Consoles Guide 2015

THE
BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING
BUYERS GUIDE
A Special Promotional Publication From
Consoles
Guide 2015
Produced By:
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INTERNA TIONAL EDITION
CONTENTS
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>>> CONTENTS
THE
Welcome to the newly updated 2015

Audio Console Guide. At the heart of every
great studio or production, be it broadcast,
live, or post production, 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
Consoles
Guide 2015
Produced By:
In association with:
INTERNA TIONAL EDITION
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Mixing is an art form in itself, 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 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 guide comes into play. Within these pages
youll find information from some 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.
Simon Allen takes a look at how technological advancements and
changing requirements are bringing the broadcast, studio, and live
consoles markets closer together. In addition, FOH enginner Ben
Hammond looks at how mixing in a live setting differs from being
in the studio and considers the characteristics needed in a console in
each environment.
This, and the other Guides in the series (Monitors &
Headphones, Microphones, Live, Broadcast Audio, and DAWs &
Plug-ins) are Audio Media projects, designed to help you find your
way though the information explosion and find the product that suits
your needs. 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.
Console Convergence
An Engineers Guide
10
AMS Neve
12
Cadac
14
Calrec
16
DHD
18
LAWO
20
MANDOZZI
Joanne Ruddock, Managing editor
22
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DHD
27
AMS Neve
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CONSOLE TECHNOLOGY
Avids modular
S6 console
Come Together
Simon Allen considers how technological advances and changing requirements are narrowing the
boundaries between the broadcast, studio, and live audio console markets.
Taking a step back and looking at the audio
console market over the last few years, or even
just the last 12 months, not only shows how
things have changed, but the patterns and
trends that are coming together to form an
exciting future. Technological advances are, as
usual, driving these changes, but the business
side of the situation is changing in ways we
havent seen before in live, broadcast,
and studio.
GETTING TOUCHY
The modern world in which we live today is
over-run with touchscreen technology. This
UI has enabled accessing and controlling
technology to be so much more intuitive.
Console manufacturers have embraced this
with many consoles even having multiple
touchscreens. The major benefit is the
reduction in the amount of physical controls
that manufacturers need to include on any
mixer, as Calrecs Ian Cookson comments: On
a soft surface this allows multiple functions to
be accessed from the same screen depending on
how the surface has been arranged by the user.
This in turn provides greater power in a smaller
footprint, which is a fundamental consideration,
especially in the OB truck market.
Touchscreens have brought many other
advantages to digital consoles which werent as
feasible when solely using hardware controls.
For example, consoles such as the SSL Live are
based around multiple touchscreens to embrace
4
the flexibility within their customisable

software of layers and menus.
These benefits are common in each
market. Wolfgang Huber from Lawo gives the
example of the manufacturers radio console
crystalCLEAR, which is based completely on
touchscreen technology: You can adopt the
user surface not just to suit every individual
users needs even customising the surface
and showing only those parameters the user
needs for the task at hand, so the users are not
distracted and can concentrate on their work.
Touchscreens lead on to another trend:
remote control via tablets and smartphones. As
console manufacturers develop their software
for the touchscreen technology, it also maps
conveniently to other devices for remote control
possibilities. Some recent discussions that Ive
had with distributors show remote features are
now a must-have feature for many customers.
However, there is a potential improvement
in touchscreen technology that the
manufacturers are waiting for. Cookson
explains: In a live broadcast scenario the
engineer will be constantly watching the video
screens so faders and rotary controls have to be
physical so they can be used without looking at
them. The physical fader in this environment
is here to stay for the foreseeable future or until
the next generation of haptic feedback from
touchscreens makes it viable. The smartphone/
tablet market is putting a lot of effort into new
concepts, which could provide the solution.
MODERN ALTERNATIVES
As computer processing power gets better and
better, so do the abilities of DAWs and proaudio software. PCs and computers can handle
so much more, both in terms of multichannel
mixing and audio processing, which of course is
now of a much higher quality.
DAW controllers arent a new concept, but
the recent releases of Avids S6 and Yamaha
Nuage demonstrate how we can now see the
power of computing being able to handle
mixing to a higher level. Ive even seen older
C24s and Pro Controls finding new leases of
life as studios utilise them as cheaper options
for workflow enhancements.
Andrew Hingley from HHB
Communications comments that many of their
customers are considering the S6 and Nuage to
traditional consoles. Recently, Scrub, a division
of HHB installed an S6 at LipSync Post in
Soho, London. LipSync senior re-recording
mixer and music composer Rob Hughes adds:
When we came to update our desk in Studio
6, we wanted ultimate flexibility and integration
with our Pro Tools HDX system. Its a busy
room that needs to serve as a mix studio for
drama, short form, and documentaries, as well
as feeding work into our larger theatres and
handling re-versioning and deliverables.
SIMILARITIES ACROSS THE BOARD
From my own engineers point of view,
although there will always be differences
The International Guide To Consoles 2015
CONSOLE TECHNOLOGY
between the market extremes, todays

technology is bringing the sectors closer
together. Yes, there are many functions on a
broadcast console which you wouldnt need in a
live scenario, for example, but at the same time
manufacturers are bridging their technology
across the markets.
Huber highlights these growing similarities:
Here at Lawo we feel the demands of the
different markets coming closer and closer
together. We have noticed that more of our
mc broadcast consoles are being asked for in
the live market, especially theatre, opera houses,
and classical venues. If anything is paramount,
it is reliability and redundancy. Events are
becoming much larger, with more sponsors
that wont accept failure, and with shows and
concerts requiring increased DSP power all
broadcast features entering the live market.
Tom Graham, pro audio and pro mixing
segment marketing manager, Avid says:
We are witnessing that the actual needs
for these specific segments [broadcast, live,
and production] are becoming more aligned,
whereas in the past they were very different:
mixers in each of these genres are expected to
not just mix the show, song or film, but capture
the media, tag it, and utilise it to maximise
the experience for both artist and consumer.
To achieve that, our customers need a highly
integrated control surface that allows them to
build a system to their specific needs and that
can grow and keep up with the ever-changing
dynamics for each of these markets.
Its the live market where weve seen the
most cross-development of technologies.
Theres the similarities of reliability and
redundancy from the broadcast world, and
most digital live consoles now also offer a very
convenient method of multitrack recording
providing the virtual soundcheck feature that
larger tours and shows are often using.
The very high level of audio quality that is
now capable from modern PA systems has had
a chain reaction. Any audio processing from
modern digital mixers can go as far as reflecting
studio-level sound quality. Therefore were
now seeing better processing chains, which
include the same plug-ins and algorithms as
found in the studio. This is, of course, possible
by the increased processing power from todays
machines, even on very high channel counts.
THE SOFTWARE ERA
As consoles are now able to do so much
more in one unit, and traditional external
hardware is becoming less and less necessary,
manufacturers are really starting to come
together. Manufacturers of digital audio
processing, often from the studio market,
6
are now able to collaborate with the console

