Following our article Six Monitor Controllers You Need To Check Out In 2022 we were asked for an article covering monitor controllers that support immersive audio formats like Dolby Atmos. We have covered this in the past, but things have moved on, and some products have been discontinued. In this article, we are going to take a look at monitor controllers available in 2022 that support immersive formats like Dolby Atmos.

What Do You Need For Dolby Atmos?

As we cover in our article, Dolby Atmos - What Hardware And Software Do You Need To Work In Atmos? To work in Dolby Atmos, not only do you need 11 speakers plus a speaker to handle the LFE channel, which is a step up from 5.1 and an even bigger jump from just the 2 speakers you need for stereo, but you will also need to have a monitor controller that will support at least 7.1.4. As you will see, these are not very common and are not that cheap either!

When looking at controlling your monitors, there are two routes you can look at a stand-alone monitor controller or an interface that is also a monitor controller, and that is where we are going to start.

Combine The Interface And Monitor Controller

Option 1 - Avid MTRX Studio

Avid led the way in the earlier days of 5.1 surround with the Avid HD Omni, which has 8 channels and can be configured as a monitor controller, albeit without any form of speaker calibration option.

When it comes to 7.1.4 for Dolby Atmos, the obvious candidate from Avid is the MTRX Studio as it comes with a built-in SPQ card and soft controls on the front panel. You could also use the Avid MTRX, especially if you have an HDX system and so need Avid’s DigiLink protocols.

If you aren’t using an HDX system then DAD’s AX32 and the new AX64 are worth looking at but if you are also looking for a monitor controller then you will need to get the DAD Pro Mon 3 too, to control the monitor section of these interfaces as unlike the Avid MTRX Studio, there are no controls on the front panel.

The final alternative from DA is their Core 256 interface, which when twinned with their Pro Mon 3 is a very compact, yet powerful interface and monitor controller.

Option 2 - Focusrite Red 16Line With Optional R1 Controller

The second option to combine an interface and monitor controller come from Focusrite - the Red 16Line, which can be configured as a monitor controller, although there is not a speaker calibration option available.

That said, the Focusrite Red 16Line is especially suited to Dolby Atmos workflows as Alan Sallabank demonstrated in part 3 of our series on Setting up and working in Dolby Atmos Using The Dolby Atmos Audio Bridge - An Alternative Workflow - Free Expert Tutorial Part 3.

The Focusrite RedNet R1 is a desktop remote controller that supercharges any Red range interface (including the Red 16Line), by enabling audio professionals to interact with their audio like never before. It can control a range of different monitor output setups, ranging from mono through to 7.1.4 surround, including Dolby Atmos and other immersive audio workflows. Alternatively, completely custom setups of up to 12 outputs can be configured for bespoke speaker configurations.

You can learn more about the R1 monitor controller in our article Focusrite RedNet R1 Monitor Controller Announced. In addition, Graham Kirkman produced this video review of the R1 just one week after getting it.

Then nearly 12 months later Graham asked Is The Focusrite R1 The Product Of 2021? in which he starts off by saying…

“As I’ve had my Focusrite R1 for almost a year now I thought I’d write an update. Let me just start by letting the cat out of the bag. I couldn’t live without it! So that’s that then, well not quite because based on that comment you’d think I’d just be saying “go buy one” but it’s not really that simple.”

Check out his article to find out why.

Option 3 - Metric Halo LIO-8

The third option to combine an interface and monitor controller is to use the DSP in a Metric Halo interface like the LIO-8. Although the Metric Halo units support 7.1.4 monitoring with Eucon control, Nathaniel Reichman and Mike Crehore sat down and worked out how to achieve a 7.1.4 monitor controller using the DSP in Metric Halo interfaces to handle the bass management .

Nathaniel bought a Metric Halo LIO-8/4p with 4 mic pre’s and in less than an hour he had built a custom 11-channel bass management system in DSP:

Because this is happening after Pro Tools sends the audio to the LIO-8, it’s a B-chain function that has no impact on the mixes and stems Nathaniel can print in Pro Tools and/or the Atmos Renderer. Being accustomed to an 80Hz crossover in his 5.1 system, he carried that over to his 7.1.4 system. Each ‘Band Split’ module in the block diagram above is set to 80Hz.

