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Mix and record your Signature sound Drawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft plus a 2-channel USB interface in a powerful, compact, professionally spec’d mixer – all designed to let you discover your Signature sound. • Iconic Soundcraft® Ghost Mic Preamps with ultra-low noise performance • Renowned Soundcraft® Sapphyre British EQ with sweepable mid-band • Powerfiul and flexible Soundcraft® GB audio routing • Award-winning Lexicon® effects inc. delays, reverbs, choruses and modulations • Ultra-low latency 2-channel USB interface

The Soundcraft® Signature Series includes: Signature 12 MTK and 22 MTK with multi-channel USB interfaces. Signature 10-, 12-, 16- and 22-input models feature 2-in/2-out USB interface.

Find out more Soundcraft T: +44 (0)1707 665000 E: Soundcraft US T: 888-251-8352 E:

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Consoles THE

Guide 2016

Welcome to the final Audio Media International Buyer’s Guide of 2015 – an overview of the highly competitive console market.



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Consoles for Sports Broadcasting


Q&A: HD Pro Audio’s Andy Huffer


Salzbrenner Stagetec

10 Soundcraft 12 AMS Neve 14 Fairlight 16 Mandozzi 18 DHD 20 Directory

There are many things to look out for when choosing a new desk – whether it’s a console for a live/install application, a studio board or a broadcast system, there are multiple factors to consider. Whereas many audio professionals will value sound quality above all else, others will place ease of use and practicality at the top of their list of priorities, for example, especially if they’re planning to use their new kit in a fast-paced and demanding environment. Whatever your preference, you’re certainly not short of options at the moment. And although some users like to assemble an assortment of a certain kind of kit over time to give themselves more choice, picking a console is something you’ll want to get right first time, which is why we’ve put together this handy Guide to make what can be a highly stressful task that little bit easier. Over the next few pages you’ll discover a series of promotional articles from some of the world’s leading manufacturers of console technology, followed by an extensive two-page directory of brands from all areas of the business. Before that, though, you’ll also find a fascinating feature on the everevolving world of sports broadcasting, and the challenges mixer makers are having to face in order to meet demands, as well as a Q&A with Andy Huffer of HD Pro Audio, a successful supplier of pro-audio equipment in the UK, and something of a specialist in console kit. Adam Savage, Audio Media International

MEET THE TEAM > Advertising Manager Ryan O’Donnell

> Editor Adam Savage

> Managing Editor Jo Ruddock

> Head of Design




AMS Neve

23 Cadac 24 Fairlight

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Jat Garcha

> Designer Tom Carpenter

> Production Assistant Warren Kelly

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The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. © 2015 NewBay Media. All rights reserved.

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Surveying the field of play The sound mix for the 2015 Tour de France was carried out on EUROMEDIA’s Lawo mc256 console

Sports broadcasters have always counted channel count and reliability among their priorities for audio consoles, but as IP-based workflows and immersive audio techniques emerge, they now have many other expectations that manufacturers must accommodate, as David Davies reports. First there was the analogue-to-digital transition; then we began to saw the rise of IP-based workflows; and now we have the emergence of enhanced or ‘immersive’ audio environments. That’s a rather crude summation, but it arguably covers the three most important trends to have impacted upon broadcast console design over the past ten years. If the shift to digital has been complete for some time now, the IP revolution is still very much underway. The ability for broadcasters to take feeds quickly, easily and cost-efficiently from multiple locations is among the factors fuelling the rise of IP – and with the advent of the AES67 interoperability standard, we have even started to consign the lengthy ‘protocol wars’ to the past. Meanwhile, the advent of immersive audio – whereby viewers will ultimately have far greater freedom in customising a mix that suits their tastes – is at a far earlier stage of adoption, but nonetheless heralds some exciting possibilities. For manufacturers looking to maintain share in the sports market, the design expectations of new desks over the next few years are likely to be particularly extensive. At the same time, they must also maintain the rock-solid reliability and 04 November 2015

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powerful feature sets that are essential for any broadcast desk. “Although I think it will be a while yet before we see widespread roll-out of immersive or object-oriented audio in broadcast, it is clear that we have entered into an exciting period for production facility design,” says Fairlight CTO Tino Fibaek.

in today’s private television entertainment, more than traditional family entertainment shows, etc. There is a clear tendency to create more and more content, and transmit more leagues and sports. Also, a lot of the sports broadcast transmissions have become part of pay television programmes. All of this makes sports broadcast an important and rising market for Lawo.”

Sports market basics Although individual companies’ approaches to the sports market are the subject of considerable variation, there is general agreement that it is a substantial – and in many areas, growing – one. “Sports broadcast is very important to Calrec, and it makes up a significant part of our customer base,” says Calrec VP of sales Dave Letson, who pinpoints regional sports programming as a particular growth area. “Companies such as Pac-12 and TWC are covering more and more college-level sports while their customers are demanding the same quality of viewing experience as they do when watching top-flight events.” For Lawo senior product manager audio production Christian Struck, “sports transmissions have become a dominant player

Features and functionality The advent of OTT content and second screen applications has brought tremendous new opportunities for sports broadcasters to connect with fans – but also significant challenges for those working at the ‘sharp end’ of production. More outlets require more material, and with a greater number of services to feed, the number of events covered is also on the rise. For console vendors, then, much effort has inevitably focused on delivering time-saving automation features. “The number of programmes and quantity of content is constantly growing, whereas the number of staff producing it remains the same – at best – and the time for preparation and setting up productions is declining,” says Struck, who points to Lawo system features such as The International Guide To Consoles 2016