market, providing them with a larger audience
and a new angle of development.
Technologies such as plug-ins that run on
Avids Venue consoles, for example, just as
they might inside Pro Tools or Logic in the
studio, are just the beginning.
Today, probably the most notable
development of its kind is the Waves DiGiGrid
system, which opens up the suite of Waves
plug-ins in a hardware solution for simple
access via nearly any digital audio platform,
including consoles. To achieve this, Waves
joined forces with DiGiCo for its experience
in hardware processors. Then theres the latest
release from Universal Audio, which teamed up
with Soundcraft to develop Realtime Rack; a
similar solution for UAD plug-ins to be utilised
by modern digital consoles.
But this new era of collaboration in the proaudio world is even bringing together oncecompetitors within the console market itself,
such as the recent DiGiCo, Allen & Heath,
and Calrec merger. Although they will continue
to trade as separate brands, this is an exciting
time as the manufacturers know they can learn
from one another, even across markets.
LOOKING TO THE FUTURE
So what can we look out for in the future? To
be honest, its interesting what fed back to
me as the hot topic for future development. It
wasnt higher channel counts, or developments
in UI, or even better quality audio processing.
It was to take the advantages of these very
powerful digital audio systems and take them
to the next level of advanced audio networking.
Again we find ourselves turning to the
broadcast market for clues, as they are already
setting the wheels in motion.
Weve been able to send uncompressed
multichannel audio down very small
numbers of cables with industry standards
such as MADI connectivity for a few years
now. Following this was AoE (Audio over
Ethernet), with protocols such as Dante and
AVB. Dante is now a strong player and has
helped open such a large pool of benefits,
providing us with a tried and tested audio
network for anything from multi-room
scenarios, or just high channel counts between
many different devices. This years release of
the Vi3000 demonstrates Soundcrafts support
of this third-party protocol with the first ever
built-in Dante and MADI switchable port.
However, there are limits. AoE can only
travel up to 100m before a network switch
or termination is required. This limits the
possibilities of what we know as networking
today. Here comes AoIP (Audio over IP).
The CDC8-32 and CDC8-16 from Cadac
New industry standards are here: Ravenna

and AES67, as published by the Audio
Engineering Society (AES) and European
Broadcasting Union (EBU). Calrecs
Cookson comments: Its an exciting time
at the moment and we are very keen to see
the advancement of more open transport
technology. The ratification of AES67 is a
significant step forward in this respect.
Lawo too is very keen about the new IP
standards, as Huber continues: The future lies
in changing conventional workflows, as more
and more manufacturers join this standard
by adapting their products. Transfer of audio
and video signals will become easier and even
more efficient by using IP networks. Feeds are
uploaded to the IP Cloud and can be
collected anywhere as long as there is network
access. Another point is that the new standard
will protect investments as facilities and
mobile units can easily integrate systems of
different manufacturers.
Hingley can even see potential growth of
these IP-based networking solutions: Another
influence on future audio distribution is
the adoption of IP-based broadcast video
management. Its likely that new 4K video
facilities will be developed around IP-based
distribution, and audio distribution will be
largely managed by these systems.
Whichever market you are in; studio,
broadcast or live, there has been some very
powerful developments which we will wonder
what we ever did without. However, its this
new era of processing power, software, and
networked audio which marks a turning
point in the industries development. These
new platforms are opening up some new
opportunities for further growth in technology
and the business around it like weve never seen
before. These are very exciting times in the
world of pro-audio consoles.
www.allen-heath.com
www.avid.com
www.calrec.com
www.hhb.co.uk
www.lawo.com
www.solid-state-logic.com
The International Guide To Console 2015
AN ENGINEERS GUIDE
Pick and Mix

used to the much cheaper hire costs of a
digital console.
All of this makes taking an XL4 and racks
of gear an exclusive club for the really big boys.
As a result of this, we are limited in choice;
I cant take 10 different compressors out so
we need our live consoles to be as exible as
possible. A lot of digital consoles now offer
different dynamics modes again modelled
on the classics we are used to hearing. Many
consoles also now give you the choice of using
plug-ins this brings live and studio that
little bit closer together as you can spend time
auditioning in the studio, then bring that
setting on the road.
We need much more comprehensive EQs,
as in the live setting not only are we using EQ
to sweeten and shape the sound to something
we want to hear, but we are also a lot of the
time using the same EQ to problem solve
(i.e. reduce feedback or get rid of bleed). All
this being said, live console manufacturers
have the unenviable job of taking every tool
we may need, in the large quantities that we
need them, and squeezing them into one tiny
lightweight box that can stand a good
kicking, and costs less then one channel of a
studio console.
On tour with Deaf Havana and an Allen & Heath iLive-112
Ben Hammond, studio owner and FOH engineer for Saxon and
Deaf Havana, looks at how mixing in a live setting differs from the
studio, and considers the characteristics needed in a console for
each environment.
The main thing I look for in a live console is
speed. Studio consoles can afford themselves to
be complex and quirky, and this is often seen
as an endearing factor. With things like the
old Neve consoles, you need a degree in rocket
science to navigate the desk, but its worth
spending the time for the sound it delivers.
In the live theatre though, time is always of
the essence. Essentially we need a live console
to be able to provide the same complex routing
options (if not more), but we need to be able to
access them immediately. This makes software
menu architecture extremely important as I
often need to be able to set things up on the
y, but not be away from my main mix for
more then a few seconds.
Obviously, with the inception and huge
uptake of digital consoles in the live circuit,
8
we now expect to have everything on board.

