Lawo has introduced its most compact, feature-filled all-in-one mixer to date: the mc² 36 audio production console.

The new mc² 36 illustrates Lawo’s desire to shrink the console footprint in every way possible, while continuing to up its feature set. The latest console in the successful mc² series of control surfaces not only adopts a large chunk of the range’s feature set, but Lawo insists that it also “completely redefines what a compact mixing console for theatre, houses of worship, corporate, live and broadcast audio applications must deliver”.

An all-in-one console at heart, the new mc² 36 is sleeker than its predecessor but boasts double the number of DSP channels, both at 48 kHz and 96 kHz. It delivers the same convenience as its larger siblings: all industry-standard audio inputs and outputs are built-in, with native IP connectivity at its centre.

Powered by Lawo’s latest generation of A__UHD Core software-defined processing technology, this console delivers all the flexibility offered by IP technology — but with intuitive tools that make setup and management as simple as possible.

The console is fully geared to handle any kind of remote application and provides easy deployment for on-site scenarios, including point-to-point connectivity for A__stage IP stageboxes.

The mc² 36’s automated mixing capabilities include an Automix function that can automatically adjust the Ievels of active and inactive microphones, while maintaining a constant, natural sounding ambient Ievel. This feature provides unique functionality especially in live productions with multiple presenters or performers.

Automix can be used for any signals, from mono and stereo to multiple surround channels to minimise background noise and crosstalk with reduced sound coloration.

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California State University, Chico has recently upgraded its facilities and installed a 24-channel ASP8024-HE mixing console from Audient.

Dann Sargent, Recording Arts program coordinator explained the setup. “We run 24/7 with two full studios, one mix/dub studio, two mix/edit suites and one electronic music studio, along with a mobile recording studio and live sound system(s). We work every acoustic environment you would want from dry booths to our new chamber concert hall.”

The new Audient desk has been installed in the dub studio, where Recording Arts students start their journey learning the rudiments of audio and signal flow. Sargent described it as a stepping stone: “This console better prepares students to confidently grow into working with more complex systems. It has many of the things you’d expect a console of this size would have. Bus matrix, in-line processing, 2-bus processing, full featured monitoring and foldback. I also like that it’s a large console, which allows multiple students to work at it and learn at the same time. And – it sounds great.”

After a painless install – “Once the console was in the room, it took us less than a day to get up and running” – initial reactions have been positive. “Everyone really enjoys it. It easy to teach and easy for students to learn the fundamentals of signal flow. Students love both the workflow and look of the console. The walnut trim is a really nice touch, as well.”

After nearly 30 years of educating students in music and audio recording, the focus of the Recording Arts program at Chico State remains strong: to build a solid foundation in the myriad of skills necessary to have a successful career in the music industry. “We’re always looking to grow and evolve along with our industry. As faculty, we’re engineers and musicians ourselves. We relish the opportunity to bring in new curriculum such as VR, Dolby Atmos, and the reintroduction of ambisonics into modern workflows.

“At the same time, we pride ourselves on the fact the students learn fundamental, lifelong audio skills that transcend consoles or DAWs. Delivery mediums will always change but great music needs great gear and great ears,” continued Sargent. “We’re looking forward to the ASP8024-HE serving our program for years. The true test for the longevity of a console is to put it in the hands of students!”

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In Beijing at the beginning of October, the largest NEXUS network ever built by the Berlin-based manufacturer Stage Tec was used to celebrate the 70th anniversary of the founding of the People’s Republic of China: 58 Base Devices, 12 STAR routers and 12 mixing consoles. A parade, procession and gala event were broadcast nationwide by CCTV. Worldwide distribution was handled by CGTN Global Television Network (formerly CCTV International).

“CCTV has been one of Stage Tec’s largest customers for audio consoles and NEXUS networks since 2007 and is very pleased with their reliability and redundancy capabilities, which are particularly important for live broadcasts,” said Zeng Dong, managing director of Stagetec Media Technology. “The audio quality and features of the mixing consoles are also convincing. And the possibilities offered by NEXUS in terms of network size and format conversion were clearly demonstrated at the celebrations marking China’s 70th anniversary.” 

For sound reinforcement and recording, a huge NEXUS network with three routers and 33 Base Devices as signal distributors was installed. The sounds of the various events were input via 592 TrueMatch microphone converters.

