Matrix Intercom.
From the Riedel website:
--
Artist is a decentralized, scalable digital intercom network that provides reliable communications and audio signal distribution for any audio or intercom application.
An Artist system can be anything from a single Artist frame to a vast, fiber-based and remotely connected network of nodes. Each modular node contains client cards that accept and distribute different types of signals including SMPTE 2110-30/31 (AES67), VoIP, DANTE, AVB, MADI, AES3 and analogue audio. At the present time, Artist is the only intercom platform that talks all audio standards – and its modular architecture allows for the easy accommodation of future standards.
Artist easily scales to fit any application from small theatres to OB vans to multi-national broadcast centers and global events. The non-blocking Artist system can be expanded from 8x8 to 1024x1024 ports and, via inter-node trunking, can connect several thousand subscribers within a single ecosystem. Scaling an Artist system is as easy as adding new client cards to an existing node or adding additional nodes (Artist-32, Artist-64, Artist-128, Artist-1024). This flexibility and modularity make Artist solutions futureproof and enable the system to scale to the demands of any project.
--
In Plain English:
The Riedel Artist 1024 is the best matrix intercom out there for Live Productions. It is easily scalable to fit any size communication network a show might need. It is extremely flexible to set up and interface any other systems and audio signals.
What I can offer you:
I am a local Comms Engineer living in Las Vegas. I own and operate a Riedel Comms system consisting of an Artist 1024 Matrix Intercom Frame, Desktop Smartpanels, Bolero Wireless Beltpacks, and the ability to interface just about anything. I have experience in Broadcast Television: Live Sports, Live Award Shows, Live Sales, Rocket Launches, etc. I have experience in Live-to-Tape shows: Competition Reality, Game Shows, E-Sports, Poker, etc. I have experience in Live Corporate Events: Product Releases, Keynotes, Sales Meetings, Trade Shows, etc. The best solution for all of these use cases is Riedel’s Matrix Intercom.
Why Riedel Matrix Intercom?
I can’t say this enough: Riedel is the best. As a freelancer I have had the chance to use pretty much every intercom system there is in the different worlds of production. They all have pros and cons, but Riedel consistently wins just about every category:
-Sound Quality- Riedel’s high fidelity is obvious, especially when interfacing with other systems. When you have critically important communication, like cues from a Stage Manager or Director, they need to be executed immediately in order for the show to be a success. If the quality of audio is too low, messages are delivered less efficiently, which may cost time, and lead to a number of problems which could have been avoided simply by a verbal message getting through clearly the first try. High-fidelity and low-latency are must-haves, not luxuries.
-Ease of Setup- The system I have built may be implemented in 100% star topology using existing TAC fiber cables or ethernet. That means wherever the Venue has lines, or the Utilities have placed a TAC12 fiber snake, I can simply take 1 or 2 strands and expand any number of Desktop Panels and Bolero Antennas; this translates to practically limitless geography of coverage on most shows.
A common example would be a medium-sized stage show with a broadcast truck parked outside. I would park my Riedel Artist 1024 Frame backstage with Bolero Wireless antennas locally at that rack. Then, deploy backstage Desktop Panels to by placing a network switch in the middle of Video Village. The A/V team will have run a TAC fiber from Backstage in A2 World to the Front of House, so I’ll take 2 spare strands from them to get another network switch at the Front of House, from which I would connect Panels for the LD, Board Op, Stage Manager, A1 and Client. I would also hook up another Bolero Antenna to that same network switch to get more coverage towards the back hallways and voms. By then, the Utilities will have run TAC fiber from the Broadcast Truck inside two which I connect, then place another network switch outside to get both Wireless Intercom coverage at the truck and Partyline (PL) interface using Dante. If the truck doesn’t use Dante, I would simply need two more strands for MADI. “But Tiernan, this truck is over 30 years old, all they have is Analog!” No problem, they can interface all the Analog they need backstage at my XLR breakout panel.
This would be an easy setup day, with the entire Production Intercom system working on Day 1 without OT.
-Versatility- Aside from the versatile nature of the cable infrastructure, my system is capable when it comes to Interfacing other systems. With Dante, I can easily connect to the PA system at a venue. Program feed for comms? Stage Announce output to the house? Partyline in and out of the A1 Board at the Front of House? With Dante, these are all just one network cable and a few clicks away. With MADI I am able to interface most Trucks and get up to 64 audio streams, bi-directional, over fiber-optic or ethernet cable. With Analog, I have up to 32 ports in and out available which is handy for both when low-tech is the only option available and also when another system doesn’t want to interface their digital/network clock with another intercom.
-Reliability- I’ve built all of the rack cases with battery backups, so that in the event there is a power loss for a second for for 10 minutes, THE COMMS WILL NOT GO DOWN. This gives peace of mind that even in a total blackout, the crew can be managed safely in order to fix the problem and make sure that panic is at a minimum. The AES67 Network is extremely reliable because I do not share network resources. My AES67 switches are only used and managed for comms; there are rarely cases in which the network would need to be shared, and open to potential network issues.
-Tiernan