Studio consoles of course do mostly one job,
and do it extremely well if you want a reverb
you will reach for a 480/RMX16, etc. With live
consoles, again for speed and also footprint,
we rely on one box that does it all. Most live
consoles will now offer you eight-plus different
FX processors that are accurately modelled on
the studio FX we have grown to love.
As I just mentioned, footprint is now a
huge factor to take into account. Production
managers have got used to a small, lightweight
digital desk that squeezes into a corner of the
truck/trailor, so they can now ll that extra
space with even more lights. Promoters have
got used to being able to half the size of FOH
and sell another 10 or 20 tickets, and on the
subject of more money, management have got
DECISIONS, DECISIONS
What should be on a venues checklist if theyre
looking to invest in a digital mixer?
The main thing I would take into account
is engineer opinion. The last thing you want
is for crew to hate your venue as you bought
one of only seven of that particular console
anywhere in the world. While you may now
be part of an exclusive club, having a console
no one knows will only cause problems. Look
at bands riders and look for the consoles that
are being requested the most. There is a reason
they are.
For an in-house console, I would look for
in-depth scene/recall settings. You will want
to be able to accept touring engineers show
les, while keeping routing and output settings
that are unique to your venue. A console
where a show le will work on all consoles that
company manufactures opens things up and
makes it more likely that touring engineers will
have a le for your console.
And lastly, something that your in-house
engineers know. There is nothing worse
then asking the house guy how to do
something on his console and having a blank
face look back at you.
AMS NEVE
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 postproduction facilities in London, Hollywood, Bollywood and beyond.
Whether its our flagship analogue 88RS and
digital DFC Gemini consoles, the compact
modular Genesys or our classic and modern
outboard units, 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 AND GENESYS BLACK
A hand-built expandable analogue recording
console with digital workstation control and a
base configuration starting under GB30,000,
Genesys puts Neve quality within reach
of the smaller studio. Building 40 years of
technical hertage, 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 Neve 1073 mic/line preamps,
16-channel DAW monitoring, hands-on
DAW control for Pro Tools, Logic, Nuendo
and more, eight auxiliary buses, eight group
buses, two main outputs, four effects returns,
comprehensive metering, 5.1 monitoring and
mixing, two cue mixes, and talkback services.
Motorised faders, Total Reset feature and
incredible Total Recall software
accelerate workflow.
Genesys can be expanded to 64 channels
in a straight or articulated frame, with options
including mastering-grade 192kHz A/D/D/A
converters with MADI, AES and FireWire
10
interfaces, digitally controlled analogue

EQ and dynamics, remote mic amp control,
and much more.
Genesys Black offers a totally integrated
solution for modern DAW-based studios. With
a dedicated DAW control section, incredible
digitally controlled analogue Neve processing
and digital connectivity within a world-class
Neve mixing console, the Genesys Black delivers
that extra edge to recordings and mixes.
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.
Recall and Encore Automation software

DAW control, stereo & 5.1 monitoring
and mixing
Six auxes, eight groups, two main outputs
Four effect returns, two cue mixes
Channel/Monitor path, 8-track and
2-track metering
Optional digitally-controlled analogue
Neve Classic 1084 and/or Neve 88RS
4-band EQ
Optional digitally-controlled analogue
Neve VCA Dynamics
Optional channel and monitor section
A/D/D/A conversion with MADI, AES
and FireWire interfaces
GENESYS BLACK
GENESYS
New ground-up Neve analogue design

Up to 64-faders/128 inputs
Neve 1073 transformer-coupled
microphone preamps on each channel
Motorised faders with Total Reset, Total
Total integration of modern studio

workflow
Up to 32-faders/64 inputs
Neve 1073 transformer-coupled
microphone preamps on each channel
Motorised faders with Total Reset and
AMS NEVE
Total Recall software

Dedicated DAW control section, with
DAW faders, Meters and Touch-display
Stereo & 5.1 monitoring and mixing
Six auxes, eight groups, two main outputs
Four effect returns, two cue mixes
Channel/Monitor path, 8-track and
2-track metering
Neve 88RS 4-band EQ & channel
A/D/D/A conversion with MADI, AES
and FireWire interfaces
Optional upgrade to digitally-controlled
analogue Neve Classic 1084 EQ and/or
Neve VCA Dynamics
Optional monitor section A/D/D/A
conversion
88RS
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
SP2 SCORING PANEL FOR 88RS

A specially designed film-scoring option for the
88RS, the SP2 Scoring Panel and stem-maker
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. 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 choose 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 must-have.
DFC GEMINI
www.audiomedia.com
ENCORE AUTOMATION
AMS Neves Encore automation system sets
the performance bar for automation systems
the world over. The latest version Encore2
v9.1, for USP (Ultra Scale Processor) systems
includes direct integration with Dolby Atmos
and Auro3D formats for single-pass multiformat surround mixing.
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
88RS
Designed for full surround from the
ground up
Motorised large and small faders
AFL surround solo monitor
PFL on each channel fader
Four main output faders, L/R, C, S, and
LS/RS
Acoustically optimised frame
Supplied with or without patch
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
the standard among the worlds premier motion
picture facilities.
The DFC Gemini is the first PostProduction tool to fully integrate the 3D
formats of Dolby Atmos and Auro3D.
These formats are hosted natively within the
DFC to provide the most efficient workflow for
multi-format surround mixing and multi-format
deliveries.
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, highresolution, DFC signal processing tower.
AMS Neves wealth of experience in
ergonomic design has created the most flexible
DFC GEMINI
TFT Meter display shows essential channel
and processing information at a glance,
including the incoming audio waveform
display
Powerful Encore2 automation system.
Off-line edit options offer complete session
preparation away from the mix stage
Neve EQ, Dynamics and filters
12 stem mixing with 192 tracks and up to
16 members per stem
New software suite imports Cut List
and Conform data directly from the
Picture Department files and allows
simplified editing
The most powerful monitoring facilities of
any large format console
With its unmistakable 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 highest fidelity
recordings.
Designed in consultation with top music
producers and recording engineers, it is equally
at home on film scoring sessions and (especially
with the addition of the SP2 Scoring Panel) and
it is the console of choice for all Hollywoods
major scoring stages Fox, Skywalker, Sony and
Warner.
surface in the industry designed to maximise

