In Broadcast - October/November 2011 - 59


OCTOBER/NOVEMBER 2011 | WWW.INBROADCAST.COM

InAUDIO
Consoles For Vision Production Cont.
or the unique ‘History Mode’, where a scrolling audio waveform displays signal anomalies and highlights them for up to 50 seconds to allow the engineer to identify where the event occurred. Metering for ‘layer 2’ signals can also be viewed, while the Control Bay screen can be used to provide configurable user pages with up to 40 meters. When the TFT meter bridge is fitted, the external GC screen becomes an integral part of the chassis. Existing Vista 5 owners will be pleased to learn that their console may be easily upgraded to the M2 version to be ready for the optional meter bridge, which is a simple add-on to the console chassis. At the 2011 NAB show, Solid State Logic announced the ‘C-Play’ Audio Playout System for C100 HDS and C10 HD Digital Broadcast Consoles. The C-Play system embeds a fully functional spot and music playout system into their digital broadcast console range. “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, Inc: “SSL’s new C-Play system offers the broadcaster sophisticated playout functionality with the significant additional ergonomic and workflow advantages of an embedded system.” Enjoying continued brisk sales into facilities spanning the globe, the C10 HD is now available with its new V3 Software enhancement which adds a collection of userdriven new features to this successful console. “With the C10 HD, our goal was to deliver highend power and performance to the mid-scale broadcast facility. As witnessed by the incredible sales record of this console, we have completely achieved that goal,” says Plaskitt. “The C10 HD has great appeal to all levels of the marketplace from corporate, education and smaller regional broadcasters looking for the capacity to move into full HD operation, to major broadcasters interested in a smaller expansion control room. We believe V3 software will generate even more excitement for the C10.” At the 2011 Pro Light and Sound show, Roland Systems Group added the M-480 Digital Mixing Console to its established V-Mixing System lineup. The M-480, like the M-400, M-380, and M-300, is a central unit in a full V-Mixing System. The M-480 V-Mixer features 48 mixing channels and six stereo returns. Bussing is strong Many of the DiGiCo’s SD10B’s technologies are also to be found in its larger sibling, the SD7B with a total of 27 technology to a wider broadcast Sadie, and others. consisting of 16 auxiliaries, eight market than ever before”. Many of Recently released is a new matrices and full support for mono, the SD10B’s technologies are also software version for mc² consoles stereo or LCR sound design. With to be found in its larger sibling, the and the Nova73 HD router. V4.14 is a configurable choice of available SD7B. “packed with a brilliant set of new digital I/O boxes, the M-480 can Facilities include 96 channels tools designed to brighten a sound support up to 90 inputs and 90 with full processing, 12 of which engineer’s workflow”. outputs – all fully assignable via the are Flexi Channels that can be AMS Neve’s Libra Live II/G digital patchbay. configured as mono or stereo, with digital broadcast console offers The patchbay also has the ability full processing available in either comprehensive facilities for live to route any input to any output mode, 48 assignable busses that television, radio and mission without going through the mixer. offer multiple configurations, plus critical broadcast production roles. Each mixing channel includes two a stereo, LCR or 5.1 master buss The latest iteration of the series stages of dynamics processing, and a complete 5.1 monitoring of digital broadcast consoles, the 4-band PEQ, and delay. Dedicated matrix with a 48 x 6 source to II/G, has evolved to keep pace 4-band PEQ, limiting and delay are speaker selection. with broadcast demands and available on every output. includes new signal processes, operational facilities, I/O systems and resiliency features. The company has pioneered a new and proprietary technology to drive the high resolution TFT meters in the Libra Live II/G meter bridge – conceived, designed and built especially for the rigorous and demanding broadcast application. The ON AIR 24 is Stagetec’s latest digital mixing system aimed at the radio and smaller TV broadcast markets. It is a modular, flexible and scalable system with control Roland’s M-480, like the M-400, M-380, and M-300, is a central unit in a full surfaces laid out to the broadcaster’s V-Mixing System specification for combo, studio or edit operation. The work surface DiGiCo – best known for its The established Lawo mc² consists of self-contained fader success in the live sound world Series mixing consoles (mc²90, modules (four in each and up to 24 is also seriously addressing the mc²66, and mc²56) provide time faders maximum per system) and broadcast production sector. The code and snapshot automation of a monitor module. These modules DiGiCo SD10B provides “a potent any parameter in the system and can be flush mounted into existing blend of features, performance, integration with systems including studio furniture. flexibility and sonic clarity, at a price Pro Tools, Pyramix, Sequoia, point that brings advanced digital

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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
In Broadcast - October/November 2011 - 32
In Broadcast - October/November 2011 - 33
In Broadcast - October/November 2011 - 34
In Broadcast - October/November 2011 - 35
In Broadcast - October/November 2011 - 36
In Broadcast - October/November 2011 - 37
In Broadcast - October/November 2011 - 38
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In Broadcast - October/November 2011 - 40
In Broadcast - October/November 2011 - 41
In Broadcast - October/November 2011 - 42
In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
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In Broadcast - October/November 2011 - 90
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