Merging Technologies Discussion

computers that will create a complexity because we need real-time access this is one thing but that could be thought through a network come to that in a second but the other thing what is great being out of the box is that you could connect a few boxes to it for example a few computers of your workstations and this is then in 2010 we were kind of ready of making one device that wasn't called Horus by then but basically an external box when suddenly it was even a bit early 2009 when suddenly a company called Odin a came to see us and not only us many other factions and saying look that's what we designed a networked audio based interconnection of that and we thought that is very interesting there is even hyper interesting but we would like actually to manage the signal that goes through this black box called all units today that everybody knows under Dante ok but so they were they were constructing a closed Network where you have an input and an output but you don't know what's happening anymore and for us it always has been for merging it always has been important to be able to understand and to manage and to find you what happens in the audio because not only we want pristine audio in 4448 but we also go higher in sample rates up to DSD signal to do today is leave 2 or 56 so that or dxd so that we can not only interconnect those devices but also manage what's happening and understand what's happening and get the best out of it the funny thing not a good thing is that this experience would ordinate or didn't only happen to us it happened to many other factors many other manufacturers and a few of them we got together and we decided well let's create something a network based on this idea but that is open ok and that that opens those boundaries and so this is how our first the network device then was a little bit too late in its in its availability because we then integrated this open network called Ravana okay that was the first network and this resident Ravan okay this was why for the little story why does it does anyone know why is that Dante the poet and the Italian poets but died in a city in an Italian city which is called and this is why a few manufacturers set together and specifically there was of course the need of also financial investment and those financial investment came mainly from Lavo who had their own interests of around this and and then this is how Ravenna started to exist and Ravenna is based on open I P protocols a bit more recent than Dante then ordinate so this is why there they are interoperable in some ways we don't see how or why but they are they have more recent protocols and this is what they can do a bit more things or do things differently so this brings me to our to give you a little bit of background of the history this brings me now to our ecosystem or let's say product line if you want that we have today on the left side we have a new chip that is called zmapp in two variations basically one 64 by 64 in an outputs and the other one 256 by 256 and a new base that I will show a little bit later is our first product containing this new chip and this new GST basically chip and FPGA that allows us to do many things we also OEM this product so it means that other manufacturers also have that inside in their own products then underneath we will have the Horace will talk about this also the happy just a smaller converter all those over IP and very below de nada I'm not gonna touch this tonight I'm just gonna say this is a highly consumer product for audiophiles we are as merging not only with the convergence but also pure mix software for example very famous for higher reporting in concert halls in acoustic music take second and the audiophile people the people who want to have something relevant at home as well would like to have the same quality with the same converters then it has been recorded this is why they have asked us to some of those audio files have asked us to develop a product for them there is of course then taught in Thailand it has a complete different aspect there's no pure mix or whatever behind it it's just a converter with a room player inside for those with no room and that can play back up to DSD 256 as well and you can have it either in stereo or in 9.7 105 1 + 2 in terms of a home playback device and manager then we have on the top of it in the middle our two drivers those drivers I mean this is the this is the concept we have an echo system which of course is in the idea that we think that is a good echo system but we are very conscious that culturally or due to XYZ reasons or simply because you use to something else you can take some of those elements and put it into an ecosystem another echo system or you can take another element and bring it into this echo system ok so we provide drivers for example for workstations for DWS on the chord your side on the Mac side and on the other side from PC side so it means you can literally connect every type of workstation to our converters ok several at the same time or just one we can see that a little bit later the thing is that you can have 128 physical in and output streams at the same time with one of this driver in one FS the the architecture of a Mac and a PC is a little bit print when we go higher and separate the lucida in a second and on the right side we have a naman that stands for audio network manager as we are network based now huh we are interconnecting basically our old-style patch that we see here but this is done virtually of course via animal where you can interconnect different devices the nice thing of that is that of course you can interconnect our own drivers and hardware devices but it's open to other manufacturers so today you have no man you have generally you have ross video you have arch waved as does Jen like and other things you have direct out there will be lava in the future and so on that are also available on that into connecting or virtual packs let's call it practice in there one thing to be said I don't know exactly what all you guys are doing but we see that today the audio industry is of course there's still some people doing only music or genre of music some others just mastering some other stress post-production so whatever live AV and all of that but we nevertheless see a strong merging or so in terms of all these different aspects or angles of what we can see how to work in an industry so in terms of the studio environment we also see more and more that you would have some platforms or some software's that will you will use in a specific aspect for example in an immersive audio environment and to process something and another computer to do something else to make something creative by a maximum speed or whatever it is and the beauty of that is that you can also interconnect in and outputs from one software to another ok that means that you need you need one hardware device a happy or horse or an Anubis to be able to provide a clock to the network environment but then you can interconnect all those different devices the way you want ok through dispatch below we have a pyramix pyramix digital audio workstation recording mixing mastering editing and so on innovation I mean I can happily talk later about those work those those those software products I'm not going to talk a lot about it now in my presentation but just give you the little feedback is that ovation is basically coming from pure mix but used for theorists theme parks installations museums and all of that