‘I guess you could say the mix position here is interesting,’ agrees Steve Watson, peering down at the auditorium floor some considerable distance below.

He is contemplating his part in the recent run of new opera, SUM, at London’s Linbury Studio (within the Royal Opera House). Unusually for a theatre production, the FOH mix position is located several tiers up and looking directly down into the orchestra pit, making it difficult for Watson to hear what was going on. No simple prospect for a front of house engineer... unless he is confident in this skills and equipment.

‘The problem with traditional panning is the loss of signal on one side when you pan to the other. To resolve this, some people choose to mix in mono, but this isn’t really a viable solution, especially for complex shows where you are dealing with anything from 80 to 100 channels. So, I started playing around with delay and seeing if I could achieve better results that way.’

Tonmeister and renowned classical sound engineer Carsten Kummel explains the thinking behind the latest enhancement to Innovason’s flagship Eclipse GT digital live sound console, Pandora panning.

‘I did a series of testing and taking measurements, and the results were astonishing – by using the tools available to us to reproduce the way in which the ear works naturally, we opened up a whole new world of possibilities. I had been achieving similar results by using the functions that were available to me on the Eclipse, but it was just a way of working, and not an integrated feature of the desk.

‘At this point, it was time to consult Hervé de Caro, the godfather of Eclipse. When I discussed my findings with him, he said straight away that it was something he wanted to incorporate properly into the console. After some initial experimentation, being the genius that he is, Hervé and his team had developed a working prototype algorithm with the function available on a single pan pot in just two days.’

‘This is an absolutely amazing function,’ says Hervé de Caro. ‘The world has been waiting for Pandora. Carsten has been developing the idea over the past three years and testing it in real-world situations in the work that he does daily with major symphony orchestras across the world.’

‘The difference it makes to the listener is amazing,’ ce continues. ‘We have finally found a way to pan a signal from full left to full right to create the feeling of a stereo image for the entire audience, no matter where you are sat, without losing any information for those sat at the extremes, and no loss of sound quality for those sat in the middle. On the contrary – because we are reproducing the natural function of the ear, it actually sounds better. In practice this means that if you are sat at the extreme left of the auditorium while the signal has been panned to the extreme right, you can still hear it from the left, even though the sound image has moved to the right, and vice-versa. With traditional panning, you would hear nothing from the left, and the sound from the right would sound very far away. In fact, you’d be losing half of the audio information. Even those in the middle would experience a loss of level and audio quality.

‘Pandora puts an end to all that – you can now hear everything all of the time and still benefit from a true stereo image. How cool is that?’

More: www.innovason.com

Midas has launched Generation-ll software for all of its digital mixing consoles.

A response to the user feedback Midas has been gathering for the past five years, Generation-ll software brings the advanced navigation features from Pro2 to the entire range of Midas digital consoles.

The Advanced Navigation modes are: Collapsed Flip (which hides any channels not assigned to the selected bus), FX Navigation (which displays FX processors when appropriate bus is selected), GEQ Navigation (which flips VCA faders to GEQ control when appropriate bus is selected) and MCA mode (mix control association – a separate bank of VCAs for each of the console buses).

In addition to the new console navigation modes, Generation-ll software includes new high-resolution FX plug-ins, designed not only to exceed the performance of third party algorithms and hardware devices, but also to operate within Midas’ automatic latency management technology, ensuring a phase-coherent mix, regardless of how and where the processing is used.

New FX plug-ins:

· Five high-definition reverb processors – Ambience, Chamber, Hall, Plate and Vintage room.
· Dynamic EQ.
· 8 x 8 matrix mixer with EQ and delay.
· Dual stereo chorus.
· Dual stereo tap delay.

G-ll also contains features developed in conjunction with leading live sound engineers. A new multi-tabbed Preferences screen with new user options means that all Midas digital consoles can be ‘customised’ to operators’ preferences. The ‘console overview’ screen for Pro3, Pro6 and Pro9 provides at-a-glance reporting of system audio status. Other new features include aux pan linking, global pre/post selection and per-channel viewing of VCA and POP group membership.

The final component of Midas Generation-Il software is an onboard DHCP server, which permits remote control of any Midas digital console wirelessly from an Apple iPad, via any standard Ethernet-equipped wireless router.

More: www.midasconsoles.com

The Olympic Games’ media coverage sees broadcasters from around the globe sourcing feeds to keep the world’s television screens, radios and internet streams.

