| Audio mixers and consoles – radio |
Axia Quasar™ SR AoIP Mixing Console
Axia Quasar™ SR AoIP Mixing Console
Quasar SR is the direct replacement for Axia’s best-selling Fusion console. If you like Fusion, you’ll love Quasar SR—which is comparable to the Fusion console in both price and feature set but also delivers all the power, ergonomics, industrial design, and star appeal of our flagship Quasar XR console.
Quasar SR is not reserved for the most knowledgeable broadcaster but is approachable to any board operator thanks to its streamlined surface design. Quasar SR uses the same frame, power supply, and master module as Quasar XR, but the fader modules are non-motorized, and there are fewer, larger, and easier-to-reach buttons on each channel strip. If the LED meters next to each fader on the Quasar XR console are a bit too much functionality for your surface, then Quasar SR might be the solution for you, featuring Confidence Class Metering only.
Axia Quasar™ XR Broadcast Console
Axia Quasar™ XR Broadcast Console
mc²36 Audio Production Console
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 Alliance® Axia iQs AES67 Mixing Console Software
Telos Alliance® Axia iQs AES67 Mixing Console Software
Telos Alliance® Axia iQS AES67 Mixing Console Software
Applications
- Console capability without the physical surface
- Distributed / remote workforce
- Temporary studio anywhere (nontraditional studio space)
- Studios lacking physical space
- Multiple users who need concurrent collaboration on a single mix
Telos Alliance® was there for you when you made the leap to IP, and now we’re here to help you on the journey to virtualization, wherever you are on that path. Our goal is to give you broadcasting options that are familiar while creating new ways of working that deliver on virtualization's promise of added scalability, adaptability, cost efficiency, simple deployment, and reliability. And that’s just what we’ve done with our new Axia iQs AES67 Mixing Console Software.
More than a decade ago, Telos Alliance created the Axia iQ AoIP console, now known for its ability to deliver a powerful and flexible mixing experience. Rather than pay for unwanted extras and faders, iQ allowed broadcasters to work smarter, offering the ‘just right’ functionality to mix content how they wanted, without sacrificing features.
Then we took the iQ philosophy and upgraded its underlying technology to create the Axia iQx AES67 console, the first AES67 AoIP console to combine the mix engine and console into one chassis. iQx lets you plug right into your AoIP network —with complete AES67 / SMPTE ST-2110-30 compliance— and enjoy the same capable, easy-to-use experience of the iQ.
Now, the Axia iQ family takes a bold step into the virtual AoIP future with iQs, the software version of iQx that does not require a physical surface. iQs is the first soft console controlled by a full HTML-5 interface, allowing you to not only control a mix from anywhere, but on any device—Mac, Windows, tablet, laptop, even your phone! It’s available in two ways to suit your needs and comfort level.
The Benefits of Virtualization
Non-Proprietary Hardware
You have more options when it comes to designing your system, including commercial off-the-shelf (COTS) options from the IT world.
Customizable
The virtual broadcast studio is customizable, because functionality is not hard-coded to a specific physical attribute on a piece of hardware, like a physical surface.
Scalable
You can run multiple instances of software concurrently, allowing you to scale up for demanding production requirements and scale back down accordingly, only paying for what you need.
Reliable
Virtual software and cloud computing are tested, tried, and true. Broadcasters need not worry about reliability compared with hardware options.
Cost-Efficient
Requires less maintenance, hardware, real estate, conditioned power, HVAC, and associated costs with flexible subscription models to meet OPEX business requirements.
Easier Upgrades
Easier to update software remotely over the Internet or en masse in a centralized data center, eliminating site visits.
