In the News
The first showing for Fairlight’s modular audio routing and distribution system that include analogue, digital, MADI and SDI modules. Also new is the choice of card frames, with 3RU, 1RU and desktop versions.
See Fairlight’s range of converged audio production consoles, switchable between Live and Post modes. Handling 250 channels in Live mode, and up to 1000 tracks in Post mode, mixing to immersive 3D sound with AirPan control and support for formats like Dolby’s Atmos, these FPGA-powered consoles deliver flexibility with no compromise in performance.
PSN Europe, July 2016
Fairlight.AU has clarified its operational situation, following last week’s announcement (reported elsewhere) that the Australian company is actively seeking a buyer for its professional audio technology. Read more
Hot Desks – As broadcasters look to hone their workflow efficiency and demonstrate greater creativity and collaboration, manufacturers are under increased pressure to provide the most technologically advanced solutions on the market. Demand for connectivity is high, so who can those in the industry turn to for answers?
Audio Media International/April 2016
As all eyes in the broadcast industry turn to NAB later this month, we asked a number of leading manufacturers if they’d noticed any recent shifts in the market for broadcast consoles and what they thought the key priorities would be for 2016…
Fairlight has a proud legacy upon which it can draw, but instead the company is focused squarely on the future.
Pro Audio Asia, January/February 2016
The Fairlight of today cannot be so easily defined and instead requires closer attention. Its current voyage of exploration is pushing the boundaries of 3D sound as a key component for the future of audio, as well as looking to IP for audio transport.
A small, albeit armed-to-the-teeth recording studio in St. Louis, Missouri celebrates its 30th birthday this year, and its owner has quite a story to tell, as Colby Ramsey found out when he interviewed industry aficionado and passionate Fairlight user, Bill Schulenburg…
Audio Media International/February 2016
…Schulenburg’s long-term love for the business is equalled by his love for the equipment, his biggest passion being the Fairlight, which he upgraded in 2010 to a XYNERGI system. “It works in a way that really appeals to me as a long-time sound guy, and has really justified my faith in it over the years,” he explains. “It feels like sound equipment rather than a computer even though it has all the power of such. It’s just fantastic for sweetening video projects and I have several clients who use me for that.”
Networking? Routing? Audio consoles have been there and are doing that. And now the IP technologies making that possible have the potential to turn the sound mixing desk into a central broadcast production hub. Kevin Hilton ponders the evolution
In today’s data-driven world having one device perform several, often disparate, tasks at the same time is more viable and achievable than it has ever been. IP is seen as the way forward for both audio and video in terms of combined operations but instead of concentrating on the mixing, editing and transport aspects of the technology, developers and broadcasters alike are considering what all this means for control of both production and automation. And after years of being the piece of equipment consigned to its own room and largely ignored by vision types, the sound console is well placed to become the central point in many broadcast centres.
Audio Media International, November 2015
With the rise of IP-based workflows and immersive audio techniques, sports broadcasters now expect much more from their gear. David Davies explores how manufacturers are stepping up to the challenge.
Audio Media International, November 2015
Selecting a console in today’s market is a big decision, and it pays to be clued up before committing to one. This guide is packed with professional advice, industry opinion, promotional material and a helpful directory designed to make that important choice a little easier.
Virtual reality and mobile technology are leading the way for immersive sound experiences...
Audio Media International, June 2015
As early adopters of the new medium both Two Big Ears and Illustrious have had to develop the immersive audio technology in-house. This is becoming less of an issue for content creators as major DAW manufacturers recognise the need for such tools. Last year, Fairlight launched 3DAW, the company’s 3D audio workspace.
Pro Sound News, March 31st 2015
The April, 2015 issue of Pro Sound News features a special report, Immersive Sound: New Tools Of The Trade Expanding on the report, we present further insight in this online continuation
Fairlight, Lawo, Salzbrenner Stagetec discuss design evolution and IP momentum
SVG Europe, March 20, 2015
Smaller, smarter, faster: audio consoles for broadcast have evolved at a rate of knots since the transition from analogue to digital got underway in earnest. With IP-based operation expected to have a dramatic impact on workflows over the next few years, it seemed like a timely moment to talk design drivers and evolving customer expectations with the leading lights of the console world.
In the first of a two-part roundtable, SVG Europe puts the questions to: Tino Fibaek, CTO at Fairlight, whose latest introductions for broadcast include the EVO.Live console; Christian Struck, senior product manager at Lawo, which makes an extensive range of broadcast-oriented solutions including the flagship mc266; and Bjorn van Munster, product manager/sales, and Sebastian Schmidt, sales manager DACH, at Salzbrenner Stagetec
Phil Ward analyses the new regime at Fairlight as the company targets live events
PSNEurope, January 2015
FAIRLIGHT IS one of those names that strike a chord. Several chords, actually, to which 1980s pop testifies…
At Fairlight, talk now is of the next significant growth phase. “ While live audio and installation is definitely a key part of our strategy, we also see significant growth opportunities in the post arena, driven to some extent by initiatives for cloud-based collaboration platforms from Adobe, Quantel and Avid.”
“Live sound demands systems that are highly dependable, always available, and that have a very fast response. We’re coming in to this arena with a very different attitude and a different background to a lot of the other companies in this field.
Vendors enhance with expanded automation capabilities, IP and improved workflows
TV Technology, January 2015
You might think that in 2015, all of the major audio console design developments are to be viewed through the rear view mirror. But you would be wrong. Demands placed on audio engineers who work in the television industry continue to escalate and the vendors who serve their needs continue to refine their products.
Mix Surveys Digital Boards with 24-Plus Channels
Mix Magazine, January 2015
Space and weight are always an issue in live sound, and manufacturers have answered the call in the latest range of mixers and controllers. This month’s roundup features mid- to large-frame digital desks released since AES 2012, and includes a sidebar featuring the latest rackmount I/O and DSP boxes controllable from an iPad, laptop or touchscreen.
Resolution, November/December 2014
Fairlight has introduced 3D Audio Workspace (3DAW) as a platform for immersive and object-oriented 3D sound production. Aimed at the film and TV post production markets, 3D Audio Workspace is designed for content creators who want to improve the 3D sound audience experience. Fairlight CTO Tino Fibaek explains what 3DAW does and the thought process behind the innovation.
Q&A: Fairlight CTO Tino Fibaek on the new 3DAW platform and returning the company to ‘full strength’
SVG Europe, October 2014
Showcased at IBC 2014 and due to be made available from the end of this month, Fairlight’s sports-friendly 3DAW platform enables operators to use a VR-style input to position and control images in a 3D space. CTO Tino Fibaek discusses the platform’s development as well as the current resurgence of Fairlight itself after a challenging couple of years.
InBroadcast, July 2014
IBC 2014 saw Fairlight launch its QUANTUM.Live Table-Top (TT), the newest addition to Fairlight’s live console family that includes the award winning EVO.Live digital audio mixing system. Also announced was Fairlight’s 2nd generation Crystal Core engine (CC-2) technology. Hailed as the most powerful post production engine ever created, CC-2 incorporates 1000 tracks, 100+ output buses and 100 live inputs.
InBroadcast, July 2014
The CatholicTV Network in the USA has become the first customer for Fairlight’s new EVO.Live audio mixing system, which won a Best of Show award when it was launched at NAB 2014.
CatholicTV is using EVO.Live for live and pre-recorded HD broadcast productions at its facility near Boston, Massachusetts. The console’s unique ability to switch between live and post modes means that staff engineers can also use the desk for editing when it isn’t needed for on-air applications.
Digital AV Magazine, March 2014
The Fairlight audio technology played a key role in the opening and closing ceremonies of the Olympic and Paralympic Games in Sochi 2014, performed at the Stadium of Fisht.
AudioTechnology, March 2014
Fairlight has an enviable name in post production mixing, but you rarely find one of its consoles in an OB truck… more likely a Calrec, Digico or Lawo. But that may all change soon. The EVO.Live console surface is compact, making it well suited to tight situations like the OB vans, or indeed performing arts centres, churches or broadcast facilities. The console is available in different chassis or table-mount configurations.