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The largest multimedia operation in the Spanish-speaking world is currently undertaking a major technical upgrade centred around IP-based mixing and routing systems from German broadcast technology innovator, Lawo.

Mexico’s Televisa is renewing the facilities in San Ángel (CDMX) used to produce telenovelas (soap-operas) and other live programming, upgrading from stand-alone studio operation to a fully networked production environment. Using Lawo mc² production consoles, an IP-based central router with failsafe, redundant architecture, and AoIP interfacing and RAVENNA/AES67 I/O systems, Televisa is moving into a new dimension of flexibility, scalability, efficiency and reliability – as well as establishing a smart solution for future growth and development.

Having previously purchased two 64-fader mc²66 audio production consoles for its Audio OP trucks, Televisa was familiar with Lawo before this current upgrade. An evaluation of various manufacturers – alongside its four-year experience of Lawo’s staff, products and service – saw Lawo’s proposed solution for the large network that Televisa envisaged come out best. It further established that Lawo would be the ideal strategic partner for Televisa’s future projects.

A further decisive factor in this determination was Lawo’s commitment to industry standards, ensuring that Televisa’s systems are not only in harmony with current IP standards, like SMPTE 2022-6/7, 2110 and AES67, but also with any IP standards that lie in the future. Additionally, Lawo’s comprehensive control – using solutions such as Ember+, VSM and smartDASH system monitoring and real-time IP telemetry – are a must-have for today’s IP infrastructure.

The new Televisa installation comprises four Lawo mc²56 consoles and additional DSP and routing devices in three of the company’s large production areas. These mc²56 desks, configured with 64, 48, 32 and16 faders and including their respective HD cores and SoundGrid integration, are now installed in the Foro 3, 15 and 16 facilities. Several Lawo DALLIS I/O systems supply each unit, completed by a row of A_mic8 and A_digital8 high-quality AoIP interfaces.

Currently, Foro 3 provides support services for the‘Pequeños Gigantes’, ‘La Voz’ and ‘La Voz Kids’ shows for past season, while Foro 15 produces the novela ‘Por Amar Sin Ley’ among others. Foro 16 handles the ‘Cuéntamelo Ya’ program daily, as well as ‘Cuéntamelo Ya Al Fin’ on Saturdays, along with large productions such as the 2019 Grammy Awards.

The technical upgrade for two additional areas – Foro 8 and Foro 9, dedicated to the production of telenovelas– includes two Lawo mc²36 consoles in a 24-fader frame, as well as Compact I/O units for maximum connectivity. The Nova73 HD central router and all of the production units are already fully operational and networked via a RAVENNA/AES67 infrastructure.

Nacho Gonzalez, Lawo’s Sales Director South America says: “The main challenge to an infrastructure like this today lies in the integration of IP with the rest of the client’s infrastructure. Leading broadcasters understand that proprietary protocols are a technological dead-end, since they do not allow working with third-party systems. If you cannot control, you cannot integrate; and if you cannot integrate, you cannot expand in the future. Lawo’s commitment to standards-based IP networking and future-readiness are major reasons behind Televisa’s choice to partner with us – because outside the network, life doesn’t exist.”

Based on its market capitalisation, Televisa is the largest media company in the Spanish-speaking world being one of the main participants in the entertainment business worldwide. It operates four free-to-air television channels in Mexico City, produces and distributes 26 pay television brands for distribution in Mexico and the rest of the world, and exports its programs and formats to the United States through Univision Communications Inc. (Univision), and to other television channels in more than 50 countries.

www.televisa.com

www.lawo.com

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A 32 channel API 2448 console is now available for demo with API’s official Swedish dealer Golden Age Music. Founded in 1995 in Alingsås (located between Stockholm and Gothenburg), Golden Age is one of the leading European suppliers of high end pro audio gear and continues to be a valued partner of API.

“I came in contact with API products over 40 years ago. I was impressed then and I am even more impressed today,” says Golden Age Founder and Owner Bo Medin. “API has stayed current for many years by developing its product range and staying true to its core values.

“Having sold the iconic API products for about 15 years, it´s my great pleasure to now be able to show a fully automated, 32 channel 2448 to my customers. The console offers incredible value and flexibility, an intuitive mode of operation, a high track count and, of course, the classic and amazing API sound. The 2448 is the perfect middle ground between small and large format consoles and a ‘no-brainer’ choice for many audio professionals.”

www.APIaudio.com

www.goldenage.se

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Senior audio broadcast engineer Omer Barzilay and front-of-house engineer Eran Ben Zur (know for his work with Dweezil Zappa) – choose Waves plugins and the Waves eMotion LV1 to power the sound of the Eurovision Song Contest 2019, broadcast live to over 200 million viewers.
 
Held annually for the 64th year, Eurovision is the world’s longest-running international television music contest, and one of the most-watched broadcast events worldwide. Broadcast from Expo Tel Aviv, May 14-18, Eurovision 2019 featured three live shows – two semi-finals and a Grand Final – held over three days, with 41 competitors, four hosts on stage, and numerous guest performers, and featuring an exclusive two-song live show by guest star Madonna. To handle this combined high-end stage/broadcast production, Omer Barzilay and Eran Ben Zur turned to Waves tools for superior sound quality plus smooth operation and setup. 
“The Heads of Sound of the local Eurovision production, Yair Goren and Yossi Edri, suggested that Pro Tools/LV1 engineer Jonathan Jacobi and myself mix the whole thing on the Waves eMotion LV1 mixer,” says broadcast mix engineer Omer Barzilay. “I was absolutely thrilled to be able to use Waves plugins in such an easy and flexible way, running the plug-ins directly within the software mixer. When it comes to broadcast, you are usually looking for system redundancy and backups; eMotion LV1 delivered just that. It is a clear advantage to have a software-based system: we were able to easily create two identical systems with two Waves SoundGrid servers each.” Barzilay continues, “One of the greatest advantages of using the LV1 is that I was able to mix most of the songs ahead of time. I was mixing about a month and a half in advance of the show, at my studio, by routing all the stems that I received ahead of time from Pro Tools to eMotion LV1, creating all the automations and effects so they were ready for the show. Time is crucial when mixing so many different songs for such an immense musical event, and if I hadn’t used a software base mixer, I would never have been able to be prepared this way.”
About his workflow, Barzilay adds: “During the show we routed all audio to the eMotion LV1 mixer and to a multi-track recording computer. We used the LV1 mixer’s A/B input to route the recorder back in, so we could continue mixing the show between takes. This was very fast, and as soon as a delegation finished their first take, we kept mixing it until the next one. We didn’t waste any time.” 
He adds, about using Waves plugins, “My go-to’s are the Scheps Omni Channel – this was the only channel strip I used for all vocals, including de-essing, EQ, compression and saturation. On lead vocals, the Waves C6 Multiband Compressor was extremely valuable in controlling high and low frequencies and for controlling pops and hisses. We also used the Waves Dugan Automixer plug-in for all hosts’ and guests’ mics. The Waves H-Reverb Hybrid Reverb is my main and go-to reverb: we used six instances of it. Having said that, we also used the Waves IR1 Convolution Reverb and Renaissance Reverb. My main delay is the Waves H-Delay Hybrid Delay, which I used for around 90% of the delays in this production. In addition, I used the Manny Marroquin Delay for L/R separation. Finally, the Abbey Road TG Mastering Chain was on our master chain: All music was routing through it.” 
“The biggest advantage of the Waves eMotion LV1,” Barzilay sums up, “is that you get to bring your studio with you to live events. Some of the plugins are effects I’ve been using for the last two decades!” 
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Tracktion Software and 2JW Design announced they have joined forces with Prism Sound and SADiE to create a dynamic new player in the pro audio market, under the umbrella enterprise ‘Audio Squadron‘. Essentially, the US based company is joining forces with the British manufacturer to work on expanding the future of their respective audio software tools, while exploring opportunities in the recording hardware front. A collaboration between companies that will remain independent, but both have both a long history passion for audio excellence.

The resulting pro audio powerhouse brings together the diverse, highly skilled workforces and technical expertise of these renowned global brands enabling them to accelerate innovation, development and the cross fertilisation of ideas. Prism Media Products LTD retain the successful test and measurement equipment business and will continue to supply leading manufacturers worldwide.

“We are excited by the multitude of opportunities offered by this collaboration,” said JamesWoodburn, Tracktion co-founder and CEO “It is the best of both worlds for Tracktion, 2JW Design,Prism Sound and SADiE. Whilst we remain independent, we can more easily work together to bring renewed focus to delivery of the highest quality audio products.”

Prism Sound founder and Director Graham Boswell explained: “the shared vision of this venture will greatly enhance our ability to accelerate creativity in the design and development of the industry leading audio tools our customers have come to rely on. We’re eager to start working on this exciting new chapter of Prism Sound and SADiE’s life.”

www.audiosquadron.com

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William Montoya, audio team leader for KUED, Utah’s PBS station, was looking to improve the overall sound quality of its programs while increasing the studio’s capabilities by upgrading to a 5.1 native broadcast audio console. It wasn’t until the unveiling of Calrec Audio’s Brio 36 that his dream of owning a fully digital 5.1 console became a reality — the Brio 36 perfectly fit Montoya’s technical specifications and price point.

Montoya has found the Brio 36 is especially beneficial to KUED’s studio-based productions, which consist mainly of talk shows and live fundraising events. “Brio’s built-in auto-mixing capability helps maintain a very acceptable background noise level by suppressing unused microphones dynamically in applications when we have multiple mics on-set or on-location at the same time,” he explains. “This dramatically improves the sonic quality of our productions. We found this feature to be especially useful for the Utah State Governor’s press conference show, where we broadcast an unedited exchange between up to 11 individually miked reporters and the Governor.”

While Montoya is impressed with the console’s wide array of features, it was its surround capabilities that first caught his eye. “We wanted to have a 5.1 native console that could put a full 5.1 source on a single fader,” he says. “With the small footprint of the Brio 36, we are able to manage multiple surround sources without maxing out the surface. We were also impressed with the fact that the console’s preamps feature plenty of clean headroom.” Montoya also notes that there have been many early benefits of the Brio 36, including the easy navigation and self-explanatory user interface, which helped with the initial transition from the old to the new console. The small form-factor of the Brio 36 is also incredibly useful to a local station like KUED, but it is the advanced audio functionality built into this compact console which really stands out above everything else.

“We are loving everything about the Brio 36; it sounds great and, for the footprint and price, it is extremely powerful and flexible,” says Montoya. “A really useful feature for us is having tone available on any input or output – in any format with or without identification. This allows us to track down audio channel issues in our broadcast chain using tone from the Brio. Additionally, the built-in loudness meter is a very useful tool; we can now be sure our mixes are meeting broadcast standards. The Brio was initially selected as a standalone replacement of a previous console, but with its expansion capabilities, we are already considering additional I/O for other rooms in our station.”

KUED has served the greater Utah area for more than 50 years. Its mission is to serve as Utah’s storyteller, producing several full-length documentaries about the region each year. KUED also contributes to National PBS program offerings, including Yellowstone Symphony, which aired this spring. The station is heavily involved in the community, running outreach programs every year in support of literacy and community engagement.

“Public television is a vital contributor to the American broadcast market, and we’re very excited to continue to be part of its programming through a wide array of local stations,” says Dave Lewty, Regional Sales Manager, Calrec. “The Brio 36 console is perfectly suited to studios like KUED, which require high audio performance in a compact format.”

www.calrec.com

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A major firmware update has been released for MONTONE.42, DirectOut’s MADI to RAVENNA/AES67 converter. The transparent transport of AES3 audio data over IP is now possible with the MONTONE.42 through the newly added ST 2110-31 support. The standard has been released by the SMPTE in 2018. It allows to transmit any format which can be encapsulated in AES3 (24 bit audio plus subcode) as a 2110-compliant network stream and supports audio as well as Non-PCM data as payload. Using a ST 2110-31 stream the audio signal can now be transmitted over IP, while the meta data is preserved.
DirectOut utilizes the AES3 user bit to transmit control data for the ANDIAMO series embedded in MADI. As a result, remote ANDIAMO devices can now be controlled through Audio-over-IP streams. Switchable transparency modes in the MONTONE.42 allow to safely transmit Non-PCM data, such as Dolby® E over ST2110-31 streams. The implementation of the standard has been tested and approved at a Workshop of the Video Services Forum (VSF) in Houston.
“From the beginning DirectOut made use of User Bits in AES3 to allow remote control over MADI. Therefore, transparent transmission of the subcode was provided in many devices as a standard and by that ensured that DirectOut products support third-party solutions that make use of AES3 in various ways too,” says Claudio Becker-Foss, CTO and Managing Director at DirectOut. “We are very happy that now we can continue to offer this versatility in the IP world with ST 2110-31.”
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PreSonus is now shipping Studio One 4.5, a major update to its recording and production software. With more than 70 new features and improvements, this free update for Studio One 4 users adds several of the most requested features from the Studio One user community and adds advanced tools that streamline professional audio and MIDI production workflows.

The redesigned Input Channel section adds updated hardware preamp controls for selected PreSonus audio interfaces, as well as software-based input gain and phase controls to every input. This combination of hardware- and software-based gain controls offers more flexibility and control throughout the entire recording and mixing process. All audio and instrument channels, effects channels, and buses also feature gain and phase controls so you can manage perfect levels across the entire mix without increasing event gain.

Grouping has been completely redesigned: Groups now have attributes for defining edit groups or mix groups using attributes for Volume, Pan, Mute/Solo, Inserts, and Sends. Groups can be nested and can be easily edited and activated/suspended with one click.  A dedicated command can globally enable/disable all Groups at once.

Setting up an external audio interface is a lot easier thanks to several I/O setup improvements. Add any number of new inputs and outputs in just one step, including custom naming and coloring. Inputs and outputs can be reordered with simple drag-and-drop. Users who switch interfaces, move between studios, or collaborate will appreciate the new Import and Export options for I/O setups.

A new Plug-In Manager lists all installed third-party plug-ins, including a list of plug-ins that were blacklisted during the initial scan, allowing them to be reset individually or globally. Showing or hiding individual or groups of plug-ins only takes a few clicks.

Fulfilling one of Studio One users’ top requests, CPU load for using combined virtual instruments inside a Multi-Instrument has been reduced by a whopping 70% for Native Plug-ins and by around 50% for third-party instruments like Kontakt. CPU optimisation has also been implemented for Mai Tai, Presence XT, SampleOne XT, and Impact XT.

Studio One 4.5 takes MIDI editing to a new level with major new features and improvements to speed up workflow. Several powerful new note actions have been added; examples include Fill with Notes, Randomize Notes, Apply Scale and Mirror Notes. Note actions can be used manually and individually, and they can be assigned to keyboard shortcuts and used as part of a Macro command. Shortcuts or Macros can then be added to any Macro Toolbar, enabling even more powerful customization.

The new update adds many other important features and enhancements. For instance, the Chord Selector now offers a convenient Audition mode. Individual Audio Events, Audio Parts, and Instrument Parts in an arrangement can now be locked to prevent unintentional moving or editing, and you can even lock entire tracks. You can now export video with the audio mixdown as the soundtrack. AAC (m4a) and ALAC (Apple Lossless) format compatibility for audio import and export at different bit depths and sample rates have been added.

www.presonus.com

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A new reference-grade AD/DA converter capable of 24-bit, 384kHz conversion and DSD256 support, with an RRP of $2,995. Designed to integrate into both audiophile and studio setups, AMÁRI utilises eight CS43198 DAC chips — four per channel — to offer high sound quality and 138dB dynamic range. It supports sample rates of up to 384kHz (PCM), operating at the same resolution and speed as the two AK5578 ADC chips which boast a dynamic range of 128dB. Two high-powered headphone outputs on XLR-combo connectors incorporate user-selectable output resistance, which works as headphone membrane weight compensation. Both  headphone outputs feature a volume control capped at 20dBu max, with digital trim and selectable output impedance from -4.6 to 85.3Ohm. 

AMÁRI takes advantage of Antelope Audio’s AFC (Acoustically Focused Clocking) jitter management technology and offers the option to integrate Antelope’s 10MX Rubidium Atomic Clock. The benchmark unit offers plenty of connectivity, with analogue inputs on two XLR-combo connectors, RCA jacks and analogue outputs on XLR connectors and TRS jacks, digital I/O (AES/EBU, S/PDIF, and TOSLINK connectors), as well as bi-directional computer connectivity via USB 3.1. 

AMÁRI is now available for purchase — priced at an RRP of $2,995.00 USD — through Antelope Audio’s global network of authorised dealers – or to order online directly from Antelope Audio via the dedicated AMÁRI webpage  which also includes more in-depth information.

www.antelopeaudio.com

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Genelec have implemented major updates to the connectivity, performance and feature set of their design-iconic F Series subwoofers. The two new models feature optical and coaxial digital inputs, higher SPL, updated remote capability, more comprehensive DIP switch features and improved power supply and amplifier design.

Launched in 2012 – and created in conjunction with leading industrial designer Harri Koskinen – the F One and F Two active subwoofers complement Genelec’s smaller G Series two-way active loudspeakers and offer exquisite sound quality, high maximum sound pressure levels and outstanding reliability – all contained within a compact and aesthetically pleasing form factor that has already earned the F Series distinguished design awards.

The improvement in connectivity is in direct response to the prevalence of digital outputs on most streaming devices, TV sets and soundcards, providing superior sound quality and higher reliability compared to analogue solutions. Digital interfacing is especially important for retaining a high signal-to-noise ratio when volume control takes place upstream – for example on a smartphone.

Alongside the pair of digital inputs, both models include stereo analogue inputs on RCA and 3.5 mm stereo jack, an analogue LFE input on RCA, and stereo analogue outputs on RCA. Additionally, the larger and more powerful F Two model offers stereo analogue outputs on XLR, which make it compatible with Genelec’s professional studio loudspeakers too, and a Link connector for daisy chaining multiple subwoofers. Analogue bass management is also provided on both models, with fixed 85 Hz crossovers on the analogue I/O, and all inputs may be connected simultaneously – with automatic input detection then prioritising the digital input.

The updated F Series now offers a choice of three different remote control options: the default is Genelec’s own RF remote control, which ships with the subwoofer, but the user may also teach their own Infra-Red remote to control key subwoofer functions – or they may purchase an optional Genelec hard-wired volume control.

The electronic design of the F Series has undergone a significant upgrade, and now features a universal voltage switched-mode power supply and Class D amplifier stage for increased efficiency and higher SPL output. The range of user-adjustable DIP switches has also expanded to allow activation and adjustment of Genelec’s ISS Intelligent Signal Sensing circuitry – which reduces power consumption in stand-by mode – and a new HT (Home Theatre) mode is provided which sets the gain to maximum when the analogue inputs are in use, and disables the remote control volume: allowing the volume to then be controlled via the user’s surround preamplifier.

Genelec Managing Director Siamak Naghian comments: “For seven years now our G and F Series Home Audio models have brought professional sound quality into the home, allowing users to experience music, movies and over-the-top broadcasting with the same levels of audio fidelity with which they were created. With the latest refinements to the new F Series, no-compromise music streaming has become readily available for both current and future users of Genelec home systems, providing another indication of our tireless dedication to providing ever higher levels of performance, flexibility and environmental friendliness.”

The new models will be shipping in June of this year.

 www.genelec.com

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Click the links below to download our full Audio Precision test report for each headphone

AKG K712

Audeze LCD-X

Audio-Technica ATH-R70X

Avantone MP1 Mix Phones

Beyerdynamic DT 1770 Pro

Beyerdynamic DT 1990 Pro

Focal Clear Pro

Sennheiser HD800

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