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Audio-follow-Video functionality for partial automation of mixes, “Sports productions increasingly and Automix for use up more and more channels, the automatic especially when broadcasting in 5.1. adjustment of Designing a console with enough active and inactive scope to ensure you don’t run out microphone levels of channels without compromising while maintaining dynamics or EQ is imperative.” a constant Dave Letson, Calrec ambient level. Most recently, at IBC2015, the company introduced a software-only solution for its mc2 mixing consoles (or hardwarebundled software for other console brands), KICK, that enables fully-automated, close-ball audio mix for sports such as soccer, rugby and was imperative. [Calrec FPGA-based processing American football. engine] Bluefin2 gives the broadcaster the peace Calrec has also been active in this area – with of mind that the console will fulfil any expanding developments including its Automixer for studio requirements. It also streamlines the setup interview scenarios – but also highlights moves procedure as each channel always has full EQ and to enable fast and efficient audio capture across dual dynamics available on every channel all the a site hosting a sports event. “In order to capture time – unlike other systems that allocate these audio from the extremities of a golf course, for functions from a pool of resources.” example, our customers need to have many mic In terms of generating more immersive boxes, but do not need many inputs in each audio environments, “Fairlight has great location,” says Letson. “With this in mind we form and continues to promote its 3D Audio designed the H2Hub [switch point] which can Workspace (3DAW), which allows content extend a single router connection and provide creators to deliver 3D sound in formats such as a further four router connections. These can Auro-3D, Dolby Atmos, DTS MDA and IMAX either be populated with any Hydra2 I/O box, an without having to replace existing 2D tools and eight-input Fieldbox, or even another H2Hub workflows,” says Fibaek. “We are seeing sports to further extend the network. This way ad-hoc broadcasters working a lot with 5.1 now, but I networks can be created very quickly, and the think immersive or 3D audio will be a really big potential of the network isn’t limited by the thing within the next 6-12 months.” number of router ports your console core has.” As well as taking steps to optimise the Other features developed in response to capability of the console on its own terms, most customer needs “include a second compressor/ vendors are also working on the ways in which limiter, which is widely used in sports their desks interact with broader production programming as many engineers find they infrastructures. We are talking, of course, about need to limit the signal as well as compress it,” IP-based workflows and their capacity to support comments Letson. techniques such as remote production. “Instead of sending a truck to a stadium that Channel count and connectivity can do only one match per day, a control room Capturing more crowd ‘atmosphere’ and that connects to different remote production additional, drama-enhancing audio has meant locations can be used a lot more efficiently,” says that the channel count for sports productions has only been heading in one direction for many years Struck. “The good news is that consoles are still needed. So IP-based workflows may revolutionise now. Factor in a greater number of 5.1 mixes flexibility, connectivity and lower the amount of and, latterly, immersive audio production and it is travel costs, but the central components remain clear that the pressure on vendors to deliver high the same. However, consoles that are capable of channel count while maintaining core features interfacing natively via IP including control will and reliability is only going to increase further. be in the lead when workflows start to change.” “Sports productions increasingly use up more With these developments in mind, Lawo and more channels, especially when broadcasting recently introduced a Plug & Play Remote in 5.1,” confirms Letson. “Designing a console Production Kit for fully-integrated video, audio with enough scope to ensure you don’t run out of and intercom transport (via qualified IP WAN channels without compromising dynamics or EQ

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connections) for any third-party video and audio equipment. The kit connects up to four camera CCUs via SDI for video and TCP/IP for control, with audio mixers connected via MADI or Ravenna/AES67 – the AES67 interoperability standard being perhaps the most significant catalyst for the wider roll-out of IPbased audio workflows. Letson also observes the rise of IP-based routing, noting that some larger OB trucks already have comms systems utilising Audinate’s Dante or other AoIP networks for transport. “Broadcasters now have to be able to move quickly between venues in order to set up and broadcast the next event. IP-based workflows will streamline this scenario and our customers are starting to address the need by looking to utilise IP-based solutions,” he says. Fast and flexible With Salzbrenner Stagetec Mediagroup sales director for Germany/Austria/Switzerland Marco Kraft also highlighting the design impulses represented by remote production and “scalable systems with set-up for shared operating”, it is clear that the requirement for consoles to be fast, flexible and connectivity-friendly is now acute. Clients no longer expect to be presented with a console whose capabilities are set in stone, and which is suited to only a handful of applications. Sports arguably encompasses a greater diversity of needs and working environments than any other area of broadcast, and it is vendors who are able to accommodate as many of these as possible who stand to enjoy the greatest success over the next few years. November 2015 05

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HD ready

monitor mixes eating up mix busses, and then there’s the hosting of third-party plug-ins, which has meant that manufacturers are putting a large chunk of their console’s performance beyond their control. Has the console market become more or less competitive over the past few years? A lot more competitive – they all offer largely the same feature-set if you crudely boil it down to inputs and outputs at the relevant price-points, so it’s either aggressive pricing or focusing on their USPs that sets them apart. We prefer the latter approach.

Selecting a console is a big decision so it pays to be clued up before committing to one. AMI caught up with Andy Huffer, director of sales for UK supplier HD Pro Audio, for his insight and advice on the current market. How would you describe the state of the live console sector, and have you noticed any significant developments lately in terms of technology and the market itself? It’s relatively healthy, with good levels of sales across the board from all manufacturers at all levels, although I think some areas may be reaching saturation point. There have been some significant advances at a range of price points, from the Yamaha TF and Midas M32 on the lower slopes, the DiGiCo S21 and then the Yamaha QL in the mid ranges, and the SSL Live and Avid S6L as you reach the peaks. In terms of technology, there’s been much better integration of digital audio networking standards in the past couple of years. What we’ve noticed most significantly in the rental market is an increased desire to minimise the range of brands that they invest in as they, like us, try to keep their focus on support and optimise inhouse product knowledge. How challenging is it for you, as a supplier, to keep up with all these developments, especially when you deal with so many brands? We have to constantly evaluate our role in the supply of these consoles, what we add to the 06 November 2015

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sales process and how we can continue to justify our existence. We’ve always prided ourselves on the level of support that we provide, adding an extra level of training and advice to that of the manufacturers and distributors, and so we have to be prepared to exclude some consoles and brands, however worthy, from our core console lineup (not that we can’t supply them if required) to maintain the HD Pro Audio brand and product focus. In light of the rapid advancement in console tech recently, what are the main things to look out for when choosing a new live console? More than anything else, it’s good backup. You can have the ultimate dream mixing console, but if it goes pop on show day and your system team lacks training, or there’s no one at the end of a phone to get you back up and running, or there’s no local supplier to get some vital spare widget out to you, then you’ll regret not doing your research into your console of choice and how it’s supported in the field. Has there been much of a change in what users are demanding from their consoles, and if so has this made things more difficult for manufacturers do you think? At the upper level, everything is expected to be minimum 96k, which has meant an increased demand on processing power (which is trickier on the older DSP platforms), coupled with stereo

What brands and models are you seeing a lot of interest in at the moment, and why do you think that is? To pick a few, we’ve seen good business with Midas M32 at the lower level; there’s a very good buzz about the DiGiCo S21; Yamaha QL is doing good steady business, as is CL. Further up the chain the SSL Live console has shown incredible progress and huge interest since its launch in 2013, and our Avid S6L now has a very full demo diary, with sales back orders into 2016. Why? Giving the already successful X32 a Midas sheen was a great move for Music Group, making it more acceptable in a professional environment. The S21 is feature-packed and comes in at an unheard-of price point for DiGiCo. Yamaha has always been and will continue to be the reliable workhorse console that everyone knows how to use, but now with flexible Dante integration. SSL has created arguably the best-sounding digital console on the market and is one of the few remaining truly UK-designed and manufactured live consoles, and Avid has now brought us not only a forward-thinking natural evolution of the Venue platform that looks and sounds great, but also one that offers complete file compatibility with the original generation, backwards and forwards. How do you expect the live console market to evolve further in the future? More features for less money. The challenge for us as well as our customers supplying these increasingly complex consoles to productions or installing them into venues is how to maintain a sustainable business model, as the end users still expect the same level of support despite there being less money available to do this than before. We enjoy a challenge… Andy Huffer is director of sales at UK-based pro-audio, video and lighting supplier HD Pro Audio. The International Guide To Consoles 2016

