Four excellent replacements for your EX3

Four excellent replacements for your EX3

We started spring cleaning early this year and, while doing anything remotely difficult in December felt incredibly strange, we have to say that getting rid of our old kit actually felt pretty good. We’re up to date now! We’re flexible! We can shoot videos that don’t look five years out of date! It’s all pretty exciting. 

One of the hardest parts of the entire exercise was getting rid of our trusty EX1/EX3 combo. Having gotten us through more case study shoots, product demos and terrifying windows into our collective subconscious than we care to remember, these cameras have earned themselves a special place in our hearts and besides, they’re good, dependable cameras.

But we had to face facts. They’re old cameras. The images they produce aren’t as high quality as those produced by some of their latest rivals, and they don’t make it easy to get fashionable effects like shallow DOF. They had to go. And, if you’re being honest, your EX3 is closing in on the end of its shelf life, too.

In order to help you get through the switch with maximum dignity and minimal angst, we’ve put together this roundup of resources for our four favourite replacements: the PMW-200, PMW-300, NEX-FS700 and PXW-Z100, all of which are perfect for different reasons. And if you don’t see what you need here, you can always put a question to our team by calling 03332 409 306 or emailing broadcast@Jigsaw24.com.

 PMW-200: The new EX1

Sony PMW-200, available now from Jigsaw24

Sony’s PMW-200 is designed to be the direct successor to the EX1, incorporating familiar controls and features but giving the overall image quality a bump thanks to a new image sensor. This sensor was developed to help combat rolling shutter issues, so you can kiss those goodbye, and will also support high frame rate recording, should you feel the need to recreate select scenes from The Hobbit at full speed in your back garden (we have absolutely not done this).

The reviews

The always dependable No Film School have some key specs and a pretty comprehensive video review here (the presenter is really quite keen on Fujinon lenses) and, although they’re big EX1 fans, they do find time to wax lyrical about our favourite feature: the PMW-200’s 15 second cache recording capability. If you’re going to be doing events work or ENG, having all that extra time is going to make it a lot easier for you to capture key moments, and we don’t know anyone who’d turn that down.

For a more comprehensive overview, head over to XDCAM User and take a look at their review, in which an EX1-loving videographer takes the PMW-200 out on shoots in Singapore and the UK. It’s the closest you’re going to get to touching the PMW-200 without pawing it in a showroom.

The essential info

One thing that confused a few PMW-200 users in the early days was the fact that you had to choose whether to format your memory cards as UDF or FAT, seemingly for no reason. Luckily, UrbanFox have worked it out: you want UDF for higher 50Mbps recording, and FAT for your lower nitrates.  And once you’ve got your cards formatted and your footage shot, here’s how to make sure your XDCAM MXF footage will work properly in Adobe Premiere Pro.

It’s also worth bearing in mind that if you’re delivering XDCAM clips to clients, they might not be able to play the footage directly on their Macs. Try this handy workaround to get your footage working with QuickTime Player.

PMW-300: The new EX3

Sony PMW-300, available now from Jigsaw24

If interchangeable lenses are an absolute necessity for you and you’ve always been an EX3 user, the PMW-200’s ample charms may not quite be enough for you. You’ll want the PMW-300, which offers a broadcast quality, EBU-approved 50Mbps codec and interchangeable lens on top of everything you’d expect from an EX3. Like the PMW-200, it features an updated sensor that’ll really help with rolling shutter issues and enable you to shoot HFR.

The reviews 

Let’s start official. You can take a look at the key specs in this Sony brochure, and see Sony Professional’s Ulrich Mors chronicle leaving the EX1 for the PMW-300 in this official video, during which he also feels the need to dunk a SxS card into a glass of water. We do not condone this. There’s also this promotional video, which both showcases what the PMW-300 can do and proves that violins are cool.

There isn’t a wealth of material out there about the PMW-300, probably because it arrived not long after everyone had gotten extremely excited by the PMW-200. Once again, XDCAM User’s Alister Chapman saves the day, producing an epic review comparing the PMW-300 and PXW-100. You should read the whole thing for a practical, thoughtful overview, but for those with limited time, here’s a spoiler:

“I like both of these cameras and would be pleased to own either. But of the two cameras, I think the PMW-300 is the better all round camera. I really like the 300, I think that Sony have really got this one right (with perhaps the exception of the release catch for the shoulder pad). The picture quality is once again best in class and rivals many much more expensive and larger cameras. It’s going to be a good all round camera that will find a home on corporate shoots, news and documentary shoots as well as in low budget studios. The new viewfinder is really delightful and is a big part of what makes this camera so good.”

