… · the mind for the job at hand – the audio. ganging the ganging function in the mixer allows...

Studer Professional Audio GmbH,Riedthofstrasse 214,CH-8105 Regensdorf,Switzerland.

Phone: +41 44 870 75 11 Fax: +41 44 870 71 34

Studer reserves the right to improve or otherwisealter any information supplied in this document orany documentation supplied hereafter. E&OE 04/12.All trademarks are recognised as the property oftheir respective owners.

Part No: BD10.949300Issue 0812

www.studer.ch

Better audio mixing. From every point of view.

Better audio mixing. From every point of view.Creative

A new level of ergonomic design empowers the operator to mix naturally, free from the burden ofcomplex and counterintuitive routines.

Commercial

Flexible, configurable and communicative, Vista 9 enhances workflow from day one to deliver anunrivalled return on investment.

Practical

Pristine audio quality, flexible I/O configuration and advanced redundancy features equip Vista 9 to fitright into your facility, studio, theatre or truck.

www.studer.ch 32 Better audio mixing. From every point of view.

Building on the acclaimed and proven Vista digitalmixing platform, the Vista 9 combines advancedergonomic design and groundbreaking Vistonics™user interface with complete system flexibility andpristine audio quality to create a console fit for anew age of broadcast and live production.

Operators will immediately feel familiar with auser interface developed from the ground up toenhance creativity and workflow, whiledramatically reducing the risk of human error.

Available in frame sizes from 32 to 72 faderstrips (in steps of 10), Vista 9 uses the proven

SCore Live DSP core which, with D21m systemcomponents, allows an I/O matrix of up to 1728inputs x 1728 outputs. Combined with theunparalleled configurability of the systems andcontrol layout, and common componentmodules, Vista 9 really is the console that can doit all.

Vista 9 features include powerful automation,comprehensive surround sound managementincluding Studer’s unique Virtual SurroundPanning and 7.1 control room monitoring, a widerange of I/O options and Studer RELINKnetworking capabilities. Dual control systems and

power supplies for failsafe operation complete aconsole that truly delivers better audio mixing,from every point of view.

Vistonics: integrating rotary controls and buttonswithin a flat screen display, bringing visualizationand operation into immediate proximity.

4 Better audio mixing. From every point of view. www.studer.ch 5

The Vista 9 incorporates the unique VistonicsTM

user interface which ensures quick and easyconsole operation – the key to a smoothworkflow, short production time, and trouble-free live transmission.

In high pressure live situations, sound engineersdepend on a mixing console which allows afluent working process. Furthermore, a broadcastproduction facility with numerous engineers andfreelancers (or one which is open to externalproduction teams) must provide an easy-to-learnmixing console.

Control of the digital mixing console is thereforea major issue. Today’s practice of arrangingcontrols around or below a flat screen displayhas obvious ergonomic limitations. Audioparameters are displayed on the screen but theirrelevant controls are located elsewhere.

Operators must therefore go through a mentaltranslating process countless times throughoutthe day which makes live production fatiguingand the working process prone to errors,especially in high pressure situations.

This is where the unique Vistonics operatingconcept of the Studer Vista Series comes in. Itincludes the patented technology for integratingrotary controls and buttons within a flat screendisplay, bringing visualization and operation intoimmediate proximity.

Vistonics allows the colour and shape of controlsto be varied according to good ergonomicpractice. A given audio function is alwaysassociated with the same colour and aparameter is always associated with the sameicon displaying values graphically, just as intuitiveas an analogue console, or even more so.

Vistonics™Free your mind to mix

Display + Controls

Display

Conventional Console Approaches Vista Technology

Controls

View and control locations different View and control locations identical

Overview

Every channel displays its settings of dynamics(green), equalizer (red) and panorama (pan -yellow) in the VistonicsTM touch area allowinginstant overview of the entire console.

By pressing one button on the Global View area,the four Vistonics rotary controls on eachchannel change their function throughout theconsole, displaying the four most importantparameters of the chosen audio function. GlobalView buttons can be found on each Fader Bay,permitting access from wherever the operator issitting.

Operation

A simple touch on the desired function of thechosen channel opens up the complete functiononto Vistonics. The operator can immediatelyadjust values and close the selectedview afterwards.

By simply turning the rotary control,the chosen value can be adjusted andthe changing value is immediatelydisplayed, graphically and numerically.Vistonics has icons which have beencarefully designed to represent alogical readout for each individualfunction: levels are displayed as bargraphs, time settings as clocks,frequencies as radio dials, to mentionbut a few. This allows easy recognition

of the function itself as well as its state andapproximate value - without the need to actuallyread the word and numerical values display.

Pressing the physical button next to the rotarycontrol on the Vistonics activates a part of thefunction. The push button allows additionalsettings such as switching individual bands on/off,setting slopes etc.

By touching, for example, the equalizer and thedynamics on the same channel, they will bothopen up onto Vistonics with their complete setof functions. The operator can immediately andeasily adjust one function in relation to the otherby adjusting, for example, the equalizer and thecompressor simultaneously.

Operation of the Studer Vista 9 resembles thatof an analogue console but is even moreintuitive. Established ergonomic practice blends

with modern technology to increaseoperating comfort and ensure troublefree operation in live environments.

Functions have their dedicated colour:Equalizers and Filters are red onVistonics as well as on all relatedbuttons. The same applies to thedynamics (green) and the panorama(yellow).

Consistent Operation throughout the Console

No efforts have been spared to improve andsimplify the operation of the Studer Vista 9.VistonicsTM is part of a comprehensive andunique operating concept, enhanced by the clearphilosophy of a few simple rules which can becombined and remain unchanged throughoutthe console.

Touch’n’ Access

The Vistonics patented technology for integratingrotary controls and buttons within a flat screendisplay brings visualization and operation intoimmediate proximity. The operator touches thedesired function overview and is givenimmediate access to all available controls. Thereare no submenus – every parameter is just onebutton-press away, an essential feature in livesituations.

