ARTEMIS ARTEMIS ARTEMIS

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Calrecs expertise, experience and

technology is trusted and endorsed
The Calrec heritage
by the world’s most successful
broadcasters.

Since the launch of our Throughout the decades

first audio console in 1971, Calrec has earned an
Calrec Audio has been outstanding reputation for
dedicated to the design innovation and has a well
and manufacture of broadcast documented history of
audio mixing consoles, and technological world firsts:
to keeping one step ahead
of the changing needs of the 1977 Calrec supply the world’s
broadcast environment. first stereo broadcast console.

All Calrec products are 1981 Calrec supplies the

designed, manufactured and word’s first digitally controlled
tested at our Nutclough Mill assignable mixing console.
headquarters in Hebden Bridge,
West Yorkshire, England. 2007 Calrec launches Bluefin,
From original concept through an FPGA-based high-density
R&D to state-of-the-art DSP card, which permits
production, every step of the real-time 5.1 surround mixing
manufacturing process and and processing another world
every element of development first for Calrec.
is carried out in-house, which
guarantees a quality standard 2009 Calrec unveils Bluefin2,
unsurpassed in the broadcast a significant step up from
console marketplace. Calrec’s pioneering work with
FPGAs for real-time audio
DSP processing.

Calrec’s expertise, experience

and technology is trusted and
endorsed by the world’s most
successful broadcasters.
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SD, HD, 3D: the changing face of broadcast

High-definition broadcast In sound, high-resolution 5.1 Calrec introduced the Today, broadcasters need
is here to stay, and 3D is is emerging as the standard world’s first true stereo more and more digital audio
just around the corner for for HD and 3D audio, requiring broadcast console and the channels at ever-higher
many networks. a complete technical renewal first point-source surround resolutions. They need more
to produce true surround for microphone in the 1970s, and more processing power
Multi-channel audio, with its broadcast. At every level of anticipating the growth of to handle the increasing

ARTEM
voracious demands on mixer the audio production chain, multi-channel broadcast audio. channel count and more
channel counts and audio where there were previously assignable, more ergonomic
infrastructure, is a reality that two audio channels, six are now When Calrec produced the control surfaces to deal with
everyone has to face. With necessary for true 5.1. Neither world’s first digitally controlled the increased workload that
Calrec’s Artemis, you can broadcasters nor broadcast analog broadcast console in HD broadcasting demands.
embrace a future in 5.1 with equipment manufacturers can the early 1980s, the company
capacity to spare. afford to fall behind. predicted the shift from Naturally, Calrec already has
discrete-circuit mixing consoles the answer to all of these
The global transition to Throughout Calrec’s and the separation of control concerns, in the form of their
HD has proven revolutionary 50-year history, its team surfaces from networked latest family of assignable
– perhaps the most radical of innovators have anticipated processing hardware. digital broadcast consoles.
change in the broadcasting such major changes and At the head of the family is
arena since the move from consistently provided superior In 2007 Calrec produced the flagship Apollo console,
black-and-white TV to color. products which have allowed Bluefin, the first DSP offering the ultimate in power,
Broadcasters worldwide are forward-thinking broadcasters processing engine based on flexibility and control. Delivering
undertaking a comprehensive to remain a step ahead. FPGA (Field Programmable excellent return on investment,
overhaul of their equipment Gate Array) technology, which the next additions to the range
and behind-the-scenes enabled broadcast consoles are the Artemis series of
infrastructure, at all levels to work efficiently with true consoles.
of production, from capture discrete-channel 5.1 surround
and editing to playout. for the first time.
Artemis delivers excellent
return on investment.

ARTEMIS ARTEMIS ARTEMIS

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Artemis specifications & benefits

Powerful, responsive, flexible, beautiful, and reliable as only

a Calrec can be, the Artemis continues in the innovative tradition
established by the Apollo console.

