Ovation
Ovation
Ovation 7.1 builds on the considerable reputation it has for being an excellent solution to live-to-air playout in studios or outside broadcast situations. The ability to accept a wide selection of cue-triggering commands, mix live and pre-recorded audio events and an on-board mixer provides tremendous flexibility. The award-winning Pyramix Virtual Studio recording and editing software is the sound design tool that is included in the package. This allows rapid adjustment of cue positioning, levels and buss assignment from the same UI. Almost any audio file can be accepted without any need for pre-formatting so last minute additions to playlists are particularly easy.
Live events or live broadcasts are multimedia and require a new set of tools to successfully deliver the right result. This is often in surround or immersive audio and can be a mixture of prerecorded and live action. Ovation is the answer in providing the complexity needed for the production with the simplicity needed for the live broadcast. No other system offers the flexibility of cue management, cue triggering, output configuration and compatibility with other show control or broadcast devices. Onboard mixing with automation, Pyramix in the background for cue editing and level control, as-played logs, 3D panning; the list of features goes on. The ability to add live announcements to a prerecorded show is a must for any venue.
The latest version supports VST3 plugins, adds full console automation, UDP/IP support, remote controller enhancements and a host of seemingly small but significant improvements. The choice of controller and UI and the many options for outputting commands make Ovation ideal as a show controller or equally happy working with popular video servers or show controllers. Ovation provides the ability to move far beyond the standard workstation limit of playing one sound per output. Able to sum as many layers of sound as needed to any output in the system, users can play back as many multi-track events as needed without any need for them to be linked or chased in any way. Able to sum playback information into surround and stereo buses at the same time while also providing an almost limitless amount of mix-minus buses to manage live broadcast inputs makes the Ovation the perfect audio hub for broadcast productions.
Additional information
Related Products:
mc²36 Audio Production Console
Telos Infinity® Virtual Intercom Platform (VIP)
A__UHD CORE
mc²96 Grand Production Console
A__line WAN-Capable Audio-over-IP Nodes
Power Coreᴿᴾ IP Audio I/O &...
SAM-Q-SDI Studio Audio Monitor
broadcast intercom system
The Switch Remote Production
System T S500m
The S500m can be specified as 32 and 48 fader versions with turnkey flight case solutions, or as a larger custom specification surface with up to 96 faders.
The complexities involved in today's major sports and entertainment events mean OB production still requires broadcast consoles with high specification. The S500m provides all the flagship features of the System T S500 console, but is specifically designed to be over 25% lighter to suit OB and flypack applications where weight and portability are key concerns. This allows a complete production system to be easily transported in a purpose built rack case, providing a console stand, meter bridge shipping storage and two 8RU space for Tempest engines and Network I/O.
Robust and optimised for transportation, the S500m's unique modular functionality also lets a console be deployed with or without an extended meter bridge. Meter bridge video can be displayed on console mounted screens or external multi-viewer
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mc²36 Audio Production Console
Big performance in a compact size: that’s Lawo’s new second-generation mc²36 audio production console, an incredibly powerful yet compact mixer, now even more capable with a new dual-fader operating bay that allows 48 faders in the same space as a 32-fader board. This makes the new mc²36 even more of an all-rounder for theater, houses of worship, corporate, live and broadcast audio applications – wherever ultra-high audio performance in close quarters is demanded.
With DSP more than doubled from its predecessor, the new mc²36 with built-in A__UHD Core functionality offers 256 processing channels, available at both 48 and 96 kHz, and natively supports ST2110, AES67, RAVENNA, and Ember+. It provides an I/O capacity of 864 channels, with local connections that include 3 redundant IP network interfaces, 16 Lawo-grade mic/line inputs, 16 line outputs, 8 AES3 inputs and outputs, 8 GPIO connections, and an SFP MADI port.
Operating and visualizing features include Button-Glow and touch-sensitive rotary controls, color TFT fader-strip displays, LiveView™ video thumbnails, and super-precise 21.5” full HD touchscreen controls. Its built-in full loudness control is compliant with the ITU 1770 (EBU/R128 or ATSC/A85) standard, featuring peak and loudness metering which can measure individual channels as well as summing busses.
The new mc²36 offers seamless integration of third-party solutions like recording systems, effects engines, and other systems running on external PCs, into its user interface. Applications display right in the console’s screen, while console keyboard, touchpad and touchscreen provide control.
