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You love all the flexibility that Axia consoles and a Livewire net-
Just tuck DESQ or RAQ on the corner of a desk, or in a 3RU rack
work bring to your on-air studios. But what about newsrooms,
space; anywhere you need a little bit of mixer. Yes, they're small,
dubbing stations, or other off-air applications? That's where
but don't let that fool you. They've got the features of much
DESQ and RAQ, Axia's new special-purpose IP consoles come
larger consoles. Like automatic per-fader mix-minus. Built-in EQ
in. These six-channel, standalone stereo mixers with network-
available for any voice or codec source. And the ability to instant-
ing features are perfect for remote broadcasts, cutaways from
ly load new local or networked sources to any fader with just the
clubs, announce booths, home studios, or any place where a
compact audio mixer is needed.
turn of a knob. And sharp, high-resolution OLED displays on every channel give you source names and other data at a glance
– no paper labels or masking tape needed.
12?ED1H91
Save presets for your favorite setups to the four Show Profile
Axia is the AoIP division of Telos Systems, a technology leader in
snapshot locations. One touch, and presto! Your favorite sources
professional audio equipment for radio broadcasters since 1984.
are loaded, monitor source configured, and bus assignments made.
In 2003, we introduced the world’s first Ethernet-based console
RAQ and DESQ both have two stereo mixing buses, plus a Preview
system for broadcasting. At the time this was a new idea, but
(cue) bus, which make them the perfect compact utility mixers.
VoIP showed the telecom industry how powerful, flexible and
Just as with Axia's bigger consoles, DESQ and RAQ are built
cost-efficient it was to move audio via IP, and the idea caught on
tough, to meet Axia’s uncompromising engineering standards.
fast with broadcasters, too. AoIP (sometimes called IP-Audio) is
With machined aluminum work surfaces, aircraft-quality switch-
mainstream technology now, with more than 2,500 radio studios
es, LED button lamps, premium faders and high-resolution OLED
around the world equipped with Axia networks.
displays, there's no need to baby these babies.
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Real estate is tight these days, especially in your equipment racks. Good thing that RAQ takes only three rack units of space. But
don't let that small footprint fool you: it's jam-packed with features. You’ll find six smooth, accurate rotary faders with push-on/
push-off channel switches and OLED channel option displays, and two stereo mixing buses (where most other consoles this size
can only fit one). Naturally, there’s a Preview (cue) bus, too. RAQ's Show Profile has instant recall of up to 4 pre-defined console
“snapshots”. Got phones? Axia is part of Telos, so we've got you covered with automatic mix-minus for phone callers and codec
sources. There’s monitor / headphone controls for auditioning of Program buses and two assignable External monitor source selections, and an OLED meter display with switchable VU / PPM ballistics.
RAQ is tough. With an anodized work surface, aircraft-quality switches and super-duty rotary faders, it can take whatever you dish
out. Installation? Just pair RAQ up with our QOR.16 integrated console engine, add sources and be good to go. Or pair two RAQs, or
a RAQ and a DESQ (Axia's new desktop mini-console) for multi-console deployment. It only takes one cable to connect the surface
to the engine, so setup’s done in minutes.
Alpha-numeric OLED displays below each
fader always show the current audio
source, gain trim, voice EQ, pan/balance
and phase correction.
Rugged anodized work surface with
rub-proof etched markings.
Six faders, each with instant access to any
source. Assign any type of source to any channel
with a simple twist of the Options knob.
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Two stereo mix busses and a
Preview (cue) bus for plenty of
mixing capability.
Premium-grade
aircraft-quality switches.
Automatic mix-minus for phone and
codec sources on all channels.
Four-Show Profile memory let
you recall frequently-used
console profiles.
OLED level meters can
display your sound in either
PPM or VU ballistics.
Monitor / headphone controls for
auditioning of Program buses or two
assignable External monitor sources.
