INVITATION TO SUBMIT BIDS FOR THE PUBLIC TENDER

INVITATION TO SUBMIT BIDS FOR THE PUBLIC TENDER

Bids in four copies (one original and three copies) must be sent in sealed envelopes to the address:

“Javni zavod RTV SLOVENIJA, KOLODVORSKA 2,VLOŽIŠČE, 1550 LJUBLJANA, SLOVENIA”, with the postscript: "DO NOT OPEN - FOR TENDER - BID FOR TENDER NO. JN-B0782 – Audio mixing consoles and audio router “. The full address of the Bidder is to be written on the envelope.

The term for acceptance of bids is until 08.00 a.m. on 28^th September, 2017. Bids received after that time limit will not be counted and will be returned unopened to the Bidders.

Before the public opening of the bids the present participants of the Bidders have to hand over written authorizations for participation on the public opening.

Ljubljana, 22^nd August, 2017 Commercial Department of

RTV Slovenija

2. INSTRUCTIONS FOR MAKING BIDS

   1. CONTRACTING AUTHORITY OF THE PUBLIC TENDER

VAT No.: SI29865174; Corporate registry No.: 5056497

Bids will be appraised by the General Manager appointed professional commission. The Decision on the award of a Contract will be issued by the Director General of Javni Zavod RTV Slovenija. In the evaluation of the tender the commission will take account of the criteria that are the constituent part of the procurement documents.

The chosen Bidder must enter into a signed Contract within 8 days after receiving the “Decision on the Award of a Contract”. In the case of a Bidder not entering into a signed Contract, the Contracting Authority will validate the guarantee on the seriousness of the bid.

In case of receiving inadmissible bids, the Contracting Authority shall annul the tender. The Contracting Authority reserves the right not to choose any of the bids (according to Art. 90 of ZJN-3).

2. LEGAL GROUND

3. BASIC RULES OF OPERATION

In the period from the publication until the conclusion of the Contract the Bidder shall be not allowed to commence and perform any actions, which might prior determine the selection of a defined bid. In the period from the selection of a Bid until the Contract comes into force the Bidder shall be not allowed to commence any actions, which might cause the Contract to become void and unfulfilled. In case the procedure is stayed the Bidder shall not commence or perform any procedures, which might aggravate the invalidation or objectivity of the Review Commission.

3. SUBJECT OF THE PUBLIC PROCUREMENT

1. GENERAL DESCRIPTION

RTV Slovenija intends to purchase systems of on air audio mixing consoles for its radio studios situated in Ljubljana, Koper, Maribor and Lendava. Technical specifications and other requirements for the equipment are given for each location separately. In the same way, the Bidder has to prepare technical configuration and price specification including all costs separately for each location.

The bidden equipment must comply with all requirements and specification otherwise of the public tender, otherwise the bid will be rejected from further proceeding of public tender.

2. TECHNICAL REQUIREMENTS AND SPECIFICATIONS

1. LOCATION LJUBLJANA

1. GENERAL DESCRIPTION OF EQUIPMENT ON LOCATION LJUBLJANA

Besides the 4 new ones, the router will connect also existing consoles on location in Ljubljana.

The consoles are designated as LJ-2, LJ-4, LJ-12 and LJ-ob.

LJ-2 and LJ-4 will be installed in 2 different studios producing on air services.

LJ-12 will be installed in larger studio intended for round tables and some visual radio production.

LJ-ob will be used for outside broadcasting.

The consoles will be connected to the audio router, designated LJ-MCR and located in master control room.

The equipment must carry the CE mark in order to meet all adequate EU safety standards.

2. DELIVERY SCHEDULE FOR LOCATION LJUBLJANA

3. TECHNICAL REQUIREMENTS AND SPECIFICATIONS FOR THE CONSOLES

• 
  The build of the consoles must be modular and suitable for decentralized structure. The control surface (faders, switches, displays) must be organized in modules; the same applies to audio engine.
  
