASTING
Introduced in late 2008, crystal
has developed to become a
proven standard console in
many broadcast and
production studios around the
world. Breaking new ground
with a highly ergonomic and
revolutionary design, and with a
price range that should allow everyone to
SAPPHIRE A STEP AHEAD

The sapphire, Lawos top of the line on air
and production console, combines proven
cutting edge technology and an eye-catching
new design. Up to 60 motor faders may be
housed in an impressively shallow chassis that
can be placed on your desk or fixed into the
furniture. The sapphire comes with
networking capabilities unparalleled when
creating radio or production studio
environments for example using the
Nova29, Lawos small format router that
can be seamlessly integrated with
all radio products. The
advantage: while
V__PRO8
The V__pro8 audio/video processor is the
perfect bridge builder for broadcast
environments, thanks to an 8x8 video
matrix with 3G SDI I/Os and a 384x384
audio matrix using MADI or RAVENNA
for audio connection plus comprehensive
video processing.
Highlights: colour correction per video
channel, up to two channels of high quality
format conversion, video and audio delay
for any channel, framestore per input, 2x
downmix per output, Quadsplit and
Thumbnail preview of all video outputs,
and Waveform and Vectorscope for the
selected video.
The V_pro8 is operated by using a
simple web browser on a modern touch
GUI based on HTML5.
invest in professional equipment,

crystal is characterised by its easy to operate
surface guaranteeing a short training curve
and the best operational security.
technicians will be assured by maximum

flexibility and sophisticated functionality,
broadcasters will be continually impressed by
the modern control surface, which makes
working with the new sapphire fun. The
sapphire delivers top quality, intuitive user
guidance and neat solutions, all of which
guarantee even greater working efficiency.
INFORMATION
Lawo AG (Headquarters)
Am Oberwald 8,
76437 Rastatt,
GERMANY
T: +49 7222 1002 0
E: info@lawo.de
W: www.lawo.de
Sales
T: +49 7222 1002 0
E: sales@lawo.de
For international sales contacts
please consult the Lawo website
November 2013 31
MANDOZZI ELETTRONICA SA
Copyright by Lugano Tourism
Intelligent Mixer and Router Systems

The engineers working for the Swiss enterprise Mandozzi Elettronica SA near Lugano are inspired by
the beautiful landscape to design intelligent solutions that satisfy all operational and technical
requirements of the users.
PROFESSIONAL PRODUCTS FOR AUDIO BROADCASTING
Due to the close contacts with the customers over the last thirty years,
Mandozzis broadcasting products have matured to offer comfortable
features that satisfy all technical and operational requirements.
Mandozzi Elettronica is the ideal partner for realizing custom
designed audio products
THE DIGITAL MIXERS GMIX

GMIX mixer at Swedish Radio Lule
THE INTELLIGENT AUDIO ROUTERS IDEA

Mandozzis routers are best suited for switching centres, or for serving
several mixers in a radio house. They are known for the extremely high
reliability that is reached, among other reasons, by redundant vital
modules, and for their comfortable control surfaces. The two redundant
halves of the router can be installed in separate rooms for immunity
against incidents. The IDEA routers offer a great variety of interface
modules including 2 Mbps and audio over IP modules with integrated
audio codecs. All routers feature comfortable scheduling functions and
contain DSP power for performing any signal processing up to complete
mixer functions. The routers of several radio stations can be
interconnected to control each other and can be monitored via SNMP
and controlled by other systems via IP, serial interfaces, GPIO, etc.
IDEA routers are the ideal heart of complex radio house installations
Sixteen IP codecs installed

into an IDEA router
32 November 2013
Mandozzi designed the GMIX system to realise radio stations with a

maximum of interoperability between the mixers. The mixer consoles are
mere remote control elements of the DSP and switching circuits that are
installed in the central router. The router manages all audio and GPIO
signals of the station, i.e. the ones of the studios and mixer control rooms as
well as the external signals. The audio and GPIO interface modules of the
studio and mixer room signals are either built into concentrators (I/O
boxes) that are installed locally, or - if the distances are short - directly into
the router. The concentrators are connected to the router via redundant
optical fibres or CAT5 cables.
The centralised architecture of the GMIX system offers a lot of very
important advantages. Every mixer has access to any signal of the radio
house. This allows a mixer to manage several studios that are easily
selected by loading into the mixer pre-recorded snapshots. The intercom
between the studios is integrated, so there is no need for a third-party
intercom system.
MANDOZZI ELETTRONICA SA
Every mixer console can take over the job of any other one by a few key
strokes using the snapshot functions. A mixer can also send the
configuration of a fader channel to any other mixer. The sound engineer
can remotely control from his own mixer a fader channel of a DJ mixer. The
mixers remotely control Mandozzis audio over IP codecs as well as thirdparty codecs and telephone hybrids that are installed in the central router
room. GMIX mixers perform audio measurements according to R128.
GMIX mixers are ideally suited for large broadcast installations with
interacting mixers.
THE DIGITAL MIXERS SERIX
The SERIX mixers were developed to satisfy the customers looking for
stand alone mixers that work autonomously and do not necessarily
depend on a central router. These mixers allow the customers to start by
installing a few single mixers and to expand the station step by step later
on. But SERIX mixers are also well suited to realise complex radio house
installations with a central router. In this case, the SERIX mixers
remotely control the router in order to select the input and output lines,
for intercom connections between the mixers, as well as to remotely
control the microphone pre-amplifiers, the mute and the GPIO of the
other mixers, etc. Mandozzis audio over IP codecs can also be controlled
by the SERIX mixers.
The SERIX mixer surface is composed of modules of four motorised
faders and of a central module for configuration, communication and
monitoring, plus a touch screen to display the parameters, timers, etc.,
and to set up the mixer. The modules are either supplied as individual
mixer units that can be built into the console furniture at any place
desired by the customer, or assembled into a metal frame to obtain a
table top mixer.
The SERIX consoles offer an easy and comfortable operation due to
the touch screen. The functions of the control keys and knobs are freely
configurable by the user. SERIX also offers the processing of 5.1 signals
and audio measurements according to R128.
SERIX mixers are best suited for small to large broadcast installations, for
DJ and assisted operation.
THE NEW SMALL DIGITAL MIXER

