Max Air is specifically designed for on-air and live-to-tape broadcast production applications. Euphonix has built upon years of experience in digital control surface design to provide a compact, and cost effective digital mixing solution that includes all the high performance features and quality that our customers have come to rely on.

Max Air is is based on the proven technology and software of System 5. Max Air shares the same DSP core and I/O as System 5 and also includes much of the same processing and control software.

With over 100 installations of Euphonix systems in top broadcast facilities throughout the world Euphonix's experience in digital production mixing systems is second to none.

Online Video - Download an 18 minute Guided Tour video of the Max Air digital audio mixing system for on-air and live-to-tape applications.

The whole broadcast chain is moving rapidly to a fully digital world. Converting to a digital audio system such as Max Air increases the features available to the operator and simplifies the technical installation of the system.

Max Air can control large numbers of inputs in a small space and has been ergonomically designed to speed up operation. The use of 'Layouts' to bring up groups of channels in front of the operator makes it much easier to mix large number of inputs.

SnapShot Recall of all console settings allows fast turn around between different shows and accurate recall for continuity from one week to the next.

Another major advantage of digital is the pricing compared to analog systems. Max Air is highly cost effective as a system and also reduces the cost of a typical installation especially when using digital connection solutions such as MADI.

Max Air also allows for direct digital connection to other systems within the facility including digital routers. From the time the signal is converted at Max Air's input to final transmission the signal can remain secure in the digital domain.

Reliable operation and straightforward fault detection are fundamental to any broadcast console design. A resilient product needs more than redundant components to provide real world protection. Max Air includes special techniques in its design. Max Air is not a single CPU based product. It is a scalable distributed modular system in which every surface section always contains the complete console set up and can control such as needed. The system communicates within a star formatted network via 100Mb/S Ethernet connections, and is an inherently fault tolerant design. If, for example, a surface section failed, all the other sections remain totally unaffected, leaving the console in otherwise normal working operation.

With Max Air:

• System still fully functional in the event of a surface module failure, and the operator can decide when to re-synchronize components
• No audio is lost and full control of the console is still practical from the remaining channel strips, central section or touch screen
• Full control of audio is still practical from the control surface even if system PC fails
• All channels can be accessed on all functioning faders with no interruption to audio, if a local surface module fails. In the unlikely event that all surface modules fail, full operation is still practical from the central section or touch screen.
• Available second VGA screen, mouse and keyboard for use as additional back up if required.

• Award winning technology, proven ruggedness and multifaceted control
• Fully featured broadcast design, part of award winning System 5 platform
• Proven distributed Ethernet architecture.
• Familiar channel strip approach plus central control incorporating touch screen.
• 224 analogue or digital sources 224 destinations with expansion capability.
• 96 simultaneous mono, stereo, split stereo, analogue or direct MADI channels.
• 24 mix busses up to 5.1 wide
• 16 aux sends
• 24 group/clean feed buses
• channel n-1
• Full processing across all 96 primary signal paths and major buses.
• Scalable local or remote I/O, copper or fiber connection.
• Available integrated TDM hub router under optional GVG Jupiter control.
• Up to 2 secs delay per channel
• Surround panning and monitoring as standard
• SnapShot Recall of all console settings
• Console scribble strips can integrate to the Image Tally TSI1000 and act as UMDs
• Easy to use and learn - intuitive interface
• Priced right for the local and international TV market

The Max Air control surface is comprised of two modules, the 16 fader channel strip module (CM416 shown far right) and the master section - Superchannel module (CM404 shown left).

The CM416 can be fitted with 8 faders on the left or 8 faders on the right and a half width blank for users to fit third party metering and other devices.

The control surface can be configured with one CM404 master section and up to 48 channel strips in any position to match operational preferences and space constraints. The modules can be mounted on a desk, in custom furniture or onto the Max Air stand.

As the only connection to each module is a high speed Ethernet and power cable, the position of the modules is completely flexible. The modules do not have to sit next to each other opening up many custom layout possibilities including wings and 90 degree angles for wrap around configurations.

The Max Air shown right has (left to right) 16 channel strips, touchscreen & wildfaders, Superchannel and then a further 16 channel strips.

Max Air includes 96 channel signal paths. Each of the channel strips on the mixer surface can be made to control any of the channel signal paths. Strip 1 could control channel 1, strip 2 could control channel 2 and so on. As Max Air has 96 channels this would make the control surface very large, having one strip per channel.

Max Air allows for a more flexible and compact approach. Each channel strip has a swap button to swap control between two channel paths. For example strips 1-16 could be the mic channels with the backup mics on the swap buttons for instant changeover of each mic if there is a microphone failure.

And Layouts of strips can be brought up on the surface at the push of button, for example one Layout could include mics 1-16, OB sources 17-24 and VTRs 25-32. Another could bring up 8 outputs from another studio in place of the VTR channels.

