Operated by award-winning music composer and sound designer Khaled Hamdy, Dubai-based Khaled Hamdy Audio Productions has taken receipt of a Roland R-88 multitrack recorder.

Supplied by regional distributor Nicolas Kyvernitis Electronics Enterprises (NMK), the purchase was made following a demonstration by NMK Roland specialist, Moswain Antao.

The R-88 is intended for location sound recording, and includes an onboard mixer, time code support and slate tone/mic for memos. It can deliver a stereo mix or individual channel outputs for embedding into a SDI feed or for other purposes. It also features professional AES/EBU digital I/O. Beyond field applications the R-88 is suited to postproduction environments featuring a built-in 10-input/8-output USB audio interface for multichannel recording.

‘The R-88 has eight channels of audio inputs and output, making it the perfect choice for surround-sound recording and film production,’ says Moswain Antao, Roland Product Specialist at NMK. ‘It surely is an ideal all-in-one tool for any audio engineer.’

More: www.nmkelectronics.com

Launched at the NAB Show, the SD7B has the routing capacity, processing ability and user interface required for complex broadcast audio productions.

It will handle up to 996 simultaneous optical plus 224 Madi, 24 analogue and AES/EBU connections, along with 128 buses (with full processing, each of which can be selected as mono, stereo, LCR or 5.1), 32 matrix buses and 32, 32-band graphic equalisers. It can run two high-speed Optocore loops, with any combination of 448 inputs and outputs on each loop and all at 96KHz, while the local I/O connections are ideal for fast outside broadcast setup before setting up the racks.

Up to 256 processing channels are available, in any combination of input channels, auxes, group and solo buses, plus mix minus buses and auxiliary/group buses. Complementing these are 36 Control Groups (VCA style). Backstop PFL is available on every channel, while 256 dynamic EQ processors are available on any input or output on each band of EQ, as are 256 multiband compressors, also available on any input or output.

Forty-eight simultaneous internal Stealth digital effects, from a palette of 33, are also provided. All are fully automatable, enabling user-set parameters to be stored as individual presets which can then be triggered from within snapshots. These are expandable via the optional Waves SoundGrid with broadcast-specific effects and processing available. These complement the huge range of plug-ins already available for recording and live music applications and open up a whole new world of possibilities.

If recording of the master with all internal and Waves effects together is needed, DiGiCo’s Madi-based multitrack recording I/O makes it straightforward.

Multiple operator use of the SD7B is made easy by the provision of three 15-inch TFT LCD touchscreens, each of which sits above a bank of 12 faders, while adding two EX-007 Expander Units takes the active physical fader count to 100 without any need to access input channel banks. The screens are complemented by Interactive Dynamic Metering, which brings a new dimension to displaying signal levels.

The SD7B is fully compatible with DiGiCo’s SD-Rack and D-Rack.

Based on the same Stealth FPGA technology as the SD7B, the SD-Rack offers multiple synchronous I/O and up to 448 physical I/Os on a redundant loop at 96kHz. Versatile sample rate conversion means that while the SD7B provides 256 processing paths of 96kHz I/O, you can also select other sample rate options for specific outputs – Madi at 48kHz, for example.

In conjunction with the SD7B, the SD-Rack serves as a multi-sample rate signal splitter that also allows the ultra smooth DiGiCo microphone preamps to replace the standard mic preamps of an analogue or other digital console. DiGiCo HD-SDI cards also allow the user to de-embed and re-embed any combination of up to four of the available eight AES3-compatible streams per I/O module

Also available with the SD-Rack is Gain Tracking and splitting, which allows another console to take any of an SD-Rack’s AES, analogue or Madi stream outputs at a stable output level, irrespective of the microphone preamp settings on the SD7B, covering a signal level range of ±40dB. As well as supporting multiple sample rates, SD-Rack allows these to be Gain Tracked, so that even if the SD7B is connected to a non-DiGiCo console, the feed will be unchanged regardless of the gain settings of the preamp.