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POLARIS evolution ongoing—ultimate flexibility Mixing with no strings attached is how the Salzbrenner team likes to think of its POLARIS evolution networked audio mixing system. Taking the “evolution” moniker quite literally, the team continues to refine and expand the concept. What started out as the definitive answer to a host of PA, broadcast and installed applications has become so versatile that awards and prestigious nominations keep pouring in. Yet,

neither critical acclaim nor the unique mix-andmatch flexibility provided by the access (16-fader module), scala (audio DSP), and view (motorised 21” multi-touch screen) components will keep the

engineers from responding to user feedback. After all, the beauty of the system is that POLARIS evolution is essentially software-based and can be tailored to any application.

Achieving the impossible has become a lot less stressful with POLARIS evolution

08 November 2015

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Audio follows talent, and more: 3D audio integration at the heart of POLARIS evolution

By default, the mixing desk provides several processing features (e.g. various EQs and compressors) and modulatio, as well as timebased effects. This feature set can be expanded in much the same way as new apps are installed on a tablet (POLARIS evolution boasts a robust software core that was developed with expansion and evolution in mind). POLARIS evolution adapts to your preferred workflow and even anticipates your next move. A nifty on-screen channel selection system avoids both clutter and time-consuming layer switching and allows you to mix and edit thousands of sources with confidence. POLARIS evolution requires at least one scala DSP unit to which one or several controllers – access fader units, view multi-touch screens, laptops, tablets, smartphones – are connected. Each POLARIS scala handles up to 256 inputs, 128 matrix channels and 256 output busses that connect to the outside world via

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MADI or Dante. For larger projects, several DSP units can be cascaded. Controllers are connected either via IP/Ethernet or WiFi. Other exciting features include stunning audio quality, with discrete monitoring and talkback channels, and optional 3D audio support for an immersive experience. The integration of 3D audio allows operators to manipulate sound objects within a threedimensional space, based on authentic sound source modelling. The 3D routines cover the entire signal path, from input source routing and object-based assignment, all the way through the usual signal processing and on to solid source positioning in the auditorium, regardless of the listening position. Static or dynamic positioning of audio objects can be prepared in advance or set up and controlled live.


SALZBRENNER STAGETEC Audio Video Mediensysteme GmbH Industriegebiet See D-96155 Buttenheim Germany E: T: +49 9545 440-0 w:

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Mixing consoles focused on the operator Key Features Any device. Anywhere.The freedom to mix.

Ui16 packs a complete digital mixing system into a compact, road-rugged stagebox format, with built-in Wi-Fi and the ability to be controlled by any connected device via a standard web browser – no Apps, no OS limitations, no constraints on how or where you mix. The Ui Series mixers feature cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices, and can use up to 10 control devices simultaneously. In addition, the Ui12 and Ui16 each feature built-in HARMAN signal processing from dbx, DigiTech and Lexicon, including dbx AFS2, DigiTech Amp 10 November 2015

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Modeling, and more. Both models feature fully recallable and remote-controlled mic gain and phantom power, along with 4-band parametric EQ, high-pass filter, compressor, de-esser and noise gate on input channels. Both mixers offer 31-band graphic EQ, noise gate and compressor on all outputs, plus realtime frequency analyser (RTA) on inputs and outputs. Built in are three dedicated Lexicon FX busses: Reverb, Delay and Chorus. In addition, mixer controls include Subgroups, Mute groups

n Tablet/PC/smartphone-controlled digital mixer n Integrated Wi-Fi n Cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices n Use up to 10 control devices (tablets, phones, PCs) simultaneously n Legendary HARMAN Signal Processing from dbx®, Digitech®, and Lexicon® n Fully recallable and remote-controlled mic preamps n 4-band Parametric EQ, High-Pass Filter, Compressor, De-esser and Noise Gate on input channels n 31-band Graphic EQ, Noise Gate and Compressor on all outputs n Real-Time Frequency Analyser (RTA) on inputs and outputs n 3 dedicated Lexicon® FX effects processors: Reverb, Delay and Chorus n Subgroups, Mute Groups, View Groups, and more mixer controls n Show/Snapshot recall with channel safes and security lockout n 2-channel USB audio playback and recording

and View groups, among others. The Ui Series mixers feature full Show/Snapshot recallability with channel recall safes, while security lockout features allow customisation of device access to only specific functions and mixes if needed. Both mixers also offer independent network interfaces on board for simultaneous control by Wi-Fi and Ethernet, plus a floor-ready rugged chassis for live applications. The International Guide To Consoles 2016

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Innovative digital mixing with uncompromised audio quality

Key Features n 32 Mic Inputs n 8 XLR/1/4” Combi-jacks for line inputs and instruments n 40 DSP input channels (32 mono inputs and 4 stereo channels/returns) n 31 Output busses (All with full DSP processing and GEQ) n 4-band Fully Parametric EQ on each channel and bus n 8 VCAs + 8 Mute groups n 26 motorised faders (24 input + LR/Mono) n 4 fully customisable Fader Layers n Built-in Stagebox Connectivity n 5” touchscreen display n Multi-Colour LCD Channel Displays on each input fader n 4 studio-grade Lexicon Effects engines and dedicated FX busses n BSS Graphic Equalisers on every bus n 20 sub-group / aux busses n 4 mono/stereo matrix busses n 32x32 USB audio interface for multi-track recording and playback*

* USB Interface Compatibility:

Drawing on over 40 years experience in live sound mixing, Si Impact brings the latest digital mix innovations together with the unrivalled sound quality of Soundcraft. Designed to be as simple as an analogue mixer, but offer radical workflow enhancements such as the unique

FaderGlow™ system, massive DSP power, and a pristine 32-in/32-out USB audio interface, Si Impact delivers digital live sound mixing and recording for those who refuse to compromise on audio quality.

PC: Supports Windows 7, Windows 8 and Windows 10. Mac: Supports Mac OS 10.7.x Lion through 10.10.x Yosemite and does not currently support 10.11.x El Capitan

Pristine audio direct to your DAW Si Impact makes recording quick and easy with superb quality, built-in 32-in/32-out USB recording and playback – and a free download of Ableton Live Lite 9 is included. A single connection to your PC or Mac and you’re ready to make multi-track recordings direct to any digital audio workstation. Send up to 32 inputs and 32 outputs to and from your DAW for recording and playback.


