162 GUIDE - mixing consoles - digital
TASCAM | DM-4800
www.tascam.com
The Tascam DM-4800 is the ultimate digital console for professional users who demand a flexible, 64-channel mix platform that configures to fit their needs. A ‘fat channel’ strip in the centre of the board provides instant access to four band parametric EQ, dynamics and aux controls available for the first 48 channels. A total of 24 studio-grade mic preamps provide enough inputs for a live event, and more can be added using expansion cards with external preamps. The standard compliment of analogue and digital I/O is more than ample, and a completely configurable 24-buss routing system allows users to re-patch the board at the flick of a switch.
TOA | D-2000 SERIES
www.toa.eu
While the system’s table-mounted remote console unit boasts an exceptionally small footprint, the D-2000 can be expanded to comprise up to four rack processing units for a total of up to 128 audio inputs and outputs. CobraNet compatibility means the processing modules can be connected to a LAN for remote operation. The D-2000 also provides interfaces directly with AMX and Crestron control protocols so that it can be smoothly integrated into multimedia conferencing and presentation systems. In creating the perfect sound environment, TOA has incorporated auto-mixing features, highly effective feedback suppression and audio processing into the D-2000 series. A wide range of input, output and control modules is available for each rack-mount processing unit, including mono or stereo analogue microphone inputs, analogue and digital inputs and outputs, and VCA modules for connection to an optional VCA control unit. It comes with 32 preset memories for user convenience and an easy to use interactive graphical user interface (GUI). Because of its modular design, users are able to create a configuration suited to their specific needs. The 24-bus matrix allows an entirely flexible input-to-output signal routing for zoning or room combining as needed.
YAMAHA | PM5D
www.yamahacommercialaudio.com
The Yamaha PM5D large format digital mixing console remains as popular as ever with rental companies and is the first choice for many front of house and monitor engineers. Yamaha’s infamous reliability, coupled with an extremely versatile mixing system, means that it is suited to all mid-to-large sized productions and can be used with complete confidence at outdoor events. Available in two versions - the PM5D and PM5D-RH - the former features standard high-performance head amps, while the latter adds the capability to recall head amp gain settings along with the other scene data. Both feature 48 mono and four stereo inputs, 24 mix buses, two stereo outputs and eight matrix outputs as standard. I/O capacity and functionality can be doubled or tripled by adding one or two rack-mountable DSP5D digital mixing systems. With eight high-performance multi-effect processors and 12 graphic equalisers built in, Yamaha’s VCM (Virtual Circuit Modelling) effects offer impeccable simulations of classic signal processing gear. Both the PM5D and DSP5D feature expansion slots that accept a wide range of cards which allow I/O expansion in a variety of analogue and digital audio formats, as well as a range of digital networking options. Optimised for live sound applications, the PM5D has become the de rigeur monitor board on main festival stages, with 2011 seeing the highest ever number at work in a single summer season.
www.mondodr.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180