Last but not least: mc²36 offers best-in-class integration of Waves SuperRack SoundGrid, providing operators with access to Waves’ extensive plug-in selection of real-time signal processing alongside the console’s internal processing engine — no additional screens or control devices required.
Moving the mc²36 to the A__UHD Core means that all developments in the future will happen on a single, unified platform, and Lawo continues to provide production file compatibility between all mc² consoles. For instance, a production file from an mc²36 can be used on an mc²96 for post-production — opening the door to a whole new level of performance.
The new mc²36 is based on Lawo’s A__UHD technology and includes Lawo’s innovative new IP Easy functionality that makes IP setup as simple as analog. IP Easy, based on Lawo’s innovative HOME management platform for IP-based media infrastructures, makes connecting IP audio and I/O devices as easy as if they were baseband – the console automatically detects new devices and makes them available at the touch of a button. IP Easy even manages IP addresses, multicast ranges, and VLANs, and includes security features like access control and quarantining of unknown devices to protect your network. HOME is natively built on a cloud-ready microservices architecture, enabling users to connect, manage and secure networked production setups from the ground up. Furthermore, it provides centralized access and control for all Lawo gear within a setup. HOME helps broadcast professionals address some of the most demanding requirements of modern IP infrastructures, including automated discovery and registration of devices, connection management, flow control, software & firmware management, scalability and security.
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Telos Infinity® Virtual Intercom Platform (VIP)
Telos Infinity® Virtual Intercom Platform (VIP) is the first fully featured Cloud-based intercom system. It delivers sophisticated comms virtually, making Cloud-based media production workflows available on any device—smartphone, laptop, desktop, or tablet. Users can even use third-party control devices, like Elgato’s Stream Deck®, to control Telos Infinity VIP. Now you can harness Telos Infinity IP Intercom’s award-winning performance, scalability, ease of integration, and operational/cost efficiencies anywhere—At Home, On-Prem, Site-to-Site or in the Cloud.
Telos Infinity VIP
- Cost-Efficient - Less Maintenance, Infrastructure, Space Required
- Scaleable - Pay for Only What you Need
- Ease of Use – Virtual Panels on Familiar Devices (Smartphone, Computer, Tablet)
- Workflow Flexibility - At Home, On-Prem, Site-to-Site, In the Cloud
- Reliable, Proven Cloud Workflows Flexible Deployment Options
- TelosCare™ PLUS Service Option for Premium Service & Support
Deployment Options
Meeting users where they are on the path toward virtualization, Telos Alliance offers several deployment options for VIP, which scales to suit users’ varying requirements, from a few remote smartphone VIP instances to an enterprise solution requiring hundreds of instances.
- On-Prem – Use Telos Infinity VIP hardware appliance or your own server for on-prem installations.
- Integrated – For both On-Prem or Cloud versions, Telos Infinity VIP can be integrated with Telos Infinity hardware comms, or any third-party intercom or audio subsystem using AES67 or SMPTE 2110-30 connectivity.
- Cloud Server – Software for supported Cloud platform installations. A complete communications infrastructure in the Cloud with connectivity options for integration with third-party Cloud-based and On-Prem audio subsystems.
- Software as a Service (SaaS) – Various third-party Telos Alliance partners will offer a Telos Infinity VIP SaaS option, allowing users to lease it in a virtual environment.
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A__UHD CORE
Plenty of reliability features are built-in. A__UHD Core features four independent IP audio streaming engines, each with a redundant pair of 10*/1 GbE network ports (SFP). The device is fully based on open standards and supports Audio-over-IP I/O via ST2110-30/-31, AES67 and RAVENNA. Each network interface supports up to 512 Rx & Tx streams with stream sizes from 1 to 128 audio channels. Redundant hot-swappable PSUs are standard, as well as network interface redundancy for all streaming and management ports, allowing redundant IP network paths using ST2022-7 Seamless Protection Switching and adheres to the Class C specification for deployment within LAN or WAN environments, allowing redundant A__UHD Core units to be housed just about anywhere on the planet—and still take over instantly if the need arises.
Finally, a flexible licensing model makes A__UHD Core ideal for both mobile applications and facility use. For mobile, the scalable DSP performance with temporary licenses is a great way to turn CAPEX into OPEX, whilst in facility applications, the possibility of resource pooling and flexible allocation of DSP resources to multiple physical and GUI-based mixing surfaces maximizes ROI for your audio infrastructure. This flexible software licensing offers fixed and temporary licenses to provide exactly what you need, when you need it. Licenses are stored on USB dongles and can be conveniently downloaded, allowing for seamless transfers from unit to unit.
