Axia Analog Node Manual do Utilizador descarregar pdf (Página 7)

Introduction • vii

Version 2.0, February, 2007

A Note From The President of Axia

20 years ago, I designed my ﬁrst broadcast console

for PR&E. I look back on that time with great fondness;

we were building bullet-proof boards for the world’s

most prestigious broadcasters, making each new console

design bigger and fancier to accommodate a wider vari-

ety of source equipment and programming styles. The

console was the core of the studio; all other equipment

was on the periphery.

Then things changed: the PC found its way into broad-

cast audio delivery and production. At ﬁrst, PC audio

applications were simple, used only by budget stations

to reduce operating expenses. But soon the applications

evolved and were embraced by larger stations. Slowly,

the PC was taking center stage in the radio studio.

Like many, I was captivated by the PC. Stations

retired carts, phonographs, open-reel decks, cassettes

— even more modern digital equipment such

as DAT and CD players, replacing all with PC

apps. Client/server systems emerged and en-

tire facilities began using PCs to provide most

– or all – of their recorded audio. Yet consoles

continued to treat PCs as nothing more than

audio peripherals. I knew that we console de-

signers were going to have to rethink our de

signs to deal with computer-centric studios.

During this time, traditional broadcast console com

panies began producing digital versions. But early digi-

tal consoles were nearly identical in form and function

to their analog predecessors. It took a fresh look from a

European company outside broadcasting to merge two

products – audio routing switchers and broadcast con-

soles – into a central processing engine and attached

control surface. Eventually nearly every console and

routing switcher company followed suit, and a wide va-

riety of digital “engines” and control surfaces ﬂooded

the market.

But, advanced as these integrated systems were, they

still handled computer-based audio sources like their

analog ancestors. Sure, the router and console engine

were now integrated, but the most important studio ele

ment – the PC – was stuck in the past, interfaced with

100-year-old analog technology. The PC and console

couldn’t communicate in a meaningful way – strange,

considering that PCs everywhere were being networked,

fast becoming the world’s most popular and powerful

communication tool.

Then a group of Telos engineers developed a method

of using Ethernet to network real-time audio devices, al-

lowing computers and consoles, controllers and peripher

als to interact smoothly and intelligently. Powerful, ﬂex-

ible networks had ﬁnally come to our studios. As with

the transition from carts to computers, the beneﬁts are

many and impressive. A few networked components can

replace routing switchers, consoles, processing periph-

erals, sound cards, distribution amps, selector switches

and myriad related devices.

This deceptively simple networked system costs a

fraction of other approaches, yet has capabilities sur

passing anything else. The system is modular and can

be used to perform discrete functions in a traditional

environment. Concurrently, it easily scales to serve both

the humblest and the very largest of facilities.

Console, router, and computer work in har-

mony.

So, equipped with this new technology

and countless ideas, we launch Axia, the new-

est division of Telos. Axia is all about deliv

ering innovative networked audio products to

future-minded broadcasters. On behalf of our

entire team, I welcome you as a charter client. Axia is

the culmination of nearly 40 man-years of some of the

most ambitious R&D ever applied to the radio industry.

And this is only the beginning. We have more products,

innovations, and partnerships in the pipeline.

You already know your Axia system is unlike any-

thing else. So it shouldn’t be surprising that your new

system is loaded with new thinking, new approaches,

and new ideas in virtually every conceivable area. Some

concepts will challenge your traditional ideas of studio

audio systems, but we’re certain that once you have ex-

perienced the pleasures of the networked studio, you’ll

never want to go back. And now, for something com-

pletely different...

Michael “Catﬁsh” Dosch

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