The physical function of audio mixing remains relatively unchanged today despite technology’s onward march. There are now many ways to mix studio and outside source signals for live broadcasts, but the familiar console with faders, meters and turnable knobs is still a reassuring presence in most sound suites. That’s not to say there have not been considerable changes in the background, with processing and routing racks now commonly situated either in a separate equipment room or, increasingly, replaced by software in the cloud.

As Lawo Senior Product Manager for Audio Infrastructure Christian Struck observes, the implementation of powerful IP networking has directly impacted soundboards. “The trend in audio mixing is shifting toward integration with broader IT-based infrastructures,” he says. “This includes the adoption of data-center architectures and the use of commodity, off-the-shelf server hardware. Essentially, audio mixing is no longer a standalone activity but part of an ecosystem emphasizing agility, scalability and flexibility.”

“All major live production mixer manufacturers” now produce consoles that run on standard CPU hardware and are more in line with IT environments than proprietary broadcast systems, Struck explains. On an operational level, he adds, there is “noticeable demand” for higher channel counts in tandem with support for Next Generation Audio (NGA) formats.

Distributed Production
The configuration of an audio desk is often dictated by its application. When it comes to live news, Wheatstone Senior Sales Engineer Phil Owens says, the mission remains much the same as it has been—providing reliability and ease of use along with necessary support for various live in-studio functions, such as automation and remote contribution.

“Audio systems must be flexible enough to support different dayparts, from a newscast with two anchors, sports and weather to a full panel discussion or a single shot news break-in,” Owens says. “New systems are able to recall the sources—remote or local—and settings needed for these and other possible workflows.”

Any discussion of audio console technology over the last two to three years has inevitably included the cloud and distributed production. Henry Goodman, director of product management at Calrec Audio, describes them as the two strands of the main trend in this area.

“Distributed production environments are where a lot of broadcasters can see added value for their businesses,” he says. “The extension of remote operation to wider distributed production and the ability to utilize resources at will—both in terms of hardware and equipment resources as well as people, in a more efficient way—to produce more content is clearly a process many broadcasters are having to go through for commercial reasons, rather than just because it’s a new technology.”

Calrec recently launched ImPulseV, its first mixer dedicated to the cloud, based on a virtual audio mix engine with cloud-based DSP software hosted in AWS. While Goodman says there are “fairly forward-thinking broadcasters” now considering this way of working, he does not agree that the console or control surface has become secondary to the virtual processing and mixing setup.

“My view is almost the inverse of that,” he explains. “Once you’ve put your DSP in a cloud environment, a lot of people start to think about that processing as more generic. The differentiator comes down to how the operator uses it and the surfaces and control systems they’re sitting in front of.”

Wheatstone is “seeing a small uptick in demand” for virtual consoles to control audio hardware, according to Owens. “Touchscreens do offer some advantages, such as fewer moving parts, making them easier to maintain or replace, plus lower cost,” he says. “But most audio operators still prefer the ‘fader in hand’ approach. Of course, that may change as more of the ‘iPhone generation’ step into board op roles.”

The transition toward cloud-based DSP and remote production workflows has introduced more agile and distributed approaches to audio mixing, including the use of virtual control surfaces and computer-
based mixing, according to Struck.

“However,” he adds, “for large-scale, high-profile events such as international sports broadcasts, consoles in the tradition of haptic faders and real rotaries and buttons remain essential. Controllers and in-the-box workflows have gained traction for less demanding or smaller-scale productions but they cannot replace the traditional console in high-pressure scenarios.”

What’s Hot, What’s Not
Whether physical or virtual, all modern consoles—and their manufacturers—support immersive audio, which usually means Dolby Atmos. While the big streaming services—notably Netflix and Amazon Prime Video—specify Atmos for high-end drama, as Struck points out, it is still not yet a standard requirement for broadcasters and most streamers. “The interest in immersive audio workflows remains confined to a smaller portion of customers,” he says.