Artemis
 04

Channel Facilities Networking

− Up to 64 faders − Integral 8192² router

− 680 channel processing paths (Artemis Shine) / 340 channel processing paths (Artemis Beam) − 32 + 32 Router connections
− Up to 16 x stereo or 5.1 surround main outputs* − All I/O provided over Hydra2 network via a range
− Up to 48 x mono, stereo or 5.1 surround audio groups* of Hydra2 I/O boxes
− 64 x multi-track busses for IFB or recording − Cat5e or fiber connectivity
− 4 x track sends per channel (Artemis Shine) / 2 x track sends per channel (Artemis Beam)
− 32 x auxiliary busses
− All channels and groups can have up to 4 x Direct Outputs and 4 x Mix-minus busses
− 3 x independent user sections with independent APFL and monitoring systems Resilience
− All channels and groups have 6-band parametric EQ
− All channels, groups and mains have full dynamics − Highly resilient – all modules are hot-pluggable with
− Side Chain EQ/Filters automatic redundant PSU, DSP, Control processor,
− 256 x Inserts Router module, I/O Expansion module
− Over 60 minutes delay (Artemis Shine) / Over 30 minutes delay (Artemis Beam) − Independent DSP operation ensures audio continuity
− Direct outputs can be pre-EQ, pre-fader or post-fader in the event of a PC or control reset
− 12 layers, each with its own A and B paths (Artemis Shine and Beam), each with its own − Low power consumption and heat generation
A and B paths

* from a Mains/Group pool of 128 resources

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Sheer power Thanks to Bluefin2, each Artemis

channel has access to its own
dedicated six-band parametric EQ,
dynamics and delay processor.
Super-high-density processing for HD broadcast.

Bluefin 2 Bluefin2 is the next Thanks to Bluefin2, each As you would expect from
generation of Calrec’s Artemis channel has access Calrec, all these features are
Bluefin High Density FPGA technology, the DSP to its own dedicated six-band available irrespective of the
Processing Technology powerhouse for the next parametric EQ, dynamics and processing load on other
(HDSP) changed the way generation of Calrec consoles, delay processor, with a total channels, as channel resources
broadcasters regarded and it provides enough delay of over 60 minutes in the are not shared across the
DSP. A truly revolutionary processing muscle to cope case of the Artemis Shine, and console. And of course, system
technology, it provided with the biggest, boldest more than half an hour on the resilience is always reinforced
vastly superior levels 5.1 projects. It gave the Apollo Artemis Beam. Artemis can with a second Bluefin2 card
of signal processing in console more than twice the address up to 16 main outputs, in each Artemis rack – it’s like
a fraction of the space processing power of previous 48 group outputs, 64 IFB/ having another console as a
of conventional systems. Calrec desks, and affords Track outputs and 32 auxiliary hot spare.
the Artemis Shine and Beam outputs.
Bluefin was the world’s first their impressive tallies of 680 Whatever the developing
implementation of Field and 340 channel processing Bluefin2 also gives Artemis requirements of HD broadcast,
Programmable Gate Array paths respectively. enough DSP power for two Calrec’s Bluefin2 processing
(FPGA) technology for full dynamics processors per engine will keep you on the air
DSP processing, providing channel if required, without any and sounding great.
enough processing on one reduction in channel count.
DSP card to power an entire
mixing console running
surround-sound productions.

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The beating heart

If Bluefin provides the The Artemis rack consists This is also where Artemis
processing power and Hydra of secondary redundant power accesses Calrec’s Hydra2

ARTEM
is the backbone, the heart and supplies, DSP, router, router network, which provides
nerve center of the Artemis is expansion and processing audio and control signals
its control rack. And given that cards as standard. via the rack’s 8192² router
it houses all of the console’s card. Small-format pluggable
processing, power and routing As one would expect with mini-GBIC connectors allow
capabilities, this 8U rack is Calrec digital consoles, these users to choose the nature
amazingly compact and energy cards auto-takeover within of the cabling to suit their
efficient. milliseconds in the unlikely operational requirements, with
event of a component failure, options for both fiber-optics
Its reduced size, low power ensuring that the flow of audio or copper connections.
consumption and reduced is uninterrupted during live
heat generation make it transmissions. And of course, I/O connections are made
ideally suited to operation all cards are hot-swappable. via stand-alone and modular
in environments where rack Calrec interface boxes in
space is at a premium, as in a variety of sizes and in all
remote broadcast vehicles. industry-standard audio
formats, including analog,
AES3, MADI and SDI.

If Bluefin provides the processing

power and Hydra is the backbone,
the heart and nerve center of the
Artemis is its rack.

