TECHNOLOGY: SHOWCASE { {
Midas PRO3 protects against failures
The Midas PRO3 Live Audio system is the entry-level member of Midas’ PRO series of desks.
Midas has attempted to eliminate all single points of failure with the PRO3. In addition to the back-up power supplies, the company has also implemented a series of protections which can be added to the console when the user requires them. At the heart of the PRO3 is the DL371 remote modular DSP engine. An optional
redundant, spare module can be configured with the engine to provide a failsafe solution should any issues occur with the operating engine. Any kind of hardware or
software failure will result in the redundant DSP switching from standby mode to operational mode. The automatic process takes around 8-10 seconds and brings the redundant DSP into action to prevent interuption to the console’s operation – this can prove
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vital in critical sound applications where there is no room for error. Interconnects are also
protected. When consoles were analogue, there would be up to 40 cables carrying the audio signal, now there is one fibre optic solution, which Midas provides backup for. A maximum audio network of 288 inputs and 288 outputs are available – these can be placed at up to 12 different locations throughout the building.
Completing the system are the VCA and POPulation groups, which allow users to navigate channels intuitively, without the hindrance of layers or pages or faders. The PRO3 benefits from the same comprehensive choice of effects and
dynamics processing as the PRO6 and XL8, including the XL8 compressor styles. Thanks to its modular design, the PRO3 can be easily upgraded utilising DSP engine additions that will transform it to PRO6 or PRO9 status.
www.midasconsoles.com
Roland M-300 is the compact solution
Versatile mixing desks are often called upon for small- to mid-sized applications, and having a portable digital console can mean multiple rooms benefit from a single mixing desk. Compact desks also work wonders for venues with limited setup area, as well as for mobile sound reinforcement. Roland has created a solution for such applications, with a console which takes technologies from its M-400 and M-380 V-Mixers. Available as a rackmount or desktop mixer, the M-300 has 32 mixing channels, eight aux busses and four matrices all packed into 9.8kg of desk. Usability is a key feature with this console: Scene memory allows for the channel parameters such as Gain, Pan, EQ and Dynamics to be saved and recalled following adjustments to desired settings through the Channel Edit section located on the left side of the display. Roland has implemented its
own REAC (Roland Ethernet Audio Communications) as the audio transport mechanism, allowing for a simple plug-and-play system that can be integrated with other REAC devices such as a REAC stage box – the
S4000S range, S-
1608 or S-0808 models. In addition, other modules can be connected as required, such as the S-MADI bidirectional MADI-to-REAC
www.installation-international.com } {}
Yamaha CL Series – the quest for natural sound
convertor, the R-1000 48-track recorder and the M-48 personal monitor/mixer. RS-232C and MIDI allow the console to be integrated with other systems control products. The scalable system can include analogue and digital (AES) inputs and outputs in variable configurations. The user-friendly interface can accommodate up to 80 inputs configurable to the aforementioned 32 channels, while free Remote Control Software (PC or Mac) – with iPad control due in the future – allows the user freedom to manage the desk when away from it.
This console also features physical inputs that are routable directly to physical outputs without assignment to a fader channel. Also, the addition of a network switch can create an infinite number of splits, for broadcast or remote location feeds.
www.rolandsystemsgroup.com
Yamaha’s CL Series is a scalable mixing solution that uses the Dante protocol to communicate with I/O boxes and other devices on the network. It comprises three consoles, the CL1, CL3 and CL5, ranging in capacity from 48 to 72 mono plus eight stereo inputs. All of them feature 16 DCAs and 24 mix/eight matrix output busses. Yamaha has devoted considerable
energy to ensuring that the CL Series delivers true sound quality. One key issue here is avoiding signal interference from various components in the console, such as the display or the power supply. To ensure that the D-A and A-D
converters perform to the required level, Yamaha has performed detailed spectral analysis of jitter in the system clock and has adjusted the FPGA clock signal routing. The result, according to the company, is a more natural, musical sound. Yamaha has also looked to provide engineers that use the console with a high degree of sonic shaping capabilities. The company enlisted the support of celebrated English electronics engineer and entrepreneur Rupert Neve to help design part of the series. Rupert Neve Designs has given its blessing to the
use of VCM (Virtual Circuitry Modelling) technology within the Premium Rack on the CL Series. VCM was developed by Toshi
Kunimoto and his team at Yamaha’s innovative ‘Dr K’s’ Lab. It is a circuit modelling concept that models in software the most detailed characteristics of individual circuit components, right down to capacitors and resistors – resulting in a more realistic simulation that is said to outclass conventional digital simulations. Neve’s company has recognised that VCM is the first technology to be able to accurately model the rich, expressive analogue sound that the company has championed for so long. The sonic shaping capabilities of the CL Series can be enhanced by means of the Premium Rack, which can mount eight dual mono or stereo EQ and/or compression units. The Premium Rack incorporates the Rupert Neve Designs Portico 5033 equaliser and Portico 5043 compressor limiter. These two units have an operational amplifier in common – this is a discrete op amp designed by Neve, further adding to the console’s sonic capabilities.
www.yamahaproaudio.com
August 2012 39
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