Audioarts AIR-4

AUDIOARTS AIR-4 At this point we come to the consoles that remind us of the great names of the Audioarts brand, such as the R-60, D75, R55, etc. Here the consoles have larger chassis, more flexible features and top-of-the-line construction. The Air-4 is the console with the most features in the “Air” series. Considered by me to be the top of the line in this series, it offers 13 channels and the possibility of more sources per channel. If you look at its design, it already shows you the features you’re looking for in a broadcast console. So let’s get to the features:

• Two PGM buses (PGM1 and PGM2); – Thirteen channels, divided into: four channels for microphones, eight channels for line and channel thirteen is a module to accommodate hybrids; – 4 preamplifier circuits for microphones with independent gains. They are not integrated into the modules and there is the possibility of reducing the number of microphone channels to the detriment of the line channels. As there is no integration, the microphones can be allocated to any channel you wish; – Channel 13, named CALLER, is used to receive audio from hybrids and, like all the consoles so far, has an MXM (mixminus) return for these hybrids; – A/B selection on each channel, except channel 13 (CALLER). Allows two sources to be placed per channel, with just a touch of the button to switch between one and the other; – Talkback button, works in the same way as on the Audioarts 08, when pressed it cuts the sound sent on the MXM and gives way to Mic1. – Independent controls for Monitor, Cue, Headphones and Studio. From this model onwards we will have the addition of an audio level control for studios. – Built-in tally switch for controlling an external relay – “EXT” input, for inserting a receiver or processed sound for speaker feedback. – Internal CUE speaker.

There are many important features in this console. The Air-4 comes with many extra features that broadcasters want and one of them is the presence of GPIO ports. Formerly known as Machine ports, these ports are important for delivering commands from the operation and are arranged on a DB-25 connector on the rear panel of the console. Monitoring can be done via the Monitor (Control Room) and Studio and each of these has an independent source selection, which can be PGM1, PGM2 or EXT. The console is powered by an external power supply, just like the previous ones, making it lighter and the possibility of changing it in the event of a breakdown simple and less traumatic, which is a choice Audioarts has made from the outset. Once again the USB feature is present, with the same characteristics as the more basic consoles, the difference lies in the output of this module. On the more basic consoles, the audio coming from the PC via USB had a fixed channel, in this case it is available on an RJ45 connector to be routed, via a cable, to any desired input on the console. Audio is still sent to the PC via one of the PGM buses, which can be chosen between 1 and 2 via a dipswitch on the rear panel. My conclusion about the Air-4 is that consoles have evolved in terms of features without having to grow in size. The metal construction, as always, doesn’t grow in size, but still presents a compact console, with 4-channel modular panels grouped together. A respectable midrange. The Audioarts AIR-4 has 4 built-in microphone preamps, allowing you to use one microphone for the presenter and three more for guests, without the need to use an external mixer. It has 12 input faders (with A/B source selection), a thirteenth fader with talkback and automatic mix-minus for answering calls; control for external machines, two program buses, built-in cue speaker and controls for technique, studio and headphone monitoring. With basic features like machine control, cue, talkback and mix-minus included, the AIR-4 is perfect for small stations thinking of upgrading, as well as larger facilities that need an auxiliary studio or journalism studio. Add USB connectivity for journalism computers, audio workstations or audio streaming, and the AIR-4 is perfect for local radio stations and internet broadcasting.

HIGHLIGHTS

– Switched VU meters – Remote START logic for each fader – Two program buses with balanced outputs (switchable to stereo or mono) – Studio output with independent source selection and talkback key from tech to studio – Electronic switching – External input for monitoring section (for monitoring “on air”) – USB connection for extra versatility – RJ connectors for low-cost cabling LED lighting – Compact chassis – External input for the monitoring section (to monitor the broadcast “on air”) – USB connection for extra versatility – RJ-45 connectors for low-cost cabling SPECIFICATIONS AUDIO INPUT Microphone Direct insert connector, balanced, impedance >2KΩ in bridge mode, adjustable sensitivity, maximum input level: -6dBu Line RJ-45 connector, balanced. Impedance >10KΩ in bridge mode. +4dBu = 0VU. Maximum input level: +24dBu External Same values as Line AUDIO OUT Program RJ-45 connector, balanced; 100Ω impedance, to connect to equipment >600Ω; 0VU = +4dBu. Maximum output of +24dBu Studio and Technical RJ-45 connector, unbalanced Stereo headphones, in 1/4″ (P10) TRS jack, to feed typical broadcast headphones, with impedance >200Ω Cue Speaker on meter bar DB-25 female connector to connect external power amplifier LOGIC On-Air In DB-25 female connector. Contacts close at low current to power external signaling relay ON AIR START command Output with optical isolator, for remote starting of equipment PERFORMANCE Response +- 0.1dB, 20Hz-20kHz (line and microphone) Dynamic Range Line (unity gain)113dB; Mic (54dB gain)100dB Headroom 24dB above -4dB Noise Microphone: -128dB EIN. Line: -87dB, 0VU reference THD+N Mic: <0.02% @-50dBu input, +4dBu output. Line: <0.003% @-4dBu input, +4dBu output Inter-bus crosstalk: -90dB @1kHz Stereo separation: -60dB @1kHz PHYSICAL Dimensions W: 72.1cm. D: 39.1cm. H: 4.1cm front; 11.2cm rear Weight 7.7kg. Transport weight in packaging: 11.3 kg Power supply 100-240VAC, 50-60Hz, 50W