• 
  The control surface modules should be suitable for flush mount into working desk.
  
• 
  Color touch screen displays located over fader modules show information about different channel strip parameters and enable execution of different functions.
  
• 
  Color touch screen display located over monitoring/control module shows real time clock, various audio level meters and other information depending on the operating mode of the console.
  
• 
  Connections between modules should be implemented with Cat 5/6 cables or fibre optic cables for distances over 100 m.
  

• 
  They must be part of “logical” network, where all audio resources can be shared between mixing consoles. They must be able to simultaneously share at least 128 x 128 inputs and output signals between LJ-2 and LJ-4, LJ-2 and LJ-12 and so on.
  
• 
  Communication must be feasible between all talkback units in the network.
  
• 
  Fader modules on one console must be capable of taking control over another mixing console, for example: program on LJ-2 can be controlled by fader unit on LJ-12 and vice versa.
  
• 
  The audio engine modules should be noiseless so that there is no need to install them in separate room.
  
• 
  P&G faders, length 100 mm, motorized
  
• 
  40 bit floating point signal processing
  
• 
  Redundant power supply
  
• 
  Hot swappable modules
  
• 
  Possibility to access all parameters of the console with PC
  
• 
  Individual levels of user rights
  
• 
  Possibility to save the console configuration to external media (USB, memory card)
  
• 
  Snapshots
  
• 
  f_S: 48 kHz, 44.1 kHz
  
• 
  EIN (R_S = 200 ohm) <= -124 dBu
  
• 
  FS analog input level: +15 dBu
  
• 
  Sample rate converters on all AES3 inputs
  
• 
  Synchronization: AES11, word clock, internal fs generator in absence of ext. sync
  
• 
  Synchronization of real time: NTP
  
• 
  Possibility to upgrade the console to operate in 5.1
  
• 
  Audio input routing matrix with display of input source name
  
• 
  Channel functions should include also:
  

Mono, stereo, LL, RR, phase invert

4 band parametric EQ

Expander, gate, compressor, limiter, de-esser

PAN/BAL

Channel ON/OFF

• 
  Red light signalling
  
• 
  Audio level metering according to EBU R128
  
• 
  Core must be capable of processing 24 fader channels simultaneously.
  
• 
  The communication between control room and studios is realized by talkback units.
  

Talkback unit must have possibility to communicate with all others talkback units on location in Ljubljana. Tabletop version is required.

Specification:

• 
  Configurable touch screen display
  
• 
  3 mechanical or touch screen faders
  
• 
  Cough key
  
• 
  Loudspeakers mute in case of one of the microphones is active
  
• 
  Speakers volume rotary button
  
• 
  Headphones volume rotary button
  
• 
  Built in loudspeaker
  
• 
  XLR microphone input or built in microphone
  
• 
  Headphones output, 6.3 jack
  
• 
  At least 10 programmable mechanical or touch screen keys for selection of various monitoring sources
  
• 
  Set of several programmable mechanical or touch screen keys to select talkback destinations including
  

Talkback to other studios

Talkback to AUX or clean feeds

Additional requirements for the consoles on location in Ljubljana

4. TECHNICAL REQUIREMENTS AND SPECIFICATIONS FOR THE MASTER CONTROL ROOM ROUTER

The arrangement of the locations is shown on the diagram.

General requirements for the router

• 
  LJ-MCR must be fully integrated with other products specified in this tender. It must create a “logical” network where all audio resources can be shared between mixing consoles. Simultaneously it must be able to share at least 128 x 128 inputs and output signals between LJ-MCR and LJ-2, LJ-MCR and LJ-4 and LJ-MCR and LJ-12.
  