The latest I/O card options include an eight in/eight out Dante (Audinate) module, allowing the SD7B to be fully integrated into networked audio systems via a Cat-5 cable. Remote setup and monitoring of all SD-Rack settings can be performed with a PC or Apple Macintosh, via the SD-Rack’s USB port feature.

The D-Rack is a compact I/O rack option, for when I/O requirements may be divided between multiple I/O locations. With its fixed architecture and optical I/O running at 96kHz, it is a cost-effective partner for a main SD-Rack.

More: www.digico.org

Linear Acoustic has released two upmixing processors – the Upmax II Reference Upmixer and Upmax 5.1 Channel Upmixer.

Creating consistent, high-quality broadcast audio increasingly requires more than stereo programmes reproduced from the left and right channels of a 5.1-channel system. Linear Acoustic’s Upmax and Upmax II creating a 5.1-channel signal from a stereo source, with the Upmax II allowing user control over the soundfield, while the 1U-high Upmax provides cost-effective, space-efficient upmixing. Both produce fully downmix-compatible left, right, centre, stereo surround, and LFE channels from the two-channel main input.

The new Upmax II algorithm produces a very stable 5.1-channel version of two-channel inputs. Audio elements are extracted using frequency domain filtering and time domain amplitude techniques. The bass enhancement signal for the LFE channel is derived from the left, centre and right channels, allowing quick creation of subwoofer channel elements without compromising full-range consumer playback systems. The surround field can be infinitely adjusted via the Centre Channel Width control and the Surround Channel Depth controls. This allows programming ranging from simple stereo to LtRt to be appropriately reproduced from a 5.1-channel playback system.

Upmax II accepts three AES pairs of audio – it will upmix the first pair, and passes all three pairs via a crossfade when upmixing is disabled. This allows the unit to remain in a 5.1-channel path. Upmixing and bypass can be controlled by GPI contact closure and applied metadata. Upmax II also includes a utility encoder that accepts 5.1 channels and produces a two-channel LoRo, LtRt, or LtRt2 output; this encoder can be independent or it can be fed by the same channels applied to the upmixer.

Optional HD/SD-SDI I/O is available, allowing access to all 16 embedded audio channels. Audio can be processed or passed without modification from any embedded input pair to any embedded output pair, allowing utility channel pair shuffling.

Based on the original Upmax 2251, the Upmax offers a stable and trusted algorithm in a cost- and space-efficient package, perfect for remote OB trucks. The upmixed output is completely downmix compatible; the downmixed result is nearly indistinguishable from the original two-channel input. Upmixing can be controlled via the front panel, GPI inputs, or metadata from serial or VANC (SDI) sources applied to the unit. A bright LED display, rotary encoder, and four control keys provide straightforward menu navigation and function adjustment. Dual redundant auto-ranging power supplies are standard. Bypass relays are provided for trouble-free operation in transmission critical environments.

Upmax also includes a utility encoder that accepts 5.1 channels and produces a two-channel LoRo or LtRt output. This encoder can be independent or it can be fed by the same channels applied to the upmixer.

Optional HD/SD-SDI I/O is available, allowing access to all 16 embedded audio channels. Audio can be processed or passed without modification from any embedded input pair to any embedded output pair, allowing utility channel pair shuffling.

More: www.linearacoustic.com

Digital audio and video equipment specialist Mutec is shipping its MC-6 digital stereo audio format and four-channel sample-rate converter. It is intended for interfacing in applications ranging from small studio set-ups up to broadcast installations.

The MC-6 enables to interconnect digital audio devices without the need for further clocking solutions. Conversions can be made between AES3, AES3id and SPDIF, with clock rates of up to 192kHz, both uni- and bidirectionally.

Every format is supported with dedicated inputs and outputs, including optical and coaxial interfaces for SPDIF. The internal, ultra low-jitter clock base in combination with two audiophil-optimised PLL synthesisers, secure best sound quality in all operation modes.

If a nonsynchronous device is to be integrated into a digital studio set-up, the SRC section can be quickly switched into the data stream to supply synchronised output signals. In conclusion, 26 different conversion modes between the four interface standards involved as well as various clocking options ensure that the MC-6 will handle any conversion issue in every studio environment.