Best of all, A__UHD Core’s functionally is defined by its software, making it a future-proof investment with a feature-set that is designed to expand.
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mc²96 Grand Production Console
- Frames from 24 to 200 faders (with Dual Fader option).
- Remote stand-alone frames of 16 faders.
- 6 banks each with 2 layers.
- TFT metering: mono, stereo or up to 7.1 including bus assignment, gain reduction for dynamics, Audio-follow-Video status, VCA assignment, Mix-Minus, Signal Patching, Meter selection, Automix state.
- GUI page output, e.g. metering, on an external monitor.
- 40-bit floating point signal processing with 1,024 DSP channels (768 inputs and 256 summing buses).
- Up to 768 inputs with A/B input, up to 128 aux buses, up to 96 groups, up to 96 main sums, 32 Automix groups.
- Up to 32 surround channels, 128 VCA groups with metering, 256 GP channels.
- Surround formats: DTS & Dolby ® Digital 5.1, Dolby ® Pro-logic 4.0, DTS ES & Dolby ® EX 6.1, SDDS 7.1, DTS-HD 7.1, diverse panning characteristics, surround aux bus.
- Loudness Metering according to EBU R128, ATSC A/85 and ARIB, momentary or short term in every channel, integrated measurement on summing channels with display of integrated LUFS value in headline.
- Waves SuperRack SoundGrid ® integration.
- Interfaces include Mic / Line, Line Out, AES3, 3G SDI, HD-SDI, MADI, GPIO, Serial, MIDI, ST2110 / AES67 / RAVENNA / DANTE ® Audio-over-IP.
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A__line WAN-Capable Audio-over-IP Nodes
Lawo A__line nodes are designed to serve as IP audio stageboxes for mc² consoles, audio extensions for the V__matrix ecosystem, or as stand-alone IP audio gateways.
A__line devices provide distributed audio connectivity that makes it easy to scale audio I/O capacity in a networked system — temporarily or permanently. SMPTE ST2110-compliant, A__line offers a granular audio format selection similar to the flexibility found in baseband modular I/O systems, but eliminates system design limitations like maximum channel count per frame, fixed channel capacity per device interconnect, or fixed overall system size. Audio endpoints connected to A__line nodes can be seamlessly shared on LAN or WAN, and thanks to their fully standardized streaming technology, can interconnect to a wide variety of IP-enabled broadcast devices — A__line nodes are brand-agnostic.
A__line devices boast exceptional audio quality. Discrete, Class-A microphone preamplifiers deliver a superb dynamic range of 119dB(A), ultra low noise at all gain levels and a perfectly flat frequency response. Versatile analog I/O accommodates levels as high as +24dBu before clipping. Insertable, precise sample rate conversion is available on each AES3 input. For multichannel baseband interfacing, A__line features bi-directional MADI access via SFP. All devices employ the ST2110-30/31 and AES67 standards to transport uncompressed audio in real-time on Layer-3 IP networks, with ST2022-7 Seamless Protection Switching with dual-redundant network interfaces and ample receive buffer capacity to meet ST2022-7 class C specs for LAN and WAN deployment. Two redundant power inlets complete the package, along with PPM metering for all Analog and AES3 interfaces and PTP/Wordclock sync and conversion.
The A__line family includes:
- A__stage48 – 32x mic/line in, 16x line out, 8x AES3 in, 8x AES3 out, 1x MADI, 8/8 GPI, 3RU
- A__stage64 – 32x mic/line in, 16x line out, 8x AES3 in, 8x AES3 out, 1x MADI, 8/8 GPI, 4RU
- A__stage80 – 32x mic/line in, 32x line out, 8x AES3 in, 8x AES3 out, 1x MADI, 8/8 GPI, 3RU
- A__mic8 – 8x mic/line in, 4x line out, 8/8 GPI, 1RU
- A__digital8 –8x AES3 in, 4x AES3 out, 8/8 GPI, 1RU
- A__digital64 – 32x AES3 in with SRC, 32x AES3 out, 1x MADI, 8/8 GPI, 3RU
- A__madi6 – 6x MADI, 1RU
When controlled with Lawo’s VSM broadcast control system, A__line stageboxes provide an advanced set of networking options; VSM manages A__line’s AoIP connections, I/O settings, its non-blocking internal routing matrix, and GPIO signals for smooth integration into an overarching operational workflow.