The small digital mixer is so new that it does not even have its own
name yet. Mandozzis engineers are working hard on it, and it will be
ready by mid 2014. We want it to be a big surprise for all broadcasters,
therefore we do not yet show any pictures. The mixer will consist of a
table top console with the fader and control modules, and a separate
small I/O box. As all Mandozzi mixers, the new product can be
integrated into Mandozzis audio router concept.
The new mixer is best suited for customers with a lower budget,
but it offers many features of the GMIX or SERIX mixers.
Mandozzis new small
digital mixer
SOME MILESTONES OF MANDOZZI ELETTRONICA SA

Mandozzi Elettronica SA was founded 1965. Due to its close
contacts with the customers, the enterprise realised the following
milestones during its evolution:
The first analogue audio router was installed in 1982 in Rome
(Italy), and the first digital routers in 1994, also for RAI in Italy. In
2001 Mandozzi supplied the first radio station with five interlinked
routers and 11 GMIX mixers to the German ORB. The first 2 Mbps
audio codecs COMBIMUX were supplied to German Telekom in
1999. Since 2002 Mandozzi has been supplying to Swedish Radio 25
digital radio stations that are composed of a redundant central matrix
and up to 12 GMIX mixers plus up to 6 SERIX mixers. In 2007 the
Swiss Broadcasting Corporation ordered a radio house with a
redundant central router and 33 SERIX mixers for Lausanne.
Mandozzi developed in 2009 the Audio over IP codecs UMAC that
can be integrated into and controlled by Mandozzis routers and
mixers and have the unique feature of self-configuring. Since 2009,
Mandozzi has successfully promoted a software tool to generate RDS
texts for FM transmission and PAD contents for DAB. In 2010,
Mandozzi supplied to Austrian Telecom a redundant router with 240
integrated redundant analogue line equalisers. In the year 2011 we
received the order from Hessischer Rundfunk Frankfurt to replace the
whole audio system of their radio house by a redundant matrix that is
installed in two separate rooms, and 20 SERIX mixers.
INFORMATION
Mandozzi Elettronica SA
via Volta 2
CH - 6946 Ponte Capriasca
Switzerland
T: +41 91 935 78 00
F: +41 91 935 78 10
E: contact@mandozzi.ch
www.mandozzi.ch
SERIX mixer at Hessischer Rundfunk Frankfurt a.M

www.audiomedia.com
November 2013 33
PRESONUS AUDIO ELECTRONICS, INC.
StudioLive Systems The Power of Integration

PreSonus StudioLive and
StudioLive AI-series digital
mixing systems integrate
hardware and software to
seamlessly handle mixing,
recording, wireless control,
and audio analysis. Designed
for both live sound and
studio recording, they
employ a familiar, analog-like
mixing surface.
PreSonus StudioLive 32.4.2AI,
24.4.2AI, 16.4.2AI, and 16.0.2 digital
mixers integrate hardware and software
to seamlessly handle mixing, recording,
wireless control, and audio analysis.
These affordable mixers are designed for
both live sound and studio recording,
without compromising the requirements
for either.
StudioLive mixers incorporate a
multi-channel FireWire interface and
come with PreSonus Capture recording
software for Mac and Windows, which is
preconfigured so it needs no setup. You also get
PreSonus Studio One Artist DAW, which
auto-configures to the mixer using a template.
StudioLive AI-series mixers have FireWire 800
and Ethernet ports on option cards that can be
upgraded to Thunderbolt, AVB, and Dante.
ANALOGUE FEEL, DIGITAL
PERFORMANCE
The StudioLive operates much like an analogue
console. You use a familiar mixing surface for
core mixing functions, not a menu-based screen.
The Fat Channel features extensive
equalisation and a separate compressor, limiter,
and gate/expander for every input channel and
aux output, the FX outputs, and the main
outputs. Every channel has a highpass filter.
The Fat Channel sports clearly labeled, physical
knobs; a multifunction, 16-ladder LED display;
an in-your-face Selected Channel display; and a
horizontal pan display. Its easy to access any
function and get clear, visible feedback.
StudioLive AI-series mixers let you create two
sets of EQ and dynamics-processor settings for
every channel and bus and make A/B
comparisons at the touch of a button.
StudioLive AI-series mixers offer four
programmable, 32-bit, stereo effects engines
34 November 2013
SL Remote for iPad

provides almost complete
control over the StudioLive
mixer. This Overview
screen presents the
channel faders, mutes,
panning, and four-band
parametric EQ (top).
(two reverbs, two delays) on dedicated buses,

while StudioLive 16.0.2 has two dedicated
buses. All come with 50 reverbs, delays, and
time-based effects with easy-to-use parameter
adjustment, tap tempo, store, and recall.
With AI-series mixers, you get graphic EQ
on every aux bus and on the mainsall at the
same time, without compromising other
resources. In addition, each graphic EQ has an
A/B option. The StudioLive 16.0.2 simply
offers a stereo graphic EQ on the main bus.
All StudioLive mixers have security
permissions that let you lock all or parts of the
mixer with a password and manage access from
wireless devices.
WELCOME TO THE FUTURE
Using the included Virtual StudioLive-AI
bidirectional control and editor/librarian
software for Mac and Windows (VSL for the
16.0.2), you can control almost the entire mixer
wirelessly or from a FireWire-connected laptop,
quickly and easily load and save named mixer
scenes and individual processor and channel
presets via drag-and-drop, and visually edit
processing.
VSL/VSL-AI also integrates Smaart
Measurement Technology from Rational
Acoustics. Smaart is a collection of visual
audio-measurement tools for sound-system
QMix for iPhone/iPod touch enables

