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Audio consoles { }

Lawo broadcasts quality

With audio applications in fixed installation environments – such as theatres, concert halls, opera houses and trade fair control rooms – becoming more and more demanding, consoles that were originally developed with broadcast applications in mind can sometimes meet these venues’ evolving needs. According to Lawo, this is certainly the case for the mc2

66 console and its more compact sibling the mc2


which have found application in areas beyond the broadcast sphere.

The two consoles offer a wide range of customisation options and come in different frame sizes, with various DSP power and routing capacities as well as different redundancy levels. Attributes inherent to broadcast digital consoles, such as high channel count (the mc2

66 has 888), quality

DSP performance, high routing capacity and high levels of redundancy and reliability, when combined with dedicated features, provide these consoles with

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Simple operation for Roland’s M-480

Roland System Group’s flagship M-480 digital console incorporates a newly developed mixing engine, which provides a four-band fully parametric EQ, gate,

compressor, and delay on each input channel. It features 48 mixing channels plus six stereo returns for a total of 60 channels, six built-in stereo (dual-mono) multi-effects and

12 graphic EQs (switchable to 8-band PEQs). There are 214 possible patch points with 90 discrete outputs.

The level of processing power offered by the console, combined with its rich feature set, makes it applicable to a wide range of settings including live events, mobile production, broadcasting and installed sound. The console was the first in the company’s V-Mixer line to support a cascade

connection; this enables an expansion to 96 channels of mixing by connecting a second unit via Cat5e/6 cable. Ease of connectivity is a distinct feature of the console: it can be connected to Roland’s R-1000 recorder with a Cat5e/6 cable to easily record (or playback) up to 48 channels of 24-bit audio. The system can also connect via Ethernet to Roland M-48 personal monitors. Remote operation of the system is possible via USB connection to a PC. To provide familiarity and simplify user operation, the control software for remote operation has the same user interface as the built-in display and can also be used when the console is not connected, allowing offline

48 May 2014

set-up and pre-event system configuration.

The M-480’s intuitive control is proven through its use in numerous training applications. According to the company, the console is chosen because it enables engineers of all levels of competency and of any age to have a better understanding of digital mixing techniques and set-up, especially for education in the installation sector.

System expandability is facilitated by using REAC (Roland Ethernet Audio Communication). REAC offers an easy plug-and-play solution for venues that have constantly changing space configuration requirements.

the flexibility to work in a wide range of installed settings. The mc2

56 has five frame

sizes: 16 faders for smaller outside broadcast vehicles with up to 80 faders possible for more complex challenges. The console also features easy-to-reach user-buttons, a large trackball button, a touchscreen in the central GUI, and illuminated rotary knobs.

Both consoles are easy to understand and intuitive to operate, according to Lawo, and feature new Ravenna slot- in cards for IP networking. The mc266’s 888 DSP

channels and 144 summing busses offer maximum power, while top-quality signal processing ensures maximum precision. And for applications where speed is required, the mc266 uses an ‘assign at destination’ philosophy, which allows channels to be reassigned quickly and securely – something that can be critical in live situations. What’s more, the MKII Router is said to offer the highest possible level of reliability, with a fully integrated control system, 8,192 crosspoints and a design featuring a high level of redundancy.

Mixing consoles are at the heart of many sound reinforcement and live performance applications – shaping the sound and distributing it where it is needed. James McGrath discusses the features of some recent offerings

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New Soundcraft Vi has Dante interface

Soundcraft recently launched the latest model in the Vi series of digital mixing consoles. The self- contained Vi3000 is the first in the range to incorporate Harman Studer’s SpiderCore 96-channel DSP engine. Up to 48 mic inputs and 16 line outs are built in to the system, minimising the console’s footprint and allowing for simple installations at venues with existing infrastructure based on copper multicore. Designed for install,

corporate AV and live touring applications, the console features another first from Soundcraft: a built-in 64-channel Dante interface, which opens up options for direct recording/playback via Ethernet connection to PC- or Mac-based software. This feature also enables easy integration of the console into an existing Dante network.

Digital local I/O includes

four channels of AES/EBU in/ out, and two D21m double option card slots. There is the further option of connecting a 64-channel remote stagebox; in this case the configurable local I/O can be specified with 16 inputs and 48 outputs to maximise use of the console’s 24 mono/stereo busses, plus LRC master busses.

Features that will appeal to the corporate market include a post-fade insert option allowing the connection of external automixer units, and the triggering of duckers from a mix bus.

The console also

incorporates VM2, a feature that allows the display of battery, RF and mute status information from AKG wireless mics directly on the channel strips. In addition, the Vi3000 has an easy-to-use Vistonics touchscreen-driven surface and pristine 40-bit floating-point audio quality.

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