2016 Foreword

For Calrec, 2016 was a year of The RP1 has already won a You will also find slogans big announcements and even Resolution indstury award for created by Calrec customers bigger products launches. Best Digital Mixer/Controller using the Calrec Periodic Table 2016. of Broadcast Consoles, a 2016 saw the inroduction of a campaign which won a Pro number of new technologies Finally, Calrec unveiled a suite Sound Marketing Innovation which keep Calrec connected to of AoIP networking interfaces, award in September. its customers. These products including an AES67/Ravenna provide routes into new interface, an AVB interface, a This year Calrec also produced markets, and provide solutions modular I/O Dante card and a a number of pocket-sized for broadcasters looking at SMPTE 2022-6 video interface. guidebooks to help ease integrating remote production broadcast customers into the into their workflow. This range of interfaces crowded and confusing era of reinforces Calrec’s stance in the IP, which are also referenced in First came Brio, the most future of audio transport these pages. powerful and compact digital protocols. Having a suite of broadcast audio console in its solutions to choose from means We’ve got big plans for 2017 class. Brio has a comprehensive broadcasters can be confident with more developments to broadcast feature set to support that they’ll have Calrec’s support come. Stay tuned for more a wider breadth of broadcasters, no matter which combination of details! and the same market-leading formats they use. levels of quality and customer Dave Letson support for which Calrec is All these products are covered Vice President of Sales renowned. in these pages, alongside customer user stories and Secondly, Calrec’s RP1 unit is a interviews with key customers way for broadcasters to about the state of the industry. integrate Remote Production into their production schedules. Remote production offers the ability to capture a broader range of live events, such as sports, news or regional music festivals, and mix them in a remote facility hundreds or thousands of miles away.

2 3 A keyboard made of bananas

U.K.-based rental company unlike other digital desks, it has feedback from the Automixer Presteigne Broadcast Hire has lots of headroom, a huge benefit was especially helpful. added a Calrec Artemis audio in this environment. I can’t think console to its rental line-up. of another desk I would want to Presteigne worked with One- The console’s first customer, go into that room with.” Ten on the initial setup, and One-Ten Productions, rented Nock could easily change the studio and production facili- Known for its anarchic routing configuration to meet the ties for the revived “TFI Friday” energy, “TFI Friday” was show’s requirements. The mics programme. One-Ten used the broadcast from the Cochrane were allocated differently from Artemis to manage audio for the Theatre in Holborn, London, week to week, so the routing most recent run of the lively and where the set was rebuilt from was never static. In fact, even dynamic weekly show, which the original programme’s last after the desk was set up, the is anchored by live music and broadcast in 2000. Most of the mics and routing changed by guest interviews. presentation was set in the bar the minute — often live on air. area, a small, crowded room One minute a radio mic might “I’ve mixed many live shows with a low ceiling and loud air be on someone’s lapel, and the before, such as ‘The Voice’ and conditioning. The sound can go next it could be on the end of a the BBC’s 2014 Brazil World from a whisper to a cheering trumpet. Cup coverage, but ‘TFI Friday’ is crowd, which required a great unlike any other show I’ve done deal of headroom to manage, Mixing the sound for “TFI to date,” said Howard Nock, and the Artemis’ Automixer was Friday” was a partnership sound supervisor on the show. a critical tool in ensuring a tight, between Nock and Kevin Duff, “It is very challenging and clean mix. who have worked well together chaotic, and you have to be on other shows. Nock dealt with ready to change direction at a “The Automixer feature on the the bar area, which included moment’s notice using the kit at Artemis console was a lifesaver mixing everything from presenter technology. “The Artemis Presteigne, we’re excited to be your disposal. The dimensions on this show, particularly given and guest mics, EVS play-ins, provides a huge amount of a part of that iconic programme,” of the bar area aren’t ideal, and the acoustics of the room and and Skype™calls, to a mariachi resources to account for rapid said Jim Green, international “The Automixer feature with a lot of omni lav mics faded how loud the air-con was,” Nock band and a keyboard made from production changes, but in a sales manager for Calrec. “Our up next to a rowdy crowd, it can added. “It played a big part in bananas. Duff mixed the relatively compact size.” partnership with O’Carroll and on the Artemis console make balancing the sound in reducing that noise to a more downstairs stage area, which Now that the current run of “TFI the Presteigne team ensures this area a bit tricky to control at acceptable level, and I also used featured several live Friday” has ended, Presteigne that rental customers in the U.K. was a lifesaver on times. it to give the PA mixer in the bar performances per show by some will make the Artemis available will have access not only to

this show.” a premixed, cleaned-up feed of of the biggest names in music. for other customers to rent. Calrec technology, but to a vast “The Calrec Artemis was the 14 guest mics.” store of expertise for audio Howard Nock specified from the outset, as it is Nock also appreciated the visual “Howard regularly works with “David O’Carroll from planning and product support.” the console I am very layout of the control surface Calrec audio desks and is very Presteigne is not only a trusted comfortable with, particularly for and the fact that the controls comfortable with them, so it expert in broadcast technology, this kind of dynamic programme. are close together on the fader made sense to ensure he was but his first job in broadcast was The Artemis has a nice pitch. The metering was easy to on solid ground,” said David on ‘TFI Friday’ when it first aired saturated, analogue sound, and set up and customize, and the O’Carroll, Presteigne’s head of in 1996. Through

4 5 Telefonica Broadcast Services raise the bar with Calrec

Spain’s Telefonica Broadcast Summa’s feature list — such as Services has upgraded its HD 128 channels, four mains, 32 OB truck with a Calrec Summa tracks, an oscillator, the number console, making it one of the and variety of inputs and only companies in the Spanish outputs, and the Hydra2 OB market to offer a broadcast- networking infrastructure — specific audio console. boosts the quality of Telefonica’s HD OB truck and reduces setup “We produce events for almost time between productions. all major broadcasters in Spain, as well as foreign companies. Telefonica primarily covers Today it’s a soccer game. sports and Champions League Tomorrow it will be basketball. football in Spain. Calrec’s “The Summa ensures After that we might broadcast Soccer Assist® iPad® app, an we can do it in a way an opera. We have to be able assistive mixing tool that to manage any setup our clients simplifies the job of tracking that only a require and guarantee their big on-pitch audio during a football productions will go to air with game, is especially useful. The broadcast-grade desk no problems,” said Luis Garcia operator uses the app to help can. We don’t even Colombo, Telefonica OB audio calculate the optimal mic/fader engineer. configuration at any given have to think about moment, which makes it “The Summa ensures we can do possible to capture important whether we’ll be able it in a way that only a on-pitch events while minimizing to handle the setup; we broadcast-grade desk can. We the amount of crowd and venue don’t even have to think about noise. simply know that whether we’ll be able to handle Jose Maria Hernandez, Telefonica OB audio engineer.

the setup; we simply know that “There are not many we can.” we can. It’s easy to see that it’s broadcast-specific desks in the Luis Garcia Colombo not just an audio console, but a Spanish OB market, so installing TV audio console, and that gives a Summa is a big step forward,” us an edge in the market.” said Jim Green, Calrec’s international sales manager. The Summa’s technology and “Telefonica is making a bold functionality make it possible for statement to the broadcast Telefonica to handle larger TV marketplace about its productions than ever before commitment to improving quality and put the company in a better and output.” competitive position.

6 7 MLB Network knocks it out of the park

In order to handle its ever- In October 2015, MLB Network “The new processing window, increasing live coverage of became responsible for all with all its features, was a Major League Baseball and the production for NHL Network, welcome development,” Curry National Hockey League, MLB including live studio shows, said. “So were additional Network recently needed to add taped content, intermission options like being able to put a new studio and control room programming, and updates. This delay on a group, the ability to to its headquarters in meant being responsible for split stereo and surround pan Secaucus, New Jersey. To producing content concurrently features out onto desk faders, maximise functionality, it added for two major sports networks. and the addition of a ‘move a second Calrec Apollo console The combination of the second from/move to’ function in the and linked both to a new router Apollo, the router core, and the main application.” core to create a powerful and Concord upgrade allows MLB flexible Hydra2 network. MLB Network to share resources Network also upgraded the quickly and easily via Hydra2 processors in its first Apollo to rather than the added expense Concord, Calrec’s latest and complexity of MADI. This processor, to match the keeps everything simple for power and functionality of the operators and provides greater new desk. control not available via MADI transport. “When we added the router core coupled with the The router core serves as the Concord upgrade, it opened up hub of MLB Network’s Calrec “Having Hydra2 and the greater access to everything in Hydra2 network, giving control our studios and control rooms. and access to all networked Concord functionality The Concord upgrade allows audio resources. It allows MLB MLB Network also finds that programming,” said Mark Haden, operation,” said Helen Carr, us to add more production to Network to scale up when allows me to say ‘yes’ the closer interface between vice president of engineering regional sales manager for our day’s schedule and makes it necessary simply by adding to the production team the operator and the network and IT, MLB Network. “Calrec Calrec. “Now that it has possible to switch at a more I/O or consoles to the allows mixers to adapt quickly is also the most widely used added a router core and is moment’s notice; we can swing Hydra2 network. when they have great to changes that happen with console for news and sports running Concord processors on between setups thanks to the network’s live, news-like production. This means training both Apollos, it has the lightning-fast memory and file- Meanwhile, upgrading to the ideas and need to sports-highlight programming. time for new operators and versatility, functionality, and load execution,” said Mike Curry, Concord processor allows MLB

execute them quickly” “The interface between the freelancers is literally cut in half expandability needed to handle senior audio engineer, MLB Network’s existing Apollo to sit Mike Curry operator and the console/ because most of them are not only today’s new Network. “Having Hydra2 and on the network and provides a network is logical. This already familiar with Calrec production requirements, but the Concord functionality allows number of features that MLB eliminates confusion that can desks.” whatever might come its way in me to say ‘yes’ to the Network had previously cause on-air mistakes and the future.” production team when they have requested. allows mixers to adapt to “MLB Network is a long-time great ideas and need to execute changes that happen with our Calrec client with a them quickly.” live, news-like sports-highlight sophisticated production

8 9 Get up and go with Brio

At the 2016 NAB Show Calrec Dave Letson. “This amount of Hydra2 module makes it unveiled Brio, the most scalable and managed I/O, possible to connect to and powerful and compact digital comprehensive monitoring, share audio over Calrec’s broadcast audio console in its surround sound, and high bus Hydra2 network. class. Brio’s comprehensive quantities provides a degree of broadcast feature set supports a dedicated broadcast Connecting to Hydra2 allows wider breadth of functionality that has never been broadcasters to take advantage broadcasters, while retaining the available at this level. of Hydra2’s sophisticated same market-leading levels of management facilities for quality and customer support for “As the market calls for more network-wide control, including which Calrec is renowned. and more audio mixes to support interfacing with multiple online content, smaller consoles video- and audio-over-IP The smallest in Calrec’s that possess pure live-broadcast networks such as SMPTE 2022, Bluefin2 family, Brio’s features are increasingly Dante, AES67, Ravenna, and control surface is unlike any desirable. Products in this SoundGrid. Multiformat support other console. At only 892mm sector have traditionally had protects the system against any wide, the 36 dual-layer fader basic capabilities and are not future formats that emerge and surface provides more faders in ideally suited to broadcast allows the console to sit on a given footprint than any other environments. Brio is the first multiple networks simultane- audio console. application-specific alternative ously if desired. Brio is broad- for broadcasters who operate in cast-ready with no compromise Based on Calrec’s 20 years of this environment and provides or workarounds. Brio is powerful, too, with the ability to freely change path digital development, Brio’s dedicated broadcast features at assignment and width on the fly. uncluttered, compact, and a very aggressive price point. configurable surface gives • 64 mono-equivalent legs that can be assigned as mono, stereo, instant access to a large number “Brio’s compact size means it is or 5.1 input channels of audio paths, whilst an extremely portable and quick to • 36 mono-equivalent legs that can be assigned as mono, stereo, intuitive 15.6-inch HD touch- install, making it ideal as a Brio provides or 5.1 mains or groups (maximum of 4 mains and 8 groups) screen UI provides quick access general-purpose workhorse that something unique at • 24 mono-equivalent legs that can be assigned as mono or to more in-depth control. A bank users can deploy as and when stereo auxes (maximum of 24 auxes) of illuminating hardware rotary needed and its connectivity with this price-point - a • 64 direct or mix-minus outputs, with AutoMinus and Off-Air controls gives fast and precise other Hydra2-compatible Conference control over parameters equipment makes it even more mixing console • Comprehensive surround and downmixing facilities displayed in the touchscreen UI. versatile.” • Complete integrated loudness metering completely focused on • AutoFaders and AutoMixers “Brio provides something unique Brio is entirely self-contained, the needs of • Integration with remote control and production automation at this price-point — a mixing with analogue and digital I/O systems via CSCP, SW-P-08, EMBER, and GPIO remote console completely focused on and GPIO built into the surface. broadcasters control functionality the needs of broadcasters and Additional expansion I/O slots • EQ and dynamics on every channel, group, and main broadcast infrastructures,” said allow for further I/O integration, • Plenty of delay resources, dynamics, integrated talkback, and Calrec Vice President of Sales while fitting an available multiple monitor outputs

10 11 Installations

Artemis Console at Al Jazeera Apollo Console in NEP Visions’ Balkans, in Sarajevo, Bosnia and Pacific truck, based in the UK. Herzegovina. “The launch of Pacific marks a “When we decided to expand new chapter for NEP UK and we our facility, we chose Calrec look forward to getting the other because they offer very trucks on the road by the end of powerful, rock-solid consoles the year.” built with broadcasters in mind. That’s why Calrec is at the heart Steven Jenkins, president of of our audio infrastructure. NEP UK and Ireland.

Mirad Isakovic, manager of the broadcast technology department at Al Jazeera Balkans.

12 13 33 Calrec consoles at Russia’s largest TV production facility

Television Technical Centre Ostankino (TTC) has installed five more Calrec digital audio consoles as part of its continued effort to upgrade studios in its Moscow facility. The studios are used by Russian broadcast companies such as Channel One, Technostyle, and NTV Plus on a wide variety of programs, including the May 9th “Victory Day” parade in Red Square.