• 
  Click-less switching (without pops & clicks)
  

• 
  Routing AES3 channels individually
  
• 
  Digital silence on the output in case the input is removed
  
• 
  Silence detection
  
• 
  Generation of alarms and error messages
  
• 
  Optional transformer isolated balanced analogue I/Os
  

• 
  Modules should meet 19” rack mounting standard.
  
• 
  The core and the power supply should be fully redundant, with automatic changeover in case of failure.
  
• 
  The system must be capable of routing at least 6.000 x 6.000 channels.
  
• 
  Connection between different cores must be realized with standard Cat 5/6 cables and RJ45 connectors. Fibre optic cables should be used for distances longer than 100 m.
  

Operator's console consists of:

• 
  TB unit as specified in description of studio TB unit.
  
• 
  With 3 faders on TB unit, it should be possible to take over control of 3 inputs on one of the consoles connected to the network.
  
• 
  Rack mount control panel with at least 60 mechanical programmable keys to select the source for the 1^st loudspeaker pair, the source for the 2^nd loudspeaker pair and to make/brake other connections.
  
• 
  Rotary controls for volume/balance for 2 pairs of self-amplified monitoring loudspeakers.
  
• 
  Rotary control for headphones
  
• 
  At least 10” touch screen monitor for direct control of LJ-MCR system. Functions displayed on the screen must be configurable.
  

I/O modules in the master control room provide connections for various audio, communication or measuring equipment. They are specified in the following table.

Mixing consoles are connected to AES3 I/O modules. Studios are located relatively close together so it is possible to connect more than one console to the same I/O module. The distance between any studio and MCR is less than 100 m so the I/O modules can be connected to the router with Cat 5/6 cables. The router must provide appropriate number of Cat 5/6 connections for the following I/Os.

I/O modules on remote location

Software

• 
  Configuration and control SW should use English language
  
• 
  Software for displaying the console info and metering on PC display
  
• 
  Possibility of controlling and managing the system with PCs from several locations
  
• 
  Possibility to create configuration backups
  
• 
  Different levels of access rights
  
• 
  User friendly graphical interface showing matrix view or list view
  
• 
  Salvo switching
  
• 
  Scheduled switching
  
• 
  Eventual SW licenses required for implementation of required functions must be included in the bid
  

2. LOCATION KOPER

1. GENERAL DESCRIPTION OF EQUIPMENT ON LOCATION KOPER

• 
  Audio console for Studio 01 with all additional requirements and connectivity to existing system »STUDER Route 6000«.
  
• 
  Audio console for Studio 02 with all additional requirements
  

• 
  Audio console for Studio 03
  

2. DELIVERY SCHEDULE FOR LOCATION KOPER

• 
  1. Part of equipment at the latest within 6 (six) weeks after the beginning of the Contract validity;
  
• 
  2. Part of equipment in the II. Quarter of the year 2018.
  

3. TECHNICAL REQUIREMENTS AND SPECIFICATIONS

The supplied equipment must meet the AES3-1992.

Required documentation and manuals

Upon delivery of the equipment, the Bidder must supply the following documentation for each part:

• 
  operational instructions
  
• 
  service manual
  

The digital audio mixing console must be in a modular form construction and consists of control surface, which can be placed in the studio room and main core (DSP) unit that can be placed in a technical stand inside the server room, with associated units:

• 
  input analog mic/line units
  
• 
  output analog line units
  
• 
  digital AES/EBU input units with SRC
  
• 
  digital AES/EBU output units
  

• 
  The system must be designed in digital technology
  
• 
  The system must be stable and reliable
  
• 
  Easy operations and management
  

• 
  Audio console must have a minimum of 17 large physical motorized faders with small display showing the channel info, minimum 4 programmable push buttons and minimum 1 rotary encoder near each fader.
  
• 
  Minimum of 30 additional push buttons with freely assignable functions.
  
• 
  The control part must be divided into individual bays with flush mount fitting.
  

• 
  All inputs must have N-1 function.
  