Features include: AES/EBU, AES/EBUid and SPDIF interfaces in one box; format and sample-rate conversion from 32kHz to 192kHz; four-channel SRC engine for bidirectional conversion; AES11, Grade 1, internal reference clock (0.5ppm); and an international power supply.

Intended applications include: interconnection of consumer and professional digital audio devices; AES3, AES3id and SPDIF format and sample-rate conversion; upsampling and jitter elimination for DA conversions; clock recovery and signal regeneration.

More: www.mutec-net.de

The release introduces new features and options that significantly expand the capability of the C10 HD.

• C-Play, which integrates a professional audio playout system into the console surface, delivering integrated recall of playlists with console projects and a competitive price benefit. Compatibility with external studio systems is also enhanced.
• Version 4 includes integration with Mosart Medialab Newscast Automation. Mosart is one of the world’s leading production automation systems and adds to existing support for Sony ELC and Ross Overdrive.
• Full duplex connectivity with Reidel RockNet Audio Networks (including remote preamp control and compatibility with their Independent Gain System) expands compatibility with installed audio networks.
• Audio Follow Video capabilities are also enhanced with independently programmable ramp on/off fade times.

Version 3 also introduces Loop Redundancy Mode for the SSL Morse Stagebox and the new Alpha-Link Live-R Madi I/O unit. Building on the success of the Alpha-Link Live low-cost console I/O unit, the new Alpha-Link Live-R unit adds a set of Redundant Madi optical fiber connections to the existing Alpha-Link Live low cost console I/O unit. The new Loop Redundancy Mode reduces the number of cables required for redundant fibre system installation and doubles the amount of audio signals that can be passed between the C10/C100 and the modular B-RIO I/O Unit.

Version 3 also brings several surround production additions. The 5.1 Foldown system adds user adjustable individual centre, rear (LS and RS) and LFE gain setting, an overall stereo output level trim and a new M-3/M-6 mono fold-down option. A new 5.1 BLITS Tone Ident generator routes to all 5.1 format PGM, ASG, Channel and Utility Buses.

Additional significant features include an Automatic Mix Minus Off-air Confidence Cue and Conference Mix option that improves communications in fast paced talk show environments. Gate/Expander and Program Delay options to enhance the C10’s flexibility to precisely re-time audio in applications that introduce video processing delays.

V3 Software for C10 HD is due for release in June 2011.

More: www.solidstatelogic.com

A stand-alone dedicated recorder/player designed to work with the V-Mixing System in live event or production applications, the R-1000 can be connected with any digital console that has Madi output capabilities by using the Roland S-Madi REAC Madi Bridge.

For live event use, the R-1000 records to 48 audio channels as separate broadcast wave files ready to open in a DAW of choice. As a playback device, it can be used in live events to play back selected channels, to augment a live performance or as a multichannel playback deck in a theatre or amusement park application.

Two units can be sinked together for a 96-channel recorder/player or sync to video with SMPTE (LTC) or via black burst. All files are stored on a removable hard disk drive (HDD) or solid-state drive (SSD). Material can also be transferred via USB to a connected drive. Set-up and configuration can be done using the color LCD touchpanel on the front panel or with the PC Remote Control software via a USB connection.

Virtual soundchecks can be made when the R-1000 is paired with a Roland V-Mixer console – including the new M-480 desk. Using a song previously recorded on the R-1000, the unit can be switched to playback mode on arrival at a new venue and all the sources played back through the appropriate channels on the console. When the band takes the stage, the mix will pick up from the virtual soundcheck.

The R-1000 is based on REAC (Roland Ethernet Audio Communication) and eliminates the bulk and noise susceptibility typically associated with analogue snakes and replaces it with Cat5/6 (Ethernet/LAN) cable.

REAC

Roland Ethernet Audio Communication is the audio transport protocol developed by Roland for point-to-point 24-bit, low-latency digital audio transport in live sound and commercial applications. The REAC protocol is capable of transmitting 40 channels of up to 96kHz, 24-bit audio over inexpensive Cat5e cable, and can be split using standard gigabit switches making it easy and very cost effective to have lossless all-digital splits of the stage audio for FOH, monitor, broadcast and recording locations.

