PRODUCT REVIEWS

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With more facilities looking to handle surround sound mix to picture, in addition to music re-recording and scoring sessions, the D&R Cinemix might just be what the doctor ordered.

Laid out in a conventional in-line format with dual-input signal paths and full routing to 24 multitrack buses and six output buses (LCR+LS/RS and sub-bass), Cinemix features microprocessor-controlled routing and recall of primary switch functions, as well as automation of the console's pair of integral joysticks.

In other words, Cinemix is not just a dressed-up music board with a few bolted-on extras for multichannel mixing, with their inevitable compromises; instead, it's a from-the-ground-up design that offers a remarkable amount of mixing power for the dollar. (For the trivial minded: The name "D&R" derives from the firm's founder and chief analog designer, Duco de Rijk.) Cinemix is available in two mainframes, housing either 32 or 48 mono channel modules.

Upper-and lower-channel signal paths are functionally identical, enabling virtually any signal source to be accessed, equalized and routed to any console output bus and/or aux send. In addition, both frames will accommodate up to five dual-path stereo modules.

These normally serve as dedicated 2-channel effects returns but can also be used for other applications; in this way, the 32-frame offers 84 simultaneous inputs in remix, while the 48 will handle 116 sources.

D&R's PowerVCA (standard) or the optional PowerFader servo-controlled level/mute automation can be fitted to either or both signal paths. An optional Film Module enables the creation of various stems via the 24-track output matrix, which can then be collapsed to create a master surround-sound mix.

In addition, D&R offers a multifunction PowerDynamics Module for Cinemix. However, the pricing of such technology need not break the bank.

DUAL-INPUT CHANNEL TOPOLOGY

In a typical post application, the dual-input channel module might be used to provide multitrack outputs from the upper section, with stem returns being routed via the lower section and its VCA/moving fader automation to the master 6-channel outputs.

The upper channel is referred to as Channel and the lower section as Mix, to denote its normal configuration. The upper bank has a 60mm fader; lower faders are long-throw 100mm units.

Internal routing of signal sources plus in/out switching is via D&R's microprocessor-controlled Advanced Routing Multiplex (ARM) system. In-place/PFL solo is standard, along with selection from the upper or lower signal paths a bank of 13-segment LED bar graph meters per channel.

High resolution peak meters are optional. Six master analog VU meters for the main outputs are provided within the master section, along with a central phase meter.

Derived from the firm's Merlin music-recording console, Cinemix features ten aux sends per channel source, with 4-band EQ on every path. From the master section, you can set up automated assignment to the multitrack and 6-channel outputs, as well as the pair of assignable joystick controls. "Virtual Vision"-a matrix display of automated surround-sound planning status-proves handy for the easily confused.

The Cinemix 4-band EQ per signal path is sweet-sounding, with plenty of boost/cut (+/-16 dB) if you need it. The four bands overlap nicely, with the LF section running from 10 Hz to 500 Hz, the low-mid from 40 Hz to 1 kHz, the uppermid from 800 Hz to 16 kHz, and the HF section from 4 kHz to 20 kHz.

The upper and lower EQ bands are shelving, while the pair of MF bands feature peak/dip bell response, at a fixed Q of 1.5. The upper Channel signal path also boasts an extra highpass Butterworth filter with a 100Hz turnover point, together with a mic/line switch plus a phantom-power on/off and dual gain controls for the two channel paths. The lack of adjustable bandwidth on the mid-band EQs is slightly annoying, but otherwise Cinemix's equalization capabilities are outstanding.

As would be expected, each Channel path is provided with conventional 2-channel panning between the odd/even multitrack buses and/or the six output buses, while the Mix section offers true LCR panning, plus a frontback surround control. Although the upper section does not offer full 6-channel surround panning facility in its normal default mode, it is possible to flip or swap the two signal sources, so that the LCRS pan can be used within the Channel signal path-while developing multichannel stems, for example-with the Mix section now providing simple 1:1 assignment to return premixed and localized tracks into a master 6-channel mix.