Mike Crehore stepped in again because Nathaniel found that the Metric Halo software “MIO,” doesn’t support 7.1.4 paths in the mixer (and neither does Pro Tools, but that’s another story). Mike showed Nathaniel how to set up a monitor controller that bypassed the mixer, which enabled me to get all 12 channels with a mute control for each speaker.

Because the MIO software is Eucon-ised, it meant that the Monitor knob on his Pro Tools Dock could control his monitor level and mute for the room. Even though, Eucon support in the MIO is not as deep as it is on the MTRX with DADman, but the basic functions he needed are there. This also let him rack the LIO-8 away from his mix position and use only the Dock and the MIO software to control the B-chain in his LIO-8.

You can learn more about it in our article Using Metric Halo Interfaces To Create A Low Cost Dolby Atmos Monitor Controller.

Option 4 - Apogee Symphony Mk II

A fourth option comes in the form of the Apogee Symphony Mk II, which offers up to 7.1.4 monitoring using the latest version of the Symphony Control software.

You can configure the Main output for multi-speaker systems up to Dolby Atmos 7.1.4 or 11.1 as they describe it.

There is also a remote Monitor control called Apogee Control, which is for the Symphony Control software and gives you instant access to input and output levels using the large Symphony-inspired Control knob and 3 control knob focus buttons, plus direct access to a wide range of software functions using the 8 user-configurable hardware buttons.

As with the Focusrite Red 16Line, there is no speaker calibration option with the Apogee Symphony Mk II so you would need to get a separate unit if you need that feature.

Option 5 - Antelope Audio Galaxy 32 Synergy Core

Antelope Audio’s flagship interface, Galaxy 32 Synergy Core, now comes Atmos-ready with surround and immersive audio monitoring control with built-in speaker calibration as well.

Key Features

• Wide compatibility, both setup and format wise

• Any combination of the interface's Dante, MADI, HDX, ADAT, SPDIF and analog I/O is available

• 23 formats with path order selection readily available, including 2.1, 5.1, 7.1 surround sound and 5.1.2, 7.1.4, 9.1.6 Dolby Atmos, to name a few

• Any remaining audio format and speaker configuration is also possible up to the 16-channel limit

• Monitor controller functionality for improved mixing workflow

• Colour-coded speaker selection with mute, solo and metering functionality

• Main speaker volume level available via front panel encoder

All 16 available monitoring channels support the following:

• 8-band parametric EQ with cut and shelf filters for the low and high bands

• Level trim from –60dB to +16dB, with one decimal place accuracy available

• Up to 100ms delay for calibration purposes, with one decimal place accuracy available

• Phase invert

• Processing and crossover bypass buttons; copy, paste and reset EQ buttons

• Bass management functionality via a dedicated mixer window, providing cutoff frequency, filter type (Butterworth or Linkwitz-Riley), filter order and bypass for the high-pass and low-pass crossover filters.

• Per-channel level controls for sending low-passed signals to the LFE channel are available, with mute and solo functionality.

The new surround and immersive audio functionality are available to new and existing Galaxy 32 Synergy Core users via a free firmware and software update.

This addition to the flagship interface allows its users to configure and control a surround/immersive monitoring setup of up to 16 channels, or 9.1.6 Dolby Atmos. Comprehensive speaker calibration makes room correction easier, while the monitoring control functionality increases the ease-of-use of the entire system and speeds up workflow.

Option 6 - Merging Hapi MkII With Anubis Monitor Controller and Sonarworks SoundID Reference

The sixth option is putting together a Merging Hapi Mk 11 interface together with their ANUBIS monitor controller that can host Sonarworks’ SoundID Reference speaker correction software.

Hapi MKII utilizes the ZMAN technology introduced with Anubis, and this powerful processor allows some very meaningful performance upgrades. The recent introduction of the ADA8S and ADA8P cards improved the headroom of the mic-pre inputs and effectively doubled the analog I/O count to 16 in/16 out in DSD, all in 1U rack-mountable box.

Using RAVENNA (AES67 compatible), Hapi is able to provide flexible connectivity of every single input and output across standard networks, using off-the-shelf network equipment. The future is most definitely networked audio, and Hapi provides it today.