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Making connections
Like Bluefin, Calrec’s Hydra networking
technology is now capable of even more.

Hydra2 – Making An Artemis control surface Offering up to 512

connections is just one of many possible bi-directional channels of
clients on a Hydra2 network. I/O per copper or fiber-optic
In 1981 Calrec created the Several Artemis (or Apollo) connection, Hydra2 is the
world’s first digitally controlled control surfaces in a ultimate point-to-point protocol,
assignable mixing console, multi-studio broadcast facility allowing large numbers of
predicting the future of console can be seamlessly linked audio inputs and outputs to be
design by separating a mixing via Hydra2 for large-scale easily shared and controlled.
control surface from its productions or live broadcasts,
processing hardware. Calrec’s and separated again after Complex network topologies
Hydra2 technology is the latest completion of the project. may be designed simply and
expression of this concept. A growing range of fixed-format quickly to meet the specific
and modular multi-format I/O requirements of broadcast
The flexible link between boxes provides the physical facilities, cutting installation
Artemis’s control surface and its connections at either end costs and ensuring future
8192² router, Hydra2 permits of the network. flexibility.
the construction of large-scale
distributed mixing networks with Controlling the network With user-friendly control
multiple control surfaces and couldn’t be simpler. All software that transparently
router/processors, with true on-line resources are made organises all routing, Hydra2
‘one-to-many’ routing, and about available to all consoles gives you the flexibility you
half the connection latency (unless intentionally isolated need to build adaptable
of the original Hydra network. for security) no matter where networks that can be tailored
they are physically connected to suit the challenges of
to the network. Input and HD broadcast.
output ports may be patched
at any time, either manually,
or en masse, as part of a
snapshot memory load.

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I/O Connections Console to Console Connections

16 SFP connections per router card 16 SFP connections per router card
Each link carries
I/O Unit I/O Unit
up to 512 signals
in each direction
I/O Unit I/O Unit Router Router
Expansion
Router
Card
I/O Unit I/O Unit
I/O Unit I/O Unit

Console in Console in Console in

Control Room Control Room 1 Control Room 2

Multi-control room, multi-studio layout with complete transparent management of all resources across the network.

Studio 1 Studio 2 Studio 3

In this example, any console

I/O Unit I/O Unit I/O Unit on the network can access any
input – multiple consoles can
even access channels from the
I/O Unit I/O Unit I/O Unit same studio. This illustration
shows the potential expansion
capacity of the Hydra2
I/O Unit I/O Unit I/O Unit
network. There are no limits
to the number of additional
I/O boxes and/or additional
consoles which can be quickly
and seamlessly integrated.
Router 1 Router 2 Router 3 Over Hydra2, any client can
be added to the network –
even remote trucks can be
accommodated via a single
copper or fiber connection.

Console in Console in Console in

Control Room 1 Control Room 2 Control Room 3

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In control

Benefitting from that users can understand color to provide feedback

Calrec’s three decades at all times how their physical to show when mono, stereo
of experience in designing controls are assigned. Added or surround channels are
assignable control to this, the advent of 5.1 audio assigned. These fader scales
surfaces, the Artemis requires consoles with fewer also provide alternate color
control surface is physical faders to be used to indication when the faders
tremendously powerful, control a much greater number are assigned to control
functional and beautiful of channels, tracks, or other groups or mains.
at the same time. outputs.
The function of buttons
The color of audio Artemis, like its big brother, and rotary controls is also
the Calrec Apollo console, immediately obvious. Organic
Assignability is what gives has the full benefit of LED displays (OLEDs) next
a modern control surface its Calrec’s many years of user to each hardware control
flexibility and power, allowing interface design. The Calrec are clearly labelled with the
a console with relatively few assignable control surface currently assigned function
physical controls to drive is now in its sixth generation, and update when the assigned
a much greater number of and features color as an function changes. Multi-colored
channels, tracks, busses important element in its indicators in the rotary
and other outputs. Since the design, with inviting displays controls also indicate function,
advent of assignable consoles, and elegant touchscreens, with a spectrum of control
designers have been able to as well as light-emitting parameters available.
adapt workflows and introduce panels incorporated into the
new control possibilities controls themselves. Not only is the result
beyond the limits of analog practically elegant, offering
technology. Color-coding is used across users the same sense of
Apollo’s control surface to assurance associated with
However, live broadcast provide instant, unambiguous one knob-per-function control
consoles must also be intuitive, visual feedback about control surfaces, it’s also visually
easy to drive and have a fast assignments. Fader scales striking. Form and function,
learning curve — it’s imperative adjacent to the fader change seamlessly matched.