HARMAN International Cranbourne House, Cranbourne Road Potters Bar Hertfordshire, EN6 3JN UK E: T: +44 (0)1707 665000 W:

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Neve – the Rolls Royce of consoles

Whether it’s our flagship analogue 88RS and digital DFC Gemini consoles, the compact modular Genesys or our classic and modern outboard units, the same values always apply: sonic excellence, handmade-in-Britain quality, and – just as important for an industry where time is money – workflow-enhancing ease of operation. GENESYS AND GENESYS BLACK A hand-built expandable analogue recording console with digital workstation control and a base configuration starting under £30,000, Genesys puts Neve quality within reach of the smaller studio. Building 40 years of technical heritage, it includes our legendary mic preamplifiers and highly revered analogue circuit design. But Genesys also accommodates the seismic changes in the methods of music recording, with extensive digital control and connectivity. In its basic configuration, Genesys offers 16 channels of Neve 1073 mic/line preamps, 16-channel DAW monitoring, hands-on DAW control for Pro Tools, Logic, Nuendo and more, eight auxiliary buses, eight group buses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring and mixing, two cue mixes, and talkback services. Motorised faders, Total Reset feature and incredible Total Recall™ software accelerate workflow. Genesys can be expanded to 64 channels in a straight or articulated frame, with options including mastering-grade 192kHz A/D/D/A converters with MADI, AES and FireWire interfaces, digitally controlled analogue EQ and dynamics, remote mic amp control, and much more. Genesys Black offers a totally integrated solution for modern DAW-based studios. With a dedicated DAW control section, incredible digitally controlled analogue Neve processing and 12 November 2015

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digital connectivity within a world-class Neve mixing console, the Genesys Black delivers that extra edge to recordings and mixes. In any configuration, Genesys offers an excellent studio control surface with comprehensive monitoring and signal routing capabilities. This eliminates the typical mixture of awkwardly interfaced devices, and puts a proper console back in the heart of the studio. As with all Neve products, Genesys offers sound and build quality beyond reproach. GENESYS

• New ground-up Neve analogue design • Up to 64-faders/128 inputs • Neve 1073 transformer-coupled microphone preamps on each channel • Motorised faders with Total Reset, Total Recall™ and Encore Automation software • DAW control, stereo & 5.1 monitoring and mixing • Six auxes, eight groups, two main outputs • Four effects returns, two cue mixes • Channel/Monitor path, 8-track and 2-track metering • Optional digitally-controlled analogue Neve Classic 1084 and/or Neve 88RS 4-band EQ • Optional digitally-controlled analogue Neve VCA Dynamics • Optional channel and monitor section A/D/D/A conversion with MADI, AES and FireWire interfaces

Custom-crafted in Burnley UK, to an uncompromising British specification and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll find them in legendary music studios such as The Village, Ocean Way, British Grove, AIR and Abbey Road, at every major Hollywood scoring stage, and in top post-production facilities in London, Hollywood, Bollywood and beyond. GENESYS BLACK

• Total integration of modern studio workflow • Up to 32-faders/64 inputs • Neve 1073 transformer-coupled microphone preamps on each channel • Motorised faders with Total Reset and Total Recall™ software • Dedicated DAW control section, with DAW faders, Meters and Touch-display • Stereo & 5.1 monitoring and mixing • Six auxes, eight groups, two main outputs • Four effect returns, two cue mixes • Channel/Monitor path, 8-track and 2-track metering • Neve 88RS 4-band EQ & channel A/D/D/A conversion with MADI, AES and FireWire interfaces • Optional upgrade to digitally-controlled analogue Neve Classic 1084 EQ and/or Neve VCA Dynamics • Optional monitor section A/D/D/A conversion 88RS With its unmistakable Neve qualities of exquisite design, peerless craftsmanship, and legendary Neve sound, the 88RS continues the Neve bloodline of analogue consoles with a remarkable advance on anything heard before. Professionals throughout the world have chosen the full clean sound of the 88RS console. Its high bandwidth, pure audio path, superior dynamics, greater The International Guide To Consoles 2016

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dynamic range, and greater control make the 88RS the first choice for recording and mixing the highest fidelity recordings. Designed in consultation with top music producers and recording engineers, it is equally at home on film scoring sessions and (especially with the addition of the SP2 Scoring Panel) and it is the console of choice for all Hollywood’s major scoring stages – Fox, Skywalker, Sony and Warner.

88RS • Designed for full surround from the ground up • Motorised large and small faders • AFL surround solo monitor • PFL on each channel fader • Four main output faders, L/R, C, S, and LS/RS • Acoustically optimised frame • Supplied with or without patch • Enhanced ‘S’ channel strip • Enhanced spectral Neve format equalisation • Legendary Neve soft knee compression • Audio performance beyond 24/192 digital SP-2 option for enormous scoring power and flexibility SP2 SCORING PANEL FOR 88RS A specially designed film-scoring option for the 88RS, the SP2 Scoring Panel and stem-maker delivers an astonishing increase in flexibility and productivity. When tracking it easily handles even the most complex scoring requirements including full orchestra in several sections plus pre-records and multiple reverbs. It speeds up the mixing process, too, delivering multiple 5.1 stems plus a full mix in a single pass. When Abbey Road – one of Britain’s leading score-recording studios – specified its new Neve 88RS for Studio Two (which has a fairly narrow control room), the engineers were asked to choose between a 72-fader console with no Scoring Panel or a 60-fader version including the SP2. No contest. They’d have liked the extra faders, but the SP2 was a must-have.

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Department files and allows simplified editing • The most powerful monitoring facilities of any large format console ENCORE AUTOMATION AMS Neve’s Encore automation system sets the performance bar for automation systems the world over. The latest version – Encore2 v9.1, for USP (Ultra Scale Processor) systems – includes direct integration with Dolby Atmos® and Auro3D® formats for single-pass multi-format surround mixing.

