Tag Archives: console

Waves Launches FIT Controller for eMotion LV1 Live Mixer

Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer.
Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer.

Knoxville, TN (June 25, 2020)—Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer. Developed specifically for the LV1, the FIT is a tactile live sound controller created in collaboration with MidiPlus.

FIT is designed to function as a 16-fader bank with the LV1 mixer, sporting 16 + 1 motorized 100 mm faders, each featuring Mute, Solo and Select buttons, a multi-function rotary control and a display for each channel. Fader banks are controlled using eight dedicated layer switches for toggling between the eight factory or custom layers in the Waves eMotion LV1 Live Mixer.

The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide easy access to Mute Groups and user-assignable keys.

Waves Unveils Commercial Audio Product Line

The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide access to Mute Groups and user-assignable keys.

The FIT controller also provides audio engineers with a Tap Tempo pad and a “Touch & Turn” knob for controlling any parameter selected on the eMotion LV1 screen. Additionally, common LV1 functions and modes can be controlled from the Utility section, where some of the controlled functions be customized by the user.

The controller weighs 4.5 lbs. and can be fitted with rack ears to mount into a 19-inch 7U rack space. Rear panel connections include a USB Type B port for computer connection, 12V 2A DC power input, and two 5v 0.5A USB outlets for external LED lighting.

Waves Audio • www.waves.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/gear-and-technology/new-products/waves-fit-controller-for-emotion-lv1-live-mixer

Blackstone Sets Up SSL SiX

Adam Blackstone, go-to musical director, recently integrated Solid State Logic’s SiX SuperAnalogue desktop mixing console into his workflow.
Adam Blackstone, go-to musical director, recently integrated Solid State Logic’s SiX SuperAnalogue desktop mixing console into his workflow.

Philadelphia, PA (June 25, 2020) — Adam Blackstone, go-to musical director for some of music’s biggest stars and highest-profile events, recently integrated Solid State Logic’s SiX SuperAnalogue desktop mixing console into his workflow.

Blackstone was exposed to top quality gear early, having played on Jay Z’s “Fade to Black” tour when he was just 21. “The studios we were working in at the time were all SSL consoles, so SSL was a big part of my musical upbringing,” says Blackstone, who employs the SiX in his home studio and on the road. “It just does so much,” he says. “I’ve used it as everything from preamp, to a summing mixer, to an analog mixer, to a master bus.”

Blackbird Revamps Studio F Mix Room

Monitoring through his home studio’s Genelec G Five monitors and KRK Rokit 10s subwoofers, Blackstone says he feels the SuperAnalogue circuitry of the SiX conveys the sound of SSL’s large-format consoles. “SSL has really done an amazing job at translating that big-console sound into this little mixer,” he says. “I’m trying to get the best audio capture possible into my DAW. That’s the foundation, and the channel strip on the SiX is great for that. It’s that SSL sound.”

He then turns to the G-Series bus compressor for the analog coloration he needs. “I mix a lot of television shows at my home studio, and I like throwing the G Bus compressor right on the master,” he says, citing a recent example of BET’s special Saving Ourselves: A BET COVID-19 Relief Effort. “Just printing the two-mix from my DAW back into it, that’s where that classic radio-ready SSL color really comes into play. It’s been really cool to use it that way.”

Blackstone’s frequent collaborator, guitarist Clay Sears, adds, “We do a ton of touring and live TV work but also a lot of pre-records. Pre-recording tracks for live events is kind of where it’s at now, so your recording game has got to be on point… With the high-quality signal path of the SiX, I know that my tracks are going to sit in the mix with stuff that’s recorded at big commercial studios.”

Solid State Logic • www.solidstatelogic.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/recording/music-production/blackstone-sets-up-ssl-six

AMS Neve Launches Neve 8424 Console

AMS Neve, console, mixer, desk, recording, analog, analogue, 8424, 80-series, Marinair, in-the-box,
AMS Neve, console, mixer, desk, recording, analog, analogue, 8424, 80-series, Marinair, in-the-box,

Burnley, UK (June 22, 2020)—AMS Neve has unveiled its latest console, the Neve 8424, a small-format desk based on the 80-series console range that is being aimed at project studios, educational facilities and small pro audios.