Artemis
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ARTEM
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1. 2. 3.

The most effective way to convey

the simplicity of the Artemis control
surface is to let a picture do the
talking.

TEMIS
More detail can be found
below, which explains the
numbered sections marked
on the control surface. For
more on the architecture
of this beautiful user interface
and its control modes, see
pages 13 and 14.

1. Inp/EQ-Dyn Panel
This panel layout contains
controls relevant to Input, EQ,
and Dynamics processing for
the currently assigned path.

2. Send-Routes Panel
This contains controls for
routing the currently assigned
path to auxes, tracks, groups,
mains, direct outputs and mix
minus busses. Also provides
pan controls and allows
interrogation and reverse
routing of busses.

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 12

All individual settings can be saved

to a USB stick.
4. 5.
3. Monitor Panel
Monitor Mode provides
additional functionality
to the dedicated monitor
panel. This could include
the configuration of monitor
pre-selectors or the setup
of talkback groups. It also
allows multiple operators
access to their own set
of monitoring controls.

4. Output Panel
Outputs Mode provides
controls for manipulating
output paths such as
mains, tracks, auxes and
groups. Control cells
provide functionality, while
the TFT screen provides
comprehensive metering
information.

5. Wilds Panel
Wilds Mode arranges
the panels into vertical
strips, providing quick
access to wild controls
for each fader.

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From Cells to Panels Mission control – As on Calrec’s Apollo console,

to User Layouts, Artemis’s Artemis’s user interface each Artemis fader has two
user interface – the most audio paths, and there are also
flexible and user-friendly Artemis is made up of 12 A/B Layers, making for 24
broadcast console control intuitive touchscreens and possible assignments to each
surface available in repeated tactile elements, control or fader. The assignable
the world – is logically it is best understood by nature of the interface allows
structured, flexible and first considering its smallest users to configure controls
user-reconfigurable. element, the Cell, as wherever they want them and
everything is built logically even change them on the fly.
on this basic concept.
In Assign Mode, the Wild/
Each Control Cell is made Assign panels replicate a
up of two colored rotary classic Calrec assignable
controls and two colored console, as used in over 60%
buttons arranged in a square, of HD trucks in the USA alone.
together with a compact Individual panels take on the
OLED display directly above roles of EQ/Dyn, Routing,
which indicates how the rotary Output and Monitor panels
controls and buttons are and are assigned to display
assigned. The use of touch whatever parameters are
technology encourages users most relevant to the currently
to interact with the control selected fader and path. In
surface directly and adapt Wilds Mode, each vertical
the Cells to specific set-ups. channel strip is assigned to
OLED technology represent a single channel,
and color-changing rotary with controls down its
controls give the user vertical length.
instantaneous feedback
as to the panel setting.

The Cells are arranged in two

rows of Wild controls per fader
path, with additional control
options above the faders.

Artemis
 14

Once users have grasped how Cells

work, mastering the rest of the interface
is child’s play, as it is built logically from
the Cell upwards.

To simplify operation, Calrec Operators even have the

offers three default User option of creating unique
Layouts. The first is an ‘Assign’ User Layouts, customizing
Layout, where panels are the console to suit a facility’s
assigned as EQ/Dyn, Routing, exact requirements. Dedicated
Output and Monitor panels. user-controllable facilities
A second Mode is a ‘Wilds’ are also available to split the
Layout, where all of the control mixing control surface into
panels are in Wilds Mode and independent sections, each
the console can be driven like with fully independent APFL.
a traditional analog console. This can be useful on larger
A third, ‘Combined’ layout broadcast productions, where
option arranges Assign and multiple operators may be
Wilds panels across the seated at the console.
console, giving the operator
the best of both approaches.
This layout can be invaluable
to operators working on live
broadcasts, where immediate
access to controls and channel
information is paramount; it
allows more controls to be
used simultaneously to access
features like routing, dynamics
and EQ via the Assign
panels, but without sacrificing
the singular detail of more
traditional channel strip control.

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5.1 management

Like its predecessor the possible. Surround channels

Apollo console, Artemis can be ‘spilled out’ into their
has been designed component channels (L/R,
from the ground up with Ls/Rs, Center and LFE) for
surround sound in mind. individual adjustment, where
Artemis offers plenty control is managed on four
of processing, monitoring faders of a dedicated Spill
and mixing options for panel. Processing may then
true 5.1 operation. be controlled on each leg of

TEMIS
the surround mix individually.
Working in 5.1
Surround panning can be
The switch to a multi-channel achieved using the Spill faders
surround environment to effect level changes, or an
demands more from mixing optional additional Spill panel
consoles, not just in terms is available with a surround
of processing but also that joystick.
they provide an elegant and
intuitive way of manipulating In addition, surround production
Artemis offers plenty of processing, those surround signals. is not limited by processing
monitoring and mixing options for power – Artemis provides up
Calrec’s surround channels to 16 x 5.1 main outputs and
true 5.1 operation. give operators the ability to 48 x 5.1 groups, with full
control a complete six-channel control of the stereo downmix
surround buss on a single of the surround main outputs.
fader and have processing This is important when handling
applied to it just like a mono simultaneous HD and SD
or stereo source. Convenient, transmissions.
quick and simple.
However you prefer to work
However, if individual in surround, Calrec makes
control is required over the it possible.
constituent channels of the
surround signal, that’s also

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 16

On the level With per-channel bargraph

meters next to each
fader and multi-channel
Calrec’s TFT metering does
all this and more. As well as
providing a greater density
Channel metering is also
displayed whether the source
is in mono, stereo or surround
Recognizing that some users
prefer to rely on third-party
meters, Artemis can drive
metering via an array of signals to be metered, and an extra gain-reduction metering from its outputs just
of TFTs, Artemis offers Calrec’s system also provides meter may be displayed next like monitor speakers. There’s
no shortage of ways to full operator configurability to each level meter if dynamics also an empty option bay
monitor signal levels. over layout, size and color processing is assigned to that on the console’s upstand
without increasing cost. channel. If you prefer to keep which is physically compatible
Metering your eyes on your faders with industry-standard phase
Surround signals can be as you mix, a bargraph meter meters and vectorscope
Clear and efficient metering metered in the same space as is built in next to every displays from third-party
allows an operator to mono and stereo signals, and channel fader. manufacturers.
concentrate on the job in hand each TFT on Artemis can be
— producing a mix which pins configured to display 1/3, 1/2 , 2/3 In short, however you like
the viewer to their chair. and full height meters. A variety to meter your input and output
of signals can be metered such signals, Artemis offers you
as main outputs, groups, auxes, a wealth of options.
track outputs, external inputs,
AFL/PFL, meter selectors,
CRLS and mix-minus.

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Multiple operators

Artemis’s User Split Each user section behaves

function allows up to three like an independent control
users to share its control surface, with individual channel
surface, each user with processing, monitoring and
their own independent APFL facilities, panel mode
layout, assignment options settings and path assignment
and APFL buss. controls. Split points can be
set up along the left-hand edge
Control surface splits of any panel and redefined
quickly and easily on the fly.
Complex live broadcasts, Additional consoles can also
such as live concerts or be introduced to work as
large LE shows with multiple ‘sidecars’ to the main console
participants, often call for if required.
more than one mixing console
operator, particularly when
working in 5.1. With Artemis’s
User Split options, one control
surface can be quickly and
easily split to accommodate
up to three users working
independently.
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Interested third parties

With complex modern Further software integration

working practices, it is enables router control of
increasingly important the Calrec Hydra2 network,
to simplify workflow streamlining production by
procedures and reduce eliminating the need for a
costs. separate audio routing device

ARTEM
in many situations.
Calrec have a long history
of allowing control of their Calrec remains at the forefront
consoles by equipment from of providing integration with
third-party manufacturers. third-party suppliers, thereby
The first such agreement for helping broadcasters to
the Apollo platform, allowing improve their infrastructures
its integration with and control and save money.
from Riedel’s Artist intercom
system, was announced Simply put, things work better
shortly after the platform’s when we all talk to each other.
launch.