“We recommended that TTC install Calrec consoles because Calrec is known for its operational reliability and system redundancy,” said Roman Katrovsky, sound specialist for OKNO-TV, the Russian system integrator that the Hydra2 network, as mixed supplied and installed the audio can be sent between the “These consoles give TTC the flexibility to consoles. “These consoles give consoles via Calrec’s Hydra TTC the flexibility to Patchbay system. This enables accommodate any number of broadcasters accommodate any number of TTC to share signal paths broadcasters and their various without having to use any and their various requirements - for both studio requirements — for both studio physical I/O boxes.”

recordings and live production recordings and live production - all in 5.1.” — all in 5.1.” The latest Apollo installation in Roman Katrovsky Studio 27 is used to produce TTC has installed Apollo programmes such as Channel company in Eastern Europe,” metres. consoles in eight of its studios, One’s “The Field of Wonders.” said Michael Reddick, each with a companion Artemis The Studio 27 installation brings European sales manager, This repeat order is a vote of console that can be used on the the total number of Calrec Calrec Audio. confidence from TTC and studio floor for tasks such as consoles in the Ostankino confirms it made the right choice mixing a band or a live audience. complex to 33. “Among the studios now in deciding to standardise equipped with Calrec on Calrec. I’m happy to say that Katrovsky added: “It is “TTC Ostankino houses more technology is Studio 1, which Calrec consoles will play a important to TTC that the than 40 studios and is the is the largest studio within the major role in Russian television Apollo and Artemis both sit on largest broadcast production TTC complex at 1,000 square for years to come.”

14 15 ARE YOU READY More ways to connect FOR IP?

At the 2016 NAB Show, back on publically stating trucks are connected. It means provides the unit with 512 channels of audio — one of the Calrec Audio unveiled a Calrec’s formal direction on that different units can operate START 12 number of technologies that AoIP until we had assessed the across multiple formats in the highest-bandwidth connections available for either protocol. The YOU enable broadcasters to interface market and talked to our field, and Calrec always has ARE YOU ALREADY LOOKING AT IP WILL box is so versatile that it can CONNECTIVITY IN with multiple protocols at the customers. We strongly feel that them covered.” BE! even accommodate one of each YOUR BROADCAST FACILITY? same time. These technologies it is not the role of a NO offer unique and comprehensive manufacturer to dictate which Each element of Calrec’s card, allowing simultaneous flexibility across various audio route to take, but to facilitate the protocol range redundantly operation of multiple formats. YES and video standards. broadcasters’ choices. connects to Hydra2 and The SMPTE 2022 modular I/O appears like any other I/O DO YOU DEMAND AND EXPECT Calrec’s four new networking “Calrec’s customers can now resource on the Hydra2 card has a 10GB port that can DETERMINISTIC AVB interfaces, included an AES67/ interface with multiple protocols network. Hydra2’s integral suite receive up to four SD, HD, or PERFORMANCE? YES Ravenna interface, an AVB at the same time. A signal can of management tools provides 3G video streams, interface, and a modular I/O be received via AES67 and then additional benefits to allow de-embedding 16 audio NO Dante card that also has AES67 sent out via SMPTE 2022, AVB, remote configuration patching, channels from each. Each video compatibility. In addition, Cal- Ravenna, Dante, or AES67. port protection, alias files, virtual stream may be retransmitted intact or with new embedded WHAT ABOUT OPEN rec debuted a SMPTE 2022-6 Signal-processing takes place patchbays, and access rights. DANTE STANDARDS? audio. A secondary 10GB port IS THAT IMPORTANT TO YOU? video interface. via modular cards or 1U boxes. NO “Each signal also benefits from The AES67/Ravenna and AVB provides for hitless switching, as “We’re drawing a line in the the management facilities interfaces are a 1U box that can defined by SMPTE 2022-7. YES sand with these products,” said inherent in Hydra2. This benefit transport 256 channels of audio Calrec’s existing Dante modular DO YOU NEED TO PACKAGE AUDIO AND Dave Letson, Calrec’s vice is especially powerful in remote on a single connection. A VIDEO TOGETHER, ON A SINGLE AES67 president of sales. “We had held environments where multiple second expansion card I/O card, launched at IBC 2014, TRANSPORT? utilises Audinate’s Brooklyn II NO

card and now offers AES67 YES support as standard. This combination allows access to up DO YOU NEED THIS to 64 bidirectional channels in RIGHT AWAY? either protocol.

YES NO Offering this range of interfaces reinforces Calrec’s stance in the ongoing debate surrounding the CAN YOU WAIT FOR future of audio transport ELEMENTAL TR04 NMOS protocols. Having a suite of STREAMING? YES solutions to choose from means broadcasters can be confident NO that they’ll have Calrec’s support no matter which combination of TR03 formats they use — both now NMOS and in the future. calrec.com

16 17 IP Roadmap

2015

The Advanced Media Workflow Association THE (AMWA) produce draft standards for NMOS; discovery, ROAD registration and connection TO IP management, in line with JT-NM

THE FUTURE 2012 AMWA

2008—10 2013 2015

IEEE launches SMPTE publish 2016 AVB standard in 2014 ST2059 for 2010 following the JT-NM distribution of formation of the PHASE 1 sync over PTPv2 SUPPORT AVNU Alliance in SMPTE publish FOR NEW 2009 ST2022-6 FORMATS SMPTE, VSF and Interoperation EBU create a TR-03 testing, joint taskforce on TR-04 demonstrations networked media and plugfests help technology to mature

PACKET-BASED SYSTEM ARCHITECTURE ELEMENTAL IP WITH CURRENT ELEMENTAL TRANSPORTS AND CONTROL FLOWS WORKFLOWS FLOW DEPLOYMENTS

JT-NM publish a blueprint for broadcast network The Alliance for infrastructures IP Media Solution AES70 Audinate launches AES publishes The Media (AIMS) form, MORE FLEXIBLE, Protocol Dante in 2008 first version Networking promoting the DISTRIBUTED for control of AES67 Alliance (MNA), adoption and WORKFLOWS over IP comprising JT-NM development of REFERENCE open protocols for manfacturers and ARCHITECTURE ALC5Networx broadcasters, is media over IP CLOUD launch Ravenna as formed to advocate DEPLOYMENTS an open standard for AES67

calrec.com

18 19 Mizzou Athletics brings it “A” game

A brand-new Calrec Summa easily, with just a couple of and then copy and paste the console is driving professional touches on the touch screen. settings to each of the others. broadcast-quality sound for the And any A1 can set up the University of Missouri Athletics “As an audio engineer, I never board quickly to suit his or her department (Mizzou Athletics). want to tell a director or preferences simply by dragging The Summa anchors a major producer ‘Let me see if we can channels to different faders on upgrade of the Mizzou Arena do that.’ All too often that was the touch screen.” broadcast centre to support my answer with our old console. ESPNU and SEC Network I had to navigate a confusing The Calrec Fader Assist® app productions. menu system with limited for the iPad® is especially resources and hope I could find useful for managing two Mizzou The Summa equips Mizzou a way to make special requests Athletics sports broadcasts Athletics to meet the audio work. But the Summa now gives happening at once. Calrec requirements of linear television us the resources to say ‘yes,’ Fader Assist allows one audio and the demands of network even to unusual requests,” said engineer to run the primary producers and directors. The Mike Coons, A1 broadcast broadcast audio directly from desk is housed in a new audio engineer for Mizzou the console, while another stand-alone audio room that can Athletics. engineer can control the audio handle full basketball for the secondary broadcast productions for the TV networks “The Summa touch screen remotely with an iPad. and complete shows for the makes our lives easier and arena’s in-house video boards, turbo-charges our workflows. “Beyond the Summa’s all at the same time. Mizzou For instance, we can link outstanding features and operations, Mizzou Athletics. Athletics operators can call on channels to change flexibility, it delivers a “The improved audio quality an abundance of auxes and compression settings on all tremendous improvement in definitely makes our live tracks to send signals wherever shotgun FX mics at once, rather audio clarity over the old broadcasts stand out. But the “As an audio engineer, I never want to tell a director they need to go quickly and than having to configure one console. We switched from the Summa also plays a big role in old to the new in the middle helping us prepare our students or producer ‘Let me see if we can do that’. of basketball season, and the for the workplace. Since we rely The Summa now gives us the resources to say ‘yes’, difference was so profound that on many Mizzou students to help

the director and producer with live productions, they’re even to unusual requests.” commented about how much able to train on the Summa - Mike Coons better the game sounded,” and the experience working Coons said. with Calrec boards gives them a distinct advantage when they “The combination of price, ease graduate.” needed, empowering engineers “The Mizzou Athletics of use, and the prominence of to deliver whatever the situation installation proves how the the Calrec name in the sports “The Summa lets Mizzou calls for,” said Richard Summa can help any school world led us to the Summa,” Athletics control multiple Phillips, regional sales manager improve workflow and flexibility said Stan Silvey, assistant channels and easily route for Calrec. during live sports productions.” athletic director, broadcast signals anywhere they’re

20 21 In pole position at Le Mans with AMP Visual TV

Outside broadcasting giant largest surface area - 76 square productions and gives us even and a 16-fader Artemis “AMP VISUAL TV is our biggest AMP VISUAL TV has chosen the meters - MS12 includes two more versatility,” said Emmanuel sidecar that can be used to French customer to date, one company’s Apollo, Artemis, and video studios, two audio studios, Le Marquand, audio operating extend the other two. This offers of the biggest OB companies Artemis Light audio consoles and 40 workstations with full 4K manager, AMP VISUAL TV. AMP VISUAL TV the flexibility in France and a major player “Calrec is renowned for for its landmark new vehicle. UHDTV production capabilities. to use the audio equipment in a throughout Europe,” said The new truck, the Millenium “Calrec is renowned for variety of different configurations Florent Chaouby, international technology excellence Signature 12 (MS12), will be “With MS12, we had a unique technology excellence in OB both in and out of the truck. sales manager, Calrec Audio. in OB deployments, and the standard-bearer in the AMP opportunity to build the most deployments, and the presales VISUAL TV fleet and will make versatile truck on the market. support we received was For instance, the Artemis Light “The fact that AMP VISUAL TV the presales support its debut for coverage of the 24 We wanted to be able to fantastic. We know we’ve made can be removed and used in has placed its confidence in Hours of Le Mans endurance maximize the equipment for any a great choice with Calrec.” another location, such as a Calrec is huge for our company. we received was automobile race in June. size of international production. flight control room, and the Not only is MS12 a showcase fantastic. We know The flexibility and modularity of In a departure from its chosen Apollo can be extended by the for leading-edge UHDTV AMP VISUAL TV maintains one the Calrec desks made them audio-console vendor after more sidecar to provide a total of broadcasting, but its built-in we’ve made a great of Europe’s largest fleets of a perfect fit for this vision. The than 15 years, AMP VISUAL 72 faders. MS12 can operate modularity is unprecedented

OB vans and offers complete, consoles offer full redundancy TV has turned to Calrec Audio fully equipped when needed for an OB truck of its size. This choice with Calrec.” end-to-end services for live and to give us peace of mind for for MS12. The truck includes and support two productions at modularity is enabled in large Emmanuel Le Marquand on-location television produc- major events, and their plug- a 56-fader Apollo console, a once, or it can run at 50 percent part by the versatility of our tions. Boasting the world’s and-play operation simplifies 24-fader Artemis Light console, for smaller events. Apollo and Artemis solutions.”

22 23 In pole position at Le Mans with AMP Visual TV: Case Study with Audio Engineer Xavier Fontaine of AMP

camera. As the OB van video Non-embedded audio and The on-board RF cameras and router is fully processed, there is intercoms are routed through a mics are very immersive and no need of external Dante Network with I/O devices give the driver’s point of view de-embedders. placed wherever signal transport which can be very spectacular, is needed, or in one of our three especially in cases of accidents Cameras can be either wired or Calrec Hydra2 stage boxes, all or a battle between two cars. wireless. In the first case, they connected via monomode They also allow the most are plugged into monomode optical fibre links. passionate viewers to hear and fibre links; in the second, they recognise the sound of the Can you give us an overview of Depending on the focal length (with its own mix), which is are received by our RF MCR Motorsport is a fast-paced, engines running at high speed. the audio topology at this year’s of each camera we use short or integrated in the main signal (with the use of remote high-energy sport. What Le Mans? long shotgun microphones. The when needed. antennas dispatched around the techniques do you use to relay We also receive radio handheld cameras are equipped track, also using fibre links). this to the viewer at home? communications from 18 teams, There are 70 mics covering with M-S stereo mics and the Can you describe the signal as well as the race director’s the race, most of them placed garages with hidden lavalier path from trackside to The garage mics are connected The most important thing is that announcements which are directly on cameras. There are mics heavily protected against broadcast? to local preamps and audio always follows the picture, pre-selected and replayed by 27 around the track, 19 on the rain and moisture. embedded in each covered hence the choice of mics placed a specific operator. They shed pitlane (on cameras or hidden A monomode optical fibre mesh garage. Preamps and on cameras. They give depth to light on the race events and in front of garages), and 14 “on We use 130 channels in is shared by audio and video embedders are located in an the picture by accentuating the explain the main teams’ board” in cars. The other mics total; some mics are patched to across the site. Most underground gallery which runs distance between the car and strategies. are ambient mics used to catch several different channels which microphones are plugged into under the garages to allow the the camera. crowd noise and “air” to fill the are parts of different mixes. The cameras, so their signal is technicians access in case of gaps in the general mix. pitlane is an independent signal embedded in the video from the problem.