Powerful systems are needed for broadcasting major events, and the 12 consoles and I/O systems, which were distributed in four OB trucks and four sound studios, were well provisioned accordingly. Two UHD and one HD OB vans from CCTV were each equipped with two consoles: a 48-fader AURUS and a 12-fader ON AIR flex. The fourth OB truck belonged to the Communication University of China in Beijing, which had a 32-fader CRESCENDO console installed.

The OB trucks were also equipped with large NEXUS I/O systems. Both UHD OB vans were equipped with 224 microphone inputs and up to 704 AES67 streams. In all four OB vans, individual programme sections of the all-day events were mixed, recorded and forwarded to studios.

Further signal processing and broadcasting of the events took place in four CCTV sound studios, where Stage Tec mixing consoles and NEXUS networks are also installed. Two 56-fader AURUS consoles broadcast the evening gala event from a recording studio. In a second studio, a 40-fader AURUS mixed various different parts of the programme, which were then streamed. In the third studio, the events were mixed and recorded during the day by a CRESCENDO with 56 faders, which were then broadcast throughout China. The mixing and recording of selected programme sections for international distribution was handled by a 40-fader CRESCENDO in the fourth recording studio.

www.stagetec.com

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Solid State Logic (SSL) has announced the first preview of its ORIGIN analogue console at AES NY 2019.

As the latest in a long heritage of SSL studio mixing consoles, ORIGIN has traditional analogue studio workflow at its heart whilst providing the perfect partner for a modern DAW driven ‘hybrid’ production studio. According to the company, the traditional design looks back to the ‘origin’ of in-line consoles for signal flow inspiration, but blends cutting edge analogue developments to deliver a unique sonic signature that is “still unmistakably SSL”.

ORIGIN is a purely analogue, inline, dual channel design console with 16 buses, E Series EQ and the classic Bus Compressor. The new PureDrive mic pre inherits the clarity and purity of previous SSL Mic Pre designs, that can also switch character to a warm, harmonically rich and driven tone that varies with mic pre gain. The new mix bus and mix amp architecture delivers a low noise floor along with a large headroom for a summing bus, that retains the classic SSL sound while bringing the breadth and space of analogue summing to mixes. Balanced insert points per channel path, dedicated channel direct outputs, stem-ready 0dB fader bypass switches, and a new configurable centre section, make it an ideal way to add console workflow to a modern production studio.

“This really is the culmination of everything we have put into analogue console design over the past four decades,” said Niall Feldman, SSL director of new products. “ORIGIN is the studio console we would have created then, for the way we work today – it is quite simply a new analogue classic.”

“Music production is core to our origin at Solid State Logic,” added Nigel Beaumont, SSL managing director, “and it’s important we utilise this unique heritage to continue defining new products that are more accessible to the growing studio market. It allows us to deliver next generation consoles such as ORIGIN, with the right features at the right price point, and of course, with that unmistakable SSL sound.”

https://www.solidstatelogic.com/studio/origin

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TASCAM has launched the Model 16 all-in-one compact mixing studio, designed to take live multi-track recording to an affordable new level with the ease and feel of an analogue mixer, coupled with the recording quality of a modern digital recorder. 

The Model 16’s 14 inputs provide easy top panel access for microphones, line inputs, and instruments. Channels 1-8 feature premium XLR mic inputs utilising TASCAM’s Ultra-HDDA (High Definition Discrete Architecture) microphone preamplifiers with 48-volt Phantom power. This setup allows combinations of vocals, drums, mic’d instruments, and more to be connected along with direct output instruments such as keyboards, bass or acoustic guitar, multi-effects, electronic drums or any line sources.

Channels 9-10 and 11-12 feature a single XLR mic input, each with stereo 1/4” line inputs. Channels 13-14 feature a stereo RCA and mini jack input. Or, alternatively an external Bluetooth device can be connected to the Model 16’s wireless channel for controlling streaming audio volume via the Channel 13-14 fader control.

The internal 16 track multi-track recorder records WAV files (up to 48kHz/24-bit) directly to SD, SDHC and SDXC cards. Punch in/out is available for up to eight tracks simultaneously, a versatile feature for songwriters and solo artists alike.