it's a nonlinear that there's no timeline it's object based play out system show synchronizers show whatever in the sense that you can you can have an audio media interaction rules on different aspects when it reaches its rules this rule means that open these microphones which on the slides do this or play this file or get the information from another from the light show guy who would send written from an information to this okay or it can be an operator also with the facts and all of that in multitrack and all that good below a few logos and a few things the two interesting one or one interesting one of this at least is DST 2110 on the complete right side are you familiar with that does this ring a bell nothing okay we just talked about the audio over IP I'm not saying that everyone there's still tons of people working with traditional analog digital audio I'm not saying well you absolutely to move on Nova to provide some flexibility so many reasons why at least if you envisage a new installation on your project to go before I mean then we can discuss if it's done something else but what is clear is that it provides instead of having point-to-point connection it it provides a point to switch to multicast so you you broadcast basically your signal to many different places exactly without lossless without any problem on the network okay and you have redundancy as well if you wish to for a cheap bracket price compared to Maddie ACB you won a lot of big cables so flexibility you know so you have one big device on the stage we have your XYZ numbers of 20 microphones or whatever I just have one network cable coming to you or two if you want redundancy and you have everything all the traffic no I'm talking about the philosophically over the technical aspect of audio right okay then we have protocols we have manufactures we have commercial little Wars going on we can I mean we can talk about all you need Dante is 67 11 a VB all of that some compatible some are not and all of that but the concept is there and this is something in the audio industry that is quite mature today everybody kind of knows your IP I can use it and so on the guys in the video are living the same thing but from the beginning so and you can imagine in the video it's a audio is already complex but the video it's bit more complex but you have much more money also inside so it's going to be a much slower process nevertheless SD 2110 is a norm done by the SMPTE so South Sound motion picture technological expector engineers sorry Society of motion picture and television engineers thank you and they worked for many years on an oil because the SDI cable every broadcast environment or TV environment will become a 1 Gigabit Ethernet Gigabit Ethernet 5 or 100 gigabit ethernet cable in the coming years so today I'm just taking the example of Canada as we here CBC Montreal they have perhaps you know that they have to move that from the old tower from the building into a new facility because whatever reasons real estate and so on but they're not gonna make an STI infrastructure they're gonna make me think I'd make an easily okay and because there's a norm that means that they can take video devices from one manufacturer video devices from another manufacturer and it theoretically they can interconnect and then that's the theory and the practicality as well as if you have to put some knowledge and some some fiddling around in there just to make it short st 2110 has different subgroups obviously the video group has a better data group and has an audible ed code that's called SC 21 10-30 and this part of the audio group is actually the air 67 teachers retook a a 67 which is the norm okay we talked about Ravenna a B Dante those are close protocols don't buy a group of manufacturers and then there is the audio norm called a s67 don't buy the Audio Engineering Society that is open in luckily Ravenna talks to a 67 Dante can talk to a 67 as well okay so you can take this a a 67 put it into the st 21 10 so that means that the air 67 devices that you're gonna use or or or or require or whatever rst 20 want and interoperable so it means that if you're if you are you know exactly what you all all doing but if your little studio or your or your OB van or your production company or whatever acquires those type of system you open to be able to produce content audio content for the video guys okay which makes it very flexible and this is import important to tell me about this great coming a little bit it to Horace and happy these are our traditional converters on the left side this is the Horace on the right side is the happy on the left side is it this is two units with a touchscreen on the front and this is the back picture this back picture has to explain you quickly at the bottom all the digital in and outputs 24 SC bu 64 male optical quark so extendable to 128 and on the left side you have the word clock input if needed and breakout cable for LTC immediate zone and on the top you have six slots where you see those 18 25 those six slots can be populated with each time he tracks either inputs with admi precise outputs phase or you have some cards where you have eight inputs with my praise and eight others yeah so if you fill it up completely you could go up to 48 in and outputs with microphone preamp litigator 128 mighty 24 is in you on three years so it makes a lot of possibilities you can also split signals meaning that you can have an analog input published to the network and at the same time output on the ear CPU and on the mannequin if you need to replicate something that you need to feed somewhere else you have different types of cards to families you have what we call standard converters that already very good and high-quality in terms of its conversion they stop at 192 kilohertz and then what we have the what we call the premium family that goes up to D Sdn Bhd and has also a better specification in its my pre components but those premium cards cannot be in and out but at the same time they can be only in or but you would understand that you can miss and mash all those different cards so it means that if I'm in my project only need outputs I can only put da cards or if I if I need if I decide that I have like five microphones that I want to have them the best quality possible-- and then I have spot microphones that that need to be good quality as well but where can make a little compromise so I could have some pure premium cards and some normal cards at the same time that would work together but of course it would be limited if I want to do DSD for example if I'm somebody don't use D then I would have only the treatment cards being available for the GSD part of it so that I can miss so much-- those things there's also one two things to say on the right side I have a power redundancy that means that the system is redundant in terms of its weak point like every device the power supply is the written part of it when I do live things or stuff like that so I have a redundancy an aspect that comes becomes mandatory for over 24 microphone inputs but to switch it on for phantom power but once it's on it becomes a redundancy again and there was another thing I wanted to say oh yeah there's also one card called PT 64 this is specifically to connect it to a Pro Tools HD so I could have this protest protocol here I could have up 228 in and outputs via Pro Tools HD and benefit from all this high quality in and outputs from the pores on the right side I have a happy Saint Tecna city same architecture