The system is very flexible allowing the engineer to layout inputs with complete freedom and to save Layouts for instant recall.

A typical Max Air console will have 32 channel strips. Control surfaces can be configured from 8 to 48 channel strips.

[full size pdf illustration of channel strip 80kb]

Max Air includes:

96 channel signal paths, up to 32 main/subgroup buses, up to 24 Clean Feed/Group Matrix outputs, up to 24 Aux sends and 24 External Inputs, plus a dedicated mix minus and insert per channel.

Each channel has:

• 2 inputs either A, or B, or A+B
• remote mic preamps may be added to either or both inputs
• phase
• input trim
• delay
• insert send & return
• 4 band fully parametric EQ
• 2 filters
• compressor/limiter or expander with side chain input
• dedicated n-1 mix minus per channel with dedicated output
• up to 24 aux sends (nameable) individually pre or post, mono or paired as stereo
• pre fader direct output
• post fader direct output
• multi-format panner
• up to 24 clean feeds
• up to 32 main program/subgroup busses
• PFL, APL and SIP solo modes

The PatchNet routing system described later in this tour is used to patch sources to channel inputs. Each channel signal path has two inputs, A and B.

Max Air sources are connected to the DSP core by 4 MADI inputs, each capable of up to 56 inputs (at 24-bit 44.1 or 48Khz).

Euphonix supplies a range of high quality analog, AES/EBU or direct digital format converters for connecting the outside world to the 4 MADI inputs.

Even though there are 96 channel signal paths, it is possible to connect up to 224 sources to the system.

All inputs have a phase reverse, delay and digital gain.

Remote multi-channel mic preamps controlled from the console may also be fitted. For mic sources there are also controls for phantom power, input impedance, high pass filter and analog mic preamp gain.

Insert Point

Each channel has an insert point which can be placed in any of the seven process positions.

The Euphonix converters provide analog and digital I/O for insertion.

Order of Processors

There are 7 processing sections:

• Delay
• Metering Source
• Insert Point
• EQ
• Filters
• Dynamics
• Fader and Mute

These can be arranged in any order. For example, the EQ may be set to follow Dynamics, the Insert may be placed after the EQ or Dynamics and Metering can be placed after the Fader.

EQ and Filters may be adjusted from the channel and the Superchannel. The full EQ controls in the central Superchannel are shown opposite (slightly less than full size).

The EQ is four band fully parametric with switchable peak/shelf on the high and low band.

Each band has frequency (20Hz - 20kHz), gain (+/- 24dB) and Q control.

In each band the Frequency/Q page key toggles the control between frequency and Q, although the knob displays both frequency position and the Q.

There are two filters that can each be set to:

• High Pass
• Low Pass
• Band Pass
• Notch

Each filter has a frequency control. The notch filter has a boost/listen function and variable Q.

Max Air has a broadcast specific dynamic section. comprising of a compressor, limiter, expander/gate and side chain key input.

Dynamics can be adjusted from each channel strip and also in the central Superchannel as shown opposite (full size). The touchscreen can show dynamics curves - below right.

Here are the full set of parameters that can be adjusted:

Side Chain

Filter Type - Hi Pass, Lo Pass, Band Pass, Notch
Side Chain Listen Side Chain Source - Channel, Key Input, Link
Detector Type - Peak, Average

Mix Buses

The Mix buses are grouped in Sections to allow mixing to different formats. For example a stereo mix section has two individual buses and a 5.1 mix section has six. Up to 16 mix sections may be simply configured and named. Max Air supports up to 32 individual mix buses. The channel signal may be routed to all buses in that Section with or without the pan. It is also possible to route to individual buses (direct assign) in each section, for example, just the center bus of a 5.1 mix section.

Clean Feed/Group Matrix Buses

24 Clean Feed/Group Matrix buses are available from any of the 96 channels. They can be set to any format from mono thru 7.1 but are usually configured as mono outputs. They are useful where feeds need to be created for mix minus' requiring more than one channel is subtracted; studio floor feeds, PA zones, or conventional multitrack buses. They are also useful as audio subgroup buses.

Aux Sends:

12 Aux Sends are available as mono or stereo pairs individually set to feed pre or post-fader. They can be used as effects sends or foldback sends. 12 sends allows for a send per effects device.

Max Air includes a dedicated mix minus bus. The Bus button on each channel includes that channel onto the mix minus bus.

The Mix Minus button phase inverts the signal on the strip, adds it to the mix minus bus, and routes the resultant mix minus to the channels Post Fader Direct Output.

This Mix minus system is extremely powerful as it is a single button press away and available on every channel. On-air production often requires on the fly changes to the microphone mix minus settings.

This Mix Minus system in addition to the Clean Feed/Group Matrix busses described earlier in the tour enables Max Air to offer an incredibly powerful array of bussing features that are found nowhere else on the planet.

At the heart of Max Air is the large 17" high-resolution touch screen display. Information such as hi res metering, EQ and Dynamics graphs, patch routing and functions such as system setup and file directory. The display also links to the soft knobs situated just below the screen.

Permanent Display - Lower left and right

The information is always available on the screen along the bottom and right-hand side and is always available. It consists of:

• Soft knob display
• Keypad quick access
• View menu
• Time counter / time of day
• Current title name
• Current mix name
• Bus meters

Views - Main part of screen

The user chooses one of several views to fill the rest of the screen depending upon his task and preferences. These include channel display of EQ and dynamics or setup and directory functions.

Pop Ups - Menus

Menus used for a specific task (e.g. to set oscillator parameters). They are expected to remain onscreen only as long as the task is being performed and then to disappear upon completion.

The Superchannel is entire channel fully laid out with dedicated controls for all functions. Any channel can be brought into the center for detailed control adjustments and graphics display of EQ and Dynamics on the screen.

Superchannel Controls include:

• Routing
• EQ
• Dynamics & Filters
• Pan
• Mic Pre and Input Trim
• Aux Sends

[click for full size center section illustration pdf 1.3mb]

Max Air includes all the master features you would expect from a professional broadcast console including controls for the monitors, solo, talkback and oscillator.

Monitors
Max Air has five monitor outputs; Control Room (main and two alternates), and the SLS/Cue outputs Mon A, B, C and D.

Each of the 5 monitor feeds can select from External Devices, the Mix Outputs, and the Aux sends.

The format of the main control room monitors, and Mon A can handle up to an 8 output surround format. Even the Alt 2 outputs can handle 6 speakers which is very useful for a second set of control room speakers when mixing in surround. Group outputs are usually monitored on the Strips but can also be picked up by the External inputs using PatchNet.

Wild Faders
The 8 wild faders located under the touchscreen can be assigned to control channels or groups. Their function is saved with the console layouts for easy store of different setups.

Metering
As well as the meters next to faders on each Channel Strip, channels may be metered in high resolution on the touch screen. Master outputs and Aux sends are also metered on the screen.

[click for full size center section illustration pdf 1.3mb]

SnapShot Recall

SnapShot Recall revolutionizes console operation as it allows all settings, including routing, EQ and levels, to be stored for instant recall. Shows that repeat can be setup in a matter of seconds and modified each time to improve on the console mix and setup over time. Different operators can work on the same show without having to learn the entire routing and show setup every time.

Layouts

The way channel signal paths are controlled by the physical channel strips can be saved to Layout. This is one of the most powerful features of Max Air. Setup the channel strips to control a set of like channels and save this as a Layout. Layouts can be named and recalled at the push of a button. They let the engineer logically put similar sources together for instant recall.

For example, on a 32 channel strip console, one Layout could have mics 1-16, OB Sources 17-24 and VTRs 25-32. Another Layout could bring up mics 1-16 and another set of router feeds onto strips 17-32. Another could simply have the first 8 mics on strips 25-32. It allows the operator to layout the console to match the application, or section of the show.

Max Air has 96 channels, although it can be fitted with many more inputs depending on the amount of I/O hardware installed.

PatchNet

PatchNet is an on-screen 224 x 224 (basic config size) digital router that replaces a conventional patchbay and handles all console inputs, outputs and internal routing. The touchscreen includes all patch functions - simply select a source and a destination and make the patch. All patches are stored with the Title.

Some studios may want to add optional analog patchbays for monitors, analog inserts and patchable mic or line inputs, together with analog outputs. All these analog sources and outputs are converted to and from digital and can be routed using PatchNet.

Setup and Titles

Max Air also includes software for console setup functions (naming of inputs for example) and for saving and naming projects and titles to disk. All these functions are handled from the touchscreen.

In many on-air applications, a digital console's audio router duplicates the functionality of the main facility router and requires double the amount of I/O. This is especially true in OB vehicles.

The Euphonix StudioHub router has been designed to communicate with industry standard routing control systems, such as the Thomson VM3000 Jupiter control system. This ELIMINATES the need for two routing systems and two I/O systems while satisfying the demands of redundancy for on-air operation. Typical savings of over $30,000 and increased efficiency can be realized.

The StudioHub router can provide up to 768x768 time slots with all console I/O being fully accessible to all areas of the facility. For more details go to the TDM Broadcast Router Section of this site.

Max Air includes an Events system as standard. This has the ability to make a control surface event such as a fader down, trigger an event such as switching off a speaker feed. The touch screen interface includes logical operators for customizing event parameters.