musicians to control their own monitor
mixes. Once you have chosen which
channels are mesay, your vocal and
guitar channelsyou can use the Wheel of
Me (shown) to control the blend between
me and the rest of the band.
PRESONUS AUDIO ELECTRONICS, INC.
The PreSonus StudioLive 32.4.2AIs inviting, analog-like mixing surface

provides quick access to all core mixing functions, including levels,
routing, and signal processing. The 32-channel model also has mute
groups and convenient Quick Scenes, which are not available on the
smaller models.
>
>
VSL/VSL-AI presents a visual representation of the StudioLive AI-series
mixer. Quickly and easily load and save named mixer scenes via dragand-drop, visually edit signal processing, use the integrated Smaart
audio-analysis features, and much more.
analysis and optimization that makes tuning the

system, squelching feedback, and more easy. It
includes a spectrograph and real-time analyser
that make fine-tuning your mix easy because
you can see what youre hearing. These features
work with all StudioLives.
In addition, VSL-AI includes three Smaart
System Check Wizards and a pink-noise
generator with which StudioLive AI mixer
users can view the frequency-response trace of a
venue and adjust the parametric EQs to get rid
of unwanted room anomalies; verify that
StudioLive AI system outputs are routed
correctly and are passing signal; and calculate
and set delay-system timing for satellite speaker
systems using the mixers subgroup-output
delays. (The Wizards are not compatible with
the StudioLive 16.0.2.)
For more information about the StudioLive
Smaart features, visit www.presonus.com/
products/Virtual-StudioLive-AI/Smaart.
GO REMOTE
With most mixers, its risky to leave front-ofhouse to check the monitors and listen to the
system in various parts of the room. But with
free SL Remote-AI for iPad, you can control
any StudioLive AI-series mixer from anywhere
in a venue, using a wireless router. You also can
control Smaart and the System Check Wizards.
(With StudioLive 16.0.2, SL Remote controls
VSL, which controls the FireWire-connected
mixer.)
You can even control VSL-AI, and hence,
the mixer, over the Internet, using third-party
VPN software. Contractors can create and load
scenes and presets for clients and can, to a large
extent, troubleshoot a StudioLive system from a
remote office.
GIVE THEM THE ROPE
Increasingly, musicians want to create their own
www.audiomedia.com
monitor mixes, but most personal monitor

systems are expensive and require wiring. With
free PreSonus QMix-AI software (QMix for
StudioLive 16.0.2), musicians can wirelessly
control their StudioLive AI monitor (aux)
mixes using an iPhone or iPod touch.
Up to ten iPhones running QMix-AI can
control the StudioLive AI via a wireless
network. (With StudioLive 16.0.2, QMix
controls the auxes in VSL, which controls the
FireWire-connected mixer.)
Portrait view presents the Wheel of Me,
which lets you select multiple Me channels and
turn them all up in your monitor at the same
time, while controlling the relative balance
between Me and the rest of the band.
Landscape view provides control of the aux-mix
send level and panning (for linked auxes) for
each channel and aux. Here, you set up your
monitor mix. Using the mixers security features,
you can let each musician create a personal
monitor mixor restrict them to the Wheel of
Me while you create their mix.
StudioLive AI applications communicate
with each other and with the mixer. Save and
load scenes with Capture 2.1 and share
presets between the Fat Channel plug-in in
Studio One 2.6 and VSL-AI. Channel names
entered in the mixer or any AI app (including
Capture) are broadcast throughout the network.
When recording with Capture 2.1, you can
save the StudioLive AI mixer scene along with
the Capture Session. Studio One 2.6 can
import Capture Sessions seamlessly, and when
you import a Capture Session that includes a
StudioLive AI mixer scene, the Studio One
mixer is set to match your StudioLive AI mix
scene, including fader values, mutes, pan, and
FX send mixes. Fat Channel settings are loaded
into Studio Ones new Fat Channel Native
Effects plug-in. You can listen to your mix on
your laptop, just as it sounded during the gig,
even if the StudioLive AI mixer is packed and
on its way to the next gig.

SOUNDS LIKE A WINNER!
Ease of use, remote control, integrated software,
and generous amounts of signal processing are
very important but the bottom line for audio
equipment is still the sound. The StudioLives
outstanding sound quality, with Class A
XMAX preamps and Burr-Brown converters
with 118 dB dynamic range, makes it suitable
for studio use, yet its feature set and layout fully
support live applications. You can easily save
and recall full mixer scenes and presets.
This combination of analogue-like design;
fast workflow; high-definition audio; integrated
recording, computer control, and wireless
control; and Smaart analysis sets PreSonus
StudioLive mixers apart. And it does so at an
amazingly low price.
For more information,visit www.presonus.com/
products/StudioLive-AI-Series.
INFORMATION
PreSonus Audio Electronics

7257 Florida Blvd.
Baton Rouge, LA 70806
USA
T:. +1-225-216-7887
www.presonus.com
Source Distribution
Unit 7 Pembroke Buildings
Cumberland House Business Park
London, NW10 6RE
UK
T: +44 020 8962 5080
www.sourcedistribution.co.uk
November 2013 35
SOUNDCRAFT / STUDER
BEYOND INTUITIVE
DIGITAL LIVE SOUND MIXING THE WAY IT SHOULD BE
Soundcraft consoles
combine pristine sound
quality, tour-proven
reliability and unique
operational features to
deliver digital live sound
mixing the way it should be.
With groundbreaking Soundcraft Vistonics

and FaderGlow technologies combining visual
information and operational controls in one area,
Vi Series live sound consoles remove the burden
of complex mental mapping, freeing the operator
to concentrate on the mix. A simple touch of the
screen is all it takes to access channel functions
including routing, input gain, digital gain trim,
delay, high and low pass filters, 4-band parametric
EQ, compressor, limiter, gate, de-esser and pan.
Si Expression exploits cutting-edge DSP