Fast Copy/Paste and Half-Lit Keys

The console incorporatesdedicated copy/paste keysfor each audio functionincluding high and low passfilters, EQ, dynamics,panorama and delay. A

simple button-press in the original channel andanother in the target channel copies the settingsacross. Copy/Paste is guided up by the half-litbuttons: if one button has been pressed and thedesk is awaiting a second button-press, allavailable target buttons illuminate at half

brightness until one of them has been selected.Also, complete channels can be cloned to one ormany target channels. Setting up the Studer Vista9 for a production becomes a quick and easytask, so preparation time is reduced considerably.

Scrolling

DSP channels not visible on the physical desk areaccessed by scrolling the channels available in theDSP core. The channel order is freely assignable:channels can be grouped or even shownrepeatedly on the surface. This ensures physicalorientation on the desk so that the operator isalways clearly informed as to what is happening.In addition, each fader can individually be flippedto a second layer for fast and immediate accessto emergency channels such as backupmicrophones. Uniquely, all second layer channellabels, each with a small real time meter can beshown on the channel strip as well as thecurrent layer channel label.

Fader Bays with, for example, the masterchannels, can also be locked in place.

Momentary/Latching Activation of all Buttons

The console recognizes and senses the button-push duration and responds accordingly. Thebuttons therefore act momentarily or latchingdepending on how they were pressed (pressed-and-held or briefly tapped). In addition toTalkback, PFL, EQ on/off, etc., the functionsaffected include those accessed by thetouchscreen – such as viewing of an audio

function – as well as the monitoring sourceselectors. This is extremely intuitive anddramatically reduces the number of thoughtprocesses in normal console operation, freeingthe mind for the job at hand – the audio.

Ganging

The ganging function in the mixer allows theoperator to quickly apply functions to multiplechannel strips because channels within the gangact as one. This can be used, for example, forMute, Faders, Copy/Paste, Bus assign and muchmore to increase speed and comfort inoperation. Creating a gang over the consolemakes the set-up quick and easy

Vistonics™ Free your mind to mix


Studer offers as a cost option Lexicon® highquality broadcast surround effects and a graphicEQ for the Vista 9. Both are controlled throughthe widely acclaimed Vistonics™ user interface,with connection to the console’s SCore Live DSPengine made directly via two high-capacitymultichannel HD Links.

One lightweight 2U chassis holds the equivalentof two Lexicon FPCM96 devices. It offers thehighest quality effects for eight mono, four stereoor two surround signals, combined with StuderVistonics, the most user-friendly and intuitivecontrol interface available.

Parameters can be copied/pasted betweenchannels and into and out of the Clipboard Library.The FX unit parameters and the graphic EQ mayalso be operated from the Virtual Vista application.

Up to three Vista FX units may be daisy-chained,allowing up to 24 different mono effect channelsper console. Connected effects units areautomatically detected by the Vista applicationand appear in the graphic controller’s GeneralPatch window.

Effects may be operated in External Mode (desksignals are mixed to an AUX bus connected to aVista FX input) or in a second mode where patchingis performed in the Channel Patch window, usingthe Channel Insert Point. This is typical for effectsused in one particular channel only.

Full integration with Vistonics opens up aselection of Halls, Plates, Chambers, Rooms(each with small/medium/large selection),Environments, Chorus/Flanger, Delay, Resonance,Reverse, Pitch Shift, and Pitch Effects.

Literally, hundreds of different presets areavailable, and up to 20 different parameters canbe adjusted for every effect.

The Graphic EQ

Also available is a BSS® 30-band graphicequaliser for input channels, groups, masters andauxiliaries (additional DSP may be required). Thegraphic EQ may be shown and adjusted by 30 ofthe channel faders when selected with a singledesk key. Both the Vista FX and the graphic EQparameters are completely integrated into theconsole snapshot system.

Both graphic and parametric EQs can be set upeither for all or specific channels using the VistaConfiguration Editor.

Vistonics Operation

If both EQs are configured ina single path the display issplit into two different touchareas, showing the combinedresponse of both EQs. It

allows unfolding either the new graphic EQ or thestandard parametric EQ values of this channelonto the Vistonics screen for adjustment. Forstereo channels, individual settings for the left/rightsignals are provided. In case this is not required, a‘stereo link’ control is available. Setting all gains tozero is done with a single key, but each band canbe individually reset to zero gain as well.

Fader Operation

There is a second operating option: 30 of thedesk’s faders can easily be switched over toshowing/controlling the graphic EQ.

The label row of the Vistonics icons changes tocenter frequency indication. Only the VistonicsEQ icon in the channel strip on which the EQ isactive is displayed. All others are blanked toclearly show which channel is affected.

As soon as any other control except a fader or achannel mute key is touched or operated, faderoperation is immediately cancelled and switchesback to normal mode.

The first fader controlling the graphic EQ isconfigured in the ‘Vista Settings’ window of theGraphic Controller. This allows the user to definethe most convenient position of the EQ faderson the desk.

FaderGlow™

The FaderGlow colour of these faders willchange to red in order to make obvious that thefaders are dedicated to the graphic EQ.

FXReverb, Effects andGraphic EQ


During a hectic live production, FaderGlowprovides the operator with an instant overviewof the console status by illuminating each fader inone of eight, freely-assignable colours. Suddenlyit’s easy to see exactly where your channelgroups are, dramatically improving reaction timeand reducing the stress of mixing in anenvironment where there is no second chance.

The concept of logically grouping channelshandling signals from the same type of sourcemakes it much easier for the operator to mixeffectively. Channel lists are typically planned inthis way, and even on an analogue consolechannels will be grouped accordingly. In livebroadcast however, hectic changes can happen atthe last minute, before and during the show,which can throw off the most carefulpreparation work.

