Digital c o n

live mixing s o l e

Performance

designed for

Monitor
- Console surface designed for fast precise control - Clear view of all Aux / bus sends - Mono, Stereo or Multi-format Aux (IEM) - Full processed inputs and outputs - Routing of processed groups and aux to matrix or master - Independent panning for each of the 32 busses

Theatre

- Configurable for specific show layouts - XFAD for multi-format sources - Mulitiple Matrix and bus masters - Show automation: snapshot, manual or MTC synch, crossfades - Live functions inc OverRam, Relax, Off-Line - New Q/pages for display and control -

Front Of House

- Exceptional sound quality - Flexible console configurations - I/O, XFAD, VCA, groups, matrix - Smart automation and live functions, OverRam - Multi-format mix busses - Full processing, inc. delays on outputs - Off-line programming - Small footprint, more paying customers

Live to Air

Flexible bus outputs and distribution Multiple program masters and matrix Signalization control Automation and Relax functions Exceptional audio quality Optional external I/O DSP and stage boxes - External PSU options - Small footprint, ideal for OB applications

Technology

Sy48 mix capacity
mixing for up to 64 channels
The Sy48 is the latest in a series of compact professional digital audio mixing consoles from InnovaSON. Equally at home touring front of house or on monitors, in theatres, broadcast and houses of worship, Sy48 brings the best of digital audio technology to the art of live mixing. Compact and lightweight, Sy48 is ideal for those applications where space is at a premium but quality and reliability cannot be compromised. Specifically designed for live mixing the Sy48 provides a straigntforward uncluttered interface to allow you to concentrate on the thing that matters the mix.
Sy48 input and output resources
up to 48 local mic/line inputs 16 local line inputs - for aux, inserts, bus returns 16 local line outputs - for aux, inserts, bus sends routing of processed groups and aux to matrix or master up to 48 processed or non-processed analog, digital or EtherSound outputs 32 busses - freely assignable as main, aux, groups or matrix 2 monitor busses choose from a selection of analog, AES digital, processed or unprocessed inputs and outputs optional Local External Mix box for I/O modules and DSP optional Stage Box for remote I/O

Sy48 control surface

fast, straightforward interface for immediate control 48 faders - user-configurable for use as inputs, VCAs, groups, busses, aux, XFAD, matrix or crossfaders central control panel provides instant, repeatable control of input gain, pan, eq, dynamics, delay etc hi-definition 12 on-board fold flat TFT screen displays all key console parameters at a glance on-screen - everything you need to see in one place at one time independent pre/post fader and panning for each channel and bus stereo monitoring with PFL, AFL and APL (After Processing Level) listening on headphones or via allocated outputs

Sy48 transmission

MC Optical comms module - coaxial and fibre optical interconnections for the optional Stage Box (digital splitter)

software - Sensoft

save configurations for instant recall snapshot automation with manual, or MIDI synchronisation enhanced show software with new Q /Page display and control for theatre applications, including Relax, Off-Line and OverRam Off-Line programming for show preparation and backups

acclaimed audio quality

high performance mic pre-amps short and constant latency floating point DSPs with maximum accuracy 144 dB dynamic range

design and build

designed to cope with the rigours of touring proven durability and relaibility hundreds of InnovaSON consoles in use every day worldwide

Input signal path

assign inputs to faders with total flexibility
To assign an input to a fader press the Patch IN key. The corresponding screen opens and displays the global assignments to inputs faders. If you want to add or change an assignment, then select an input fader, choose your physical input (distant or local) with the track ball pointer or keyboard. Press the OK key, and the connection is made.

fader expansion

______ is a totally new way of controlling mix elements which provides you with the ability to configure your Sy48 the most efficient way for each show and benefit from an immediacy of control previously unavailable on live digital consoles. The consoles channel faders may be used as standard mono input faders of course, but you will get the full benefit of XFAD using an expansion zone for multiple sources. Using XFAD, you can group several input sources for control by the same input channel, then, press an XFAD select switch, and press OK to group these inputs to this channel. At any time, you can enter or change the name of the physical input. Press Patch IN again to leave the input patch screen and return to the main mix screen. The last selected channel is now available for routing, Eq, compression, gain, etc In this way selected channel faders become controllers for several source mono inputs (2 for stereo, 6 for surround sources, 10 or more for instruments grouping) according to your Patch IN assignments.