both controllability and feedback to the user.
The control surface provides rapid access
to every aspect of routing and monitoring
no matter how complex the mix. Channel
strips provide total control with the Logicator
controls, giving instant visual reference to each
parameter setting. Enhanced visual feedback is
provided by TFT metering displays, powered by
the AMS Neve proprietary ViewMix engine,
allowing you to see as well as hear and feel
your mix.
11
CADAC
CADAC: Intuitive, Elegant Engineering
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
including The Sex Pistols, Motorhead, 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 with artists as diverse as Pavarotti and
The Rolling Stones.
Now that digital audio consoles are reaching
maturity, many mix engineers and sound
designers are 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
CDC EIGHT
Cadacs digital flagship is the 128 input
channel, 64- bus CDC eight. Available in either
16 fader single screen or 32 fader dual-screen
formats with the option of a single screen 16
fader extender.
Based around a far less menu-dependent
operating system than other comparable digital
consoles with an exceptionally tactile and
intuitive user interface on 24 full-colour touch
screens, the CDC eight elevates the art of mixing
audio to the next level, and offers a unique,
genuinely engaging experience for the operator.
CDC eights remarkable sound quality is the
result of Cadacs legendary mic pre combined
with a time-aligned, phase-coherent mix bus
12
of their distinguished origins, which can be

traced back beyond the now-legendary J-type,
which itself is still in production after nearly
25 years, to those classic consoles of the golden
age of recording studios.
All Cadac digital consoles feature superb
quality mic pres, 24-bit, 96 kHz A-D
conversion, full-path 96 kHz processing,
and time-aligned, phase coherent summing
busses. 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.
architecture featuring sub-0.4 millisecond

latency from analogue inputs on stage through
all of the CDC eights processing to analogue
outputs on stage.
The CDC eight also features WAVES
plug-ins integration controlled from within
the consoles OS multiple languages for
user definable labelling, and Cadacs industry
leading show automation software, SAM.
The optional CDC MC Router enables
configuration of MegaCOMMS systems of
up to 3072 channels of 24-bit /96 kHz audio
which can comprise multiple I/O stageboxes
and CDC consoles and also CDC MC MADI
and MC Dante network bridges for third
-party integration.
CADAC
CDC MC ROUTER
The CDC MC Router provides the routing capability for Cadacs MegaCOMMS
network via 150 metres (496 feet) coaxial cable runs. The 2U unit has 12 MegaCOMMS
ports and can be configured to give up to 3072 channels of 24-bit/96 kHz audio within a
single audio network.
The MegaCOMMS router has a number of pre-set maps which can be selected by the
user and include the ability to connect four CDC consoles, to eight MegaCOMMS units
either stageboxes or network bridges within one network. Should any of the consoles
connected to the router adjust the input gain, the router will automatically compensate for
all of the other consoles connected. The latency for a CDC eight network by adding a CDC
Router only increases by an incredibly low 10 micro seconds.
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 128 channels of 96 kHz 24-bit audio down a single
robust high-speed 75 ohm coaxial cable for up to 150 metres (496 feet) and it will support
audio path redundancy. All Cadac stageboxes and network bridges feature MegaCOMMS
interfaces. The benefit of combining audio, control, and clock into one single network
simplifies connectivity, shortens set-up time and reduces investment in cabling infrastructure.
CDC FOUR:M
The CDC four:m 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 (496 feet) from the
console. CDC four:m features
class-leading 24-bit, 96 kHz conversion
and processing, time-aligned, phase
coherent mix busses, and digital
replication of the legendary Cadac J-type
four-band equaliser. Complete with
superb dynamics and FX processing,
6 x 4 matrix accessed by a clean,
easy-to-use interface with the minimum
of instruction and all housed in a rugged,
19 rack mountable frame. Remote
control of the console is made easy by
the TabMix iPad app.
INFORMATION
www.audiomedia.com
Cadac Holdings Ltd

1 New Street
Luton
Bedfordshire
LU1 5DX
UK
T: +44 1582 404202
UK Sales Manager:
Rob Hughes
rob@cadac-sound.com
US General Manager:
Paul Morini
paul@cadac-sound.com
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.
LIVE1 is the distillation of Cadacs expertise in analogue console design.
The LIVE1s diminutive but robust frame
(the LIVE 1642 is rack mountable)
contains superb mic pres, extremely
low-noise summing busses, 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, the
LIVE1 is a surprisingly affordable
Cadac console.
W: www.cadac-sound.com
13
CALREC AUDIO
Putting Sound in the Picture

Celebrating 50 years commitment to audio, Calrec manufactures audio mixing products exclusively
for broadcasters. Calrec is dedicated to excellence in audio for on-air and live production and has a
range of consoles relied on by the worlds most successful broadcasters.
The global transition to HD has been the most
radical change in the broadcast arena since the
move from black and white to colour.
TV output has changed, with more options
and more immersive content across sports and
entertainment. Second screen technologies
have changed the way we interact with our TV,
and viewers are more involved in the process of
TV than ever before.
Broadcast audio, with immersive 5.1 mixes
and the massive potential of object-based audio,
continues to play huge part in this. And as a
result, television viewers are demanding more