DFC Gemini is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities. The DFC Gemini is the first post-production tool to fully integrate the 3D formats of Dolby Atmos® and Auro3D®. These formats are hosted natively within the DFC to provide the most efficient workflow for multi-format surround mixing and multiformat deliveries. From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the DFC Gemini is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96kHz 24-bit in a single, highresolution, DFC signal processing tower. AMS Neve’s wealth of experience in ergonomic design has created the most flexible surface in the industry designed to maximise both controllability and feedback to the user. The control surface provides rapid access to every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the Logicator controls, giving instant visual reference to each parameter setting. Enhanced visual feedback is provided by TFT metering displays, powered by the AMS Neve proprietary ViewMix™ engine, allowing you to see as well as hear and feel your mix. DFC GEMINI • TFT Meter display shows essential channel and processing information at a glance, including the incoming audio waveform display • Powerful Encore2 automation system. • Off-line edit options offer complete session preparation away from the mix stage • Neve EQ, Dynamics and filters • 12 stem mixing with 192 tracks and up to 16 members per stem • New software suite imports Cut List and Conform data directly from the Picture

BCM10/2 Mk2 The classic and legendary Neve BCM10 console has become a connoisseur’s favourite in recent years for use as a sidecar for larger studios. Powered as it is by Neve 1073 mic pres and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear. Given the scarcity of these treasured classic consoles and their suitability for upto-the-minute techniques of recording with workstations, the BCM10 is an ideal partner as a main console in such a set-up. Therefore Neve designers are proud to announce the BCM10/2 MK2 with all the revered design, genuine Neve modules and sound, yet with additional convenience features for modern day recording and utilising the new 1952 switching unit – all adding up to a blissful recording experience.


AMS NEVE Ltd Billington Road Burnley, Lancashire, BB11 5UB, UK T: +44 (0)1282 457 011 F: +44 (0)1282 417 282. E: W:

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Fairlight – 40 years of innovation Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for 40 years.

Fairlight’s ongoing commitment to innovation has resulted in the next generation of solutions that unleash creativity and make bigger productions easier and more cost effective to deliver. Designed for the most demanding on-air and live productions Fairlight’s revolutionary range of converged consoles combine Live and Post capabilities in a single console, delivering an exceptional return on investment as customers are effectively getting two consoles in one. QUANTUM.Live TT is the smallest console and the entry level into Fairlight’s Live line-up. It comes with 12 faders accommodating 144 signal paths over 12 layers and delivers fast tactile access through the customisable console Picture Keys and the large touch screen. The EVO.Live mixing consoles excel in modularity and customisation so exactly the right mixing environment can be built. 14 November 2015

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The console comes in three versions, any of which can be used together: • The stand-alone EVO.Live chassis is available in a variety of sizes and is capable of holding up to 60 faders. • A small format Table-Top chassis is also available. Measuring just 55cm wide for 12 faders or 71cm for 12 faders with a full centre section, it provides a very compact and flexible alternative to the stand-alone chassis. Like the QUANTUM.Live TT, it is self-contained and is fitted with dual redundant mains input. • For the ultimate in customisation, EVO.Live modules are also available in a form factor that can be mounted directly into a custom worktop or other furniture. Tools such as sound FX play-out, multitrack recording and playback, external device control,

full timecode capabilities and extensive metering, enhance production, whilst the consoles additionally provide advanced surround sound mixing capabilities, off-line preparation via laptop and control extensions to lighting systems. At the core of all Fairlight’s Live consoles is an incredibly powerful audio processing engine designed with FPGA technology. The power of modern FPGAs opens up a wide range of opportunities, such as close connectivity to the Internet of Things, and efficient support for audio-over-IP. The 250 channel Audio Processor combines: Fairlight’s renowned Crystal Core engine; a redundant power supply; all interfaces for control screens, GPIOs, storage; local control room I/O; and MADI connections for remote I/O. Fairlight also designs tailored solutions to link audio post production smoothly into your workflow chain. The comprehensive product The International Guide To Consoles 2016

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range offers full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post, live and broadcast applications. Fairlight Gateways add powerful audio post production tools to complement the unrivalled editing workflow of leading cloud-based video editing platforms. A choice of I/O options allows the Fairlight post system to completely integrate into your facility’s infrastructure. The Fairlight Post consoles are extremely tactile for hands-on mixing and editing, providing a comprehensive set of physical controls for easy access and precise adjustment of mixes. E.g. the high-res jogger wheel enables accurate sound placement and fast timeline control. They are also highly visual: lighting up with feedback from the self-labelling Picture Keys: the high-resolution colour displays on every fader strip show track name, metering and EQ curve, providing instant visibility of mixes. Large touch screens are used on all Fairlight consoles to provide an overview of the entire system, and at the same time to allow instantaneous changes without the need for a mouse and keyboard.

Complementing the features in the console control surfaces, Fairlight’s powerful audio engines are capable of delivering up to 1000 tracks, enabling the creation of complex productions without the need for premixing. In addition, ultra-wide 64-channel monitoring and revolutionary multi-delivery mix buses make it easy to simultaneously create multi-language and multi-format content. Fairlight’s QUANTUM is a fully featured, mid-size post console, available in 12 and 24 fader configurations, either as a stand-alone chassis version or a modular in-surface form. It comes with 43 Picture Keys that can change label and function instantly, repurposing sections of the control surface to the task at hand. Fairlight’s EVO is a high-end, modular audio post console delivering the ultimate in configurability and customisation. EVO supports up to 5 fader panels, delivering direct access to a total of 60 signals at any time. Each fader strip includes a fader, various control buttons, a touch sensitive rotary control, and a high-res colour display. EVO’s centre-section

3DAW adds 3D audio production to existing 2D digital audio workstations

It cost effectively allows content creators to deliver 3D sound in formats such as: n n n n

Auro-3D Dolby Atmos DTS MDA IMAX

3DAW is fully compatible with established workflows operating with media applications through a range of 3rd party plug-ins. 3DAW’s support for ‘mix once, output in many formats’ means focus can be on creating a single version of the mix without having to think about the delivery format.

Movie Production

Mix once and output to 5.1, 7.1, Atmos, MDA, Auro-3D, IMAX6, IMAX12.

TV Post Production

Deliver Object Oriented immersive sound to complement UHDTV’s 4K picture and 22.2 mixes for NHK’s Super-Hi vision format.

compresses a wide array of functionality into a small area, reducing the need to move far from the best listening position. It represents an elegant solution to the problems of increasing system capability and complexity by utilising 79 of Fairlight’s patented Picture Keys to provide rapid and accurate tactile access to all core control and editing functions. With integrated control surfaces and intuitive user interfaces, Fairlight’s consoles are renowned for their speed, flexibility and exceptional sonic quality.

Sport Broadcast

Object Oriented mixing and delivery enables for a high degree of user-control of the listening experience. E.g. Balance audience and atmosphere mics against commentary. 3DAW comes with intuitive and powerful sound design control tools, including the innovative AirPan using VR technology.


Fairlight AU Headquarters 15 Rodborough Road Frenchs Forest, Sydney, Australia w: E: T: +61 2 9975 1777

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Intelligent On-Air Mixers and Routing Systems The engineers working for Swiss enterprise Mandozzi Elettronica SA design professional products for audio broadcasting that satisfy all operational and technical requirements of the users.

Due to close contact with its customers over the last four decades, Mandozzi’s audio and broadcast products have matured to offer features that satisfy all technical and operational requirements. Mandozzi is the ideal partner for realising custom designed audio equipment. The professional software mixer for reporters and journalists: INFOMIX Easy to install on personal computers or laptops, INFOMIX is able to route into its surface the sound you need from the integrated microphone, multimedia players and other applications, without the need for any external hardware. The platform is able to manage Dante Audio over IP. The INFOMIX has a built-in recorder that allows the user to save audio files directly to the computer’s storage. All the surfaces have been designed for ease of use through touch screen panels, as well as the compression and filtering windows. INFOMIX provides up to four fader channels 16 November 2015

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with dedicated N-1 and PFL busses, as well as DSP functions such as Filter, Compressor, Pan/ Bal, Gain and Width. The modular digital On-Air mixer SERIX The SERIX mixers were developed to satisfy different customers’ needs thanks to its modularity and countless configuration options. SERIX are also well suited to realise complete radio house installations with a central router and a network of third-party audio equipment. In this case, the SERIX mixers remotely control

the router in order to select the input and output lines, for intercom connections between the mixers, as well as to remotely control the microphone pre-amps, the mute and the GPIO of the other mixers, etc. Mandozzi’s AoIP codecs can also be controlled by the SERIX mixers. The SERIX mixer surface is composed of modules of four motorised faders and a central module for configuration, communication and monitoring, plus a touch screen to display the parameters, timers, etc, and to set-up the mixer. The modules are either supplied as individual mixer units that can be built into the console furniture at any place desired by the customer, or assembled into a metal frame to obtain a table-top mixer. The SERIX consoles offer an easy and comfortable operation due to the touch screen. The functions of the control keys and knobs are freely configurable by the user. SERIX also offers the processing of 5.1 signals and a loudness meter. SERIX mixers are most suitable for small to large broadcast installations, for self and assisted operation. The International Guide To Consoles 2016

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The compact digital On-Air mixer CIMIX Based on years-long experience Mandozzi has gained with various digital audio consoles and equipment, the company now offers a new compact mixer that provides the same operational

features as the larger models. CIMIX is the ideal broadcast solution due to its comfortable control facilities and touch screen surfaces. The sophisticated, easy to use technical features are ideal for self operators and sound technicians who can manage several interacting studios. CIMIX can be connected to other thirdparty equipment or mixers to create a complete audio network system. CIMIX is composed of a solid aluminium console with 12, 16 or 20 motorised faders and a multipurpose touch screen. The central processor with the switching and DSP circuits are built into a 19 inch frame of 1HU (44.1mm). Both devices are equipped with redundant power supply units that are easily replaceable. CIMIX can be equipped with a Dante module for up to 64 mono equivalent channels, as well as a MADI

interface. Additional intercom and monitoring boxes can be connected to the CIMIX mixers. CIMIX is the ideal mixer for radio broadcasting, and the ease of use makes it a precious tool. The intelligent audio matrix IDEA Mandozzi’s routers are best suited for switching centres, or for serving several mixers in a radio house. They are known for the extremely high

reliability that is reached, among other reasons, by redundant vital modules, and for their comfortable control surfaces. The two redundant halves of the router can be installed in separate rooms for immunity against incidents. The IDEA routers offer a great variety of interface modules including Audio over IP interfaces. All routers feature scheduling functions and contain DSP power for performing any signal processing such as filtering, compression, delay, On-Air management and much more. The routers can be monitored via SNMP and controlled by other systems via IP, serial interfaces, GPIO, etc. The multiple functionalities and the great flexibility of IDEA, make it the ideal heart of all radio house installations.


Mandozzi Elettronica SA via Volta 2 CH - 6946 Ponte Capriasca Switzerland W: E: T: +41 91 935 78 00

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DHD – Broadcast Consoles for You

A broadcast console is not ‘just the mixing desk’ any longer. In today’s studios, it is the main command centre not only for audio, but also for many other systems needed to run the show. With DHD systems, you are in control – always. DHD Systems – Flexible and Modular Our philosophy is simple: “Make it powerful, but easy to use.” DHD products are a successful combination of rock-solid hardware and sophisticated software. All devices are based on the same hardware platform, and allow you to choose the matching modules for your specific application. Our products consist of several compact modules for different tasks: Core Modules contain both audio signal processing and logic control – they are the heart of every DHD system. I/O Modules are responsible for getting signals in and out of the system. For control, you can choose from several mixer consoles and single Control Modules. The dedicated hardware inside all modules uses very little power, there are no PCs and no hard disks inside.

Ethernet and IP are also used for many other things. All configuration and monitoring is done over the network and there are options available to visualize the system status. Other systems can be interfaced using EMBER+, the open DHD Control Protocol or “classic” GPIOs. All modules of a DHD system are connected to each other with standard Cat5 cables. Just one cable carries audio, control signals and power for the modules. Audio signals are connected

via analogue or AES inputs, MADI, or the 3G/ HD SDI embedder/de-embedder. In networked installations, Core modules transport multichannel audio (up to 512 audio channels) between each other over fibre optics connected to DHD Gigabit Audio Ports. 52/SX – Compact Console This compact console includes everything you need for building audio workstations, small

52/SX. Compact and good value.

RJ45 – Complete Network Control For Audio over IP the well-established Dante technology is used. The 52/XC Dante IP Audio Interface provides connectivity to other Dante nodes (hardware or software) on any standard IP infrastructure. The AES-67 standard is the basis for combining devices of different manufacturers. 18 November 2015

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to mid-sized On-Air studios or OB vans. Community and college radio stations can use the 52/SX as their main console, thanks to its attractive pricing. It is a real turn-key system; but there are software options available to extend its functionality in larger set-ups. The console desk consists of a central control module, up to 16 faders, and a seven-inch TFT Multitouch Display. You can mount the modules flat within the furniture, slightly angled or in an ergonomic split design. The signal processing modules of the 52/SX are just 1U high and provide inputs for microphones, headphones, analogue and digital 52/RX: Solid hardware with full features

signals. There are GPIO ports available, as well as two USB connectors that work as pro grade USB sound cards on your PC. 52/RX – Modular Console The modular 52/RX allows you to build consoles with up to 64 channels. Its fader modules are four faders wide and are available in different versions, including some with motor faders. Combine the fader modules of your choice with the central control module and TFT Multitouch Displays and you get a solid hardware base for your studio.