With the introduction of Vista consoles, Studerhas given the operator a great tool to deal withsuch fast-changing situations. The Strip Setupfeature effortlessly handles the channel layout onthe desk - before and during production.

Important as channel ordering and labelling is, aninstant visual overview of which faders controlwhich types of source is essential to to allowshort reaction times. Analogue consoles assistedthis process with coloured fader caps but, withthe introduction and the use of layers in digitalconsoles, this approach has been rendereduseless. Until the introduction of FaderGlow.

Now the operator can mark individual,important channels such as presenters, maintalents and other ‘must-never-lose-their-signal’channels. Once the important channel is lit, it canbe found within a fraction of a second, even aftermixing on a different layer and coming back to achannel layout which may not have been on thesurface for some time.

Moreover, FaderGlow empowers the operatorto colour entire channel groups, to betterdistinguish and more quickly locate all‘band’,‘guest’, ‘ambience’, ‘string section’, ‘rhythmsection’ channels, etc.

Eight different colours can be assigned to anychannel strip. The logical place to assign coloursis in the Strip Setup, where the layout of allchannels on all six sections is shown. With aright-click on any of the placed channels, a colourcan be chosen and assigned to the strip. Inaddition, the eight colours can be labeled,ensuring that their function is always clear.

The FaderGlow setup is stored as a part of theStrip Setup, allowing different operators whomight alternately mix a show, to have their ownsetup.

FaderGlow™Lighting the way to intuitive mixing


Vista 9 metering displays everything you need tosee, in a format you can readily comprehend.There’s a large, high-resolution bargraph meterfor every channel from mono to 7.1, with eye-catching indication of the actual overload dBvalue. Stereo channel meters include correlationdisplay and the Control Bay features user pageswith up to 40 assignable channel meters on onescreen. Meanwhile the lower meter areasprovide additional views such as user-definableand reviewable recent meter history withoverload indication and surround view.

Vista 9 makes it an absolute priority to have alarge scale bargraph meter on every channelstrip of the console. Even though the TFT displayis divided into areas where different informationis displayed, the large bargraph meter is visible atall times. After all, it’s usually when somethinggoes wrong that the metering needs to beconsulted, and when there’s no time to navigateto a different view to get a clear visualisation ofthe input signal in question. To further enhanceclarity, Vista 9 metering uses a colour scheme andgraphics design that delivers maximum possiblecontrast to minimise fatiguing of the eyes.

The bargraph meter can display in formats thatcover all available channel types: from mono tostereo up to 7.1 surround – all in the space ofone single channel strip, representing the signalwhich is controlled by one single fader. The scaleof the meter is always in dBFS, with 0 dBFS at thetop, and an additional overload segment clearlyindicating overs (even displaying a readout valuein case peak-hold is active). Stereo meteringfeatures a correlation meter on top of bothmeter bars – both on stereo inputs and onstereo master channels.

The lower section displays additional visualinformation, dependent on the channel type andon what the operator chooses to see. When theconsole is in two layer mode, a smaller bargraphmeter of the L2 (eg. spare microphone) channelis always shown.

The operator can also choose to see the historyof the audio that has passed through the channel,time-configurable time of up to 50 seconds. Inaddition to clear information about signal loss oroverload (coloured in red) the waveform alsoindicates the character of the signal.

Surround channels come with a surround ‘imageview’ in the lower meter – a spatial visualizationof the surround signal which immediately revealsanomalies in a surround signal.

A bus assign view can be applied to any channel,providing an overview of bus routing directlybeneath the bargraph meters – invaluable onchannels where bus assign is changed frequently.

The TFT metering on the control bay can beswitched to allow different views.

The ‘follow’ button displays the metering whichrelates to the channel assigned to the desksurface, and there are view buttons for alldifferent type of master channels: Aux, Groups,Programme Masters, Matrix, etc., along withoutput meter view of multitrack and n-x busses.Moreover, four ‘User’ buttons display any choiceof channels on four user pages. On the StripSetup, an additional page enables the operatorto assign up to 10 channels on User 1, up to 20on User 2, and a maximum of 40 channels onUser 3 and User 4.

PFL and CR metering is shown on the two far-right hand meter slots of the control bay.

Finally, meteringthat makes sense


The Vista 9 incorporates a customversion of the RTW TM7TouchMonitor to facilitate loudnessmetering according to ITU (BS1770and BS1771), ATSC (A/85) and EBU(R128) recommendations in bothstereo and surround. PPMbargraphs with many internationalscales, moving coil instrumentemulation and audio vectorscopedisplays are included.

The role of dynamic automation has never beenmore important to the flexibility needed bytoday’s dedicated and multipurpose audiorooms. Studer’s AutoTouch Plus DynamicAutomation system meets and exceeds even themost stringent requirements.

To be a true working tool the automation has tobe powerful, flexible and easy to use. Studer hasdeveloped an automation ‘engine’ that offersfeatures and functionality permitting the mostcomplex automation tasks to be carried outwithin a clear and logical workflow.

For those requiring only the basic dynamicautomation functions, a straightforward andsimple operation has been introduced. In bothcases the unique and detailed automation statusand read-back information displayed in theVistonics™ supports every automation task.Whatever your automation needs are, Studer’sAutoTouch Plus can meet them quickly, safelyand with maximum efficiency.

Every fader and knob within the Vista 9 is touch-sensitive and can be dynamically automated bysimply touching the control, making the moveand releasing the control. However, sophisticated

audition modes are also available which allow acontrol value to be first auditioned and thenexplicitly punched into automation record, eitherlocally or globally. Each control can be enabledindependently into WRITE, TRIM, READ orISOLATE modes so that only selected controlsmay be dynamically automated. For thosecontrols which will ultimately remain static withinthe mix, but need to be continuously tweakedwhile creating the mix, the transparent STATICmode is available on all controls.

