Current Issue : July - August 2021
Read/Download

OR

Flipbook

OR

To The FREE Digital Magazine And Newsletters

Articles May-June 2021

Pursuing the Pro Audio Trail

In conversation with Caroline Moss and Sue Gould

PT got in touch with the Pro AVL Asia magazine core team of Editor - Caroline Moss and Sales Director - Sue Gould, who between them boast of over three decades of experience in the pro audio industry..... read more

NJSM Marks a Milestone in the Business of Sound

From Rental Company to manufacturer and innovator, Nixon Johnny has guided and grown NJSM from a two-person company to a fifty-person company, continuing to expand into virtual events with NJSM Virtual Studio..... read more

Tech Savvy Environment for T-Systems

Eyte Technologies installs high-tech AV Solution at T-System’s Experience Center facilitating brand value and delivering superior customer experience..... read more

Conversations with SudeepAudio

Sudeep Audio, one of India’s first pro audio web store selling studio software and equipment online commenced its YouTube Channel, ConverSAtions, in 2011 to share the journey of Indian Sound Engineers..... read more


Show More

LIVE SOUND CONSOLES

Mixing it Up for the Live Stage


Part II of PALM technology’s focus on Live Consoles, lines-up some more noteworthy desks, most of which were launched in 2017-2018. This guide is primarily focused on mixing consoles used for live sound, which is literally the heart of every live performance. As such, it is a crucial piece of equipment that requires careful consideration, which is why we have updated this guide to showcase some new consoles in the market. Part I which presented consoles from other brands like Studer, Midas, Soundcraft and Digico was featured in the Jan-Feb 2018 edition of the magazine. Those of our readers who missed it can access it through the “product focus” section on palmtechnology.in

Yamaha Rivage PM7


The RIVAGE PM7 digital mixing system expands the digital mixing options available for an even broader range of applications. This system is based around the CSD-R7 Digital Mixing Console with built-in signal processing for mixing and effects. Other required components are one or more I/O racks for input and output, and a dedicated interface card for network connectivity. Also, its built-in DSP offers similarly high standards of operation and workflow efficiency in a relatively compact, portable system..

Main Features include:

• Yamaha offers two types of high-performance I/O Rack units for RIVAGE PM7 input and output, each providing compatibility with a different audio network.
• Fitted with RY-ML-SILK analog input cards the RPio622 and RPio222 I/O racks offer outstanding emulations of the transformer circuitry and SILK processing featured in microphone preamplifiers from Rupert Neve Designs, immaculately modeled using Yamaha VCM (Virtual Circuitry Modeling) technology.
• Through in-depth collaboration with Dan Dugan Sound Design, renowned Dan Dugan automatic microphone mixing with its advanced algorithms is built into the RIVAGE PM series digital mixing systems. Setup is easy: just insert the processor into up to 64 channels for automatically optimized microphone gain distribution.
• The Selected Channel section of the RIVAGE PM7 inherits the full-featured configuration of the RIVAGE PM10, providing direct, fast access to all channel parameters.
• The RIVAGE PM7 control surface features three groups of 12 faders to which channels can be assigned as required. The two leftmost fader groups work with large touch panel displays in the top panel, providing an enhanced version of the Catalogic operating environment..

Tech Specifications:

• Mixing Capacity
 Input Mixing Channels: 120mono
 Mix Buses: 60
 Matrices: 24 (Input to Matrix supported)
 Stereo Buses: 2
 Mono Buses: 1
 Cue Bus: 2
• Local Connectors  Analog Input: XLR 8
 Analog Output: XLR 8
 Expansion Slots: HY Slots 3 (CSD-R7) ; MY Slots 2 (CSD-R7)
 Digital In: AES/EBU 4
 Digital Out: AES/EBU 4
 GPI: IN (D-Sub) 8 (CSD-R7); Out (D-Sub) 8 (CSD-R7)
 Word Clock I/O: In / Out (CSD-R7)
 MIDI I/O: In / Out (CSD-R7)
 USB: File 4; 2 Track Rec/Play 1
 External Redundant PSU: Built-in dual power supply
 Ethernet: Yes
 Lamp: 4 (CSD-R7)

Allen & Heath GLD-112

GLD-112 is a larger version of the popular GLD-80 mixer, with an extra bank of 8 control strips, increasing the channel count to 28 fader strips in 4 layers.

GLD is a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. Plug n’ play I/O expanders make it easy to build systems with up to 48 mic inputs, supported by a full suite of apps, software and personal monitoring solutions.

GLD-112 provides 48 input processing channels, 8 stereo FX returns fed by the FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise.

Now in a new GLD Chrome Edition, with sleek new styling, Automatic Mic Mixing, new embedded plugin FX and new compressor models on all channels.