and more from their experience in the home.
Consequently, broadcasters are also
demanding more: more features, more
integration and more flexibility from their
audio equipment. Broadcasters continue to
push the boundaries, and in this fast-paced,
technologically progressive era, TV companies
want to ensure that their systems can
produce programmes efficiently and to these
demanding specifications.
For their audio systems to be able to achieve
SUMMA
Summa 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.
The Summa user interface is deliberately simple and straightforward to ensure that
Summas highly intuitive user interface is suitable for a broad range of operator levels.
Console control is via a 17-inch multitouch screen inspired by familiar tablet technology,
with a straightforward interface that uses established finger gestures to navigate the system.
Summa simplifies even complex workflow tasks, such as creating mix-minus feeds, with
common procedures that are just one tap away, while each channel strip has only the most
essential mechanical controls.
Summa has Calrecs award-winning Bluefin2
technology at its core, and the same integral
Hydra2 router technology as the Apollo and
Artemis consoles. Summa has a pool
of either 180 or 128 channel
processing paths and as with
all Calrec consoles, there is no
resource-sharing across the DSP, so all
facilities are available on all channels at all times.
14
this, consideration has to be given not only to

the console itself but also to the audio network
and how efficiently it can be controlled, how it
interacts with other equipment and how all this
data is managed.
Calrec has designed its range of consoles to
meet these demands.
AHEAD OF THE PACK
Throughout the last 50 years, Calrecs 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 2007 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 which
supports the use of third-party
control protocols.
CALREC AUDIO
THE NEXT GENERATION

The Apollo, Artemis and Summa consoles
all leverage the increased power of modern
FPGA technology, provide more digital
audio 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 Summa, the intuitive and
straightforward User Interface simplifies
tasks and speeds up workflow. This enhanced
flexibility and control allows consoles with
relatively few physical controls to drive a much
greater number of channels, busses
and outputs.
HYDRA2 A POWERFUL NETWORK FOR TOMORROWS PRODUCTION NEEDS

Hydra2 links the Apollo, Artemis and
Summa consoles to their integral crosspoint
routers, and on to more complex networks if
required. Offering 512 bi-directional signals
per copper or fibre connection, Hydra2 offers
true one-to-many routing and allows the
construction of large-scale audio distribution
networks with multiple control surfaces and
routers/processors.
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. Additionally, sources on
channel inputs and feeds to output ports
can be changed remotely 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.
INFORMATION
Calrec Audio
Nutclough Mill
Hebden Bridge
HX7 8EZ
UK
T: +44 1422 842159
Calrec America
26330 Diamond Place
Suite 120
Santa Clarita
CA 91350
USA
T: +1-661-877-9775
E: enquiries@calrec.com
W: www.calrec.com
www.audiomedia.com
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.
Calrecs front-end interface provides a robust
management layer which manages signals
and data across the whole Hydra2 network.
Increasingly there are demands for integration
with AOIP protocol standards and control
functions which incorporate third-party
controllers. Hydra2 is flexible and integrates
with standards such as AES67, AVB, Dante
and Ravenna to ensure that your equipment
is more than capable as the necessity becomes
more commonplace.
The scale of these developments means
that an interoperable future is inevitable and
this aspect of broadcast networking
is constantly evolving with protocol
development and manufacturer buy-in
continuing apace. It is vital that that
equipment manufacturers stay across
these developments. Networking technology
is on the brink of delivering unparalleled
audio and video integration to broadcasters
in many areas.
NETWORKS AND INTEROPERABILITY

Hydra2 facilitates a number of third-party
control protocols, and provides an interface
for transport protocols such as AVB, Ravenna,
AES67 and Dante.
The SW-P-08 protocol allows router
control from third-party router panels,
enabling 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, editing H2O I/O
box and port labels, viewing 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 third-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
SOLID YET FLEXIBLE

Calrec consoles still have the same excellent
reputation for reliability and on-air stability.
Unlike other consoles which claim redundant
features, Calrec provides on-line redundant
hardware for all critical systems as standard.
DSP, router, processing and PSU cards are all
hot pluggable and supplied with hot spares as
standard, and are all contained within a single,
lightweight, space saving, energy conscious 8U
or 4U rack.
Multiple control surfaces can also be
connected to the same rack to allow multiple
operators access to the same processing
resources. A separate submix can be created
in another location which feeds audio directly
into the same buss output as the main mix
without ever leaving the system. This gives
broadcasters increased flexibility without the
need for additional hardware.
15
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 COMPLETE NETWORK
CONTROL
All modules of a DHD system are connected
to each other with standard CAT cables. Just
one cable carries audio, control signals and
power for the modules. Audio signals are
16
connected via analogue or AES inputs, MADI,

or the 3G/HD SDI embedder/de-embedder.
In networked installations, Core modules
transport multi-channel audio (up to 512 audio
channels) between each other over fibre optics
connected to DHD Gigabit Audio Ports.
For Audio over IP the well-established
Dante technology is used. The 52/XC Dante
IP Audio Interface provides connectivity to
other Dante nodes (hardware or software)
on standard IP infrastructure. In the future,
the emerging AES67 standard will also be
supported on this platform.
Ethernet and IP are also used for many
other tasks. All configuration and monitoring
is done over the network and there are options
available to visualise the system status. Other
systems can be interfaced using the open DHD
Control Protocol or classic GPIOs.
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
turn-key system; but there are software options
to extend its functionality in larger set-ups.
52/SX. Compact
and good value
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 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/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
DHD
52/RX. Solid
hardware with
full features
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 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.
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.
AUDIO OVER IP BUILT IN

52/DX SMALL FOOTPRINT
DESKTOP MIXER
52/DX.
Small footprint
52/MX FULLY FLEXIBLE CONSOLE
www.audiomedia.com
FLEXIBLE SOFTWARE OPTIONS

Software plays a key role in all DHD
systems. For setup and configuration, the
Toolbox software is used. It also allows
you to create a project on your PC without
connected hardware. This is useful for project
development and troubleshooting.
The Remote Control Software package is
used to monitor and remote control a DHD
system. You also can design custom control
screens both for TFT touch displays and larger
status displays on standard monitors. Other
systems can be integrated using the open DHD
Control Protocol.
If you need advanced routing and switching
functions, you can run the Routing Software
INFORMATION
DHD Deubner Hoffmann