technology, classic British sound quality and
the equivalent of no less than 392 rack-units of
built-in FX, GEQ and Dynamics from our
friends at Lexicon, BSS and dbx to deliver
Soundcrafts most powerful, cost effective,
small format digital console ever. A range of
three mixers is identical in features, the only
decision being how many faders and local mic
amps are required.
Partnering compact control surfaces with a

powerful SCore Live processing engine and up to
5 stageboxes, Vi2, Vi4 and Vi6 (pictured in use at
top of page) deliver up to 96 channels to mix
with 35 output busses. Pristine sound quality is
assured by ultra-low noise mic amp designs and
advanced 40-bit floating point digital audio
processing, while FX come courtesy of 8
independent Lexicon multi-FX units, with BSS
graphic EQ on every bus output. Rapid
configuration and powerful automation features,
radio mic status monitoring and extensive ViSi
Connect I/O expansion complete the package.
With a massive 66 input processing channels,

all Si Expression consoles have busses, output
processing and connectivity to match the
versatility of the inputs. A range of ViSi
Connect cards dramatically expands I/O
options (see below) while Compact and Mini
stageboxes further extend I/O power and
flexibility. A Multi Digital card enables live
multitrack recording to a DAW.
Pictured above, the compact Vi1 provides a one

box solution, with processing and connectivity
built directly into the control surface.
Intuitive, analogue-style control lies at the heart

of the Si Expression concept, with features like
assignable fader layers, a colour touchscreen and
Soundcraft FaderGlow lighting the way to a
better mix, while ViSi Remote Control allows
mixing on an iPad from anywhere in the venue.
With up to 80 channels to mix, intuitive

analogue-style operation, built-in Lexicon FX,
sophisticated 4-band fully parametric EQ, full
dynamics processing, a comprehensive range of
ViSi Connect expansion options, flexible
routing and grouping and remote iPad control,
the Si Performer is a remarkable live sound
mixer. But thats just the beginning.
The unique integration of a DMX512 port and
lighting control interface into an intuitive
control surface that enables sound and lighting
fader functions to be combined in layers,
delivers comprehensive show control in a
single, compact package.
The possibilities are endless. From theatre
productions to gigging bands and music
venues, houses of worship to live productions
and corporate AV events, any single-operator
application in which sophisticated digital audio
mixing is a pre-requisite can now be enhanced
with integrated lighting control, where freely
assignable fader layers allow inputs, busses and
DMX controls to be conveniently assigned
anywhere on any fader layer. 24 and 32 mono
mic input versions are available.
ViSi Connect expansion cards include: AES, Firewire/USB/ADAT, AVIOM, CobraNet, BSS BLU Link, Dante and CAT5 or optical MADI. iPad is a registered trademark of Apple Inc.
36 November 2013
SOUNDCRAFT / STUDER
LIGHT SPEED
BROADCAST SOUND MIXING FOR TODAYS WORKFLOW
Powerful, exible and dependable,
Studer consoles integrate seamlessly
into the modern broadcast
workow, empowering operators to
mix free from the burden of
complex, counterintuitive routines.
The Studer Vista Digital Mixing

System combines advanced
ergonomic design and
groundbreaking Vistonics user
interface with complete system
flexibility, failsafe redundancy and
pristine audio quality to create a
range of consoles fit for a new age
of broadcast and live production.
Features include powerful
automation, comprehensive
surround sound management, a
wide range of I/O options and
Studer RELINK networking
capabilities, along with extensive
audio and loudness metering.
Vista FX adds Lexicon high
quality broadcast surround effects
and graphic EQ, while VistaMix
is essential for live, unscripted,

multi-mic events such as talk
shows, where it mimics the
actions of a highly skilled human
operator to increase gain for
talking mics and reduce gain for
others, automatically producing a
clean mix.
A range of three systems is
available: Vista 9M2 QS (pictured
above) and Vista 5M3 use the
SCore Live processing engine and
D21m I/O system, while the Vista
1 (pictured below) is a standalone
console with all I/O and
processing self-contained.
Studer OnAir consoles provide a

flexible and powerful audio mixing
solution for a range of broadcast
applications.
The OnAir 1500 (pictured below)
is a compact, 12-channel, 6-fader
(expandable to 12 fader) console,
designed as a versatile, hybrid
solution for radio broadcasting and
production. With 12, 18 and 24fader versions available (plus a
modular version), the OnAir 2500
is a totally self-contained console
for radio broadcast, while the
OnAir 3000 (pictured above and
also available in a modular format)
extends Studers Touch n Action
philosophy into a larger console
for radio and TV applications.
INFORMATION
Harman
Cranborne House,
Cranborne Road, Potters Bar,
Hertfordshire EN6 3JN, UK
T: +44 (0)1707 665000
E: soundcraft@harman.com
E: studer@harman.com
www.soundcraft.com
www.studer.ch
Harman
8500 Balboa Boulevard,
Northridge, CA 91329, USA
T: +1-818-920-3212
E: soundcraft-usa@harman.com
E: studer-usa@harman.com
www.soundcraft.com
usa.studer.ch
www.audiomedia.com
November 2013 37
SALZBRENNER STAGETEC MEDIAGROUP
Innovative Touch-Sensitive or
Traditional: Digital Desks at their best
SALZBRENNER STAGETEC MEDIAGROUP is a strong consortium of three professional audio
enterprises. The audio mixing consoles of the MEDIAGROUP are legendary and dominate the digital
pro-audio market since 20 years now. More than 900 consoles have been sold since then and are in
daily use in broadcast OB vans, musical shows, theatres, and sports arenas.
POLARIS touch
The latest addition to the mixing console range is the POLARIS touch
series. The new arrival can have panels with or without hardware
controls. The main control panels are multi-touch enabled display
screens which can be combined in many different ways. Freedom of
choice also prevails for the audio-processing with options of a multiclient enabled server solution or a NEXUS XCMC card.
A typical POLARIS touch installation includes one or more multitouch-enabled 22" screen modules. Each module offers 16 dual encoders
for controlling parameters such as filter settings or dynamics in the usual
way. Basically, such a module can control all the functions of a console!
To build a mixer in the classic form two modules are joined together
at an angle with one screen as meter bridge while the other provides
instant access to the channel strips. This pair can be enhanced with a
master module with 12 motorised faders, each with two physical buttons,
and a master section with 32 assignable keys and a trackball.
EASY TO USE: ON AIR 24