Third-party Integration

Following the introduction

of Artemis, software interfaces
have been announced that Calrec remains at the forefront
allow control of the console
from the broadcast industry’s of providing integration with
most popular automated third-party suppliers.
production systems, including
those provided by Grass Valley,
Sony, Ross, and Snell.

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19

Questions, questions

REDUNDANCY to the audio. On replacement freedom to make adjustments on a large Light Entertainment
the new hardware becomes as they see fit, as well as set up an operator may assign
What if there is a hardware the redundant spare and providing flexibility for the the inputs from a live band on
failure? What does Calrec mirrors the primary module as future. one layer and the same inputs
mean by redundancy? before. This intelligent system on a second layer, but with the
covers DSP modules, Control In addition, Artemis’s controls closer to hand and
An audio console for live Processor modules, Router generous capacity and its with less critical channels off to
on-air use has to be extremely modules, I/O Expansion modules ability to accommodate one side. These settings can be
reliable. Calrec consoles and all PSUs. It even runs to multiple operators enable saved to USB before the event,
have an excellent reputation all connections which can be one desk to be configured or even offline via Calrec’s
in this area, but as with all either copper or fiber. With to cover multiple shows. As Offline Editor and recalled at the
hardware, there is always a Calrec, you can be confident all the I/O is controlled and touch of a button. Layers also
potential for failure. That’s that you are always in control. managed via Hydra2, a facility allow access to more channels
why Calrec don’t take any could use two separate control with less hardware.
chances; on-line redundant CHANNELS surfaces connected to the
hardware is provided for ALL same processing rack to mix With Calrec, you
critical systems as standard, Why has Calrec provided two different shows. Greater
and takeover is automatic and so many channels? capacity gives facilities can be confident
seamless. These elements more flexibility.
that you are always
are hot-pluggable for easy HD and 3D broadcasting
replacement. already uses 5.1 surround as LAYERS in control.
a standard delivery format, and
Many so-called redundant with the large channel counts Artemis has a total of Artemis offers three
systems only protect part this entails, processing capacity 24 layers across the independent APFL and
of the system and may require can be an issue on smaller, less console… why so many? monitoring systems, so one
the system to be closed well-equipped consoles. Artemis processing rack can provide
down before a reboot is Shine and Artemis Beam have One of the major benefits of management to three control
possible. Calrec’s hot spares the ability to process 680 and digital consoles is their ability surfaces, connected quickly
constantly mirror what the 340 simultaneous channels to manage incoming signals. and simply to the Hydra2
on-line component is doing. respectively, with no pooling As paths are assigned to network via Cat5e or fiber
of resources – all busses are faders remotely, a user can cable. Layers give an operator
In the rare event of a hardware available at all times on all arrange the same paths to the ability to access many
failure, the spare automatically channels. For absolute peace different layers and in different more channels on this
takes over with no disruption of mind, this gives operators the arrangements. For example, compact frame.

Artemis
 20

SPACE

How well suited is the

Artemis for Remote
Operation? I have very
limited space.

With a fader pitch of just

30mm, Calrec consoles have
a higher fader density than
other consoles – in fact, Calrec
can squeeze in more physical
Calrec consoles
faders into a space than any have a higher fader
other manufacturer. Not only
that, but rack space is kept to density than other
a minimum thanks to Bluefin2 consoles – in
and Hydra2 technology. All the
processing, routing and power fact, Calrec can
supplies – including redundant squeeze in more
spares – are packed into an
incredibly compact 8U rack. physical faders into
Not only does this reduce
a space than any
space but also weighs less, other manufacturer.
generates less heat and is
more resilient. Calrec designs
all its consoles with this in
mind, which is why Calrec
is a clear leader among
companies providing audio
mixers for broadcast trucks.