Main features include:

• Compact digital mixer with scalable, remote I/O
• Systems from 4 to 48 mics
• Easy to use, quick to access, analogue style interface
• dSNAKE Cat5 digital snake—up to 120m cable length
• 8.4 inch colour touchscreen for graphical view and setup
• 28 faders, 4 layers, 112 channel strips in a freely customizable layout
• 48 input channels into 30 assignable buses (Aux, Group, Matrix, Main, FX Send) into 20 mix outputs
• 8 stereo RackFX engines with dedicated ‘short’ returns with 4-band PEQ
• Full processing on all inputs including trim, polarity, HPF, insert, gate, 4-band PEQ, compressor and delay
• Full processing on all outputs including insert, PEQ, GEQ, compressor and delay
• Deep processing embedded plugins including GEQ and compressor models
• Automatic Mic Mixer with up to 44 microphone sources

Cadac CDC Seven-s

The Cadac CDC seven-s is the flagship console in Cadac’s digital lineup. The CDC seven-s is not only physically larger than its sister consoles, but it also has a greater channel count, with 128 input channels and a configurable bus count of 56. It shares the same operating system and feature set as its smaller siblings meaning that show files can run across all three.

Main features include:

• Classic Cadac Mic-pres
• Sub 0.4 millisecond latency from analogue inputs on stage to analogue outputs on stage
• Automatic latency management system
• 128 input channels
• 64 busses, 56 are assignable as Group, Stereo Group, Aux, Stereo Aux or Matrix
• Unique Cadac Monitor Mode
• Custom Fader Layers
• 4 band fully parametric EQ
• Extensive dynamics
• 16 VCA groups including ‘VCA unfold’ navigation
• 16 assignable buttons with OLED displays
• 16 stereo on-board effects
• 31 band graphic equaliser on all outputs as well as 4 band fully parametric EQ
• Compressor/limiter on all outputs
• Input and output delays
• Snapshot automation system with Cue Ripple and Cue Preview
• Dugan Automixer post fade Insert for Waves

Tech Specifications:

• Faders: 36 x 100mm motorized faders
• Screens: 2 x 23.5” 16:9 HD + 1 x 6.5” Touchscreens
• PSU: 1 x external 19” 2U rackmount PSU
• Channels: 128 with full processing
• Busses: 56 configurable in pairs as group/aux/st aux plus dedicated LCR, monitor LR, headphones LR and talkback
• Matrix: Up to 67 x 48 with full processing
• Outputs: Up to 192 (inc local I/O)
• Graphic EQ: 32 band +/-16 dB on all 55 outputs
• Internal FX: 16 high-resolution 96 kHz stereo effects processors
• Local IO: 8 x XLR Mic Inputs (inc 48 V, PAD and 1 dB gain steps), 8x XLR Balanced outputs, 4 x XLR AES/EBU inputs and 4 x XLR AES/EBU outputs
• Comms: 2 x Cadac MegaCOMMS

Audio Specification

• Sample Rate: 96 kHz
• Processing Delay: Sub 0.4 millisecond latency through complete signal chain
• Internal Processing: 40-bit floating point
• ADC/DAC: 24-bit
• Frequency Response: 20 Hz to 44 kHz + 0.5 / -1.5 dB
• THD+N: better than 0.005% @unity gain, 10 dB input at 1 kHz
• Channel Separation: better than 90 dB
• Residual Output Noise: < -90 dBu (20 Hz - 20 kHz)
• MIC EIN: < -127 dB with 200 Ohm source impedance
• Maximum Output: 21 dBu
• Dimensions: 1555.7mm wide x 766mm deep x 259.12mm height
• Weight: 60kgs / 132lbs (approx)

Avid VENUE S6L-24C

Avid has expanded their award-winning Avid VENUE S6L live sound family, with three new control surfaces, a new engine, and two new I/O racks—built on a unified technology platform.

The Venue S6L-24C is a 24-fader control surfaces from this extended family. It is designed as a replacement for, or more accurately an upgrade to, the hugely successful Venue Profile console.

Complete reuse of S6L control surface modules supports the workflows designed for the larger S6L-32D and 24D surfaces. S6L-24C is supported with every E6L engine and I/O rack.

Main features include:

• Do more with a single solution: The unified live sound platfom that offers 100% software, hardware, and show file compatibility and interoperability across the entire line. It’s also offers direct Waves and AAX plug-in control from the console to elevate mixes, and 128 tracks of built-in Pro Tools recording/playback with Virtual Soundcheck, saving hours of prep time. Plus, you get three years of 24x7 priority support to ensure the show always goes on.
• Meet any live sound challenge: Its modularity and unmatched flexibility make it easy to scale a system with your choice of five control surfaces, three engines, and four I/O racks.
• Mix and record high-quality audio: With its premium-grade architecture, audio engine, and high-performance preamps, it delivers incredible clarity, warmth, and presence throughout the signal path.
• Pump up performances with massive power: It combines two powerhouse technologies that work in concert together. With a state-of-the-art real-time processing engine and dedicated DSP plug-in processing, it gives unrivaled processing capabilities to handle an extraordinary number of channels—without the complication or stress.


Archives

×