More: www.rolandsg.co.uk

Having been part of Stockholm entertainment scene for nearly three centuries, Hamburger Börs is one of the Swedish capital’s best restected venues for everyting from live music to corporate events.

While the original club was demolished in the 1970s as the city’s underground system was extended, a new building took its place on the same site, and has since hosted Sammy Davis Junior, Liza Minnelli, Tower of Power, Grace Jones, and Rod Stewart. Now part of the Wallmans group of dinner show clubs, Hamburger Börs continues to stage international artists and prestigious events.

Reliable but aging FOH and monitor consoles recenetly made way for replacements in the form of a pair of Innovason Eclipse GT consoles with DioCore racks (one with 64 inputs and the second with 48 outputs to handle the monitor systems) and three SR16 mobile stageboxes to replace the venue’s old analogue snakes.

‘We’ve had two Innovason Grand Live consoles since 2001 and, while they still work perfectly well, they are quite old ladies now and it was time to upgrade to more modern technology,’ explaines FOH engineer and head of sound, David Granditsky. ‘We explored a number of other options, but we decided to stay with Innovason because they ticked all of our boxes in terms of system requirements and we’ve always had excellent support. We are a very demanding client from the point of view of technical support and service, and Brollan [Söderström of Electrosound, Innovason’s exclusive distributor in Sweden] and Innovason have never let us down. We have never, ever had to cancel a show due to technical problems.’

Granditsky was looking for a system based on an audio network that would minimise bulky analogue cable runs and allow the system to be readily configured. Onboard effects were also cited as an important factor, along with size and weight.

‘We sometimes need to move the monitor console down from the balcony where it is normally situated,’ Granditsky explains. ‘This is now a considerably less daunting task than previously. Also, the fact that the Eclipse has such a small footprint has enabled us to gain six seats. In terms of functionality, I particularly like the way that Innovason handles Overram functionality [the ability to edit individual parameters in existing snapshots] and offline editing on the Eclipse. We also like the Mars recorder – we used it the other day to record a live album that was released a couple of weeks after the opening of the current show and it worked like a dream. It’s also very convenient for setting up shows as we can sound check singers without the band being present, or vice-versa.’

‘This set-up means that the venue can swap quickly and easily between any number of system configurations, which was one of the major considerations for the new mixing system,’ confirms Brollan Söderström. ‘We can now switch over from one configuration to another with virtually no analogue repatching. Monitor outputs are swapped between the monitor and FOH desks by simply following the EtherSound hierarchy. The four stageboxes are set up in such a way that some are in constant use for managing the long-running live shows, while others are available for visiting guest productions, thus avoiding the need for analogue repatching between different productions and shows. The system is perfectly tailored to the venue’s requirements, and I know that David and the other sound guys at the club are delighted with the results.’

More: www.electrosound.se
More: www.innovason.com

According to the UK-based manufacturer, the new release adds features and options ‘that significantly increase capability, productivity and connectivity for the high-end broadcaster’.

Highlights of the software include:

• C-Play, which integrates a professional audio playout system into the console surface, delivering integrated recall of playlists with console projects and a competitive price benefit. Compatibility with external studio systems is also enhanced.
• Version 4 includes integration with Mosart Medialab Newscast Automation. Mosart is one of the world’s leading production automation systems and adds to existing support for Sony ELC and Ross Overdrive.
• Full duplex connectivity with Reidel RockNet Audio Networks (including remote preamp control and compatibility with their Independent Gain System) expands compatibility with installed audio networks.
• Audio Follow Video capabilities are also enhanced with independently programmable ramp on/off fade times.

Improving on a class leading set of redundancy capabilities, v4 introduces Loop Redundancy Mode for the SSL Morse Stagebox and the new Alpha-Link Live-R Madi I/O unit. Building on the success of the Alpha-Link Live low cost console I/O unit, the new Alpha-Link Live-R unit adds a set of Redundant Madi optical-fibre connections to the existing Alpha-Link Live low cost console I/O unit. The Loop Redundancy Mode reduces the number of cables required for redundant fibre system installation and doubles the amount of audio signals that can be passed between the C10/C100 and the modular B-RIO I/O Unit.