For more detailed control of localization from the lower or upper signal path-and to automate an element's static position in a surroundsound mix-the user can also call up one of the pair of assignable joysticks instead of the conventional dual-concentric pots. In addition to the familiar aux controls from either signal path via dualconcentric controls, some with and pre/post switching-Aux 1/2 and 3/4 being derived from the upper section, and 7/8 plus 9/10 from the lower-sends 5 and 6 can be accessed from either path, or re-assigned to the bus outputs, to provide an additional 24 effects outputs from each channel during remix; a neat and very flexible touch. Aux 1/2 and Aux 7/8 are normally reserved for developing dedicated stereo foldback/cue outputs for the voice talent, musicians, etc.

The stereo return module is virtually identical in layout to the dual-input unit, aside from stereo EQ and aux sends, plus mono A/B selection from the upper section, balance controls and other cosmetics.

As might be expected, the 4-band section is less comprehensive than that fitted to the mono channel.

All four bands provide +/-16 dB of cut/boost, but the LF section operates at a fixed center frequency of 60 Hz, the low-mid at 250 Hz, the upper-mid at 5kHz, and the HF section at 10 kHz.

The upper signal path again offers a highpass filter with a 100Hz turnover point.

The functional layout of both types of channel modules is extremely clear and easy to follow; after just a couple of minutes with the Cinemix, you are off and running. Color coding on the EQ sections helps to denote important functions, while a neutral gray background on the channel and master modules improves legibility of the screened legends and control markings.

Settings of the various crosspoint and assignment switches can be scanned and stored/recalled from 64 internal ARM registers as user templates: individual routing settings can also be copied between modules. Assignment of the various functions to the relevant module can be achieved either by using a dedicated ARM Access button, or by dialing up the channel using a rotary control provided on the master section.

ARM provides an elegant solution to the complex problem of module layout and dramatically reduces the clutter of input module switches that can complicate a console's physical layout and confuse visual monitoring. You can clearly and quickly interrogate the routing of any signal path. or the status of individual modules, simply by touching a button. It's a straight forward, powerful system to use and understand.

The ARM matrix is elegant, allowing up to 34 aux sends (ten per channel, plus the 24-track buses) from aux 5/6 during mix down; while access to the main group buses from both signal paths simultaneously or individually during tracking provides a comprehensive range of signal-routing options.

Snapshot automation of important switch functions via ARM's master status and individual channel status switching is provided, as is full dynamic automation against time code for Channel and Mix mutes, Channel and Mix faders, joysticks, aux send masters, Mix Master faders and Stereo Channel faders/mutes.

The console used for this evaluation was fitted with Power Fader automation, yet there is no reason to believe that the VCA-based alternative is any less powerful.

And a comprehensive Help manual can be accessed easily from the center section.

All of the conventional read/write/update automation modes are featured, together with a very simple user interface on a companion color monitor, which connects to a master 486-based PC controller.

An integral offline editor allows automation data to be copied and edited against all normal flavors of time code (NTSC-based 30 fps and 30 drop frame, PAL-based 25 fps and film based 24 fps).

One possible drawback of any analog design that integrates such a high degree of microprocessor-controlled routing is the problem of high noise, digital cross talk and degraded sonic performance.

Apparently, D&R's Dutch design team studied the subject with rigorous attention, because never once during my extended evaluation session did I hear the slightest pop, tick or other nasty while reconfiguring large sections of the console. And while A/B/X comparisons are difficult to make on source materials that are not your own, I was impressed with the transparency and openness of the Cinemix mic preamps and line input buffers, along with the output stages and EQ.

Without a doubt, the console is comprehensive, but that sophistication and technical complexity does not compromise its outstanding sonic performance.

The master section offers controls for dynamic automation on all six output buses plus the joysticks. D&R's Virtual Vision provides full visual control of automated 360-degree surround panning via a 7x5 LED matrix display-a compact, yet elegant system.

Also featured are solo controls for the discrete center, stereo surround, and sub-bass outputs. Interfacing is also provided For matrix type encode/decode processors to provide in-place monitoring with and with-out 4:2:4 and related systems.

A digitally controlled six-way control room monitor enables storage of listening level presets suggested by major manufacturers of encode/decode processors. Up to five stereo sources can be accessed and summed from the center section, in addition to monitoring of aux 1/2 and aux 7/8 for stereo fold back/cue systems.

Also featured is an extensive communications system, oscillator section, pair of studio fold back/cue systems, recall/automation controls, ARM selection, and a bank of ten aux send masters with automated mutes.

Flexible sub grouping is also provided via the VCA or moving-fader automation.

Currently, up to eight discrete subgroups can be developed and assigned to any fader as an overall sub mix master; in the near future, I understand, this limit will be extended to offer more flexibility.

The optional Power dynamics package provides a pair of gates, expanders, compressors and limiters per channel strip using the system's existing VCA gain-control elements. Comprising a relatively simple hardware and software update to existing systems, Power Dynamics costs around $100 per input; the user simply decides how many input sources-either Channel or Mix paths-will be provided with the enhanced functionality. System settings can also be stored in user registers.

The D&R Cinemix is a truly remarkable system. In a quiet and unassuming way, it simply puts a great deal of mixing and processing power into the hands of the post or music-scoring engineer, and lets users get on with the job at hand.

The console's control surface layout is clear and very easy to follow-even in the heat of a busy session-while the flexibility offered by the dual-signal channel strips and swap functions is extremely powerful.

And the combination of mono and stereo channel strips provides enhanced functionality for the TV and post user; the provision of full 6-channel output assignment and panning extends its already powerful surround-sound functionality.

I liked using the Cinemix during these evaluation sessions, but more than that, I consider it to be a rare example of unassuming design allied with superb electronics.

Don't let its budget price fool you; the D&R Cinemix is a serious contender for your attention.

Thanks to Steve McCrum and his crew (including Brian Webster and Greg Montgomery) at Desert Moon Productions, Anaheim, for providing access to the facility's 116-input D&R Cinemix. Their patience-so early in the morning-with my endless questions is much appreciated. Thanks also to Audix for loaning five Nile 10 surround sound speakers for my evaluation sessions and to M&K for the use of its excellent M&M self-powered subwoofer.

PRODUCT REVIEWS

AUDIO MEDIA OCTOBER 1998

The D&R Cinemix is a console built with surround-ready music, broadcast and post capabilities.

D&R Cinemix is a 24-bus, dual in-line console designed to meet the needs of both music recording and post production. Available in either a 32- or 48-channel frame, the Cinemix offers ten aux sends and ten stereo returns (through five stereo modules).

Through its ARM (Advanced Routing Multiplex) section, the Cinemix has the ability to store and recall all console routing set-ups, and comes with D&R's proprietary PowerVCA automation as a standard feature. The Cinemix was designed as a 5.1 mixer, offering LCRS panning on each channel, plus two automated joysticks, which are assignable to any input channel.

The channel strips are divided into upper and lower sections - with the upper section labeled  'Channel' and the lower section labeled 'Mix'. The channel section has a mic pre (with switch able 48V phantom power on each module) plus a line switch, which converts the channel input from a mic input to a balanced line input. The gain control at the top of the module is a dual concentric knob.

The inner control adjusts gain in the channel section, while the outer knob controls the input gain of the mix path, allowing trim control of the tape return input.

Both the channel and mix sections of the module have four-band EQ.

The high- and low-frequency sections are variable frequency shelving-type EQs with a maximum boost or cut of 16dB. The HF is sweepable from 4kHz to 20kHz, while the LF is sweepable from 10Hz to 500Hz.

The two mid bands are semi parametric; the low-mid. control ranges from 40Hz to 1kHz, and the high-mid section ranges from 600Hz to 1 kHz. These controls have a Q factor of 1.5. In addition, the channel EQ has a switchable high-pass filter set to begin rolling off at 100Hz.

The channel section has an L/R pan pot and a phase reverse switch, while the mix section offers LCRS panning with dual concentric pots; the inner knob is for front panning, while the outer knob controls surround panning.

LCRS panning is activated for each channel with an LCRS switch, which changes the pan control from a normal L/R pan pot with ~4.5dB centre to true LCR.

The Cinemix has ten Aux sends available, divided between the channel and mix sections of the module. Auxes 1 to 4 are dedicated to the channel section, while 7 to 10 are dedicated to the mix section.

Auxes 1 and 2, and 7 to 8, are switchable between pre and post fader. Auxes 5 and 6 are set up with level and pan controls (making them ideal to build a headphone mix), are switchable between pre and post fader, can be assigned to either the channel or the mix section, and can also be routed to the 24 busses.