• 
  Digital audio mixing console must be equipped with the functions detailed below on all of the channels:
  

• 
  Auto gain
  
• 
  Auto mix
  
• 
  Ducking
  
• 
  Compressor with adjustable threshold level and attack time
  
• 
  Limiter with adjustable threshold level, and attack time
  
• 
  Expander with adjustable threshold level and ratio
  
• 
  Gate with adjustable threshold level and attack time
  
• 
  Panorama regulation with the option for mono, stereo
  

• 
  The modules must be fitted with three-band parametric filter
  
• 
  LP filter
  
• 
  HP filter
  
• 
  Graphical representation of frequency characteristics of the filters must be visible on the LCD (TFT) display
  

• 
  Microphone inputs must be equipped with a 48V phantom ON/OFF power switch.
  

• 
  MIX buses must permit operation of the audio console in both (mono and stereo) modes.
  

• 
  24-bit D/A conversion (DAC analog outputs).
  
• 
  48 kHz sampling frequency.
  
• 
  Sample rate converters on all AES/EBU inputs.
  
• 
  The system must allow replacement of the modules or cards with active system - processor (hot swapping).
  
• 
  Mixer must be equipped with an audio matrix switcher.
  
• 
  The system must be configurable via Ethernet TCP/IP.
  
• 
  The measurement of the audio signal according to Recommendation ITU-R BS.1770-1, EBU R128.
  
• 
  Mixer (control part) must be physically separated from the core unit (DSP).
  
• 
  The system must be expandable for future upgrading, extending the capacity of the audio mixers with additional processing units - cores DSP, control units and input/output units.
  
• 
  Symmetrical 110 ohm digital input/output connectors.
  
• 
  Operational analog signal level of 6 dBu must correspond to a digital signal level of -9 dBFS.
  
• 
  The allowed length of the cables between the core and the control surface must be at least 40 m.
  
• 
  The allowed length of the cables between the cores must be at least 100 m.
  

Minimum 10" tabletop multi touch LCD display for monitoring and showing measurement of the audio signal:

• 
  input channels
  
• 
  output channel
  
• 
  monitor channels
  

It also has to:

• 
  display the overload warning sign
  

• 
  showing the mono compatibility indicator of the stereo signal
  
• 
  general desk control and configuration
  
• 
  loudness signal metering
  

Digital audio mixing consoles should automatically synchronize to the word clock or AES3. In the event of failure of the external synchronization, the system must ensure automatic switching to internal synchronization generator.

Requirements for the system assembly

	Part 1		Part 2
	Studio 01	Studio 02	Studio 03
Motorized faders in minimum 4 separate bays with flush mount fitting	17	17	17
Control – main bay with programmable push buttons, monitoring control and general desk control. With minimum 4 separate rotary encoders for eq & gain. With flush mount fitting	1	1	1
Minimum 10" tabletop multi touch LCD display for metering and general console configuration	1	1	1
Additional programmable push buttons (minimum)	30	30	30
MIC/LINE inputs	8	8	8
Analog line outputs	8	8	8
AES3 In with SRC	18	18	18
AES3 Out	10	10	10
GPIO	8 In, 10 Out	8 In, 10 Out	8 In, 10 Out
Summing buses	24	24	24
PFL bus	2	2	2
Table top remote module for adjacent editing/recording booth with at least 4 mechanical or touch screen faders, at least 4 programmable push buttons and loudness metering	2	2	-
Remote module - LINE inputs	4	4	-
Remote module - LINE analog outputs	4	4
Remote module - AES3 inputs	4	4	-
Remote module - AES3 outputs	4	4	-
Remote module - MIC inputs	2	2
Remote module - headphones outputs with level regulation	1	1	-
Remote module - monitoring outputs with level regulation	1	1	-
Additional core unit (DSP) with all necessary equipment for connection to the existing system Studer Route 6000 via optical multi-mode MADI connection: 64 sources of the existing system Studer Route 6000 must be available on all offered audio mixing consoles.	1	-	-

Additional requirements

• 
  Possibility of conference mode of the resources into N-1 mode.
  