The ON AIR 24 is the youngest and smallest console by STAGETEC.
It offers easy configuration both for self-op or studio clusters.
ON AIR 24 is a modular, flexible and scalable system consisting of
very compact fader panels with four faders each, plus a monitor panel. It
can be expanded from the smallest version with only four faders up to 24
faders. The modules are installed directly into the presenters table and
can be arranged as desired around the table surface. This concept even
supports more complex programmes, for example two-hander
presentation or presenter with producer and occasional technical
assistance. For ON AIR 24, an intuitive control surface for touch-screen
operation is available. This can be used in addition to the hardware
modules and increases the flexibility of the mixer still further.

POLARIS touch

ON AIR 24
MINI BUT MIGHTY: AURATUS

AURATUS is a production, broadcast and live console with 54 input
channels and a fixed bus layout. A single plug-in card hosted on a
standard NEXUS Base Device provides mixer control and audio
processing. Thus, AURATUS integrates seamlessly into any NEXUS
network even without a NEXUS STAR. The control surface is available
as stand-alone or as drop-in unit with 8, 16, or 24 channel strips.
THE CLASSICAL STAGETEC MIXING CONSOLES
It is now 20 years ago that STAGETEC introduced the idea of a
consistent separation of digital audio routing and the actual mixing
functions. At that time, this principle devised a new approach that
enabled technically streamlined and highly integrated large digital
mixing consoles to be built for the first time. Since then it has been
employed on all STAGETEC mixing-console systems.
The STAGETEC console family has grown over the last two decades
and now covers all applications from small self-op desks to the largest
production console. With two audio-processor types and three types of
mixing console surfaces, four different mixing systems are available for a
wide variety of applications. The console spectrum ranges from the large
AURUS to the CRESCENDO and AURATUS to the most recent and
smallest addition to the family, the ON AIR 24.
38 November 2013

AURATUS
COMPACT AND POWERFUL: CRESCENDO

CRESCENDO sits between the AURUS and AURATUS in terms of
feature set and functionality. It uses components from the two other
systems. AURUS contributes the controller (RMC) and audio-processor
(RMD) cards and the control surface uses AURATUS hardware, which
can however be extended up to 48 channel strips. The advantage of this
combination is that the console is just about 60 cm deep making it
eminently suitable for situations where space is at a premium.
CRESCENDO configurations support up to 300 audio channels and
128 summing buses, making the console appropriate even for very large
scale mixing projects.

oratis compact- SUBSCRIBER PANEL
desk 16

CRESCENDO
ALWAYS SUPREME: AURUS

AURUS impresses immediately with its large, user-friendly control
surface and powerful audio processing. Each channel strip is equipped
with 11 dual encoders and numerous keys, thus avoiding assignment of
multiple functions to the same controls. The unusually large number of
controls give direct access to all channel parameters. The largest AURUS
console built to date has a total of 96 channel strips. Slot-in cards hosted
by a NEXUS STAR take care of mixer control and audio processing.
The RMC controller card and up to seven RMD processor cards provide
AURUS with scalable performance capable of processing up to 300
audio channels. Among the STAGETEC consoles, the AURUS offers
the largest feature set including a variety of automation modes, an
extensive mix-minus matrix and comprehensive system-configuration
options, including DAW control.
STAGETEC products have received prestigious international awards,
starting already in 1997 when the first STAGETEC console,
CANTUS, received the IF Award for outstanding product design in
1997. In 2006, the flagship AURUS received the Gold IF Award and on
the 14th of August 2010 NEXUS won the Emmy Engineering Award,
Americas most significant TV award.
AURUS
ABOUT THE MEDIAGROUP: MORE THAN JUST CONSOLES

SALZBRENNER STAGETEC MEDIAGROUP is a strong
consortium of independent professional audio enterprises. Together, these
companies are pan-European market leaders in audio, video and intercom
technology. Combining forces in a business group generates a highly
effective synergy and enable the MEDIAGROUP to offer a broad range
of dovetailed products and services perfectly complementing each other
from a simple sound-reinforcement installation all the way up to the
design, construction and project management of extensive multidisciplinary solutions for broadcasters, theatres, stadiums and multipurpose venues.
Founded back in 1963 by Friedrich Salzbrenner as a repair and
maintenance shop for radio broadcast systems, the MEDIAGROUP
today consists of three enterprises each of which contribute specialised
expertise to the consortiums broad range of products and services.
STAGETEC Entwicklungsellschaft in the German capital Berlin is
specialised in the design of digital audio technology. Besides the
professional mixing consoles AURUS, CRESCENDO, AURATUS and
ON AIR 24, STAGETECs product range include the routing systems
NEXUS and NEXUS STAR.
SALZBRENNER STAGETEC AVM based in Buttenheim focuses
on highly integrated audio and video solutions for theatres and operas,
multi-media presentation installations in museums, exhibition halls,
convention centres, multi-purpose venues and large installations for
broadcasting and professional video production. SALZBRENNER
STAGETEC AVM is also the manufacturer of POLARIS touch.
The MEDIAGROUP also satisfies the immense demand for intercom
systems in broadcasting, TV-production, and theatres. This intercom
technology market segment is served by DELEC with the oratis
intercom and commentary systems as key products.
INFORMATION

Industriegebiet See
D-96155 Buttenheim
Germany
T: +49 9545 440-0
F: +49 9545 440-111
E: info@stagetec.com
www.stagetec.com
www.audiomedia.com
November 2013 39
CONSOLE MANUFACTURERS DIRECTORY 2013
ADT AUDIO SYSTEMS