same possibilities it's only a smaller one unit this is the guy you have eight ASC bu8 a dot and you have two slots so you could put 16 a TTA with my crease for example or you could put one money card and adda for example okay so this our this is our combination of our different or protocol is 1964 channel 64 channels you can really miss and mash it the way you want just quickly these are our drivers so you could have I said up to 128 in and outputs in a core audience or you know as you device on a PC on the windows now the because of the architecture of the operating system when you go higher in the separate the the behavior of the number of channels changes so they there are the same in the Mac but up 292 kilowatts but they / / - on the PC side but you see that on a PC side you can go much higher than 192 but you can't on the Mac so yeah this is something to know if you are interested in those higher sample rates this is something to be taken into account when you that's the architecture of the OS that's that's how you it's it's okay just to give you a little hint is that um do on the Mac side do do in the Mac side is actually in the u.s. called Co holy oh and this is why you can manage it directly from the US in that way but the OS doesn't allow to go higher than 130 to for them it's like doesn't exist so this is why I can't go higher in the in the windows side of it actually the azure is something that doesn't exist in window it's a backdoor D as you okay normally the windows audio driver is the WTM other gian don't you thank you so windows media driver and exactly of course they can't do that and this is totally it's just to playback know your file yeah it is full of jitter or any irrelevant so this is why there is as you but which is a back door so you can tweak the architecture to go higher because the architecture doesn't know even that it exists okay so this is why there are some differences so that means also this is why we are convinced of today since a while already but that we provide of course as you saw software solutions for digital audio workstations but today because of the price of them so that you would use the positive points of all of them you won't run all your life just the pure mix or just the pro tools or just the logic you will do yeah now I did to do that so I use your logic and because that's really good for it and the next day I use a Sequoia because this is where it's good for that type of job and you just change it and you have the same hard work okay so it makes it not only flexible but it makes it also being productive in the sense of using the right tools for the right job and of course you you can also have several devices of them on the same network sharing and it'll now put on the same device the only limitation on that it has to be the same sample right physically yeah on one device but if you have two devices you can have to separate different I mean if I have studio a here did you be there and I have one happy there and one horse here with one I don't know logic there and one pro tools here I can have two sessions going on one in 96 there one in 48 here now the next day I have a bigger recording where I would like to need to use all the inputs from my happy and my Horus because I have a big Orchestra then I will have to run to run the whole facility in the same separate of course so I have to do those choices so is it completely expandable those boxes like they only run 48 or can they go as high as the one like 96 ins and outs and can you go higher than so physically those boxes have slots so once you fill them out you add another box as it is on the network you can have three boxes I give you one example I was at University of Georgia in in the u.s. at the beginning of the week they have three concert halls and one control room with for pure mixers and they have also Sequoia there this is because they trade the students in there that's why they have four workstations in there but they have access due to the network to all the different concert halls in each concert hall they have two Happy's so that means that they can need more in and outputs they add another happy there and they have three suddenly it's a switch so I yes I come to the infrastructure here in a second I have a switch here and this switch has this time eighteen eight connectors but it could have tell you good man you could have 48 and just connected onto the network I mean then there are some when I say 48 there are some limitations about how many channels it's perhaps better to add a second switch and whatever there we entering into bigger scale installations but but yes I mean that's the concept and the redundancy as well see some of the computer yeah she's dead running redundancies of the hardware device in terms of the converter the power supply and then the cable of course the switch and workstations but you could have and this is the beauty of it you could have this device on stage or the bigger one independently of how many channels and you can scale this but you have one device on stage you have a switch on stage so that means that there are two cables one on the right side of the hole one on the left side going back into the control room when you have another switch or simply connected to two workstations and you have the same signal going to a laptop just as a backup anime system which is your full-blown system because you need some editing so here's rashes yeah what story and it's not only the application if it crashes even if the hard drive is crashing you still have the other computer running so you you you you destined your own kind of what budget do you have and to do that to be able to scale your Yosi so you have 256 channels is your max which means 256 yeah we're asking well because I saw on the on your previously okay we have no this is this is what is sitting on the computer so the computer the the digital audio workstation can handle 128 in and outputs not more okay but one Ethernet but this is then limited because of the coup Audio Driver already has your driver mm-hmm okay then this is where we enter them into our mask or engine to go back to pyramix where we can manage 384 in and outputs on one cake simultaneously in one FS okay that's why debt because we bypass Windows right or do s here we don't we're still so how does that translate or how many horses could you have in one go the bottleneck is not the horses the bottleneck is this going to your workstation and iron okay alright and this going to your workstation has 420 channels bi-directional right so those are more depended on the switch no it's dependent of the 1 Gigabit Ethernet cable okay that bandwidth because this is going at the end this is the bottleneck going to one workstation right you could run to workstation and you x do mm-hmm as it can be synced together but it means when you start to edit them later on yeah it would be the communicator but you can still do it right you just attach them together without the game no that gives you a radio not a flexibility yeah you know what I just wanted you know what okay on one ethernet cable one computer what what's your maximum input output 421 FS bi-directional bi-directional streams so that means you can put that's a lot of horses it's invite is ten horses basically divided by a 48 times 10 is 480 you have eight or eight or nine yeah I'm saying I'm just gonna get that truck with of course yeah I was recording a huge Orchestra or want but you go at a higher sound event or something you go to