Hapi is designed to fit into hard to reach places. So, Hapi comes with the same web-browser based control interface allowing any web-enabled device to access all the parameters of each Hapi unit over the network. ANEMAN can easily manage AoIP networks of any size.

Merging Anubis SPS Controller

Merging’s latest developments have been concentrated in the Anubis. Included is their new 32bit dual PreAmp topology, incredible headphone amps, and D/A converters, all combined with a powerful low-latency mixing engine evolved from their 25 years of DAW design.

Multiple snapshots are available to instantly recall any of your session’s configurations. Immersive audio formats can be monitored and controlled with the easy addition of RAVENNA or AES67 I/O and the Anubis has a small desktop footprint with a multi-touch display or can be controlled using a tablet or web browser.

• Expandable with an additional RAVENNA/AES67 device for more monitor outputs and/or source inputs

• Surround support up to 22.2 along with all the Atmos support from 5.1.4, 7.1.4 all the way up to 9.1.6

• Monitoring control over all or each of your speakers

• The complete monitoring features along with Downmix, Speakers Alignment, EQ, and Bass Management support

Sonarworks SoundID Reference for Multichannel

The core functionality of the Sound ID Reference stays the same, reaching beyond regular Stereo, up to 9.1.6 Atmos systems and for headphones.

The software imports frequency response measurements of your studio space taken from a reference mic. It proceeds to analyse them and conform your listening setup to the kind of flat target curve you’d want from a professionally tuned room.

The new Multichannel variant supports zero-latency operation (on AVID and DAD DSP hardware), phase alignment of individual channels, and a host of relevant features: sample rates up to 192kHz, speaker setups from 2.0 to 9.1.6, and compatibility with Dolby Atmos Mastering Suite.

Sonarworks Now Works Outside Your Computer

MERGING+ANUBIS is the first hardware to enable a SoundID Reference correction outside of the computer. No need to worry about inserting SoundID Reference plugin or software on the DAW anymore. SoundID Reference (the next-generation version of formerly known Reference 4 software) is a speaker and headphone calibration software from Sonarworks, removing unwanted colouration and delivering accurate studio reference sound.

Stand Alone Monitor Controllers

That covers interfaces that can be Dolby Atmos monitor controllers, now we are going to look at what Stand-alone Immersive audio monitor controllers are out there…

Colin Broad I-Mon And TMC-1

Based on the A-Mon, the I-Mon immersive analogue monitor control unit is housed in a 1U rack mount box. Designed for any format from stereo to 12 or 14 channel immersive audio. This versatile unit is designed to provide a cost-effective solution to installing immersive monitoring in smaller studios. The I-Mon may be configured with either 12 or 14 channel Main input and Main output and with either 1 or 2 talkback and listen mic inputs.

I-Mon Basic Specification: Main Output 7.1.4 plus Left And Right Rear Bass Extension Outputs, One or Two Stereo Alt Outputs

• Inputs: 1x 7.1.4, 1x 7.1, 2 x Stereo plus 2 or 3 stereo Cue Inputs

• Cue inputs available on cue sends and main outputs

• Four Cue outputs - Studio L/S, Headphones, Cue1, Cue 2

• Three Control Room speaker selections

• One/Two Listen back microphone inputs

• One/Two Talkback microphone inputs

• External Meter Feed (Option)

• Stereo Down Mix Output

• 34 Inputs 27 Outputs

• Stereo AFL Input

• Slate output

• Input Sum

• GPIO

The TMC-1 is available for four different systems, the Avid XMon, DAD AX32/Penta 720, the Trinnov D-Mon, CB A-Mon and CB I-Mon. Note the specs vary slightly depending on which unit you are connecting the TMC-1 to.

• Internal Talkback Microphone

• Play tally from Play GPIO Input, MTC or LTC

• Record/Red Light GPIO Input

• Auto-Mute Main LS, Studio LS, Talkback and Listen-back programmable from Play and Record GPIO

• Two separate talkback destinations via GP Output

• Dual Calibration Settings of 85dB and 80dB SPL

• Dedicated solo/mute keys for Speakers and Stems.

• GPIO for Talkback, Listen-back, PFL/AFL

• Special features of this controller include

  • ADR-style control of Talkback, Listen-back, Studio L/S and Control Room L/S from play and record GP Inputs or LTC and MTC inputs.

