studio review by Frank Wells

studio review by Frank Wells
studio review
by Frank Wells
Studio Technologies StudioComm
76DB/77B Digital Surround Monitor
Loudspeaker Control System
This monitoring controller is an easily implemented,
amply flexible, and transparent performer.
While a handful of speaker manufacturers have
begun offering powered loudspeakers with digital
inputs, a weak link in a fully digital chain has been
the interface between DAW or console and the
monitor system. Studio Technologies has provided
the missing link with its StudioComm 76DB/77B
surround monitoring system.
Avoiding unnecessary stages of D/A and A/D conversion has been
a goal in digital production since the outset. With loudspeaker
manufacturers now offering monitors with digital inputs and highlevel, final-stage conversion, one of the last pieces of the puzzle
has fallen into place. But with many DAWs and digital consoles,
bridging a level controlled digital signal between the production
chain and the monitors has been cumbersome, if not impossible.
Studio Technologies, long a provider of outboard monitor controllers, has introduced its StudioComm 76DB/77B surround monitoring system with a fully digital production chain in mind.
The 1U 76DB is the core of the system, housing the signal chain
functionality of a console center section, including flexible
source selection (six input choices can be configured from two
5.1 inputs and three stereo inputs), volume control (including
user-specifiable reference level and dim functions and mute)
and channel solo capability. Advanced capabilities included
“channel pop” solo mode (where the selected channel(s) “pop”
up in the mix by 6 dB while non-soloed channels are attenuated
by -6 dB, and these offsets are user adjustable); downmix from
5.1 to stereo (which can also include the LFE channel, or not,
your call) and stereo to mono; volume display in dB SPL
(requires simple user calibration with a sound level meter); and
dialnorm adjusted monitoring (where the selected output is
adjusted per Dolby E Dialnorm coefficients in a “follow-me” mode
— the rear RS-485 port is used to input a metadata stream).
The 76DB has no controls on the chassis; the front panel has
status lights for Sync, Metadata presence and 77B control console presence. The 77B control console is connected and powered via a DB9 cable. Roughly 7 x 5.5 inches, the wedge-shaped
controller is small enough to find a home on most work surfaces
while having a non-crowded control surface for the 18 buttons
and the rotary controller/volume knob. The buttons are clustered by function with LEDs to indicate status and a numeric
display for showing volume/SPL or dialnorm (along with a few
alternate displays like sample rate and setup info). Up to four
77B controllers can be connected to a single 76DB. Inputs can
include two 5.1 sources and three stereo sources.
The packed 76DB rear panel is home to inputs and outputs for
the unit. Input to the 76DB utilizes the AES3id specification — the
unbalanced, 75-ohm BNC version of the 2-channel AES3 digital
audio interface (these inputs will accept S/PDIF signals as well).
Two full 5.1 sources (six channels across three connectors per
input) can be accommodated, along with three stereo signals
(10 BNCs are fitted, the final one for inputting word clock,
AES11/DARS, AES3 or video sync [bi- or tri-level]). Samples rates
of up to 192 kHz/24-bit are accommodated (one stereo input is
fitted with sample rate conversion capability, to conform, say, a CD
Frank Wells, formerly a radio broadcast and recording studio technician is the editor of Pro Sound News and the editorial director of Pro Audio Review.
ProAudioReview | April 2009
player out to the system sample rate).
Eight AES3 outputs are available on a single DB25 connector,
requiring a fan-out cable — DB25 to eight XLR males using the
Tascam DA-88 pin-out (the outputs can also be configured for
AES3id operation). Three of the AES3 sends are used for pre-fader
surround outputs (configurable as either AES3 or AES3id outputs
to feed outboard meters or other monitoring gear). Two of the AES3
sends are stereo signals, one a direct output of stereo input “C”
with selectable sample rate conversion capability, and one a configurable stereo aux out that can be toggled on/off from the remote
for cue or other functions. The remaining three AES3 sends are
post-fader (post volume attenuator) to feed studio loudspeakers.
In Use
The good folks at Genelec, pioneers first in powered monitors
and later in adding direct digital inputs, kindly provided a full 5.1
all-digital input monitor system for the StudioComm system
evaluation: five 8130A two-way loudspeakers and its SE7261A
subwoofer with integral bass management. Setup was straightforward: input signals to the AES3id BNCs and AES outputs to
the SE7261A and, from there on, to the 8130As, daisy-chaining
the front and rear pairs.
I hooked up the system before cracking the manual and had
tunes to listen to while I perused the instructions for the finer
points of operation and configuration. Operation is largely intuitive; we all know what to do with a volume knob, mute, dim, and
solo functions, right? I did take a moment with the input select
— four buttons for five inputs, the top button selecting between
two “groups” with the surround inputs in the first group and the
stereo inputs in the second. I might have preferred that the top
button toggle between the two surround inputs and left the
remaining three to select between the stereo inputs, but I got
used to their paradigm quickly. [According to Studio
Technologies, “The buttons are designed such that up to six
unique input choices from the two surround (5.1) and three
stereo inputs can be configured during setup to address the
monitoring needs of the specific application.” — Ed.]
More in-depth setup requires reference to the manual. There’s
a recessed config button on the rear of the 77B used to enter
configuration mode (setting your reference level, adjusting the
pop solo offsets, user settable input delay for audio synchronization with a video monitor, selecting either the left or right of
the stereo A/B-left/right inputs to monitor a source where independent signals are being fed, as can happen in a broadcast
plant and so on) and for programming the remote control’s various user-settable functions. This isn’t something you’ll find
yourself doing often once you’ve selected your configuration.
Having the solo functions on the remote is perhaps my favorite
operation feature of the system, and I can see where a broadcast
facility would love the pop feature; it allows the user to focus on a
particular channel or group of channels while still monitoring the
full signal. Broadcasters are going to delight in the ability to monitor with dialnorm parameters applied when listening to content
where dialnorm is being adjusted (a program stream with imbed-
ProAudioReview | April 2009
Fast Facts
Post Production, Broadcast, Recording
Key Features
All digital, 5.1 monitor controller with source
selection, solo, reference levels and downmix
capabilities. Dolby E metadata can be monitored for dialnorm and the output levels.
$4,900 and $3,800 (76DB and 76D/77 systems,
Studio Technologies | 847-676-9177 |
Product Points
a high degree
of user configurability, digital
For some
users, the use of
AES3id inputs
The Score: An effective and flexible tool for linking
digital monitors to a digital production chain.
ded commercials that have independent dialnorm values, for
instance). The only function not included that a user might miss
is internal bass management (not an issue in my use, as the
Genelec system handles this function quite well). You can downmix a 5.1 signal to stereo and a stereo signal to mono (with fixed
and commonly accepted mix coefficients). Though I didn't discover how to downmix the 5.1 all the way to mono in my trials, according to Studio Technologies, "When monitoring a surround source,
pressing the stereo-to-mono button will enable 5.1-to-mono
downmixing and simultaneously light both the 5.1-to-stereo and
the stereo-to mono indicators." Recording users may find the
AES3id inputs unfamiliar, but in a pinch, you can successfully
unbalance an AES3-XLR signal to feed the BNCs.
As for sonics, I’m quite familiar with Genelec surround systems,
and the 76DB in no way compromised the monitor system’s performance. Actually, it was a delight to be able to maintain a completely digital chain. The StudioComm 76DB/77B surround monitor loudspeaker control system is easy to implement and amply
flexible, transparently performing its intended function while
adding enough bells and whistles to enhance the capabilities of
most DAWs and digital desks.
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