Goodman wonders if much of the viewing public takes advantage of what immersive audio is available, adding that “the vast majority of distributed content” is still not in the format. Even less exploited, in Goodman’s opinion, is the use of object-based audio (OBA) to personalize broadcast audio.

“Alternative languages are the obvious application,” he says, “but in sports coverage, OBA can also offer a choice of commentary and a different mix relating to the team a viewer supports. It’s still not very commonplace, for a number of reasons—the main one being it’s not cheap to do, because you’re effectively creating another mix. How you would commercialize it is another question.”

Some sports broadcasters have picked up features of OBA, but it is not a priority in other areas. “We haven’t seen [demand for] that,” Owens says. “But we deal primarily with live news. OBA requires more from audio systems in terms of an expanded number of sources and the ability to pan in new directions. I’m sure that will become a need at some point but I would put it in the scope of five to 10 years.”

Personalization is not the main reason to adopt NGA/OBA, Struck adds. “What we see is a growth of the channel count, from 5.1 to 5.1.4 or 7.1.4 and higher rather than broadcasters striving to achieve an OBA workflow with personalization,” he says. “It is an emerging trend, however, and the shift to OBA workflows has already redefined expectations for mixing consoles, particularly in terms of resource management and operator assistance.”

The mixing console has come a long way in a relatively short period of time. It will doubtlessly continue to evolve over the coming few years, while, based on recent developments, remaining very much itself.

CLEVELAND—Telos Alliance has introduced StudioCore and StudioEdge—both members of the company’s Axia lineup of AoIP studio consoles and accessories.

StudioCore is the successor to the company’s QOR.32 engine and will serve as the new engine for the Axia iQ, Radius, RAQ and DESQ control surfaces. The new engine maintains the 24-channel mixing engine from the QOR.32, an internal power supply and 5-port Ethernet switch but adds an 8-channel monitor matrix system. It also offers a Livewire+ AES67 stream capacity of 32 inputs and 32 outputs, the company said.

StudioEdge is a high-density I/O device the complements the Axia xNode family of products. It can be used as an all-in-one I/O solution in control rooms of any size, or as an ingest station or routing and monitoring solution in TOCs and machine rooms, it said.

Both new products are built on a common 2RU fanless hardware platform that includes an integrated 5-port Ethernet switch with PoE, and a 5-inch color IPS LCD touchscreen display for complete local control of routing, I/O, and audio levels, Telos Alliance said.

I/O includes four selectable mic/line inputs, eight dedicated line inputs and outputs and three digital inputs and outputs that are user-configurable as AES/EBU, S/PDIF, and USB Audio, which eliminates the need for an IP driver for stereo applications. There are two headphone outputs with independent DACs and built-in amplifiers, a built-in audio file player via USB data port and four GPI/O ports. A second internal power supply is optionally available. 

“Both StudioCore and StudioEdge provide the flexible architecture our customers have been asking for, with features like an I/O expansion slot, USB Audio I/O, two powerful headphone amps, and a built-in USB file player,” said Luca LaRosa, Telos Alliance senior product manager.

Both products are due to be available from the Telos Alliance network of Axia channel partners in September.

More information is available on the company’s website.

SKOKIE, Ill.—The audio, video, and fiber-optic solutions provider Studio Technologies has  announced the release of its new Model 214A, 215A, and 216A Announcer’s Consoles. The three units are designed to serve as the audio control center for announcers, commentators, and production personnel. 

The Model 214A, 215A, and 216A incorporate upgraded capability and performance while maintaining compatibility with the well-regarded Model 214, 215 and 216 products. The new units continue to offer excellent audio performance while enhancing reliability and supporting configurations of all features using the STcontroller software application. In addition, the VenueView real-time monitoring features of STcontroller are also supported, the company said. 