Intended for hybrid studios centered around an in-the-box workflow, the desk provides a center point between analog tools such as outboard gear, analog synths and the like, and the digital world of DAW workflows, software plugins and session recall.

Neve 8424 Console Neve 8424 Console Neve 8424 Console Neve 8424 Console AMS Neve, console, mixer, desk, recording, analog, analogue, 8424, 80-series, Marinair, in-the-box,

The 8424’s dual-input channel strip allows for switching between recording and mixing inputs without additional patching, providing connectivity via 24 line-level inputs, dual 1073 preamps, and dual Instrument DI channels, allowing users to record directly in the control room. The desk sports a dual cue mix system with talkback/return talkback capability and dual headphone amplifiers.

As an analog mixing platform, the 8424 offers 24 DAW returns across 24 channel faders or, for larger DAW sessions, a 48-Mix mode that allows a total of 48 mono inputs with individual level and pan controls to be mixed through the 8424’s Marinair transformer-coupled stereo mix bus. Engineers can use the 8424’s mono and stereo aux busses to connect to outboard FX units and route them back into the console’s two dedicated stereo reverb returns. Also on board are four mono groups with 2-band shelving EQ, inserts, and direct outs. The 8424 has an on-board Recall system, allowing the console to save, load, and recall all settings, faders and pot positions for on a session by session basis.

Harkening back to the Neve 80-series console of years past, the 8424 stereo mix bus provides true voltage mixing into Marinair transformers, while additional features such as Stereo Insert, 2-band shelving EQ and Neve’s proprietary Stereo Width control give users additional tools with which to work.

Each Channel, Group and Stereo Mix bus has its own switchable insert point, while dual on-board 500 series slots allow engineers to customize their signal chain and build a modular hybrid recording system, all connected and centralized through the 8424 console.

The Neve 8424 console is shipping, with a MSRP of $24,950.

AMS Neve • www.ams-neve.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/gear-and-technology/ams-neve-launches-neve-8424-console

Yamaha Rivage PM5, PM3 to Get L-Acoustics L-ISA Control

The newly-introduced Yamaha RIVAGE PM5 and PM3 will both be equipped with L-ISA DeskLink
The newly-introduced Yamaha RIVAGE PM5 and PM3 will both be equipped with L-ISA DeskLink

Marcoussis, France (June 3, 2020)—Yamaha’s recently launched Rivage PM5 and Rivage PM3 digital mixing systems will be able to natively control L-Acoustics’ L-ISA Immersive Hyperreal Sound technology, as they’ll be equipped with a L-ISA DeskLink for onboard control.

Co-developed by the two manufacturers, the DeskLink will be a feature of the upcoming Rivage PM firmware V4, currently set to be released simultaneously alongside the new Yamaha consoles. The firmware will also work with existing Rivage PM10 and PM7 digital mixing systems, thus bringing updated features including the L-ISA DeskLink, to those desks as well.

Exclusive: Yamaha Launches Rivage PM5, PM3 Desks, DSPs, More

Within the Yamaha Rivage PM Series desks, for every mono or stereo input channel, direct control of L-ISA Objects or Groups will be available on the console control surface and touch screens. The five main L-ISA parameters—Pan, Width, Distance, Elevation and Aux send—will also be stored for each object in the console Scenes, with dedicated recall scope.

“More than three decades ago, Yamaha helped pioneer the digital mixer market, and has since remained one of the premier live console manufacturers,” says Sherif El Barbari, director of L-ISA Labs. “With the recent additions of the PM5 and PM3 to their Rivage range, Yamaha can now accommodate a much broader user base and allow them to each experience the future of live sound reinforcement in a very intuitive way, via L-ISA’s object-based mixing approach.”

“Yamaha is delighted to have been able to include L-ISA system control integration for the newly expanded Rivage PM family of consoles, through the recent launch of our new PM5 and PM3 console systems together with the V4.0 firmware release,” says Chris Angell, Yamaha R&D. “This opens the doors of our collaboration with L-Acoustics to an even wider range of customers and projects.”

L-Acoustics • www.l-acoustics.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/gear-and-technology/new-products/yamaha-rivage-pm5-pm3-l-acoustics-l-isa-desklink

Caracol Monitors Remotely During COVID-19 Crisis

Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic to use remotely.
Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic to use remotely.