The Model 16’s robust built-in USB Audio Interface can send/receive (16-in/14-out) audio data with up to 24-bit/48kHz recording quality — to and from a wide range of popular DAWs, including GarageBand and more. Via USB, external tracks can be summed to a single or stereo paired Model 16 fader to control custom or stereo sub-mixes for drums, vocals and more using one or two faders. 

Using the onboard channel Mode switch, each channel (or stereo paired channels) can independently select the input source to fit the recording or mixing environment or setup. The input source for each channel can be selectable as live, internal multi-track recorder (MTR), or USB for increased flexibility in signal path processing and workflow.

Each channel strip features 60MM faders ,a 1-knob compressor for inputs 1 through 8, 3-band EQ with a sweepable mid-range frequency and 100Hz Low-cut Filter (3-band only on channels 9 through 14). Model 16 has a built-in effects processor with selectable and editable effects (reverb, delay, chorus, flange).

Three AUX Outputs are offered on each channel for flexibility in monitoring and effects routing — MON 1 [pre], MON 2 [pre/post], and FX [post]. Selectable Mute, MAIN/SUB, and PFL switches are available on each input channel for versatile audio and signal routing options during recording or mixing.

Hi/Lo shelf and wide/narrow-Q semi-parametric EQs (for Main and Monitor outputs) provide additional tweaking options for dialling in the perfect final mix. MAIN Output via XLR balanced and SUB Output via TRS balanced connectors, 12-segment L-R paired LED Output Level Meters and a Stereo Headphone Output. The unit can also be rack mounted with an optional rack mount kit.

https://www.tascam.eu/en/model16.html

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Stage Tec is rejuvenating its mixing console product family and launching AVATUS, a fully IP-based console.

The AVATUS product launch was celebrated with selected customers and partners in the legendary Funkhaus on Nalepastraße in Berlin.

With AVATUS – a new mixing console interface based on IP technology – Stage Tec is relying on a completely new operating concept. Unlike previous consoles, there is no need for a centre control section. 12 colour-coded faders, two 21″ multi-touch displays, and 48 dual concentric encoders per unit can be combined to form sizes ranging from 12 to 96 faders. Modular, decentralised and yet freely configurable, users can access all parameters at any time.

The channel parameters’ colour coding guides the user through the console’s functions. On each multi-touch display, audio channels parameters can be controlled in a large detailed view and the monitoring functions or current status of audio channels can be called up.

Thanks to removable metering displays and ‘significantly reduced’ overall depth, AVATUS can also be used in smaller rooms and offers a clear view of what is happening on stage. With the remote control via an integrated browser application, the user has an additional tool, for example for setting up loudspeakers on or in front of the stage or to accompany the rehearsals directly from the auditorium. Via the RUI, the most important AVATUS parameters can be accessed with the same colour coding.

AVATUS’ audio signal processing employs an RMDQ DSP core built into the NEXUS Star Router. Embedded in the NEXUS network, AVATUS has access to all inputs and outputs and can manage all resources. 128 freely programmable summing buses and up to 800 DSP channels are available.

The scaling of the user interface has no influence on the number of channels or the functionality. In the latest release scene automation, Automixer and dynamic NEXUS labels have been implemented.

Designed for broadcast, theatre and live applications, AVATUS is already in use in the Prowa 2 and UHD1 OB vans of Swiss service provider tpc switzerland ag. Over the next few weeks, the IP console will be installed at other long-standing customers such as the Volksbühne and the Konzerthaus in Berlin and the Staatstheater Mainz.

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The live sound team for the Eurovision Song Contest 2019 – senior audio broadcast engineer Omer Barzilay (pictured above) and FoH engineer Eran Ben Zur – chose Waves plugins and the Waves eMotion LV1 live mixer to broadcast the sound of the competition to over 200 million viewers.

Broadcast from Expo Tel Aviv, May 14-18, Eurovision 2019 featured three live shows – two semi-finals and a Grand Final – held over three days, with 41 competitors, four hosts on stage, and numerous guest performers, and featuring an exclusive two-song live show by guest star Madonna.

“When it comes to broadcast, you are usually looking for system redundancy and backups; eMotion LV1 delivered just that,” said broadcast mix engineer Omer Barzilay. “It is a clear advantage to have a software-based system: we were able to easily create two identical systems with two Waves SoundGrid servers each, and we created even more backups on our personal laptops.