NEX-FS700: The perfect corporate camera

As well as inspiring us to make a frankly embarrassingly over the top test video in a frantic ten minute filming session, the FS700 got a lot of early love for its super slow motion capabilities and ability to shoot shallow depth of field, which has become popular in corporate videography circles, shorts and, well, everywhere else.

Sony NEX-FS700, available now from Jigsaw24

Another thing we love, though, is that you can pair it with Convergent Design’s Odyssey 7Q to scale up to 4K. This is a 7.7″ OLED monitor-slash-recorder that lets you record DNxHD 8 or 10-­bit  YCC to 1080p, 60/60i,  720p, 60 (.mov, .mxf). How does that get you 4K? Well Convergent Design have set up a new system that allows you to either buy firmware updates for 2K, 4K, HFR and various shades of RAW outright, or rent them on a day-by-day basis.

If you’re typically shooting HD but need 4K for a specific project, you can just hire that firmware for the duration of your shoot and stop paying for it when you don’t need it anymore, making this a really cost-effective way to kick start your 4K workflow. (This is actually why Original Concept TV chose to use the FS700.)

The reviews

Philip Bloom was an FS700 fan, and you can see his test video here. If you’re a 4k skeptic, you might appreciate this review from Studio Daily, in which Barry Braverman is slowly won over by the FS700’s ‘all natural’ charms. This typically thorough effort from the ever-useful XDCAM User is worth a read, as are this review/video overview from our friends at F Stop Academy and this effort from The Film Bakery.

Over on News Shooter, Sam Price-Waldman has undertaken an epic quest to find out if the FS700 is the perfect documentary tool, and his write up is simultaneously very useful and aesthetically pleasing thanks to some lovely screengrabs.

If you want a slightly more long-term view, take a look at this retrospective of one year with an FS700 from Get Deluxe.

The essential info

If you’re here for the super slo-mo, you’ll want to watch this 90 second guide to setting it up for slow motion, and check out No Film School’s guide to dealing with Flicker before you start shooting (there are also some nice sample shoots there, if you want to take a look at some existing shots before you buy). Finally, if you’re wondering which peripherals to buy, we obviously recommend you call our team, but a close second option is this FS700 kit walkthrough from Next Wave DV, which is a nice guide for anyone trying to work out what they’d like to include in a starter kit.

Buy now
PXW-Z100: For videographers with ambition

Sony PXw-Z100, available now from Jigsaw24

Widely hailed as the camera that’s going to do for 4K what the Z1 did for HD, the Z100 is a compact, affordable 4K camcorder that’s proven popular in the corporate and videography circuit, not least because the ROI trimming lets you shoot a single angle of 4K and then trim it to give the impression that you’ve shot an interview from different distances.

Your 4K footage is captured to 10-bit 4:2:2 intraframe XAVC, which is the same codec used in the F5 and F55. It records to the brand new XQD card, and its dual slots allow for mirror or relay recording.

The reviews

Let’s kick off with this Sony-sponsored roundup from filmmaker Matt Davis, who shares his first impressions in a pleasingly sleek and dramatically soundtracked video (he’s also done an unboxing video, if you want to go right from the start). Filmmaker magazine claims this isn’t a review but it does read suspiciously like one…

The essential info

Start off by getting your fill of specs from Sony’s official PWX-Z100 brochure, then listen to Alister Chapman run through the differences between this and its prosumer sibling, the AX1, at IBC. Florian Friedrich has ventured slightly further afield, shooting some test footage in his studio and outdoors so that you can see what the camera is capable of. We refuse to hear a word against his peerless choice of soundtrack.

There are also a few slightly sketchy looking tutorials online explaining how you can convert your Z100 footage to ProRes so you can edit it in FCP, but we should warn you that we’re yet to try these out.

Buy Now

Want to know more about replacing your EXCAM? Get in touch with the team on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, reviews and tips, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

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e7 explained: iPad 1:1 pilot

e7 explained: iPad 1:1 pilot

If you’re certain that a 1:1 device scheme would help your students and staff, but need to run a proof of concept trial to show teachers, parents and governors that you’re right, you want to get in on the ground floor of e7 with our 1:1 pilot scheme…

For a whole term, we provide you with everything you need for a 1:1 ‘proof of concept’ to explore how you will use iPad, and to show the full benefits to the whole school, governors, parents and key stakeholders. You get access to:

•  40 iPad (in cases) preloaded with chosen learning apps and resources, and pre-configured to your school’s network so that they work as soon as you turn them on.