higher sample rate so you you know times you go four times FS right yeah but nobody we're talking you're talking one F asset I'm talking what if it means that hey if I go to 192 I would divide it by two so I can still carry HMDA channels bi-directional in 1/8 and that gigabit i have 192 that's one ninety to a hundred channels yeah roughly okay and how many do i DSD channels at 64 64 and that's yep that's DSD one no DSD for DSD 256 256 okay so it gives some scaling yeah no I just I know your previous question I just wanna yeah I understand you know what's the max of course but this is this is kind of dimensions but then there is what you're gonna feed from one device to another through one cable mm-hmm and there is what you're gonna feed to the network and as soon as you have switches several switches you divide all of that because you have several cables connecting to those switches right okay but it's the bottleneck is the one cable going to the workstation fixed yeah oh it's a big show zone you'll have like when you have a large show and you gotta save five top name bands and they all want their own I think so you need that many channels in a rock show and there were TV show but I got a big country Network so and they'll want all those Channel they don't really want a mall separate yeah but as far as I understand they what I'm all separate but they won't they don't want them at the same time no but that's I mean they're they put the okay but they're a lot of times the EQ settings and everything also I'll set for that band then they'll have a whole they want holders so that it was able to recall other words ya know whatever but they just means that you do need to have way more input so you would think yeah that's crazy but they do yeah yeah okay that brings me to this little device here Anubis this little device is actually has three functionalities it is first of all a little sound card a little converter high quality it is secondly a little monitoring section to always with this in an output I come to that what it has in a second and then it's a remote control okay from IP basically streams or applets so first of all starts with the let's start with the beginning we have here two mic inputs okay that can be of course line inputs that are with a double-double preamp sorry that's just so I may be relied on yeah let's everybody can see it okay I can pass it you have to Mike Frese her input together in a line so that means you can go up to 130 70 be dynamic range so it's very comfortable on it aspect you don't need to wiggle much about the game these are the inputs you have two inputs here three and four which are line inputs or high abundance instrument influence then you have two outputs here XLR cement so much and you have to Excel not Excel I'm sorry jack but also symmetrical outputs 3 & 4 there you have two independent headphone circuitry okay that are for those who who have a horse or happy those outputs here are arguable in terms of their current qualities there have they have been thought and designed this is something to check basically to have sound is it working yeah there is some sound and so on but it's not a proper head quality headphone output here it's really enhanced it is high-quality output in the first sense and it's also open to very diverse impedances of the headphones themselves then we have behind again GPIO one in one output it could be a pedal or red light or whatever this can be also converted to a MIDI / Jack breakout it's one of the other so that you would have some mini machine control stuff like that then you have your network connector a s60 certain ravenna and you have your DC input your DC input is with a little wiggle so it means you put it in you have to twist it and so that it it doesn't hear get away and the interesting thing is that this input is network input is power over ethernet so that means that you don't need a DC or if you put it in the DC input becomes a redundancy or vice versa on the power supply then you have to own up here and you have a little Kensington lock for those who couldn't imagine at school or in environment where you have several boxes where you have a lot of traffic people coming in and out whatever you can put it comes into the box and then on the bottom you have a mic stand a little input this is European size so we provide the adapters for the US size so you could put it on the mic and one thing to understand so this is a low menu so this is the cooling also of the box I mean you needed to Montreal in wintertime so before but no it will always be a with a bit warm okay so don't be afraid now you never hold it like I would hold it anyway when you work you you just touch it so you don't feel it really and you have little holes here and you have a ventilator there this ventilator doesn't work doesn't function actually it functions also it's a security functions only when it reaches 52 degrees now since two months that they're available I only have an only month once to me I was in a production sitting with with rooftop window and by pure I mean no chance but I didn't pay attention the Sun was going on it and after two hours suddenly I heard like oh yeah okay that's security for the Box actually so it is in those extreme and volunteer it the ventilator fans it's not very loud it's hard to hear there's a security fund it's really because your device is in danger because the Sun wasn't there yeah but normally it doesn't it doesn't work Wow okay so I gotta run you through a few windows you can pass this if you want so you can look at it at the same time so the idea now is that and I can show you here but it's better to see it on the screen the idea is that you have on the bottom you have this triangle this will get you into the menus or whatever if you press a bit and so on then you have to for soft notes ad and one or two the a/b is basically for to monitoring sets but these are the soft key this is when we have a cue then what we call a queue where we can then independently of the monitoring select what we want to send to that cube okay this is then the input thing where we have the 48 volt for the microphone mic line we have a little symbol that we can link those two guys together the XLR for example is a cough mute so that means that you don't disengage the gain or all of that you just click it and it mutes it so that the person can cough or put his fingers his nose or whatever it is and continue this yeah that's the software interface so it means that here if I go a little bit louder now I remove the cough button that I have here and I can just simply mute it and come to explain here what I have that's perhaps interesting so I have my microphone microphone input that is connected in this device then this device goes analog outs which converts once it goes analog out whatever I want and those can come in and those can be sent either via a web station or a play device or via some hardware devices okay you can either choose one or the other and then either at the right side I have again the sum the peak the reference level the din and you see the cd3 q1 those are virtual other monitors that I created and other headphones that I created more than those soft knobs and a cue is one of those cue I was telling earlier that will have a different selection of those sources coming in so the cool thing about that is that now I could say omote my see monitoring is actually something I would like to use all the time so I will put it on the soft number I have those options and