24 25 What challenges did you multiple local teams to solve any are a large number of sources, Was this your first time mixing philosophy and the desk encounter and how did you problems quickly. we needed to automate the on a Calrec console? How did it ergonomics, he was able to do “The system is very overcome them? mixing. We used the autofaders compare with other audio his task; it shows that the It was also a big task for the RF feature a lot, combined with the consoles you have used? console is easy to understand powerful; the ability of Setup is huge in terms of team to operate so many RF EMBER+ virtual GPIO. This last and operate. merging two routers quantities of signals, but there links (cameras, microphones feature was very useful to avoid The system is very powerful; the are three main challenges: the and intercom systems), over the need of a large number of ability of merging two routers Audio networking is prevalent in via a Hydra2 link brings distances, the weather such a distance and in an GPO from the video router, and via a Hydra2 link brings power modern large scale conditions and the duration of overcrowded RF environment. GPI in the console system. and convenience; it is very easy sporting events. Have you power and the event. This meant having to to set up and allows the sharing utilised high-density signal convenience; it is very divide staff into different teams This was the first outing of the The autofader interface is very of physical resources between transports? dedicated to one specific task, MS12 truck, the first AMP truck user friendly. During the first the OB’s two consoles. In fact, easy to set up and or to one local area of the built with Calrec desks. Which qualification session we were the final user doesn’t really need Yes, we have used high density circuit. Due to the rain and the features on the desks made your able to easily fine tune levels to know to which console core signal transport. Firstly, inside allows the sharing of duration, there was a real need job easier? and timing for each channel a resource is attached to. This the OB van we have four MADI physical resources for servicing (such as replacing in order to guarantee smooth feature is new for us, and it has tie-lines (256 audios in and out) a wet microphone or an As said before, the relationship transitions. really simplified the OB van’s with the processed video router. between the OB’s two intercom device’s battery), and between the picture and the engineering.

the distances meant having a sound is very important. As there All the audio from and to video consoles.” The Apollo interface is extremely equipment (Mics on cameras, Xavier Fontaine user friendly. I appreciate the EVS and VTRs, embedded ability to arrange the surface feeds etc.) pass through these different points of the race layout as I want. As there are tie lines. They are totally circuit. This is managed by an lots of physical controls it is transparent for the user since audio MCR built aside the OB possible to have a layout where we pilot the consoles and the van, which was in charge of everything is in direct access video router with VSM. routing these signals to the which is very convenient. The proper destinations. The MS12, Artemis is more compact, but All the tie lines between the being part of this network, had the big TFT touchscreens bring console and the intercom matrix a Dante link set up between the added visibility. (transiting IFB’s PGMs, Apollo core and the MCR. Commentary position’s “On Air” We used the second console etc.) are made with a Dante We also used three Calrec – the Artemis - to premix and network. There is also the stage boxes on Calrec’s Hydra2 monitor the commentary Hydra2 link between the two transport, linked by monomode positions given to different consoles’ cores. optical fiber to the Apollo core broadcasters. This was mixed positioned in different locations by a colleague who was not part Outside the OB Van, in the Le in the pit lane. of the engineering project and Mans setup, we have built a therefore didn’t know the Calrec Dante network using part of the When our video colleagues had consoles at all. After a two hour fiber mesh to transit the audio to transmit or receive explanation about the system and intercom signals from signals and were using their

26 27 video stageboxes (the video same time, such as an How has the truck been router is a Riedel Mediornet international feed and a host designed to withstand the ever system). We added “Rocknet” broadcaster signal, for example. changing demands put upon I/O modules to avoid using a broadcast infrastructures? i.e. pure audio stagebox. Thanks to Calrec’s consoles’ AoIP, immersive audio, ability of having two real interoperability etc We received the audio from monitoring sections on one desk the RF and on-board cameras it is possible to have two mix The design principle for the embedded in the video, so we engineers on the same console; truck was to be as modular as exchanged a MADI link with one using the speakers, and possible. the RF MCR in order to transit one equipped with headphones backup and ancillary audio. (with full monitoring capacity Its working areas have been including PFLs). This is very designed to have multiple uses. The race was over 24 hours (as useful in cases of a “Dirty” and a For example, it is possible to use the name suggests), how did “Clean” feed with different EVS one area for video shading or as you cover all of it? playouts or multilateral an EVS room, or as an audio interviews. editing room. The furniture, We were four audio people the cabling and the monitoring inside the OB van, two mixers, Furthermore, the use of the (audio and video), has been a guarantee and an intercom “autofaders” and the “automix” designed for different kinds of operator. In fact, we relayed at works very well on commentary uses. the consoles every two hours position’s functionalities, which in order to stay focused. During allowed us to lighten some Technically, we use VSM to the night, from 11 PM to 6 AM, mixes. control all the equipment. It a dedicated team came as means that it is easy to modify intercom matrix for listening reinforcement allowing us to In terms of resources, the the low level infrastructure by purposes with only one sleep a little bit more than two number of groups and mains adding or changing equipment patching action on a VSM X-Y hours. available is no longer the which will bring new resources panel. “The Apollo interface is extremely user friendly. I limitation it used to be on some or a new format of inputs and As viewers increasingly older systems. It is now outputs. Provided all your We also chose to use Dante for appreciate the ability to arrange the surface consume content in a variety possible to build huge equipment is connected many audio links, such as the of methods, combined with configurations which are very together with a large amount ancillary audio monitoring, inside layout as I want...it is possible to have the clean feeds that are fed to simple, without diverted routes. of tie lines, VSM provides the the OB van which allows us to a layout where everything is in direct access other broadcasters, many more ability to route a signal from one easily modify the infrastructure by adding or removing devices.

mixes are required. How do you point to another without which is very convenient.” manage to provide mixes for so considering its full path. Xavier Fontaine many different outputs? This monitoring can now be For example, a signal can come stretched by adding Dante The MS12 has two separate embedded in a video, from the monitors to extend possibilities audio rooms allowing us to mix video router, pass through the in one area or add a new area two different programs at the console and be fed to the outside the OB van.

28 29 NBC Olympics selects Calrec for the 2016 Olympic Games in Rio

NBC Olympics, a division of the “This year is the first time we A division of the NBC Sports NBC Sports Group, has are connecting with Dante on Group, NBC Olympics is selected Calrec to provide the Hydra2 network, and we are responsible for producing, seven audio mixing consoles for delighted to continue this strong programming and promoting its production of the Games of innovative relationship as NBC NBCUniversal’s Olympic the XXXI Olympiad, which take Olympics continues to push the coverage. It is renowned for its place in Rio de Janeiro, Brazil boundaries of sports audio,” unsurpassed Olympic heritage, Aug. 5-21. The announcement said Letson. award-winning production, and was made today by Karl Malone, ability to aggregate the largest Director, Sound Design, NBC “NBC Olympics is delighted audiences in U.S. television Sports & Olympics and Dave to be working once again with history. Letson, Vice President of Sales, Calrec, their consoles, and their Calrec. support personnel for our coverage. We look forward to Calrec Audio has supplied four using the latest advancements in Artemis and three Summa audio Calrec processor “The latest mixing consoles to provide full technologies, as well as newly audio mixes for the coverage. updated interfaces, which have advancements in Three of the 40-fader Artemis been developed based on our Calrec processor consoles will be stationed at feedback and the feedback of NBC fly-pack venues to provide many Calrec users worldwide,” technologies, as well coverage of basketball, cycling, said Malone. triathlon, marathon, volleyball, as newly updated and diving. The fourth will be In addition to the seven interfaces, have been based in Audio Control Room X consoles, Calrec will supply 26 in the Compound within the x I/O boxes, creating a developed based on International Broadcast Center comprehensive and fully in Rio. This console will be in redundant Hydra2 network, our feedback and the use with venues moving audio which will provide signal feedback of the many and video over IP. One 24+8 management and full control fader Summa console will across MADI and Dante. Calrec users provide the main output in

Audio Control Room X, while worldwide” the remaining two will act as Karl Malone back up consoles in Audio Control Rooms A and B.

30 31 Installations

Calrec had around 40 consoles covering the Games for a number of international broadcasters. The coverege included NBC Olympics’ first ever live broadcast from the Games using Dolby Atmos, which mixed and broadcast through a Calrec console. Calrec has two Support Engineers on site in Rio throughout the Games, proving support to its many customers across multiple venues.

32 33 Calrec and JAA.S form new partnership

Calrec Audio has announced successful in this territory too. “I am very excited about this JAA Systems Sdn Bhd (JAA.S) “Historically Calrec has not new relationship,” said Anthony as its exclusive distributor for been as well-known in South- Harrison, international sales Malaysia, Singapore, and east Asia, but with the recent manager for Calrec. “David’s Indonesia. Headed by David addition of the Brio console team of experienced engineers Chan, JAA.S has a proven track to its range, we aim to provide means broadcasters in the record in audio-mixing consoles broadcasters with the same region can be confident they’ll for broadcast and is very well- high-end feature sets and get a level of support equal to respected in the region. With networking capabilities Calrec the quality of their consoles.” more than a decade of is renowned for at an affordable experience in the industry, JAA.S price point.” is the ideal partner to spearhead sales and support from its headquarters in Kuala Lumpur. Slogan created by: Name: Tim Jacobs “It is an honour to work with a manufacturer with the kind of “Calrec is at the forefront of technology and has Job title: Technical Director heritage Calrec has. Calrec is at

Company: NBC Universal enjoyed success in many regions around the globe.” the forefront of technology and has enjoyed success in many David Chan regions around the globe,” said Chan, director at JAA.S. “We aim to make Calrec just as

335x245_PAA_ThisisAudio.indd 1 10/08/2016 17:54

34 35 Drop Ship Audio flies high

Los Angeles-based boutique user interface and operation are footprint and more accessible rental house Drop Ship Audio the same across all its desks, price point lets Drop Ship Audio has fitted their newest flypack so it’s easy for any engineer to offer customers the same with a Calrec Summa to cover jump on the Summa and go,” reliability and power as Calrec’s auditions and callbacks for said Sean Prickett, owner of larger Apollo and Artemis reality-TV dance competition Drop Ship Audio and A1 for the consoles. The touch-screen “So You Think You Can Dance.” “So You Think You Can Dance” user interface gives operators auditions. the flexibility to access more “As a small rental house, it’s advanced functionality more great to be able to offer a “Calrec delivered and easily than they could on other Calrec, not only because of the commissioned the desk right desks of that size. prestige behind the name, but before we did the first show. For also because Calrec desks are me to be able to just sit down “With a Calrec I’m never left in the majority of OB trucks in at the Summa and build a show thinking, ‘I wish I could do that.’ the U.S., most of our rental having never mixed on it before Almost anything I want to do I customers already know how speaks volumes about the can do on a Calrec desk, and to use them. Calrec has done usability across the Calrec line.” the Summa is no exception,” a great job of making sure the The Summa’s flypack-sized Prickett said. “But one of the

biggest things that drew me to from both a usability and rental Calrec is that it uses the same standpoint. “For me to be able to I/O across all of the consoles, so I’m not limited to field boxes “Drop Ship Audio might be just sit down at a made only for the Summa.” small, but they’re doing big things. They have a lot of Summa and build a Thanks to Calrec’s Hydra2 interesting work,” said Dave show having never network, Summa is scalable, Lewty, regional sales manager connecting easily to other for Calrec. “The Summa is a mixed on it before Calrec consoles and I/O. small but mighty addition to their

Adding I/O is as simple as rental lineup. We’re pleased speaks volumes.” renting an extra box and to be a part of this company’s Sean Prickett plugging it in, which is a benefit growth.”

36 37 Remote Broadcasting

At the 2016 NAB Show The RP1 core quickly embeds number of specialised events, Calrec Audio unveiled a unique audio into existing video- such as regional or college live-broadcast product that transport mechanisms, while its sports and smaller entertainment directly addresses an modular I/O backbone accepts events, at significantly reduced increasingly prevalent any of Calrec’s I/O cards. This cost, making it possible to requirement for high-quality versatility means the RP1 can maintain an increasingly wide content from remote locations. connect via analogue, AES, range of content.” MADI, SDI, and the latest AoIP Remote production offers the solutions from AES67, Ravenna, In addition, the RP1 core allows ability to capture a broader Dante, and SMPTE 2022. broadcasters to create very range of live events, such as low-cost Hydra2 networks for sports, news or regional music “All these remote I/O resources all audio routing requirements. festivals. Broadcasters cannot appear to the main audio The RP1 provides connectivity always justify the time or mixer like any other local I/O box to any Calrec Hydra2 I/O box, expense of sending a dedicated which means there is no including Calrec’s ultra- outside broadcast truck and a operator learning curve,” said compact Fieldbox and H2Hub, team of skilled onsite operators Dave Letson, Calrec’s vice providing a cost-effective way for these niche events, but they president of sales. “This is a to adapt to the requirements of must always ensure that the high-end broadcast mixing any situation. Such connectivity same high broadcast standards system in a 2U rackmount box, gives broadcasters access to are met. with the control surface in a Hydra2’s inherent management physically remote location. features, such as port Calrec’s new RP1 remote protection, alias files, and production engine is a 2U core “The RP1 core allows remote access rights. that contains integrated, sources to be patched to FPGA-based DSP, which studio-based consoles and enables a console surface at controlled as if they were another facility to control all physically located at the facility; mixing functionality. The RP1 it’s seamless! The RP1 core allows remote sources to be patched to studio-based consoles and core manages all the processing for IFB routing and “Remote broadcasting using controlled as if they were physcially located at the facility; it’s seamless! remote monitor mixes, and it the RP1 means fewer resources does so locally with no are needed on site. Controlling latency. This level of integration audio from a remote console and remote control makes it saves money on setup time, simple for any remote mix crew, logistics, and equipment. engineer to set up IFB mixes It is simple to set up and very and eradicates any delay for easy to use. It also enables remote listeners or presenters. broadcasters to cover a greater

38 39 Calrec Craft Profile: Paul Special (appeared in Mix Magazine July 2016)

USA. The show had a great run Plant Studios, then a few years In that time, what are the and was on for 7 years and I after that we were partners in a biggest shifts that have changed mixed all the guest bands every recording studio complex called the way you work, and affected week. This Way Productions in New the programming output? York’s SOHO district and when I got involved with Good I came to work for ABC, he was The biggest shift I’ve seen is the Morning America around 2000. already working there! move to digital. I used to have At that time, they did not have a an analogue API in my room, mix room for the live bands, so I’m still freelance and that leaves a wonderful sounding desk they would hire remote trucks to me open to pursue other stuff as but not bulletproof or flexible do the bands. I worked on the well. I still do a lot of enough for the ins and outs trucks for many of those concert DVDs. of daily broadcast. As with all performances. When they analogue boards you had to stay decided to install a live mix room I recorded the last live CD and on top of the switches, knobs, (Audio B) they asked me to get concert DVD for Motorhead, and buttons and components. Even involved as I was familiar with I also recorded and mixed the though I loved the sound of the the workflow for music live broadcast of LCD Sound desk it was not a good performances on a live to air System’s last show from platform for the rigours of every news show. Madison Square Garden. day broadcasting. Maintenance took more and more time and Currently we average about A big one for me was the DVD would sometimes get in the way three music performances per and CD of Jeff Beck’s Rock ‘N of our already tight schedule. week. The acts can vary wildly Roll Party, honouring Les Paul. from day to day. One day we This was seen on PBS. The Jeff That was when Robert (Agnello) may have on a rock band like Beck album was nominated for said they were putting a Paul Special is a Freelance I started at Record Plant Hall of Fame Opening Concert. U2, the next day will be the a GRAMMY in the “Best Rock dedicated broadcast desk in Broadcast Music Mixer who is Studios here in New York City I learned a lot, not only about cast of a Broadway musical like Album” category. The Foo Audio B and they were leaning regularly found mixing bands for where our main focus was rock live recording, but also about Jersey Boys and then the next Fighters won that year, but I’m towards the Calrec Artemis. ABC’s Good Morning America and pop records. I was involved TV production while working on day will be a pop act like Taylor okay losing to them! It was an Truth be told, I wanted a at Times Square Studios in New with recording the likes of those trucks. Swift. It really keeps me on my honour to nominated. Studer or a Lawo because I’d York. Aerosmith, Paul Simon, Joan toes bouncing from genre to used them on the trucks that Jett and The Blackhearts, and Over time I began to work on genre! I still occasionally do studio I work on. After seeing some The Smithereens to name a less studio records and more records mostly for up and Artemis demos my feelings were You mix high profile events like few. My journey into TV and live live concerts, and live TV shows Once I started working at GMA, coming artists Like Tom Nieman, mixed, although I was warming the New Year’s Eve show and production came about because where music was an integral I ran into Robert Agnello who is The Walking Tree and Robert to it, I thought. “Holy cow, this regularly mix for popular news/ Record Plant had two remote part of the show. Shows like Director of Technical Services at Hill, to name a few. thing can do everything - there’s entertainment shows like Good trucks, and I started doing a lot American Idol and X Factor were Times Square Studios. Robert nothing it can’t do!” Morning America. What career of work on those trucks for live gaining immense popularity. I and I have known each other But somehow I’ve always end- path did you take to end up records and specials like Live worked on a number of similar for over 30 years - our paths ed up coming back to the live where you are today? Aid, Farm Aid, Woodstock 94 shows, most notably was are constantly intertwining. We element in some sort of video/ & 99 and the Rock and Roll Nashville Star on NBC and worked together at Record TV aspect.