  • Stem style monitoring with two 8 channel stems and up to 4 stereo stems

  • Studio L/S monitoring via stereo input 4. 

Trinnov MC Processor

The MC Processor range is Trinnov's answer to the audio calibration challenges of post-production monitoring systems.  The Trinnov Optimizer technology is at its core, including semi-automatic active-crossover calibration and bass management capabilities to meet the requirements of any loudspeaker system.

Upgradable by design with a wide range of connectivity options available, the MC product range is split into two lines:

1. The MC Pro covers the needs of small post-production houses, from 5.1 to 9.1.6

2. The MC-HCC can handle 24 to 64 outputs to meet the requirements of theatrical dubbing stages and research labs

The Trinnov MC Processor is an expandable hardware platform that can be upgraded from 8 to 12 and 16 channels to accommodate future upgrades of your studios. The MC Pro is available with different hardware configurations to facilitate integration in your system. You can choose between analog & AES/EBU I/O, Dante, Ravenna/AES67 or MADI.

Trinnov combines automatic processes with fine-tuning tools designed to allow the sound system designer and the engineer to reach the best results while making the whole process easier and faster. 8 Customizable Profiles allow mixing different parameters independently of the 29 existing user presets.

Individual driver and system measurements can be acquired and analysed, including impulse response, delays, and gains. Trinnov’s crossover calibration engine computes the ideal filters, finding the best compromise to improve flatness, directivity, and attack in the overlapping frequency region.

Comprehensive 64-bit floating-point processing tools are included on each processor platform: routing and mixing matrixes, manual FIR filters, parametric EQs, graphic EQs, gains, trims, peak and RMS meters, manual delays, bass management, 4-way active crossovers, inputs formats, noise generators, polarity control, editable Submix matrixes, monitor controller, dynamic range controller.

For Dolby Atmos Mixing rooms, the MC Dante can be easily integrated. The MC Pro Dante can meet the requirements of Dolby Atmos Home studios up to 9.1.6 speaker configuration whilst the MC-HCC is suitable for Dolby Atmos theatrical systems with up to 64 speakers. Soft keys allow you to add more control (bypass, bass management, presets & profiles selection...) 

Audio signal goes from Pro Tools to the RMU via the MTRX, gets back to the MTRX and is routed to the MC as an insert, then goes to the loudspeakers using MTRX DA converters.

SPL MC16 Monitor Controller

The SPL MC16 monitoring controller operates on SPL’s 120V DC audio rail and has what SPL claim is the world’s first 16-gang custom-designed precision potentiometer.

As well as the 16-channel monitor level control there is a Solo button, which when enabled, allows you to select any combination of speakers to listen to.

There is also a 20dB Dim button and a Mute button, which is automatically enabled when the unit is powered up. When you disable the Mute button the last speaker combination is recalled.

The MC16 offers balanced inputs for two sets of 16 channel inputs, one set on XLRs and the second set on a DB25 connector, so you can monitor a second source, like a playback system, to provide a reference feed.

On the right-hand side are 3 preset buttons so that you can save your 3 most used speaker configurations. In total, you can save 6 presets, 3 Solo presets and 3 speaker array presets.

A sheet of button labels is provided so that you can customise the buttons to suit your own monitoring configuration. If the provided labels don't cover your requirements, then you can download a template from the SPL website and create your own labels.

Grace Design m908

The m908 Monitor Controller is designed for speaker systems with up to 24 channels, from stereo to  SONY 360RA,  Dolby Atmos 22.2 and any format in between. Built on their legacy of reference audio design, the m908’s audio performance uses their latest generation AD / DA converters designed to provide incredible dynamic range and resolution, while all-new analog circuitry is designed to be effortlessly transparent and musical.

The m908 system consists of a mainframe audio control unit, remote control unit, and a power supply with dual-redundant universal input power modules. The remote control is based on their m905 stereo monitor controller but scaled up to accommodate added features and playback channel count.