possibilities to manage the device the way I want it this is then my setup page so you will see it later when you approach a little bit but when I press a little bit longer I will go here into the setting page and this setting page I can do many things but this is where I would set up for example a source that can be local or that can come from somewhere that could be stereo three one four one five one seven one plus four or whatever it is up to 32 channels in one 32 channels in one single source okay same thing for the outputs so now this is my monitoring page again I would have my different speaker sets I could imagine my speaker set a is stereo I have two outputs here two main outputs this would be my stereo speakers I could say well I would like on the B to be 5-1 great I could still make a compromise I would have output one two three four and I could use one of the headphone output as being my output five or six for my channel five and six for the certain for the five one that would be those symmetrical and the other one azimuth sorry I symmetrical and the other ones symmetrical but it's still a compromise or I could use on the C for example that would be a 7 1 plus 4 that's what I decided to and then I would use a hardware device to attack my 12 speakers so I can really scale it the way I wanted on the aspect then the very cool thing this is a web browser for those who are familiar with merging each of my trees directly in the workstation and so on but the setting up is also on a web browser like this now this when Anubis has been done a little bit differently in the sense that it has been thought that you might have the mic tree here that you can connect and locally managed so this is my mic pre input one and two this is my three and four here in the front this is not my topic I have a little dot here where there's a little microphone so I can manage my talkback also I could this is not implemented yet but this will come I can scroll through other pages to be able to also control the inputs coming from other devices like happy and horse but I could at the same time have a laptop or a little touchscreen there with an iPad and have this open and this would be my monitoring page all the time where I see on the left side I select my sources what do I want to listen to and on the right side I'll if I checked or I select my speaker cells and then in the middle I have my speaker's available on that speaker set with a different down mixes with the different polarity solo acts a mute and so on and so on polarity inverts and so on from the speakers okay so it's a real proper monitoring section and this is then the possibilities of what Anubis can manage so I have of course detection where can go up to eight monitors doing 22.2 and whatever it's a bit it's a two hundred to six by two and fifty six framework okay and then it has to fit in there I also have in terms of the monitoring section some base management I can add a cross over with a frequency that I can choose with up to 30 36 DB per octave frequency yes sorry how you said it so thank you and with a three minute delay for each speaker as well recognized so this goes and is all with it so that means that if we have a little setup what we have here but a bit bigger I have my Anubis I have my different inputs microphone instruments with a talkback headphone local with some little stereo speakers and I go over the network to record to a workstation or several workstations and I have then via a switch again to a bigger in an output device like a horse or whatever to have my big spot microphones and my big outputs for the speakers I don't know if that is scalable okay we are this I wanted just to to to to make it clear we are today in a world at least those doing a bit more than five one where we have to get ready that one day you will be asked to do seven one plus four next day you will be asked to do some oral today afterwards some stereo and and so on and so on so a monitoring section and all connected by a via a s67 makes it very flexible to be able to do to manage those type of things through the monitoring one or two aspects that for me are interesting to look at back to near 67 we talked a little bit about before it is st 21 10 ready as we said for the video guys it is compatible with ravenna it is also compatible with the engineer 67 so they I want to just make a little comment it's not Dante it's Dante in 67 there's some daunted cards that are not labeled Dantas 67 and that would not be compatible okay so you have to be very aware that is a 67 yes the old layer three this is all layer three if we talk about layer two that will be a VB okay for those are any of you doing live stuff okay but for those in the live side of it Mayer sound is doing everything GBL history a heavy soundscape is doing every the coast Akhil doing a BB why because it's a form of a roadie format in the sense that you don't mess around there's no IP you can mess around about that you just connect Chrome that it works you know you go from one place to another but then it makes it makes total sense today all those formats are logical in the way they work the Robin is mode protest side of it the Dante is more that the life but studio environment and the ABB is more than the PA side of it and but the idea is that you can combine all those different type of formats for the moment the a VB is still a bit complex to combine but the Dante and Ravenna side of it you can do it via a 67 and so that creates interoperability but then the advantages of the a 67 is that you can have multi separates in a studio environment in different Studios for example on the same network and you have high track counts if we talk about the immersive audio or higher or higher sample rates then the high track count enters into into something serious we're in the Dante world you okay these are few advantages about that talking about the animal quickly you have you see here a simple installation I can also open the live animal year but let's do it this way on the left side you have all the devices that are available on my network now and you see the interconnection of those that I've done with the mattress on the right side so the mattress on the right side dynamically changes depending of what tools you select and then once your interconnect some tools you can also repeat several outputs to several different tools again for redundancy and this type of things then simply the lines or the interconnections will show up on the left side two interesting things you can do with it first of all you can save your configuration of course so that you have a configuration where you can record outside you have another configuration when you do when you're back at your studio and so on and the second thing is that we don't see it that well on the screen but here you have a gray area actually you can make it green if you want but called sample red zone and you can create several separate zone that means that you elect a king or queen that is master of the example red zone that you put where the crown is on the top and that means that all the devices that you put into the zone inside when you change the sample rate of the queen or the king it will change the sample rate of all the devices at the same time so you can define studios or zones that status to you against your age to do B and you put the devices inside here and I want to have a production 192 so I changed 109 to an old devices that are under the network in the separate so and will also go into 192 