From the Opening ceremony and encompassing a wide range of sports, Lawo mc²56, mc²66, mc²90, crystal and sapphire consoles, plus Nova73 HD routing systems, along with Stagetec Nexus routers have been playing essential roles behind the scenes.

Bring the advancemes of DiGiCo’s proprietary Stealth Digital Processing to bear on its established D5 Live digital mixing console, DiGiCo has taken the wraps off its successor, the SD5

‘We’ve evolved a lot over the past decade, both in terms of the way we use the available technology and our understanding of what our customers really want and need,’ says DiGiCo MD, James Gordon. ‘SD5 is the culmination of that combined knowledge, so we want to make it the next generation D5 Live.’

The SD5’s worksurface is a low-noise, heat dissipation worksurface benefiting from Hidden-til-lit (HTL) technology, yet its five digitally driven full colour TFT LCD screens, three of which are touchsensitive, have a new configuration that allows easy access to single or multiple users. There are also two interactive dynamic metering displays (IDM) and quick access buttons are positioned down the left side of the channel screens for fast and easy navigation.

Incorporating the master screen into the worksurface design allows user feedback and a lower profile meter bridge. This still allows clear visibility of those on stage for the user, with everything in close reach to the mix position.

As standard, the SD5 comes with a 2Gb fibre-optic system, which is capable of running 448 channels of I/O at 96kHz, plus 56 console-to-console tielines, allowing connection to up to 14 of the SD variant racks. There are three redundant Madi ports and local I/O includes eight microphone inputs, eight line outputs and eight AES I/O (mono).

The SD5 has 124 input channels; 56 configurable buses, plus up to 5.1 master; a 24 x 24 fixed matrix; DiGiTubes on every channel, bus and output; 24 assignable Dynamic EQ; 24 multiband compressors; 24 stereo effects; 32 Graphic EQ; ten 4 RGB backlit macro buttons; plus the ability to add a Waves upgrade.

‘The SD5 has some DiGiCo added extras as well,’ Gordon adds. ‘The D5 Live was the first ever console to have an integrated light bar, so of course, the SD5 has that as well. We’ve also included keyboard illumination and convenient headphone hooks to save you having to borrow a drumstick to hang up your headphones.

‘The D5 was at the forefront of the live world moving over to digital mixing and SD5 is the perfect way of taking that pioneering spirit to the next level.’

More: www.digico.org

DiGiCo has released a series of software and firmware upgrades for its SD series of consoles.

Free to existing customers and to new customers who purchased an SD console before the updates were issued at Pro Light & Sound 2012, these add features that, in many cases, will expand the console’s capabilities ‘by more than 100 per cent’.

Designed for use a desktop console or mounted in a 19-inch rack the software/firmware SD11 upgrade makes it an SD11i, with added flexi-channels, Dynamic EQ and the addition of DiGiTubes and Multichannel inputs (previously only available on the SD7).

The SD9’s software and firmware upgrades bring a significant increase in channel count, dynamic EQ, multiband compressors and matrix, with the addition of DiGiTuBes, Reorder of Buses and Multichannel inputs (formerly only available on the SD7).

Overdrive 2 for the SD8, meanwhile, provides the entry-level console with up to 60 stereo inputs (equivalent to 120 flexi channels of DSP), 24 flexi buses (stereo or mono) plus two solo busses and master, four-band parametric EQ (with dynamic EQ on up to eight channels), hi/low-pass filters and dynamics on all inputs and outputs, 24 graphic EQs, eight stereo effects, and a 16 x 12 matrix. When fitted with the optical option, the SD8 supports up to four racks, providing up to 240 I/O.

The Nitrous upgrade gives an increase in power to DiGiCo’s SD10 console, with a significant expansion in dynamic EQ, multiband compressors and FX, plus matrix expansion from 16 x 12 to 16 x 16 and the addition of DiGiTuBes, reorder of buses and Multichannel inputs.

Mach3 for the flagship SD7 incorporates all the new features found in the upgraded SD range, plus extras that are exclusive to the SD7.

‘When we developed the SD series, we used FPGA technology to ensure the future expandability of this range of consoles,’ says, DiGiCo MD, James Gordon. ‘Being able to give such substantial upgrades to our customers, free of charge, is one of the benefits that we’re delighted to be able to offer.’

More: www.digico.org

Soundcraft has extended the range of digital audio transport cards for the Vi, Si Compact and Si1/2/3 series digital consoles.