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Power Coreᴿᴾ IP Audio I/O & DSP Node for Remote Production
Lawo’s Power Coreᴿᴾ is a full-featured remote production solution for mc² audio consoles, providing integrated modular I/O, DSP and IP streaming capabilities, all in a compact 1RU device. It accomodates 64 channels of MADI audio via its front-panel port, and I/O count can easily be expanded using the eight rear-panel slots which can be loaded with Mic, Line, AES3 and GPIO cards, in any combination, for a total I/O capacity of up to 128 channels.
Designed for mission-critical applications, Power Coreᴿᴾ includes ST2022-7 compliance for network redundancy and Class C jitter / network latency robustness to eliminate the need for dedicated WAN gateways and minimizing the complexity of remote productions while reducing single points of failure. Its IP interface complies with ST2110-30/-31, AES67 and RAVENNA networking standards to deliver maximum interoperability within your production suite. To accommodate the most sophisticated workflows, Power Coreᴿᴾ features comprehensive audio connectivity via two redundant 1GbE SFP ports for Audio-over-IP, one MADI port (with a 2nd port for interface redundancy), and eight modular I/O slots that can accommodate mix of Mic, Line and AES3 cards. A unique studio card with Mic/Line inputs & outputs plus two headphone amplifiers is available as well.
Power Coreᴿᴾ DSP capabilities include 64 fully-featured processing channels and provide low-latency on-site monitor and IFB mixing. mc2 consoles at home have full control of all relevant channel parameters (gain, fader, mute, EQ, dynamics, Aux Send Level, etc.) of the DSP node at its remote location.
All I/O parameters of the Power Coreᴿᴾ can be remote controlled from an mc² console’s channel strips; in addition, mc² consoles can control the DSP channels inside Power CoreRP to offer control capabilities for up to 64 input channels and 16 stereo Aux busses. Remote channels can be mapped to the host console’s surface just like any other source and offer parameter control for Fader, Mute, EQ+Filters, Dynamics, Delay plus the analog and digital input section. Remote inputs and Auxes of Power Coreᴿᴾ can even be linked to local DSP channels of the host console to ensure continuous linking of parameter values.
In addition to the control integration from an mc² console, Power Coreᴿᴾ features a touch-screen optimized control GUI based on the Lawo VisTool screen design solution. This provides on-site as well as remote access to all parameters of Power Coreᴿᴾ, which is convenient for setting up prior to connecting the host console. Power Coreᴿᴾ ‘s unique remote-control possibilities include continuous and dynamic fader control as well as fader start-type commands, which are essential for latency-critical WAN connections and to avoid speech truncation on air. The GUI’s feature set also includes sophisticated test mode and lineup patterns, as well as controllable DIM levels to the talents’ ear-pieces for talkback from the director. The graphical interface also allows monitoring the control connection to the host console, the on-air status, and Sync. You can also monitor Listen and PFL, as well as the local talkback system.
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Tempest Control Rack
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RP1
Many of these events might be of restricted interest, and may be broadcast to a narrow audience demographic. They may be regional news events which require a lot of content generation in a short space of time. They may require temporary infrastructures which need to be highly portable.
Remote production technology provides a realistic alternative for these events – the production of high quality content with fewer resources.
The barriers to effective remote broadcasting are speed (or latency), control and infrastructure.
1. Speed; the single biggest issue. Broadcast audio workflows rely on effective monitor mixes with no latency. This can be difficult to achieve when your studio is hundreds or even thousands of miles away.
2. Control; operators need real-time control over mic gains, fader levels and monitor mix levels.
3. Infrastructure; transport is always an issue. Multiple synced signals need to be moved in real time, and all down the same physical infrastructure. Audio, data and video all need to be considered, as well as multiple control protocols.
Calrec’s RP1 Remote Broadcast unit addresses all these challenges.
RP1 is a broadcast mixing system in a 2U rackmount box, containing Calrec’s award-winning Bluefin2 processing.
Calrec’s RP1 provides local DSP to enable the generation of monitor mixes and IFBs with no latency. 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. It also provides a mechanism to embed audio into existing backhaul technologies, such as SDI.
All DSP and bus configuration can be carried out on-site using Assist, Calrec’s web-based configuration tool. Assist makes it simple for on-site engineers to set-up all IFB routing and remote monitor mix levels at the venue.
Versatile
This enables venue infrastructure, routing and monitor feeds to be tested prior to transmission. Local DSP processing also means there is no latency for commentary or talent monitoring.
With all DSP processing for monitor mixes taken care of on-site, the studio transmission console is able to concentrate purely on the main programme mix.