For example, a drum kit (11 mics) could be managed by 5 channel faders (ch 5-9) with 4 XFAD expansion faders configured in the above example as Chs 1 - 4. Channel 5 : kick (mono input) Channel 6 : SN (3 mics - top, bottom, rear) as shown in the expansion zone (chs 1 - 4) Channel 7 : hh (mono input) Ch 8: OH (2 mics) which will appear as chs 1&2 in the expansion zone when ch8 SEL key is pressed. Channel 9 : TOMS (4 mics, one for each tom) which will appear in the expansion zone when ch9 is selected. Press the channel SEL key and you have direct access to the input or the group of inputs. Press again to cycle through these one by one, whilst the central Channel Control section gives you full control of their processing. Press directly on a particular input in the expansion zone to have direct access over its parameters, gain, dynamics, Eq or Pan. Using XFAD expansion fader combinations you are able to control the mix levels and mutes of multiple sources with more efficiency and less space used on your console control surface.

always in control

Sy48 input channels are all provided with Input Gain, Phantom and Insert Phase, Low Cut ON/OFF sweep frequency from 30 , to 500 Hz Delay up to 111 ms, (30m at 48kHz) Noise gate, Compressor, 5 parameters, ON/OFF Parametric equalizer with 4 full bands, width, frequency, level, ON/OFF at all times, with no processing limitations or extra audio delay. In fact youll never run out of processing as there is more than enough DSP power available on the Sy48 DSP module. Select a channel, press an Eq, Gate, Compressor switch; change the values of the function and as the sound alters, the on-screen display reflects those changes fast, safe, repeatable. With Mutes, Cues, a 16 leds comprehensive level-meter and a motorized fader for each channel, you have everything you need for a great mix.

Output signal path

as easy for bus outputs
Press the Patch OUT key and the global view of all connections to the outputs is displayed. Select a mixing bus fader and then select your physical output with the track ball. Change the output name if you want for an easy-to-follow picture of the connections. Press the OK key and the connection is made. If you want a bus to be multi-channel (XFAD mode), select the fader(s) reserved to manage the feeds and assign them in much the same way as with XFAD inputs. Using the Patch OUT grid you can quickly set up a stereo or LCR bus output in the analog, and /or digital domain. If you want to distribute the same bus to several outputs (analog, digital), select the next output with the track ball, hit OK and your new output is connected. When the Sy48 is equipped with Hyper-Drive output modules (XO-8D, DO-8X) either inside the console or in the Local External Mix rack, each output has a complete dynamic processing section - gate, compressor, 8-band parametric Eq, delay of up to 1.35 seconds, and output level adjustment from +10.5 dBu to +22 dBu. There is no need for external racks - just connect your amplifiers !

output processing

independent each bus

panning

For fast PAN access, keep an input channels SEL switch depressed, and then press the CUE switch on one of your stereo aux busses on the console. This gives you control of the inputs independent panning to that bus. Press another stereo aux CUE and youre now controlling this same input panning but to a new bus. Perfect for monitors, fast for any other use.

mix bus & routing

Flexible and powerful
Sy48 mix busses can be defined as any of the following, depending on your fader configuration: Mono Stereo LCR LCR+M simple configuration using XFAD mode, Left and Right using XFAD mode Left, Centre and Right using XFAD mode Left, Centre, Right and Mono reduction
This is valid for the following bus types: Groups (blue faders), Aux (black faders) which mix inputs. Masters (red fader) which mix Aux, Groups and inputs. Matrix busses are only mono and are used for re-mixing Groups, Aux, Masters and direct inputs. The Monitor bus is stereo with a mono reduction if needed. In addition to audio busses, Sy48 can be configured with multiple VCAs which act as remote level controllers for any channel, input or bus with Mute grouping possibilities. VCA faders are assigned in the Console Configuration Screen. Routing inputs to a bus and that bus to a higher level bus is simple. Press an input SEL key, and the console channel SEL key will illuminate on the bus to which this input is routed. To make a change, keep the SEL key pressed and, simultaneously, select or deselect it from the bus destinations using their SEL keys. The audio routing, the console keys and the on-screen console display are updated immediately. The principle is the same for bus to bus selections. The console and the on-screen display reflect the input routings as well as bus to higher level bus routings (Master, Matrix etc).
Now press on the Pre/Post and the full Pan Screen opens. By selecting each of your busses, you have control of the corresponding pans and balances immediately, as well as a complete view of the channel panning distribution. Access to this screen from a selected bus gives you a full view of that buss panning distribution. There are more inputs available which you may want to alter and accessing them is simple. Press the SEL switch of the input you want to control and it becomes active immediately. Easy and very powerful. Even sophisticated multi-point distribution becomes straightforward.
Digital live mixing that works for you

Live Mixing Console

Q / Page management
Load / Goto, PREV, NEXT OK, SAVE, EDIT

Channel Control

Input / Output gain - Phantom Phase - Insert - Dynamics Parametric Eq LowCut - Pre/Post Pan

48 level meters

16 led metering on each channel

48 faders

freely assignable functions Input: mono, stereo, multiple (XFAD) Control: VCA, crossfade Mixing Bus : group, master, aux, mono, stereo, LCR, multiple (XFAD), output matrix

Fast, tactile control

InnovaSON has years of experience in digital live sound with hundreds of consoles in use every day around the world. The Sy48 control surface has been specifically designed for live mixing, providing fast direct performance control without the need for multiple channel strips, hundreds of pots and switches, or layers. Just what you need when you need it immediately Within a few minutes you will be using the full potential of the Sy48 and will immediately appreciate its compact size, flexibility, reliability.
.and above all, its sound.
Assignments / patch & utilities Screen TFT
12 retractable Off-Line, Muxi, Patch IN, Patch OUT Relax, Test, Request
Comprehensive Monitoring and talkback
3 Monitoring circuits Output Cues PFL, AFL,APL Input Cues PFL, AFL Solo - Solo Cut TB1, TB2, TB3

Retractable keyboard

PC keyboard & trackball & MAGLIGHT

Maximum control

console layout
The Cue button on each fader sends the corresponding channel to the stereo monitor bus. Cue modes available are: PFL and AFL for inputs, PFL, AFL and APL (After Processing Listening) for outputs with 5 corresponding levels. Fast, precise, dependable monitoring for multiple applications: On stage monitoring: use the 3 output circuits for PFL/AFL control (wedges, IEM, near field). These are assignable for each of your auxiliaries. As soon as you CUE an aux, the monitoring is connected giving you immediately the same balance as the artist. Front of House: With delays available on monitoring outputs, your nearfield listening circuit can be correctly phased with the main PA, and controlling the delays or the spatial sound for multi-point amplification is simple. Theatre: From your control room or house position, you can listen to any monitor selection; even a sophisticated multi-point set up. In the venue, during rehearsals and during the show you have complete control of each audio feed. Broadcast: Near field, mid field or main monitor speakers are immediately available for monitoring your various program outputs or program return feeds. Distributed outputs make it simple to monitor differing feeds with varying levels and processing. One of the monitoring circuits can also be specified for Comms purposes.
user-definable fader configurations
The Fader Configuration screen is where you define the console layout you want for the current job. For each show file, the 48 faders on the control surface can be defined as any of the following: Input channel, expanded input for stereo or multiple XFAD VCA Group or a Sub Group, Auxilliary bus, Master bus and XFAD for mono, stereo, LCR and LCR+mono Matrix mixing bus Crossfade fader Once the console is configured you then have access to all the resources and controls you will need for the current show and these are saved as a show file. In this way an engineer at Front of House, on Monitors, or mixing live to air in an OB truck can lay out the Sy48 faders the way that best suits their way of working. e.g. - Monitors will generally have multiple inputs and many aux feeds for In Ear Monitoring or wedges. - Live broadcast for TV and Radio can prepare multiple mic inputs, machines and other sources as XFAD stems, with several mix bus outputs for programme distribution, mix-minus and comms.

direct outputs

powerful monitoring & solo/cue selection
At the heart of the Sy48 console there is a powerful digital audio signal distribution, routing and splitting functionality. Accessed by the MUXI key, the I/O page displays this comprehensive switching matrix giving you access for selecting direct analog or digital outputs and providing a view of all the system outputs and their assigned processing. - Multi-track-recording feeds, with or without output processing, simplify machine room management and improve flexibility. Fast, flexible signal distribution for clean feeds are easy to manage for those last-minute requests during a live show. - Return lines to the stage box for mix-minus, PA loudspeakers or Comms sends are quick to program and control. This screen can also be used to define insert I/Os for external outboard equipment. Each insert will have a name (typically the outboard equipment) and its send and return I/O definition. Insert patch assignments are fast and easy to make and clearly visible on-screen.
comprehensive monitoring system
The Sy48 monitor bus is stereo and can be distributed to the headphone jack as well as to 3 different assignable outputs. These are selected via the Patch OUT grid and the choice of circuit in use is made on the console surface. Each of the three outputs has its own listening level. Monitoring preferences with Input / Output priority, default Master listening, Solo mode and Mono reduction give you full flexibility and total control.