Rastatt, Germany (May 22, 2020)—Lawo put its remote FAT (Factory Acceptance Testing), training and equipment demonstration procedures into play when Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic.

Recently, Bogotá-based Caracol purchased a 48-fader Lawo mc²56 mixing console with Dallis frame for its news studio, another mc²56 for a new OB van and a mc²36 console for the broadcaster’s Studio 10 facility. Caracol safety protocols during Covid-19 require that the company’s engineers be able to monitor and meter critical audio signals from home, so they contacted Lawo for a solution.

Lawo Disrupts Covid-19’s Disruption

On April 30, Lawo engineer Daniel Egea demonstrated remote monitoring solutions for Caracol engineers via two possible monitoring methods—one employing Lawo AoIP Stream Monitor software and a second using RƎLAY VPB software. Both solutions use RAVENNA/AES67 connectivity to monitor the mc² consoles. Since the demonstration of both setups met Caracol’s requirements, both software packages will be configured for long-term tests, and eventually will be a permanent part of their studio installation.

“The question for us was, how can the engineers both listen to and meter the audio signals while not on site?” says Egea. The solution was an infrastructure that allowed the mc² console core to supply its audio signals to a facility computer.

“Audio signals were supplied to the streaming network via the RAVENNA card in the core and collected from the network on a PC using AoIP Stream Monitor or RƎLAY VPB software,” says Egea. “By accessing this computer via Teamviewer or Remote Desktop through a second NIC [network interface card], Caracol engineers can now conveniently monitor the most important signals from home. This setup offers a very flexible monitoring situation and has simple, intuitive GUIs to quickly create a suitable monitoring overview.”

Lawo • www.lawo.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/post-and-broadcast/caracol-monitors-remotely-during-covid-19-crisis

SugarHill Upgrades Desk with GenesysControl

The long-running SugarHill Studios in Houston have upgraded the facility’s Neve Genesys Black console for total integration with DAWs.
The long-running SugarHill Studios in Houston have upgraded the facility’s Neve Genesys Black console for total integration with DAWs.

Houston, TX (May 22, 2020)—SugarHill Recording Studios in Houston, TX, has upgraded its Neve Genesys Black console, installing the GenesysControl plug-in to enable total integration with DAWs.

The Genesys Black console is installed in SugarHill’s Goldstar room, originally built in 1964 and designed by Jack Clement, who also designed the Sun Recording Studios in Nashville, TN. SugarHill has completed many sessions on the console for artists such as Chance the Rapper, George Thorogood, Kevin Gates, 21 Savage, Maxo Kream and North Mississippi Allstars. Most recently, Finley has been mixing an album for The Killer Hearts, which will be released soon on Spaghetty Town Records.

Inside the Audio Post-Production of Parasite

SugarHill studio engineer Stephen Finley says, “In 2018, we installed our Genesys Black G32 console with 16 analog channels. It is a fantastic console and we all really love the preamps and EQs. We have 16 Neve 1084s, which make everything sound better — just a little always helps. We also have one eight-channel bank of dynamics that I like to use while tracking drums as its helps to tame some hits. I use very little gain reduction.”

Finley says investing in the GenesysControl plug-in has brought an entirely new dimension to the studio’s workflow. “I enjoy being able to automate my drum busses on the 8T [8 track] section during choruses for extra excitement. Also, being able to have the automation plug-in on all my tracks, put all the tracks in Pro Tools into the Neve at a touch and finalize any volume automation on the fly is very helpful. With the new GenesysControl plug-in and the console’s recall software, recalling a mix and making an adjustment is now a fairly easy task — depending on your patching, of course.”

Founded by Bill Quinn as Quinn Recording Studio in 1941, the facility was renamed Gold Star Studio in 1950 and eventually became SugarHill in 1972 when it was acquired and renamed by notorious producer Huey P. Meaux. The studio is now owned by Stephen Finley, Fred “Bubba” Hightower and Ryan Youngblood, collectively known as The Hightower Group.

