Confetti Institute of Creative Technologies Opens London Campus, Anchored on Solid State Logic’s New Hybrid Production Solution: TriniTy

The highly customizable TriniTy package combines multi-format immersive mix buses, a comprehensive 9.1.6 monitor section, an integrated effects rack and recallable patch control with the familiarity and immediacy — including zero-latency monitoring — of an analogue workflow and console surface. “Because the System T is natively Atmos that makes the Duality Atmos-capable as well,” Duckhouse explains. “It allows you to have an inline analogue channel path feeding an object to the renderer. You could have a microphone in a live room going through some outboard through an inline channel and going straight to an object. Or you could take an object and send it out through the channel strip or through the patchbay into analogue gear. So you can use your traditional gear on objects without needing to bounce down or do some complex routing from the DAW.”

In the case of Confetti  London’s new Duality Fuse room, the essential core components of the TriniTy package include a Tempest Control Rack (TCR), which is the brains of the System, a TE2 Tempest Engine, which provides system DSP, and 128 channels of converters interfacing with the Duality analogue desk. “We chose to fully interface all of the I/O on the Duality Fuse,” Duckhouse says. “The TE2 supports 512 in and out of Dante at 48 kHz, or 256 at 96 kHz with 160 DSP paths on DSP pack 2, so we can do a full 96k Dolby Atmos mix with 128 objects.”

A System T Fader Tile and Master Tile, plus a touchscreen monitor, are integrated into Confetti’s desk frame next to the 24-channel Duality Fuse console. “We have a manufacturing division where we make our acoustics and studio furniture, so the frame of the console is built by Confetti,” Duckhouse says. “We have vocal chain outboard on the left and a patchbay on the right in a curved-wing console.”

When in 5.1 mode, the Duality Fuse console features a dedicated LFE bus, with level control on each input channel, which can inject object audio into the LFE bus within the 7.1.2 bed, which is then directed to System T. System T can handle all other tracks as additional objects or input channels, ready to be mixed into multi-format immersive buses with onboard XYZ and rotational Theta pan. The 16-channel monitor system supports formats up to 9.1.6.