40 41 At the same time I thought, many different protocols and Tell us a bit about your audio processing for about 90% of In terms of console technology, The kind of IO we have hooked “Holy cow this thing can do sometimes it can be a daunting operation. What challenges do what I’m doing. I can recall that what can you do with today’s up to the Artemis is staggering. everything - it is a bit task to choose one protocol and you face when mixing a news/ show, patch everything in and consoles that would have been overwhelming!” commit. There’s a lot of players entertainment show? get working right away. One of impossible to do when you first I like the replay function on the in the field such as Rocknet and the things that I’m very started? Artemis – it’s a really easy way I realised I needed to listen to it Dante, and those platforms have The biggest challenge is the excited about is getting the for me to do a sound check and as well as push the buttons and real footholds. schedule - the 1am start is preset libraries on the next Today we can handle a huge then work on my mix; I typically understand the theory of rough! software upgrade. That would amount of IO. Right now my rig only get 1 or 2 passes of the operation. Coming from a Companies like Calrec are really step it up. has 96 mic pres, 64 channels song with the bands at recording background, sound stepping up their game and We deal with a lot of inputs. A of analogue IO, 96 channels of Soundcheck. So, many times is very important to me, so I realising it’s not just an audio typical act would be anywhere With analogue desks every knob mic splitters, 6 MADI boxes both I need to work on my mix a bit did some sonic evaluations of desk, it’s a router. That’s very between 32-48 inputs, the and button is reset by hand. with 128 in/outs and 96 during the time the soundcheck the EQs, compressors and the much in line with what you’ll find super-groups may have 70-80. Digital desks have instant recall channels of AES IO. That’s finishes and we go live to air. I sound of the desk itself. I in any broadcast facility, the idea We do a one-day wonder; we so we can blow through a line 100s of IO streams. I have a typically monitor the mic-pres on realised this was a board that I of being able to route signals walk in at 1am, set everything check really fast and be ahead 128 track Protools rig as well. input 1 while recording the mic could be very happy with. from any point to any other point up, sound check it, do the show, of the game that way. We’ve My previous analogue setup had pre output directly into Protools easily and efficiently is key. So tear everything out, and we’re got nuch more efficient having 48 mic-pres with no effects using the routing available on I was still a little overwhelmed far I’ve been really happy with done by 11am. When you’re that functionality. Also, hum and returns and that would have the Hydra2 network. Then I can with the breadth of the route-ability of my desk dealing with an act with 80 buzz issues have pretty much been the amount of tracks I use the replay function to switch customisability and the and I’m really looking forward inputs that’s a lot of work to get gone away since the Hydra mic could record on Protools. The to input 2 which will be the vastness of the IO; it’s a lot of to when our A room gets the done in a short amount of time. preamps live near the stage and biggest thing is that limitations output of Protools, again desk. Now that I’ve had it for a Apollo in it and we’re on one big get to the desk via fibre. on IO have virtually gone away. using the routing available on couple of years I can’t imagine Hydra2 network with full Usually we don’t have the studio the Hydra2 network. I can then how I would work otherwise. network control and more available to us the whole time, continue to manipulate my EQs, capabilities available to us. we have a specific window of compressors and effects sends, There is a lot of buzz around opportunity to do our sound and then easily go back to various networking protocols at The partnership with Calrec check. Generally speaking I’m monitoring my mic-pres when the moment including the and DiGiCo is really exciting constantly against the wall with I’m live on air. The replay Hydra2 solution Calrec offers. because over half of the music what time I get in, what time the function allows me to switch How important is audio acts coming in will specify a band’s gear shows up, what quickly and seamlessly between networking? What networking DiGiCo desk for monitors. Other time their crew shows up, my mic-pres and playback and elements are incorporated into manufacturers desks are tied to getting everything wired up, really dial my mix in so that I am your workflow? their input/output structure (48 faxed out and checked before happy and the bands are happy. x 24 or 96 x 24) whereas the getting the band on stage, It’s important as it’s definitely DiGiCo is more flexible with the working out their monitors and where we’re going. The more amount of IO you can have on getting them to actually play. on-board you can get with that the system, you could have a technology, the bigger shows desk that is 16 x 48 or 96 x 32 My workflow with the Artemis you can have with more input or 48 x 24 and many engineers enables me to set up a few and output capabilities. The prefer that flexibility as well as basic starting shows that biggest problem is there are the sound of the DiGiCo’s. cover most of my IO needs and

42 43 Words that you never hear dealing with the mic-pre and it I think sometimes if a company AoIP and audio networks based coming out of the video works out great. focusses mostly on broadcast, around routing capability over “Coming from a control room from your director functionality is sometimes mixer-surface capability is are “Oh my god, the host’s mic Another fabulous workflow for higher on the list than sonic definitely in the next 3-5 years, recording background, sound is very important is so loud, turn that down!” If us is that we have 96 of the quality and the reverse may be especially in the major networks. in the process of the downmix Hydra2 mic-pres in stage boxes, true for a company that focuses The idea of a centralised hub to me, so I did some sonic evaluations of the EQs, the host’s mic gets little louder and we also have the mic-split on the music environment; which all the IO, in the building compressors and the sound of the desk itself. I nobody is going to complain but option. This works out really well functionality goes out the comes into, and all those if the snare drum becomes four because not only do we have all window. Where I am now with resources shared by the realised this was a board that I could be very happy times louder in the stereo music the sources coming in for the the Artemis, I am able to different control rooms in the mix, you’ll hear about that! music mix, but they can also be realise both of those worlds - building - or even the wider with. Now that I’ve had it for a couple of years I can’t split out to go to a monitor desk, great sound and great network outside of the What is the most satisfying so the act can hear their functionality. building- is already happening.

imagine how I would work otherwise.” thing about using an Artemis to performance. One thing that is Paul Special take on these challenging jobs? exciting with DiGiCo and What do you think the future For Good Morning America, Are there any features you find Calrec’s pertnership is the idea holds for broadcast technology? ABC’s master control is on 66th especially useful? that both platforms will be able Will we see a noticeable shift to street, and the Good to sit on the Hydra2 network. centralised working via remote Morning America studio is on The whole aspect of Hydra2 That will save a lot of analogue production? 42nd street. The amount of Has the way you mix changed to stereo spread so if someone is being able to port from one copper infrastructure that we resources that are shared cater for an audience that now only hearing one channel it still interface to another and not go have right now. It will happen. We will be able to between them is huge; half of watches on mobile and hand- makes musical sense. through the board is great. A big do this from home, maybe not in the tape machine and playback held (tablet) devices? part of my workflow involves the In my opinion the Hydra2 mic- our lifetime but the devices and graphics are on Another thing is dealing with my music inputs and performance pres are as good as any mic-pre throughput with networks will 66th but are being streamed As a music mixer I usually send surround situation microphones coming through I’ve heard. They are super clear, mean you won’t physically have and put into the live-to-air show my mix to a production mixer regarding what I’m putting in my mic-pres, but I also send an very transparent and the to be in the space to be able to in Times Square. The whole who’ll then feather it into their different speakers. When you’re ISO to the production mixers as transient response is fantastic! do that production. The director show then goes back up to 66th mix. I still listen to what comes dealing with a production mix they need that performance Most people who come in to will be in one city and the audio street master control for the through the TV or device to hear you have all your dialogue microphone for an interview, the room say, “Oh, but isn’t that mixer in another. network feeds for satellite/cable how my mix translates to it. elements up the centre, music which will need to be gained a broadcast desk?” I tell them distribution. and FX to the left or right and and EQ’d differently. In the past I “Trust me it’s going to rock!” Good Morning America is a There are some changes I maybe the audience reaction in would have to take a port or good example of that. On any It’s not a stretch to say that in wouldn’t normally do in a the surrounds. In a music mix it’s direct out of a channel, go to At the end of the day, they all given day we’ll have anywhere the next 3-5 years the audio studio record mix. I’ll tend to difficult to put some things in the a DA and either line trim up or say, “It sounded great, it rocked, from 10-12 different remotes IO will be spread out, not just push the low frequencies more centre channel. It sounds great down depending on what they just like you said it would!” I from all over the world. While processing a signal locally and for a broadcast mix to get a nice in surround but when that folds need. Now I just take the mic have to say that Calrec have there’s still some delay, it will shipping it off, but having the sense of air moving as people down to stereo or mono it can pre and send it to my desk and really outdone themselves with only get faster and faster. Think central core in one location and tend to be listening on smaller change the balance. What may then take the mic-pre and send this design, so whatever it is that about where we were in 1975 to everyone pulling off from it. A lot speakers and this will give a little potentially work for a dialogue it to their desk and we’re both they did on the Artemis, keep now - flash forward another 40 of investment is happening now more edge to the punch factor. element might not for a snare happy. He can gain it how he doing it! years I don’t see that as being to make that happen at ABC Also I’ll minimise my drum! wants with a trim and I’m still an outlandish vision at all. and other places.

44 45 Calrec injects new zeal and vigour into 20-year partnership with TV New Zealand

For more than 50 years, have any support issues, and live-audience comedy shows Television New Zealand (TVNZ) they’ve done an outstanding job and variety shows featuring has served up an outstanding of meeting our technical and interviews, product array of programming to Kiwi budget needs.” demonstrations, and live music viewers — and for almost half of performances. that time, the national A government-owned national broadcaster has placed its trust broadcaster, TVNZ serves The Calrec consoles have in Calrec Audio. TVNZ has just viewers throughout New doubled the resources available installed its latest investment in Zealand and other Pacific to both studios, enabling TVNZ Calrec, a brand-new Artemis regions with daily news and to handle a line-up that would Light audio console and a current affairs programming as have required hiring additional Concord processor upgrade on well as a broad range of live and personnel or purchasing extra the network’s existing Artemis recorded entertainment shows. resources. Beam desk. TVNZ brought in the Artemis The upgrade to the increasingly “We’ve enjoyed a long and Beam for its news studio in popular Concord processor has successful partnership with 2014 as a replacement for the brought newfound flexibility and Calrec, going back to 1996 Calrec analogue consoles, power to the Calrec when we brought in two which had delivered almost two configuration, enabling TVNZ to analogue Calrec C2 consoles decades of reliable daily service. handle highly complex programs for our live television This was part of a strategic plan with ease. The network production studios,” said Paul to expand production produces an audience-based Hedges, general manager, capabilities with a new Artemis show that required stems and production services and Light console for a second clean mic splits to be facilities, at TVNZ. “When it studio. TVNZ installed the recorded to an external device. and yet at a moment’s notice the “Plus, from our many years of “We have worked hard for many came time to upgrade, we had Artemis Light earlier this year With Concord a complicated production can revert back to a experience with Calrec, we years to earn TVNZ’s trust, and no doubt the Artemis consoles for production of a wide variety patch can be set up, tested, and basic show mode. know we can count on absolute the new Artemis deployments would meet our needs. of lifestyle programs, including saved for recall week after week, reliability for critical there are just the latest “The Artemis Light is a perfect programming. Live news examples of how our technology “Calrec’s feature set, complement to our existing production forms a large part of can evolve to serve a roadmap for the future, and fit Artemis Beam console, the TV One schedule, and it’s customer’s ever-changing for our productions continue to bringing flexibility and agility to vital we have a robust needs,” said Anthony Harrison, be very compelling. Plus, we “From our many years of experience with Calrec, we our operation,” Hedges said. production audio console. international sales manager for really value the personal “We can change quickly and Another example is our Calrec. “We can’t wait to see relationships we have know we can count on absolute reliability for critical easily from one production to twice-weekly live lottery draw in what the next 20 years holds established over the years with another with zero downtime and the other studio. There’s always for our partnership with TVNZ.

the sales, marketing, and programming.” zero patching errors, and the a lot of scrutiny when people Whatever it is, we know it will be support at Calrec and their Paul Hedges ability to share resources have a chance to win big cash exciting.” distributor Synchrotech in between the studios and save prizes, and a failure on air would Australia. They have always output configurations is be a huge issue — but we have been quick to respond when we invaluable. complete confidence in Calrec.”

46 47 The Ultimate Broadcast Desk

48 49 Installations

Apollo at Fountain Studios, Apollo in a Game Creek remote London, UK. This console is unit in the USA, covering the US used to mix large Light Open Golf Tournament Entertainment shows like “X Factor” and “Britains Got Talent” “Calrec’s people are experts and is is the first ever Apollo to who not only helped us be installed and used in a live specify the system but joined us broadcast. in the field to help us set up the system to yield the best performance. That’s why Game Creek Video is a repeat customer.”

