SMALL-FORMAT MIDAS
The Midas PRO1/PRO1 C is the manufacturer’s smallest-footprint consoles. It has a total of 27 sample-synchronous, phase-coherent mix busses which comprise 16 user-configurable buses (mixes, subgroups, or mix minus groups), and eight matrix busses. The matrix busses source from inputs as well as groups so can be used as eight additional aux mixes (monitor mix and FX sends) if desired, to provide a total of 24 mixes (plus L, R, and mono) for monitor mixing. All busses bar the mono one can be linked as stereo pairs. The PRO1 also benefits from up to 12 multi-channel FX engines, 28
Klark-Teknik DN370 31-band graphic EQs, and eight VCAs. PRO1 also features eight aux returns, all of which feature four-band Midas parametric EQ and insert points; these returns can be used as returns for the PRO1’s internal FX processors, or as additional mic channels, if sufficient mic inputs are available on the I/O hardware.
BEHRINGER
Behringer’s X32 is a 25-buss digital console with main LCR busses, six matrix busses, and 16 mix busses each featuring inserts, a six-band parametric EQ, and full dynamics processing, along with eight DCA and six mute groups.
Each channel has a compressor and four-band parametric EQ, and the X32 also boasts an on-board Virtual FX rack which features eight true-stereo (16 mono) FX slots; these include delays, choruses, and dynamics as well as high-end simulations such as the Lexicon 480L, PCM70, and EMT250; and the Quantec QRS. According to the manufacturer, the rack is also capable of running four production-quality, true-stereo reverbs concurrently with eight channels of 31-band graphic equalisation.
ALLEN & HEATH
Allen & Heath’s modular MixRacks form the heart of the manufacturer’s iLive digital mixing system. The iDR10 features a 64 input x 32 mix bus architecture with full processing on all input and mix channels, so you don’t need to allocate or share processing. The iDR-64 RackExtra module provides enough DSP for all the channel processing to be available all the time, together with eight stereo internal effects devices. Input processing includes hi-pass filter, noise gate, parametric EQ, compressor, limiter/de-esser, and delay. Mix processing includes both parametric and graphic EQ, compressor, limiter, and delay. The module is called RackExtra because it includes a virtual eight-slot rack, which can be loaded with up to eight additional processors from a library of many emulations of high-quality effects devices. The effects can add an extra eight ‘short returns’ complete with parametric EQ bringing the total number of sources feeding the mix to 72. The RackExtra includes a DynEQ4 dynamic EQ, which is a model of the industry-standard stereo four-band dynamic equaliser; MultiBD3 multiband compressor; MultiBD4 multiband compressor; SMR Live (Spatial Modelling Reverberator); 2Tap Delay; Gated Verb; and ADT Doubler.
Yamaha’s CL5 AVID
Avid’s new S3L console boasts 27 busses, eight matrices, and eight VCAs, plus the capacity for as many AAX plug-ins as one might want to run. There is processing on all outputs and busses – a first for Avid – and the S3L channel strip includes EQ, dynamics, filter, and gain effects. Standard AAX plug-ins include Dynamics III which features a
compressor/limiter, expander/gate, and de-esser; an EQ III which is a high-resolution, double-precision 48-bit EQ; Mod Delay III variable delay processing; the Pultec Bundle analogue EQ simulator of three classic designs; BF-2A, which emulates the LA-2A vintage tube compressor; BF-3A, a levelling amplifier for voice and instruments; the Purple Audio MC77 – a digital replica of the Purple Audio MC77 limiting amplifier; Reel Tape Saturation analogue tape colour, compression and saturation effects; and ReVibe, a high-quality room- modelling reverb.
YAMAHA
Each of Yamaha’s new CL Series consoles feature three Virtual Racks of processing: the GEQ rack, the Effect Rack; and the Premium Pac. The Premium Pack features Yamaha’s acclaimed VCM technology, one of the leading features on the CL consoles; there are six varieties of EQ and compressor including two from Rupert Neve Designs: the Portico 5033 EQ and Portico 5043 compressor. Rupert Neve himself worked with Yamaha on these. Other rack devices are thorough replicas of analogue equipment, even the non-linear stuff like Transformer Performance. The Effect Rack features eight units offering a choice of 46 ambient effects including the popular Rev-X, and in addition, there are eight types of insertion effects such as multiband compression and tape saturation. Yamaha has tuned many of these new reverbs specifically for live
applications so users don’t need to make many tweaks; the GEQ rack contains 16 units of GEQ and if you use Yamaha’s ‘Flex 15’ option, you can have bring that number up to 32 units of GEQ. Furthermore, some of the effects rack can be turned into GEQ if desired.
Avid’s new S3L system 6 November 2013
www.digico.biz www.soundcraft.com www.midasconsoles.com www.behringer.com www.allen-heath.com www.avid.com www.yamahaproaudio.com
The International Guide To Consoles 2013
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