AutoTouch Plus extends the same touch-sensitive operation to its sophisticated dynamicswitch automation. All switches are dynamicallyautomated and can operate in a simulatedtouch-sense mode. Switch states can also beedited in the TRIM mode, or by using the fastand- easy Press-and-Hold functionality whichpermits the editing of switch events in real timewithout having to go off-line. Of course, whenoff-line editing is required, AutoTouch Plusprovides a comprehensive off-line mix editfacility that permits the editing and copying ofautomation data for faders, knobs and switcheswithin a mix or merged across mixes.

Mix files are automatically managed with the MixTree System (MTS). The last eight mix passes areheld in memory with every mix passautomatically saved to the hard disk. Anyprevious pass may be instantly recalled, updatedor compared to any other pass, whether duringthe session of the day or during a remix sometime in the future.

With a host of additional features including Studer’sAutoTouch Plus, dynamic automation ensures thatevery mix session will be smooth, safe, and efficient.

EMBER Support

Ember support provides seamless integration ofthe Vista 9 with third party broadcast ornewsroom automation systems (see page 35 forfull details). It allows many console settings to becontrolled over TCP/IP, in addition to the Pro-Belprotocol that is supported already.

Ember connectivity allows external equipment totransfer signal labels, and to control input channelgains, solo, mutes, along with N-X (mix-minus)bus levels and mutes. Master levels and mutescan also be addressed, along with Group andAux master channels.

AutomationProductivity Supercharged


The ease ofoperation in theFader Bays isreplicated in thecentralizedfunctions of theVista 9 ControlBay. Even withsuch powerfulfeatures,operation of

the Control Bay remains straightforward, quickand easy.

Unique Output Control

The conventional basis for console design issophisticated input channel control and hereVistonics™ provides fast and intuitive operationwith unequalled visual overview. The controlrequirements for outputs however differ fromthose for inputs in several important ways.Excellent metering and fast adjustment of theoutput channel levels themselves are essential,

but it is often the contributing channels to themaster that are important to the user. Usuallylevel control of the contributing channels ishandled via the input channel strips. The Vista 9offers a unique and revolutionary operationalconcept for controlling outputs. The Control Bayhouses a Vistonics screen with 40 rotaries andswitches and 12 faders, 10 of which line up withthe Vistonics rotaries as in the Fader Bays. Anychannel can be assigned to these faders but theyare most useful for output channels such as VCAMasters or Group masters. In fact, the 10 fadershave a separate navigation system to the faderbays. This navigation is made up of 4 banks.

The rotaries on the Vistonics screen can bethought of as an additional 40 faders with 40 realtime meters. On these 40 rotaries, up to 40master faders can be represented with directaccess to level control of the master. As eachrotary level control is immediately adjacent to itsassociated meter, which includes headroom andoverload indication, the operator’s reaction is

completely intuitive – ‘where you look is whereyou control’.

A particularly important function of the rotariesis to call up all of the level controls of thecontributing channels of any of the mastersdisplayed on the faders below. A ‘Contribution’button above each fader provides reverse businterrogation, ‘pulling’ all of the faders of thecontributing channels to the rotaries above withchannel name and of course real time meter. Theuser can even assign further channels to themasters from the Vistonics screen directly. Thisreverse way of working offers the user incrediblespeed of operation for making small balancechanges without having to go to input faders.

In addition to the 12 faders and the Vistonicsscreen, the Control Bay houses all general andglobal controls plus 2 spaces for panel optionssuch as transport control, etc.

Live TransmissionTotally under control


The optional Vista Compact Remote Bay hasbeen designed for users seeking a slave orsecondary desk to work in parallel with theirVista console. Typical applications are theatre orlive sound installations where it is desired tocontrol the sound balance from the auditorium.It provides full control and monitoringfunctionality and can be used with all types ofVista consoles running software V4.8 and up. Inaddition it may also be used as a completelystand-alone controller for the Vista’s DSP andI/O should the control surface not be available.

The unit is foldable, similar to a laptop computer.It consists of a control surface section with 12high-quality, motorised Penny&Giles faders, 40channel rotary controls, a touch pad and a slide-in keyboard.

The 19” touch screen can be folded down, thusprotecting both screen and control hardwareduring transport and, at the same time,considerably reducing the unit’s size.

Applications

• Remote bay with minimal footprint fortheatres

• Redundant VCA-style fader box in theatres• Redundant fader box for OB Trucks.

Touch Screen

All navigation and control buttons available withthe Virtual Vista application can be operated viathe touch screen, instead of using a track ball ora mouse. The number of physical controlelements is therefore reduced to the mostimportant ones, such as faders, rotary controls,MUTE and PFL keys.

Monitoring

In order to use the Compact Remote Bay as aredundant desk, it connects via a Cat5 cable to theAUX port of the D21m monitoring MADI cardand is fed from there with split monitoring signals.

The analogue 5.1-channel control roommonitoring signals are available on individual rear-panel XLR sockets. A headphone output islocated on the rear panel. Two physical volumecontrols are available on the faceplate. One is

dedicated to the headphone level, while theother is assignable to control room, studio A orstudio B loudspeaker levels.

A GUI monitoring page mirrors all monitoringcontrols of a real Vista desk (see above). Thispage is operated from the touch screen and canbe called up by a physical key on the controller.

For talkback, a gooseneck mic can be pluggedinto an XLR socket on the face plate. Its signal isfed through to an XLR socket at the rear.

Connectivity

The following connectors are located on therear panel:• Mains socket (80-240 VAC) with integratedswitch

• MADI (for monitoring signals)• 2 × USB (e.g. for a mouse or a memory stick)• RS422 port (Pro-Bel control)• 2 × Ethernet (for connecting to the desk inon-line mode and to the second Bridge Cardport for desk redundancy/DSP control)

• WLAN antenna sockets• 7 × XLR (5.1-channel monitoring and TB micoutputs).