•  Full support from our e7 team and experienced tech support engineers.

•  Teaching and learning guidance so you get the maximum benefit from the devices.

•  Technical advice on iPad management.

•  Apple TV.

To take part in the trial, you must…

•  Have a headteacher and SLT committed to rolling out iPad on a 1:1 basis to all pupils.

•  Have a dedicated e7 champion (or group of champions) who will promote the benefits of the scheme to pupils, teachers, parents and governors.

•  Understand that a significant amount of time will be needed to ensure the pilot is a success.

•  Acknowledge Jigsaw24 as your partner of choice.

Extra services: Ask us about…

•  Essential teacher training, including Vision & Plan for SLT and basics for staff, from Apple Professional Development accredited trainers and former teaching staff.

•  Technical consultation on app licensing, Apple IDs and VPP to ensure your school is legally compliant.

•  Technical handover training to make sure your IT team are fully up to scratch on equipment.

•  iPad configuration with network settings and learning resources, and pre-enrolment into a trial MDM solution.

Want to know more about deploying iPad in your school? Give us a call on 03332 409 333 or email learning@Jigsaw24.com. For all the latest news, how-tos and recommended resources, follow @Jigsaw24Edu on Twitter or Like’ us on Facebook

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Our 6 best headphones for the classroom

Our 6 best headphones for the classroom

Are headphones the unsung heroes of the audio classroom? Not only do they keep your neighbours happy, protect you from your students’ more ‘experimental’ compositions and make things like our old favourite the JamHub possible, they’re pretty much constantly being battered, beaten and dropped. 

So, if you’re taking advantage of the Christmas break to give your audio equipment a bit of a spruce, we’d recommend starting with your headphones. And we have a few suggestions as to which might be best for you…

For student workstations: AKG K44. Great for where you need lots of pairs for student workstations, the AKG K44 has a straight single-sided cable, which means it’s less prone to getting caught or snagged and snapping than your typical, double-cabled headphone.

For media students: Sony MDR-7506. Sony’s MDR-5706 provides your media students with excellent sound quality, while combining a closed back design and single-sided coiled cable to ensure they can stand up to the rigours of outdoor shooting (it also minimises the amount of cable around to get tangled up in).

For the recording studio: Beyerdynamic DT100. If you’re trying to replicate an industry standard workflow, try using the DT100, which is the industry’s standard closed back headphone. It offers you minimal sound leakage and a tough-as-nails industrial design, with all parts being individually replaceable if they sustain damage.

Beyerdynamic DT100

For critical listening: AKG K240. These high quality monitoring headphones give your students an excellent frequency range and open backed design, making them ideal for exercises where students need to listen critically, such as when they’re listening to recorded performances or monitoring instruments.

For use in noisy environments: Sennheiser HD-25-1 II. With its pro quality sound reproduction, closed back design, excellent background noise attenuation and rotatable ear cups, this Sennheiser model is great for anyone trying to hear clearly in noisy environments. It’s proved very popular with professional cameramen and DJs, which we’re taking as a sterling recommendation of its noise reduction abilities.

For monitoring on a budget: Sennheiser HD205-II. The 205-II’s single-sided cable and closed back design make it a sturdy choice for anyone who needs headphones for monitoring, recording or general listening that don’t break the bank.

Want to know more about headphones for your music students? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, reviews and recommendations, follow @Jigsaw24Edu on Twitter or Like’ us on Facebook


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How our designers made the move to Creative Cloud for teams

How our designers made the move to Creative Cloud for teams

When Adobe announced that their key apps were moving to Creative Cloud and that a new teams option would be available, we decided to sign our in-house design team up straight away. While they were initially nervous, we now have a team of designers who can work remotely, collaborate easily and have developed an unhealthy fascination with InCopy…

Choosing to move to Creative Cloud for teams

As the UK’s largest Adobe reseller, we’re always keen to get our hands on the latest updates so that we know what our customers are dealing with. However, when the design team found our that their beloved copies of Creative Suite were going to be confiscated, they were a little worried.

“At first, I was apprehensive, because it was really an unknown,” explains our design manager Loui Goldsworthy. “Because of the name, I thought it might change how our team works. Would it pull from a server continuously and be slow?” (These worries turned out to be unfounded – our team just needed to download the apps once, then worked locally as they had before, without the need to connect to Adobe’s servers or maintain a constant internet access.)

