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[Monday at NAB]
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Ladies, Gents: Start Your (Audio) Engines
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by Charles Dubé ,
~ April 14, 2008
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RADIO WORLD
While the phrase “broadcast console” is still with us, it is a bit anachronistic. The term “control surface” is more appropriate, as these devices are interfaces between complex router systems and their associated software functionality.
Although the pots and meters are still to be found in some form, what lurks behind the curtain is a myriad of features that, in times past, entire racks of outboard gear would have supported.
The new generation of consoles and routers brings about the blessings of the shared resource: any source available anywhere at anytime.
With audio now existing primarily in the digital realm, the marriage to data networking concepts was inevitable. The control surface is the user’s connection to a digital chain that involves not just the determining of what audio goes where, but how it is to be conditioned, in what format will it be distributed and to where.
The connection doesn’t stop there. The same technology that connects your studios can now travel the Internet, or some other point-to-point protocol, worldwide for program distribution, streaming or links such as studio-to-transmitter or studio-to-satellite. And at a fraction of the cost for what it might have cost less than a decade ago.
EVOLUTION
Distribution needs can be wide, as in a national or international network; or small such as between studios in a single facility.
The Sonifex RB-OA3, working in tandem with its associated RB-OA3R remote panel, is a single RU three-studio switcher designed to be located in the TOC of a smaller radio station so they have control over what is feeding the airchain at any one time.
Incorporated within is the ability for studios to share audio codecs or hybrids by routing them through the RB-OA3, enabling any connected studio to access the full functionality of that device. Sonifex Managing Director of Sales Marcus Brooke said a unique feature is “sustain mode.” The RB-OA3 can be used to control automated audio as well, “such as an overnight music system where there actually isn’t a studio,” he said.
Wheatstone, a name synonymous with high-quality broadcast consoles for decades, is exhibiting its latest digital audio networking system. It moved into the realm of TCP/IP networking with the Evolution Series Radio Consoles, which share their resources via the new E-Series network switch.
Evolution operators access the feature-rich capabilities with Glass E, Wheat-stone’s latest software application, which controls any Evolution Control surface from any location on the LAN or WAN by replicating the control surface — a virtual console.
Also out of Wheatstone’s New Bern, N.C., facility come two new Audioarts consoles, designed for smaller radio studios. The Air 1 is a compact and concise console with the emerging podcast application in mind, as well as more traditional news and production needs. At only 2-1/2 inches high, it is tabletop-mounted with direct access TRS connectors.
Also debuting is the Audioarts W-12 console, designed for small- to medium-market radio stations without neglecting higher-end features of larger predecessors such as multiple busses, 10 dual-source stereo line input modules (analog or digital) and switched VU meters.
Taking things a step further in compactness, Henry Engineering is introducing its SixMix USB broadcast console, featuring 10 inputs, an integrated digital audio codec and (as the name implies) a USB computer interface. It is highly suitable for live broadcast, recording or production tasks.
For live broadcasting, its mic input channels include unusual features for a console this size such as a cough switch and insert jacks to route the signal through any outboard device such as a limiter or equalizer. The SixMix also has built in its own cue speaker and talkback facility for on-the-road and in-studio productions.
Another interesting feature is what is designed within Input 6A: a built-in digital audio codec for recording and playback using a computer. Additionally, SixMix’s PC-Direct S/PDIF digital output permits feeding digital PC-playback audio to a transmitter or Web-streaming interface.
Henry Engineering points out that the audio-quality of the codec is identical to the award-winning Henry Engineering USB Matchbox.
COME TOGETHER
Making the connection to different devices using different protocols is a fairly recent challenge, and Digigram’s Visiblu software system combines audio networking and processing technologies to bring disparate devices together.
Visiblu is compatible with a variety of codecs (PCM, MPEG, G.722, AAC) and operates with Windows XP, Vista and Linux 2.4/2.6. In addition, its audio engine allows for control and audio mixing from available sources like Ethernet or IP streams. Time scaling, multi-band EQ, audio compression, limiting, maximizing and expansion are available features.
Visiblu can be used in a number of applications such as audio distribution for program syndication, STL, remote broadcasting via IP, automated IP recording, archiving or as a VoIP bridge.
If your studio is built around the SAS 32 KD router or Rubicon systems, you’ll find SAS’ new 32 KD KEL card of interest. Multiple protocols and connections, and up to 32 “channels,” can be handled in a bidirectional fashion to interface with a LAN, WAN, G.722 or apt-X connection.
SAS Director of Strategic Development and Marketing Howard Mullinack said SAS “had been looking at audio over IP for some time, and didn’t want to come out with another proprietary format.” But upon the European Broadcasting Union’s ratification of the N-ACIP protocol as a standard, the KEL was designed to connect with any N-ACIP standard device, which includes products by Digigram, APT and Telos, to name a few.
The KEL can be used to ship audio via T1 or even as an alternative to ISDN remote broadcasting.
As digital studio tools evolve, so does the interface with the operator. LCD displays allow greater surface area for a visual representation of what is possible with the control surface.
The engineers at Axia are introducing the Element Touchscreen Timer Panel, a touch-sensitive multi-function interface for the Element control surface, allowing show hosts, producers or guests to control an adjustable event countdown timer and elapsed time counter with Freeze and Pause functions.
Additionally, the Touchscreen Timer Panel can be slaved to a console timer, act as a master timer or operate independently. A built-in Web server is incorporated for quick configuration, and the Touchscreen Timer Panel can be desk- or turret-mounted. Expansion ports allow it to host up to five additional Element accessories.
AT A TOUCH
Designed for use with its Audio Engine router, Logitek’s Artisan and Mosaic are modular and scalable control surfaces available in various frame sizes to accommodate a user’s system needs. Both control surfaces have new features for 2008.
The Artisan’s fader complement has been increased from a maximum of 30 to 32; and the effects module, which was only a prototype last year, is now in full production. This enables instant access to a variety of different dynamics and EQ settings. New pop-up screens also are available to display these settings on the user’s VGA display in the studio.
Mosaic users will appreciate Logitek’s vSnapshot “capture and recall” feature, with 50 possible scene captures available per control surface.
Automatic mixing and ducking capability also has been added to the Mosaic. Logitek cites Sirius Satellite Radio’s use of this feature for airing NASCAR events, where a driver’s radio feed will smoothly duck other race audio while the driver speaks, then will smoothly ramp the race audio back up when the driver stops speaking.
Harris has augmented the functionality of the VistaMax Network Audio Management Suite with its new Windows computer client application, VistaTouch.
The tool enables hosts and producers to select sessions and macros, which can simplify automation for inexperienced console users. Setup and configuration are protected and only available to privileged users.
The VistaTouch user actuates “Image Panels,” which display show or daypart specific requirements. The Image Panel also can display a live webcam image, and can be accessed either by touchscreen or mouse, depending on user preference.
Users of the Lawo Zirkon studio console will want to note the release of version 2.8, featuring system control enhancements of the VisTool touch screen. A new DSP card mode called “Sig 80 Mode” supports 40 DSP channels with EQ, dynamics and limiting by way of a second masterboard.
Lawo’s new v2.8 firmware improves upon the VisTool metering data as well. Communication within the system is now accomplished with UDP, as opposed to TCP, which means metering data is transmitted faster and with more compatibility with the network. The upgrade adds a Logic Element UDP Matrix that ships RDS information, for instance, to other products using the Universal Encoder Communications Protocol.
The flexibility of network distribution of sources is enhanced with the introduction of Wegener’s fourth-generation network control system, COMPELR II. An open architecture system designed for the distribution of content to multiple locations, COMPELR II offers SQL database access to internal functions. Several permissioned operators can simultaneously access specific elements to achieve their responsibilities, be they television or radio.
AEQ is featuring its Arena and Bravo consoles. AEQ’s Gerardo Vargas says the Arena is a “powerful and flexible system that can easily accommodate one studio or a large network of studios because it is router-based to integrate with the AEQ BC-2000 router.” Inputs and outputs are connected only once using the MADI digital link to the BC-2000.
The Bravo console is designed for more modest demands. An affordably priced console with four mic/line channels, eight stereo line inputs and two integrated telephone hybrids, the Bravo offers a compact design and modest price.
Klotz Digital is at the show; among its offerings is the Vadis Shared Control Management module, which manages the use of sharing resources through a LAN infrastructure, such as central playout systems, assignable announcer booths, remotely controlled mic preamps, pools of telephone hybrids and codecs, central devices and devices in other studios or areas.
Other new modules include Remote Source Assignment, Air Chain Management, Return Line Management and Time Switch Software.
Arrakis Systems is displaying four new product series here including consoles. The ARC series are 10 and 15 channels with PC interfaces for play and record.
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