ADT offers a range of modular mixing
consoles and processing modules for the pro
industry, claiming the very highest level of
sonic and build quality at a reasonable price.
www.adt-audio.com
AEQ
Manufacturing for the broadcast industry for
over 25 years from its Madrid HQ, AEQ
products including the Phoenix Studio Codec
and Titan router are used by audio pros around
the world.
www.aeqbroadcast.com
ALESIS
Established in 1980, Alesis was founded on
innovative semi-conductor chip technology
that brought high-end products to entry-level
musicians and recording artists. Today Alesis
remains committed to delivering innovative
and inspiring pro gear to all audio levels,
including the MultiMix range of mixers.
www.alesis.com
ALLEN & HEATH
APB-DYNASONICS
Designing and manufacturing its Spectra
series of analogue consoles inNew Jersey since
2004, APB-DynaSonics has come to receive
recent critical acclaim. It now has a solid range
of new mix products.
www.apb-dynasonics.com
API (AUDIO PROCESSES INC.)
API launched in 1968 and became known for
its 2520 amplifier, which still forms the heart
of all its discrete products. It now has over 700
API consoles around the world, and forms part
of the ATI group.
www.apiaudio.com
AUDIENT
Audient was formed in 1997, with its founders
setting the performance standard of mixing
consoles in the 80s and 90s. Its flagship
product is the ASP8024 large-format
recording console.
www.audient.co.uk
AUDIO & DESIGN
Audio & Design was successful with its range
of transistor- designed limiters and
compressors in the 1970s, but has evolved to
become one of the major consultants and
installers for the broadcast market.
www.proaudio.uk.com
AUDIO DEVELOPMENTS
A leading manufacturer of portable audio
mixers, Audio Developments has been
established for over 35 years and has supplied
mixers to every continent in the world.
www.audio.co.uk
A UK-based company, Allen & Heath has

been building mixers for 40 years and remains
passionate about its consoles, each of which
has a uniquely fabulous sound. Makers of the
XB-14, Zed and GLD series mixers, Allen &
Heath has a reputation for keeping its
customers happy.
www.allen-heath.co.uk
ALTO PROFESSIONAL
A relatively new Taiwanese brand launched in
2000, but a fast grower and accumulator of
positive market feedback, ALTO has built a
complete product line-up to meet the growing
needs of audio pros that includes the Lynx and
ZMX Series of mixers.
www.altoproaudio.com
AXIA AUDIO
Axia is the studio audio division of Telos
Systems, specialising in digital audio routing,
mixing, and distribution systems. Its modular
Element is a popular console, with fully
mixable, matchable, and combinable
components for individuality.
www.axiaaudio.com
BEHRINGER
Founded 20 years ago because Uli Behringer
couldnt afford good equipment to become a
sound engineer, Behringers aim today is to
offer the best equipment at fair prices.
Its range covers everything from mixers
to instruments.
www.behringer.com
CADAC
Cadac consoles, manufactured in the UK, are

famous for their use in large-scale musicals,
but have in previous years been renowned for
studio use. The company specialises in live
sound mixing consoles such as the CDC Eight
and Live 1.
www.cadac-sound.com
CALREC
AUDIONICS
Founded in 1987 in Yorkshire, England,
Audionics initially designed and built products
for its own Yorkshire Radio Network. With its
skills growing in demand by outside customers,
Audionics has built up a reputation as an
innovative and practical broadcast
manufacturer.
www.audionics.co.uk
AVID
Calrecs focus has been on broadcast audio

mixing consoles since 1971, although it has
been manufacturing high-quality audio
products since 1964. Its well-respected
consoles today include the recently launched
Callisto.
www.calrec.com
AMS NEVE
AMS Neve boasts an enviable reputation, with

its uncompromising recording and mixing
equipment used in countless top-name
productions. The Genesys and DFC Gemini
are just two consoles that have epitomised the
pinnacle of AMS Neves award-winning
achievements over its 40 years.
www.ams-neve.com
40 November 2013
Avids pro-audio solutions can be found at the

heart of most studios around the world, not
least through its ubiquitous Pro Tools software.
Theres much more to Avid though, and the
companys newest endeavours, the S6 and S3L,
represent the company at the fore of the
consoles market.
www.Avid.com
AXEL TECHNOLOGY
An Italian broadcast solutions company
founded in 1996, Axels client list includes
Deutsche Telekom Germany, RAI TV Italy,
and Radiotelevisione Italiana.
www.axeltechnology.com
DATEQ
DATEQ was started in the 1970s with
production of audio equipment for DJs and
pro end users; today the companys mixers are
still aimed squarely at broadcast and disco
markets. www.dateq.nl
CLYDE BROADCAST
Clyde Broadcast is a radio specialist, operating
as a manufacturer, consultant, and system
integrator for the industrys radio stations big
and small.
www.clydebroadcast.com
CREST AUDIO
Founded in the 1970s producing amplifiers for
tours, Crest Audio is now part of the Peavey
family. The company produces consoles
alongside many other products designedto
address every aspect of installation

configuration and control.
www.crestaudio.com
DEVIL TECHNOLOGIES
Founded in 2005 and building on talent and
high-standards, Devil has recently introduced
the Grande, an advanced DAW control
surface.
www.deviltechnologies.com
DHD
FAIRLIGHT
Based in Australia and one of the oldest digital
pioneers, Fairlight is now taking initiatives in
forward-looking green technology in its
manufacture of high-quality consoles such as
the Quantum and Xynergi.
www.fairlightau.com
FBT ELECTRONICA
Musically-orientated, FBT is an Italian
manufacturer that has been around for over 45
years and claims to be one of the few
manufacturers whose products, such as the
Formula mixer, are entirely made in its home
country.
www.fbt.it
FOCUSRITE
Focusrite was established in 1985, and today
produces a range of products for the audio pro
including the Focusrite Control 2802, a
combined small-format analogue recording
console and a DAW control surface.
www.focusrite.com
With technologies especially adapted for