Compact RemoteFull Desk Control from aPortable Vistonics™ Controller


Channel controls on the Vista 9 consist of a TFTscreen with buttons and rotary controlsmounted on it, with a touch-screen areaimmediately below. Other channel specificcontrols such as the fader, mute, on/off buttons,etc., are arranged above and below the screen toprovide an instant and perfect overview, rapidfamiliarization and confident operation.

The Studer Vista 9 is the only live broadcastdigital mixer which tells you exactly what it’s doing. The control surface consists of oneControl Bay as well as between three and sevenFader Bays, incorporating between 32 and 72physical faders on the console.

Each Fader Bay accommodates 10 faders (100 mm), the unique Vistonics graphicaloperating unit, additional assignable rotaryencoders at the top of the channels, andadditional buttons and controls.

Studer® VistaMix, faster than human mixing!

Live multi-microphone un-scripted events suchas talk-shows, game-shows and discussion panelssuffer from both microphone-spill andbackground noise with each active microphoneadded to the mix making the overall soundquality deteriorate.

The result is decreased intelligibility andunpleasant comb-filter effects (phasedistortions).

Without VistaMix automatic mixing an operatorneeds to manually adjust all the faders all of thetime, leaving microphones of talking participantsopen, while closing the microphones of silentparticipants in order to reduce spill andbackground noise. Due to the reaction time of ahuman operator this often results in audiblefade-ins of people who start talking ratherunexpectedly. Also changes in fader positions canquickly lead to disturbing change of totalambience/noise level in the mix.

VistaMix offers the solution

By mimicking the action of a human operator:Increase gain for 'talking' mics and reduce gainfor all others but do it very fast and at the sametime keep the amount of total gain at a constantlevel, a clean live mix can be created. Normallyonly one VistaMix is used at a time but severalinstances of VistaMix masters may be configuredin a title. VistaMix masters are available with 8 to20 source channels.

Mixthe way you want to


Studer’s unique Virtual Surround Panning (VSP II)fits the Vista 9 perfectly. It allows the operator totake mono sources and create a realistic soundfield (stereo up to 7.1) modelled around a fewsimple parameters.

When few or no sources of multi-channel soundelements are available, operators must attemptto create a surround mix out of multiple monosources. Creation of an impressive and satisfyingsurround mix takes a lot of time and effort, andthe results are often disappointing. Conventionalamplitude panning as known from traditionalconsoles shows its limitations in multichannelmixing even more than in stereo.

With VSP II, mono sources can be positionedwithin a two channel as well as multichannelenvironment to produce a highly convincingsurround panorama.

Creating directional imaging by adding phase andfrequency spectrum information to commonlyknown amplitude panning, VSPII gives theoperator a creative tool to position a sourcewithin a sound field by using the channels pancontrol. The panning to the surround mix isachieved by generating the appropriate

directionality and time delays on all speakers.Furthermore, the operator has the choice ofdifferent microphone simulation modes, whichlet him chose the characteristics of how everysingle mono source gets added to the surroundimage.

By making use of VSP II panning as opposed tonormal amplitude panning, even the mostcomplex surround production will result in aquality mix which is second to none.

Of course all these settings are captured in theconsoles internal automation system, both in thesnapshots as well as in the dynamic automationsystem.

The results – which must be heard to bebelieved – are very impressive and offer anenhanced experience in surround soundunachievable with any other console system.

Surround soundMade easy


If you’re planning for Multicast 5.1 and stereobroadcast, and need 3G SDI and Dolby E audiodistribution, the Studer Vista 9 will empower youfor multichannel surround broadcasting now.

Multi-channel sources

Acquiring and managing multi-channel audiosources has never been easier or more costeffective.

Option cards for the Studer D21m I/O systeminclude a dual-channel Dolby E decoder, and a3G SDI de-embedder/embedder in which up to16 channels of audio can be extracted from thevideo signal (including Dolby E signals) andpatched to the console. Afterprocessing, signals can be re-embeddedonto the SDI stream. Using such cardsreduces weight and space in criticalinstallation such as OB vehicles.

The Dolby E card accepts any AES/EBUstream encoded with Dolby E or DolbyDigital, decodes the stream within theinput stage and then provides up totwo sets of 8 channels to the console.One D21m I/O frame can take up to 12of these cards in a 3U rack space, and eachcard may contain up to 2 decoders, making itpossible to decode up to 24 Dolby E streams injust 3U of rack space. Dolby Digital or Dolby Eencoded signals may be directly connected tothe card’s front panel or patched via theconsole’s internal software patch window.

The 3G SDI card accepts the embedded SDI

signal via a standard coax BNC connector, andalso has a ‘Through’ BNC connector for passingthe original SDI signal unaltered. Once de-embedded, the audio may be processed by theconsole and then returned to the I/O system tobe re-embedded into the SDI stream for onwardtransmission via either or both of two BNCoutputs. As a failsafe for signal continuity, the SDIstream will passively bypass the card in the eventof a system failure. Up to 12 3G SDI cards maybe fitted to a D21m I/O system.

A new approach to surround

With the Studer 5.1 input channel, theengineer is able to have Input, EQ,Dynamics and Panning sections totallydesigned for premixed 5.1 inputsources. The main goal is that he canadjust the most important parametersdirectly via touch on the VistonicsTM

screen without the need to ‘spill’ singlemono or stereo channels to additionalfaders, where other important sourceswould be hidden and becomeunavailable. This is realised byintroducing complete new parameters to

‘balance’ the 5.1 signal using the Vistonics™encoders.

This way, engineers can maintain the perfectarrangement of ‘one fader for one source’ ontheir mixing console, and maintain a goodoverview while fast access to every single sourceparameter is provided.