Sensoft

bus inserts & processing
Processing can be added to a bus either using the Sy48 DSP internal processing or via external insert send and returns which are assigned to the busses via the Patch OUT window. This also displays the available remaining bus processing resource in the right hand columns. Processing inserts can be turned on and off using the insert tabs on the selected bus or output on-screen display window.

libraries

Store and recall your favourite sounds and processing in your personal libraries. Its simple. Press and hold the channel SEL key, then press SAVE and a new screen window opens where the current channel name is to be stored. You just need to enter the name you want for this particular processing (PhilKick, GuitaRock, Violin12, Vocomment, etc). Export this library to a floppy disk or USB key and you can update your own data, keeping your sound libraries with you. To load a library sound just hold down the SEL switch on the channel to be changed and press the Load key, the menu of your library sounds opens. Chose the sound you want and select the parameter(s) to copy.

key live functions

Youre all set to go; rehearsals went well, and everything is in place; the show will start soon. Then, at the last minute, the stage manager comes up and asks for a new commentator mic or any one of the last minute things that can happen live Your show has 65 Q/page snap-shots and this mic needs to be added after the 3rd act no problem, press Off Line. The console is frozen in its current state and the audio continues unchanged. The console software, Sensoft, now lets you change to the page to edit, add this new mic, make the necessary setting corrections and routing to the busses, and save the new modification. If necessary then OverRam the mic settings to all the pages of the show where this mic is to be used. OverRam is the function to use when you want to update a change to one or more channels across multiple pages of the current show. OverRam can be used, off-line as we did here, or on-line during the show itself to update a new Eq or any parameter to this same channel throughout the pages where the new setting is needed. From then on those pages, scenes, will have the new parameters as well. Were still off-line. The TFT screen displays this clearly and the console key Off Line is showing red. Press Off Line again and you come back to the console status you left and the desk is unfrozen and live again. Want to copy your channel settings on other channels? Choose the parameters to be copied and press Copy, select the destination channel and press Paste and its done. The Link grids give you the ability to have several channels under control at the same time. This could be for inputs, Eq and dynamics, faders, mute and outputs. You can then link channel pairs as stereo or more as groups of inputs or outputs depending on the flexibility of control you need. Relax keeps specified channel faders in manual mode ie: not under software control. This could be for example for particularly sensitive or unpredictable inputs you need to use during a show. For each fader, you can define the parameters to keep out of the automation maintaining partial or full manual control through the different show pages. Sy48 is controlled by Sensoft, dedicated PC compatible software that enables you to prepare or archive your console settings and libraries on your desk or off line on a laptop PC. Export and Import functions allow file transfers from console to PC and vice versa.

automation

Console configuration, fader definitions and general preferences are stored in a root file which will also contain any Q/pages you make for a show. Once you have a file you can run the console with only one Q/page but more likely you will want to have multiple Q/pages stored for different bands, songs, scenes or Q changes. Up to 1000 Q/pages may be stored in the console each of which is a complete snap-shot of the console absolutely everything. A list of the Q/pages stored can be generated, displayed and edited on the main mix screen during rehearsals allowing you to quickly build and manage your Q/page list for the show. And of course the Q list could also be built offline or imported from another console. During the show itself you can choose which informarion from the list you want displayed on screen eg. current and next Q/pages plus notes and Midi events.

An automation management panel on the Sy48 is used to control the page changes during a show or rehearsals. You can either make changes manually using NEXT and PREV, or automatically with Midi Program Changes and Midi Time Code from machines or sequencers. The Smart Automation and CrossFade modes allow you to segue / fade between pages whilst keeping complete control over the process. For each page, up to 16 Midi-Program-Changes can be sent to external devices such as effects, lighting and others consoles.