The 60-millimeter channel fader and the 100-millimeter mix fader control an internal VCA; optional motor faders can be installed which follow the VCA control voltage. Both the channel and mix sections have solo and mute switches. There is a fader flip function, which routes mic and line inputs to the lower fader and tape returns to the upper faders. in addition, each meter can show either mix levels or channel levels with a channel-to-monitor switch.

Five stereo modules are fitted into the Cinemix. Each module has two independent stereo sections (labeled A and B), which are normalled to signal processor outputs in the patch bay.

The input section consists of two stereo gain controls (Stereo A and Stereo B), adjustable from -20dB to +20dBm, and a pair of switches, which allows summing of the left and right, signals of each section.

Each section has a four-band fixed frequency EQ, with each band having a ±16dB boost.

The high-frequency EQ is a shelving type at 1OkHz, the low-frequency is a shelving type at 60Hz; and the high-mid and low-mid EQs are bell curves at 5kHz and 250Hz respectively.

There is an EQ in/out switch.

Each stereo module offers the same aux sends and assignments as the mono module; ten auxes are available, with aux 5 and 6 assignable to any of the 24 busses.

The centre section of the Cinemix has Solo volume (switchable between PFL and AFL), along with an LED that indicates somewhere in the console, a solo switch is engaged. The OSC/Talkback section offers test tones at 1OOHz, 1 kHz, and 1OkHz.

The aux Master section controls the output level of the ten aux sent. Each aux send can be solo'd or muted. (the aux mutes can be automated.)

Studio 1 and Studio 2, intended to control either headphones or studio monitors, derive their signals from a two-track source, auxes 1 to 2, auxes 7 to 8, or the main L/R bus.

The Cinemix has four two-track returns and one six-track source return, which allows post record monitoring of a stereo mix and/or playback from a two-track source, as well as monitoring from a six-track master machine. Twotracks A through C are +4dBu, and two-track D is set up at -lOdBV. Six-track source monitoring is also referenced to +4dBu.

If a Pro-Logic Surround encoder/decoder is being used, the decoder can be monitored via the Source Switching section.

In addition to the main control room outputs, the Cinemix has provision for two alternative sets of monitors to be available at the touch of a button, as well as a Mono button.

There are also two volume presets, as well as controls to solo the centre, surround, or sub bass channels.

ARM is an acronym for 'Advanced Routing Multiplex'. The ARM system controls routing and bus assignments for the input modules.

You can assign upper faders, lower faders or aux 5/6 to any of the group outputs, save any set-up for later recall, or assign faders directly to any of the main output busses.

Every module has an ARM switch. Pressing the switch on a given module activates the ARM system for that module. The Aux/Chan/Mic buttons in the ARM section determine which path in the module will be routed via ARM. Group/Tape source selection is chosen from the ARM section, as are joystick assignments.

An LCD, with soft keys under the display and a data entry wheel, allows access to the recall and dynamics systems.

In addition to the ARM system, the Cinemix comes equipped with D&R's proprietary PowerVCA automation.

PowerVCA uses SMPTE timecode to automate fader moves and mutes for up to 128 audio channels.

In addition to controlling all mono and stereo channel faders and mutes, PowerVCA also automates all ten aux send mutes, both joysticks, and the master fader. PowerVCA's monitor display shows automation information either by graphic moving faders or a cue list, which shows each command as an event occurring at a specific timecode.

Mixing and mix editing can be performed either on-line or off-line. In addition, PoweVCA allows for up to eight fader/mute groups. Any fader can, be designated as a master controller, and any other fader can be assigned as a slave to that master.

The system has the ability to auto save mixes, and will incrementally change the three-character suffix on the file name for each new mix. LEDs on each channel strip provide a visual indication of the automation status for that fader. PowerVCA uses THAT 2180B VCAs; the software is a DOSbased program running on a PC equipped with a Music Quest 32-M interface card to read and write SMPTE timecode, and to pass automation commands to and from the console.

The Cinemix has a comprehensive patchbay - fully balanced and using Bantam-type TT jacks.

The master section allows inserts on all six main bus outputs, as well as patch points for the aux sends, stereo processor outputs and stereo aux returns.

The patchbay includes 256 tie lines arranged horizontally in groups of eight jacks.

Each group of eight jacks terminates to a 25-pin, D-Sub connector on the back of the console, -allowing each row of jacks to handle four I/Os (or two stereo I/0s).