Routing sources to input channels

A surround source can be patched to a 5.1 inputchannel very easily by using the ‘auto’ routefacilities where all 6 discrete mono sources arepatched at once with a single mouse click. Thismakes patching as simple as patching monoinputs.

Bus assign

With the now industry-accepted surroundchannel order of ‘L R C Lfe Ls Rs ’ Studer haschanged the bus order in Vista consoles toreflect this ITU standard. The newly introducedlabeling of the busses in the Vistonics touch areaallows a better overview and secure and quickassignment. Adjustable input order In dailybroadcast work it is found that still not all 5.1sources are delivered in the standard format. Aninput order selector has been designedcomparable to the ‘2CH mode’ (L to both, R toboth, swapped, mono) in stereo channels. Inputorder is a very fast way to detangle differentstandard surround material, so that once it is onthe 5.1 fader, everything is in ‘L R C Lfe Ls Rs’.

Balancing the 5.1 signal

Studer has designed an innovativemethod to adjust a 5.1 signal to therequirements of the actualsurround mix. New parametershave been created in order to givethe engineer the most effective

tools to balance the surround signal.

Surround sound made easy

24 Better audio mixing. From every point of view.

Balance

Basically as an evolution from stereo inputs, herethe balances between front channels L-R, rearchannels Ls-Rs, and also the balance betweenfront and back can be adjusted.

Centre level

Centre level adjustment most important tocorrect dialog level.

Centre usage

When desired, takes dialog out of the centre, forexample, and adds it to L and R, converting theincoming centre channel gradually into morephantom centre.

Lfe level

To enhance or reduce the Lfe level.

Adjust the surround image

After the balance has been set, a further set ofparameters comes into action where the ‘image’of the surround signal can be altered -suchfeatures are hardly ever found on other consolesas yet !

Front width

Also as an evolution from stereo inputs, the frontchannel width can be adjusted from 0..200%.

F-B Depth

A unique new control – the perceived distancebetween front and rear signals can be extendedor reduced.

Back width

The same width control as on the front channels– but here separately for the rears also from0..200%.

Operate fader / master EQ / master Dyn

Once the balance is set, the 5.1 input channelcan be handled in the same way as a mono orstereo input channel. Most importantly the signalis brought into the mix with one single fader and

all the necessary adjustments can be made onone single channel strip.

When EQ is needed it can be applied via EQmaster parameters which are accessible again inthe same way as on mono or stereo inputs. EQis then applied to all of the surround signal legsexcept for the Lfe. Dynamics processing ishandled in the same way. Working with these

most important controlsis what we expect to beabout 95% of thesurround engineerswork.

Panaround if needed

With the newly introduced possibility to turnaround a ready mixed surround image theengineer gets the tool to correct “the direction”of a premixed source. This can be done as far asturning a surround sound in a 360° circle. A mis-adjusted surround microphone can be alignedwithout leaving the mixing console!

Channel view for sub EQ / sub Dyn

Only when certain legs of the signal have to beadjusted differently from others – e.g. addinghigh frequency in the rears – does the channelview have to be selected. Channel view shows all

the separate EQ and Dynamics settings of‘Front’, ‘Centre’, ‘Lfe’ and ‘Rears’. Here one canreally tweak the surround legs differently – withthe touch of a button.

In addition to 5.1 input channels, 5.1 Group andMaster channels are available . Now even morefaders can be saved, since a complete surroundgroup or a surround master only uses up onesingle fader. This gives more space for more inputsources in channel hungry productions, forexample.

New algorithm - 5.1 width

To complete this functionality, anew surround panning module isalso available for stereo channels.Since there are still a significantnumber of stereo sources used in a

typical surround production, engineers also needto bring these into the 5.1 format . Studer hasnow implemented a way to pan such stereosignals also to the surround mix, providing thepossibility to ‘wrap’ a simple stereo signal to asurround sound field.

Every stereo channel can be equipped with the‘upmix’ panner. This works in three modes :normal LR, 5.1, and 5.1 width mode, the mostinteresting mode being the 5.1 width modewhere a revolutionary algorithm (using Harmanintellectual property) basically also extends thestereo width control to the surround speakers.LR mode is normal stereo panning; 5.1 modesimply uses “standard” panning where e.g. theLeft channel is also sent to the Ls speaker etc.

www.studer.ch 25

The DSP core, the “SCore Live”, builds on Studer’s excellent reliabilityrecord and inspires a high degree of confidence enjoyed by the numerousclients operating our consoles in mission-critical applications. The SCoreLive uses parallel processing architecture with integrated floating pointcircuitry and an internal word length of 40 bits. No overloads will everoccur within the console, since floating point architecture is even used inthe summing busses. The system can be used in 44.1 kHz, 48 kHz, 88.2 kHzor 96 kHz mode. The clock source may be sourced internally, or fromexternal WordClock, AES/EBU or Video Sync signals.

The more DSP cards that are fitted in the core, the more channels andbusses will become available. The SCore Live offers up to 4,000 ‘timeslots’for freely routing signals within the core. These timeslots are fed by I/0 cardslots which hold a minimum of one bridge card (for communication withthe desk) as well as up to 9 DSP cards. This allows the highly scaleablesystem to easily exceed a channel count of 200 on the Vista series consoleswith an appropriate number of busses.

As illustrated above, an SCore Live frame houses the DSP cards in theupper frame section. It also holds up to two additional D21m GPIO card(s)at the left of the DSP cards.

The lower section is reserved for D21m audio I/O and GPIO cards.

The SCore Live maintains full redundancy, with redundant power supplies,

and even DSP card redundancy. In case of a hardware failure, any unusedDSP card will take over the processing almost immediately. Further, aredundant link between desk and core is available, as is a redundant bridge card.

By using the optional Configuration Editor Software it becomes possible tochange number and types of channels, as well as the number and types ofmixing busses. Furthermore, the processing within the channels can be freely defined.

Extensive import functions allow the user to adapt existing configurations tomeet changing needs.