RP1 can embed all the transmission audio into existing video transport mechanisms, and in doing so ensures that there are no synchronisation issues. Its modular I/O backbone accepts any of Calrec’s I/O cards.
This versatility means RP1 can connect via a range of transports. The studio console mixing the transmission is able to assign these signals where required on the desk, so workflows are exactly the same as any other broadcast. Calrec’s unique True Control system makes it simple to control the RP1 from a control room located many miles away, giving the operator control over RP1’s channels and busses from a Calrec control surface.
In other words, the operator sits behind a console that he is already familiar with and assigns remote channel paths from the RP1 to local faders, just like any other channel.
True Control includes channel path fader levels and cuts, as well as aux send levels and ons, and aux master levels and cuts.
Future development includes VCA linking via the studio console, and control over EQ, dynamics and direct outputs via Calrec Assist.
True Control allows an operator to independently mix all the remote site IFBs and aux buses in addition to the local transmission mix on the studio console.
This is unique to RP1.
In fact, Calrec’s True Control provides the ability to link five independent RP1 units to the same studio-based console – all of which can be controlled from a single console surface.
RP1 is simple to set up and easy to use and enables broadcasters to cover a greater number of specialised events, such as regional or college sports and smaller entertainment events, at significantly reduced cost, making it possible to maintain an increasingly wide range of content.
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System T S300-16
S300 is a compact control surface that can be combined with the complete portfolio of SSL’s System T control, processing and I/O options. It can be specified as part of a larger System T installation or in stand-alone configurations for smaller broadcast facilities or OB vehicles.
S300 presents the extraordinary power and versatility of SSL’s System T audio production environment in a streamlined console layout that remains intuitive for operators with a wide range of skill levels. A smaller scale S300 based System T installation offers the simplicity of a console + processor + I/O configuration with the benefit of compatibility with the family of additional fully networked System T control interfaces as required.
Within larger facilities S300 is a superb additional or backup console. Complete showfile compatibility between control interfaces means production can easily move between consoles and control rooms within a facility. Where processing engines are of different sizes SSL’s unique compatibility mode allows the pre selection of channel, busses and effects resources that will be inactive on the smaller processing engine. Settings from the larger device are never lost and resources can be reassigned at any point during the show, even with audio passing.
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System T S500
The core control elements always present in an S500 large format console are a Fader Tile, large Multi Touch Screens, a Channel Tile and a Master Tile.
An S500 console can have a range of console frame layouts that present these core elements along with an optional meter bridge and can include an intelligently switched screen bay, dual fader bay, or additional channel control bays. S500 can easily be scaled to suit multi-operator layouts with individual monitoring. More information on control elements can be found in the features tab.
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System T S300-48
S300 is a compact control surface that can be combined with the complete portfolio of SSL’s System T control, processing and I/O options. It can be specified as part of a larger System T installation or in stand-alone configurations for smaller broadcast facilities or OB vehicles.
S300 presents the extraordinary power and versatility of SSL’s System T audio production environment in a streamlined console layout that remains intuitive for operators with a wide range of skill levels. A smaller scale S300 based System T installation offers the simplicity of a console + processor + I/O configuration with the benefit of compatibility with the family of additional fully networked System T control interfaces as required.
Within larger facilities S300 is a superb additional or backup console. Complete showfile compatibility between control interfaces means production can easily move between consoles and control rooms within a facility. Where processing engines are of different sizes SSL’s unique compatibility mode allows the pre selection of channel, busses and effects resources that will be inactive on the smaller processing engine. Settings from the larger device are never lost and resources can be reassigned at any point during the show, even with audio passing.
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System T S300-32
S300 is a compact control surface that can be combined with the complete portfolio of SSL’s System T control, processing and I/O options. It can be specified as part of a larger System T installation or in stand-alone configurations for smaller broadcast facilities or OB vehicles.
S300 presents the extraordinary power and versatility of SSL’s System T audio production environment in a streamlined console layout that remains intuitive for operators with a wide range of skill levels. A smaller scale S300 based System T installation offers the simplicity of a console + processor + I/O configuration with the benefit of compatibility with the family of additional fully networked System T control interfaces as required.
Within larger facilities S300 is a superb additional or backup console. Complete showfile compatibility between control interfaces means production can easily move between consoles and control rooms within a facility. Where processing engines are of different sizes SSL’s unique compatibility mode allows the pre selection of channel, busses and effects resources that will be inactive on the smaller processing engine. Settings from the larger device are never lost and resources can be reassigned at any point during the show, even with audio passing.