Studio Technologies said that the Model 214A, 215A, and 216A Announcer’s Consoles are suitable for numerous applications including on-air television sports broadcasting, stadium announcement, and corporate AV. All three consoles are compatible with broadcast and audio system environments that utilize Dante audio-over-Ethernet technology. An Ethernet connection with Power-over-Ethernet (PoE) is all that’s required to make a Model 214A, 215A, or 216A part of a sophisticated, networked audio system. Add a microphone and pair of headphones (or a broadcast headset) and the installation is complete. Whether it’s the on-air audio, the talkback audio, or the headphone cue feed, superior audio quality is always maintained. 

“We are excited to introduce these upgraded announcer’s consoles,” says Gordon Kapes, president of Studio Technologies. “Using the STcontroller software application, an enhanced range of configuration choices allow the desired operating parameters to be easily selected. While flexible to configure, the user is presented with an easy-to-understand set of controls and indicators. Audio performance continues to be excellent and suitable for virtually any event.”

The Model 214A’s two pushbutton switches, Model 215A’s three pushbutton switches, and Model 216A’s four pushbutton switches allow the user to control the main and talkback audio output channels. On all models, one pushbutton switch controls the status of the Dante main transmitter (output) channel. This is the audio channel intended for on-air, announcement, or other primary uses. The Model 214A, 215A, and 216A’s pushbutton switches utilize gold-plated contacts for reliable long-term operation and include backlighting using white LEDs. Three rotary controls allow the user to adjust the content and level of the 2-channel headphone output. The Model 216A can also serve as a 4-channel IFB (interrupted foldback or talent cueing) main station for remote production (REMI) applications. That unit will integrate all on-air, talkback, and cue audio signal routing in one compact package, the company said. 

Available free of charge from Studio Technologies, the STcontroller software application allows production personnel to quickly and easily configure the capabilities of the Model 214A, 215A, and 216A to meet an application’s exact needs. STcontroller is offered in versions that are compatible with the WinOS® and macOS operating systems.

More information is available at studio-tech.com. 

FORT MYERS, FLA.—Waterman Broadcasting has installed two identical Solid State Logic System T audio production consoles –one for its WBBH-TV NBC affiliate, the other for WZVN-TV, the Montclair Communications ABC affiliate it operates under a local marketing agreement, in twin control rooms with a Tempest Control Rack for backup and disaster recover.

“The primary role of the station is news and we do, depending on how you want to count them, 19 to 21 newscasts per day over the two stations,” said Waterman Broadcasting director of production Bob Hannon.

“The two stations are in one building, the news staffs are in one building, but the shows are produced completely separately. It’s like working in the Ark: we have two of everything.”

Each console system consists of a 32-fader S300 control surface with a T25 256 path engine and 512 channels of I/O. The Tempest Control Rack serves as a backup that can be controlled via a desktop touchscreen.

The setup ensures the broadcaster does not have a single point of failure, an important design consideration for Waterman given Fort Myers’ hurricane-prone location. During a hurricane, the stations begin simulcasting the same programming on both channels.

The system Waterman installed enables the broadcaster to “do everything from one spot,” said Hannon. The flexibility of the S300 allows operators in one control room to access every audio source in the facility.

“It also lets us use one control room for x amount of time, have the other control room fired up and ready, let them take over, and that gives us time to do any preventive maintenance or just let things breathe in the first control room for a little while,” he said.

Hannon also identified ease of use as an important factor contributing to the broadcaster’s decision to select the S300. Most of Hannon’s 42-member staff are in their first jobs and have been trained in-house, making ease of use especially important.

While the S300 is “a powerful board,” he said, “it’s simple in its design, and that’s what drew me to it,” said Hannon.

"I’m a firm believer that the simpler you keep it the more you can do, the better your productions are, and the better your product is. And that’s what System T allows us to do.”

LOS ANGELES—With the widespread adoption of AoIP networking transports by broadcast audio mixing console manufacturers, their products no longer necessarily conform to the stereotype of a desk-sized piece of equipment covered in knobs, switches, and faders. Instead, mixing, routing, and processing resources may now be distributed across a network, locally within a venue or over far greater geographical distances, heralding an evolution of broadcast audio workflows and a potential seachange in remote production methods.

