ProAudio Review - April 2008 - (Page 60)

LIVE | First Look SOUNDCRAFT Continued From Page 58 dling, including a four-band parametric EQ section, compressor/limiter/gate/de-esser section, auxiliary controls and full I/O routing. The four-band EQ is displayed graphically with boost/cut, frequency and Q/bandwidth settings, plus a main screen that displays the overall EQ curve. For easy assimilation, the frequency settings mimic a radio-tuner scale; HF and LF bands also can be switched to shelving response. The EQ sections, as one would expect, sound very nice, with plenty of cut/boost for even the most troublesome sound sources. Adjustment is very precise, with plenty of headroom in following sections even when working with extreme settings. Touching a target function on the Vistonics II channel strip initiates a corresponding control panel within the lower section, that area being highlighted to identify the active controls. Soundcraft refers to this capability as “Where you look is where you control,” which pretty well sums up the design philosophy. The Dynamics Section comprised a fullfunction Compressor with threshold, ratio and release controls and an independent Limiter, plus a switchable De-Esser or Noise Gate with attack, hold and release controls, with a frequency-conscious key input. Gain reduction metering is provided within the fader area. Routing and control of the 32 main busses – designated Aux, Group or Matrix outputs - is achieved via two areas on the channel strip, arranged in two banks of 16; additional stereo controls come into operation for stereo sends. Busses also can be switched on/off with level trim, selectable pre/post fader (for direct sends), while a global mode enables pre/post EQ switching. The remainder of the channel strip controls Pan (assignable LR and C, or LCR mode), Channel Insert (switched pre/post-EQ/dynamics) and direct output. Very usefully, the latter send is assignable prefilter, pre-EQ/dynamics, post EQ/dynamics and post-fader. Useful for today’s remotely controlled PA systems, the built-in HiQnet protocol integration enables the Vi6 to communicate directly with HiQnet-savvy amplifiers and signal processors. Also included in the Vi6 system software is a suite of very useful plug-ins that comprises Lexicon reverbs and multi-FX plus BSS graphic equalizers. The DSP Package provides eight Mono or Stereo Effects units that may be patched to Aux Buss outputs and then back into a channel input, or inserted into input or output channels. For full control integration, all effects are controlled from Vistonics II graphical displays. The Lexicon DSP offers a total of 14 reverb types, including various plates, halls/spring types and delays, plus chorus, flanger, tremolo and pitch shift. The BSS DSP provides a 30-band graphic EQ on every output, controlled via the first 30 channel faders. Simultaneously, a composite EQ curve is generated and displayed on the Vistonics screen for that output path. BASK IN THE GLOW FaderGlow is a new feature from Soundcraft that dramatically reduces the potential confusion of assignability by integrating the fader-track colors used with the Vistonics II GUI to show, at a glance, what channel function a target fader currently is controlling. Also, within the output section, a bank of eight faders are assignable to Aux, Group and Matrix outputs, and very useful VCA control groups - FaderGlow applies, respectively, orange, green, cyan and blue illuminations to each fader to instantly designate the corresponding output species. (No need to read small text labels in poor lighting at the FOH or monitors position.) And, also useful, in conventional input mode each of the Vi6’s 32 motorized faders remains unlit. But when the user hits solo for an Aux, Group or Matrix buss master – assuming Follow Solo function is activated – each channel fader becomes a contributor to that soloed buss and is lit in orange, green or blue, accordingly. THE LATEST SOFTWARE Version 2.0 software, released in late-Fall last year, added an eagerly awaited Copy/Paste facility to the Vi6’s OS, in addition to a very handy Library function. The new Copy/Paste capability enables the settings of any channel, bus, FX section or processing section to be copied and then pasted onto single or multiple channels; an UNDO reverses the last paste operation. Blocks or individual parameters within a channel can be selected for copying using Vistonics II’s touch screen. The software update also includes a number of useful libraries of EQ and Dynamics settings. The new Library function lets a user select any set of parameters currently in use – maybe EQ setting on a group of channels handling drum-kit mics - to be stored and recalled from an internal library. The contents of this library can be transferred using a USB memory stick. (However, this process is independent of archiving/recalling Show Files of the entire Vi6 system settings.) Other important enhancements include linking of Master output graphic and para- metric equalizers to streamline LR or LCR EQ adjustments, plus individually adjustable left/right Pan and Gain controls on stereo input channels. Equally essential, a new autobackup system ensures that, in the event of power loss interrupting a show, the last console settings are retained and restored automatically when power returns, with no audio changes. (Also planned for March 2008 release are support for multiple stage boxes and offline parameter editing. Phew!) THE BOTTOM LINE Put simply, the Vi6 Large-Format Digital Live Console, with a price tag of $83,250, is extremely versatile, sounds great and is extremely easy to use. Offering a fully optimized control density, the third-generation console’s compact user surface features a unique integration of touch screens and encoders that dramatically reduces complex mental mapping. The system’s Vistonics II touch screen user interface, which places rotary encoders and switches directly onto an ergonomically designed touch screen, is a revelation. It remains uncluttered yet is powerful enough for even the most complex live-mixing assignment, with a strong analog-like look and feel that results in a shallow learning curve. The combination of 32 Group/Aux/Matrix busses with direct outputs and LCR and Left-Right/Stereo busses is very powerful. Soundcraft’s ultra-low noise analog mic pre-amps ensure pristine signal capture, while Studer’s 40-bit floating point engine handles the DSP heavy lifting. And with a continuing software upgrade path, users are assured of remaining competitive in the heady world of all-digital console technologies. The Soundcraft Vi4 Format Digital Live Console offers the functionality and facilities of the Vi6, including Vistonics II and FaderGlow, but in a smaller, more compact footprint aimed at space-conscious applications within theaters, houses of worship and venues with smaller mix positions. Measuring less than five foot wide, the Vi4 provides access to 48 inputs on 24 faders, with a total of 27 output busses available for use as masters, groups, auxs or matrices. My sincere thanks to Tom Der, Soundcraft USA’s National Sales Manager, for providing access to a Vi6 live-sound console at Harman International’s corporate HQ in Northridge, CA. Mel Lambert has been intimately involved with production and broadcast industries on both sides of the Atlantic for more years than he cares to remember. 60 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://www.proaudioreview.com http://www.myparmag.com

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ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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