With the GP132 external rack mount interface, events can include external sources and outputs. It can accept 32 external logic inputs and provides 32 contact closure outputs. Inputs will accept 5-24V (AC or DC). Up to four GP132 can be connected to provide a total of 128 inputs and outputs.

The GPI system can also be used for logical operator command sequences to fire appropriate Dolby E encode, decode and monitoring modes.

Audio-Follow- Video

One of the most popular applications for the event system is audio-follow-video where the GP132 interface connects between the console and a video switcher for audio that can follow camera switching.

Max Air can have as many inputs and outputs as needed simply by adding modular I/O. Configure Max Air to the studio's exact I/O requirements.

Euphonix can supply a range of multi-channel high quality analog and AES converters that convert to multi-channel (up to 56 channels at 48KHz) MADI for connection to the Max Air DSP core.

• MADI to Analog, Analog to MADI
• AES/EBU to MADI, MADI to AES/EBU
• Remote Mic Preamplifiers to AES/EBU (use as AES/EBU converter to get to MADI)
• The FC726 is a bi-directional digital format converter with built in sample rate conversion that connects the DSP Core to the digital world via AES/EBU, MADI, SDIF2, Pro Digi, TDIF and ADAT.

Two Main Module Types:

• 16 channel strips
• width 22.3" (566mm)
• CM416HL module - 8 strips, left half blank
• CM416HR module - 8 strips, right half blank

• SuperChannel, master facilities, touchscreen and 8 wild faders
• width 22.3" (566mm)

Modules connect to DSP core via ethernet.

4 Control Surface Combinations

Surface 1 - 16 channel strips
  *width 48.6" (1,234.5mm)

Surface 2 - 32 channel strips
  *width 72.9" (1,851.7mm)

Surface 3 - 48 channel strips
  *width 97.2" (2,468.9mm)

Surface 4 - 48 channel strips with blanks
  *width 121.5" (3,086.1mm)

* All widths include 1" per side for end caps. Subtract 2" (50.8mm) for system without end caps.

System 5-B and Max Air

With System 5-B and Max Air, Euphonix can now supply two different on-air digital audio mixing solutions to fit the application and budget.

Both systems share the same high sound quality, reliability and the EQ, Dynamics, panning and routing capabilities together with the DSP Core and I/O hardware.

System 5's control surface, which includes large TFT displays in each channel and more knobs, is slightly deeper than Max Air's and has virtually unlimited number of I/O capabilities for really large installations, but as a result is more expensive.

Max Air has a fixed sized DSP Core with the following signal path configuration designed for typical On-Air applications; 96 channel signal paths, 32 mix/subgroup buses, 24 matrix outputs, 12 aux sends and 24 external inputs, plus one mix minus and insert per channel.

Please feel free to call your local Euphonix Sales specialist who can discuss the best system configuration that meets your requirements.

In real-world application, this means that an operator can premix a live segment in rehearsal while OverDrive controls the On-Air program elements. By hiding these automated channels, distractions to the operator are minimized as well as the chance of accidental disruption of the On-Air program. When the live performance begins, OverDrive controls the transistion submasters while the operator continues to control the live balance. Of course, automated elements can be quickly and easily recalled to the surface for On-Air adjustment. These adjustments are registered by the OverDrive system and can then be stored into the OverDrive playlist events for future programs.

The centralized control offered by OverDrive gives the ability to execute a more consistent, sophisticated production on the air without increasing staffing levels.

Euphonix Digital Audio Mixing Systems for Broadcast Now Integrate with Ross OverDrive Production Control System

System 5-B and Max Air console integration with OverDrive offers more consistent and sophisticated production.

Euphonix now features integration with the Ross OverDrive Production Control System available in their Synergy Series Production Switchers. OverDrive offers centralized control of many studio devices including servers, routers, and robotic cameras, as well as the audio console. The system's Rundown Control playlist software allows for fully automated productions.

Euphonix integration is available in all latest release System 5-B, System 5-BP and Max Air consoles. This optional software upgrade requires no additional hardware and enables external control of all channel faders, on/off switches, pans, and PFL. Other console functions will be added in future releases. The feature can be enabled or disabled locally on the fly to allow seamless transitions between audio-follow-video functionality and manual operation.

In some environments, audio-follow-video is used to complement an audio operator. Transitions and set show segments are automated while an audio operator is required mix complex segments such as live bands. Through Euphonix's flexible control surface architecture, channels that have been designated for control by OverDrive may be hidden from the surface. An audio operator therefore has access to all console faders while the OverDrive simultaneously controls other console resources in the background.

For pricing call your local Euphonix representative who can configure a system to your application and provide a quote. Price depends on the size of the control surface and the I/O configuration.

Check out the Sales Section of this site for demonstrations at your local Euphonix office or distributor.