Sony/Tree Studios in Nashville has significantly streamlined its ability to handle digital audio data with the installation of an A/V SAN PRO system from Studio Network Solutions. According to studio manager Pat McMakin, an engineer, producer and mixer who has worked with artists such as ‘N SYNC, Brooks & Dunn and Olivia Newton-John, the A/V SAN PRO has eliminated “sneaker-net” through the ultra-high-speed Fibre Channel networking of three Pro Tools systems, one of which is located in a separate building. The studio is currently working on linking the A/V SAN PRO to yet another facility several blocks away, via fiber-optic cable.

“Prior to the installation of the A/V SAN PRO, my assistant engineer spent most of his time moving and managing hard drives throughout the three-room facility,” explains McMakin. “Now that we can access any drive in any room, my assistant engineer can go back to being an assistant engineer. Plus, with SCSI’s maximum cable length of about three feet, we never would have been able to link studios that were blocks apart. But now, with the Fibre Channel’s ability to reach some seven miles, that idea can become a reality.”

McMakin first learned of the A/V SAN PRO through the strong endorsement of his local Pro Tools dealer, Frank Conway at Audio One. “That caused me to look further into the system and ultimately purchase one,” says McMakin, who had been considering networking options for a couple of years. “The A/V SAN PRO has really made a huge difference for our entire workflow, combining speed and centralized storage with ultra-reliability and multi-user access. The A/V SAN PRO is a real problem-solver that has allowed us to unify our entire production workflow.”

Previously, McMakin continues, “it took an incredible amount of time to back up the considerable volume of work produced at the studio. Now, with the A/V SAN PRO, everything is backed up in one place automatically. We don’t have to haul drives in from other rooms and have my assistant sitting there backing up each individual drive. It’s nice to have the peace of mind that the whole network is backed up every night.”

Conway based his A/V SAN PRO recommendation to McMakin on his experience with other SAN’s. “I think the biggest reason I like the A/V SAN PRO is because it was designed by audio people, for audio people,” says Conway. “Many other SAN’s are built with off-the-shelf components. SNS has customized cards and software built specifically for audio and video. Audio files are transferred in small bits very quickly, whereas video files are transferred in bigger slower chunks. The A/V SAN PRO does that and is so powerful; it allows me to have some 128 tracks of 48/24 audio with heavy edit density on a single drive. With other storage solutions that is not remotely an option.”

The A/V SAN PRO becomes the backbone of any studio facility by employing fiber channel technology connecting multiple systems like Avid, Pro Tools, Sonic Solutions and Final Cut Pro into one storage/access location. Studio Network Solutions systems are designed to remain stable under the most extreme conditions. The A/V SAN PRO has earned respect among industry leaders as being nothing less than bulletproof and is scalable from a single-seat to 20 seats or more as requirements increase.

Studio Network Solutions Web Site

Mark of the Unicorn announced the HD192, a two rack-space 12-channel high definition audio interface for Macintosh and Windows personal computers. The HD192 provides high-quality audio recording and playback on 12 XLR analog inputs and outputs at any standard sample rate up to 192 kHz. A fully expanded HD192 system provides up to 48 channels of simultaneous analog I/O. As with MOTU’s other new PCI-424 systems (the 24I/O and 2408mk3), the HD192 will be sold as both a core system (with PCI card and AudioDesk software for $1,895) and expansion I/O ($1,595).

“The MOTU HD192 is the first full-featured, expandable high definition audio interface for the native recording studio,” said Jim Cooper, Director of Marketing at MOTU. “The HD192 is meant for those who demand the very best audio quality.”

12 channels at 192 kHz

All 12 XLR inputs and outputs on the HD192 rear panel support operation at 44.1, 48, 88.2, 96, 176.4 and 192 kHz. Latest-generation converters and state-of-the art design provide exceptional audio quality. The measured dynamic range for the 12 analog inputs is just over 120 dB (A-weighted at 48 kHz) with a measured THD+N of 0.0005% (-106 dB).

AES/EBU digital I/O is also provided at samples rates up to 96 kHz with independent real-time sample rate conversion on the digital input and output. A separate “AES word in” BNC connector allows users to clock the AES/EBU section independently from the rest of the system. System word clock input/output is also provided on BNC connectors.

Expansion

An HD192 core system includes the PCI-424, the same enhanced PCI card introduced earlier this year with MOTU’s 2408mk3 system. The PCI-424 card adds a fourth Audio Wire port that allows users to connect up to four MOTU audio interfaces to the computer. At 12 channels each, a fully expanded HD192 system provides 48 analog input and output connections.

