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Tuesday, June 30, 2009

The RF Spectrum Before & After The “Big Day”

A look at the spectrum between 500 MHz and 700 MHz

So the big day (June 12, formerly February 17, 2009) came and went, and now we have the results of “the change”.

For those of you living under a rock for the past 10 years, what has happened is that full-power analog TV broadcasts have ceased in most US markets.

At the same time, most of the of spectrum between 698 and 806 MHz, formerly used by TV broadcasts and wireless microphones, now has new owners and is not populated by TV broadcasts any longer.

The legal status of wireless microphone systems in the 700 MHz band is not entirely clear, but the FCC’s intentions appear to be that wireless mics will not be allowed here.

So let’s look at the spectrum between 500 MHz and 700 MHz, covering most what is now available to DTV broadcasts and Part 74 users, including wireless microphone systems.

The first/top image (below) shows this range before the transition, and the second/bottom image (also below) shows the same spectrum after June 12. It is evident that almost all analog sources have disappeared, while only DTV sources remain.

What about using wireless microphone systems in the 700 MHz band?

First, you may still have systems in the 700 MHz band that will continue to operate, until such time as a new, strong signal comes along and interferes.

For many, this may be the right approach: use your equipment until it no longer works. However, keep your eyes open for any announcements about the likely FCC ruling rendering such systems actually illegal.

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Currently, there are few signals in that range, but there are some, and soon there will be more.

For those of us using systems between 470 and 698 MHz, our lives should actually be a bit easier for a while. The spectrum is more open, and we should not see the kinds of rapid changes we have seen over the past couple of years.

DTV transmissions are still being optimized, and broadcasters are recommending that people “do a new scan for channels once a month”. I would suggest the same thing for your wireless microphone systems, to insure that you are steering clear of any potential interference. (But you were doing that already, right?)

As to what will become of the remaining usable spectrum, it’s too early to tell. But as TVBD (TV Band Devices) begin to appear, we’ll certainly learn more.

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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More posts on PSW by Mike Wireless:
Latest Wireless Series #3: Inside The Lectrosonics D4
Latest Wireless Series #2: Inside The MIPRO ACT Digital
Latest Wireless Series #1: Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

Also check out:
Basic & Essential: What You Need To Know About Wireless Systems (A Primer)

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Meyer Sound Introduces New JM-1P Arrayable Self-Powered Loudspeaker

The JM-1P delivers controlled coverage while minimizing reverberation in large or reflective acoustical environments

Meyer Sound has introduced the JM-1P arrayable loudspeaker, a self-powered high-Q system designed to integrate seamlessly in tight-packed clusters where horizontal coverage must be predictably scaled to exacting requirements.

Distinguished by its precisely defined 20-degree horizontal by 60-degree vertical pattern, the JM-1P delivers controlled coverage while minimizing reverberation in large or reflective acoustical environments.

With a consistent polar response and trapezoidal enclosure patented by Meyer Sound, the JM-1P delivers optimum performance in tight-packed arrays providing horizontal coverage that is proportional to the number of units deployed.

Single JM-1P cabinets can be used as a point-source system in either horizontal or vertical orientations. The JM-1P is suited to critical quality applications including theatres, houses of worship, theme parks, stadiums, concert halls, and nightclubs. In touring sound, it offers flexible solutions for center- and side-fill systems.

Meyer Sound’s experience in point-source systems dates back to 1980 when John Meyer, CEO of Meyer Sound, patented the trapezoidal cabinet shape with the release of the UPA loudspeaker.

The JM-1P features a Meyer Sound’s patented REM ribbon emulation manifold technology, which results in low distortion and a tight pattern control, while a constant-Q horn ensures a uniform response throughout the coverage area.

The JM-1P’s exceptional power-to-size ratio and flexible Quickfly rigging options allow for easy mounting and flying in a variety of applications. Captive sliding rigging links on the front and back of the cabinet facilitate easy arraying, and optional pickup and array plates are available for flying horizontal arrays of up to five JM-1P cabinets.

A top grid receives links and pins directly from the JM-1P cabinet and allows for flown vertical arrays of up to four cabinets.

“The JM-1P gives sound designers the flexibility to accurately tailor coverage in highly reverberant or oddly shaped environments,” notes John Meyer. “You can conform your horizontal coverage to fit the room, so you maintain a smooth response at all seats while avoiding echoes or excessive reverberation.”

The JM-1P’s precise high-frequency section is driven by a 4-inch diaphragm compression driver, complemented by a 15-inch, long-excursion cone transducer for the low-mid section. Power is supplied by a dual-channel class AB/H amplifier with a total power output of 1275 W (2550 W peak), while onboard processing includes electronic crossover, comprehensive driver protection, and correction filters for flat frequency and phase responses.

Performance of the JM-1P is exemplary in all respects, with a wide operating frequency range of 55 Hz to 18 kHz, and a maximum peak SPL of 136 dB (at 1 m). The optional RMS remote monitoring system allows comprehensive monitoring of system parameters on a Windows-based computer.

The JM-1P can be controlled with the Galileo digital loudspeaker management system and presets for JM-1P arrays will be available to provide mid-bass and bass management.

Designed and manufactured at Meyer Sound headquarters in Berkeley, California, the JM-1P arrayable loudspeaker will begin shipping in August 2009.

Meyer Sound Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Ultrasone Partners With Griffith Sales Associates For Southeastern U.S. Distribution

Manufacturer’s rep firm to distribute Ultrasone headphones in Georgia, Alabama, Mississippi, North/South Carolina and Tennessee

Ultrasone has announced a manufacturer’s representation partnership with Griffith Sales Associates for Southeaster United States distribution.

Griffith Sales Associates has built a reputation as a top distributor for professional audio, video, lighting and musical products.

“We couldn’t be more pleased to have Griffith Sales Associates handling our headphones in the Southeast U.S.,” commented Paul Taylor, President of Ultrasone Inc. “The enthusiasm and energy that they bring to the sales channel is unequalled and we feel our brand will benefit from their experience and professionalism.”

Griffith Sales Associates is based in Georgia and distributes some of the industry’s most prominent audio, video, lighting and musical products in the Southeast United States.

In addition to Ultrasone, Griffith Sales Associates represents Edirol, Tannoy, Audix, Sabine, Chauvet, TC Electronic and other leading manufacturers.

“The clarity and safe listening characteristics of Ultrasone’s headphones are unparalleled in the industry and our associates are thrilled to have the opportunity to represent them,” said Griffith Sales Associates Founder Gene Griffith.  “Our goal is to help Ultrasone become the headphone of choice for all musicians, producers and engineers throughout the Southeast.”

Ultrasone Headphones

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A-Pawling Studio Utilizes SSL AWS 900+ SE To Mix Daryl Hall’s Live Internet Program

The AWS 900+ SE offers full control of the resident Pro Tools HD system

A-Pawling Studio, owned by engineer/mixer Peter Moshay (www.PeterMoshay.com) recently installed a Solid State Logic AWS 900+ SE to replace a digital console.

The AWS 900+ SE offers full control of the resident Pro Tools HD system, while delivering the signature SuperAnalogue sound and mixing capabilities for Daryl Hall’s “Live from Daryl’s House” monthly Internet program.

“I have always craved the sound of an SSL console and the AWS 900+ SE brings that world-class sound to my control room in a footprint that fits my space confines,” says Moshay. “The AWS is a real tool for the real world as I am no longer deciding on sample rates for tracks or worrying about bus headroom running out.

“The AWS always works, even for complex mixes. The sound is great, the headroom is always available and the console truly opens up more creative possibilities with the Pro Tools system. I love this console.”

Heading into the 20th episode, “Live From Daryl’s House” involves capturing both audio and video performances of superstar Daryl Hall performing with guest artists in Daryl’s living room.

Artists like Parachute, KT Tunstall, Travis McCoy of The Gym Class Heroes, Matt Nathanson and, of course, John Oates, and many others have shared the spotlight on this Internet available program.

“This program was conceived by Daryl to get music out to a broader audience based on the premise of sitting down and making live music,” explains Moshay. “Every month we are essentially producing a new record where a wide variety of artists will perform a Hall & Oates or a Daryl song, and a few of the guest group’s songs or just a song everyone likes. The relaxed atmosphere of the production is completely capturing a new audience on the web.