Typical

On Tour - Monitoring
Console surface designed for fast precise control Clear view of all Aux / bus sends Mono, Stereo or multi-format Aux Full processed Inputs and Outputs Independent panning for each of the 32 busses Intelligent monitoring - 3 configurable circuits
Monitor console configuration example
56 inputs - 32 busses 7 banks of 8 XFAD, 5 direct assigned inputs 8 VCA - 8 stereo, 16 mono Aux - 2 XBUS Up to 16 internal inserts - Up to 16 external inserts
Just coaxial and/or optical link
Stage Box digital splitter

48 microphones on stage

8 stereo Aux for I.E.M 8 mono Aux for Wedge monitor
16 I/O line resources for external FX and inserted processing

On Tour - Front of House

Exceptional sound quality Flexible console configuration - I/O, XFAD, VCA, groups, matrix Smart automation and Live functions Multi-format mix busses Full processing inc. delays on outputs Small footprint - more paying customers Off-Line function and Off-Line programming
FOH console configuration example
64 inputs - 32 busses 10 banks of 10 XFAD 8 VCA - 8 mono Aux 1 Master L,R,C,M section - 8 Matrix busses Up to 16 internal inserts - Up to 16 external inserts
On stage outputs for PA processors 48 microphones on stage
Local I/O for external FX and processing
Matrix outputs for Broadcast, OB Van, Studio,. distribution

applications

On air - Live Broadcast
8 local audio slots using the local L.E.M. Flexible bus output and distribution Multiple program Masters Accessible Monitoring and Comms circuits Automation and Relax functions Midi fader starts and Mute control Configurable Talkback system
L.E.M. connected thru Jaeger connector
Live broadcast configuration example
48 inputs - 32 busses 24 banks of 2 XFAD 4 VCA - 6 stereo groups, 4 mono Aux 3 Master L,R,C (programs) - 6 Matrix busses (Mix-minus) 16 AES I/O for digital recording Line I/O for external processing and FX Virtual faders for L,R,C XBUS and L,R XFAD

Codec / Sat

Monitoring

Intercom

VTR / Digital machines

On Stage - Theatre

Configurable for specific show layouts XFAD for multi-format sources Matrix flexibility e.g. dressing room feeds Show automation - Play List - Preview - Snap shot, MTC, CrossFade Live functions - OverRam, Relax, Off-Line Multi Bus VCA/Group combinations for special effects
On stage mics EtherSound audio distribution network for PA and Monitors

L.E.M.

Theatre console configuration example
64 inputs - 32 busses 8 virtual XFAD for multitracks and stereo inputs 1 Master, 16 matrix for PA distribution 4 VCA - 8 mono, 1 stereo Aux for FX AES inputs for digital Multitracks Line I/O for external processing and FX 24 busses gathered on one CAT5 EtherSound cable 1 monitoring level fader 1 CrossFade fader control
Digital Multitracks synchronized with MTC
Sy48 audio specifications and block diagram
Internal sampling frequency External sampling frequency Internal signal processing Audio signal path Analog signal delay Analog bandwidth Analog input range (mic input) Analog dynamic range Total Harmonic Distortion + noise Hum and noise Noise Maximum voltage gain Digital Digital Digital Digital Digital Digital Digital signal delay, synchronous signal delay, asynchronous Bandwidth dynamic range THD + noise, synchronous THD + noise, asynchronous noise floor 48 kHz 44 to 49 kHz 32 - 40 bits 24 bits 1,3 ms 15 Hz. 20 kHz -63 to 27 dB 105 dB -90 dB typ. -127 dB -95 dBu -95 dBu +73 dB 0, 5 ms 1,3.1,42 ms 5 Hz.20 kHz 144 dB -138 dB -122 dB -155 dBFS Input section Delay Filter Dynamics Equalizer Panoramic Level and Mute Output section Groups Auxilliaries Masters Matrix Monitoring System I/O DSP Send Line Output Delay Dynamics Equalizer Word Clock - AES Floating point 760 dB Dyn range 144 dB dyn range mic in - DSP - analog Xout -3/0 dB mic in - DSP - analog Xout input gain in 64 steps of 1.5 dB input gain 6 dB, output level +22 dBu input gain 6 dB, output level +22 dBu equivalent input noise @ 60 dB gain residual output noise Any bus fader at 0 dB mic in at 63 dB, faders 0 dB, output at +22 dBu AES in - DSP - AES out Src AES in - DSP - AES out +/- 0.1 dB AES in - DSP - AES out AES in - DSP - AES out AES in - DSP - AES out Src AES in - DSP - AES out
64 Input channel processing
Remote control (VCA, mute groups) 32 busses, programmable functions
8 to 48 (64 with L.E.M.) processed outputs (XO-8D, DO-8X, DO-8XES)
48V, Phase, programmable Insert 1 to 5300 samples (110 ms @ 48kHz) Low Cut 0 to 500 Hz sweepable Gate/Expander, Compressor/Limiter, 12 parameters 4 full bands 20 Hz-20 kHz +/- 15 dB + Notch independant for each bus, short cut and full screen unlimited assignable VCA and/or modes Mute, Hyper-Drive option, internal/external inserts mono, stereo, LR, LCR, LCR+M mono, stereo, LR, LCR, LCR+M, pre/post mono, stereo, LR, LCR, LCR+M mono, all resources (I andO) mixable stereo, mono, solo, priority, 3 circuits + Headphones 32 busses patchable up to 48 physical outputs, 64 with L.E.M. 16 busses patchable patch, output level 10 to 22 dBu (-12 to 0 dBFS) Adjustable up to 1365 ms @ 48 kHz Gate/Expander, Compressor/Limiter, 12 parameters 8 full bands 20 Hz-20 kHz +/- 15 dB + Notch