Standard features include a total of 68 digital input channels via AES3, TOSLINK, S/PDIF, ADAT Lightpipe, and USB2. Outputs include 16 balanced analog output channels and 24 digital output channels. Up to 16 channels of analog inputs are available with the addition of the optional 8-channel ADC modules, and an additional option module slot provides up to 32 additional digital I/O channels via Dante or DigiLink.

Up to 24 input channels can be received simultaneously and routed to the 24-channel processor, and sample rates of up to 192kHz / 24bit are supported. A powerful DSP section allows for 12 bands of parametric room correction EQ on every channel (or variable numbers of bands per channel totalling up to 85), comprehensive bass management features, and individual channel delay.

The m908 is a fully self-contained plug-and-play monitor controller with a full complement of monitoring features, including cue channels, built-in talkback mic, mono, mute and dim controls, and an exhaustive list of functions relating to surround and immersive playback systems. It is designed to enable professionals and facilities to update their workflows for immersive audio playback with a minimum of effort and cost.

JBL Intonato 24

The JBL Intonato 24 Monitor Management Tuning System was designed to provide an easy setup, automated calibration and comprehensive control of professional monitoring systems. Housed in a 2U rack-mount enclosure, Intonato 24 calibrates and controls up to 24 speakers configured as stereo, surround or immersive audio systems.

However, it would appear that this excellent product is no longer available. In addition, JBL states on their website that the Intonato is not compatible with mac OS Catalina, Big Sur or Monterey.

Yamaha MMP-1

The Yamaha MMP-1 was a multichannel monitor controller with room EQ, delay and level and has Dante support too. The "DSP channel inputs" are a separate feature besides the matrix in the MMP-1. For monitor EQ, level and delay you can route any analog, AES or Dante input or output via the 32x32 matrix.

This, like the JBL Intonato, has been discontinued.

DAD Monitor Operating Module, Speaker Processor Card (SPQ) Pro Mon 3 Software To Work With AX32 or Avid MTRX

DAD have released both software and hardware options which can turn units like the DAD AX32, Avid MTRX and Avid MTRX Studio into a powerful monitor controller system. With the associated software, Pro Mon 3 and SPQ card bring comprehensive speaker correction and control.

Pro Mon 3

Pro Mon 3 is an audio monitor control solution that offers stand-alone monitor control functionality and speaker processing, covering a wide range of functionality for music recording studios, location music recording, as well as post-production environments of any size and type.

The Pro Mon 3 license unlocks a wide range of additional monitoring control features that have been added to the DADman software, enabling compatible units to operate as a powerful processor with full control of signal routing, control room speaker levels and monitor cues in any channel format including stereo, 5.1, 7.1.4, Dolby Atmos and other 3D and immersive audio formats. The control and configuration are managed by the new DADman software, which also serves as a control centre, enabling devices compliant with Avid Eucon or MIDI to operate the monitor functions.

SPQ Speaker Processor Card

The SPQ Speaker Processor card for the AX32 and Avid MTRX offers 128 channels with 1024 filters that can be allocated to the outputs of Pro Mon 3, all with a 56-bit floating point calculation precision, giving a filter dynamic range of in excess of 130dB. There is also a cut-down version built into the Avid MTRX Studio.

MOM - Monitor Controller

Multiple monitors and cue outputs in various channel formats can be configured and controlled from one or more hardware MOM’s (Monitor Operating Module) with individual cue mix functionality and dedicated monitor mixing; adjustable parameters include level, pan, cut, mute and even downmix from, for example, for a 7.1 multichannel format. All settings and configurations can be saved and recalled, allowing monitor configurations to be changed quickly and easily.

BSS SoundWeb and HiQnet Audio Architect

Formerly known as BLU-806, the Soundweb London BLU-806DA offers configurable I/O, configurable signal processing, Dante / AES67 audio and a high bandwidth, fault tolerant digital audio bus. It has open architecture which is fully configurable through HiQnet Audio Architect software. A palette of processing and logic objects and a “drag and drop” method of configuration and designed to provide a simple and familiar design environment.

This processor features Dante / AES67 audio with primary and secondary ports for fault tolerance, with control through a separate Ethernet port.

The BLU-806DA also features a low latency, fault tolerant digital audio bus of 256 channels which uses standard Category 5e cabling, giving a distance of 100m between compatible devices.

HiQnet Audio Architect is a software application designed to configure and control the widest variety of professional installed sound systems.