SCoreLiveMaximum power from minimum space

The Vista 9 can be integrated easily within the studerRELINK Resource Linking managed I/O sharingsystem, which can link numerous Studer consoles invarious locations of a broadcast facility to allowaudio input and output sharing across a widenetwork.

One of the benefits of the Studer RELINK system incomparison to others is that it is based totally onStuder’s existing SCore platform which is an integralpart of a Studer console architecture, so noadditional hardware or breakout boxes are requiredto complete the network. Communicating overTCP/IP with each other, any combination of StuderVista (1, 5, 7, 8, 9), the OnAir 1500, 2500 and 3000consoles, as well as Route 6000 can link via RELINK.

RELINK is seamless, scaleable, flexible, and can startwith a simple link between two Studer consoles,right through to multi-console systems using a two-step topology where all signals are matrixed througha central device, e.g. the Studer Route 6000 system.

Source selection is transparent, and signal labels areautomatically transferred to the consuming locations,so the operator always knows what source isconnected. Signal takeover between studios isseamless, so RELINK is well-suited for livetransmission switchover. A resilient mic take-overmechanism ensures that mic control parameterssuch as analogue gain, phantom voltage, etc. are notunintentionally changed but require concious take-over confirmation.

This example shows a (radio-) broadcast housewhere production studios and control rooms arelocated, in addition to the OnAir studios in the samebuilding. The production studios (Drama A, Drama Band Auditorium) are equipped with D21mstageboxes connected to the Route 6000 in theMCR.

In this way, not only the two Vista 9 consoles in theproduction control rooms can use mic signals fromthe stageboxes, but also the four OnAir consoles canuse these signals and, if necessary, also get control ofthe mic parameters.

STUDER RELINK offers probably the mostintegrated, comprehensive and optimised I/Osharing management available to Broadcasters today.

To utilise STUDER RELINK, consoles must berunning at least the following software versions –V4.1 for Vista, V3.1 for OnAir systems and V2.0 forRoute 6000 systems.

RELINKI/O sharing

DSP Core Structure

Configuration Editor Software

RELINK - Example (radio-) broadcast house


System Expandability

The Vista series consoles use the Studer D21m I/O system which providesa flexible and expandable high density 24-bit 96kHz capable audiointerface. Up to 9 local I/O frames are connected to the DSP core,whereby the first I/O frame is already mechanically integrated into the DSPcore. These local I/O frames may then connect to remote Stageboxes usingMADI fibre or CAT 5 connections, enabling large numbers of microphonesources in either studios or OB locations to be connected to the console.Full I/O channel count even at 96 kHz is ensured when using the second‘redundant’ MADI link for channel extensions.

All local and remote I/O frames can be fitted with a variety of I/O cards, such as:

• 4 Channel HD Mic Input• 4 Channel analogue Mic/Line Input• 4 Channel analogue Insert for Mic/Line Input• 8 Channel analogue Line Input• 8 Channel analogue Line Output• 16 Channel digital AES/EBU Input and Output, with or without SRCs• 16 Channel digital ADAT Input and Output• 16 Channel digital TDIF Input and Output• 16 Channel 3G SDI I/O• 8 Channel SDI Input and Output (De-Embedder and Embedder)• 16 Channel SDI Input (De-Embedder)• 64 Channel digital MADI Input and Output (optical or CAT5)• Dolby E/Digital Decoder • 32 Channel Cobranet Input and Output• 16 Channel Aviom A-Net Output• Ethersound Input and Output• Axia Livewire™ (includes 2 x SIM modules, each of which can send andreceive up to 8 stereo signals)

• GPIO with opto Input and relay or open collector Output

The 3U frame provides 12 slots for I/O card insertion. Each card mayprovide a different number of I/O channels, depending on its capabilities(e.g. a microphone card provides four channels of microphone inputs, whilean ADAT card provides 16 channels of inputs and outputs simultaneously).

Some cards are mechanically occupying two slots, and therefore amaximum of 6 double-width cards may be inserted into a frame.

48 Mic Inputs in 3U rack space!

A D21m 3U stagebox can accommodate up to 48 mic inputs withanalogue split outputs as a standard and may be shared between multipleconsoles. It may be equipped with redundant power supplies.

The 3U Frame

D21m 3U Stagebox


D21mFlexible I/O options

Redundancy

With any live desk, redundancy is an essentialfeature to ensure constant 24/7 operation.

The redundancy concept includes all parts of theVista 9. Redundant Power supplies are availablethroughout all parts of the system, including aUPS option for the control surface. The DSPcore can be equipped with a redundant DSPcard that takes over the audio signals in the casea DSP card fails – with no audible effect and nointerruption to the operator. The faulty card maybe replaced during operation (hot-plugged) withno interference whatsoever on the mixer andthe audio signal. MADI inputs/outputs are fittedas standard, with Bridge card redundancyavailable as an option.

Redundant Control System

The control system is fitted with a solid statedrive and redundant power supplies as standardfor peace of mind. The Vista 9 also offers fullredundancy for the Control System. This meansthat in the unlikely event of a control systemproblem, the user can switch to the redundantsystem and – most importantly – return to thedesk settings in use previously. Backups of mixersettings can also be copied on a memory stickvia the USB port on the front panel. Theredundant control system offers true 100 %redundancy and peace of mind to bothoperators and technical managers alike.

Maintenance

The channel bay as well as the control bay foldup for quick and easy maintenance. A real timeSystem Surveyor with log file is provided as part

of the GC to firstly act as a confidence check forthe operator and secondly, to assist withmaintenance and fault finding. All connections tothe operating desk can be accessed from thefront which becomes essential for installations inplaces with limited space, such as an OB truck.