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You want a small IP console with the sonic quality and network connectivity of Axia's larger boards, and you want it to last. DESQ
is your answer. With two stereo mixing buses and a Preview (cue) bus, six side-loading 100mm. faders that resist dirt and grunge,
and razor-sharp OLED channel options displays, DESQ is the perfect choice for small production studios, remote vehicles or content ingest stations. It can function as a stand-alone console, or network with larger Axia networks. Like its cousin, RAQ, it has an
OLED meter display with switchable VU / PPM ballistics, along with monitor / headphone controls let you listen to either Program
bus, or two External monitor source selections which can be pre-defined or reassigned on-the-fly. Like all Axia consoles, there’s
automatic mix-minus on every fader for callers and codec sources. Did we mention the built-in clock and timer display with an auto
/ manual reset option, and the Show Profiles that instantly recall up to 4 pre-defined console “snapshots”? Thanks to the obsessive nature of our console designers, you’ll find quality of construction unparalleled. DESQ has aircraft-quality switches with allLED lighting, extruded-aluminum work surface and an EM-tight chassis. Easy to install? Absolutely. Just hook it up to our QOR.16
console engine with a single power/control cable, add sources and you're good to go.
Two stereo mix busses and a
Preview (cue) bus for plenty of
mixing capability.
Machined aluminum construction.
Built to stand up to RFI and 24/7/365 use
Smooth, side-loading 100mm
conductive-plastic faders mean you'll
love the feel of this board.
Razor-sharp OLED displays show source
assignments, pan and balance information,
Soft Key actions and more.
OLED meter display has
switchable VU/PPM ballistics.
Four Show Profile presets let
you recall frequently-used
console snapshots.
Automatic mix-minus for phone and
codec sources on all channels.
Built-in clock and timer display with
an auto / manual reset option.
Monitor / headphone controls for
auditioning of Program buses or two
assignable External monitor sources.
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AXIA | CONSOLES
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» 6 faders, each with instant access to any source. Assign any
YOU SAY THAT DESQ AND RAQ ARE STANDALONE CONSOLES
type of source to any channel with a simple twist of the Options
THAT CAN NETWORK. EXPLAIN YOURSELVES.
knob. » Two stereo mix buses and a Preview (cue) bus. » Best-
DESQ and RAQ's integrated console engine, the QOR.16, was de-
in-the-industry 5-year warranty and access to the Axia 24/7
signed after listening carefully to clients who asked for an easy
Support hotline — radio never sleeps, and neither do we. » Al-
way to set up one or two independent studios. It combines au-
pha-numeric OLED displays below each fader always show the
dio I/O, machine logic, mix engine, console CPU, Ethernet switch
current audio source with audio confidence meter, and, when
and power supply into one fan-free box. This dramatically cuts
the Options knob is pressed, offer fast adjustment of fader
setup time, since there’s only one piece of equipment to con-
gain trim, voice EQ, pan and balance and other features with-
figure. Consequently, you can use DESQ or RAQ to quickly build
out panel clutter or intimidating controls. » Four custom Show
a self-contained studio that operates all by itself. Of course, if
Profile “snapshots” can be saved to instantly recall frequently-
you want to connect your DESQ or RAQ consoles to an IP-Audio
used console setups – useful to quickly prepare for interview
network, you can, with one easy Ethernet connection.
segments, music-intensive programming, call-in talk shows,
etc. » Proven surface-and-core architecture separates control
I UNDERSTAND THAT DESQ AND RAQ CONNECT TO A “CON-
from mixing processes. No audio passes directly through DESQ
SOLE ENGINE” WITH AUDIO I/O BUILT IN. WHAT IF I NEED AD-
or RAQ; all mixing and processing is performed in the QOR.16
DITIONAL INPUTS OR OUTPUTS? CAN I ADD MORE?