• 
  Remote start of external equipment.
  
• 
  Display of the operational function of the channel next to the controller, separately from the main display on individual modules.
  
• 
  Multi-level resource management (multi-layer).
  

• 
  All digital inputs must have the option of converting the sampling frequency of 44.1 kHz/48 kHz
  
• 
  In general, the provider must equip the digital audio mixing consoles (depending on its specifications) with a sufficient number of analog or digital inputs/outputs or MADI cards specified in the technical specifications (for the purpose of monitoring, headphones, sync ...).
  

Digital audio mixing consoles must have the following monitoring outputs:

• 
  for control room listening
  
• 
  for studio listening
  
• 
  monitor outputs for listening to MAIN STEREO
  
• 
  monitor output for listening to PFL
  

• 
  Static automation.
  
• 
  Recording and storing of static mixers sheets (snapshots).
  

• 
  Additional core unit (DSP) with all necessary equipment for connection to the existing system »STUDER Route 6000«. via optical multi-mode MADI I/O connection.
  
• 
  64 sources of the existing system »STUDER Route 6000«.must be available on all offered audio mixing consoles.
  
• 
  Audio inputs and outputs from all mixing consoles must be shareable within the consoles (all the sources from all the consoles must be available on every single console).
  

• 
  Software with licenses for core (DSP) connectivity.
  
• 
  Software with licenses for configuration and management of the consoles and cores (DSP).
  
• 
  Software with licenses for displaying the console info and metering on PC display.
  
• 
  Various levels of user rights for the console configuration and usage.
  

• 
  Core units (DSP) must have a redundant power supply
  

3. LOCATION MARIBOR

1. GENERAL DESCRIPTION OF EQUIPMENT ON LOCATION MARIBOR

The studios and working places are designated as:

• 
  ONAIR – main on air studio
  
• 
  POG01 – dedicated talk studio for ONAIR
  
• 
  08 – secondary production studio
  
• 
  02 – main production studio which can also be used as spare on air studio
  
• 
  POG02 – dedicated talk studio for 02
  
• 
  04 – production studio
  
• 
  POG04 – dedicated talk studio for 04
  
• 
  07 – secondary production studio - news production studio
  
• 
  MB-MCR – Maribor master control room
  
• 
  DUR – daily editor/producer
  
• 
  DIR – news editor
  
• 
  GL – music editor
  
• 
  REAL – radio broadcast assistant (realization)
  

All equipment on location Maribor should be connected to 2 physical DSP core units as it can be seen on Maribor - Appendix 2. The third physical DSP core unit in suitable configuration should be added as a spare on the shelf (not connected).

All cores, connection equipment and some I/O equipment (for audio computers, telephony…) will be installed in MB-MCR. I/O equipment, directly attached to different studios, will be installed directly inside that studio.

Both physical DSP cores should be connected in the way that all inputs from both cores are available on every control unit (fader bay).

Provider should provide computer software for configuration, programming and operation of audio mixers, core (DSP) management and connectivity of DSP units and also software for displaying the console info and metering on PC display (as external screen).

Connections between all modules of the system and DSP cores spread over different studios should be implemented only with CAT 5/6 or optical cables.

The audio I/O modules should be noiseless because they will be installed inside the different studios close to the microphones.

Both physical DSP core units for location Maribor will be connected to the existing Studer Route 6000 audio router, located in MB-MCR via optical MADI connections.

2. DELIVERY SCHEDULE FOR LOCATION MARIBOR

• 
  Package 1 (all modules connected to physical DSP core 1) for studios and working places: ONAIR, POG01, 08, REAL, DIR, DUR, GL, physical DSP core 1 and the spare physical DSP core (on the shelf).
  