at the same time without bothering the others ok of course then you the into the potential interconnection that you would have had between studio a and B changing the separate will then disappear because you would have a connection between a 48 K in a 192 and that will note that would no that wouldn't work sorry ok well that's the idea good with Anubis we are in we call that missions we are in a progressing different steps and forward of firmwares so today we are finishing what we call the monitoring mission that means that kind of all of what I explained is in is today available the thing that is not available is the remote control of the happy and the horrors my crease that will come and the other thing that is not available is that you can save and recall presets while the web browser okay but this is something in the coming weeks that will come but other than that the monitoring mission there will always be some fine tuning of course but it's kind of getting to an end and we will start to work on the music mission and there will be other missions what will the music mission be or what is the concept of it it's not changing a device is that once it will be ready you will receive an update of the firmware you update the firmware of that and actually it uses the same hardware devices the same a fijian the same DSP but with a simply another interface so the mixer that we have for the monitoring will not speak to a guy recording his guitar and trying to make some monitor he wants to have faders I mean like here auxilary sons and that's it so you will benefit from this from those evolutions in those firmware because you have the hardware device just by updating the family okay so this will all come in due time all right cool a few users around the world well if you use universities high school the Morrises like the mass yes but it's more it's more matter of scaling it is more a matter of what do you need for your project today you can start with with Anubis so if you don't need many ions and then scale it up I mean it all depends what you need to do now the thing to do to know and to think to understand between the happy India and the Horus will have the same architecture and the Anubis is that the happy and the Horus don't have DSP inside so you can convert channels you can split channels but you can some channels okay well where the Anubis has DSP inside so you can some channels you can then EQ channels you can dynamically change channels and so on the EQ is not there dynamic is not there but this will come so you have a DSP inside to be okay so there's a little difference that's why you can do the monitoring also because you can do pounding system and all of that yes please how does the I guess I guess the horse handle like long distance bandwidth cables you yet dead comes down to infrastructure you can use cats are not a limitation of the you know it's not a limitation of the unification of then you can go optical as well their switches I mean if you have let's say here an infrastructure to review and on the other side of the building or the building next door another infrastructure what people would do they would have a switch where you have on this switch some optical connectors then have an optical to the other building and have a same switch on the other side so that you can interconnect whatever yeah I mean this is an infrastructure than thing but a cat5e cable standard cable or cat6 cable shouldn't be longer than 30 40 meters he's roughly the right way instead can you talk about the converters that you guys use and some of the clocking technology that kind of stopped this it sure she'll even ask is that a stupid question no what the way we plug the devices together that's how do you mean well just in terms of like I mean quality yeah just in terms of quality in terms of quality as I said 237 DB dynamic range what is it trusty on the Anubis so to be very clear on a happy and Horus we have cars okay but you put it in two families one premium one i standard car back and we are nervous sorry on the universe yet what I'm hoping to do you nervous on one thing we are now on the fourth generation of the cards okay because new chips because new we're getting older also so getting wiser and which I of course to reinforce the quality of those converters each time we add a new chip and so on that means that for those who have all the cards we have either trading that is possible if they want to go to the newer cards or we as much as possible so all the cards also if they need more so that they can fit to the color if they want to but then you can also mismatch different cards from different revisions then this is now so sorry this is the fourth generation of we we made three generation in those card this is the fourth generation where we went even a little bit better in terms of its conversion quality and what we added as I said we have two preamps so we have a 130 70 a dynamic range but those two preamps can also be driven individually so it means that typically in front of house and and monitoring can have each won his game okay then you don't have 137 TP dynamic range but you have two independent gain triggering that two different people can get match this is not the case in the happiola house yes yeah oh that's something completely different business you're such a general-purpose general-purpose switch yeah yeah you know that the flips let's see this canticle just anything you want to turn on a red light exactly so every time you push your record button the red light comes on video whirring a foot switch we're tucked back rather than see your hands are free are you hearing the keyboard uses general-purpose interface yeah we call dpi it's I know I called you Julie no because Judy puts an output general for the right you know it's either/or right you cannot use both at the same time but then most of the time I mean if you need if you need one Jeep because if you have just a small device I take an example for a journalist doing a show outside somewhere having two microphones he wants a red light what's the talk back with a pedal whatever he doesn't care about me then you put it into a bigger infrastructure well you want me for example because you would like to remote-control some stuff but then that means that the GPIO would need more than one also in an output because you have several red lights several things then you would have a device on your workstation by a USB having those realize but GPIO is a very I'm not criticizing and it's a very old style of concepting to do but very important when you have it public when you have many people working in there because those lights those things those fader starts and those thumbs first things are common to to an engineering background okay but if you conceptualize your own studio it's how I conceptualized always in between providing solutions for an institution it has many people working within different rules for the concepts for schools and so on and somebody who is working on his own on her own then they do whatever they want no I think to answer your question did he ask the question about the quality oh sorry the microfiche yeah yeah and put the converted stuff like that I'm selling my Big Ben in my mantle over audio over IP is more sample accurate than than your Antelope clock you know I was that was my converter use and when I was I was testing out the basic one yeah well you guys used to use them regional chorus would be built by them but you know like this but with your ups face