Integrated Console Engine – so studio “accidents” don’t turn
Sure! The QOR.16 console engine comes with enough analog ,
into off-air events. » Fan-free, convection-cooled power supply
mic-level and AES/EBU I/O to power a well-equipped small stu-
for noiseless in-studio operation. » Network gateway enables
dio. But if you need more, you can plug in Axia audio nodes. They
loading up to 8 sources from the Axia network while export-
connect with just a single Ethernet cable.
ing up to 8 outputs to the network, simultaneously. » Easy-todeploy QOR.16 integrated console engine includes console CPU
WE ALREADY HAVE SOME STUDIOS BUILT USING OTHER AXIA
and power supply, DSP mixing engine, custom Ethernet switch
CONSOLES. WILL DESQ AND RAQ INTERFACE WITH THEM?
with 6 Livewire ports and 2 Gigabit ports for studio networking,
Of course! DESQ and RAQ plug right into existing Axia networks,
8 analog inputs and 4 analog outputs, 1 AES input and 1 AES out-
which use standard switched Ethernet for audio and logic trans-
put, 2 Mic inputs with switchable Phantom power, and 4 GPIO
port. This means that DESQ and RAQ will interface with the Axia
ports for machine control. I/O can be expanded using Axia Audio
gear you bought five years ago, as well as Axia equipment you'll
Nodes. » Each QOR.16 can support two connected RAQ or DESQ
consoles, or one of each.
61AC
purchase at any time in the future.
HOW MUCH I/O DOES THE QOR.16 CONSOLE ENGINE HAVE?
QOR.16 comes with 8 Analog inputs, 1 AES/EBU input, 2 Mic inputs with selectable Phantom power, 4 Analog outputs and
1 AES/EBU output. There are also 4 GPIO ports and 6 Ethernet
CAN I GANG TWO DESQS OR RAQS TOGETHER TO MAKE A
12-CHANNEL MIXER?
RAQ and DESQ are special-purpose consoles intended for small
spaces. As such, they are fixed at six channels each. If you need
more faders, we suggest the eight-fader Axia Radius (www.AxiaAudio.com/Radius/) or the Axia iQ (www.AxiaAudio.com/iq/),
which can be expanded up to 24 faders.
THE 5-YEAR WARRANTY IS GREAT, BUT WHAT IF I WANT TO
GET MY HANDS DIRTY, OR SOMETHING HAPPENS AFTER FIVE
YEARS? DOES AXIA PROVIDE TECH MANUALS WITH SCHEMATIC
DIAGRAMS?
ports for connection of Livewire-enabled audio devices.
WILL THAT BE ENOUGH I/O FOR A SMALL STUDIO THAT MAY
GROW INTO A BIGGER STUDIO?
Clients have been telling us that the growing number of
Livewire-ready devices helps shrink the need for conventional
I/O. For instance, more than 30 Livewire partners are now making things like profanity delay units, satellite receivers, high-end
audio cards and content delivery systems that integrate with
Axia networks using an Ethernet cable to transport all audio,
logic and messaging. To see a list of Axia partners, visit www.
AxiaAudio.com/partners/ . You can also expand I/O using Axia
audio nodes as needed.
All of the normal wear parts, such as faders, switches, rotary
encoders, etc., can be replaced should the need arise. But in today’s world of surface-mount electronics technology, it’s hard
(if not impossible) for users to field-service broadcast equipment should something go wrong on a more fundamental level.
That said, Axia technical support stands ready to help and we
are glad to give estimates or repair services should you ever
require them.
4
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CAN I LOAD ANY AUDIO SOURCE TO ANY FADER? WHAT ABOUT
NETWORKED SOURCES?
Yes, you can. Any source plugged into the QOR.16 engine, or any
source available on the Livewire network, can be assigned to any
fader on the console.
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DOES LOGIC FOLLOW AUDIO? WHEN I LOAD A SOURCE TO A
BUT YOU USE CHEAP COMPONENTS, RIGHT?
