![]() If that’s not enough local analog I/O, the new StageConnect interface allows connection of breakout boxes with up to 32 channels of input and output, e.g. 8×8 TRS line auxiliary ins and outs help bring in signals from media players or computers. Find out more about Midas’ amazing legacy by visiting their extensive website. Behringer is proud to incorporate 8 original Midas PRO-Series microphone pre amps and 8 XLR outputs with towering audio quality for both live and studio environments. ![]() While we have limited the number of local analog I/O, we have not allowed for any compromise on their quality. For optimum performance and long cable runs 110 Ohm DMX-Cable is required. Given its flexibility and ease of use, this may well become the future of XLR. ![]() The brand new Klark Teknik StageConnect interface allows transmission of 32 channels 24-bit audio with sub-millisecond latency, together with control data and 18 W of power over a single standard XLR cable. The WING expansion card slot, featuring the LIVE SD recording card or accommodating option cards for various standards, such as ADAT, MADI, DANTE, and WSG, offers another 64×64 channels of audio in/out. There are 48×48 channels of USB audio and another 64×64 channels of Audio over IP (AoIP module optional), plus AES/EBU stereo I/O. WING provides 3 AES50 SuperMAC audio networking ports for connecting digital stageboxes or sharing up to 144 input and 144 output streams with other mixing consoles. With 374 inputs and 374 outputs, a lot of digital connectivity is required. The beauty of this is that you can label Sources using our WING Co-Pilot app while patching on stage and no matter if the signal is patched to a channel, to SD recording or to any other output, you will always see and refer to that Source. All of this describes the actual Source first, before channels are used for processing or mixing. They can also be given a color, icon, name and several tags for grouping and filtering purposes. Sources can be in mono, stereo or mid-side mode, own headamp parameters like gain and phantom power, with specific source mute and metering. Inputs are therefore given more properties than just a number. WING is offering a substantially different perspective by focusing on the Source as the reason for any mixing, say a bass drum signal or the lead vocal. Normally, consoles focus on input numbers assigned to channels and auxes. What is the purpose of mixing in the first place? While considering the signal path of audio production for live or studio applications, we were stunned to find that much of the terminology is still driven by historical technical implementation, rather than its actual purpose.
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