• 
  Package 2 (all modules connected to physical DSP core 2) for studios: 02, 04, POG02, POG04, 07 and physical DSP core 2.
  

3. TECHNICAL SPECIFICATION OF EQUIPMENT ON LOCATION MARIBOR

• 
  Studios and working places must be part of a “logical” network, where all audio resources can be shared between mixing consoles.
  

• 
  Direct interaction must be feasible between all talkback units in the network.
  
• 
  Fader modules in one studio/working place must be capable of taking control over resources in another studio/working place.
  
• 
  P&G faders, length 100 mm, motorized.
  
• 
  40 bit floating point signal processing.
  
• 
  Hot swappable modules.
  
• 
  Possibility to access all parameters of the console with PC.
  
• 
  Individual levels of user rights.
  
• 
  Possibility to save the console configuration and parameters to external media (USB, memory card).
  
• 
  Snapshots.
  
• 
  f_S: 48 kHz, 44.1 kHz
  
• 
  EIN (R_S = 200 Ohm) <= -124 dBu
  
• 
  Symmetrical 110 ohm digital input / output connectors.
  
• 
  Sample rate converters on all AES3 inputs.
  
• 
  Synchronization: AES11, word clock, internal sync generator in absence of ext. sync.
  
• 
  Synchronization of real time: NTP.
  
• 
  Each fader module should have audio input routing matrix with rotary encoder and display of input source name.
  
• 
  Channel functions should include also:
  

Mono, stereo, phase invert;

4 band parametric EQ;

Expander, gate, compressor, limiter, de-esser;

PAN/BAL;

Channel ON/OFF;

PFL;

• 
  Audio level metering according to recommendation EBU R128.
  

• 
  TFT, LCD or bar graph displays should allow measurement of the audio level on all inputs, outputs and audio buses.
  
• 
  Warning sign for Input overload must be shown on the instrument.
  
• 
  Phase correlation meter.
  

• 
  Auto mix mode for talk show applications.
  
• 
  Each physical DSP core must be capable of processing at least 24 channels simultaneously.
  
• 
  All power supplies should be fully redundant, with automatic changeover in case of failure.
  

Main studios

All AES/EBU and MADI inputs/outputs should be installed in MCR.

Connected to physical DSP Core 1

AES/EBU inputs	8
AES/EBU outputs	8
MADI in/out 64ch	1 (redundant)

Connected to physical DSP Core 2

AES/EBU inputs	12
AES/EBU outputs	12
MADI in/out 64ch	1 (redundant)

Tabletop talkback unit requirements

All talk back units should allow communication to all destinations on Maribor location.

Table top version is required.

Specification:

• 
  Touch screen display with user configurable layouts;
  
• 
  Speaker  volume rotary button;
  
• 
  Headphone volume rotary button;
  
• 
  Integrated loudspeaker;
  
• 
  Real time clock;
  
• 
  XLR microphone input or integrated microphone;
  
• 
  Headphone output, 6.3 jack;
  
• 
  At least 10 programmable mechanical or touch screen keys for selection of various monitoring sources;
  
• 
  Set of several programmable mechanical or touch keys to select talkback destinations including:
  
  • 
    Talkback to all connected studios and other working places;
    
  • 
    Talkback to AUX and clean feed;
    
• 
  Loudspeaker mute in case of any of the microphones in the room is active;
  

4. LOCATION LENDAVA

1. GENERAL DESCRIPTION OF EQUIPMENT ON LOCATION LENDAVA

The studios are designated as:

• 
  MMR ONAIR – main on air studio
  
• 
  MMR POG01 – dedicated talk studio for MMR ONAIR
  
• 
  MMR MONTAZA – main production studio which can also be used as a spare on air studio
  
• 
  MMR POG02 – dedicated talk studio for MMR MONTAZA
  
• 
  MMR NOVINARSKA – secondary production studio
  
• 
  MMR-MCR – Lendava master control room
  

All equipment on location Lendava should be connected to 2 physical DSP core units as it can be seen on Lendava - Appendix 1.