FADER, DO THE ON/OFF BUTTONS CONTROL THAT SOURCE?
No! We understand that your console is mission critical, and
Yes! In a Livewire system, logic and audio are always routed to-
you need to depend on it. So we use only premium components
gether. DESQ and RAQ have GPIO ports for machine control of
throughout, like high-resolution OLED displays, aircraft-quality
four standard audio devices. If you’re using a Livewire device,
switches and buttons, studio-quality faders with a side-loading
audio and control travel over the same Ethernet cable, so no ad-
design to keep dirt out, high-quality mechanical rotary controls
ditional logic connections are needed.
and LED lighting under every switch.
HOW DOES I/O WORK IF I HAVE TWO RAQ OR DESQ CONSOLES
YOU KEEP MENTIONING OLED DISPLAYS. WHY IS THAT SUCH
SHARING A SINGLE QOR?
A BIG DEAL?
All audio I/O shared, and so is available at any time to either con-
OLED (Organic Light-Emitting Diode) technology is something
nected console. A “source sharing” interlock prevents a console
Axia is pretty excited about. Unlike ordinary LED or LCD displays,
from taking control of a source that’s already in use. The first
OLEDs are high resolution displays that are extremely bright,
console has full GPIO control of the selected source; the second
high contrast, and razor sharp. Axia designers placed an OLED on
console can listen to that source’s audio, but cannot control the
every channel and packed it full of information.
device. This helps make certain that one operator can’t interrupt
another operator’s program output by turning off an audio pe-
For instance, press the Options knob at the top of any channel,
ripheral that’s on the air.
and the OLED at the bottom lights up. Twist the knob to scroll
through a list of audio sources, highlight the one you want, and
I’M THINKING ABOUT BUILDING MULTIPLE STUDIOS. HOW
push again. You can also choose and modify pan, balance and
MANY CONSOLE ENGINES CAN CONNECT TOGETHER DIRECTLY
backfeed settings. Adjust source gain. Correct phase errors.
BEFORE I NEED TO START THINKING ABOUT USING A ETHERNET
Toggle between stereo and summed input modes. The bottom
CORE SWITCH?
of the OLED displays context-sensitive options such as the ability
There’s an Ethernet switch with Simple Networking built into
to Talkback to the selected source, or to momentarily mute the
our QOR.16, QOR.32 and PowerStation console engines, and you
Operator’s mic. There are no external monitors to clutter up your
can daisy-chain up to four of them without the need for an ex-
studio — all the information your operators need is right below
ternal switch. If your network grows bigger than four console
their fingertips.
engines, you will need to purchase a switch. When that time
comes, ask us and we’ll help you select one that’s right for your
I HAVE A SMALL STUDIO. DO I REALLY NEED TO WORRY
facility’s needs.
ABOUT ETHERNET?
DESQ and RAQ are easy-to-install consoles for small studios.
DO DESQ AND RAQ HAVE A REDUNDANT
That’s why we put a power supply, CPU, DSP mixing engine, audio
POWER SUPPLY OPTION?
I/O, GPIO and Livewire inputs into a single integrated console en-
DESQ and RAQ are designed for smaller studios, with cost-ef-
gine – the QOR.16. So DESQ and RAQ are perfect for standalone
ficiency in mind, so no power backup is available. If redundant
studios. But, like all Axia gear, they network too. Small studios
power is necessary for you, consider an iQ or Element console,
don't always stay small. When you're ready to expand, DESQ and
both of which have available backup power options.
RAQ can become part of a larger studio network.
I HEARD THAT DESQ AND RAQ ARE MADE IN CHINA.
SOME OF QOR.16’S ETHERNET PORTS HAVE POE. WHY?
AM I STILL BUYING A QUALITY PRODUCT?