2 Ways to Deploy iQs AES67 Virtual Console Mixing Software
iQs + AE-1000 for Easy Virtualization
Telos Alliance understands that virtualizing studio operations can be an overwhelming prospect. That’s why we are eliminating some of the legwork by pre-installing the iQs AES67 Mixing Console Software on a 1RU Telos Alliance AE-1000 Application Engine—our new line of universal servers—to help you ease into the virtual studio and prepare for the future. You can centralize the AE-1000 at the studio, yet give board operators the flexibility to control the iQs mix from a bedroom, a coffee shop, a makeshift studio...anywhere with an Internet connection.
iQs Container for the Data Center
iQs is available as a Docker container. Docker is a set of platform-as-a-service products that uses OS-level virtualization to deliver software in packages called containers. Containers are isolated from one another and bundle their own software, libraries and configuration files; they can communicate through well-defined channels. Docker is an integral part of the IT future.
Because iQs is available as a Docker container, it allows broadcasters to deploy it in a server farm or the cloud, delivering the added benefits of true virtualization, such as easier facility-wide upgrades, concurrent instances, and more, without site visits. Perfect for large installations of iQs console software instances.
iQs in a Docker container lets you realize your all-virtual future now because it’s available as a subscription-based model in addition to singular instances. A subscription allows you to be even more nimble—growing or shrinking the size of your system dynamically as your needs change. You only pay for the functionality you need, and you aren’t locked into any particular console configuration, large or small, for the ultimate in facility flexibility.
RƎLAY Virtual Radio Software
RƎLAY Virtual Radio Software
RƎLAY virtual radio software from Lawo brings professional radio production to your PC. Mixing, streaming, dynamics processing, routing and even AoIP signal monitoring, using standard RAVENNA / AES67 networking via Lawo’s virtual sound-card software for Windows. Mix and route any audio produced by PC applications, streams from your AES67 network, or any audio signal your PC can ingest. All this power at your fingertips, using touch-screen GUIs so intuitive that talent can learn them in minutes. No exotic hardware needed: just install RƎLAY software on your PC or laptop, and go to work. Perfect for production, live studios, newsrooms — even remotes and OB work.
There are four RƎLAY Virtual Radio apps:
- VRX Virtual Radio Mixer, a powerful mixing console that runs in a virtualized environment. No racks of gear to devour space and money – RƎLAY VRX runs on standard PCs and laptops, with an intuitive, multitouch-enabled interface that’s easy to learn and use. Available in 8-fader and 4-fader versions.
- VPB Virtual Patch Bay, a cross-point patch bay on your PC. RƎLAY VPB gives you unrestricted control over the routing and mixing of audio signals on your computer. Patch inputs to outputs, combine multiple channels, even apply processing using the included Lawo Processing Suite, or your favorite VST plug-ins.
- RƎLAY Virtual Sound Card, an 8×8 AoIP driver (with up to 64 bi-directional channels of stereo I/O) for Windows. RƎLAY VSC turns PC audio into clean, pristine AES67 streams to interface with your studio’s RAVENNA / AES67 network — without the expense of traditional sound cards.
- AoIP Stream Monitor keeps you informed of the state of your critical program streams with real-time confidence metering, LUFS meters, silence sense, audio level alerts, etc., displaying realtime informatics for up to 16 AES67-compatible audio streams. Average and peak bargraph meters for each channel are onscreen constantly, accompanied by a level readout in Loudness Units, and visual alarms for under-level, over-level and error states, plus multiple info tabs with stream health, performance history, and detailed SDP information. Perfect for Master Control displays, stream diagnostics, audio level checks, and much more.
ruby Radio Mixing Console
ruby Radio Mixing Console
ruby, from Lawo, is the mixing console that truly meets the demands of modern radio by blending the hands-on immediacy of physical faders with the context-sensitive efficiency of multi-touch controls. ruby frees your talent to create easily, naturally, effortlessly — in the way that suits them best. ruby is intuitive, uncluttered, powerful; but beneath its svelte surface lie color-programmable visual cues, context-sensitive displays and custom workflow options to help ensure that your hands always find the control you need, first time — every time. The mixing surface has a sleek, modern look that’s both functional and beautiful, designed for fast, accurate operation. From the high-resolution OLEDs that display sources and settings to the programmable function buttons and big, tactile ON/OFF and PFL keys with LED backlighting, ruby looks and feels great. Built in Germany to exacting Lawo standards, ruby features all-metal construction, premium 100 mm faders with built-in dust shield, ergonomic wrist-rest and ultra-reliable switches and rotary controls. There are smart tools like AutoMix, an intelligent algorithm that automatically maintains the balance of multi-mic productions so that creative staff and focus on what they do best — create. Desktop or flush-mount versions in 4, 8, 12 and 16 fader frame sizes, plus standalone 4 and 8 fader and Master Control extenders, allow combining multiple frames to build systems as large as 60 faders.