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21

System specification

NB. All I/O on the Artemis AES3 Inputs Performance

console is determined Formats Supported AES/EBU (AES3) 24-bit Digital to Digital (AES3) -1dBFS, 20Hz to 10kHz - Better than 0.0001%
by Hydra2 I/O boxes and Also suitable for use with SPDIF Distortion
performances may differ (IEC958 Type 2) signals Digital to Digital -1dBFS, 20Hz to 10kHz - Better than 0.0002%
depending on the type of Interface 110 Ohm transformer balanced, (AES3 with SRC) Distortion
I/O box on the network. 0.2V-7.0V Pk-Pk Frequency Response 20Hz to 20kHz +/- 0.5dB
75 Ohm unbalanced (BNC), (Analog Input to Output)
0.3V-1.2V Pk-Pk
Sample Rate Conversion 24-Bit switchable on all AES inputs Synchronization
SRC THD+N -117dB @ 1kHz, 0.00014% 48kHz synchronization NTSC/PAL Video
Tri-Level
AES3 Outputs TTL Wordclock (48kHz)
Formats Supported AES/EBU (AES3) 24-bit AES/EBU Digital input (48kHz)
Interface 110 Ohm transformer balanced 3.5V Internal Crystal Reference
Pk-Pk (nominal) into 110 Ohm load
75 Ohm unbalanced 1V Pk-Pk The system can be pre-set with up to four external sync sources, plus internal,
(nominal) into 75 Ohm load (BNC) such that if the 1st source fails, it will automatically switch to the 2nd and so on.

Analog Inputs
Analog – Digital Conversion 24-Bit Environmental Considerations
Input Electronically Balanced
Input Impedance 2k Ohms for Mic gains Operating Non-Operating
10k Ohms for Line gains
Temperature Range 0°C to +30°C (32°F to +86°F) -20°C to +60°C (-4°F to +140°F)
Sensitivity +18 / -78dB on Mic/Line Inputs
Relative Humidity 25% to 80% Non-condensing 0% to 90% Non-condensing
Equivalent Input Noise -127dB (150 Ohm source)
Maximum Altitude 2,000 Meters (6500ft)* 15,000 Meters (49,000ft)
Distortion -1dBFS @ 1kHz – Better than 0.003%
-20dBFS @ 1kHz – Better than 0.006%
– Analog input for 0dBFS can be pre-set globally to +28, +24, +22, +20, +18 or +15dBu
-60dBFS @ 1kHz – Better than 0.3%
– Pre-fader headroom on mic inputs is adjustable globally from +24 to +36dB in 2dB steps
Frequency Response 20Hz to 20kHz +/- 0.5dB on Mic/Line Inputs
– Analog output for 0dBFS matches input setting into >1kOhms (+24dBu max into 600 Ohms)
Input CMR >75 dB (Typical 85dB) on Mic/Line Inputs
(Common Mode Rejection)
*This is the limit to which the safety tests are valid.

Analog Outputs
Calrec Audio Ltd reserve the right to Digital – Analog Conversion 24-Bit
change specification without notice. Output Balance Electronically Balanced, 20Hz to 20kHz, Maximum Cable Lengths
E&O.E. Apollo, Artemis, Hydra2 and
Better than -35dB, typically -45dB
Bluefin2 are trademarks of Calrec Audio
Output Impedance <40 Ohms Cables Maximum Length
Ltd. All other trademarks acknowledged.
Distortion -1dBFS @ 1kHz – Better than 0.006% From To Feet Meters
All other trademarks acknowledged. -20dBFS @ 1kHz – Better than 0.003% Control Surface DSP Rack 300 (copper) 90 (copper)
-60dBFS @ 1kHz – Better than 0.3% 16500 (fiber) 5000 (fiber)
Designed and produced by Rees & Company. Frequency Response 20Hz to 20kHz +/- 0.25dB DSP Hydra2 I/O Boxes 300 (copper) 90 (copper)
16500 (fiber) 5000 (fiber)