This system design and configuration software presents a system design philosophy centred on operational workflow and the use of a diagrammatic representation of the physical venue. Devices understand both their physical and logical placement - in racks and rooms - and the software becomes ‘educated’ about how they are to be used in the real world.

Audio Architect then automates many of the laborious system design tasks for free. Control interfaces for control and monitoring of all manner of groups of devices are generated automatically.

The drag-and-drop networking interface provides a convenient user experience whilst providing system-wide networked audio routing and advanced tools for custom panel creation, creating logic rules, configuring access control and many more.

Xilcia Solaro Processor and Controller

The Xilica system is founded upon the dual-notion of drag-and-drop simplicity and the ability to configure the precise DSP system required by the customer. Accordingly, Xilica’s drag-and-drop SolaroConsole software can be used to accommodate each project need and incorporates a GUI that is designed to reduce DSP design time.

Xilica products can be controlled in a number of ways: via Ethernet using the included SolaroConsole software GUI; with the logic input/relay output ports; the optional NeuPanel Series Mini and Touch 7 wall controls; iOS and Android devices via the free SolaroControl apps; and any third-party controller.

The Xilica Neutrino comprised a DHCP-enabled processor series available in four primary I/O model sizes – 8×8, 8×16, 16×8 and 16×16 with Mic/Line and 48V phantom power selection per input and premium grade mic pre-amps, but Xilica tells us that the Neutrino has a successor, the Xilica Solaro.

Solaro is, as the Neutrino, an open architecture DSP platform based on the Xilica X8 chip with 40-bit floating point processing, 32-bit signal conversion and up to 96kHz sample rate.

The Solaro is modular, there are two frames. One with 8 card slots and one with 16 card slots. In every slot, a 2 channel audio card can be fitted, available in analog and AES3 with SRC. Also, there are 2x2 USB and GPIO or Relay cards.

The QR1 (8 card slots) comes standard with a 4x4 (@48kHz) Dante card on board, whereas the FR1 has an optional 64x64 (@48kHz) Dante card.

The accessories are the GIO family I/O’s, available in 2x2 XLR (analog), 2x2 USB and a Bluetooth panel.
UI controlling works via the XTouch application, available in dedicated hardware panels or as software for Windows, Mac, Android and IOS.0

Compared to the Neutrino, Solaro has the ability to store the UI panel design on the processor, so control surfaces can be downloaded to XTouch without having to re-upload the design with Xilica Designer. Also, the Solaro has a Project controller on board, enabling users to build various controlling schemes including custom Lua scripting.

Xilica tells us that the Neutrino is not yet discontinued but that there will not be any further development for the series.

Frank Kruse has an Xilica Neutrino system using the 1616ND. It has 16 analog I/O, 8xAES and Dante. This is what Frank had to say on the DUC...

You can freely design your own schematics and freely define the iPad/iPhone/Android surface. It sounds excellent and is easy to config. 

And the best thing is I can use it as a stand-alone pro Tools interface via a Dante virtual sound card which saves me tons of weight when I need to move my kit to an edit room abroad which happens once in a while. I have 16 I/O with Dante on a single CAT6 cable from my Mac Pro.  All that in a one unit box. In that sense, it becomes a 16 I/O Pro Tools interface when you have the Dante Virtual Soundcard installed on your DAW computer. 

Support is very responsive. I'm very happy and it's significantly less expensive than something like QSYS. But it's not as modular. So if you need it to be further expandable or you need more than 16 analog outs for your speakers then I'd look at QSYS. 

I use my iPad. They do offer physical remotes like wall mount panels to recall presets or set volume but those are more for installations (venues, conference rooms etc. etc.) but they are too limited for the things we need them for. The touch panels are essentially Android tablets in housings.

The free iOS app runs on the iPhone and iPad and they are fully customizable from the config software. I made a surface with single speaker mutes, DIM, mute all, mute front, mute surrounds, LipSync Delay setting and bypass, different SPL calibrations and output meters on one page.

The control software for the Mac is where you design your DSP signal flow also has a Dante controller built in so you actually don't need the Audinate Dante controller app. You can patch all your Dante devices from the same program.