Digital GmbH
Haferkornstr. 5
04129 Leipzig, Germany
T: +49 341 5897020
F: +49 341 5897022
E: dhd@dhd-audio.com
Please find our international
sales contacts at
www.dhd-audio.com
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 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.
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.
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 Toolbox software used with the
52/MX system.
To run audio over standard IP networks,

we use the established Dante
technology from Audinate in the
52/XC Dante IP Audio Interface.
This module supports up to 48 input
and 48 output channels and connects
audio from DHD systems to other Dante
nodes. You can use it e.g. to interface
your playout system via the Dante Virtual
Soundcard instead of an expensive
hardware sound card. If you connect two
DHD Dante modules, you can create an
audio snake connection between two
or more DHD systems within a larger
facility. This gives you more flexibility for
signal routing, talkback and monitoring.
Also, in the future Dante will support
the AES-67 standard, giving you better
interoperability between devices of
different vendors.
52/MX. Fits your workflow
package. This application is used to control the

audio switcher and to visualise its operation.
It also provides sophisticated scheduling
functions for automatic operation.
All DHD software runs on standard
Windows PCs and also includes functions for
user management and backup.
17
LAWO
Lawo Network. Audio. Video.
With experience gathered over more than 40 years, Lawo is distinguished by its engineering and
manufacturing of most reliable and most advanced audio mixing consoles available. Originally
developed for broadcast environments with zero tolerance for failure, Lawo consoles are also widely
chosen for their audio quality in theatres, studios and live performance applications.
Thanks to its broad range of audio and video products, Lawo can offer every customer a suitable
solution for every task. Lawos virtual mixing desks and radio tools software help to streamline
workflows in self-op situations and its RAVENNA / AES67 enabled audio and video products allow for
efficient integration into IP network infrastructures. With Lawo, customers choose high reliability, great
ease of use and maximum functionality and Lawo quality, made 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 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: Lawo is 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 made Lawo
the first choice for the 2014 sports TV productions in Sochi and Brazil.
Plus cost saving remote production features like RAVENNA / AES67
compatibility and advanced networking options. These qualities
and the number of installations have made the mc series a standard
around the world.
mc66 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.
THE mc56
PERFORMANCE,
PURE AND 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).
18
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
mc36
EASY, VERSATILE, RELIABLE
The mc36 console is an all-in-one
production console with a comprehensive
feature set that covers broadcast, theatre,
house of worship, live and install
applications. Along with uncompromised
sound quality, Lawo-grade mic preamps
and AES67 compatibility, it offers
unprecedented value for money.
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.
Hot-plugging, status monitoring of all
components, or reconfiguration and
expansion of the system during run-time is
possible, even when on-air.
V_pro8 COMPACT VIDEO POWER

The V_pro8 is the perfect Swiss Army Knife
video processing tool, interconnecting signals
of different video formats, as well as between
audio and video, all in highest quality, using
either MADI or RAVENNA. User-friendly
operation via HTML5 web browser.
V_link4 THE ALL-IN-ONE
VIDEO-OVER-IP SOLUTION
If you need to transport Video-over-IP
in real-time, the new V__link4 is for
you. It includes everything from Video-over-IP
coding to various monitoring and
processing tools.
mxGUI THE PERFECT ON AND

OFFLINE SOFTWARE TOOL
The mc series is equipped with an
mxGUI user interface and control software,
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.
INFORMATION
Lawo AG (Headquarters)
Am Oberwald 8
76437 Rastatt
GERMANY
T: +49 7222 1002 0
E: info@lawo.com
W: www.lawo.com
Sales
T: +49 7222 1002 0
E: sales@lawo.com
For international sales contacts
please consult the Lawo website.
Online remote: operation, 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.
crystal COMPACT, INTUITIVE,

AUTOMAGIC
A cost-effective entry point into the Lawo
world of mixing, the new crystal brings
comprehensive out-of-the-box functionality
plus all of the flexibility and customisability
for which Lawo is renowned. The console
comes with the powerful touchscreenoptimized VisTool PC software.
Accompanying the crystal hardware
console is the introduction of Lawos fully
touchscreen-based crystalCLEAR virtual
radio mixing console, bringing the crystal
product line to applications where no
physical faders are needed.
V_line VIDEO BY LAWO

The Lawo V_line is designed for one purpose:
to provide tools that increase the flexibility of
any broadcast application while saving valuable
rack-space, set-up time and production costs.
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 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 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.
19
MANDOZZI ELETTRONICA SA
Copyright by Lugano Tourism
Intelligent Mixer and Router Systems

The engineers working for 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 realising custom
designed audio products
THE DIGITAL MIXERS GMIX

GMIX mixer at Swedish Radio
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
20
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
THE NEW SMALL DIGITAL MIXER CIMIX

The sensational new CiMix mixer offers the same features as the SERIX
mixers, but at a lower price and in smaller dimensions. The CiMix
concentrator occupies a 19 cabinet of only 1 RU. As with all Mandozzi
mixers, CiMix can be integrated into Mandozzis audio router concept.
CiMix is a precious tool for self operators and sound technicians who can
manage several interacting studios.
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
third-party 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.
[ ]
SOME MILESTONES OF MANDOZZI ELETTRONICA SA

Mandozzi Elettronica SA was founded in 1965. Due to its close
contacts with 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
www.audiomedia.com
21
PRESONUS AUDIO ELECTRONICS, INC.
StudioLive RM Systems
Active Integration Mixing
at your Fingertips
PreSonus StudioLive RM-series Active
Integration rack-mount digital mixers are
controlled with intuitive UC Surface software
for Mac, Windows, and iPad, which supports
Windows 8 touchscreens as well as iPad gestures
Based on the StudioLive AI-series mix engine and controlled with battle-ready UC Surface software
for Mac, Windows, and iOS, the StudioLive RM32AI and RM16AI 32-channel, 25-bus rack-mount
Active Integration digital mixers are scalable, compact, and 100 percent recallable.
Designed for live-sound mixing and studio
recording and controlled with powerful UC
Surface touch software for Mac, Windows,
and iOS, StudioLive RM-series rack-mount
digital mixers Active Integration technology
provides unrivalled sound quality, recallable
preamps, powerful DSP, direct Wi-Fi and
wired LAN communication, fast and intuitive
workflow, an onboard FireWire S800 interface,
and tightly integrated software, creating a
streamlined working environment.
Unlike most competing digital mixers,
there are no limitations or compromises,
no shared resources. All processing is
available at all times.
PreSonus offers two StudioLive RM
models. The RM32AI has 32 mic inputs
and 16 Mix outputs and mounts in four rack
spaces; the RM16AI has 16 mic inputs and
8 Mix outputs and mounts in three rack
spaces. Otherwise, the two are identical, with
32 internal channels and 25 buses; a 52x34
FireWire S800 recording interface; 96 kHz
operation; and extensive signal processing.
22
Need more channels? An