Because Axia is ready for the future! Many new Ethernet devices
Some console companies seem to think that they can only build
use PoE (Power over Ethernet) to eliminate wall-warts or ride-
an inexpensive console by taking out features until they hit a
along power supplies. PoE may also help you to ride out brief
price point. We disagree. Our philosophy is to see how many ca-
power interruptions without a UPS. Axia xNode audio interfaces
pabilities we can cram into a console, and still keep the price low.
can use PoE, and some of the newest Telos phone gear, like the
To do this, both DESQ and RAQ consoles are made in China, in an
VX Broadcast VoIP system, use PoE to power the VSet telephones
ISO-9002 facility just like those used to build iPads, Droids, 3D
that work with the system. Axia anticipates that a lot of future,
LED TVs, and other high-tech electronics.
connected, broadcast gear will use PoE as well. Microphone Preamplifiers:
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AXIA | CONSOLES
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Like all Axia products, DESQ and RAQ consoles use only premium,
h Analog Input to Digital Output: 105 dB referenced to 0 dBFS
studio-grade.
h Digital Input to Analog Output: 103 dB referenced to 0 dBFS, 106
MICROPHONE PREAMPLIFIERS:
h Digital Input to Digital Output: 125 dB
dB “A” weighted
h Source Impedance: 150 ohms
h Input Impedance: 4 k ohms minimum, balanced
h Nominal Level Range: Adjustable, -75 dBu to -20 dBu
h Input Headroom: >20 dB above nominal input
h Output Level: +4 dBu, nominal
ANALOG LINE INPUTS:
h Input Impedance: 20 k Ohms
EQUIVALENT INPUT NOISE
h Microphone Preamp: -128 dBu, 150 ohm source, reference -50
dBu input level
TOTAL HARMONIC DISTORTION + NOISE
h Mic Pre Input to Analog Line Output: <0.005%, 1 kHz, -38 dBu
input, +18 dBu output
h Analog Input to Analog Output: <0.008%, 1 kHz, +18 dBu input,
+18 dBu output
h Nominal Level Range: Selectable, +4 dBu or -10dBv
h Digital Input to Digital Output: <0.0003%, 1 kHz, -20 dBFS
h Input Headroom: 20 dB above nominal input
h Digital Input to Analog Output: <0.005%, 1 kHz, -6 dBFS input,
ANALOG LINE OUTPUTS:
h Output Source Impedance: <50 ohms balanced
h Output Load Impedance: 600 ohms, minimum
h Nominal Output Level: +4 dBu
h Maximum Output Level: +24 dBu
DIGITAL AUDIO INPUTS AND OUTPUTS:
h Reference Level: +4 dBu (-20 dB FSD)
h Impedance: 110 Ohm, balanced (XLR)
+18 dBu output
CROSSTALK ISOLATION, STEREO SEPARATION
AND CMRR
h Analog Line channel to channel isolation: 90 dB isolation
minimum, 20 Hz to 20 kH
h Microphone channel to channel isolation: 80 dB isolation
minimum, 20 Hz to 20 kHz
h Analog Line Stereo separation: 85 dB isolation minimum,
20Hz to 20 kHz
h Analog Line Input CMRR: >60 dB, 20 Hz to 20 kHz
h Signal Format: AES-3 (AES/EBU)
h Microphone Input CMRR: >55 dB, 20 Hz to 20 kHz
h AES-3 Input Compliance: 24-bit with selectable
POWER SUPPLY AC INPUT, IQ CORE WITH
IQ CONSOLE
sample rate conversion, 20 kHz to 216kHz input
sample rate capable.