Artemis
 22

Artemis surface sizes Typical surface measurements

Standard Artemis fader modules are 260mm (10.24”) wide and Faders Frame sizes Max Surface Width Max Surface Width Internal Leg External Leg
contain eight faders across their width. The monitor panel is 200mm (without Mon screen) (with Mon screen)
(7.87”) side. Standard frame modules are 2, 2.5 and 3.5 modules wide,
24 3.5 1022 (40.24”) 1067 (40.01”) 580 (22.83”) 740 (29.13”)
plus a 3mm (0.12”) bulkhead at either end. Depending on the frame 32 2, 2.5 1288 (50.71”) 1333 (52.48”) 840 (33.07”) 1000 (39.37”)
size of the console, these dimensions may vary. Typical surface widths 40 2, 3.5 1548 (60.94”) 1593 (62.72”) 1106 (43.54”) 1266 (49.84”)
are shown here – these include 18mm (0.71”) standard side trims. 48 2, 2.5, 2 1814 (71.42”) 1859 (73.19”) 1140 (44.88”) 1300 (51.18”)
Artemis is also available with an optional OB side trim of 5mm (0.2”) 56 2, 3.5, 2 2074 (81.65”) 2119 (83.43”) 1330 (51.18”) 1490 (58.66”)
each side. For desk top mounting, leg dimensions may be discarded 64 2, 2, 2.5, 2 2340 (92.13”) 2385 (93.90”) 1330 (51.18”) 1490 (58.66”)
although external measurements still apply.

Control surface end profile Typical rack layout

RESETS SYNC INPUTS
CONTROL
SYSTEM ROUTER / EXPANDER DSP ENABLE WORD
FANS AES 3 VIDEO 1 VIDEO 2 CLOCK

857 (33.74”) GOOD

FAIL

267 (10.50”)
CONTROL

115 (4.54”) EXPANSION 1 ROUTER 1 DSP 1 PROCESSOR 1 PROCESSOR 2 DSP 2 ROUTER 2 EXPANSION 2 PSU 1 PSU 2

ROUTER / EXPANDER ROUTER / EXPANDER DSP DSP ROUTER / EXPANDER ROUTER / EXPANDER PSU PSU
CONTROL PROCESSOR CONTROL PROCESSOR
MAC 7 MAC 6 MAC 7 MAC 6

10 9 10 9 10 9 10 9

12 11 12 11 12 11 12 11
2.5˚

MAC MAC
4 4
14 13 14 13 14 13 14 13 AC IN AC IN
65

16 15 16 15 16 15 16 15
˚

MAC MAC
3 3

10 9 10 9 10 9 10 9
12 11 12 11 12 11 12 11
LINKS LINKS LINKS LINKS
14 13 14 13 MAC MAC 14 13 14 13
5 5
16 15 16 15 16 15 16 15
1075 (42.31”)

2 1 2 1 USB USB USB USB

2 1 2 1
2 1 2 1

4 3 4 3 4 3 4 3
MOUSE MOUSE

6 5 6 5 6 5 6 5
640.0 (25.20”)
733 (28.86”)

610.5 (24.04”)
759 (29.86”)

KBD KBD
8 7 8 7 8 7 8 7
566 (22.28”)

2 1 2 1 D2 D1 D2 D1 2 1 2 1
4 3 4 3 D4 D3 D4 D3 4 3 4 3
VGA VGA
6 5 LINKS 6 5 LINKS D6 D5 D6 D5 6 5 LINKS 6 5 LINKS USB USB
8 7 8 7 D8 D7 D8 D7 8 7 8 7

ETHERNET ETHERNET D0 D1 D0 D1 ETHERNET ETHERNET

R0 R1 R0 R1
E0 E1 E0 E1
POK MA POK MA POK MA POK MA POK MA POK MA POK MA POK MA POK ST0 POK ST0
PRI RST PRI RST PRI RST PRI RST PRI RST PRI RST PRI RST PRI RST ST1 ST2 ST1 ST2
MOK NOK MOK NOK MOK NOK MOK NOK MOK NOK MOK NOK MOK NOK MOK NOK ST3 ST4 ST3 ST4
ST1 ST2 ST1 ST2 ST1 ST2 ST1 ST2 ST1 ST2 ST1 ST2 ST1 ST2 ST1 ST2 ST5 ST6 ST5 ST6
CF LOW BATT CF LOW BATT

126 (4.97”) 660 (25.98”) 71 (2.78”)

Expansion DSP Redundant Redundant Redundant PSU

Card Control Control Redundant Router Expansion Redundant
Router Processor Processor DSP Card PSU

calrec.com
IS ARTEMIS AARRT TEEMMI ISS ARTEMIS ARTEMIS

Calrec Audio Ltd

Nutclough Mill
Hebden Bridge
West Yorkshire
HX7 8EZ
England UK

Tel +44 (0)1422 842159

Fax +44 (0)1422 845244
Email [email protected]

calrec.com