update will soon allow you to
cascade any two StudioLive
RM mixers so that they act
as a single, integrated mixing
system. Get up to 64 channels
for less than $4,000!
COMPLETE RECALLABLE
TOUCH CONTROL
When youre mixing a live
show, you dont have time
PreSonus StudioLive RM32AI and RM16AI 32-channel, 25-bus
to search for controls and
rack-mount Active Integration digital mixers are scalable and
meters, as you must do with 100 percent recallable and are controlled with powerful UC
most digital mixers. With
Surface software for Mac, Windows, and iPad
UC Surface remote-control
or with your iPad, or any combination.
software and StudioLive RM-series mixers,
To further enhance your workflow, you
every control you need to mix a show is
can assign Channel Types that set a default,
literally under your fingers because UC Surface
customisable channel name, along with a
supports iPad and Windows 8 touchscreens
channel icon for quick identification. Channel
(not included), taking full advantage of these
Types set up unique channel filters for your
intuitive multi-touch interface technologies.
presets, making it easy to find and audition
You can control your StudioLive RM mixer
Fat Channel settings designed specifically for
with your laptop, with or without touchscreen,
PRESONUS AUDIO ELECTRONICS, INC.
COMPLETE STORE AND RECALL

INSTANTLY
With UC Surface, its quick and easy to save
your StudioLive RM settings for quick setup
and recall unlike some digital mixers. Save and
name scenes that include every setting on the
mixer or save just the Fat Channel settings.
Copy-and-paste settings across multiple
channels and buses. Save individual DSP effects.
Eight user-assignable Quick Scenes allow you to
quickly create and recall a scene without having
to navigate the list of 99 available scenes and
giving it a name.
that Channel Type. They also automatically

create DCA Filters based on the Channel
Types, giving you a great starting point for
streamlined navigation and control of your mix.
ACTIVELY INTEGRATED SOFTWARE
In addition to UC Surface, the StudioLive
RM suite of free, integrated software includes
PreSonus Capture multitrack-recording
software and Studio One Artist DAW for Mac
and Windows, which make it easy to mix and
record a live performance and then take that
mix to the studio, complete with levels, pans,
and processing. QMix-AI aux-mix control for
iPhone/iPod touch is available free from the
Apple App Store. All of these applications are
designed to communicate with each other and
with the mixer.
You also get a Nimbit Free account to
market and sell your recordings, providing an
end-to-end solution.
www.audiomedia.com
THE SOUND IS PURE PRESONUS

Until now, recallable mic preamps meant using
a cheap integrated circuit that compromised
sound quality. StudioLives XMAX Class A
preamplifiers deliver more headroom, deeper
lows, smoother highs, and a richer overall sound
than the preamps found in competing mixers,
and we didnt want to change that, so we came
up with a separate digital volume-control circuit
ahead of the analogue preamp. Voila! Digital
recall of quality analogue mic preamps!
High-headroom, 32-bit floating-point
processing is used for all mixing. The BurrBrown digital converters on every input and
output are state-of-the art, with 118 dB
dynamic range. The StudioLive RM mixers
synchronisation to your computer is stable and
robust, thanks to JetPLL synchronisation
technology.
SOUNDS LIKE A WINNER!

This combination of intuitive, touchscreencapable control; fast workflow; high-end
audio; no-compromises signal processing; a
convenient, rackmount design; and tightly
integrated recording, computer control, and
wireless control sets PreSonus StudioLive RM
mixers apart. And it does so at an amazingly
low price.
For more information, visit www.presonus.
com/products/StudioLive-RM-Series
INFORMATION
PreSonus Audio Electronics

18011 Grand Bay Court
Baton Rouge
LA 70809
USA
Tel. +1-225-216-7887
www.presonus.com/products/
StudioLive-RM-Series
UC Surface makes it easy to work with saved,

named mix scenes (bottom left) and save and
load up to eight user-assignable Quick Scenes
(upper right). Note also the eight Mute Groups
(upper left)
Source Distribution
Unit 7 Pembroke Buildings
Cumberland House Business Park
London
NW10 6RE
UK
T: +44 020 8962 5080
www.sourcedistribution.co.uk
A GIGANTIC CONSOLE IN A
FEW RACK SPACES
Each StudioLive RM mixer channel and bus
has its own studio-grade compressor, limiter,
gate/expander, and 4-band parametric equalizer.
Each input channel, aux and FX bus also has a
highpass filter, and input channels have polarity
invert. It all is part of a remarkable processing
and routing section known as the Fat Channel.
You can even create two complete sets
of EQ and dynamics-processor settings for
every channel and bus, then make quick A/B
comparisons at the touch of a button in UC
Surface. Its like having two complete channel
strips on every input and output but simpler

and more efficient! You also get graphic EQ on
12 aux buses and the 3 main channels, with two
settings for each and an A/B option.
Add to that two 32-bit stereo effects engines
on dedicated buses, loaded with reverbs so rich
and detailed that you feel like youre there. Two
more dedicated buses are equipped with delay
effects that you can really use.
SAFE AND SECURE

Security features protect the entire system
in addition to whatever protection your
wireless router affords. UC Surface lets you set
permissions that determine which features can
be controlled from each iPad or laptop on the
network. You can completely block any device
from accessing the network, even if someone has
the router password.
NETWORKING AND RECORDING