Pat Sullivan, President, Game Creek Video

50 51 Summa scores big with Russian hockey broadcasters

The opening of the dazzling VTB Calrec’s H2O software networking possibilities of Ice Palace in Moscow last year enables mic pre-amp gain to be Calrec’s Hydra2, they were gave ice hockey fans a lot to controlled by visiting OB units hooked.” cheer about. Now, the regardless of the audio console facility’s broadcast engineers in the truck. Italian OB service provider are joining in, with the Telerecord took advantage of installation of a single Calrec “Until now we’ve operated this simple connectivity when it Audio Hydra2 networking separate sound systems for provided broadcast feeds for the system linking two Calrec commentary, original venue IIHF Ice Hockey World Summa audio consoles. Hydra2 sound, public address, and Championship. Using the provides original venue sound other applications based on the Hydra2 access point, Telerecord and enables routing of all audio equipment of various vendors. was able to route audio from signals to outside broadcast But when we looked at the both ice hockey arenas to a (OB) vans covering VTB Ice requirements for the VTB Ice single centralised OB truck Palace events, including last Palace project, we realised that equipped with a Calrec Artemis month’s broadcast coverage of Calrec had the perfect solution console. This setup was more the 2016 International Ice for integrating all of these cost-effective because the I/O Hockey Federation (IIHF) Ice systems,” said Andrey Mazurov, and connections at the OB Hockey World Championship. projects department head, Live truck terminal did not need to be Sound Ltd. duplicated. The VTB Ice Palace is the world’s first multifunctional “Our customer was In addition, Calrec’s unique Ice sports complex to feature two originally looking for two Hockey Assist app for iPad® arenas under one roof. completely independent enabled audio engineers to mix Systems integrator Live Sound consoles and independent the game with a few touches. Ltd. installed two Summa 128 routing systems for each arena Ice Hockey Assist is an assistive of Calrec Serial Control audio consoles and a router — but once they saw the mixing tool that takes advantage Protocol to simplify the complex “Our customer was originally looking for two core in the new facility to ensure task of tracking on-rink audio professional, broadcast-quality during an ice hockey game. completley independent consoles and independent sound for all VTB Ice Palace routing systems for each arena - but once they saw broadcasts. “A temple for ice sports fans everywhere, the VTB Ice Palace the networking possibilities of Hydra2, More fundamentally, Calrec’s is a real masterpiece of design

Hydra2 audio networking and a showcase of the latest they were hooked.” system enables audio from one technologies for live sports Andrey Mazurov or both ice arenas to be routed broadcasts,” said Michael to a centralised OB truck Reddick, international sales and Live Sound was the ideal terminal, where MADI, manager at Calrec. “I can’t partner to take us there. We analogue, and digital ports think of a more exciting project look forward to working with provide a convenient access to mark Calrec’s entry into the Live Sound on plenty more point for visiting OB units. world of Russian ice hockey, high-profile projects in Russia.”

52 53 Brio has an early kick-off

Calrec Audio’s all-new Brio, the most powerful and compact digital broadcast audio console in its class, is now shipping — but not before making its broadcast debut a whole week “Brio fits perfectly into a medium-sized truck where before its official launch. Video space is at a premium, but at the same time it Europe needed an early delivery of the new console for its live delivers all of the functionality we need to handle coverage of the season-opening

match between English Football very complex programs.” League Championship clubs Pete Leutner Nottingham Forest and Burton Albion.

“We were absolutely bowled over by Brio. It’s a fantastic product; compact, yet very premieres, as well as features and options designed robust and intuitive,” said Video Championship football and to make integration Europe Sound Supervisor Pete Welsh Premier League rugby straightforward. Brio appears to Leutner. “Brio fits perfectly into matches. have the same qualities, making a medium-sized truck like OB5, it a great fit for future projects of where space is at a premium, “The Brio console was replacing this size.” stated. “Brio has the same logic Americas, Asia, and the Middle “Brio provides something unique but at the same time it delivers an older existing mixer so the as Calrec’s bigger Summa desk East — a reflection of its in its category — a mixing all of the functionality we need close coordination with Calrec, The Brio was pressed into so it has a familiar feel which comprehensive broadcast console completely focused on to handle very complex plus the early delivery of the unit service for the Nottingham allowed us to get into our feature set and appeal to a the needs of broadcasters and programs.” to WTS, was a huge benefit in Forest/Burton Albion match comfort zone quickly. Brio not wider breadth of broadcasters. broadcast infrastructures. allowing us to install and within a week of Video Europe’s only has the full functionality Video Europe, a film and integrate it seamlessly in time for receiving the desk, and with only we’ve come to expect from “As the market calls for more “Providing dedicated broadcast broadcast production company Video Europe’s job,” said Andy a few hours available for crew Calrec, but it’s extremely fast and more audio mixes to features at a very aggressive based in London, chose the Brio Morris, Systems Supervisor at training. Even so, according to and easy to configure for support online content, price point, Brio is the only for an audio console upgrade on WTS. “The initial configuration Leutner, the broadcast went off routing, EQ, dynamics, and all smaller consoles that possess application-specific alternative OB5, its eight-camera HD OB of the console was simple due without a hitch. of the other important sound pure live-broadcast features are for broadcasters who operate in truck. Built by broadcast sys- to the large touchscreen and functions we need.” increasingly desirable. Products this environment. And of course, tems integrator and intuitive and familiar user “We’ve all had the experience in this sector have traditionally Brio is backed by the same equipment supplier WTS, OB5 interface. of going into a new environment Since Brio’s debut at the 2016 had basic capabilities and are market-leading levels of quality has the smaller footprint and having to get up to speed NAB Show in April, Calrec has not ideally suited to broadcast and customer support for which required for central London “We have always found Calrec on equipment with little or no sold the ground-breaking new environments,” said Calrec Vice Calrec is renowned.” productions such as film products to be very reliable, with time for training,” Leutner console into Europe, the President of Sales Dave Letson.

54 55 Calrec’s all-new Brio expands with Br.IO

Calrec Audio’s all-new Brio, the most powerful and compact digital broadcast audio console in its class, now has a powerful new companion: Br.IO.

Having made its debut at IBC2016, Br.IO is a 4U rackmount box that doubles Brio’s on-board IO.

Br.IO is an easy and affordable way to expand Brio’s IO. Like other Calrec IO boxes, Br.IO offers both primary and secondary connections to a Hydra2 network for full redundancy. Users can connect either copper or fibre directly to “We understand the need for the Hydra2 port on the rear of expansion, so Br.IO now offers a the console via the quick, easy, and affordable way optional Hydra2 module. of doubling Brio’s IO. Simply Combined with an H2Hub, plug the Br.IO into the ports on which acts as a portable hub or We understand the the rear of the Brio for a fully switch point, multiple Br.IOs can redundant connection on an need for expansion, be added to deliver greater existing Hydra2 network, where flexibility quickly to support a the Br.IO will be instantly so Br.IO now offers a variety of live productions. detected by the console and quick, easy, and available to use straightaway. Br.IO mirrors the IO available on affordable way of the rear of the main Brio “Br.IO uses a Hydra2 Light console and provides an extra

connection, which provides a doubling Brio’s IO. 24 mic/line, 16 analogue out, redundant connection eight AES3 digital in, and eight Slogan created by: connectivity between Brio AES3 digital out. Name: Erica Basnicki consoles and the Br.IO rack.” Job title: Editor “Brio offers a good combination Company: 94dBA of IO on its surface so you can be up and running immediately,” said Dave Letson, Calrec’s vice president of sales.

210x150mm_Calrec_KitPlus.indd 1 25/04/2016 17:00

56 57 Calrec Craft Profile: Marco Pelloni (appeared in C&T Magazine May 2016)

me with dread, but Calrec have Embedded audio is a wonderful is where the Artemis and Apollo an excellent set-up in Australia thing but you need a very flexible excel. with Syncrotech. Talking to my matrix to handle all of the counterparts around the Asia potential signals, and whilst How do you use the console to Pacific region, they seem to be most professional desks can overcome some of the equally as happy with the achieve what you need, the challenges of modern live service they receive. logical lay out and colour broadcasting? matching of the surface controls When Fox Sports moved to its on the Artemis and Apollo desks At Fox Sports, apart from one purpose built facility in 2013 my makes the task so much easier or two exceptions, we tend to decision on which sound desks and much faster. have a single operator in the to install was a straight forward sound control room doing all the one and the Artemis console We regularly pass various feeds mixing. Even on a heavily sting was chosen. from one of our OBs to another or FX based audience show, we OB/network or customer. For tend not to have a “gram op” so What changes are you seeing example, clean FX or clean it is very much a one man band in the way TV sound is being commentary is generally done for the most part. captured, mixed and delivered to via the Artemis if the OB is Tell us a little about yourself and bunch of people, some of which morning significantly easier! I audiences? included as part of a studio I tend to mix most of our shows your career path to where you are still there. always look to the heavens and show. very “bright” as far as EQ is are now. thank the audio gods for that I find that sports television offers concerned which includes Within three years I was a senior famous Calrec head room when some of the more challenging This removes the need for our audience reaction and applause. I am the senior audio director sound supervisor at LWT a vocalist is belting it out! environments even when master control to send I think this is partly due to what (studios) at Fox Sports in working on current affairs and considering just the studio embedded audio on to I was used to hearing at ITV Sydney and I moved to Australia sport shows, and then L.E. and After ten years at GMTV I left for based part of a production. To somewhere else directly, but it and partly due to what I call the from the UK thirteen years ago. light drama. In 1992 I become Sydney and Fox Sports in 2003 a point, work flow or signal flow also means that the desk can “maximise and minimise” Head of Sound at GMTV which and I was pleased to find is very much the same thing end up doing so much more process. I started in local radio in 1976 was setting up operations in the Calrec consoles at Fox Sports. when it comes to sports shows. than just mixing a television where I worked for Radio same building (now The Fox Sports have never shied Outwardly there are a number of show, with a number of pre Fox Sports’ two main Victory in Portsmouth, UK, London Studios), and while I from acquiring the latest gear studio-based presenters filling fader signals being sent on to production studios are not before joining Southern Sound was still performing duties with and we soon took delivery of the gaps between OBs, and at various parts of the world. particularly large, and so a Radio in Brighton and then LBC The London Studios my main two Zeta consoles for our home it all appears seamless, studio audience is always going news radio in London. My aim function was to get GMTV’s dedicated sports news channel. which is how it should be. With a number of mission to be close to the presenters, was to get a job with one of the audio up and running. critical signals sitting on a “live which makes managing PA spill London television stations, and I I must confess that having been Inwardly however things get a desk” that might not be using a constant challenge. joined LWT as a dubbing mixer We inherited a desk when used to the comfort of being in little more complicated! One of some of those feeds or might be Maximising the audience three years later. LWT on GMTV started and Calrec London for so many years where the biggest shifts over the past using different signals from the participation without going over London’s Southbank was supplied a C2 console which Calrec HQ was just up the road, few years has been the increase same source at the same time the top, which instantly sounds certainly the place to be as far immediately improved work flow getting product support for a in signal paths to and from as someone else, a very clear nasty, and minimising or as training goes, and I worked and facilities. It made mixing live U.K. produced sound desk from studio centres and OBs. presentation of “what is going compensating for the highly with and learnt from a first class bands at seven o clock in the the other side of the world filled where and how” is vital and this reflective sets that modern

58 59 sports studios tend to have, What are the biggest shifts Are there any cultural differenc- involves some subtle gating and that have changed the way you es in the way you approach your the use of the auto mix function work? job since moving to Australia? on the desk. We see constant advances in The main difference I find in The auto mix function on the technology, but the big working in the U.K. compared to Artemis is very quick and changes are in how we use Australia is the amount of responsive without sounding existing systems. Remotely production. artificial, and a Cedar noise controlling outside broadcasts is reduction system across the starting to happen in Australia, The U.K. makes thousands of main microphone groups tends which effectively means the hours of just about every type of to do the trick. studio control room becomes programming and has very the outside broadcast truck. significant budgets to achieve Breaking it down further, the this, particularly in drama sets in the studios look great Going into detail about how production. but have hard reflective surfaces every individual feed gets back and large monitor walls that are to the studio centre is probably In Australia the focus is on reflective from a sound for another article but suffice to sports production, and Fox standpoint; they also house a say, we suddenly need a whole Sports has been the leader in great many cooling fans that lot more channels and routing this type of coverage for vary in speed and pitch flexibility. twenty years. The way we depending on how hard they are capture sound has not changed working. Working a studio control room a very great deal, although we like an OB truck means that have developed micing Even the furniture and desks patching often needs to be techniques in OBs and in the near the presenters tend to have changed, and that’s where the studio, coupled with faster and Modern desks have to be very a number of screens built into Artemis PC application and harder compression techniques efficient routing tools, and the the front, which all add to the interface proves its worth. when required. operator needs to be able to fan noise. interrogate the desk to find out When you have loads of The complexity of signal routing what is going where in a fast “I always look to the heavens and thank the audio Reducing the noise from set-up time you can afford to and the different requirements and easy to understand way. equipment fans and air dig around a screen to find out for those signals, like multiple gods for that famous Calrec head room when a conditioning is done by the what is what, but when you are destinations and uses for the This to me is one of the

Cedar DNS 8 across the mixing and patching on the fly same signal, mean that the deal-breaker selling points of the vocalist is belting it out!” presenter and audience you really appreciate a logical sound desk is not just a Artemis and Apollo, and to date Marco Pelloni microphone groups, and the and well thought out interface. controller of levels and simple I have not found another product reduction in noise levels is Freelancers who might not get a signal distribution (although that can show the whole picture dramatic. lot of time on the desk especially in truth it was never really that as effectively. appreciate the logical patching simple!) screen and layout on the PC UI.