“One of the greatest advantages of using the LV1 is that I was able to mix most of the songs ahead of time,” Barzilay added. “I was mixing about a month and a half in advance of the show, at my studio, by routing all the stems that I received ahead of time from Pro Tools to eMotion LV1, creating all the automations and effects so they were ready for the show. Time is crucial when mixing so many different songs for such an immense musical event, and if I hadn’t used a software base mixer, I would never have been able to be prepared this way.

“During the show we routed all audio to the eMotion LV1 mixer and to a multi-track recording computer. We used the LV1 mixer’s A/B input to route the recorder back in, so we could continue mixing the show between takes. This was very fast, and as soon as a delegation finished their first take, we kept mixing it until the next one. We didn’t waste any time. The biggest advantage of the Waves eMotion LV1 is that you get to bring your studio with you to live events. Some of the plugins are effects I’ve been using for the last two decades!”

The FoH setup included two DiGiCo SD7 consoles with Waves MultiRack SoundGrid setups complementing each console, Waves SoundGrid Extreme Servers and touch screens to run Waves plugins, plus two DiGiGrid MGB audio interfaces and two Mac computers running Waves’ Tracks Live DAW for multi-track recording.

“For mixing the 41 delegations’ songs and the interim guest acts, and to ensure that it sounds as close as possible to the original tracks, each song had snapshots containing the changes of the vocal effects, the basic balance of the lead and backing vocals, and also the overall tracks,” explained Eran. “The Waves Primary Source Expander and the Scheps Omni Channel came in handy for processing each of the vocalist’s channels, followed by the Waves C6 Multiband Compressor on the vocal group for final shaping. I also used the Waves F6 Floating-Band Dynamic EQ on the playback group from the side chain/vocal group, to make sure that the vocals are in your face and up front, especially when the vocal was competing with a massive musical arrangement. I also used Waves’ H-Reverb Hybrid Reverb and H-Delay Hybrid Delay for vocal effects, the Waves Doubler for harmonizer, JJP Vocals for backing vocals, and the Waves/Abbey Road EMI TG12345 Channel Strip for special overdrive effects and parallel compression on lead vocalists. To complete the sonic picture, on the Master L/R, I slapped on the Waves SSL G-Master Buss Compressor followed by the L2 Ultramaximizer.

“Eurovision 2019 was a massive production in terms of scale and responsibility,” Eran concluded. “Waves tools enabled us to take on this challenge with the confidence and conviction that we will have a smooth ride.”

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Rising superstar Freya Ridings has recently completed her sold-out headline tour across the UK and Germany, accompanied by an Allen & Heath dLive mixing system on FoH.

The English singer-songwriter has been making great strides over the past year, from support shows with artists such as Tears for Fears and Lewis Capaldi to her own sold out headline tours.

“I was looking for a solution that provided flexibility while mixing and the processing power to really dig-in and shape the sources exactly how I wanted,” said FoH engineer Tim Morris. “A prospective monitor engineer for the tour suggested using dLive and after further feedback from AJ Sutherland (monitor tech for Gary Numan), I decided to give it a try.”

Supplied by Adlib, the FoH setup for the tour features a dLive S7000 – fitted with a Dante card for multi-track recording and virtual soundcheck – and a DM64 MixRack. A Waves V3 card is fitted to the S7000 in order to utilise Waves SoundGrid and additional plug-ins.

“dLive is perfect for pop music – for example, being able to add the Dyn8 multiband compressor on up to 64 channels and sculpt sounds together, is fantastic,” Morris added. “I use the Pitch-Doubler to thicken the vocals, especially during fuller arrangements, as it’s really useful to be able to ride it up in choruses to make sure Freya is always front and centre. That’s what people are there to see and hear after all! I’m also a fan of the Opto compressor, I use it in my main mix and it really helps glue things together, as well as keeping things in check during the louder moments of the set.

“I also really enjoy the PeakLimiter76, Transient Controller and 16VU (with parallel compression) on my drum groups. Similar to my studio-work, they let me dial in exactly how much punch is needed during particularly ‘dense’ mixes and allows me to really control moments of impact throughout the set. The Dual-Stage Valve preamp model is also great on DI sources, such as bass and guitar; it adds a bit of life to potentially flat sounding sources.”