But the possibility of accessing new features quickly overcame any nerves. “We thought it was the right thing to do – we were excited to move and see the new features we’d get to explore, and we always want to make sure we’re utilising the latest features and using the most efficient workflow,” Loui.

As for the designers themselves, their reactions ranged from excited to nervous to worried that they’d have to pay for their own software – a worry quickly put paid to by the arrival of Creative Cloud for teams, which allowed everything to be managed centrally rather than forcing each designer to take out an individual licence.

Getting set up with Creative Cloud for teams

When it came to getting set up with Creative Cloud for teams, “It was really easy,” said Loui. “We just had to assign the email addresses of the individual designers to the licence. They then got an invitation to the main Creative Cloud portal.”

From there, the designers can download whichever apps they need. If their requirements change or they want to explore a new app, they simply head back to the portal. On the flipside of that, our design managers can also choose to lock down apps if they wish. “We’ve stayed away from that as just because some of our apps aren’t part of our workflow now, doesn’t mean they won’t be in the future. If we don’t explore them we don’t know what we could be missing. The expanded range of apps available as standard in Creative Cloud for teams is great to give us opportunities to be able to cater more widely to our clients’ needs.”

Finding new features and tools

One of the main benefits of moving to Creative Cloud for teams was that our designers got access to a host of new tools. “I love the idea of Edge Animate and the possibilities it opens up when you’re creating HTML5 animations for websites and iBooks,” said Paul, while our graphic designer Liana is a big fan of Kuler: “You can download it to your iPhone, which is great if you get inspiration on the go or need to kill time on the bus.”

Across the department, there’s also been a lot of interest in InCopy. “I looked at it years ago but made the decision that the extra cost wasn’t justified then – now it’s free it might be a really useful addition to our workflow,” said Loui.

So would we recommend it?

“Yes,” said Loui. “Firstly because the range of apps that come as standard within Creative Cloud and the seamless integration between them. And secondly because of the admin side of things – I’m very pleased not to have to mess about with loading installer CDs, it’s much better to have a central area where I can download the apps I need when I need them. Plus it’s great that the licence allows me to load Creative Cloud on my home computer so I can continue with some bits at home if I need to, or any of the team can pick up work out of office – it helps us stay productive without being tied down.”

“I’ve changed my mind about the cost after working with it,” Paul added. “Yes, on the face of it, moving to a subscription rather than owning your software is strange, but you do get access to all the applications. This opens a lot of doors creatively and also challenges you and makes you want to learn more and do more.”

Want to know more about how Adobe Creative Cloud for teams could help you? Get in touch with our team on 03332 409 306 or email Adobe@Jigsaw24.com. For all the latest news and tips follow us on Twitter or ‘Like’ us on Facebook.
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Red Giant add Smart Start to PluralEyes 3.3

Red Giant add Smart Start to PluralEyes 3.3

One for PluralEyes and Shooter Suite users: Red Giant’s new update (which takes the software to versions 12.2 and 3.3 respectively) is available for free now, and gives you access to the new Smart Start feature. 

As Red Giant explain it, “whether adding a small set of files or importing multiple folders of multi cam files, the new Smart Start feature in PluralEyes 3.3 intelligently organises your media, so you can start synchronising sooner.” They tell us you can drag and drop entire folders without losing structures or names, which is always a plus as far as we’re concerned.

Other changes in the update include a new look and feel to the GUI, which is designed to streamline it and ensure your focus is drawn to where it’s needed, and support for the Canon C100 and Canon XF range, including spanned clips. The update is free for existing PluralEyes and Shooter Suite users.

You can download the update here or watch Red Giant’s Smart Start tutorial here:

Getting Started with Red Giant PluralEyes 3: SmartStart from Red Giant on Vimeo.

Want to know more about PluralEyes? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

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Do Blackmagic Design think low frame rate UHD is good enough?

Do Blackmagic Design think low frame rate UHD is good enough?


Much has been made of the fact that Grant Petty, CEO of Blackmagic Design, apparently told TVB Europe that “low frame rate UHD is good enough.” Now, while we enjoy a good web argument as much as the next person and our marketeers salute that link-baiting headline, there’s no getting away from the fact that it’s, well, a bit wrong. 