All physical DSP cores, connection equipment and some I/O equipment (for audio computers, telephony…) will be installed in MMR-MCR. I/O equipment, directly attached to different studios, will be installed directly inside that studio.

Both physical DSP cores should be connected in the way that all inputs from both cores are available on every control unit (fader bay).

Provider should provide computer software for configuration, programming and operation of audio consoles, core (DSP) management and connectivity of DSP units and also software for displaying the console info and metering on PC display (as external screen).

Connections between all modules of the system and DSP cores spread over different studios should be implemented only with Cat 5/6 or optical cables.

The audio I/O modules should be noiseless because they will be installed inside different studios close to the microphones.

2. DELIVERY SCHEDULE FOR LOCATION LENDAVA

3. TECHNICAL SPECIFICATION OF EQUIPMENT ON LOCATION LENDAVA

• 
  Studios must be part of a “logical” network, where all audio resources can be shared between mixing consoles.
  

• 
  Direct interaction must be feasible between all talkback units in the network.
  
• 
  Fader modules in one studio must be capable of taking control over resources in another studio.
  
• 
  P&G faders, length 100 mm, motorized.
  
• 
  40 bit floating point signal processing.
  
• 
  Hot swappable modules.
  
• 
  Possibility to access all parameters of the console with PC.
  
• 
  Individual levels of user rights.
  
• 
  Possibility to save the console configuration and parameters to external media (USB, memory card).
  
• 
  Snapshots
  
• 
  f_S: 48 kHz, 44.1 kHz
  
• 
  EIN (R_S = 200 ohm) <= -124 dBu
  
• 
  Symmetrical 110 ohm digital input / output connectors.
  
• 
  Sample rate converters on all AES3 inputs
  
• 
  Synchronization: AES11, word clock, internal sync generator in absence of ext. Sync.
  
• 
  Synchronization of real time: NTP.
  
• 
  Each fader module should have audio input routing matrix with rotary encoder and display of input source name.
  
• 
  Channel functions should include also:
  

Mono, stereo, phase invert

4 band parametric EQ

Expander, gate, compressor, limiter, de-esser

PAN/BAL

Channel ON/OFF

• 
  Audio level metering according to recommendation EBU R128
  
• 
  TFT, LCD or bar graph displays should allow measurement of the audio level on all inputs, outputs and audio buses.
  
• 
  Overloaded signal must be shown with warning signs on the instrument.
  
• 
  Mono compatibility indicator for stereo signal.
  

• 
  Auto mix mode for talk show applications.
  
• 
  Each physical DSP core must be capable of processing at least 24 fader channels simultaneously.
  
• 
  Power supplies should be fully redundant, with automatic changeover in case of failure.
  
  

Main studios

All talk back units should allow communication to all destinations on Lendava location.

Tabletop version is required.

Specification:

• 
  Touch screen display with user configurable layouts
  
• 
  Speaker  volume rotary button
  
• 
  Headphones volume rotary button
  
• 
  Integrated loudspeaker
  
• 
  Real time clock
  
• 
  XLR microphone input or integrated microphone
  
• 
  Headphones output, 6.3 jack
  
• 
  At least 10 programmable mechanical or touch screen keys for selection of various monitoring sources
  
• 
  Set of several programmable mechanical or touch screen keys to select talkback destinations including:
  
  • 
    Talkback to all connected studios;
    
  • 
    Talkback to AUX and clean feed;
    
• 
  Loudspeaker mute in case of any of the microphones in the room is active
  

5. CONFIGURATION OF THE SYSTEMS (APPLIES TO ALL LOCATIONS)

The first phase comprises the basic configuration according to the Contracting Authority’s requirements defined in chapter 3.2.