At-home production, pioneered at events such as the Olympic Games and by Europe’s LiveIP project, a collaboration between the EBU, Belgium’s VRT, and a host of technology companies, now appears poised for adoption in the United States as well. The next logical step in remote production, the at-home workflow—whereby audio from a remote event is routed over an IP network to the home studio for either mixing and broadcast or recording and subsequent post production—is certainly on the radar for console makers.

Wheatstone’s Series Four IP television audio consoleEFFICIENCY AND COST SAVINGS

“This workflow is gaining in popularity as a way to lower production costs, often reducing what would be a truck full of equipment to mostly just the microphones and cameras needed on-site along with a small crew,” explained Lon Neumann, TV audio sales engineer for Wheatstone in New Bern, N.C. “Through IP audio networking, an IP console located at the home studio in, say, Los Angeles, can mix live sound from, say, the Wrigley ballpark in Chicago. IP-connected microphones and preamps deployed in the field can be controlled by the IP-64 or Dimension Three Touch [console system], instead of adding crew and equipment to do the same.”

Wheatstone’s WheatNet-IP is an AES67-compatible network comprising I/O and specialty Blades supporting audio mixing, routing, and control. For example, HD-SDI Blades can source and de-embed SDI audio directly from the camera, de-embedding it, and sending it home as discrete audio.

At the remote location, Blade functionality—DSP supporting audio ingest, processing, and routing—can reduce the need for other devices, saving weight and cost. At the home studio, or anywhere in the network, Neumann noted, “Wheatstone’s IP-64, Dimension Three Touch, LXE or Series Four mixers can turn mics on, control levels, and trigger IFBs remotely. And because most IP audio networks are now AES67-compatible, WheatNet-IP included, it’s a relatively small matter to transport audio from, say, a live sound group that might have one network platform, such as a WheatNet-IP system, and a broadcast truck that has another, such as Dante.”

Calrec’s RP1DIRECT CONTROL

Calrec rolled out its own remote production engine at the 2016 NAB Show. The RP1 unit incorporates local DSP, enabling the generation of monitor mixes and IFBs. Calrec’s offline editing interface allows remote engineers to set up latency-free IFB mixes for commentary or talent monitoring at the venue.

The RP1 embeds transmission audio into existing video transport mechanisms, allowing it to connect via Calrec’s Hydra2 analog, AES, MADI or SDI interfaces. AES67, Ravenna, Dante and SMPTE 2022 AoIP transports are supported in the 2RU unit.

“It gives an operator in a remote studio direct control over channel functions such as mic gains, aux send/monitor mix levels, and fader levels,” said Dave Letson, vice president of sales for the U.K.-based company. “On the console located at the main studio, all these remote I/O resources appear like any other local I/O box, so workflows are exactly the same as any other broadcast.”

Letson added, “Remote broadcasting using RP1 means fewer resources are needed on-site, and controlling audio from a remote console saves money on setup time, crew, logistics and equipment. It’s simple to set up, very easy to use, and enables broadcasters to cover a greater number of specialized events, making it possible to maintain a widening range of content.”

Lawo’s Remote Production kitDIAGNOSTIC TOOLS

Lawo similarly offers a standalone audio processor, the mc² MicroCore, which provides 192 DSP channels and a 512x512routing matrix. The unit may be controlled using Lawo’s touchscreen-optimized mxGUI software as well as by various external studio control systems, such as VSM, Evertz, Quartz, BFE, Pharos, Ross RAP, GV Ignite and Vizrt Mosart. Audio I/O is via AES67 and Ravenna, or over MADI, using Lawo’s optional A__madi 4 interface.

“The device is a perfect option for small-sized automated applications where external studio control systems are triggering the operation, such as in automated newsroom productions,” said Christian Struck, senior product manager audio production for Lawo in Germany. “The processing core provides extensive diagnostic tools for remote maintenance, including log files and http access, just like any mc² console.”