QSC Q-SYS System

The QSC Q-SYS system is the daddy of all these systems in this roundup. If you need real power and flexibility for large facilities this is the one to look at. Lucien Palmer said this on the DUC...

The Intonato or Yamaha (now both now discontinued) are fixed systems that are pretty limited in their I/O and configuration. The Q-sys is a Linux-based system with tons of card slots and expansion chassis. There are infinite ways to create a GUI on iPad or several other touchscreen devices. Total user programmability through their PC app.

Q-SYS is a software-based platform built around an open IT-friendly ecosystem. It leverages the power of Intel processing, the robustness and mission-critical reliability of a Linux operating system, and the interoperability of IEEE networking standards. 

The Q-SYS Core 110f is a good entry point into the Q-Sys architecture with 128 channels of networked I/O, providing a solution for small, single-room projects up to the largest Enterprise-scale deployments. The continuity of the Q-SYS software-based DSP platform, the Q-SYS Core 110f leverages all the features that are available across the entire Q-SYS™ Platform.

• Class leading I/O: Core 110f has 24 I/O + USB, POTS and VoIP simultaneously offering the best cost to I/O ratio in a single SKU, single chassis product available on the market.

• 8 Flex Channels: Nearly all the flexibility of a card-based DSP solution without the hassle of multiple SKU’s and custom ordering.

• True IT Software Integration: The Q-SYS Software platform is a true IT integrative solution that is free of the fixed hardware limitations seen in competing products. It allows for greater functionality such as Layer 3 routing, LDAP contact server integration, SNMP monitoring, and more.

• Suite of Software-Based Conferencing Technology applications: Built and owned by QSC from the ground up allowing for continued refinement, without any additional hardware. The suite includes next generation acoustic echo cancellation (AEC), multiple-instance SIP softphones, gain sharing and gating automixers.

• Unified Software Platform: The integrator has a single training investment in one software design tool rather than needing to learn several platforms to scale from small to large systems

The Core 500i Integrated Core has the capability of directly accommodating eight Q-SYS input and/or output cards for a total onboard channel capacity of 32 channels (more if AES or CobraNet cards are used). Channel count may be further expanded by the addition of Q-SYS I/O Frames and other peripheral devices. Network Channel capability: 128 Flex Channels; AEC count: 24

The Q-SYS Core 510i represents the second generation of QSC’s Integrated Core Platform. It features eight I/O card slots, which can be populated with any combination of Q-SYS I/O cards allowing for up to 128x128 local channels plus a total of 256x256 network channels for diverse connectivity options.

The Q-SYS Designer Software has been designed to be a powerful yet simple advanced DSP software application. This software enables the user to create designs for the Q-SYS Integrated System Platform.  The system design environment was created specifically to be intuitive and easy to use. It is laid out without clutter or complicated multi-level menus. As a result, the software allows system integrators to focus their energy on building the audio system, rather than labouring over a complex software learning curve.

• One Software for all System Sizes: Q-SYS Designer Software can be used with ALL Q-SYS Cores and peripherals.

• Emulation Mode: Build the majority of your system without hardware.

• Third-party peripheral support: Q-SYS allows for control of external devices through available LUA scripting.

• User Control Interfaces: Design custom buttons, import graphics, and build user controls for touchscreen controllers.

Marti D. Humphrey CAS has said this on the DUC...

The Q-SYS does all you want to do. I can control it from an iPad, iPhone or more. In my room, we are now doing Dolby Atmos, Auro-3D, DTS X and IMAX 12.0. I have updated to a QSC 500 with Dante and a QSC 8IO also with Dante so now I have 128 outputs. I also put in a DAD AX32 and a DAD DX 32 that route all the Avid MADI units and Dolby Atmos RMU through it. When setting up the Q-SYS I ran into network hell and QSC Q-SYS Tech support was unbelievable! They really blew me away with their willingness to sort out the issues I was having with Dante. It ultimately was not their issue but they solved my problem. Their support which by the way is 24 hours a day couldn't be better.

Comments And Observations Welcome

We hope this updated roundup has been helpful. If you have any comments or experiences of any of these systems, then please do get in contact with us or leave the comments below. If we have missed any systems that can support immersive formats like Dolby Atmos or Auro 3D, do let us know, so we can update this article accordingly.