60 61 Calrec gets top grades at Penn State’s WPSU

PBS affiliate WPSU at Penn educational institutions, which roles in production and allowing State University has gone live allowed us to bring it into our them to work side-by-side with with a brand-new Summa digital operation.” WPSU professionals in a live mixing console. The installation broadcast environment. is the realisation of several years Under license by Penn State of research and planning by University and based in “One great thing about the WPSU Facilities Manager Kerry University Park, Pennsylvania, Summa is that it gives us all Trout (pictured), and the WPSU is a PBS broadcast of the power and sound of the Summa is the latest link in station that has a relationship bigger consoles but in a WPSU’s ongoing drive to with the Penn State College of compact and modular footprint,” upgrade and modernise its Communications. WPSU Trout said. “Also, we know that broadcasting facility. broadcasts the full PBS the Calrec Summa will last at programming lineup and also least twice as long as any other “I became familiar with Calrec produces a rich array of console, with the outstanding products 15 years ago, and I’ve original programming for internet support we know we can expect always been impressed with distribution as well as to a wide from the Calrec team. the design, flexibility, and sheer terrestrial swath of central power of Calrec consoles. But Pennsylvania communities. “Plus, the Summa is extremely it’s their fantastic sound quality intuitive and easy to use, which that really puts them head and Through its partnership with will give students a powerful tool shoulders above anything else Penn State, WPSU also offers for learning signal flow, on the market,” Trout said. “It valuable hands-on experience processing, and audio design.” was a great day when Calrec for Penn State broadcast began working directly with students, giving them active WPSU went live in late May with “At Calrec Audio, a big part of “Like public TV stations the new Summa, which is linked our mission is to help foster and everywhere, WPSU is providing into the network’s five studio encourage future broadcast an outstanding lineup of original, “I’ve always been impressed with the design, flexibility, and sheer power of spaces and serves as the core professionals,” said Calrec local programming on a limited mixing console for the full live Sales Manager Helen Carr. budget. It’s precisely the type of Calrec consoles. But it’s their fantastic sound quality that really puts them head production lineup. With the start “Therefore, it’s an honour to environment for which we of the fall term in September, provide a Summa console for designed the Summa, a

and shoulders above anything else on the market.” students will have the WPSU, which is not only a compact and affordable Kerry Trout opportunity to learn the Summa. premiere PBS affiliate but also audio-mixing solution that packs a first-class training ground for all of the power of our larger Penn State broadcast students. desks.”

62 63 Installations

Apollo at Sky’s Harlequin HQ in Apollo at MBC in Seoul, South London, UK, which houses one Korea. This is one of 14 of the largest Hydra2 networks consoles sold to Korea’s in the world. All live National roadcaster MBC in Premiership soccer matches are Calrec’s biggest ever single driven through this console. sale.

“One of the design briefs of “The technical merit of the the Harlequin project was that consoles was the reason MBC any gallery would work with chose to buy mainly from any floor, and Calrec’s Hydra2 Calrec.” allows that flexibility.” Mr. Chang, President, Ingang Martin Black, Senior Sound Audio Supervisor, Sky TV

64 65 HD Protek accelerates audio workflow Summa upgrade

Turkish OB company HD Protek “The Summa makes it possible “We have enjoyed a productive has installed a Calrec Summa to configure the meters to relationship with HD Protek and audio console as part of an whatever we want; we can put are pleased that they are the upgrade to its HDP 04 outside every track output, aux output, first OB operator in Turkey to broadcast (OB) unit. main, or loudness meter on the use a Summa,” said screens, in any layout, in order Anthony Harrison, international “We have a busy and dynamic to follow the signal visually as it sales manager, Calrec production schedule, and the flows through the system.” Audio. “The Summa is a Summa saves our sound broadcast-grade console that is engineer a lot of time and HDP 04 was upgraded by well-suited to the space, weight, effort,” said Yucel Ozacar, systems integrator Teratek, and and power limitations of an OB general manager of HD Protek. its first live broadcast was “The van.” “The Summa is flexible, reliable, Voice Turkey.” Especially useful and easy to operate, and its to HD Protek is not having to powerful features streamline the identify I/O boxes before audio workflow. patching a signal on an empty fader. Using port lists, it is “Knowing that we can easily possible to group I/O ports track the signal and that the logically, a feature that console will work without accelerates the workflow. The question is a big comfort to us. flexibility of the Hydra2 matrix Also, the Summa adds a system and the simplicity of powerful new audio-mixing operation make it easy for the option to our fleet, so we can sound engineer to reconfigure handle more complex shows the console from one show to more easily. another, which happens daily with HD Protek’s full schedule and variety of events.

“The Summa is flexible, reliable, and easy to operate, and its powerful features

streamline the audio workflow.” Yucel Ozacar

66 67 Audiotonix appoints Group One Ltd as new Calrec Audio distributor in the U.S.

Calrec Audio announced the In recent years, Calrec has James Gordon, CEO, appointment of Group One as delivered the highest levels of Audiotonix, confirmed, “Having its distribution partner for the customer care and service in the worked with Jack for a number U.S. The partnership went into U.S. through the operations of of years, we saw that it made effect on 3 October. Calrec America. With the new perfect sense for Audiotonix to partnership, the entire Calrec partner with Group One. Jack This move will enable Calrec America team have been has always been a significant to expand its market breadth incorporated into Group One member of the DiGiCo team, but across the U.S. and continue to to provide for uninterrupted moving him to family status and maintain high levels of service continuity of sales, service, and having him now working with as business increases with an support to U.S. customers. Calrec is the ultimate benefit for expanded product portfolio. us and our clients.” Recently launched products “Over the last few years the include the Brio compact Calrec and DiGiCo sales teams Nigel Beaumont, Calrec’s broadcast console and RP1 have worked closely together in managing director, added, remote production engine. the U.S., collaborating to “Group One has an support customers that exemplary record over many The partnership with Group One benefit from solutions from both years of supporting customers, will not affect Calrec’s brands,” said Jack Kelly, both new and established, with Dave Letson, sales director, relationship with Studio president, Group One. “It seems effective and efficient solutions Calrec, also commented, “Jack Consultants Incorporated (SCI). a natural fit to formalize that to their challenges. The Group Kelly and his team have SCI has worked with Calrec for cooperation, and to look to how One team have grown through delivered continual sales growth many years and will continue we will continue to build our working with customers and and customer support for this “Jack has always been a significant member of the to provide dedicated sales and front-line team for Calrec and understanding their needs. They market over a number of years. DiGiCo team, but moving him to family status and support for East Coast DiGiCo sales and support in the can be relied on to be there With a dedicated national customers in conjunction with U.S. The new partnership with when they are needed, and support team and digital having him now working with Calrec Calrec and Group One. Audiotonix will allow us to build that’s always been the Calrec expertise in terms of both sales

on the business and offer even way too.” and service, they know this is the ultimate for us and our clients.” more benefit to our clients in market and are best placed to James Gordon the future. It does mean I have become our partner. We are to spend more time with those delighted to have them as part Brits!” of the team.”

68 69 JAA.S gets instant results with Brio at Malaysia’s Astro Awani

JAA Systems Sdn Bhd (JAA.S) JAA.S, Calrec’s distributor for “We were confident that David has sold the first-ever Calrec Malaysia, Indonesia, and and the team at JAA.S would Audio console into Malaysia just Singapore, provides sales and be successful in introducing one month after being appointed service including 24/7 phone Calrec technology to Malaysia, as Calrec’s exclusive support and other direct on-site Singapore, and Indonesia,” said distributor in the region. The support. Anthony Harrison, brand-new Brio console has international sales manager already been installed and gone “Calrec’s new Brio mixer is a for Calrec. “We’re extremely live at 24-hour news and compact and powerful mixer pleased with how quickly and information channel Astro that easily copes with more than convincingly JAA.S was able Awani for use on news and chat its price suggests,” said David to convey the value of Brio to shows. Chan, director at JAA.S. potential customers and move “Getting the first reference site forward with our first sale into “Although Brio occupies a small in a new territory can be a Malaysia. With JAA.S on hand to footprint and is easy on the challenge. provide local support, customers budget, it is still a true broadcast know they will also enjoy a high mixer with the comprehensive “With a broadcaster as quality service that matches their feature set we need,” said Rizal respected as Astro Awani console.” Ali, senior assistant Vice providing the benchmark, other president, technical broadcasters will gain operation-management at Astro awareness and confidence in Awani. “We had just six hours of the Calrec brand. I’m certain Picture: The Astro and JAA.S teams at work with the Brio console. From left: David Chan, director at downtime to switch from our old that further exposure to Brio and JAA.S; Azhar Latiff, technical director of JAA.S; Thevadas, engineer of Astro Awani; and Mohd Helmy mixer to the Brio console. With other Calrec consoles will drive Ibrahim, assistant vice president of Astro Awani the help of JAA.S, we were able rapid and meaningful growth to integrate the new throughout our territory.” console into our facility and bring it online very quickly.”

“Although Brio occupies a small footprint and is easy on the budget, it is still a true broadcast mixer with

the comprehensive feature set we need.” Rizal Ali

70 71 Summa packs a mighty punch in a small package for Jones Mobile Television

Arkansas-based Jones Mobile “With its 5.1 capabilities, the Delivering a heavyweight punch Television has taken a giant Summa has opened up a new in a middleweight compact leap from analogue stereo to world of business for our frame, Summa offers a smaller 5.1 surround production by company; in fact, a client surface and an intuitive GUI with replacing its original desk with a looking to do 5.1 shows a short learning curve. The brand-new Summa digital mixing contracted us knowing that we Summa’s Hydra2 router core console. The upgrade is part of would be installing the Summa provides the same integral a major refit for Jones Mobile in the early summer. It’s just the router capabilities as Calrec’s Television’s VisionHD trailer. first example of how we’re now Apollo and Artemis. in the running for a much “When our engineers first broader range of productions.” Chris Duty, engineer-in-charge laid eyes on the Summa, they at Jones Mobile Television, couldn’t believe such a compact VisionHD is a 51-foot commented: “The Calrec desk could be robust enough expando trailer used to produce Summa works beautifully and to support a high-powered live and broadcast a wide range of gives us many more capabilities HD production. But one show national sports, corporate, and than we had previously. The was all it took to win them over,” entertainment events. The Hydra2 router allows us to said Bob Derryberry, co-owner, Summa console was first used interface directly with digital Jones Mobile Television. “Space for coverage of the Copa devices on the truck, and we was always going to be an issue America soccer semifinal and can use our core video router in VisionHD, but Calrec has quarterfinal matches in Houston. side by side with the Summa for given us the perfect solution even greater power and more with the Summa, a smaller-foot- I/O. We’re able to provide much “It’s easy to see why Calrec is The Summa supports 128 “Summa is the ideal choice print desk that offers huge more complex configurations of known as the gold standard for channels with full redundancy, for regional broadcasters and power and functionality. the truck’s equipment, which we audio mixing in TV production and Calrec’s exclusive Bluefin2 OB providers in this sector of can now change per show. The trucks and studios. The beauty FPGA technology, designed at the truck market,” said Richard console’s analogue and digital of the Summa is that it can the outset for surround Phillips, regional sales manager, interfaces, in particular MADI, handle productions of virtually operation, gives Jones Mobile Calrec Audio. “Jones Mobile is a have made it a lot easier to take every complexity, in an comprehensive 5.1 mixing great example of a leading-edge “The beauty of the Summa is that it can handle advantage of all of Calrec’s impressively small form factor.” capabilities. provider in this space that is industrial-strength routing taking its business to the next productions of virtually every complexity, in an functionality. level with Calrec.”

impressively small form factor.” Chris Duty

72 73 Training tutorials launch Brio users France’s DV2 is latest Calrec distributor for Brio off the starting blocks

Calrec has launched a series of “These videos address the need “Brio has proved immensely Calrec Audio has appointed managing director, DV2. “Many consoles and spare parts to tutorial videos to demonstrate to provide widespread training popular because of its DV2 as its partner to of our clients are looking for a support French customers. just how easy the all-new Brio to new and prospective compact size, power, simplicity, distribute the all-new Brio compact and affordable Since launching Brio to great console is to use, and to help customers and distributors and affordable price, as well as console throughout France. broadcast audio console that’s acclaim at the 2016 NAB Show, Brio owners get up to speed alike.” its dedicated set of broadcast DV2 will initially focus on fully featured, powerful, and Calrec has sold the console to quickly. features,” continued Letson. “No selling Brio into specific purpose-built. Brio ticks all customers in the Middle East, Each bite-sized tutorial can be other console in this price range markets, such as regional TV these boxes and allows us to Europe, the Americas, and Asia. At under two minutes each, the easily accessed on a range of can do what Brio is capable of channels, local production give a strong technical response Brio is powerful and compact films are designed to teach platforms. This allows users to doing. You only have to watch companies, and broadcasters to our existing client base as digital broadcast audio console users how to perform watch them on the fly, such as the videos to see exactly what I with small satellite well as develop a new universe for its class, with a fundamental operational tasks on their phone whilst sitting at mean!” newsgathering (SNG) of broadcast clients.” comprehensive broadcast — for example, “Assigning Audio the console. The videos can be operations. This approach will feature set that appeals to Paths to Faders” and accessed here, or on the then be further expanded to Brio represents one of the first broadcast operations of all sizes “Connecting Inputs and company’s YouTube channel reach all French broadcast entries into the broadcast and complexity. Outputs.” playlist. customers. In addition to arena for DV2, well-known for its marketing and selling Brio, DV2 expertise in the live event “DV2 is an outstanding partner “Brio was launched to great will provide local support for production marketplace. to help us build Brio sales and acclaim at the NAB Show all other existing Calrec Audio Through the partnership DV2 expand our presence in key earlier this year, and we have “No other console in this price range can do what installations in the country. will offer support for Brio and segments of the French already sold many units across other Calrec products through marketplace,” said Florent the globe,” said Dave Letson, Brio is capable of doing. You only have to watch the “We’re very excited about our a team of engineers qualified Chaouby, international sales Calrec’s vice president of sales. new partnership with Calrec, and trained on the solutions that manager, Calrec Audio. “DV2 is

videos to see exactly what I mean!” “Brio’s target audience is wider which will give us access to a Calrec provides. DV2 will also a proven successful Dave Letson than that of our larger products broad new market of conduct local training events representative of our sister and spans broader markets. professional broadcast throughout the territory and will company, DiGiCo, for live-event operations,” said Guy Vignet, maintain a local inventory of Brio production, and this partnership helps position them to attract broadcast customers looking for the compact power and price point that Brio uniquely “Many of our clients are looking for a compact and provides.” affordable broadcast audio console that’s fully featured, powerful, and purpose built.

Brio ticks all these boxes.” Guy Vignet

74 75 Calrec Craft Profile: Hugh Healy (appeared in Pro Sound News July 2016)

the support of a large engineers our remit goes way multiple 192 track MADI organisation like NEP. This is beyond that. We are workstations for recording and how Denali, the entertainment heavily invested in the people, playback along with AES division of NEP, was formed. the production and the progress multitracks, and we have the of each show; we are involved ability to QC any MADI path Do entertainment clients have with everyone from the talent to without interrupting the signal. different requirements? the production staff. Finally, many of our clients still They have very specific needs, It’s cultural. Our clients expect want analogue outboard and it’s very important to to be looked after and it’s our equipment, things like tube understand those needs. There job to make sure they feel that compressors on a music show, is a huge crossover between they are. which we insert into the entertainment and sports in both console, and we’ve recently expertise, equipment and On the facilities side, there is started integrating plug-in communications, but an enormous amount of overlap servers too. entertainment clients need to with sports, but it’s all the feel that their requirements peripheral equipment which There are some extremely good are recognised and are being makes the difference. For sports engineers, but there is a fulfilled. Having a specialised example, the audio room is culture and a method which we entertainment division helps us substantially bigger than in a adhere to in entertainment. Our to do this; everyone at Denali typical sports truck – we have clients are really not concerned is focused on what our clients dual-trailer truck systems and with the engineer’s issues; their expect to see. we have single trailer trucks. In a expectations are very specific single 53’ trailer the audio room and we pride ourselves on being So how does the service differ will typically have a room around able to provide this service. between sports and 14’ x 12’, a dual-trailer system entertainment? has an audio room around 17’ x Also, all our trucks have a bagel 15’. People are packed in there; cart, which is located inside the Like most people who work in So what happened after they were bought by Unitel, and Let’s start with the people: of there’s an audio engineer, mixer, door with lots of snacks. That’s audio for TV, NEP’s Hugh Healy Disneyland? when Unitel went bankrupt in course we only want the best an audio playback person and cultural too. You won’t find that began with music. With a 2000 a small group of us engineers and we’ve stolen a often an audience in most sports trucks! background mixing some of There was something about engineers and sales folk set up bunch of guys from NEP who “sweetener” to enhance the “the worst garage bands on the the get in/get out mentality of Denali with the existing kit and we’ve liked, but these guys also audience mix. These rooms are Which features on the Calrec planet”, he realised that he had a television broadcast audio that client list. We made the have to have certain treated acoustically and we consoles do you find useful in talent for both mixing and appealed to me, plus the transition and NEP came in with personality traits. We can’t turn remove all the noisy equipment the field? engineering – and he found he engineering input was extensive us so we were suddenly part up at a broadcast and just do such as the audio router and the enjoyed them both! He became – a lot to learn, and I do enjoy a of a very strong group which the job, we have to be involved comms tray. The audio room is There are so many things! Head of Sound at Disneyland in challenge! I joined Green Crowe worked really well - our – one of our engineers referred more like a recording studio. Firstly, the number of inputs. For Anaheim, LA, and it was here and Company, who were then entertainment clients were very to the job as being a example, we do a show called where he started mixing for the premier entertainment video happy because nothing had “Production Engineer” in the Then there is the multitrack Capital Concerts with a live television. truck company. Some years later changed for them, and we had sense that although we are all infrastructure. We support orchestra, choirs, guest bands,

76 77 satellite stages, plus production us get up and running quickly. fidelity because that is a elements, with over 300 live mic subjective statement, and inputs which have to be working Remix capabilities are very therefore it’s not debatable. simultaneously. The show is important to us, we multitrack so similar to the way the BBC’s much, at some point we have to How quickly are you expected “Later…with Jools Holland” remix it. On the Alpha to be up and running? What is a works, swapping from band to consoles we used the Remix typical set up time? band, but often several bands Input Switching a lot, and were will all jam together so there are disappointed when the Apollo For large shows we may get a over 300 inputs that are hot – was launched without it, so it week but we start rehearsals memory recalls won’t work here was good that Calrec listened very early. For example, for the so the desk needs a huge and added it back in on later Teen Choice Awards we’ll start number of inputs and the software versions. setting up in the morning and capacity to control them all. we will be on camera in the And sound quality is paramount. afternoon. On bigger music Multitracks are important, so the The first Calrec I used was the shows we will triage to get more busses the better, plus Q2 series, and they were the things done, but if you are under having a lot of Direct Outs. best sounding desks I had ever those time constraints and also Recall capability has to be used. The Alpha consoles were have to rehearse a band with instant – we have other desks clean and tested well, but they 60 inputs, you need people on which have slower recall so sounded utilitarian. We used top of their game – not only that, you have to be careful when them because they were by far but people who are calm under you do it, but the Calrec’s are the most flexible. pressure. near instant. Things like multiple dynamics sections, significant When we installed our first In the real world, stuff is going to routing capabilities, and Apollo seven years ago the break, although today it is less Automix! Automix make our lives feedback from every single mixer about things breaking and is much easier especially when who came through was that the often more about IP protocols you have a lot of open lavalier desk was every bit as good as not talking to one another. they are being screamed at! and it has consequently raised avsforum.com on a browser, and mics – these things the Q2. As an engineer I hate People have a tendency to panic Competence is an underrated the bar of the minimum standard if they are talking about the simplify everything and keep all using this kind of phrase, but and often these things take virtue which is absolutely of audio – it is no longer fashions then we are doing a our patching down. they are more musical, and they time to resolve. On a big job, essential in this job. acceptable for Producers to decent job! But if they’re talking still have that same functionality. an hour’s delay is hundreds of allow the broadcast of mediocre about the lousy audio then we Fibre is very important to us, and I’ve had half a dozen Golden thousands of overtime dollars Do you think that TV viewers’ audio, and anything that doesn’t need to look at what we are it integrates so well into the Ears guys in front of the desk, that has to be accounted for. audio expectations have sound good is chastised. doing, and quite often that will Calrec. There is no translation and they agree – and that’s increased over the last few be an issue downstream of us. layer, no separate application, really important to us because The guys who do well in this years? I ensure there are checks in you control it directly from the our clients can be very particular business are the guys who can place throughout the broadcast. I also have a team of engineers desk. The channel counts are about sound quality. We simply calmly deal with situations and Or course. Viewers have gone For example, on a high-profile around the country listening to so high and the set up times get cannot have their mixers picking either fix it before the client from a three inch speaker to awards show I will monitor the the audio as it goes out. A good smaller and smaller; this helps up on a perceived lack of notices, or remain calm while multi-channel sound systems high-end audio forums like example of this: I had a guy in

78 79 Nantucket listening to an awards and AES receiver chips don’t all roll-off that starts at about 2kHz, deserve. Because if it is projects give me pleasure in the broadcast we were mixing. clock identically, which means and by the time you get down to happening in Nantucket, it’s audio world, and my television Nantucket’s broadcast that you can feed the same 20kHz it’s down almost happening in other places. work is an extension of that. I infrastructure is old, and he signal to two AES inputs on a completely. So you have a These are the things that our enjoy the challenge of the texted me to say that the audio processing device and one may severe high end roll off with a people deal with which make engineering and finding new at the podium sounded dull. be one sample out compared to one sample delay between AES clients want us there. ways to do the job better. Well, it sounded good to me, the other. If you have something inputs. Once I realised this, we but I was watching the mix and across those multiple channels tightened up the dialogue So what does a Senior Audio What do you see as the biggest “(The Apollos) are more the mixer was diverging the and your TV or set top box is divergence so it was 12db Engineer do? Is it similar to an change to the way programmes dialogue between the centre doing the downmix, it creates down on the left and right, and Audio Guarantee Engineer? are mixed in the next five years? musical. I’ve had half a and the left and right. a comb filter, but at only one this fixed it. dozen Golden Ears guys sample it doesn’t sound like a We test everything – we’ve Obviously shows will continue to I remembered that a lot of these comb filter. This is what you have to care already checked the signal get larger, they never get in front of the desk, and old 5.1 distribution systems are about so that the client feels like paths with the networks, and smaller! I think we will find we using AES devices in their plant, What you’ve actually got is a HF they are getting the service they so once the transmission starts are doing a lot of multi stream they agree – and that’s I am listening to the network stuff, multiple mixes to really important to us return, to a downmix and the different outlets, and a lot of individual legs, I am watching Object Based Audio and because our clients what the mixer is doing so I can everything that entails. People dive in and help if there is an don’t really know what do to can be very particular issue, and I’m listening to with that, but the classic about sound quality. Production to ensure they are in example I always cite is that if the loop. I’m listening and my mother had a button on her We simply cannot have monitoring everything to try and remote which made the dialogue anticipate any potential louder, she would be really their mixers picking up problems. happy with that! Once people on a perceived lack of figure out what to do with I consider myself very fortunate Object Based Audio it will be a fidelity because that is to do this job; it encompasses significant technology. so much stuff and I get a lot of a subjective statement, satisfaction from knowing that I think we will be sending a lot and therefore it’s not the job is done right. more stuff over the internet, and

both AoIP and VoIP will be huge

debatable.” I am a part time hardware and not because they need to designer, I have designed be but because that’s the way Hugh Healy boutique mic pre amps for the industry is going. And lots various companies, I program more remote production with the firmware, I have a recording mixer sitting in a remote studio, studio in my house, and I love to which is already happening in work with musicians on sports. various projects. All these

80 81 Calrec signs BSS to distribute Brio in UAE, Noretron Broadcast to distribute full line of Bahrain, and Oman Calrec Audio consoles in Finland and Estonia

Calrec has formed a new “Throughout our region, there’s wider breadth of the market. Calrec Audio has signed Noretron Broadcast has a 25- “Noretron Broadcast provides partnership with Broadcast and strong market demand for a Calrec Audio’s all-new Br.IO, Noretron Broadcast as its year track record of providing the perfect blend of technology Studio Solutions (BSS) to be its well-priced compact mixing launched at IBC2016, provides exclusive distributor in Finland sales, systems integration, and expertise and knowledge of the exclusive distributor for Brio in console completely focused on an easy and affordable way to and Estonia for the full Calrec service to broadcasters and local market, including its the United Arab Emirates, the needs of broadcasters. Brio expand Brio’s I/O, product line, including the all- media organisations. customers’ unique Bahrain, and Oman. Since its is the most powerful and offering both primary and new Brio — the most powerful requirements,” said Mike debut at the 2016 NAB Show compact digital audio console secondary connections for full and compact digital broadcast From its headquarters near Reddick, international sales this year, Calrec’s Brio has on the market today,” said Tareq redundancy. audio console in its class. Helsinki, the distributor will manager, Calrec Audio. made waves as the most Eid, CEO, BSS. represent Calrec’s solutions to powerful and compact digital “BSS is the ideal partner to help “The Calrec Audio brand is truly broadcasters, live production “Noretron is the perfect broadcast audio console in its “We’re honoured to be us expand the Brio footprint in the gold standard in digital au- operations, and related company to help us expand our class. associated with a company as the Middle East,” said Calrec dio consoles, and Calrec is a organisations in both Finland presence in Finland and Estonia, well-respected as Calrec, and International Sales Manager powerful addition to our and Estonia, and will also and the new partnership gives BSS will represent Brio, we’re certain that Brio and Br.IO Anthony Harrison. portfolio,” said Timo Vilmi, provide local support and us peace of mind that our together with Calrec’s will make a huge impact in the owner, Noretron Broadcast. after-sale service. customers there will have a local companion Br.IO solution, region.” “BSS has an excellent “We’re particularly excited about and knowledgeable source for exclusively across all three reputation for offering premier Brio, which will help reach new our solutions.” territories. BSS will also deliver Since Brio’s launch at the 2016 products and services. Their customers that need a well- local support and after-sale NAB Show in April, Calrec has extensive network of regional priced, compact mixing console service to Brio customers sold the console to customers contacts, together with their completely designed around the through its network of in the Middle East, Europe, the flagship showroom in Dubai, needs of broadcasters.” regional offices spanning the Americas, and Asia — a means that a Brio is always Middle East. reflection of its readily available and comprehensive broadcast supported in the region.” feature set and appeal to a

“Throughout our region, there’s strong market demand for a well-priced compact “The Calrec Audio brand is truly the gold standard in digital audio consoles, and

mixing console completely focused on the needs of broadcasters.” Calrec is a powerful addition to our portfolio.”

cTareq Eid Timo Vilmi

82 83 Romania’s ProTV upgrades further with Calrec’s Artemis Beam

Signalling Calrec Audio’s Based in Bucharest, the Pro TV growing momentum in the operation relies on Romanian television numerous previous-generation marketplace, Pro TV has Calrec Audio consoles. The upgraded its extensive Calrec 340-channel Artemis Beam installation with a brand-new replaces a 10-year-old Calrec “For years now, Calrec Artemis Beam audio console. Sigma console that had been in use in the main studio and will has been one of our Pro TV is one of Romania’s most now be reassigned for auxiliary trusted partners. popular private TV channels, studio use. reaching around 99 percent of We know we can count the country’s viewing population “We are pleased to be with a broad array of news and extending our ongoing on the reliability, ease entertainment programming. The partnership with Pro TV, one of of use and high-quality broadcaster’s Pro TV News not Romania’s most-watched and only received an International highly respected broadcasters,” sound output of Calrec Emmy Award in 2008 but is said Michael Reddick,

also considered to be one of International Sales Manager, audio desks.” the most popular newscasts in Calrec Audio. “The fact that Octavian Diac Romania. Pro TV is willing to re-deploy its 10-year-old Sigma rather than “For years now, Calrec has been retire it speaks volumes about one of our trusted the reliability and high quality of partners. We know we can our consoles.” count on the reliability, ease of use and high-quality sound Calrec also counts RDS/RCS, output of Calrec audio desks,” Digisport, and Romanian said Octavian Diac, Studios National Television among its Coordinator, Pro TV. “The new growing installed base in Artemis Beam audio consoles Romania. are allowing us to achieve new levels of routing and processing capacity for the locally produced shows, which represent almost half of our programming lineup.”

