30 TVBEurope Roundtable: OB Audio Mix NEWS INBRIEF
Matrox drivers for Adobe CS6 release Matrox Video Products Group has released support for the new Adobe Creative Suite 6 Production Premium software and Adobe Mercury Transmit with the Matrox MXO2 family of I/O devices and the Matrox Mojito MAX I/O card. The Matrox I/O products provide broadcast-quality video and audio input, output, and monitoring to enable traditional tape-based workflows including deck control for frame-accurate batch capture and print-to-tape. They let users encode H.264 files for delivery to the web, iPad, and iPhone up to five times faster than software alone, without sacrificing quality. In addition, MXO2 devices provide cross-platform Mac and Windows support.
www.matrox.com
Merging into Germany Merging Technologies has announced that from 1 June 2012, Digital Audio Service will assume distribution responsibilities for the German market. DAS has offices in Hamburg and Berlin as well as a retail shop in both locations and a significant online presence. The company is particularly well known in the post production and recording world but has strategic plans to diversify into live and installed sound. This change brings to an end a long and successful partnership with Audio Export Georg Neumann & Co based in Heilbronn.
www.merging.com
A Shure Warehouse Scottish company The Warehouse has become the first pro audio rental supplier in the UK to receive stock of the new Axient systems from Shure, the company’s latest generation of wireless microphone products. The Shure Axient Wireless Management System was announced in early 2011, and includes the ability to detect RF interference and automatically select another, interference-free frequency.
www.thewarehouse.com
Jenkins:We are about to
release new V5 software for C100 that enables Dual Operator Mode where a single console processor and I/O can be shared by two operators with independent control over PFL (Pre Fade Listen) etc. The second operator fader bays can be located away from the main console. Kenning: Software
addressable controls mean that is very easy for any manufacturer to add sub-mix capability either via a separate ‘mix on faders’ option on the
Simon Kenning, Roland: “Strongest innovations have been in processing power of discrete DSP and the capabilities of FPGA”
“It is simply not possible to have a single sound operator provide all the mixes (main 5.1, main stereo, PA, monitor and grams) required on a large TV show”Andrew Hills, Studer
main fader bank, easily configurable user layers, or to provide separate functional blocks of faders (usually groups of eight) and this trend will only grow.
TVBEurope: Do you favour layered GUI (graphical user interface)? If so, what do you think are the benefits? If not, what are your objections? Gordon: Yes, we have always
allowed layering and also user defined fader positions. The philosophy being anything wider than an arm’s width requires more movement to locate the channel than pushing a button to the layer. However, it does depend on what you are mixing. Our EX007 allows for the surface to be up to 100 faders, which makes for a big console, but lots of control. Hills: Layered interfaces should be avoided as far as possible and always for viewing and controlling major console parameters such as metering, faders, EQ, pans etc. Layering does not provide the operator
with a quick overview of what the console is doing — deadly in live to air operations. Kenning: Nobody would choose a layered GUI if it were possible to provide everything
on one screen without it being too cluttered, but the functionality possible in digital mixers is just too great to achieve without some layering and menus. One of the strengths
of the Roland products has been identifying the essential functions that require dedicated hardware controls, those that can be accessed via cursor movement but are required on the top layer and those less important functions that can be accessed by subsidiary screens. Krückels:We have limited space on screens, just the same as on our mixing console surfaces. Whenever it is required to show or access more than is possible on the available screen or surface, layering is the answer. Nowadays, mc²66 or mc²56 consoles can handle sport productions, just as easily as music recording or drama with timecode automation. The important part in mixing console specification is to decide what information or settings need to be available all the time. Nemes: I’m a big fan of
layered GUI because I can always bring up parameters that matter most in the moment and obey anything that I don’t need to for my specific task. Thus, my surface is always intuitive and clearly arranged.
Engineering training: Mics in the mix
SENNHEISER ANDNeumann microphones can form the front end of any audio mixing set up. The integration of its digital microphones with DiGiCo’s consoles was demonstrated at a series of digital training days, jointly organised by DiGiCo and Sennheiser UK, recently at Koolworld Studios in Luton. Hosted for the first time in the UK, the ‘Digi Days’, were designed to demonstrate to engineers from different sectors of the pro audio industry just how simply digital microphones can now be integrated into today’s audio systems. Microphones used included Neumann TLM 102 D large diaphragm condensers, KM D digital output stages fitted with a variety of
capsules and, the digital mic that started it all for Neumann, the D-01. From Sennheiser’s range of microphones various capsules from the 8000 series as well as a pair of MKH 800 Twins were employed, all connected to MZD 8000 digital output modules.
Sennheiser UK’s Sound Reinforcement Specialist, Dave Wooster, was on hand to show attendees from the BBC and BSkyB among others the benefits that digital microphones can offer. “The idea was to demonstrate, in a real world environment, two things,” states Wooster. “Firstly, how easily digital microphones can be incorporated into a modern working environment; secondly, and perhaps
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more importantly, just how good their performance is. The lowering of the overall noise floor is noticeable and, as a result of hosting the days, many engineers are now looking to see how they can incorporate digital microphones into their upcoming projects.” DiGiCo’s Tim Shaxson/Ian Staddon commented: “This was a great opportunity for DiGiCo to highlight the many advantages of its consoles, as well as for our two companies to show the true potential of an all digital system. We’ve had great feedback from the attendees and we’re delighted with the overall result.”
www.sennheiser.co.uk Melanie Dayasena-Lowe
www.tvbeurope.com June 2012
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