Today’s board operators interact as much (or more) with screens and displays as they do with the mixing console, so we’ve integrated mixing tools and other console controls into ruby’s multi-touch enabled display (powered by Lawo’s VisTool GUI-building software). No hunting for buried options: multi-touch on-screen controls instantly give what’s needed to control studio devices, apply dynamics, adjust virtual faders, and display true loudness metering. The optional VisTool Unlimited software upgrade even enables you to design context-sensitive screens customized to your station’s unique operating style, using your own custom-built graphics and control layouts.
ruby controls Lawo’s Power Core, perhaps the most powerful mixing engine ever built for radio, with redundant IP networking and redundant power capabilities. At just 1RU, Power Core‘s compact form belies the immense capabilities inside. On the front panel, a high-resolution color OLED gives status and setup information. I/O includes dual AES67 Ethernet ports with SFP, capable of 128 bi-directional AoIP streams, and 4 ports for high-density MADI signals (128 total channels of audio) — perfect for native MADI-to-AES67 AoIP conversion. It complies with the ST2110-30 standard too, ensuring seamless operation in combined radio / TV broadcast plants. ST2022-7 Seamless Protection Switching enables simultaneous dual-redundant network links, if you choose. Clock sync connections and 8 GPI / GPO contact closures complete the scene. Auto-switching dual-redundant power is standard, with Power Core’s internal auto-ranging AC power supply complemented by an inlet which accommodates an external 12VDC backup power supply.
There are also 8 rear-panel expansion slots, which accept a variety of optional IO expansion cards, including MADI, mic/line inputs, line inputs and outputs, AES3 inputs and outputs, and even a Dante interface. And Power Core’s raw audio processing horsepower puts other mix engines to shame, with the ability to handle thousands of simultaneous signals, a routing matrix of up to 1,920 x 1,920 crosspoints, and up to 96 channels of DSP input processing usable for EQ, de-essing, dynamics, etc. tucked into just 1RU. Multiple tiered license options make it easy to choose the combination of price and power that’s just right for you.
Power Coreᴿᴾ IP Audio I/O & DSP Node for Remote Production
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.
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
Type R
Type R’s physical control system consists of just three slimline panels: a fader panel, a large soft panel and a small soft panel. Each is compatible with COTS hardware and powered over ethernet to keep cabling to a minimum.
Type R has a simple 2U core at its heart with integrated I/O resources to get you up and running immediately. A single core can power up to three independent mixing environments, with no sharing of DSP resources. Whether used as independent studio consoles, microphone processors or utility mixing, the ability to use multiple mixing engines combined with the flexibility of the AES67 compatible network provide all the power you will ever need.
The touch-screen soft panels are designed around simple and colourful control elements and can easily be customised as multi-function panels. Soft Panels can be utilised in either landscape or portrait formats, and used to provide adaptable and specific functionality for talent, while ensuring overall control is maintained by the station technical team.
This functionality can be quickly changed from show-to-show using simple memory loads, and can be tailored to fit the needs of the talent. Fader panels are small, sleek and simple, with six faders and immediate access to essential controls. Fader panels can be added or removed as simply as plugging or unplugging an ethernet cable, creating a radio infrastructure which is easily expandable, and making upgrades a breeze.
Broadcast-specific control is clear and concise across the system. Bussing, including the creation of mix-minus feeds, is quick to assign, while EQ and dynamics control is clear and fast. It is a pure radio platform designed for a fast-paced modern environment. And as you would expect from Calrec, Type R is a resilient console system designed for reliable professional use, with all the requisite power, function and scalability to keep you on air for many years to come.