radio and TV broadcasting studios, DHDs
focus is digital broadcast mixing and routing
systems that include the RM4200D, and
52/MX and RX.
www.dhd-audio.de
DIGICO
FORMULA SOUND
Started by the Cockell husband-and-wife
team in the late 1970s, Formula Sound has
since grown and won numerous awards for its
technologies. Its reputation outstrips its actual
size in manufacturing terms a sentiment that
reflects the companys personal ethos.
www.formula-sound.co.uk
FOSTEX
Founded in 1973 by the earlier developer of
EOM speaker and transducer products, Foster
Electric Co, the Fostex Company first built
high-quality speaker components. Today, the
company distributes its products including the
LR16 and LM16 mixers in over 50 territories
worldwide.
www.fostex.jp
LAWO
Based in Germany, Lawo was founded in 1970

as an engineers office for electronic equipment
and later began manufacturing mixing
consoles. It now has five subsidiaries around
the world, and its consoles include the
respected mc290, mc266, and mc256.
www.lawo.de
LOGITEK ELECTRONIC SYSTEMS
Manufacturers of the Mosaic and Remora
consoles, Logitek designs and develops its
products in-house using local manufacturers
based around Houston, Texas. CBS, NBC, and
The Disney Channel, as well as Sony and
Warner Bros use Logitek systems.
www.logitekaudio.com
LOLA AUDIO
Lola Audio is the leading Serbian firm in the
AV media field, and for over 25 years has been
producing modular audio mixing consoles
among other high-tech products.
www.lolaudio.com
MACKIE
Mackie is part of the LOUD Technologies
family of brands, whose logo reads Small
footprints, big features, great sound, and this is
epitomised by the Onyx and VLZ3 Series.
www.mackie.com
MANDOZZI
Some might claim DiGiCo as a bit of a

pioneer, and this was certainly the case when
the company launched its D5 Live system that
realigned the expectations of digital consoles.
Its latest consoles include the SD5B and SD9.
www.digico.biz
D&R ELECTRONICA
Coming from a pop star background, Duco de
Rijk and Ronnie Goene built their first tube
mixing console in 1972, and in 1973, D&R
was officially founded. Based in Weesp, D&Rs
approach is informal and customer-centric.
www.d-r.nl
EELA AUDIO
EELA has been developing products for the
radio broadcast industry for the past 30 years,
and prides itself in taking an individual
approach to each customer.
www.eela-audio.com
EQUIPSON
Equipson is based in Spain, and its range
includes the Digiline 8, XP 20 PRO, and
MMX 62.
www.equipson.es
www.audiomedia.com
HARRISON CONSOLES
Harrisons first console was delivered in 1975,
and to date over 1,500 have since been
installed. The PP-1 became the Hollywood
standard for modern film console designs in
1979, although its current flagship is the
MPC5.
www.harrisonconsoles.com
INNOVASON
Launched in 1993 by two brothers, Innovason
is an acronym from French that means
Innovative Sound. Focused on SR
applications, the company designs all-digital
consoles such as the EclipseGT.
www.innovason.com
QPHONICS
Describing itself as a technological trailblazer,
QPhonics (formerly Klotz Digital) was
formed in 1990 with a high-customer service
philosophy that continues to this day with
products including the Xenon console.
www.qphonics.com
LAFONT AUDIO LABS
French Designer Jean-Pierre Lafont gave his
name to the high-quality audio company over
20 years ago; the current product line-up
includes the Panoramix and FTC84 consoles.
www.lafontaudio.com
Located in the sunny Swiss corner of Ticino,

Mandozzi Electronics was founded in 1965.
Its user-friendly GMIX and Serix mixers form
the console backbone of its range.
www.mandozzi.ch
MEDIA ENGINEERING
Founded in 1987 and based in Switzerland,
Media Engineering has since 2001
concentrated its efforts on developing pro-audio
products. Memix is its modular analogue
mixing console, designed to be used in radio
and production studios.
www.mediaengineering.com
MIDAS
Midas consoles are among the most popular in
the market, and have been found in live
applications around the world since the 1970s.
Its current console line-up includes the XL8
and the PRO Series.
www.midasconsoles.com
November 2013 41
OTARI
Although its European branch has closed, Otari
is still producing out of Japan as it has for over
40 years, and distributing worldwide. Its
consoles include the DB-10.
www.otari.com
RUPERT NEVE DESIGNS

Rupert Neve, founder of the company that
bears his name, has a discriminating career in
audio spanning 80 years. A brand that implies
excellence, the 5088 is Neves flagship console.
www.rupertneve.com
STAGETEC
PEAVEY
The PV, FX, and XR Series of consoles are
among Peaveys SR line-up that is produced out
of Corby in Northamptonshire, UK.
www.peavey.com
SAMSON AUDIO
Starting out designing wireless mics, and now
with three brands under the Samson banner;
26 years has led to a huge range of products
including the L-Series consoles.
www.samsontech.com
The Cantus was Stagetecs first digital console,

a success of the 1990s; although today the
Aurus is taking the crown as Stagetecs first
class mixing console.
www.stagetec.com
PHONIC CORPORATION
Phonic is a real customer- centric company; its
mixers include the AM, Helix, and Impact
Series.
www.phonic.com
SEEMIX SOUND
Seemix is a Norwegian company founded in
2001, whose offerings include the Seeport and
Seelect mixer.
www.seemix.no
PreSONUS
SMART AV
Smarts respected consoles include the Tango
and Smart Professional Series, designed for the
most demanding applications using ARC and
MonARC technology.
www.smartav.net
PreSonus has come far since the days of trading

from Jim Odoms garage in 1995. Highlights of
its path are the DigiMax and FireStudio; while
today its products include the StudioLive 16.0.2
digital console.
www.presonus.com
PROFESSIONAL SOUND CORP
1986 was the year PSC was born, and based in
Valencia, USA, the companys range includes
the Solica mixer.
www.professionalsound.com
PUBLISON SYSTEMS
Publison designs and manufactures integrated
post production systems, whose products
include the Edimix II and ProdMix.
www.publison.fr
SOLID STATE LOGIC

