Issue link: https://digital.copcomm.com/i/1076412
30 The next in line in the four-channel sweepstakes was the Deva recorder, introduced in 1996. This marked a wholesale shift in production recording technology from tape to file-based recording, with an attendant change in workflow. If there was ever a reason to doubt that production recording was headed for higher track counts, the introduction of the Deva would put them to rest. While still slow to see ready acceptance, the fact that the recorder was capable of generating sound files that could readily be imported into digital audio workstations (such as Pro Tools and Fairlight) meant a huge savings in transfer costs. At this point, the industry began to sit up and take notice. With four channels now at their disposal, production sound mixers started to look at ways to take advantage of them. Four channels didn't allow an isolated channel for every input, so some sort of mixing was still required. However, most portable mixing consoles of this period were designed with dedicated master sections with two output busses, and perhaps one aux buss. As a stop- gap measure, some manufacturers (such as Cooper and Sonosax ) developed an auxiliary module for their existing consoles which would provide two extra outputs. Other manufacturers had already anticipated this demand. In 1992, Professional Sound Corp released its model M8 mixer, a well thought out design that incorporated eight inputs and four busses. Audio Developments followed up with a variation to their AD245 mixers, introducing the AD146 and AD147 in the late 1990's. While equipped with only two buss meters, these consoles actually had four assignable busses for each input module. An additional 15-pin connector allowed for full metering of all outputs. Thus began the race for more channels… 2000 With file-based recording now becoming firmly entrenched as the primary medium for production recording, the ability to record multiple channels of high-quality audio without having to resort to multiple recorders or wide-format analog tape was becoming a reality. Of course, the logical use for the additional channels was to be able to isolate various mics during production (in the same manner that multitrack had been used for music recording for years). The only hindrance to this approach was that not all portable production mixers of the era had facilities to provide a direct output from each input channel. So, it was once again back to the drawing board for some manufacturers to provide this capability. Notable among the mixing consoles that were intended to address the issue were the Cooper CS-208 (introduced in 2000), the Audio Developments AD149, and Sonosax SX-ST series (introduced in 2008). In addition, the Audio Developments AD149 and Sonosax SX-ST could be provided in configurations up to 12-input channels, a significant departure from the days when four or six inputs were the norm. Another interesting entry to the fray, and setting the stage for the future, was the introduction of the Zaxcom Cameo mixer in late 1999. While there were other digital consoles on the market (such as the Yamaha 02R, introduced in 1995), Zaxcom was the first to market with a portable digital board designed specifically for production recording. It sported all the features one would expect of a film-mixing console, including communication channels, extensive routing, plus individual channel delay. It was also equipped with both analog and AES I/O. However, despite its 6-mix busses, it was still limited to an 8-input configuration. While this wasn't too much of an issue at the time it was introduced, the day was coming soon where eight inputs would be deemed insufficient for the needs of multi-camera shows with large casts. 4. Audio Developments AD149 14-input 2-buss console. (Photo courtesy Scott Smith CAS) 5. Sonosax SX-ST 8-input 8-buss console. 4 5