Analog delay = 1.3 ms

dBu Analog input

Digital

dBFS 50
Eq DSP headroom 32 bit Floating point Mix DSP headroom 32 bit Floating point
dBu Digital Analog output
Gain min (28 dBu) Line input (22 dBu)

Line output (22 dBu)

-50 -52
Gain max (-47 dBu) Audio Bus Exchange Audio Bus Exchange
Gain min (-80 dBu) Line input (-86 dBu)

Analog output (-95 dBu)

Gain max (-128 dBu)

-102 -150

DSP noise floor

a truly modular system

Modular in design, Sy48 can be used as a stand-alone product with all necessary I/O resources on board; with a Local External Mix box for those clients who want to run their I/O modules and DSP externally to the console control surface, eg. Outside Broadcast trucks; and / or with a remote Stage Box for distant inputs - for example on-stage mic feeds which are transmitted to the Sy48 either via coaxial or optical fibre cables. This is a complete system, combining all of the benefits that digital technology can offerplus exceptional sound quality. Sy48 stand-alone. A choice of 6 input/output modules, analog or digital, within the rear of the console. or Sy48 with Local External Mix box. A choice of up to 8 input/output modules. and Up to 8 modules that can be placed in the Stage Box The Stage Box, acting as a digital splitter is able to send up to 64 mic/line channels to one, two or three Innova SON consoles via coaxial (up to 500 m ) or fibre cables. For example, a very powerful mix system can be set up: Front-of-house + Monitoring + Recording, using the same Stage Box splitter.

input and output modules

8 mic / line analog inputs 27 to 63 dB remote preamp gain and +48V phantom 24 bit 48 kHz Delta Sigma Converters XLR-3 F balanced inputs Leds for signal, Peak, 48V
8 line level analog outputs 11/17/22 dBu Full scale jumpers 24 bit 48 kHz Delta Sigma converters Remote Mute and Patch XLR-3 M balanced outputs

8 line level processed analog outputs Remote output gain control (10 to 22 dBu) 8 full-band parametric Equalizer Dynamics processing and Delay up to 1350 ms XLR-3 M balanced outputs

DI-8S/Src

4 AES digital inputs (8 channels) IEC 958, 24 bit digital audio Remote digital gain (-6 to +6 dB) and delay (0 to 5 ms) Synchronous mode (@ system word clock) Sample Rate Converter option 30 to 50 kHz XLR-3 F, 110 Ohm balanced inputs
4 AES digital outputs 8 channels) IEC 958, 24 bits digital audio Remote Mute and Patch Synchronous mode (@ system word clock) XLR-3 M 110 Ohm balanced outputs
4 AES digital processed outputs (8 channels) Remote output gain control (10 to 22 dBu) 8 full-band parametric Equalizer Dynamics processing and Delay up to 1350 ms Synchronous mode (@ system word clock) XLR-3 M 110 Ohm balanced outputs

DO-8XES

8 digital processed outputs sent simultaneously thru 4 AES digital XLR and EtherSound RJ45 Ethercon connectors Remote output gain control (10 to 22 dBu) 8 full-band parametric Equalizer Dynamics processing and Delay up to 1350 ms Sample Rate Converter for all outputs XLR-3 M 110 Ohm balanced outputs EtherSound From & To Ethercon RJ45 connectors
In addition to the I/O module options the DSP Sy48 module has two Sub-D25 connectors for 16 line level inputs and 16 line level outputs.
Sy48 mechanical specifications