h AES-3 Output Compliance: 24-bit
h Digital Reference: Internal (network timebase) or
external reference 48 kHz, +/- 2 ppm
h Internal Sampling Rate: 48 kHz
h Output Sample Rate: 48 kHz
h A/D Conversions: 24-bit, Delta-Sigma, 256x
h Auto-ranging supply, 90VAC to 240VAC, 50 Hz to 60 Hz,
IEC receptacle, internal fuse
h Power consumption: 100 Watts
OPERATING TEMPERATURES
h -10 degrees C to +40 degrees C, <90% humidity,
no condensation
oversampling
h D/A Conversions: 24-bit, Delta-Sigma, 256x
DIMENSIONS
oversampling
h Latency <3 ms, mic in to monitor out, including
network and processor loop
FREQUENCY RESPONSE:
h Any input to any output: +0.5 / -0.5 dB,
DESQ
h W 15.31in (388.85 cm), H 15.30 in (388.72 cm), D 2.79 in (57.15 cm)
RAQ
h W 19.0 in (48 cm), H 3RU, 6.97 in (177.0 cm), D 2.54 in (64.50 cm)
20 Hz to 20 kHz
QOR.16
DYNAMIC RANGE
h Analog Input to Analog Output: 102 dB referenced to 0
dBFS, 105 dB “A” weighted to 0 dBFS
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h W 19 in (48 cm), H 2 RU, 3.47 in (8.80 cm), D 8.45 in (21.46 cm)
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There shall be 16 audio I/O ports as follows: two Mic inputs with
switchable Phantom power, eight Analog inputs and four Analog
outputs, one AES/EBU input and output, four GPIO logic ports
for machine control of studio peripherals, six 100Base-T ports
for Livewire devices and two Gigabit ports with SFP connections.
This connection must be fully IEEE compliant and compatible
with computer-industry-standard hubs, switches, routers, testers, cables, etc. All signals to and from the terminals and processing engine shall be low-latency, linear PCB stereo audio
streams in multicast packet format. The protocol for the network
audio signals shall be designed to exploit the prioritization capabilities of VoIP Ethernet switches.
The overall input-to-output latency (delay) of the console system
shall be less than 4 milliseconds, including the time necessary for
mix processing, routing, A/D/A conversion, etc.
ELECTRONIC ARCHITECTURE SPECIFICATIONS
PROCESSING:
A to D: 24-bit resolution minimum.
D to D: AES3-1992 (ANSI S4.40-1992), 24-bitSample Rate Converted
D to A:24-bit resolution minimum.
Sample Rate: 48kHz
STRUCTURE:
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Mixing buses: There shall be two stereo mix buses and a Preview (cue) bus. Bus outputs shall be provided as AES-3, analog
or Livewire IP-Audio formats.
The following specifications shall describe a mini-console intended for portable and field operations. Reliability, ease of ser-
OUTPUTS (ANALOG OR DIGITAL):
vice and user friendly operation are primary considerations. The
two Stereo Main (PGM1, PGM2), Cue, Mix-Minus, Studio Monitor,
console system must perform to professional broadcast audio
one Stereo Headphone.
specifications described herein. The following specifications listed shall be considered the minimum required.
METERS:
Two OLED bargraph meters switchable between VU or PPM
DESIGN SPECIFICATIONS
ballistics.
The control surface (user interface) shall have six fader channels,
each with user-selectable access to all available sources. All sys-
CLOCK/TIMER:
tem components will be packaged using a machined-aluminum
If present, the Timer shall be 4-digit and displayed in the con-
surface and folded steel frame to minimize RFI. Aircraft-quality
sole OLED with manual controls and control-surface selectable
switches and rotary encoders shall be used throughout. OLED
automatic mode. The automatic mode shall enable input mod-
bargraph meters shall have switchable VU or PPM metering
ules to trigger timer reset and start (via logic) when a source is
styles. Dimmable LED lighting shall be provided in all keys. High-
loaded which has been programmed to reset the event timer
resolution OLED (Organic Light-Emitting Diode) displays shall be
when activated.
provided on every fader. Automatic mix-minus shall be provided
on every fader.
Time-of-day clock, if present, shall be capable of synchronizing
to standard-format NTP messages or capable of free-running.
All audio input and output connections, Ethernet switch and
The clock shall be displayed on the console LCD and shall indi-
logic ports shall be provided using an integrated audio engine.
cate present time in 12 or 24 hour format.
