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TECHNOLOGY: SHOWCASE { }


Yamaha introduces small-to-medium solution


Boasting virtually all the features of the industry- leading CL series digital consoles in a very compact form, the Yamaha QL1 and QL5 are said to be ideal for small to medium-sized productions on their own, thanks to their onboard input/


output connections. However, in addition, onboard Dante networking means they can be seamlessly integrated into bigger systems with Yamaha’s CL series and R-series I/O units. And, with the availability of a new Port-to-Port facility, CL series consoles can have full


access to the QL’s onboard I/O, complete with Auto Gain Compensation, allowing very precisely scalable audio solutions to be created. With Dan Dugan auto-mixing provided onboard, QL consoles are said to be perfect for a wide range of live applications


– whether music- or speech-


based or a mixture of both. The company adds that, to ensure the D-A and A-D converters perform to the required level, it 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. www.yamahaproaudio.com


{ }{ }Stayin’ iLive DiGiCo’s Stealth Digital Processing


The iLive system from Allen & Heath incorporates remote features to address challenges faced by FOH systems operators, who don’t always have the best position in a performance space. Made up of six MixRacks and seven mixing surfaces, the iLive family is suitable for multiple applications, from theatres and HoW to live venues and broadcast applications. Apart from the inherent features of digital mixing consoles such as in-built DSP and I/O networking control interfaces, each iLive option is equipped with the same 64 x 32 RackExtra DSP mix engine and can process 64 input channels, 32 mixes and eight stereo FX. The differences between each MixRack are, in essence, the number of physical input (mic) and output sockets, while each individual surface is distinguishable


by the number of faders. The mix engine can be accessed and operated via an array of wireless networkable options. Smart devices such as iPads and iPhones as well as laptops and tablets can be connected to the system, and aspects of mixing and control of the surface component can be controlled over Allen & Heath’s iLive Editor software or the company’s smart apps: iLive Tweak and iLive MixPad. iLive Editor allows engineers to configure the system offline before the show, check and edit show files from guest engineers, and control the mix live.


Firmware and show files are all compatible throughout the range, making settings fully transferable.


Other features of the remote mixing system include the ability to tweak monitors on stage using a laptop while another engineer runs the FOH soundcheck from the surface. www.allen-heath.com


DiGiCo’s SD range is extensive and covers integration areas for live sound, broadcast and theatre applications. The SD9 and SD5 in particular have been designed for installation applications.


The SD5 is a 37-fader mixing desk laid out in banks of 12 with one master fader. It also incorporates three 15in full-colour TFT touchscreens for quicker access and multi-user applications. Other specs include two interactive dynamic metering displays (IDMs) as well as 124 processing channels at 48kHz/96kHz, 24 dynamic EQ processors, 56 configurable busses, and 24 x 24 output matrix.


DiGiCo describes its SD9 console as a super-flexible, complete integrated system. By comparison, this console features 13 fewer faders than the SD5 but comes in a lightweight system package. Application areas include theatres, conference centres,


houses of worship and schools. One TFT LCD screen is enough for this console. Other specs include 48 Flexi Channels (configurable as either mono or stereo) at 48kHz/96kHz – the equivalent of 96 channels of full DSP processing.


Both consoles incorporate Stealth Digital Processing and have an optional DiGiCo SoundGrid module which can be fitted to the console’s engines for full redundancy when linked to two external PC servers such as SoundGrids or DiGiGrids. With this addition, users have access to 16 integrated low-latency Waves stereo Multi Racks, each of which can have eight plug-ins per rack.


Using Stealth FPGA audio


processing enables DiGiCo to offer additional releases to existing users and so provide futureproofing upgrades. FPGA also allows DiGiCo to configure the console processing from start-up, meaning the company can provide software extensions for theatre and broadcast, offering the features and terminology for these specific applications. This enhances console flexibility as the owner can use the same hardware in different environments. A UB-MADI recording option offers users the ability to record and playback up to 48 channels using the MADI port located on the console, which can be connected to any USB2-compatible PC or Mac, allowing for multitrack archive recording or virtual soundchecks. www.digico.biz


{ } Cadac CDC four:m packs a punch


Drawing on the company’s history of designing large- scale live sound consoles, the CDC four:m from Cadac is a compact 19in rackmountable digital mixer designed for small to medium-sized installation applications.


CDC four:m features 16 mono mic/line inputs with Cadac’s mic preamplifier. Eight stereo inputs also feature, as does 96kHz/24- bit A-D conversion and signal processing throughout. Despite being an extremely compact mixer, there are options to enhance the console’s capabilities through


www.installation-international.com


input count expansion to 56 channels via the company’s MegaCOMMS card and a 32-in/16-out stagebox, which can be sited up to 150m away. The company says the console offers clean and transparent sound due to the attention paid to delay management. As with the flagship Cadac CDC eight, CDC four:m’s latency is deterministic and automatically managed. Latency is synchronised, so that all audio is phase coherent at all times. Further features boosting audio quality, according to


the company, include 16 fully phase-coherent mix busses, and digital emulation of the analogue Cadac J-type 4-band equaliser on every channel. The console also offers enhanced dynamics and FX processing, a 6 x 4 matrix – with 31-band graphic EQ, compressor/limiter and delay on all four channels, and 31-band graphic EQ on all Aux sends. An optional MC MADI interface, meanwhile, enables the console for multitrack recording.


www.cadac-sound.com May 2014 51


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