Version 4 also brings several surround production additions. The 5.1 Foldown system adds user adjustable individual centre, rear (LS and RS) and LFE gain setting, an overall stereo output level trim and a new M-3/M-6 mono fold-down option. A new 5.1 BLITS Tone Ident generator routes to all 5.1 format PGM, ASG, Channel and Utility Buses.

More: www.solidstatelogic.com

‘Audio file playout systems for spots and music are an essential part of everyday broadcast operations. Until now, broadcasters have been faced with sourcing expensive dedicated playout systems and preparing console project and playout systems individually,’ says Piers Plaskitt, CEO of SSL.

The C-Play system is embedded into the SSL C100 HDS and C10 HD console control surface, improving operator ergonomics, and integrateing recall of Playlists with console projects and a competitive price benefit.

C-Play combines Player, Cut and Playlist functions in a simple, streamlined system. The C-Play interface uses familiar playout controls and is operated from the console’s central touchscreen. Playback triggers can also be assigned to console faders or buttons or external control systems.

Audio files are stored in a shared network location, enabling import from an external craft editor. A comprehensive cut system sets individual file playback properties without altering the audio source file and offers complete control over Start, Stop, Loop, Fade, etc. A sequence of cuts can be assembled into fully featured playlists for instant recall and manual or automated playback.

C-Play will be available as part of a C10 HD V3 and C100 HDS V4 Software Upgrade release from July 2011.

More: www.solidstatelogic.com

The Alpha-Link Live-R unit adds a set of redundant Madi optical-fibre connections to the low-cost Alpha-Link Live console I/O unit. The new Loop Redundancy Mode reduces the number of cables required for redundant fibre system installation and doubles the audio signal capacity between the C10 or C100 Digital Broadcast Console and the modular B-RIO I/O Unit.

The C10/C100 Loop Redundancy Mode uses a ‘Loop’ Madi optical fibre connection between the console’s main and backup Blackrock Processors to half the number of cables required to install a redundant I/O configuration. With Blackrock Loop Redundancy Mode, the need for main and backup fibre connections to both main and back-up processors in a redundant system is no longer required.

With Loop Redundancy, the main fibre link will connect to the main Blackrock, the back-up fibre to the backup Blackrock. In the case of a main fibre failure, the Alpha-Link Live-R or Morse Stagebox will switch to its back-up port, and the audio and control will be routed via the Loop fibre connection from the back-up Blackrock back to the main Blackrock, providing a solution for both fibre and processor redundancy.

The reduction in consumption of Madi ports effectively doubles the maximum connectivity between console processors and a B-RIO unit.

‘In live broadcast operations, signal integrity is of the utmost importance,’ says SSL CEO, Piers Plaskitt. ‘The new Loop Redundancy Mode expands SSL’s Madi Fibre redundancy for all our I/O and makes a redundant solution more affordable with Alpha-Link. We believe this Alpha-Link Live-R and Loop Redundancy Mode is the low-cost audio insurance policy for which the industry has been waiting.’

Each Alpha-Link Live-R unit provides 24 balanced analogue inputs and outputs (with high-quality 24-bit analogue conversion) and 12 AES input and output pairs (with eight channels of high 24-bit sample rate conversion). Alpha-Link Live-R is connected to the console using Madi over fibre, ensuring absolute signal integrity. Alpha-Link Live-R includes redundant PSUs, all fitted into a 2U-high rack.

Key Features:

• Dual Madi Fibre I/O connections
• Madi I/O locked to C10 HD and C100 HDS highly stable clock
• 24 balanced Analogue I/O
• 12 Pairs of AES Digital I/O
• Embedded control data simplifies cabling and operation
• Analogue input/output metering via 24 tricolor LEDs
• Redundant PSUs as standard

Loop Redundancy Mode is part of the forthcoming C10 HD V3 and C100 HDS v4 Software release.