The Cinemix was designed as a surround console, offering true 5.1 main bus outputs. For those doing Pro-Logic Surround mixing, D-Sub connectors on the back of the console offer an easy interface to surround encoders and decoders like the Dolby CP65 or SEU4/SDU4-

To monitor the surround signal, the CRM section has a 'Decoder Active' switch, which connects the main control room monitors to the surround decoder.

As stated earlier, the Mix section of each channel strip offers LCRS panning, while the channel section and the stereo returns offer L/R panning. However, each section of the channel strips (and all of the stereo returns) can be assigned to any or all of the six main output busses or to the automated joysticks; a signal can be positioned almost anywhere in the surround field.

The Cinemix is equipped with 13-segment LEDs for each channel, analogue VU meters for the six main (5.1) outputs, and an, 11-segment LED phase meter. The VU meters indicate average levels, and the channel meters are a peak reading design calibrated for 0VU =+4dBu.

The meter is post trim, so adjustments to the input gain of the tape returns will be reflected by the meters.

All mic inputs are XLRs, which are mounted behind each module, as are the outputs for CRM 2 and 3 (the secondary and tertiary stereo monitors).

All other audio I/Os - line inputs, tape machine I/Os, outboard gear, surround encoder/decoder, and even the six-channel control room outputs, are on 25-pin, D-sub connectors.

The pin out configuration is consistent for all connector inputs and outputs, which facilitates the fabrication of wiring harnesses. In Use I've been using the Cinemix daily for the last nine months, and I have come to appreciate what it can do.

I have, however, found several things that I would change, given the chance.

The Cinemix sounds good; it's transparent and so quiet that it reveals shortcomings in other equipment.

Even with 40 or 50 channels turned up, the overall noise floor is so low that inserting my usual snare drum limiter can add an objectionable amount of noise to a track.

The mic pre-amps seem to amplify the signal without adding any of their own colour.

The EQ sounds good, and is also very transparent. The high and low shelving EQs work well and the constant Q mid-frequency bands are convenient for general tone shaping.

When I need to add aggressive tones to a track or any precise EQing to solve problems, I generally reach for an outboard EQ. The D&R EQ is sweet and musical, but isn't obnoxious enough for really aggressive sounds, and it isn't designed for surgical work.

The four fixed frequencies on the stereo modules are well chosen.

When I've needed to EQ those modules (again for general tone shaping), the EQ was easily up to the task.

I also appreciate the Cinemix having a full four-band EQ on both the upper and lower faders, rather than splitting one full-range EQ between the two faders.

D&R's powerdynamics package consists of a hardware-based programmable dynamics processor which adds compression, limiting, and gates to the Cinemix.

The dynamics package is installed in groups of eight faders, and can be hard-wire bypassed when not in use Control of the dynamics processors is accomplished through the LCD screen and associated controls in the ARM area of the centre. The Dynamics option uses THAT Corp 4301 VCA's.

D&R has introduced a second version of the Cinemix, called the Cinemix-2.

The Cinemix-2 is optimised for film mixing. Most of the changes involve only the centre section. and include: discrete assignment of input signals to all busses and joysticks (the standard Cinemix offers assignment to group pairs); bus formats selectable between Mono, Stereo, and Multiformat (LCRS, 5.1) bus panning possible via the surround Pan Pot; fixed calibration of the upper fader allows upper faders to be used as stems returns; both joysticks are assignable to busses via individual set-up switches, and can be assigned to more than one bus group; four macro switches assignable to favourite routing/format set-ups; and a gain reduction meter and a discrete on/off switch for the optional Powerdynamics.

Motorised Faders

For those who wish to see signal levels on the console (as opposed to just looking at the computer screen) D&R offers the option of moving faders, which can be installed on either lower faders or both upper and lower.

The motorised faders don't remove the VCAs from the signal path; they simply reflect the levels of the internalVCAs.

High-Resolution Meters

High-resolution 25-segment, bar graph meters are available as an altemative to the stock 13 segment LED channel meters. There were (of course) some trade-offs between cost and utility in the channel strips.

For instance, there is a high-pass filter on the upper channel fader but not on the lower, and full LCRS panning is only available on the lower fader. But the few times I wished I had a high pass filter to use during a mix, I simply used the fader flip button on the modules where I wanted the high pass.

And, if I wanted to pan something coming in on an upper fader to somewhere besides the main L/R output, I could do it in several ways.