AMS Neve • www.ams-neve.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/recording/sugarhill-upgrade-neve-genesys-plugin-genesyscontrol

Exclusive: Yamaha Launches Rivage PM5, PM3 Desks, DSPs, More

Yamaha's New Rivage PM5 Console.
Yamaha’s New Rivage PM5 Console.

New York, NY (May 20, 2020)—Since its introduction in 2014 with the PM10 digital mixing system and the subsequent PM7 in 2018, Yamaha’s Rivage Series has been the company’s flagship for touring and installation mixing consoles, with the distinctive desks often spotted at front of house on tours or in megachurches. Pro Sound News recently got an exclusive sneak peek of Yamaha’s most ambitious expansion for the series yet, as the company introduces two new consoles—the PM5 and PM3—as well as a pair of new DSP engines—DSP-RX and DSP-RX-EX—and Version 4 firmware that provides features to new and legacy Rivage systems.

Yamaha Rivage PM5 Digital Mixing System

Yamaha Rivage PM5 Digital Mixing System Yamaha Rivage PM5 Digital Mixing System Yamaha Rivage PM5 Digital Mixing System

Both of the new consoles feature large, capacitive touchscreens that let engineers use multi-finger gestures (think the “pinch” motion used on smartphones), with the PM5 sporting three screens, while the PM3 gets one. As with their predecessors, the PM5 and PM3 each have 38 faders—three bays of 12, with two masters—but the new control surfaces are laid out with an eye toward efficiency.

Yamaha Rivage PM5 Digital Mixing System in use.
Yamaha Rivage PM5 Digital Mixing System in use.

“With the PM5, some people will think of it as the as the PM5D replacement, but it’s so much more than that,” said Kevin Kimmel, systems application engineer, Yamaha Commercial Audio. The CS-R5 control surface for the PM5 may be roughly the same width as a PM7 or PM10, but it has a shorter depth, at just over 23 inches, and is laid out somewhat differently. Making room for that third screen, the Selected Channel section on the right side of a PM10 or PM7 now has a smaller footprint and fewer knobs as well. Likewise, the meters that were above the ‘on’ button and by the Select buttons are now alongside each fader, while the LCD channel strip is gone, replaced by names across the bottom of the screens. While the drastic change might give some engineers pause for thought, Kimmel notes, “After I got to mix on it, I went, ‘Yeah, this is actually pretty cool.’”

The shorter depth of the CS-R5 control surface isn’t only about dropping the LCD channel strip; it puts the touchscreens within a comfortable reach, is expected to provide clearer sight lines and helps bring the control surface’s weight down to 93 pounds, aided in part by the fact that the frame on both new control surfaces is now aluminum.

Yamaha Rivage PM3 Digital Mixing System

The PM3’s CS-R3 control surface scales things down even further, resulting in the most compact Rivage console to date, weighing in at 84 pounds and measuring 45 inches wide, making it only slightly wider than a CL5 digital mixer. “It’s a natural progression to go from a CL or QL to this because within the GUI we’ve made it look a fair amount like CL,” said Kimmel. “If you come to it from those consoles, you’re not so intimidated when you walk up to it.”

DSP-RX and DSP-RX-EX

Of course, control surfaces are only part of the story—it’s the DSP and firmware under the hood that do the heavy lifting. As it happens, both the new DSP-RX and the DSP-RX-EX, as well as the existing DSP-R10, can be used with any Rivage system except the PM7 (its DSP is already built-in).

“The DSP-RX is 120 inputs by 48 mixes and 24 matrices—the same number of inputs as a current PM7, with a bit fewer on the output side—and visually, it looks very similar,” said Kimmel. “The DSP-RX-EX doubles the inputs, going to 288 inputs with 72 mix outputs and 36 matrix outs. It also increases the amount of plug-ins—in DSP-RX, there are 384 ‘slots’ for plug-ins, and now you get 512 with DSP-RX-EX. It’s quite a jump. Now, if you’re using the DSP-RX and eventually decide you’ve outgrown it, there’s a DEK-DSP-RX expansion kit so you can bump it up to become an EX with the same channel count and plug-in amount.” DSP mirroring is also supported by the new DSPs, allowing two DSPs to be run simultaneously to provide redundancy.