Plans are also in place for Dante network cards compatible with Vi, Si Compact and Si1/2/3 series consoles, following an agreement reached between Soundcraft and Dante inventor, Audinate. ‘This agreement is a reflection of Harman’s responsiveness to its customers who want Dante networking,’ says Audinate CEO, Lee Ellison.

To further enhance integration between Harman’s other Professional audio brands, option cards are also in development to provide a simple on and off ramp between Vi, Si Compact and Si1/2/3 series consoles, and the BSS Soundweb London digital audio bus system Blu link. The BSS digital audio bus is integrated into the majority of BSS Soundweb London series products and with the PIP-Blu is available for a number of Crown amplifiers.

Existing expansion cards already available for Soundcraft digital consoles or stage boxes include Cirrus Logic, CobraNet, Madi, Aviom A-Net, AES, Digigram Ethersound, Riedel Communications RockNet, Alesis Adat, SD/HD SDI and Dolby E.

Soundcraft Product Manager Richard Ayres added, ‘Connectivity is an important part of everyone in pro audio’s future; new products must integrate with legacy systems and infrastructure whilst existing products must adapt to emerging technologies. With these announcements we are making it clear that by investing in a Soundcraft console you are assured it will remain future-proof and core to an integrated system.’

One of the pioneers of AVB IEEE 802.1 Harman is an active AVnu Alliance member, and – with the standards now ratified – is aiming to bring AVB full audio networking to the Vi, Si Compact and Si1/2/3 consoles.

More: www.soundcraft.com
More: www.audinate.com

The Missing Lynx project recording studio operated by Angel Fernández has seen an udgrade based around an SSL X-Desk.

‘The main goal in switching my console for the X-Desk was to enhance the sound in the final product. Before the X-Desk, I’d bounce the mixes within my Pro Tools|HD system. The combination of being able to take advantage of the full capability of the DAW I/O together with the SuperAnalogue summing in the X-Desk has resulted in much clearer mixes.’

Midas has released the v1.14 Midas Offline Editor, which allows creation, editing and viewing of show files for an XL8 on any Intel-based Apple Macintosh computer running OS-X 10.6 or 10.7.

With its offline functionality, shows can be prepared ahead of time or migrated from and XL8 to a Pro6 (or vice-versa), and the console surface can be learned without access to a console.

The Offline Editor allows full control of all parameters – including creation of showfiles, management of preset libraries, system set-up and patching and so on. It will run either the XL8 version or the Pro-Series (Pro3, Pro6 or Pro9) version – as on the physical consoles, both will open the same showfiles, but available resources on that console are limited. The Pro-Series Offline Editor is sized for a Pro9 console –it shows 80 inputs. To use this version for smaller Pro6 and Pro3 consoles, the appropriate number of channels should be selected.

The Offline Editor runs in exactly the same manner as the console software with the addition of one extra screen on the Pro-Series OE, which is an overview screen designed to ease navigation (the XL8 version does not contain the overview). Shows are loaded and saved to and from a USB key, and imported onto the desk’s control centre in the usual way.

Version numbers are ‘in sync’ with the console version numbers, which indicates what they will work with – that is, XL8 Offline Editor v1.11.01 will only work with the XL8 v1.11.01. No other combinations are officially supported, though our forward and backward showfile convertor technology on the console means that you can load shows to different console versions.

System requirements: Intel-based Apple Macintosh computer 512Mb RAM or higher (1Gb recommended) Minimum 1024 x 768 screen resolution recommended (will run on lesser resolutions with scroll bars) 200 Mbytes free disk space. Mac OS-X 10.6 and 10.7.

More: www.midasconsoles.com
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Lawo has released v4.16 software for its mc² series mixing consoles.

Included in the update is a doubling of the available DSP channel count. After v4.16 software installation, the current DSP boards offer 96 channels instead of 48 channels. The upgrading takes overall DSP performance up to 888 channels.

Also in this release, Lawo has developed Broadcast Channels that offer a feature set specially for broadcast applications, using a simplified signal flow while maintaining sound quality. Depending on the requirements of the production, sound engineers can select either the 48 'classic’ or the 96 'Broadcast Channels’ for the DSP boards – switchable on the fly.

The release also supports the new Lawo Dallis mic card. This offers very high dynamics at minimal distortion and has extremely low latency, and a keen cost/performance ratio.

The v4.16 software update is available for Lawo customers via the Lawo Download Center.

More: www.lawo.de