Using the bus assigns in the ARM section, I could assign that output to only the surrounds. Or I could assign the upper faders to a group output and patch it to an unused lower fader, or even flip faders on the channels strip.

Almost everything I wanted to do could be done somehow, even if the solution seemed inelegant.

The ARM system works well and adds an enormous amount of flexibility to the console. There is one problem; on a channel strip, it isn't possible to simply assign the upper fader to one group output and the lower fader to another group output without jumping through some hoops.

This problem was pointed out to me by another Cinemix owner and, when I asked the folks at D&R about it, they explained that to do this would effectively mean making the Cinemix a 48 bus console, which would be cost prohibitive.

The PowerVCA system is basically a simple fader/mute automation system.

Since up to eight fader groups can be created and controlled by the software, and both aux sends and stereo returns can be automated, it is more functional than the phrase 'simple fader/mute automation' would simply.

I bought a Cinemix with moving faders. I like them just fine, but I'm a bit amused by the fact that the moving faders simply show the state of the internal VCA controllers, rather than taking the VCAs out of the signal path. I don't hear the VCAs (early VCA automation did sound bad) and the THAT 2180B VCAs are remarkably unobtrusive.

The Cinemix was designed as a surround console, and it does surround very well.

The bulk of my work is done in stereo, but I had the opportunity to spend a couple of weeks with the M&K surround speaker system.

The speakers sounded great and I gained a better appreciation of the surround capabilities of the Cinemix.

I might wish for some additional surround features, like the ability to automate LCRS panning and the ability to choose whether centring the LCR pan control would put the image in the centre speaker or if it would create a phantom centre using the left and right speakers, but there are work-arounds that will allow me to accomplish both of these things.

When I consider the price of the console and what it's capable of doing, I think D&R did surround right On the Cinemix.

Another thing that D&R did right was to make interfacing additional stereo monitors a painless operation. Putting the outputs for those monitors on the back of the console avoids headaches. Speaking of inter-facing, the D-Sub connectors that are used for all I/Os are another good idea.

Since there is a consistent connector scheme, wiring harnesses can be pre-made and ready to roll before the console arrives.

We were passing audio through the board within two hours of our installation, and it was fully wired before the end of the first clay of the install. And, when you add more outboard gear, it's equally easy to build another wiring harness (or, in my case, to order another harness).

The Cinemix patchbay is very comprehensive; the I/Os and insert point allow you to get anywhere you want to be. However, the patchbay is set up in a horizontal manner so that each channel strip's I/Os and inserts are arranged side by side, rather than the vertical manner that most of us are used to. The tie lines are also arranged horizontally; the input is beside the output, not above it. And, while the layout of the patchbay allows for a lot of jacks in a small area, the density is such that there is no room to label the tie lines. I get around this by making a list of tie lines (and the associated outboard equipment), then pinning it to the wall next to the console.

Even this isn't the best solution because the more equipment that's plugged in, the harder it is to see the number printed over each jack.

While I'm grateful for the sheer number of tie lines available on the Cinemix, it's more difficult than it should be to access them. Besides the patchbay, I would also like to see the channel Meters changed.

A 13-segment LED is not enough to give you a good idea about what's going on with the signal.

All it does for me is let me know there is a signal coming through a particular channel. D&R now offers high-resolution channel meters as an option; I recommend them.

The Cinemix was designed to fill a niche in the console market - a large format surround-ready console with a price that was not stratospheric. In this, they've succeeded admirably. The console sounds very good, the modules are surprisingly full featured, while the layout is flexible enough to accommodate most working styles.

While I wish some things could be changed, I suspect that everyone who works with a complex piece of equipment 12 to 14 hours at a time would say the same thing.

Since the development of DAWs, pundits have been heralding the death of the large format analogue console. If the Cinemix is any example, I'd say that the rumors of death are greatly exaggerated.

32-channel with motor faders          27.730,--

32-channel without motor faders     19.000,--

48-channel  with motor faders        25.000,--

48-channel package                     43.000,--

(48 dual in-line modules, 5 returns, motor faders, 96 channels of power dynamics,

 stems module, PC and patch bay.

OPTIONS

Power Dynamics (8channesl)         306,--

Stems module                           1450,--

High resolution LEDs per channel      18,--

All prices include VAT