Blackmagic Design's 4K Production Camera

And by ‘a bit’, we mean ‘completely’. If you read the interview in full, you’ll note that the quote that line comes from actually goes as follows, and actually means the opposite:

“However, the computer industry will send 4K to the home before broadcast does. Broadcasters have to figure out how to get UHD 60p down a conventional channel. UHD at low framerates is doable, but even so it will emerge pretty rough on transmission. The problem is that 4K is being driven by organisations pretending that low framerate UHD is good enough. That’s a press release, not a workflow.”

You’ll also notice the far more exciting news: The 4K Production Camera will be shipping this quarter. We’re going to start clearing space in our warehouse now.

Buy Autodesk software and Autodesk subscriptions now

Want to know more about Blackmagic Design’s 4K Production Camera? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

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Avid welcome ISIS 7500 with ISIS v4.6 software

Avid welcome ISIS 7500 with ISIS v4.6 software

Mark 9th December in your diaries: it’s the date Avid will roll out the Avid ISIS 7500, complete with ISIS v4.6 software. According to their official statement, the 7500 is going to streamline and accelerate your production, double your storage capacity and offer fantastic value money. All sounds great, doesn’t it?

ISIS 7500

“The ISIS 7500 is the latest addition to the award winning, most dependable, collaborative storage for media and entertainment workflows,” Avid continue. “We’re raising the bar on capacity, introducing an i8000 ISIS Storage Blade (ISB) with two 4TB drives, delivering 128TB capacity per engine.”

These higher-capacity engines will obviously be a huge help to anyone who has found themselves working in higher resolutions and frame rates of late, as they give you more overall storage space and allow you to deliver more streams of footage to more editors faster, which in turn helps you turn around a project in less time, even if the files involved are mahoosive.

The ISIS 7500 will come in three sizes: an entry-level 7500-32TB, a 7500-64TB module for anyone looking to expand a basic setup, and an ISIS 7500-128TB module for anyone who needs as much space as they can get their hands on. You can combine and scale these modules to create an ISIS system with up to 24 engines, and they’re fully compatible with the previous generation of ISIS engines, so will work with your existing ISIS storage. (As a side note, Avid are withdrawing the ISIS 7000 range from sale in January, but will continue to honour support contracts until January 2019.)

You’re currently able to expand these scalable ISIS systems all the way up to 3 Petabytes, and as Avid tell us: “ISIS 7500 i2000 (2TB), i4000 (4TB) and the new i8000 (8TB) ISBs can be used to upgrade existing ISIS 7000 systems. This provides huge capacity increase without increased power, space or cooling needs. Users are constantly looking for economical ways to expand the hours of footage available to the whole production team, ISIS 7500 delivers.”

ISIS 7500: the official key features
  • Built for media production – Seamless integrated workflows with benchmark performance, reliability and manageability.
  • Enables collaboration – Unsurpassed user experience with reliability, scale, and predictability that enables and accelerates creative collaboration.
  • Workflow connected – Tightest integration with asset management, editing, ingest, and playout devices while supporting 3rd party applications.
  • Ease of use – Suite of powerful and intuitive system management tools that save time and effort.
  • Open architecture – File Gateway, Avid clients, Final Cut Pro, Adobe….
  • Elegant simplicity, with exceptional power – Thanks to its self-balancing distributed architecture and metadata management, you gain more time to focus on creative work.
  • Proven and trusted – Over 3,000 broadcast and post-production customers worldwide have made ISIS their storage solution of choice.
ISIS 4.6 software

To support your new 7500 engines and ISBs, you’ll need to update your ISIS software to v4.6. This will also allow you to access, edit and share ISIS-based media on OS X Mavericks or Windows 8.1, if that’s your thing.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Avid introduces OS X Mavericks support with Pro Tools 11.0.3

Avid introduces OS X Mavericks support with Pro Tools 11.0.3

Avid have released Pro Tools 11.0.3, an update that brings support for OS X Mavericks to Pro Tools HD and Pro Tools standard. As this is a Mavericks-specific update, it’s not necessary if you’re using an earlier version of OS X – in that case, you can just stick with Pro Tools 11.0.2.

This is a free update, and you can download it now from the download area of your Avid account. However, you can’t co-install Pro Tools 11.0.3 and 10.3.x on a Mavericks machine, and as this is a full installer, Avid are recommending your remove and replace any installations of Pro Tools 11.0.2 or 11.0.1 on your machine. (Insert all the usual warnings about backing everything up here.)