Additionally, Lawo’s 1RU Compact Engine supports AES67 and Ravenna plus a very broad array of analog and baseband-digital I/O. “It’s the perfect product when you’re ready to begin the transition to IP, but not quite ready to toss out everything and begin anew,” Struck added. “This device is ideal for collecting signals from a remote location for long distance remote productions with the possibility of on-site low-latency IFB mixes.”

The Ravenna/AES67-capable Compact Engine’s functions—EQ and dynamics, mixing and routing, delay, and other DSP capabilities—can be remote-controlled from the home mixing console. Additionally, VisTool software running on a tablet may be used to create custom control panels or touch-based mixing consoles for local control of the Compact Engine.

ALL-IN-ONE

Studer’s compact and budget-friendly Micro Series, an all-in-one digital audio mixing system, was initially designed for radio production but is also suited to remote production, according to Harman spokesman David Glaubke. The 3RU chassis houses DSP and I/O (identical to the Studer Vista 1 console), including eight Dante channels.

“The VoiceMix algorithm alleviates high-pressure broadcast situations by automatically mixing and processing up to 12 inputs,” said Glaubke. “This feature is incredibly beneficial in live, unscripted productions.”

A GUI provides full control. “All that is needed to operate the console is a network connection to the core, via the core’s integrated LAN or Wi-Fi hotspot, and an HTML5-capable web browser,” said Glaubke. “Simultaneous control from multiple devices is possible, allowing both on-site and remote control from the studio.”

Conversely, a single laptop or tablet can control multiple cores. But a computer is not even necessary; a screen, keyboard, and mouse may be directly connected to the unit. For those preferring tactile control, Studer offers an optional 6-fader Micro Series surface.

Despite the increasing use of mobile devices and systems for producing and monitoring content, much of television and post production still takes place in front of a screen at a console. Production furniture makers are taking their cues from health reports that warn of the danger of long-term sitting by building height-adjustable console systems that give users the option of sitting or standing, while maintaining optimal ergonomics.

Forecast Consoles GCXForecast Consoles will launch the newest addition to its ImageMaster edit consoles and workstations. The GCX offers increased options for user configuration including interchangeable turret modules for future expansion, a variety of countertop shapes and sizes to fit specific environments, and the GCX-S adds electronic height adjustment for increase user comfort, health, and productivity. Launched at NAB last year, the MasterVision line of low profile monitoring consoles will be back with newly added configurations and equipment mounting options. The company will also show off user-inspired updates to the MasteRail console line and Sightline Monitor Wall System.

TBC Consoles’ TS Console future control room conceptTBC Consoles will debut its SmartTrac ST3 Plus, a motorized height adjustable desktop, with an independently height adjustable monitor frame. The frame supports up to 6x24-inch monitors as well as a pair of speakers. This feature was added to allow for separate monitor height adjustment for perfect sightlines. The Plus series is available in the Workstation (full desktop) or Console series, which includes above desk rack turrets, full cable core enclosure, adjustable floor levelers and many accessories.

Also new is TracWall v2, with the option of motorized height adjustability. Each TracWall is custom configured to client specifications and can support an unlimited number of monitors ranging from 24-inch to 90-inch. An adjustable height range of 26-inches allows for multiple sightlines from sit/stand consoles or specific applications requiring certain monitors be optimized for perfect viewing. TracWalls offer a large assortment of options, including speaker and digital clock mounts, and base unit storage for CPU’s or rack equipment.

Winsted will debut its Impulse Dual Sit/Stand consoles, which provide two independently adjustable, ergonomically curved work surfaces. The surfaces can be raised and lowered to meet the needs of individual operators while offering flexibility between sitting and standing. Configuration and technology options include electric-lift legs; Versa-Trak Monitor Mounting System; Safeguard Edge work surface; CPU pedestal; perforated privacy panel; easy-access cable management; three monitor Mount Post Heights; optional decorative end panels, and powder coat paint.