The second phase comprises the detailed configuration of the system and depends on the supplied equipment and will be defined between the Bidder and the Contracting Authority. The second phase will be carried out after some trial period that will not be longer than 5 months. Trial operation should reveal eventual irregularities in configuration or give some ideas for improvements. The Bidder should then - according to the findings in the test period, carry out the adequate adaptations.

Both phases of configuration should be included in the bid.

6. TECHNICAL DOCUMENTATION (APPLIES TO ALL LOCATIONS)

• 
  General description of the offered system, architecture, building blocks, connections etc. The general description can be stored on some external memory media or available online.
  
• 
  Drawings of offered mixing consoles, TB units, 19" frames etc.
  
• 
  Wiring diagram of consoles, TB units and audio router
  
• 
  List of modules and components that compose individual mixing consoles and audio router
  
• 
  Technical characteristics of I/O modules and other building blocks that are contained in the mixing consoles and in the router
  
• 
  Dimensions and power consumptions of individual modules
  
• 
  Brief description of control software – architecture, main functions like make/brake connection, status overview, customized views, scheduling, DSP functions etc.
  
• 
  Screenshots of typical situations on fader module display and central control module display
  
• 
  Screenshots of typical situations regarding router control like matrix view, list view, command mode
  

7. TRAINING AND MANUALS (APPLY TO ALL LOCATIONS)

The contents and the duration of the training should be determined by the Bidder.

The contents of the training should contain enough information to enable the technical staff to:

• 
  Make changes and adaptations of existing configuration of the system.
  
• 
  Locate the eventual faults and fix them on the level of exchanging broken modules with the spare ones.
  

Upon delivery of the equipment, the Bidder must supply appropriate user/service manuals in Slovene or English language in 2 copies for each location. Beside the printed version, the manuals should be supplied also on some external memory media.

8. OTHER GENERAL REQUIREMENTS (APPLY TO ALL LOCATIONS)

The quantitative acceptances will be done by the Contracting Authority after receipt of separate parts of equipment on the locations of the Contracting Authority. With the quantitative acceptances the completeness of delivered equipment regarding the required specifications will be determined.

The separate quantitative acceptance must be done within 10 (ten) working days after receipt of the equipment to the warehouse of the separate location of the Contracting Authority.

Final acceptance of equipment

The final acceptances of the equipment on the premises of the separate locations of the Contracting Authority shall be performed by the Contracting Authority and the Bidder of the equipment, who must have technically qualified staff. At the final acceptance and start-up, the following characteristics shall be observed:

• 
  the quality of the supplied and installed parts
  
• 
  the applicability of the equipment
  
• 
  how stable the equipment is when operating
  
• 
  the eventual error elimination
  

All eventual incorrectness, ascertained at final acceptance procedure (that are to be specified in writing by the Contracting Authority), are to be eliminated by the Bidder within 21 days after the unsuccessful final acceptance, after this time limit the Contracting Authority may cash-in a performance guarantee.

It is understood that the final acceptance will be completed when all eventual incorrectness are eliminated.

After the final acceptance is successfully carried out, the protocol will be issued.

The guarantee period shall start with the date the Contracting Authority has signed the Protocol of the successfully done final acceptance of the equipment.

Warranty and servicing

The Bidder must enclose his own statement with the detailed information on the maintenance of the equipment within the warranty period.

The Contracting Authority’s requests:

• 
  The minimal required warranty period for the all equipment is 12 months after the successfully done final acceptance; however, the Bidder may offer better conditions.
  
• 
  It is requested that during the warranty period all errors are removed free of charge.
  
• 
  All software upgrades must be provided free of charge.
  
• 
  The spare parts for the offered equipment must be available for at least 5 years after the final acceptance of the equipment.
  

• 
  The address, phone and e-mail of the service or contact person who advices the Contracting Authority in case of malfunction;
  
• 
  Response time and the time period when the error will be eliminated or time period when the Bidder will ensure the replacement equipment.
  

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