Type R is a thoroughly modern and customer-focused radio broadcast system which adapts to a station’s needs as its requirements evolve, and provides simple customisation across established networks, open control protocols and surface personalisation.
With a native IP Backbone, Type R provides an infrastructure for future expansion. It guarantees stations are not only able to keep pace with changing demands, but provides the facility to ignite their audiences with new and innovative programming.
GS-CU001B
The MkII VersionThe MkII version now adds the following as standard features:
- 48v phantom power
- upgraded input gain pot
- input gain range increased from -20 to +10 dB
- GPOs on Mic and talkback buttons to allow integration with main intercom or talkback system
VERSION 3 (TT): This version has transformer balanced inputs & outputs with high quality Llundhall transformers on the individual mic outputs.
InputsThree front panel inputs are mic/line switchable with selectable 48v phantom power. The front panel also has a small gain adjustment pot. Mic on/off switches can be selected in on/off mode or in cough mode. There is a global low frequency cut that can be selected on or off, and a preset compressor/limiter per input.
Outputs/TalkbackEach input has a direct discrete output on the rear panel along with a mixed output of all of the inputs, all on XLR. The mixed output is also available on an un-balanced 3.5mm jack socket as a local record. The direct output levels can be set in 3 positions:
1: 0dB + limiter: This is the normal operation and it limits peak levels.
2: 0dB: This feeds the output with an un-compressed nominal level of 0dB, for when the peak signal level will be controlled by outboard equipment.
3: -20dB: This feeds the output with a nominal level of -20dB providing extra headroom.
There are 3 common talkback circuits with individual buttons on the two main commentators’ sections (Position B's input cannot be switched to a talkback output). The operation of the talkback buttons features Config+ for configuring in different modes.
MonitoringThere are two main commentator monitoring sections, each with two separate 6.35mm A or B gauge jack sockets for headphones. In this way, the centre position B commentator can choose to share the monitoring of commentator A or C. There are 5 common external sources available for monitoring, plus an additional control which is the sum of the other 2 commentators/inputs. Each of the 6 pots has variable level control and left/both/right switching allowing commentator A and C to achieve their desired mix and balance levels. The sidetone control is located on the rear panel for commentator A and C to adjust the level of their own voice. There is a 7 segment LED PPM meter.
PowerThere is an internal switch mode power supply 100-250v AC, with external power via a 4 pin XLR 9-18v DC.
ModificationsThe GS-CU001 is a complete and versatile base system, and Glensound's most popular commentary unit. It is therefore a perfect starting point for custom requirements. This has resulted in many custom modified units, some listed above, and some not. We are always happy to investigate a particular requirement that you may have. To give you an idea of what is possible, these are some of the modifications, we have designed previously for others:
Added GPIO on a 9 pin D-typeMoved the sidetone control to the top panel on a full size potAdded a talkback channel and monitor between the A and C commentary positions (GS-CU001D and E)Independent monitoring inputs for commentator A and C (GS-CU001E)Additional mic passive outputs (GS-CU001E)Added an additional headphone monitoring input (GS-CU001G)Added two mic inputs for commentator A and C with a simple toggle switch between them (GS-CU001L)
Other Versions are available:
Express Box MKII
InputsTwo front panel mic inputs with selectable 48v phantom power.
Outputs/TalkbackEach mic input has its own individual output. There is also a mixed output of the two mic inputs. The two talkback circuits have individual outputs and are common for both commentators.
MonitoringThere are four inputs for external sources, one sidetone pot of their own voice and one other commentator pot for listening to the co-commentator. These are available independently to each commentator on individual pots, so each can adjust the inputs for their own preference of mix level. There are two 6.35mm headphone sockets – 1 for each commentator. A 7 segment LED PPM meter displays level.
Vita Plus
The high quality microphone input, with the Glensound Referee compressor, makes the Vita Plus suitable for on air commentary use, perfect for a small OB or in an off-tube booth .
The flexibility of the talk button configurations, means that the Vita Plus can also be used as a talkback unit as part of a Dante network.
The Vita Plus can connect to any Dante network, or to other audio equipment via Glensound’s own Dante interface units.