characteristics Console

Length : 1150 mm Height : 325 mm Depth : 760 mm with keyboard drawer open : 875 mm Weight : 40 kg 1 Jaeger connector for automatic redundant power supply Vac, 50/60 Hz, 6.2 A max Folding 12 TFT screen Embedded 800 MHz Pentium 4 CPU 128 Mb Ram,128 Mb Compact Flash memory disk Drawer with keyboard and trackball USB connector on the front L.E.M. remote control Jaeger 37 pin socket (optional) 2 XLR-4 sockets for Littlite 12V-0.5A 1 talkback XLR-3 female connector on the front, 48 V Phantom, Sens = -24 dBu (-18 dBFS) 1 Jack 6.35 stereo Headphone connector, 15 dBu/ 16 Ohm 1150 mm
110 mm 115 mm 215 mm 76 mm

760 mm

Sy48 with Jaeger connector for L.E.M.
Sy48 fitted with DSP Sy48, MC Optical, 4 SI-8D and 2 XO-8D modules

Audio rack SG3100

for L.E.M. or Stage Box
Width (19 rack standard) : 485 mm Height (7 Units) : 312 mm Depth : 325 mm Weight : 18 kg 2 internal auto redundant power supplies Vac, 50/60 Hz, 4.1 A max Back plane bus 11 slots 1 slot reserved for Power management module 1 slot reserved for DSP Sy48 module 1 slot reserved for MC/SC Optical comm module 8 slots available for Audio I/O modules
Optional fibre and/or coaxial cable

Headquarters

zone du Kenyah 56400 Plougoumelen - FRANCE Tl. +33 (0) Fax +33 (0) 34 30

www.innovason.com

English - Photos: Yves Berrier & InnovaSON - Oct 2004 Non contractual document - Specifications and appearance may change without prior notice

Road Test

InnovaSON SY48 Digital Console

By JamesElizando

he topic of todays discussion is the InnovaSON SY48. Im going to preface this review with a blanket statement this console is so deep that it will be impossible for me to write everything down without being too long-winded. With that said, let us dive in. The Gear
rt The console that InnovaSON provided was set up with 48 inputs, 24 outputs and one 8-channel FX card, which I promptly used all of. As I opened the lid to the console case, I was met with an interesting looking specimen. The SY48 has 48 faders on the surface with nothing more than a select and mute button that correspond to them. It also has an area that contains gain, EQ and dynamic control based on the channel you have selected. And let us not forget to mention the cool screen that actually flips over and conceals itself into the confines of the console when not in use. Next, I went to the doghouse and there I found the Ethersound card for the snake system. That is also where I found the FX card. There are a total of eight card slots in the console itself, which makes the console in essence the local rack. You can load the console up with I/O cards and it becomes a self-contained 32 x 16 without having to use the stage rack. Nice touch. But our needs were for more ins and outs than that, so it was on to the stage rack. I unbagged the stage rack and found where the Cat5 cable from the console plugged in. Nothing particularly special about the stage rack it was pretty much like every other one Ive ever seen. At this point, I feel like a little boy at Christmas having just opened my new present, and I could not wait to turn it on and play with it. So, thats exactly what I did, and turning it on is exactly how far I made it on my own. Remember the console has faders on it numbered 1-48. No dedicated left or right and the 1-48 doesnt necessarily mean channels 1-48. Theres a starting template configuration, but you have to go in and literally build your console and place all of your things where you may want them to go. I farted around in a bunch of different screens for about a half an hour and just scratched my head. I was thinking to myself. how on earth do you fit 48 inputs, 24 outputs and a dozen other things into 48 faders. For that matter, how do you make them all work with each other?
rt It was at this point that I called InnovaSON and said HEELLLPPPPPPP!!!!!!!! I talked with Kevin Madden and Ken Parks, who are both super-cool dudes. At one point when I was talking to Ken, he was actually at home making dinner for his kids while he was trying to help me use his console. Hows that for service? After several minutes of conversation, Ken comes up with a bright idea to help me. He says, e-mail me your input and output requirements and Ill build you a show file. I do exactly that, still fretting of course, because I have a conference fast approaching, a console that Ive never used, and its un-programmed to boot. Silly me. I get a call from Ken about 10 minutes later telling me that he has a show file built that he just e-mailed to me. I open the e-mail and put the attachment on a USB drive and load her in. My tutorial begins. Over the course of the next two days, I was on the phone with Ken for about 10 hours or so. Not because I was having problems, but because Ken went over the console with me step by step to give a really thorough understanding of how their rig works. And let me tell you, its pretty cool. OK, back to my wondering how were going to mash all this stuff into 48 faders. After the fact, I almost wanted to punch myself for worrying. After Ken sent me the file back he (I would say we, but that would be wrong) was able to fit all 48 of my inputs into 16 faders. I aint lying 16 faders. You ask me how is this possible? Well, InnovaSON has a rad feature that lets you program a group of input faders into what they call a smart fader deployment zone. Basically, this means that these faders will convert into many different inputs depending on what you have selected. For example: We had faders 1-5 designated as smart faders, and this is where it gets real cool. Fader 6 started the input list with my two kick drum mics. When you hit the select button on the Kick channel it will deploy both kick channels to the smart faders, so you can have control of them separately or as a pair under fader 6, which is a smart VCA. Once you get them dialed in and are happy, you can simply drive the Kick via the single fader. Viola, two channels in one! Pretty awesome, right? It got even better when I was deploying five choir mics to the smart faders five into one. You get the picture. That is how we were able to fit so many channels into so little space. In the end, you end up using the single faders as though they were a bunch of VCAs. Now