CueMix DSP

The HD192’s PCI–424 card features CueMix DSP™, a flexible DSP-driven mixing and monitoring matrix that provides the same near-zero monitoring latency as today’s latest digital mixers. CueMix DSP™ allows HD192 users to monitor live inputs with no audible delay and no processor drain on the host computer’s CPU. The CueMix DSP engine resides on the PCI–424 card, so it works across all interfaces connected to the card. The included CueMix Console software provides an on-screen mixer that gives users hands-on control of their monitor mix, regardless of what audio software they prefer to use. CueMix Console provides a separate stereo bus for every pair of outputs, giving users up to 24 separate busses on a fully expanded HD192 system and more with other MOTU expansion interfaces. Digital Performer users, as well as users of ASIO2 host applications, have the additional option of controlling CueMix DSP directly within the host application’s mixing environment. CueMix DSP completely eliminates the buffer latency associated with monitoring live inputs in host-based recording systems. Legacy interface support

HD192 users can connect any MOTU PCI audio interface to their PCI-424 card, including the new 2408mk3 and 24i/o interfaces, as well as all legacy PCI-324 interfaces (the original 2408, 2408mkII, 1296, 1224, 24i and 308). Legacy interfaces can take full advantage of the PCI-424’s new CueMix DSP monitoring.

On-board SMPTE sync

Like the 2408mk3, the HD192 provides on-board SMPTE time code synchronization features. These features allow users to slave their HD192 system to SMPTE time code (via any analog input) without a dedicated synchronizer. The PCI–424 card provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and sub-frame accuracy.

The included software also provides a complete set of tools to generate SMPTE for striping, regenerating or slaving other devices to the computer. Like CueMix DSP, the synchronization features are cross-platform and compatible with all audio sequencer software.

Additional Feature highlights

• 19-segment metering for all analog inputs/outputs – The HD192 front-panel provides dedicated 19-segment level meters for every analog input and output.
• Across-the-board software compatibility — the HD192 ships with a complete set of drivers for Macintosh and Windows 98SE/Me/2K/XP and it is compatible with virtually all audio software on both platforms.
• AudioDesk software – A HD192 core system includes AudioDesk, MOTU’s sample–accurate workstation software for Mac OS with 24-bit recording/editing and 32-bit automated mixing, processing and mastering.

The MOTU HD192 is expected to ship in the first quarter of 2003.

Allen & Heath has announced the first release of iDR System Manager software for its iDR series, a new DSP audio system for installed and live sound. The software is available for free download from the Allen & Heath Web site.

iDR System Manager runs on a Windows™ PC and allows installers to create customised, integrated audio systems using iDR series hardware units. PC connection can be direct to an iDR-8 or remotely across a network or via a modem. Once a software configuration is complete it can be saved to an iDR-8 audio mix processor and the PC can be removed, leaving the iDR system to run as a standalone entity.

iDR-8 uses a fixed architecture, with full processing resources available to up to 16 inputs and 16 outputs (iDR-8 has 8 inputs and 8 outputs and can be expanded using iDR-in and iDR-out units), making it impossible to run out of DSP power. This rigid structure is reflected in the software, which uses a straightforward channel-by-channel format rather than the CAD style employed in some other DSP systems.

Hardware units which come under software control include iDR-8 audio mix processors, iDR-in and iDR-out expanders, iDR-switch boxes, wall plates and other remote control devices.

Allen & Heath’s Software Manager, Antony Jackson, explains the thinking behind iDR System Manager:

“From the outset we wanted to create a highly intuitive interface with an ‘analogue’ feel. Nobody wants to spend days learning new software, so we have done everything possible to make it easy to find your way around iDR System Manager. Configuring sophisticated installations is never going to be a ten minute job, but having good software certainly takes a lot of the hassle out of the process.”

Allen & Heath designs and manufactures professional audio mixing consoles for an international clientele in the live sound, installed systems and nightclub markets.

The Consumer Electronics Association (CEA) High End Audio Board today announced the availability of its “It’s All About The Performance” demonstration guide. The publication, which offers eight rules of performance based selling, is available at www.CE.org/performance.

Geared towards high-end audio dealers and their sales force, the “It’s All About the Performance” publication provides ideas and recommendations for enhancing the high-end audio customer experience. The guide reinforces the eight golden rules of performance-based selling: (1) Get right to the demo; (2) Set the stage, set the mood; (3) Script the demo; (4) Sweat the details; (5) Practice, practice, practice; (6) Simplify the demonstration; (7) If it doesn’t perform better, it isn’t better and (8) Performance is defined by the customer.

“Specialty retailers who can effectively demonstrate performance have a distinct advantage,” said Gary Warzin, chairman of the CEA High End Audio Board and president and CEO of Audiophile Systems, Ltd. “A convincing demonstration of great performance establishes credibility and authority, weakens the competition and builds the emotional excitement that is essential to closing sales. Our plan is to make this a living document that can be updated with relevant ideas on an ongoing basis.”

CEA’s High End Audio Board is comprised of executives from specialty audio companies, including Thiel Audio, Audiophile Systems, Ltd., Martin-Logan, Ltd., Conrad-Johnson Design, Parasound Products and Krell. The board’s mission is to promote the high-end audio concept and community. Information on the board can be found online at www.CE.org, the definitive source for information about the consumer electronics industry.

CEA also sponsors and manages the International CES – Defining Technology’s Future. All profits from CES are reinvested into industry services, including technical training and education, industry promotion, engineering standards development, market research and legislative advocacy.