Studer Original Equipment - designed inSwitzerland

For over 60 years Studer’s commitment tocontinuous investment in R&D has beenrewarded with its maintained position as a worldleader in audio technology as well as the awardof numerous technology patents. Moreimportantly, this dedication to investment inresearch gives Studer’s engineering and designteams an unmatched knowledge base from whichto develop the innovative and often uniqueproducts which customers value so highly.

MixWith completepeace of mind


Studer Vista consoles have the ability to interfacewith the major DAW systems available on themarket. Many DAW functions can now bedirectly controlled on the console, whereinnovative operating concepts such as StripSetupand Ganging bring DAW integration to a newlevel and greatly enhance the productionworkflow. Editing is faster, customers are happier.

All Vista consoles with software V4.1 or highercan control DAW systems such as those listedhere.

Simple configurations screens within the Vistasystem allow the operator to select the DAWcontrol interface and enable it. Then, you can mixand match DAW channels alongside Vistachannels.

Central transport control is provided from theconsole using the jogwheel and buttons in thecentre section.

Directly at the channel fader, tracks may be

armed ready for record using console buttons.Additionally, the DAW gains features of the Vistaconsoles such as ganging.

No additional hardware is required andconnection is made through a simple Ethernetlink rather than multiple MIDI cables typicallyfound in other systems.

DAW systems currently supported by Vista are:

ProTools

Sadie

Apple Logic Pro

Steinberg Cubase

Steinberg Nuendo

Magix Sequoia

Merging Technologies Pyramix

Samplitude

ProductionIntegrated workflowwith DAW systems


In addition to the standard functionality, the inputchannels provide several broadcast liveproduction specific features.

Dedicated controls for extensive snapshotfiltering are available to deal with the mostcomplex live productions. Dedicated buttons fortalkback (e.g. to Direct Out, N-1 etc) and for userprogrammable functions provide more flexibilityand ease during live operation. Dedicated Matrixbusses can be configured which suits the fixedinstall application but can also offer a fast andeasy method of handling complex head phonefeeds in a broadcast environment.

16 dedicated Mute Groups are also available.

Stress-free outside source management

In the last few minutes before the studio goeson-air or the show starts, stress is at it’s highestand many things are happening at once.

Clear and fast console operation is essential.Problems with outside sources and reportersoften induce a high stress factor; setting up thecorrect return feeds and talkback on-air needs tobe as simple as possible. In some cases the n-1 feed may not be what the outside sourcewants to hear while waiting to go on-air. TheVista 9 offers a dedicated switch per channelthat automatically sends the outside source andalternative signal to the n-1 whilst the outsidesource is not on-air.

When the outside source is put out on-air (faderopened), the correct n-1 feed is automaticallyswitched to the outside source without the userhaving to disable the switch manually. In addition,any number of outside sources are able to talkoff line together in a conference mode (MPX),with the outside source automatically removedfrom the conference and sent the correct n-1feed when put on-air.

BroadcastDedicated featuresfor live production


EMBER Support

Ember support provides seamless integration ofthe Vista 9 with third party broadcast ornewsroom automation systems. Since Embersupports multi-connection setups it is well suitedfor installations requiring redundancy concepts.

Ember Parameter Support

Channel Type Parameter Write

Input Channel

Label False

Level True

Mute True

PFL True

AUX(n)Send Gain True

AUX(n)Send On/Off True

N-X(n)Send Gain True

N-X(n)Send On/Off True

N-X Out Owner False

N-X Out Owned Bus False

N-X Out Gain True

N-X Out On/Off True

Ember Parameter Support

Channel Type Parameter Write

Master Channel

Label False

Level True

Mute True

PFL True

Group Channel

Label False

Level True

Mute True

PFL True

AUX Channel

Label False

Level True

Mute True

PFL True

Vision Mixer

Studer Vista 9Studer Vista 5

Playback System

Automation Controller

Robotic Cam Control

EMBER Extended Console Control

TCP/IP Network

Theatre sound designers and console operatorshave some of the highest demands when it comesto efficient work on the heart of their audio system.Nothing must go wrong, while everything needs tobe changed quickly! To enhance workflow processesfrom offline programming, rehearsals through todaily performances, Studer has developed specialsoftware which makes Vista consoles the idealchoice for cue-based theatre productions.

Sound designers now have a complete toolkitprovided with the new V4.2 Vista Software which isavailable for the whole range of Studer Vistaconsoles. Together with the Vista’s already extensivefacilities which suit Theatre sound, such as highinput/output capacity, DSP configurability, theacclaimed Vistonics™ user interface, distributableI/O systems, control surface configurability, verycompact footprint and outstanding sonicperformance, the Studer Vista series of consoles isthe perfect choice for world class theatres.

Enhanced Theatre Cue Lists

To aid in rehearsal and show build, cues containing asnapshot can now be created with a single buttonpress, cues can be comprehensively inserted and re-

numbered, and cues can be automatically recalledvia a precisely timed event to give the engineer anextra pair of hands.

Cues can also fire MIDI/MMC events, for examplefor SFX playback, where the MIDI ports can bemuted for cuelist navigation. Most importantly theenhanced cue-list now provides a large display ofthe current cue, as well as an indication of whethera snapshot is masked or not made clearly visible inthe cue-list.

Character/Actor Library Event handling

Characters in a production can be given any desiredlibrary entry (for example, a special EQ setting) on acue by cue basis. This allows easy adjustment, eithertemporary or permanent, of these library settings, aswell as a very straightforward way to replace thesettings of an actor with replacement-actor orunderstudy settings.

There are two ways of applying library events toCharacters, firstly by using the two new Vistonicscontrols on the actual channel, and secondly thelarge overview window where a list of all cues andall Characters is provided.

The Library window itself enables selection of thedifferent actors as well as very easy creation ofunderstudy actors.

Performing ArtsThe mix without the drama



Vista Compact Remote Bay Dimensions

Dimensions

… · the mind for the job at hand – the audio. ganging the ganging function in the mixer allows...

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