This May will see the release of Ridings’ self-titled debut album, before returning to the UK over the summer and setting off on a full US tour in October with platinum recording artist, Hozier.

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Established in 1989, the Zentrum für Kunst und Medientechnologie | Center for Art and Media (ZKM) in Karlsruhe, Germany has recently installed a Lawo mc²56 mixing console in the Kubus at its Hertz Laboratory.

The ZKM Hertz Laboratory is dedicated to the performance and recording of experimental music and musical experimentation, including multichannel sound reinforcement. Its Kubus (Sound Cube) is specifically designed for audio projects using IP-based audio technology.

Currently, 51 loudspeakers are in use in the Kubus. Based on RAVENNA IP technology, the Lawo mc²56 audio production mixer replaces an outdated digital mixer that was no longer able to meet the demands of these ambitious tasks. With 32 faders and three DSP boards providing 144 fully equipped DSP channels, the mc²56 looks to bring artistic freedom to demanding productions and performances.

At the Hertz Laboratory, contemporary artistic/scientific concepts such as augmented reality in AR and VR applications, artificial intelligence, immersivity and sensor-supported environments are explored, alongside the use of artistic options in the electromagnetic field.

The new mc²56 console is equipped with 24 microphone inputs and 72 line outputs to fully exploit the potential of the complex Kubus immersive sound system. It also offers local inputs/outputs and four MADI ports, while a Lawo A__madi4 unit is used for the remote connection of two further MADI ports via RAVENNA.

“The console is self-sufficient in its routing, so we were able to eliminate the old audio router,” said Ludger Brümmer, instrumental and electroacoustic music composer and head of the Hertz Laboratory. “It was crucial for the decision that the mixing console for our Klangdom (Sound Dome, dedicated to sound spatialisation) could control and manage all output channels – our chamber orchestra performances often require 20 to 30 microphone channels. It also needed to be able to operate at 96kHz – even if this is rarely necessary, the Klangdom should at least be able to produce HD formats.”

Direct connection of the Lawo system to the facility’s Pyramix DAW allows control of the mixing console remotely via MIDI. Sound engineers can use this combination to control all microphone preamplifiers via touch display, and record directly via the core without a local console. The ZKM is also equipped with a fiber-optic infrastructure, allowing the Lawo Compact I/O unit that is also available to be flexibly positioned and used throughout the facility – so that, for example, signals can be taken from different locations for small events and mixed in the control room.

“Our musical and arts events sometimes involve up to 200 artists who perform their music and sound in two concert rooms,” Brümmer explained. “These events often last several hours, and present us with unpredictable challenges, especially as there is hardly any time for rehearsals before the concerts. The engineer at the mixing console must be able to react very quickly. Thanks to our experience with the hired consoles, we know that Lawo consoles can be operated quickly and intuitively, and react with lightning speed.”

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To celebrate its 40th anniversary, the Caves du Manoir in Martigny, Switzerland has renovated its technical infrastructure, choosing a DiGiCo SD12 plus D2-Rack – supplied by Tonspur AG – as the new Front of House console, as well as upgrading its existing Meyer Sound loudspeaker system.

Sacha Knezevic Rudaz, technical director of the caves – which have been used for cultural events of all kinds – said the technical choices were inspired by the Montreux Jazz Festival.

Rudaz has been part of the legendary Montreux Jazz Festival audio crew for many years, and had the chance to try out the SD12 during last year’s outing. Following a further long-term test, he decided that the SD12 would be the perfect successor for the Caves du Manoir’s ancient analogue console.

“Maybe I’m one of those hardcore DiGiCo fans, but have a look at what DiGiCo can do,” said Rudaz. “They can double the channel count within a single software update, even years after the release of a product; that’s not from this world! For me it was a logical step to get the SD12 into the Caves. The user interface means we can have two operators working on the console at the same time, and the fact that I have every important control on a dedicated knob or button is just great.”

At the grand re-opening last autumn with Swiss rock band The Young Gods, the audience, technicians, promoters and artists were just as excited about the upgrade of the venue as Rudaz.

“Everyone who has come to the Caves and used the console has commented on how pleased they are to be able to work on an industry standard desk,” Rudaz concluded. “We are proud to have such a strong heritage and equally proud that we have a technical infrastructure that not only brings us up to date, but equips us for the future.”

www.tonspur.ch

www.cavesdumanoir.ch

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