52/MX: Fits your workflow

The 52/RX is easy to integrate with other Series 52 devices. If necessary, you can add modules from the 52/MX system to build special talkback or control solutions. 52/MX – Fully Flexible Console The 52/MX is the flagship console of the Series 52. Its design is fully modular – there are many

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specialised module ‘strips’ available. To build a studio, you choose the matching modules for your application. No matter if you need a small talkback box with a few buttons or a ‘big’ console with lots of faders, buttons, and TFT Multitouch Displays as fader over bridge – all modules will work smoothly together. 52/TX – The Touch of Broadcast The 52/TX is a multitouch mixing console with an intuitive control interface for daily operation at news desks, in editing suites and in SNGs. Its flat table-top design, with a 10.1” Multitouch Display, assignable potentiometers and hardware buttons, allows professional audio mixing on a small footprint. With the integrated high-quality microphone input and headphone output, the most important connectors are available on the spot for telephone interviews or dubbing. Featuring a built-in talkback microphone and loudspeaker, the 52/TX is also a perfect talkback unit or monitoring controller. With the Toolbox configuration software you can create the individual mixer layout that fits your workflow best. You can define number and size of faders, buttons with your required functions and, of course, peak meters to show signal levels. Flexible Software Options Software plays a key role in all DHD systems. For setup and configuration, the Toolbox software is used. With this Windows application, you configure your DHD system exactly the way you want it. Signal flows, audio processing (including Automix and Loudness Metering), control functions, GPIO functions, TFT views, and many more things are entirely defined in the software. The initial set-up is easy, and future changes are often done with a few mouse clicks. The Remote Software package is used to monitor and remote control a DHD system. You also can design custom control screens both for TFT touch displays and larger status displays on standard monitors. If you need advanced routing and switching functions, you can run the Routing Software package. This application is used to control the audio switcher and to visualize its operation. It also provides sophisticated scheduling functions for automatic operation.

52/TX: Easy mixing

Audio over IP built in

52/XC Dante IP Audio Interface

To run audio over standard IP networks, we use the established Dante technology from Audinate in the 52/XC Dante IP Audio Interface. This module supports up to 48 input and 48 output channels and connects audio from DHD systems to other Dante nodes. You can use it e.g. to interface your playout system via the Dante Virtual Soundcard instead of an expensive sound card. If you connect two DHD Dante modules, you can create an “audio snake” connection between two or more DHD systems within a larger facility. This gives you more flexibility for signal routing, talkback and monitoring. The AES67 standard ensures interoperability between devices with different AoIP protocols.


DHD Deubner Hoffmann Digital GmbH Haferkornstr. 5 04129 Leipzig, Germany T: +49 341 5897020 F: +49 341 5897022 E: Please find our international sales contacts at

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ADT offers a range of modular mixing consoles and processing modules, claiming ‘the very highest level of sonic and build quality’ at a reasonable price.

A leading manufacturer of portable audio mixers, Audio Developments has been established for over 40 years and has supplied mixers to every continent in the world.



Manufacturing for the broadcast industry for 35 years from its Madrid HQ, AEQ products such as the Phoenix Studio Codec and Titan router are used by audio pros around the world. ALESIS

Established in 1980, Alesis was founded on innovative semi-conductor chip technology that brought high-end products to entry-level musicians and recording artists. Today Alesis remains committed to delivering inspiring pro gear to users of all audio levels, including the MultiMix range of mixers.


A UK-based company, Allen & Heath has been building mixers for 40 years and remains passionate about its consoles. Makers of the Qu, iLive, DLive and GLD series mixers.


A relatively new brand launched in 2000, but a fast grower and accumulator of positive market feedback, Alto has built a complete product line-up to meet the growing needs of audio pros that includes the Live and ZMX Series of mixers. AMS NEVE

AMS Neve boasts an enviable reputation, with its uncompromising recording and mixing equipment used in countless top-name productions. The Genesys and Genysys Black are just two consoles that have epitomised the pinnacle of AMS Neve’s award-winning achievements over the years.


APB-DynaSonics has been designing and manufacturing its Spectra series of analogue consoles in New Jersey since 2004.


API launched in 1968 and became known for its 2520 amplifier, which still forms the heart of all its discrete products. It now has over 700 API consoles around the world. AUDIENT

Audient was formed in 1997, with its founders setting the performance standard of mixing consoles in the ’80s and ’90s. Its flagship product is the ASP8024 large-format recording console.


Audio & Design was successful with its range of transistordesigned limiters and compressors in the 1970s, but has evolved to become one of the major consultants and installers for the broadcast market.

Avid’s pro-audio solutions can be found at the heart of many studios around the world, not least through its ubiquitous Pro Tools software. There’s much more to Avid though, and with endeavours including the Venue S6L, the company represents the fore of the console market.


An Italian broadcast solutions company founded in 1996, Axel’s client list includes Deutsche Telekom Germany, RAI TV Italy and Radiotelevisione Italiana. AXIA AUDIO

Axia is the studio audio division of the Telos Alliance, specialising in digital audio routing, mixing, and distribution systems. Its modular Element is a popular console, with fully mixable, matchable and combinable components for individuality. BEHRINGER

Founded 20 years ago because Uli Behringer couldn’t afford good equipment to become a sound engineer, today Behringer forms part of Music Group and aims to offer the best equipment at fair prices. Its range covers everything from mixers to instruments. CADAC

Cadac consoles, manufactured in the UK, are famous for their use in large-scale musicals, but have in previous years been renowned for studio use. The company specialises in live sound mixing consoles such as the CDC Six, CDC Eight, CDC Four and Live 1. CALREC

Calrec’s focus has been on broadcast audio mixing consoles since 1971, although it has been manufacturing highquality audio products since 1964. Its well-respected consoles today include the Callisto and Apollo. DATEQ

DATEQ started in the 1970s with the production of audio equipment for DJs and pro-audio end users; today the company’s mixers are still aimed squarely at broadcast and disco markets.


Clyde Broadcast is a radio specialist, operating as a manufacturer, consultant and system integrator for the industry’s radio stations big and small. CREST AUDIO

Founded in the 1970s producing amplifiers for tours, Crest Audio is now part of the Peavey family. The company produces consoles alongside many other products designed ‘to address every aspect of installation configuration and control’.


Founded in 2005 and building on talent and highstandards, Devil offers the Grande, an advanced DAW control surface.


With technologies especially adapted for radio and TV broadcasting studios, DHD’s focus is digital broadcast mixing and routing systems that include the RM4200D, and 52/MX and RX. DIGICO

Some might claim DiGiCo as a bit of a pioneer, and this was certainly the case when the company launched its D5 Live system that realigned the expectations of digital consoles. Among its latest consoles is the S21.


Coming from a pop star background, Duco de Rijk and Ronnie Goene built their first tube mixing console in 1972, and in 1973, D&R was officially founded. Based in Weesp, D&R’s approach is informal and customer-centric.


EELA has been developing products for the radio broadcast industry for almost 40 years, and prides itself in taking an individual approach to each customer. EQUIPSON

Equipson is based in Spain, and its range includes the Digiline 8, XP 20 PRO and MMX 62. FAIRLIGHT

Based in Australia and one of the oldest digital pioneers, Fairlight is now taking initiatives in forward-looking green technology in its manufacture of high-quality consoles such as the Quantum and Evo.Live.