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Switching of all audio functions shall occur electronically. No
Each terminal shall be configured during installation so that each
audio shall be present on the control surface panel switches,
input (and sometimes outputs and GPIO as well, depending on
faders, knobs or encoders. All switches shall be backlit with
type) is mapped to a unique source and designated as the appropri-
LEDs to indicate status.
ate source type. Once configured, when the source is loaded, the
fader channel attributes and operating style shall conform to the
Logic commands to external devices (i.e., CD, Hard Drive Sys-
needs of the source type.
tems) shall be provided via opto-isolated logic connections
via the integrated audio engine. All special interfacing require-
THE FADER CHANNELS SHALL EACH OFFER THE FOLLOWING
ments to external devices shall be provided on this GPIO device,
FUNCTIONS FOR ANY SOURCE TYPE: not external to the console system. All internal console logic
commands (i.e., control room speaker muting and preferences)
h An illuminated ON/OFF button below the fader
shall be individually programmable for each GPIO port.
h Illuminated Program-1, Program-2, and Preview buttons
h Level shall be controlled with a linear fader with100mm of
Each GPIO port shall be capable of being assigned to any desired source and then activated automatically when that source
is loaded into a channel. Each GPIO port will provide the following logic when the port is active.
THE FOLLOWING ARE REQUIRED MINIMUM
LOGIC COMMANDS:
h For a GPIO port dedicated to Control Room or Studio
Monitor logic:
» On-Air tally
» Monitor mute
» External Preview Input active
h For a GPIO port dedicated to a Microphone source:
travel, or a rotary fader with at least 270 degrees of adjustment range
h Each fader channel shall also provide an OLED display for
source name
Program-1 and Program-2 shall be fed post fader, post on/off.
The Preview function shall provide an interlock so that pressing
Preview on one channel de-selects any active Preview on any other channel. It shall be possible to override the interlock by pressing and holding any Preview button and selecting or deselecting
(by touching) any other channels. Each fader channel shall be equipped with an Options knob, the
pressing of which shall grant access to channel-specific functions
not available on the front panel, such as EQ, PAN,BACKFEED, etc.
» Remote on; remote off
Control options shall be presented on each channel’s OLED display
» On tally; off tally
when active.
» Mute (cough)
h For a GPIO port dedicated to a Line or Phone source:
» Remote on; remote off
When either a Host or Non-Host Microphone is loaded into a fader
channel, pressing ON shall mute the Control-Room monitors and
Preview monitors.
» On tally; off tally
» Start pulse; stop pulse
When a Line or Phone source is loaded into a fader channel, the
» Source Ready
channel shall be capable of sending start/stop pulses to the connected source (if a GPIO port has been dedicated to the source)
h For a GPIO port dedicated to a Codec source:
» Remote on; remote off
» On tally; off tally
» Mute (cough)
» Talkback
THE FADER CHANNELS ON THE CONTROL SURFACE SHALL BE
EACH CAPABLE OF ANY OF THE FOLLOWING SOURCE TYPES:
when the channel is turned on and off.
A channel to which a Phone source is connected shall send a
monaural mix-minus to that channel which shall be sourced from
Program-1 or Program-2 bus, minus the source. An Auto mode
shall be provided so that the mix-minus send will automatically
send the Phone bus audio when the channel is off and Program-1
audio when the channel is on, always minus the source. The mixminus output shall be interruptible with talkback so the operator
h Microphone Host in the Control Room
can easily speak to the callers. The codec source shall provide the
h Microphone Non-Host in the Control Room
same type of mix-minus output but shall also add a second monaural output that shall not be interrupted by talkback audio.
h Normal Line Source
h Phone Source
h Codec Source
8
AXIA AUDIO. CONNECTED.
AXIAAUDIO.COM
RAQ & DESQ V1.0 | MARCH 2012
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