Version 4 Firmware

As for the firmware update, Version 4 brings legacy and new Rivage desks a number of additions, including an Eventide SP2016 reverb plug-in that includes presets developed by the likes of George Massenburg, Dave Pensado and Joe Chiccarelli. Additionally, Yamaha’s MonitorMix app for iOS is now supported, allowing individual wireless Mix/Matrix/Aux mixing from up to 10 iPhones or iPads simultaneously. Rivage PM7 owners aren’t left out from the updating—the v4 firmware increases the PM7’s channel count from 120 to 144 and serves up another dozen Matrix Outs for a total of 36. Other new features include flexible HY-car slots in DSPs, updates to the GUI, NuendoLive included for both the PM3 and PM5, and more. Users can expect continued support for some third-party efforts, like the L-Acoustics’ L-ISA DeskLink, and Yamaha plans to add third-party plug-ins down the road.

At press time, Yamaha was still hammering out prices on the new offerings, but the summer months will see the PM5 and v4 firmware debut, while the PM3 will hit the ground in the fall.

Yamaha • https://usa.yamaha.com/products/proaudio

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/gear-and-technology/new-products/yamaha-rivage-pm5-pm3-dsp-firmware-rx-ex-console-mixing-live-sound-concert

Octave Records Deploys SSL SiX for DSD Projects

Recording engineer and producer Robert Friedrich recording Don Grusin with an SSL SiX.
Recording engineer and producer Robert Friedrich recording Don Grusin with an SSL SiX.

Boulder, CO (May 19, 2020)—Digital audio pioneer Gus Skinas is using an all-analog signal chain that includes SSL’s SiX SuperAnalogue desktop console to record, master and remaster DSD projects at Octave Records, a studio facility and record label partnership with high-fidelity audio equipment company PS Audio.

“Everything I’m doing is all DSD,” says Skinas, a longtime Sony employee who was subsequently instrumental in bringing the manufacturer’s Sonoma DSD (Direct Stream Digital) recording technology to the pro-audio community through his Boulder-based Super Audio Center. Now, for recording, mastering and remastering projects at Octave Records, he says, “We’re always really careful to use the best analog gear we can, because with pure DSD your main processing is analog, and your mixing is analog.”

At his Octave Records studio Skinas has a vintage Studer console. “But I replaced the front end with the SSL because it sounds better than the Studer. The SiX gets the summing of the groups and main buses, and I use it for talkback and all of that. It’s exactly perfect for these high-end DSD recordings,” he says.

The Vocal Chain that Brings Halsey’s Vocals to Life in Concert

The first release on the new Octave Records label is a solo piano project, Out of Thin Air, by Grammy Award-winning jazz keyboardist Don Grusin, the first project to be recorded at the musician’s new studio, Moose Sound, at his home in Colorado. Recording engineer and producer Robert Friedrich, co-owner of Five/Four Productions (with Michael Bishop and Thomas Moore) recorded the release live to two-track. “It’s just stunning; it sounds wonderful,” says Skinas of the project.

“That little mixer sounded really, really good; I was stunned how good it sounded,” says Friedrich. “It’s a very short signal path and when we ran stuff through it, it was very neutral. It’s also incredibly flexible; we had almost endless possibilities to route inputs and signals.”

For the Out of Thin Air recordings, Friedrich reports, the main piano microphones were Sanken CO-100K condensers with short cable runs to Forssell Technologies SMP-2 preamplifiers. The room pickup was an AEA R88 stereo ribbon microphone paired with an Integer Audio RMP2 preamp. He tracked the project through EMM Labs ADC8 Mk IV converters to a Sonoma recorder at 2.8224 MHz — 64 times the CD audio sampling rate — and at quad rate DSD (11.2896 MHz) into Playback Designs’ Sonoma Recorder software via the company’s Pinot ADC.

“The bandwidth of the console is great. I had all these high-bandwidth mics and mic pres going into it, and the DSD returning into it, using it as a monitor. What I liked about it was that when I flipped between the SSL console and DSD, it sounded pretty close — a lot closer than PCM is. You could be completely confident that you were capturing everything,” says Friedrich.

Solid State Logic • www.solidstatelogic.com

Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/recording/octave-records-deploys-ssl-six-for-dsd-projects