Post production for film, broadcast and video games require flexible systems that are ready for many different workflows and monitoring formats. AX32 is your perfect audio routing centerpiece, DD converter, monitor controller and IP Audio hub, connecting all of the dots when mixing in the box.
Post production covers a wide palette of applications, but one of the tasks that require the highest demand in terms of flexibility and is challenged due to ultra-complex setup configurations is post in film productions.
Film and TV productions often require support of multiple delivery formats, including regular stereo, various 'standard' surround formats such as 5.1 and 7.1, but also recent 3D audio formats like Dolby Atmos or Aura 3D.
Now, if you are to mix for all of these formats and deliver great-sounding results across the board, above all you need a flexible audio routing and monitoring setup that allows you to switch seamlessly between production formats in seconds. You may also have the need for 'moving' various setup configurations between different mixing rooms and stages at the same facility. That is where our platform comes in very handy on several different accounts...
Routing Audio in a 1,500 x 1,500 Channel Matrix
Our DADman software platform allows you to route any single audio channel to and from anywhere within a 1,500 x 1,500 channel audio matrix. Depending on what hardware interfaces you use to connect - e.g. AX32 and/or DX32 - you virtually get an audio-routing command central that lets you take any input from analog, AES, MADI, Optical, etc. and route it anywhere.
With this powerful system, you can create any workflow you could ever imagine in any post facility. And best of all, you can create as many as you want and simply save/recall each one in a matter of seconds.
The benefit? Well, this is a huge time saver that will free up valuable production time and help you meet critical deadlines. That's just one of the may benefits, but definitely a very concrete one.
Pro | Mon 2 & MOM Monitoring Solution
As mentioned, monitoring is a central issue in complex post production setups. And since the DADman software by nature provides the fundamentals for a super-flexible monitor system, we added a few tweaks that in combination with the Eucon-control-compatibility turns the platform into a full-blown monitor system.
Pro | Mon 2 is an optional monitor control license for the platform that lets you control multiple monitors and cue outputs in various channel formats that can be configured with individual cue mix functionality and dedicated monitor mixing. Adjustable parameters include level, pan, cut, mute and even folddown from, for example, a 5.1 multichannel format. And of course, you can save and recall all setting and configuration quickly and easily.
Further, you also get talk back functionality for any of the control room speaker and monitor outputs, and the talk back can activate Cut or Dim on any output as well.
We also added a hardware remote control called MOM - or Monitor Operating Module, which is essentially a stand-alone control unit for configuring and adjusting dedicated monitor functions in a Pro|Mon|2 monitor control system, including studio control room level, cut, mute, talkback and speaker reference level. And you can configure the source and speaker select buttons to any Pro|Mon|2 input source and speaker or monitor output.
If you are already using a Eucon control surface such as the Avid S6, you can integrate the Pro | Mon 2 monitor control functions directly to your console. However that doesn't mean you can't benefit from having the additional hands-on control that MOM has to offer.
At large post facilities, more hands may call for the need for more control devices for keeping flexibility and the daily workflow at the highest level possible.
Dante Audio over IP
Just like immersive audio formats like Dolby Atmos is very likely to become a 'standardized' format of the future, so is Audio over IP - or networked audio. At this point, there are several different IP Audio formats available, and The Audio Engineering Society has taken on the task to describe a certain standard or recommendation that will allow the various IP Audio formats to co-exist on the same network. The AES standard is called AES67.
We have chosen to support Audinate's Dante AoIP protocol, as the potential eco system within this particular platform is by far the largest available. Please see Audinate's compilation page summing up all Dante-enabled products...
We recognize that AoIP is still new territory for many audio professionals at this point, but we also see an increasing interest in the subject and are confident that within the foreseeable future, IP audio will become the standard way to design and connect studios and post production facilities. Therefore, we have gathered an article that answers some of the most common questions we get from audio professionals considering moving towards Dante.
Audio Quality Does Matter
Even though routing capabilities and workflow optimization may be of utmost importance in post production, we also know that all audio pros really care about audio quality. And that you are certainly aware that having great audio quality will contribute to help you taking wise mix decisions and reach your goals faster.
Well, AD/DA conversion is a huge matter when it comes to audio quality. Porting your audio from volt to digits and back again is not a task to be taken lightly. Converting audio between the analog and digital domains is a huge part of our legacy. In fact, it is where it all began, and therefore it is deeply carved into our DNA.
Yes, we have been nit-picking every little detail and aspect of the topic for decades, so no wonder we think it's important. But we urge you to simply listen, and we are confident that you will agree with us that the difference between a great and a good AD or DA converter is not merely intellectual - is it indeed also very audible.
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