New, Mavericks-compatible audio hardware drivers are also available for the majority of Avid audio devices – you can see the full list of updates at the Avid site.

Want to know more about the latest version of Pro Tools? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news from Avid, follow us on Twitter or ‘Like’ us on Facebook.

Canon warn there’ll be no cashback deal or warranty support for ‘grey imports’

Canon warn there’ll be no cashback deal or warranty support for ‘grey imports’


Canon are warning customers that they’re seeing a rise in the number of ‘grey imports’ hitting the UK since they launched their winter offers, and would like to remind you that these imports aren’t eligible for cash back deals, warranty support or any of the other extras you’d expect when dropping several grand on a camera – even if they’re DOA. 

What is a grey import?

Grey imports are goods which were intended for sale in another territory, but have been bought up by unscrupulous resellers and sold into the European market. While they are real Canon cameras, they often don’t have serial numbers (which you need to register your product for support, to claim cash back offers, and to activate certain features and updates on some models) and may contain pirated or incorrect copies of the software that is supposed to come with the camera. They’re also not eligible for any support from Canon, so even if the camera is broken when it arrives on your doorstep, there’s no way for you to get a replacement, refund or repair.

How do I know if my camera’s a grey import?

If a price looks too good to be true, it probably is. There are a few honest to goodness Canon deals going on at the moment, but if someone’s selling off cameras for a price that you can’t believe, tread carefully.

If you’ve already got your camera, common signs of a grey import include: no UK power adaptor in the box, or a third party adaptor instead of a Canon one; photocopied manuals or manuals not in English; copied, incorrect or non-functioning software; missing warranty card, non-Canon warranty card or a non-European Canon warranty card. The camera might also fail to display a valid serial number.

Read the official warning from Canon.

 Do Jigsaw24 import grey goods?

No we do not, and we’re offended that you had to ask. Stick to us – well, to the authorised resellers listed on Canon’s site, of which we are clearly the most excellent – and you’ll be fine. You can see our 100% legit Canon range here.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Prism Sound unleash Titan audio interface

Prism Sound unleash Titan audio interface


Given that Prism Sound make what are arguably the best audio converters in existence, we tend to get a little giddy whenever they release a new device. This time round, though, we feel it’s completely justified. 

Prism Sound Titan audio interface

Titan is a USB multi-channel recording interface with MDIO expansion. While it’s a USB 2.0 interface at heart, that expansion slot means you can slot in either a Thunderbolt card or a Pro Tools HDX connection, attach the Titan directly to an HDX or HD Native card and use it instead of your Avid OMNI or 8x8x8.

Titan’s key specs

According to Prism Sound themselves, Titan users will be able to enjoy:

  • No-compromise, full Prism Sound audio quality.
  • Dedicated USB interface.
  • Multi-channel digital I/O (MDIO) expansion port.
  • ASIO drivers provided for Windows VISTA, 7 and 8 (32 and 64bit).
  • Direct compatibility with CORE AUDIO on Mac OS X 10.4+.
  • Eight ‘Prism Sound’ premium-quality AD and DA channels.
  • Concurrent operation of ADAT and switchable S/PDIF or AES3 ports.
  • Four high-end integrated mic preamps (typ.-130dBu EIN).
  • Mic pres with individually switchable phantom power and 20dB pads.
  • MS Matrix processing on mic inputs.
  • Two instrument inputs.
  • RIAA equalisation on inputs one and two.
  • Prism Sound ‘Overkillers’ on every analogue channel to control transient overloads.
  • Fully-floating (isolated) balanced architecture for optimum noise rejection.
  • Mono or stereo input configurations.
  • Outputs selectable between workstation bus or Titan mixer.
  • Low-latency ‘console-quality’ digital mixer for foldback monitoring.
  • Fader, pan, cut, solo on every mixer channel.
  • Dual headphone outputs, each with its own front-panel volume control.
  • Front-panel master volume control and mute, assignable to selected channels.
  • Configurable for stereo, 5.1 or 7.1 or surround monitoring.
  • Built-in sample rate conversion (SRC) on S/PDIF inputs and outputs.
  • Prism Sound 4-curve SNS noise shaping on digital outputs.
  • State-of-the-art clock generation with proprietary hybrid 2-stage DPLL.

The Titan clocks in at a fairly reasonable £2495 (£2994 inc VAT) and the units should be with us in late December/early next year, so if any of you fancy buying us a Christmas present…

Want to know more about the Prism Titan? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook.