Success story
TSC Group| Carlos Rivera, Joaquin Sabina, Cafe Quijano…
TSC Group
The TSC Group, or Grupo Tecnosound Canarias, based in Lanzarote and Gran Canaria, is a company with over 25 years of experience covering all types of audiovisual events, including concerts and festivals.
By 2025, TSC had provided technical production services for Carlos Rivera, Joaquín Sabina, Café Quijano, Miguel Poveda, and Pedro Guerra, as well as festivals such as the Las Palmas de Gran Canaria Carnival, Lavalive, Boombastic, and Gran Canaria Live Fest.
As a large-scale audio production company, they needed “a universal system that could easily handle multiple stages,” according to Adrian Suarez
Photo: TSC group equipment. Courtesy of Adrián Suárez Santana.
Unified system for 64 channels
“We’ve improved the connection of all systems and managed to unify all the company’s devices with the same type of connector, which means considerable time savings in assembly and disassembly, stage changes, and cleaning.”
For microphone-line level audio signals in professional live or studio sound where multiple channels must be distributed into 2 isolated outputs and one direct output. This is a 64-channel passive splitter that distributes each input into 2 transformer-isolated outputs and 1 direct output (for microphone phantom power). For microphone and line signals.
It consists of:
- 1 balanced input by 64 XLR-H connectors
- 2 balanced transformer-isolated outputs per channel via four LK multi-connectors (32 channels per multi-connector) ISO 1 and ISO 2
- 1 balanced direct output by 2 LK multi-connectors (32 channels per multi-connector) for phantom power connection
- Ground lift per channel
- High-quality transformer providing high CMRR (*) (90 dB@1 kHz)
- AR format for 19″ rack installation
For the connection of the equipment with which the TSC group works such as:
- Digico SD rack and Digico Quantum 338
- Yamaha RIO 3224 D2, Yamaha PM7 Rivage and Yamaha DM7
- Allen & Heath DM64, Allen & Heath C1500 and Allen & Heath C3500
“The main feature I was missing was a universal system that could easily handle multiple stages.”
According to our client’s specifications, at Pínanson, we custom designed and manufactured a SAR passive distribution system REF.: PTRS9007 with 64 channels in an AR box for 19″ using LK connectors for quick management of the 64 channels and to be received on 3 different consoles (with the possibility of sending phantom power through a Direct connection).
Photo: Stage at a TSC group event. Courtesy of Adrián Suárez Santana.
Remote Boxes: with “extra space” for labeling
To manage all the signals that reach our SAR PTRS 9007 distributor, the following were manufactured:
- 4 x DR: 19″ AR box for Remote box input by 5 LK multi-connectors and a Tidy patching system.
- 24 x LK multi-connector to 16 XLR-M-F Fan Out
- 11 x Fan out in AR 19″ box with 2 LK connectors and a Tidy patching system.
- 25 UNI-format Remote Boxes with 16 XLRH channels and LK multi-connectors. These boxes were custom-made for the client, as they needed extra space for labeling on the box cover above each XLR connector.
Image: Complete TSC Group team
Photo: Custom-made UNI Remote Box with extra labeling space
More about Audio Distribution for Touring
The Swedish company Ljudjohan covers both small events and concerts in the country up to the largest European tours. It is responsible for always offering professional sound and lighting technical solutions, although it also works as a rental company for its equipment. Being the largest supplier in the Jönköping area (province in the south of Sweden), they carry out work for all of Sweden.
The iconic building of the Sydney Opera House has five theaters: Concert Hall, Opera Theatre, Drama Theatre, Music Room and Studio Theatre. Rooms designed and built with the highest technical and architectural rigor.
Continuing with this technical rigor, Pinanson’s distribution equipment was used for the microphone signals that are transmitted in the grand opera.
When requesting a quote for a signal distribution equipment, clients are normally clear about its characteristics in terms of functionality: the number of channels they handle at their events, how many consoles they are going to take the signals to, if they want patching, remote boxes, the order of the signals, colors to classify them, the format of the equipment (if they want it portable or to be racked…).
But there is a general doubt when you ask them if they want to isolate the outputs by transformer or not.
As can be seen in the previous diagram, when we want to have our Digital Stage Box in the same rack as our stage distributor, we will opt for the DIGI RACK BOX.
It is a passive interface where all the audio signals converge from the stage to the digital stage boxes of the digital consoles: FOH, Monitors and Recording.