Forecast Console’s new MasterVision console premiered at the 2015 NAB Show.

ALEXANDRIA, VA.—Go big or go home doesn’t really apply anymore in terms of technology. As the industry continues to move towards more software-based processing, with less emphasis on hardware, production equipment is getting smaller and more compact. This spreads to furniture consoles for broadcast control rooms.

This is just one of the biggest trends going on in the professional broadcast furniture world at the moment. There is also the new health conscious trend of sit/stand modules that allow operators to work in whatever way they deem comfortable. With these new trends, new furniture is not only shedding equipment, but is also looking to help shed some weight.

Forecast Consoles, TBC Consoles and Winsted demonstrated their latest consoles developments at the 2015 NAB Show. Here is a look at how each is handling these new trends.

MORE ROOM FOR CABLING
After appearing in various stages of development over the last two years, Forecast Consoles’ MasterVision arrived at the 2015 NAB Show market-ready. MasterVision is designed as a central tub structure that offers mounting options, moveable monitor drop-wells, moveable turrets and plenty of space for wiring of equipment now in secondary rooms as the need for physical equipment in bases lessens.

“As equipment moves from control rooms into machine rooms, the amount of equipment in the base unit decreases, but the amount of cabling into those consoles increases,” said Ryan Haberman, operations and growth manager for Forecast in Hauppauge, N.Y. “The amount of equipment in the consoles is being reduced, but the amount of computer monitors is increasing significantly.”

MasterVision can accommodate monitors up to 30-inches and includes monitor arms to use for touchscreens. It also is designed to be a “benching system,” allowing operators to access their work from any of the consoles’ stations. This is also true for the Catalyst, Forecast’s other console that was featured at the NAB Show.

Reaction to the MasterVision has been strong since its release it April, with as many as two dozen order currently on the books according to the company.

STAND, DON’T SIT
TBC Consoles brought many new and updated products to the NAB Show, including its Intellitrac v2, TracWall v2, SmartTrac 1.5 “Curve,” SmartTrac 2, SmartTrac 3, and the ControlTracL series, all of which are designed to condense the amount of space used by operators.

“In the olden days—meaning up to like 2005 or 2007—it would not be unusual to see six or eight rack unit turrets… or even 10-rack unit turrets,” said Jerry Hahn, president of TBC Consoles in Edgewood, N.Y. “But now the standard seems to be two-and four-rack turrets just for intercom and router, not too much else, and most of the information going on computer monitors.”

All of TBC’s consoles are customizable to fit operators’ needs with interchangeable turrets and monitors, but it is the health-conscious trend of height adjustable consoles that drew the most attention from customers. Many health pundits call sitting the new smoking, and TBC’s SmartTrac consoles offer everything an operator would need in a console, but also provides the option of sitting or standing.

“People are becoming super conscious of the fact that sitting for seven or eight hours at a time is really bad for your back in the long run,” said Hahn. “We take some pride in the fact that we can put together the furniture quality and the functionality they need with the sit/stand capabilities.”

SMALLER FOOTPRINT

Winsted’s new Impulse console provides two independently adjustable, ergonomically curved work surfaces that can be raised and lowered to meet the needs of individual operators while offering flexibility between sitting and standing.
Though not quite ready for shipping, Winsted unveiled the prototype for its new Impulse console at the NAB Show. Following in the sit/stand trend, the Impulse is a dual sit/stand desk, with two independently adjustable work stations. Like all Winsted consoles, the Impulse is modular and easily configurable to fit any space depending on the needs of the operators.

Winsted’s Impulse will be available for shipping in either late August or early September, according to Brent Leimer, marketing manager for Winsted in Minneapolis.

“It seems like the footprints are getting smaller as the technology changes and our consoles have sort of been evolving in that direction as well,” said Leimer. With these new updates, that seems to ring true for all three companies.