Israel-based Waves Audio, a dominant player in the world of plug-in digital effects, has made a bold plunge into the broader realm of full-featured, software-based audio mixing. The first product in Waves' new eMotion mixing line, the LV1 “virtual” live sound console, was demonstrated at the recent NAMM show.
To set the stage for this notable development, let's review the components of a digital mixing console:
1. Inputs and outputs (analog mic/line, AES3, MIDI, etc.)
2. Digital Signal Processing (DSP) hardware
3. Software for mixing and processing
4. A user interface (hardware, software or both)
5. Network connectivity (optional)
The first generation of digital consoles bundled the first four parts into one unit, and budget-priced digital boards still do. However, today's mid-line and up consoles have separate stage boxes connected by some kind of multichannel audio network. That makes two boxes, but everything is still supplied—and supported—by one company. Of course, if you don't like what's in the boxes, you're stuck … or you go get plug-ins.
Lots of folks wanted plug-ins. Waves responded to growing demand in live sound with its proprietary SoundGrid network and servers, which together provide the power and flexibility to support multiple plug-ins with high sampling rates and negligible latency. With those components in place, all Waves had to do was create the mixer software (no easy task) and make it compatible with third-party user interfaces. Now it's a done deal, and the result is impressive.
The basic architecture of eMotion LV1 supports 64 mono/stereo inputs, 32 stereo buses plus returns, and eight each of DCA faders, mute groups and user-assignable functions. Waves' new EMO-Q4 four-band equalizers and the EMO-D5 dynamics processors are built in, and up to six more plug-ins can be patched into each channel. Other features include sampling rates up to 96 kHz, automatic plug-in delay compensation, and up to 1,000 scenes/snapshots.
That's all included in the eMotion LV1 software and companion SoundGrid DSP server. But you still need inputs and outputs (I/O) as well as some kind of user interface.
For the SoundGrid compatible I/O, a number of options have popped onto the market. Digigrid—the new partnership of Digico, Soundtracs and Waves—offers several I/O boxes integrated with a SoundGrid server, but they appear more appropriate for studio/broadcast use, as they offer a maximum of 12-in/6-out per unit. A better choice for live sound use might be the 32x16 SoundGrid-compatible I/O just introduced by Peavey and shown at the NAMM demo.
As for your user interface, that could be as simple as a mouse connected to the host computer. However, power users likely will add a large touchscreen or two, perhaps in tandem with a tactile controller in the form of a Mackie HUI-compatible hardware device. Pick whatever you like, because now you're the console designer.
Of course, that raises the question as to whether churches will want to design and configure consoles from separate components. Some might. For comparable channel counts and features, I expect the savings could be substantial. But there is the comfort factor to consider. If something goes wrong, who do you call? I suspect that's one reason why RML Labs' Software Audio Console (SAC) never had much impact on the church market. Granted, SAC is only a native software program, while Waves goes further in their software, DSP and networking are all integrated, and Waves maintains direct ties to key I/O suppliers.
In any case, if you're reluctant to create your own “mix and match” digital mixer, I expect you could employ an eMotion LV1 as a “software sidecar” to add channels and DSP horsepower to a “pre-packaged” digital board equipped with an interface for the SoundGrid network. It's all part of the new paradigm, where different functions are put into different boxes and then connected into one big, happy, low-latency networked family. Could this be the—pardon—Wave(s) of the future?
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