but your old face yeah this fingers when but when your latest card came in the thing when I heard that I just went oh my god yeah this beats the D and E which up until this point that's an expensive that's right and up until this point nothing would be cheating the D ID but this new your latest car thank you meet the Vig so that's its god I know so clock II was perusing because they know well they couldn't come up with something on their own have better converters than they had before I mean da Jie it's not a bad converter to be very - you know that's I'm saying it took up until your previous card wasn't as good as at the ad but your latest card beat it so it's really a fresh line of audio and so the LG are no doubt and at least now Pro Tools has some good converters there care to do the drumroll find out whether would the retail price of that body get back here Derek come on I'm here dumb rule you'll be pleasantly surprised okay I let you talk about do you plan to expand the line or they might there be a for input or and hate input device for the moment dis is how it is yeah okay of course there are ideas yeah but it's it's far too early to to discuss them this is two months old so if something is coming it won't be this year it will no will be next year and the better meit's use if you get the premium version of that are the mic pre is different yeah basically they're not different the architectures no different no I mean is the selection of the elements okay it's a bit a little bit tighter tighter yeah it gives us a little bit more like higher special right I was very doubtful of enjoyment I was like oh my god well hearing is well how can you call that stuff well so accurately when it's sister cat5e you know it is working toward you order of IT it is quite interesting to understand the background is that it uses it uses protocols from the I Triple E sure document right so it's open and IP is used of course throughout tapes since many years and when work when people were looking about indeed having a clock because in a digital domain you need a common work so one of the clock was the PTP in the precision time protocol yeah and this comes from the finance world it's basically when you change or when you send your millions from to Montreal and so it's a solid aspect is not needed right you could what people typically India still s did what you want and domain afterwards they like the GPS because at the same time it gives you the Jo localization right and you could still in a nanosecond and still going through some switches and whatever could even calculate from a distance the latency that you would use to go from one point in the other stream of the real story to another so that you can automatically compensate it but these are done type of other type of yeah but this is why it sounds good now PTP is one thing then I mean we put a lot of effort of making good analogue analogic circuitry as well mm-hmm and summing as well this aspect as well oh no that's a new sound calling this you know it's really blown away Thanks yeah well because it I couldn't see Indiana t ID and try everything try this try that you know and the quality that you have in your sound it was always been a brown sound which is warm fuzzy or clinical clear and it was always drove me nuts because I want both I want a warrant sounding but yet sharp clearly shouting and the world's always been you know a British Brown you know was warm but no definition or this is absolute Japanese precise oven German very precise there's no warmth in it right and that's the one thing I noticed where the D ad was that they you know word in between they had this both yeah and then so when your latest cards when I heard that one oh my god that's probable direction well I want that absolute you know precise transient you have addition but I still want that warmth with a female vocal yeah yeah no nobody would tell you is there any any acoustic guitar yeah anything I use a linear preamps on for any of you know mandolins or you know any good stuff yeah the interesting thing is that of course sound is primarily important but then the flexibility of IP is huge I mean I know many many Thomas was today they go record around the world they have their laptop in one hand half of your horse in the other hand depending of how many entries they need and the rest is that I need this mic there this my dad is Mike there this frontal bone and put there well the guy that clued me into the stuff is Fabio Ruben's the credit department at long McQuade he also is an opera singer and likes recording orchestra yeah and you know no I don't he totally like he's the guy that turn me on something right now really yeah yeah I mean you have I mean all the big operas and classical recordings and so on German freaks and I anothers us also but the Houston since many years because of sound quality but also because of the flexibility because those are those are guys we need to be very quick in terms of setup being able to travel like a budget does it before well you think you would think that something like this would be worth like what 5,000 well how many how many channels there's two in two out so if they were like $2,000 a channel like a mic preamp like that would be worth be $4,000 alright if you're looking at one of those guys there there would like two grand apiece like one channel right and this thing does like a million other things look at a grace like a grace eight channel monitoring box right what's out forty five hundred bucks for that thing or dangerous music those those things right so this this guy here the 192 kilohertz pro version of this is map like street price is 2149 did you pick it yeah yeah and then the the premium version of course cost about I think it's 650 more or something like so the premium the premium version is the DSD version this goes to 192k right like like the Pete the Peter Moore version I should say is a little bit more I mean the converters can go higher to DSD if you want to but the selection of dialogue elements for the mic pre and so on a little bit precise err on the premium version so that respects our little guns sound better well is like a core audio like if say your safety rating pure mix or sometimes we should talk to him about that to clarify that because like I'm used to running only in Windows or it does 10 no we don't know well yeah there's a lot a lot of problems because it's a one bit system which means you can't you can't edit it you can't do punch in on it stuff whatever so there are but if you're doing analog in non digital back and forth and you know you can stop I'm just saying though somebody's gotta invent a way of editing DST we did 20 years back well yeah but it's not really me the dxdv the other dxd is not it's not it does not sound the same I agree doesn't sound the same but it sounds very good as well yes but ok we should be able to do somebody should be able to write I mean making editing in one bit signal yeah it's kind of there it's in our pipe but it's it's it's it's it's it's hungry in terms of processing but yeah but I mean nowadays I mean we're approaching it anyway yeah that's another argument I just want to say with DSD its micro dynamics the reason you love final is that when the guys playing the brushes on the drums and he's slightly getting a little louder a little louder little louder on a PCM recording you don't hear that you just hear this constant you know brush it in the drum right on a vinyl record you hear that slight so Dinah use our scale