The Service

InnovaSON SY48
to the output side. I use 11 sets of personal monitors some are stereo and some are not. But we were also able to use smart faders on the output side by using one fader as a stereo master and having it deploy to two smart faders to control the individual output levels of left and right. Way cool! rt As I have mentioned in the past, I mix for a church with a 3,000-seat sanctuary. So, needless to say our audio department (Thats code for ME) is very busy on a Sunday morning. I used the console for a three-day conference at the church that had all the aspects of live music as well as spoken word. So, I was able to use the console for a variety of things. The console was very easy to navigate once it was programmed; however, the the programming was the only thing that zapped my brain at first. After some time on the phone with Ken to get an idea of how this bad boy works I was off to the races. Im sure that more time with the console and a few more phone calls would yield even more coolness. After all the time I spent Ken said I had explored about 30% of the consoles processing power. My head was spinning at 30%, I might have a Chernobyl experience if I knew everything it did. To try to not leave anything out for you guys, the FX sounded really nice, especially the one called Just Verb. The FX card is eight channels, which can either be eight mono or four stereo. It was also easy to patch once you get the vibe. You can also patch it as an insert point and use any effect that way. One effect that was available was a 31-band EQ, so I used that on my pastors headset mic. On that note, each output has an 8-band parametric as well as a 31-band graphic and signal processing. That processing is actually programmed directly into the output card so to use those doesnt take any processing power away from the console. I was not a huge fan of the way the EQ section sounded on the input or the output side, but it was acceptable. The insertable graphic from the FX card was much better. Each input has an onboard comp and gate as well as insertable ones from the FX card. Again, the onboard dynamics were pale compared to the insertable ones. Onboard I found both the comps and gates to be overly The Gigs
aggressive and, at times, hard to mange. The inputs also have a 4-band EQ with a high pass that goes up to 570 as well as the usual phantom, phase and so on. It will also hook up to a 64Trk ADK Live Tracker recording PC via a Cat5 cable. Not bad, huh? Here is one of my favs about the desk. The console has several additional channel resources available in the software that do not have to correspond to a channel on the control surface. I have several matrix outputs to places around the church that are set and forget. I was able to assign channels as matrices and control them all via the mouse and keyboard to make the settings and then store them in the software. Totally off the control surface not in my way or taking up precious faders. That is not just cool or even way cool, this gets a way, way cool! I know this sounds very intricate in the soft patch, but after about 20 minutes or so on the phone, I had the idea and I was off to the races. As far as controlling things that are being aux fed, its real simple. You just hit the select button of the aux master that is desired and then the fader of the input turns into the send level of the selected aux. Just like fader flip on a Yamaha. I ran 20 mixes fold-back with this console and had no problems whatsoever All in all, I was very impressed with the console. It is user-friendly and does a ton of stuff for the price tag. I will also say that the SY48 seems to have fixed the problems that plagued its predecessors. I used it for about 15 hours a day for a week and it performed without flaws.

InnovaSON Sy48

What It Is: Digital console with integrated recording capability. Who Its For: Churches, theatres, touring situations where the same team is running it all the time. Pros: Priced right, easy to mix on once programmed, great FX plugins, infinitely adaptable to your situation. Cons: Onboard dynamics are harsh, very involved to program, onboard trackball mouse is difficult to use. How Much: $79,990. Web site: www.innovason.com

OCTOBER 2008

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