Musically-orientated, FBT is an Italian manufacturer that has been around for over 45 years and claims to be one of the few manufacturers whose products, such as the Formula mixer, are entirely made in its home country.


Focusrite was established in 1985, and today produces a range of products for the audio pro including the Focusrite Control 2802, a combined small-format analogue recording console and a DAW control surface.


Started by the Cockell husband-and-wife team in the late 1970s, Formula Sound has since grown and won numerous awards for its technologies. Its ‘reputation outstrips its actual size in manufacturing terms’ – a sentiment that reflects the company’s personal ethos. FOSTEX

Founded in 1973 by the earlier developer of EOM speaker and transducer products, Foster Electric Co, the Fostex Company first built high-quality speaker components. Today, the company distributes its products including the LR16 and LM16 mixers in over 50 territories worldwide. HARRISON CONSOLES

Harrison’s first console was delivered in 1975, and to date over 1,500 have since been installed. The PP-1 became the ‘Hollywood standard’ for modern film console designs in 1979, although its current flagship is the MPC5. 20 November 2015

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French Designer Jean-Pierre Lafont gave his name to the high-quality audio company over 20 years ago; the current product line-up includes the Panoramix and FTC84 consoles.

PreSonus has come far since the days of trading from Jim Odom’s garage in 1995. Highlights from the past 20 years include the DigiMax and FireStudio; while today it is known for its StudioLive series of digital consoles.



Based in Germany, Lawo was founded in 1970 as an engineer’s office for electronic equipment and later began manufacturing mixing consoles. It now has five subsidiaries around the world, and its consoles include the mc290, mc266, mc256 and mc236.


Manufacturers of the Mosaic and Remora consoles, Logitek designs and develops its products in-house using local manufacturers based around Houston, Texas. CBS, NBC, and The Disney Channel, as well as Sony and Warner Bros use Logitek systems. LOLA AUDIO

Lola Audio is the leading Serbian firm in the AV media field, and for over 25 years has been producing modular audio mixing consoles among other high-tech products. MACKIE

Mackie is part of the LOUD Technologies family of brands, whose logo reads ‘Small footprints, big features, great sound’, and this is epitomised by the Onyx and VLZ4 Series. MANDOZZI

Located in the sunny Swiss corner of Ticino, Mandozzi Electronics was founded in 1965. Its user-friendly GMIX and Serix mixers form the console backbone of its range.


Founded in 1987 and based in Switzerland, Media Engineering has since 2001 concentrated its efforts on developing pro-audio products. Memix is its modular analogue mixing console, designed to be used in radio and production studios. MIDAS

Part of Music Group, Midas’ consoles are among the most popular in the market, and have been found in live applications around the world since the 1970s. Its console line-up includes the XL8 and the PRO Series. OTARI

Although its European branch has closed, Otari is still producing out of Japan as it has for over 40 years, and distributing worldwide. Its consoles include the DB-10. PEAVEY

The PV, FX, and XR Series of consoles are among Peavey’s SR line-up that is produced out of Corby in Northamptonshire, UK.


Phonic is a customer-centric company; its mixers include the AM, Helix and Impact Series.

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Born in 1986 and based in Valencia, US, the company’s range includes the Solica mixer. PUBLISON SYSTEMS

Publison designs and manufactures integrated post production systems, whose products include the NewsMix, Edimix II and Prod’Mix. RAMI

The Compact II and RP 2000S are two of Rami’s Frenchmade broadcasting consoles, among a range of other pro-audio products. The company is celebrating its 30th anniversary in 2015.


Roland Systems Group is a forward-looking company whose breakthrough V-Mixing system (combined digital snake and mixing console) is still building its fan base, now with several options in both mixing and snake departments. The company’s lineup includes the M-5000, M-480 and M-200i live mixing consoles. RUPERT NEVE DESIGNS

Rupert Neve, founder of the company that bears his name, has a discriminating career in audio spanning 80 years. A brand that implies excellence, the 5088 is Neve’s flagship console. SAMSON AUDIO


A Harman company, Soundcraft made its mark in the early 1970s with the Series 1, the first mixing console in a flight case. It remains a dedicated pro mixing console designer and manufacturer with consoles including the Si, Vi and Ui series.


Speck’s LiLo is not a conventional mixer, but rather designed with minimalist ideals perfected for routing and blending external gear and DAW. STAGETEC

The Cantus was Stagetec’s first digital console, a success of the 1990s; today the improved Aurus Platinum is taking the crown as Stagetec’s first-class mixing console. STUDER

Since 1948, the name of Studer has become synonymous with broadcasting and recording equipment. Its product range, which includes the OnAir and Vista lines, is totally designed in Switzerland.


Tascam/TEAC products deliver to the whole spectrum of musicians and engineers, from the hobbyist to pro. Headquartered in Japan, its consoles today include the DM-3200, DM-4800 and M-164 (plus FX and UF derivatives).


America-based Toft Audio produces the ATB analogue mixers, a platform that is continuously being developed under the guiding hand of Malcolm Toft. TONELUX

Starting out designing wireless mics, and now with three brands under the Samson banner; the company has produced a huge range of products including the L-Series consoles.

Paul Wolff in Vegas is the mastermind behind Tonelux’s range of audio gear, including the 3, 4, 5 and 6 rack consoles and the Tonelux Universal Console Series.


Malcolm Toft and Barry Porter developed their first console, the A Range, for use at Trident Recording Studios in the 1970s. Trident is now designing and manufacturing new ideas under the PMI flag.

Smart’s respected consoles include the Tango and Smart Professional Series, designed for the most demanding applications using ARC and MonARC technology.


SSL has had a long and noteworthy history since its formation in 1977, which via the Axiom, Aysis, XLogic and C-Series, has led to today’s popular Duende and Duality consoles along with the Matrix2, SSL Live.L300 and SSL Live.L500. SONIFEX

Sonifex began as a family company back in 1969. Today it boasts that over 90% of British radio broadcast studios have used Sonifex products in the past. The S2, S1 and S0 make up the company’s current broadcast mixer range.



Founded in the 1970s, Wheatstone is a world supplier of radio and television audio equipment, including analogue and digital mixing consoles, digital signal processing, and networked audio systems – all designed and manufactured in New Bern, NC, US under the Wheatstone and Audioarts Engineering brand names. YAMAHA

Yamaha has a long and wide-reaching story and similarly it produces a variety of mixers including the CL and QL series, PM5D and RIVAGE PM10.


Swiss Sonosax brought its first mixing console to market in 1980, the Sonosax SX-B. Recent additions to the Sonosax range include the SX62R and SX-M32.

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