my code in my brain what's between a mini on the piano and acoustic yes no it's not a no extreme no but it is it's micro dynamical things and that's the thing with DSD is that you know you played you know Brubeck take five and you listen to that on PST recorder you holy then you switch to it 192 recording sounds very good but the drummer sounds like he's hitting the drum the same way every time right there are two things to be said about DSD the first thing is that what he explains we all have trained years or whatever because it's our job but if you did where it's becoming really convincing them is that if you if you have you at home but DAC DSD 2 and 56 to crappy speakers crappy cable hmm the difference is even higher because the definition of each sample that is then converted is so there are so small that you you have a beautiful sound again even with crappy speakers and death in crappy kalos and so on and that makes them really addition to the auditor that brings me down to the next point is that DSD was done in late 90s by Sony and Philips to replace the CDs they were gaining I think four billion dollars per year the license was a big income for them in terms of the technical Ison of the CD initially yeah for 20 years yeah 20 technically I saw last when he has plenty of varieties and then after after the late 90s that was come so they came back with something they did in the 70s but the processing was - it was the biggest to do actually one bit signal in our submarine frequencies oh well actually the competitor with T V X came up with it yes I remember I used to do films and we had the DX 700 on the one inch video machine ok the duplication okay look this film with only use it and that was the DB xx you invented here's the difference PCM pulse code modulation that's where we use you use tons of real estate you have to measure okay your zero okay we're at the top of the wave okay put that data here measure it again put that data here put that data so you're tons and tons of data Delta code modulation talking about it's okay where were you where you now like I'm just recording the change but that means I could do it at 2.8 makers sampling not 44 1 which means mic dots on that final walk curve 64 times times you're getting an amazing accurate picture of the micro dynamics but now we're going from 64 times you know that's where Sony used 4401 x 64 to come up with to point where any night of Legends no weird today at 4.2 megawatts separate so 256 times 44 one and there are even some people to make 512 yeah but there is a big difference between the 64 250 see oh yeah there is huge I wasn't a fan of 94 personally because there was some nice sheets which was like me but the two and 56s Maisy is really amazing and the water wants to say a second which is very interesting is that today you have a business model in the production when Sony and Philips came out with this in the early 2000 or late 90s they wanted to reinforce a new materialised format called a CCD and so on it still exists today but it was already in those days like people didn't want to change players anymore didn't want didn't want to rebuy a full collection of records and all of that you know and it was the beginning of indeed mp3 but iTunes and all of that was over your DVD audio was it was it was a nice phf but it was also a part of the old world Sony is easy irreverent according the Japanese and he he sides with Philips and then you had Warner Brothers who are owned by Toshiba DVD audio so there was a battle between sa CD DVD audio and Napster came in through the middle of yeah because I mean they're battling over this one over vinyl I mean you know no I don't think going home you tape your records inflation saying we're at or is that during I would say 10 years Gia's DUI it was kind of dead yeah so minimum people were doing it and suddenly the bandwidth of internet started to started to grow so you can envisage stream or download a DSD file at home and today go v g m-- the 5g network of course will be able to play DSD file exactly so so the thing is that today not the majors yes yeah plenty of different reasons but all the independent labels in all various different type of jean really going from really heavy metal because they're very keen on to - ality of course to the classical soft contemporary jazz world music and Felicity acoustic stuff they are many of those independent labels are producing today in DSD and because there is a financial business model on that you have the delivery and the listener the older file will download a $30 album in DSD he will have all the rest or she will have all the rest down easy and so on but they prefer going for the higher price because they have the deck at home instead of going to the and so it works there are people making proper living on it artists managers in a weird way that's why vinyl is making of small evidence you know because you can actually make money as an artist on it because the physical medium involved yeah but you go to a swag table and you know you $25 was buying vinyl [Laughter] [Laughter] so anyway I mean if there are questions let's have a drink if they're questions question have easy ok how many headphone are you limited to how many headphone cue my big problem is I need I need to run like I do I live off the floor so I want eight independent headphones and now sometimes I do want more because I have other artists coming in he's overdubbing on this you can as far as I know you can create as many monitors as you want it's great so more yeah I quoted the 100mg for right like I know when he gives you four cubes and I need eight gotcha so I have to make yes I can go and into the thing that I can make a you you know yeah I could do a send on this channel and drip like that but it's not as convenience having those anyway no it's amazing you have the accuser just like you're looking at all the accusing somebody say hey man I need a little more big boom face before you even finish the sentence one for every musician that's what they're for mic stand on the mic stand there wonders issue no I find all these personal headphone cue systems the worst thing at going cuz no musician knows how to run it properly and it's like you get in the you know getting somebody's car with the old equalizer [Laughter] right so it's a good engineer knows what a drummer needs to hear you know what you know because always people always say that and all man like you know how's your hip funky it's perfect like you know cuz they know what they need and to me it's like the better quality headphones huge you can give somebody in a session you want to hear I'm gonna do my job I gotta give you the best monitoring I can't get rid of headsets entirely well that's lovely I kind of did do that Nashville engineer [Laughter] no I that's a reality I mean you know it's always the space and it's Louis's phone six No so I created I think as maximum as I can I call you to the one that's the balance five or seven I've done balance it through my whole seven seven seven on one bar one box and how easy is it how can you be if you need I owe like you need oh oh yeah the reason I have 48 channels as I would say you can do yeah yeah the rest of my something just for headphones yeah I know it's kind of crazy what else can I do nobody builds up I wish somebody would bill

Channel: YSL Pro

Views: 765

Keywords: recording, mixing, AOIP, production, network audio, audio engineering

Id: bmlHXvr4UF8

Length: 73min 37sec (4417 seconds)

Published: Wed Jul 10 2019