84 85 Cable TV Hong Kong expands Calrec Audio console portfolio for entire studio operation

Cable TV Hong Kong, a division audio specialist, and Calrec’s evaluation and testing, they Cable TV offers subscribers a of iCable Communications Ltd. regional distributor, has handled chose the Artemis because it broad schedule of news, sports, and Hong Kong’s largest system installation and testing offers the reliability and usability and entertainment provider of cable television for Cable TV’s entire Calrec they require to achieve that goal. programming through more than services, has gone live with deployment. The Cable TV team also reports 100 channels, 54 of which offer another Calrec Audio that, of the audio networks the network’s own Artemis digital audio console. “As Hong Kong’s most-watched they’ve worked with, the locally produced shows. The 40-fader Artemis is installed pay-TV service, Cable TV is Hydra2 network is by far the Cable TV installed its first in Cable TV’s News Studio 3 committed to building one of the most powerful, flexible, and Calrec console, a 40-fader and is the fifth Artemis in the world’s most advanced facilities easiest to expand after initial Artemis for sports programming, network’s audio desk lineup. for covering sports, installation.” in June 2012. In addition to entertainment, and news,” said the latest installation for News Jolly Pro Audio, a Hong Kong- Andy Leung, executive director, Studio 3, Cable TV has also based systems integrator, pro Jolly Pro Audio. “After rigorous deployed a 48-fader Artemis in its main news studio, ST1, and 40-fader Artemis consoles in both its ST2 (news) and ST9 (entertainment) studios. “We are honoured that Cable Central to the Cable TV Hydra2 TV has become such a loyal network is a 16-port Calrec customer, and the faith they router core. Hydra2 provides have placed in Calrec for their extensive control of, and access entire studio operation is a great “After rigorous to, all of Cable TV’s networked testament to the excellence of audio resources. A Waves our consoles and networking evaluation and testing, Sound Grid interface module solutions,” said Anthony they chose the Artemis provides a direct connection Harrison, international sales between Hydra 2 and Cable manager, Calrec Audio. “We because it offers the TV’s Waves Sound Grid look forward to supporting them network, giving the audio mixers far into the future. reliability and usability full control over Waves software they require to achieve applications from the integrated “Thanks to customers like Cable TV and the outstanding support touch display on the Artemis

their goal.” surface. we’ve received from Jolly Pro Andy Leung Audio, Calrec is now the premier provider of audio consoles to the Hong Kong broadcast market.”

86 87 Sample Broadcasts 2016

UK Australia Croatia Russia

Sky Cricket Let it Shine NHL Hockey After 20 Years The Reflection (“Otrazhenie”) BT Sport Champions League The World Cup Home Shopping Network What’s Happening Doctor The Truth (“Prav?Da!”) Aviva Premiership Rugby The European Championship CBS 4 News The Footy Fix Gossip Real Things (Za Delo) Wimbledon Question of Sport WTVT News The Project La Maruta The Russian Parlament Election The Open Golf Room 101 FIFA Soccer Have You been Paying Attention 2016 debates show Ryder Cup The Chase Boxing International Moto GP The Big Country Match of the Day Alan Carr Chatty Man CMT Awards Studio 10 morning show Eastern Europe Calendar Final Score This Morning CMA Music Awards The Living Room BBC Olympics The Big Fat Quiz Mega TV RPM Ukraine March of Kazakhstan Soccer AM The Cube WWL News The Loop Independence/President’s Love Island Would I Lie to You Louisiana Public Broadcast Formula 1 speech (Ukraine) Astana Piano Passion Big Brother A League of their Own WPBT - PBS Rugby Union Evening with Ivan Ivanovic Evening with Alexander Zatsepin Good Morning Britain Still Open all Hours Ten Eyewitness News (Serbia) Annual president’s letter to the Graham Norton Show Citizen Khan Best Bits Australia people of Kazakhstan QI Insight Eurasian Media Forum Have I Got News For You Japan English Premier League France VII Astana Economic Forum Duck Quacks Don’t Echo A-League UEFA Europa League Soccer Countdown USA Japan Grand Sumo UCL Le Mans 24h UEFA Champions League 8 out of 10 Cats does Nippon Professional Baseball Game day French National Day - 14th July Soccer Countdown The Voice (NPB) Talking Footy UEFA Euro 2016 in 4K Army International Games 2016 Blue Peter American Idol All Japan Judo Championship Get On Téléthon Ceremony of inauguration of the Jeremy Kyle NBC News Los Angeles Tokyo Marathon That’s Racing Remembrance Day - 11th Nov President of the Republic of Judge Rinder CBS News Los Angeles J-League Soccer NYE Fireworks La France a un Incroyable Talent Kazakhstan Nursultan Justin’s House The Superbowl NHK Symphony Orchestra Saturday Arvo horse racing Jean-Michel Jarre concert Nazarbayev Furchester Hotel The Grammys Davis Cup Tennis Vendée Globe departure Military Parade Devoted to the Sports Personality of the Year Lets Make a Deal Federation Cup Tennis Qatar Prix de l’Arc de Triomphe Defender of the Fatherland Day The Voice Dancing with the Stars Wimbledon Tennis and the 70 anniversary of the Channel 4 News NFL Football Australian Open Tennis New Zealand Victory in the Great Patriotic Newsnight Major League Baseball Today Show War Hard Talk CBS News San Francisco Morning Show (Today Extra) News: Seven Sharp, Breakfast, V Congress of Leaders of World Formula E Pac 12 Sports Sports Sunday Q+A and Traditional Religions Touring Cars Super Bowl Musical Specials NBA Basketball Playoffs 20/20 UFC Tagata Pasifika Telethons WWE College Football College Basketball Marae Ant and Dec’s Saturday Night Sunday Take Away Nascar Racing NBA Basketball Lotto Loose Women Cafe (For TV3) Lorraine PGA Tour Golf Auto Racing Media Take The National Lottery Best Bits New Zealand 5 Star family reunion (BBC)

88 89 Apollo Artemis

Surface • 3 x independent user sections with Networking Surface • 3 x independent user sections with Networking • 100mm faders with mechanical PFL independent monitoring • Integral 8192² router • 100mm faders with mechanical PFL independent monitoring • Integral 8192² router (4096² on overpress • All channels and groups have 6-band • 16/32 Router ports overpress • EQ 1-4 have 4-band parametric, EQ Artemis Light) • 12 A/B Layers, providing 24 possible parametric EQ • All I/O provided over Hydra2 network • 12 A/B Layers, providing 24 possible 5-6 have 2-band parametric EQ • All I/O provided over Hydra2 network assignments for each fader or control • All channels, groups and mains have full via a comprehensive range of Hydra2 assignments for each fader or control • All channels, groups and mains have full via a comprehensive range of Hydra2 • Colour-changing rotary knobs to EQ and dynamics at all times I/O boxes • Colour-changing rotary knobs to EQ and dynamics at all times I/O boxes indicate function • Side Chain EQ/Filters • Cat5e or fibre connectivity indicate function • Side Chain EQ/Filters • Cat5e or fibre connectivity • Touch screens controlling i/o, • 256 x Inserts • Touch screens controlling i/o, • Up to 256 x Inserts monitoring and routing • Up to 2.73s per Output from a pool of Resilience monitoring and routing • Up to 2.73s per Output from a pool of Resilience 256 channels 256 channels Processing • Up to 2.73s per Input from a pool of • Highly resilient – all modules are hot- Processing • Up to 2.73s per Input from a pool of • Highly resilient – all modules are hot- 256 channels pluggable with automatic redundant 256 channels pluggable with automatic redundant • 1020 channel processing paths • All paths have 2.73s delay in addition to PSU, DSP, Control processor, Router • Up to 680 channel processing paths • All paths have 2.73s delay in addition to PSU, DSP, Control processor, Router • Up to 16 x stereo or 5.1 surround main in and out delay module, I/O Expansion module • Up to 16 x stereo or 5.1 surround main in and out delay module, I/O Expansion module outputs* • 12 fader layers, each with its own A and • Independent DSP operation ensures outputs* • 12 fader layers, each with its own A and • Independent DSP operation ensures • Up to 48 x mono, stereo or 5.1 B paths audio continuity in the event of a PC or • Up to 48 x mono, stereo or 5.1 B paths audio continuity in the event of a PC or surround audio groups* • 8 x AutoMixers, each controlling an control reset surround audio groups* • 8 x AutoMixers, each controlling an control reset • 96 x multi-track Buses for IFB or unlimited number of paths • Low power consumption and heat • Up to 64 x multi-track Buses for IFB or unlimited number of paths • Low power consumption and heat recording • Advanced AutoFader (AFV) generation recording • Advanced AutoFader (AFV) generation • 4 x track sends per path functionality on all faders • 4 x track sends per path functionality on all faders • 48 x auxiliary Buses • Up to 32 x auxiliary Buses • Up to 4 x Direct Outputs/Mix Minus * from a Mains/Group pool of 128 re- • Up to 4 x Direct Outputs/Mix Minus from a Mains/Group pool of 128 re- sources * sends per path sends per path sources • Direct outputs can be pre-EQ, pre-fader • Direct outputs can be pre-EQ, pre-fader or post-fader or post-fader

90 91 Summa Brio

Surface • 4 band full PEQ • Configurable meter screen output (DVI) • 36 x dual layer faders - 100mm, • 2 band LF/HF filters, 12 or 24dB/ • Loudness meters motorised, with PFL overpress octave • 1 x assignable user rotary control per Multiple Sample Rates Surface • 152 x External Monitor and Meter • * from a pool of 188 mono resources strip Dynamics • Functions at 44.1, 48, 88.2 and 96kHz Inputs shared between direct outputs and • 2 x assignable user buttons per strip • Every Input Channel and Group path: • All DSP facilities are available at all • 100mm faders with PFL overpress • 4 x AutoMixers, each controlling an • mix minus outputs. • 12 x assignable global user buttons • Expander/Gate/Ducker, with key input sample rates • Six surface layers unlimited number of paths Networking • Compact 892mm x 892mm control and sidechain EQ • Built-in Talkback Microphone • Unlimited VCA groups surface • Compressor with key input and Remote/Automated Control • Stereo Headphone Output • 6-band parametric EQ on every • Integral 4096x4096 router sidechain EQ • 8 x GPI and 8 x GPO built in Channel, Group, Main • 8 redundant router connections for DSP • Multiband Compressor • AutoFaders for Audio Follows Video Processing • Dynamics processing on every networking consoles • Freely configurable on the fly, operates • Every Aux: style control Channel, Main, Group, • and connecting I/O boxes at 44.1, 48, • Expander/Gate • CSCP mixer control protocol interfaces • A pool of 180 or 128 Channel • Aux and Track (2 x Compressor/Limiter, • All I/O provided over Hydra2 network • 88.2 and 96kHz • Compressor with a variety of video switchers and processing paths Expander, Gate, via a wide range • 64 legs assignable as mono, stereo, or • Every Main: production automation systems • 4 x Main Outputs (mono, stereo or 5.1) • Side Chain EQ/Filters) • of I/O formats 5.1 Input Channels • Single Band Compressor • SW-P-08 ‘Pro-Bel’ router control • 8 x Audio Sub-Groups (mono, stereo • 2.73s of delay within every Channel, • Cat5e or fiber connectivity • 36 legs assignable as mono, stereo, or • Multiband Compressor protocol or 5.1) Group, Main, Aux and Track 5.1 Mains and Groups (maximum of 4 • 2 x Automixers available to all mono • EMBER • 32 x Track Outputs (mono or stereo) • An additional pool of 128 blocks of Resilience Mains and 8 Groups) Input Channels and Groups • 16 x Auxiliary Outputs (mono or stereo) assignable Input Delay • 24 legs assignable as mono or stereo I/O • 1 x Direct Output per Channel* (Pre • (2.73s each) • Highly resilient. PSU, DSP, Control Auxes Delay • 24 x Mic/Line inputs EQ, Pre Fader or Post Fader) • An additional pool of 128 blocks of Processor and Router Modules are • 64 legs assignable as Insert sends and • Delay available on every path • 16 x Analogue outputs • 1 x Mix Minus Output per Channel* assignable Output Delay hot-swappable and have automatic returns • Additional 64 legs assignable as output • 8 x AES3 digital inputs (can be fed from Auto Minus, Auxes, • (2.73s each) redundancy • 64 legs assignable as Direct, or Mix- delay • 8 x AES3 digital outputs Tracks or Off Air Conference Bus) • 5.1 Console Monitor Output (with • Independent DSP operation ensures Minus Outputs • 64 legs assignable as input delay of up • 3 x Expansion slots to increase • 1 x Auto Minus Bus dedicated small audio continuity in the event • Automatic Mix-Minus to 5s standard built in I/O, or to provide • 1 x Off Air Conference Bus • LS and PFL/RTB outputs) • of a surface reset • Off-Air Conference for Mix-Minus interface to other formats, including • 1 x Insert on every Channel, Group, • 3 x 5.1 Studio Monitor Outputs • Low power consumption and heat Monitoring/Metering SDI, MADI, Dante etc. Main and Console • Advanced AutoFader (AFV) generation EQ • 3 x Monitor outputs • Optional Hydra 2 Module allows for • Monitor Output functionality on all faders • 6 band EQ available on every Input • Surround capable metering within each further I/O to be connected, and to Channel, Group, Aux and Main path: strip network audio with other consoles

92 93 Br.IO RP1

• 4 x Mic/Line inputs • 4 x Mic/Line inputs • 16 x Analogue outputs • 16 x Analogue outputs • 8 x AES3 digital inputs • 8 x AES3 digital inputs • 8 x AES3 digital outputs • 8 x AES3 digital outputs • 3 x Expansion slots to increase • 3 x Expansion slots to increase standard built in I/O, or to provide standard built in I/O, or to provide interface to other formats, including interface to other formats, including SDI, MADI, Dante etc. SDI, MADI, Dante etc. • Optional Hydra 2 Module allows for • Optional Hydra 2 Module allows for further I/O to be connected, and to further I/O to be connected, and to network audio with other consoles network audio with other consoles

AoIP

• 4 x Mic/Line inputs • 16 x Analogue outputs • 8 x AES3 digital inputs • 8 x AES3 digital outputs • 3 x Expansion slots to increase standard built in I/O, or to provide calrec.com/brio interface to other formats, including SDI, MADI, Dante etc. • Optional Hydra 2 Module allows for further I/O to be connected, and to network audio with other consoles

Slogan created by: Name: Jane Scutt Job title: Gram op Company: Castor Sound Ltd

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94 95 Calrec Audio Ltd Nutclough Mill Hebden Bridge West Yorkshire England UK HX7 8EZ

Tel +44 (0)1422 842159 Fax +44(0)1422 845244 Email [email protected] calrec.com