MADE EASY
StudioLive RM mixers offer a USB 2.0 port
with a Wi-Fi LAN adapter, plus a standard
Ethernet port for control; you can connect to a
wireless router either way. Creating a wireless
network is easy: You never have to create an IP
address or enter a subnet mask, or even know
what those are. If youve ever connected your
computer, iPad, or iPhone to a wireless network,
you know how to connect your StudioLive RM
mixer to the network.
Every RM-series mixer sports a pair of
FireWire S800 ports that let you connect the
StudioLive RM mixer to a Mac or Windows
PC and record up to 52 streams and play back
up to 34 streams.
But you arent limited to FireWire and
standard Ethernet. The FireWire S800 and
Ethernet ports come preinstalled on a card that
can be replaced with optional Dante, AVB, or
Thunderbolt cards (coming soon) so you can use
the latest technology.
Designed for live mixing but also great in

the studio, battle-ready UC Surface software
for Mac, Windows, and iPad supports
touchscreens so every control you need to
mix a show is literally under your fingers.
Note the small meter bridge at the bottom;
wherever you are in UC Surface, you can
always monitor channel and main bus levels
23
DIRECTORY
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
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 QU,
iLive, and GLD series mixers.
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 Live and
ZMX Series of mixers.
www.altoproaudio.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 Genysys Black are just
two consoles that have epitomised the
pinnacle of AMS Neves award-winning
achievements over its 40 years.
www.ams-neve.com
APB-DYNASONICS
Designing and manufacturing its Spectra
series of analogue consoles in New 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
24
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
CALREC
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 Callisto and Apollo.
www.calrec.com
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 highquality consoles such as the Quantum
and Evo.Live.
www.fairlightau.com
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
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
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
AUDIO DEVELOPMENTS
A leading manufacturer of portable
audio mixers, Audio Developments has
been established for over 40 years and
has supplied mixers to every continent in
the world.
www.audio.co.uk
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
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-X,
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
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 largescale musicals, but have in previous
years been renowned for studio use. The
company specialises in live sound mixing
consoles such as the CDC Eight, CDC
Four, and Live 1.
www.cadac-sound.com
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 designed to 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
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
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 customercentric.
www.d-r.nl
EELA AUDIO
EELA has been developing products for
the radio broadcast industry for almost
40 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
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
FORMULA SOUND
Started by the Cockell husband-andwife 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
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 Eclipse.
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
DIRECTORY
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 along with the
recently launched mc236.
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 VLZ4 Series.
www.mackie.com
MANDOZZI
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
PHONIC CORPORATION
Phonic is a customer-centric company;
its mixers include the AM, Helix, and
Impact Series.
www.phonic.com
PRESONUS
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
RM16AI and RM32AI 32x16x3 digital
consoles.
www.presonus.com
PROFESSIONAL SOUND CORP
1986 was the year PSC was born, and
based in Valencia, US, 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
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 proaudio products.
www.ramiaudio.com
ROLAND SYSTEMS GROUP
Roland Systems Group is a forwardlooking 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 are the M-480 and M-200i live
mixing consoles.
www.rolandsystemsgroup.co.uk
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
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
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
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
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
SEEMIX SOUND
Seemix is a Norwegian company
founded in 2001, whose offerings
include the Seeport and Seelect mixer.
www.seemix.no
26
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
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 and SSL Live.L300.
www.solid-state-logic.com
SONIFEX
Sonifex began as a family company back
in 1969. Today it 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
SOUNDCRAFT
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
STAGETEC
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
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, DM4800, 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 Toneluxs range of audio gear,
including the 3, 4, 5, and 6 rack consoles
and the Tonelux Universal Console
Series.
www.tonelux.com
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
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 a variety
of mixers including the CL and QL
series and PM5D.
www.yamahaproaudio.com
STUDIOMASTER
Milton Keynes, UK-based
Studiomasters range of mixers and
powered mixers includes the C2,
C3, and C6 families. In addition,
the Horizon series of powered or
unpowered consoles are available in 12
or 20 inputs
www.studiomaster.com

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THE

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

INTERNA TIONAL EDITION

Sign up for your digital AM at www.audiomedia.com

Welcome to the newly updated 2015

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

INTERNA TIONAL EDITION

Joanne Ruddock, Managing editor

>>> MEET THE TEAM

> Commercial Director

> Managing Editor

> Production Executive

AUDIO MEDIA (UK)

the flexibility within their customisable

between the market extremes, todays

are now able to collaborate with the console

The CDC8-32 and CDC8-16 from Cadac

New industry standards are here: Ravenna

Pick and Mix

On tour with Deaf Havana and an Allen & Heath iLive-112

we now expect to have everything on board.

Neve The Rolls Royce of Consoles

interfaces, digitally controlled analogue

Recall and Encore Automation software

New ground-up Neve analogue design

Total integration of modern studio

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Total Recall software

Enhanced S channel strip

SP2 SCORING PANEL FOR 88RS

AMS NEVE Ltd

DFC Gemini is by far the most accomplished

With its unmistakable Neve qualities of

surface in the industry designed to maximise

CADAC: Intuitive, Elegant Engineering

Although Cadac has been designing and manufacturing some of the

found favour with many touring artistes who

of their distinguished origins, which can be

architecture featuring sub-0.4 millisecond

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Cadac Holdings Ltd

Putting Sound in the Picture

result, television viewers are demanding more

this, consideration has to be given not only to

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THE NEXT GENERATION

HYDRA2 A POWERFUL NETWORK FOR TOMORROWS PRODUCTION NEEDS

control for paths on faders, routing to auxes

NETWORKS AND INTEROPERABILITY

SOLID YET FLEXIBLE

connected via analogue or AES inputs, MADI,

The console desk consists of a central control

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hardware base for your studio. If necessary,

Signal flows, audio processing, control

AUDIO OVER IP BUILT IN

52/MX FULLY FLEXIBLE CONSOLE

FLEXIBLE SOFTWARE OPTIONS

DHD Deubner Hoffmann

The 52/MX is the flagship console of the

The 52/DX can be used as a full, stand-alone

To run audio over standard IP networks,

52/MX. Fits your workflow

package. This application is used to control the