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SAM-Q-SDI Studio Audio Monitor
Built on the SAM-Q platform, the SAM-Q-SDI brings the freedom to monitor SDI, AES and Analogue audio sources with maximum operational efficiency, offering multiple modes and up-gradable licences within one unit, ensuring that you get the most value out of your investment.
- Configured specifically to address the needs of different applications, skillets and workflows.
- Engineers and supervisors can restrict sources, modes and front panel functions to streamline operation and reduce user error.
- A feature set that can change with your requirements, including optional MADI support or Loudness Monitoring.
The latest release includes the brand-new audio phase metering mode included as standard, plus additional functions that can be purchased separately and installed as a license.
- Loudness Monitoring Mode - 8 independent loudness probes, providing Short-Term, Momentary and Loudness Monitoring.
- MADI License - customers will be able to Mix, Monitor and Measure up to 128 MADI sources on the SAM-Q-SDI.
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broadcast intercom system
Each TF-2400 can carry four BK-1200 wireless belt packs.
Max 4 sets of TF-2400 (16pcs BK-1200) can work together.
Or max 5 pieces BK-1200 can make a small wireless group as well.
The wireless cover range is 200m. （from the wireless belt pack BK-1200 to wireless interface TF-2400 distance ）
From the master station to wireless interface distance connected by a cable , can through the wall , can be 500 meters long , flexible .
4-wire and 2-wire connector to communicate with other system.
We recommend FM-804/FT-800 as master control. The cable connection between FM-804 and TF-2400 can be up to 500m.
You can easily through the wall.
TECHNICAL SPECIFICATIONS
Operating Frequency:
2.4GHz (433M is optional)
Maximum Transmit Power:
20dBm
Beltpack Battery:
3 x AA size battery
Beltpack Current:
TX: max 130mA RX: max 50mA
Dimensions:
111mm x 46mm x 126mm(W x H x D)
Weight:
TF-2400: 1.2KG BK-1200 Belt Pack 0.22kg
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The Switch Remote Production
Live TV events, especially sports, generate unrivalled buzz and excitement among viewers the world over, but live event production is no small undertaking. Remote production offers a smart, flexible model for success in the globalized world of live content, where surging audiences for niche sports, esports and unique entertainment are driving even more demand. The Switch’s remote production services enable broadcasters and other rights holders to continue meeting consumers’ seemingly insatiable thirst for high quality live content while maximizing resources.
The Switch has pioneered remote production for three decades and our Emmy Award-winning team has played a leading role in bringing premier sports to life for major networks and leagues. We know how to put together top-caliber productions and determine what our customers need so they can deliver the best content to viewers around the world.
With The Switch, producing content more efficiently and cost effectively – without compromising quality – is simple. Our end-to-end event production and packaging capabilities scale to meet the needs of a single event or multiple productions. As a home away from home, we support dynamic live sports, news, entertainment and event production in locations across the globe, removing the need for large amounts of equipment and big production crews on site.
With links to every major sports stadium in North America and connections to the leading international sports and entertainment venues around the world, The Switch has you covered from stadium to studio to any screen. Many of the biggest names in sports and entertainment rely on our production services and facilities to create and deliver the world’s major live events.
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Ovation
Live events or live broadcasts are multimedia and require a new set of tools to successfully deliver the right result. This is often in surround or immersive audio and can be a mixture of prerecorded and live action. Ovation is the answer in providing the complexity needed for the production with the simplicity needed for the live broadcast. No other system offers the flexibility of cue management, cue triggering, output configuration and compatibility with other show control or broadcast devices. Onboard mixing with automation, Pyramix in the background for cue editing and level control, as-played logs, 3D panning; the list of features goes on. The ability to add live announcements to a prerecorded show is a must for any venue.
The latest version supports VST3 plugins, adds full console automation, UDP/IP support, remote controller enhancements and a host of seemingly small but significant improvements. The choice of controller and UI and the many options for outputting commands make Ovation ideal as a show controller or equally happy working with popular video servers or show controllers. Ovation provides the ability to move far beyond the standard workstation limit of playing one sound per output. Able to sum as many layers of sound as needed to any output in the system, users can play back as many multi-track events as needed without any need for them to be linked or chased in any way. Able to sum playback information into surround and stereo buses at the same time while also providing an almost limitless amount of mix-minus buses to manage live broadcast inputs makes the Ovation the perfect audio hub for broadcast productions.
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