SSL has had a long and noteworthy history
since its formation in 1977, which via the
Axiom, Aysis, XLogic, and C-Series, has led to
todays popular Duende, and Duality consoles
along with the Matrix2, released at AES in
New York.
www.solid-state-logic.com
SONIFEX
Sonifex began as a family company back in
1969, which today boasts that over 90% of
British radio broadcast studios have used
Sonifex products in the past. The S1 and S0
are the companys current broadcast mixers.
www.sonifex.co.uk
SONOSAX
Swiss Sonosax brought its first mixing console
to market in 1980, the Sonosax SX-B. Recent
additions to the Sonosax range include the
SX62R and SX-M32.
www.sonosax.ch
STUDER
Since 1948, the name of Studer has become
synonymous with broadcasting and recording
equipment. Its product range, which includes
the OnAir and Vista lines, is totally designed
in Switzerland.
www.studer.ch
TASCAM/TEAC
PROFESSIONAL Tascam/TEAC products
deliver to the whole spectrum of musicians and
engineers, from the hobbyist to pro.
Headquartered in Japan, its consoles today
include the DM-3200, DM-4800, and M-164
(plus FX and UF derivatives).
www.tascam.com
TL AUDIO
TL Audio began in the 1990s, restoring and
reselling vintage equipment, and discovered a
hole in the market for new, affordable valve
products spawning the Classic range. The
M1-F, VTC, and M4 are consoles based on
tube technology.
www.tlaudio.co.uk
TOFT AUDIO DESIGNS
America-based Toft Audio produces the ATB
analogue mixers, a platform that is
continuously being developed under the
guiding hand of Malcolm Toft.
www.toftaudiodesigns.com
TONELUX
Paul Wolff in Vegas is the mastermind behind
Toenluxs range of audio gear, including the 3,
4, 5, and 6 rack consoles and the Tonelux
Universal Console Series. www.tonelux. com
SOUNDCRAFT
RAINDIRK AUDIO
Raindirks first console created by Cyril Jones
was sold to Kingsway Studios back in 1972.
Todays rm3 and rm4 modular series means a
full console can be created using Raindirk
components, while the company also supports
Helios desks.
www.raindirkaudio.com
RAMI
The Compact II and RP 2000S are two of
Ramis French-made broadcasting consoles,
among a range of other pro-audio products.
www.ramiaudio.com
ROLAND SYSTEMS GROUP
Roland Systems Group is a forward-looking
company whose breakthrough V-Mixing
system (combined digital snake and mixing
console) is still building its fan base, now with
several options in both mixing and snake
departments. Among its most recent releases is
the M-200i live mixing console.
www.rolandsystemsgroup.co.uk
42 November 2013
TRIDENT AUDIO
Malcolm Toft and Barry Porter developed
their first console, the A Range, for use at
Trident Recording Studios in the 1970s.
Trident is now designing and manufacturing
new ideas under the PMI flag.
www.trident-audio.com
A Harman company, Soundcraft made its

mark in the early 1970s with the Series 1, the
first mixing console in a flight case. It remains
a dedicated pro mixing console designer and
manufacturer with consoles including the Si
and Vi series.
www.soundcraft.co.uk
SPECK ELECTRONICS
Specks LiLo is not a conventional mixer, but
rather designed with minimalist ideals
perfected for routing and blending external
gear and DAW.
www.speck.com
WHEATSTONE CORPORATION
Founded in the 1970s, Wheatstone is a world
supplier of radio and television audio
equipment, including analogue and digital
mixing consoles, digital signal processing, and
networked audio systems all designed and
manufactured in New Bern, NC, USA under
the Wheatstone and Audioarts Engineering
brand names.
www.wheatstone.com
YAMAHA
Yamaha has a long and wide-reaching story
and similarly it produces av ariety of mixers
including the CL series and PM5D.
www.yamahaproaudio.com

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THE

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

Professional Audio in Production

INTERNA TIONAL EDITION

Welcome to the newly updated 2013 Audio Console

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

Professional Audio in Production

INTERNA TIONAL EDITION

November Issue 2013

Jory MacKay, Audio Media

Allen & Heath

>>> MEET THE TEAM

> Deputy Editor

> Head of Design & Production

> Production Executive

AUDIO MEDIA (UK)

All Things EQual?

DiGiCos smallest live console, the SD11

The International Guide To Consoles 2013

ALLEN & HEATH

Avids new S3L system

LIKE LOVE, hate, and genius, classic is an

I think there are few if any

The SSL SL 4000E quickly

API, and Midas have all produced classics, as

A classic AMS Neve Capricorn installed at Skywalker Sound

them the studio desks of choice particularly

of time in SSL-equipped control rooms during

them being digital that are supposedly

Reliability and a solid support network make

maintain. He acknowledges many have a

control over the output

Everyone I know now seems

going out on the Boyzone 20th anniversary

ALLEN & HEATH

Great British Mixing

ALLEN & HEATH

ME PERSONAL MIXING SYSTEM

ILIVE DIGITAL MIXING SYSTEM

Allen & Heath Ltd. (HQ)

AMS NEVE LTD

Neve the Rolls Royce

Whether its our flagship analogue 88RS and

One of two Neve Genesys consoles in Tokyos Syn

mic amp control, and much more.

AMS NEVE LTD

The AMS Neve DFC Gemini at Alvernia Studios, Poland

every aspect of routing and monitoring no

the standard among the worlds premier

AMS NEVE Ltd

Avid: The Mixing

AVID S6MIXING REDEFINED

Avid S6 features a unique modular design, enabling you

Mixing in a recording studio or post facility has evolved tremendously

FROM WISH LIST TO REALITY

Sessions are growing more complex and are often subject to

Customize the surface

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

Revolutionary modular designScale the surface horizontally and

Superior ergonomicsFrom the multipoint touchscreen to top-lit

AVID S3LINNOVATION TAKES

TOMORROWS TECHNOLOGY TODAY

Power and portabilityWith its high-performance HDX-powered

The ultra-compact Avid S3L