“The AWS provides the high quality sonic foundation necessary to keep this wide-ranging variety of music together. With the AWS, my mixes have more dimension and depth. When I run audio through the console, I know everything will sound good.”

All “Live from Daryl’s House shows are available on the net 24/7 free of charge at http://www.livefromdarylshouse.com. Negotiations are in place to bring the successful series to television.

Solid State Logic Website

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Rick Renner Joins Shure As A U.S. Regional Sales Manager

Responsible for managing sales in Northeast U.S.

Shure Incorporated announced that Rick Renner has joined the company as a Regional Sales Manager, and will be responsible for managing sales for Shure in the Northeast U.S.

“It’s great to have Rick on our team,” said Jim Schanz, Director of U.S. Field Sales. “He brings a proven track record of successful sales experience in pro audio and extensive industry knowledge to our team, which will help us continue to grow our business in the U.S.”

Before joining Shure, Renner served for seven years as Regional Sales Manager and Sales Representative at Sennheiser Electronics Corporation. 

Before that, he was a staff recording engineer at Streeterville Recording Studios in Chicago.

Shure Website

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Monday, June 29, 2009

Yamaha Digital Consoles Flourish At 2009 Glastonbury Festival

At one point there were five Yamaha PM5D-RH digital consoles and aYamaha M7CL-48 digital console on the Pyramid stage alone

Much of the 2009 Glastonbury Festival was spent basking in uncharacteristic sunshine, and contributing significantly to the quality of a weekend already being touted as the best Glasto ever, this year the familiar presence of Yamaha digital mixing consoles had grown to an unprecedented high number.

“I’ve been coming to Glastonbury for years in a support capacity and I have never seen so many Yamaha desks on so many stages,” reports Nick Pemberton of Yamaha Commercial Audio.

As usual, the festival saw fans embrace a remarkably diverse array of talent, from living legends like Bruce Springsteen, Neil Young, Crosby, Still and Nash and Status Quo, to high profile reunions, established contemporary acts and those still eagerly seeking a breakthrough into the big time.

A large proportion were using Yamaha consoles, at one point there being five PM5D-RH and an M7CL-48 on the Pyramid stage alone.

The John Peel stage ran PM5D-RHs at both front of house and monitors, combining them with three of Yamaha’s new SB-168ES stage boxes to provide the Ethersound network.

Other stages to use the M7CL-48 included the BBC Introducing Stage, Dance East, Dance West, Dance Lounge, Pussy Parlure, the Dirty Boots stage, The Avalon Stage (which also hosted a PM5D-RH for Will Young) and the BBC’s own Tree House which acted as a hub for their extensive TV coverage.

The compact Yamaha LS9-32 was also put to good use on a number of the smaller stages, as well as making some guest appearances on the more prestigious ones.

VV Brown was making the most of the weekend, performing on the Pyramid, Dance East, John Peel stages throughout the event, with her front of house engineer Jimmy Sarikas using his own LS9-32 for the performances on the first two.

Yamaha Commercial Audio Website

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Neyrinck Releases Dolby E For Windows XP/Vista & Avid/Final Cut

Stand-alone application & Pro Tools plug-in set for Dolby E encoding and decoding

Neyrinck has announced a major update to SoundCode For Dolby E that adds support for Windows XP and Windows Vista and adds features for Avid Media Composer, Apple Final Cut Pro, and other media workstation system users.

SoundCode For Dolby E is a stand-alone software package and Pro Tools plug-in set for Dolby E encoding and decoding. It is designed for post-production studios, TV mixers, and broadcast and content distribution organizations that need to deliver and monitor Dolby E content on video tape or as files.

The new software version 1.1.3, available now for both Windows and Mac OS X, adds new Dolby E decoding features. 

Now the standalone software can decode a Dolby E stream faster-than-real time to BWF files that can be directly imported into Avid Media Composer, Final Cut Pro, and other media workstations. Also, it can play back a Dolby E stream file in real time for auditioning using Core Audio or Windows MME sound hardware. 

These new features allow video editors to receive Dolby E content, audition it, decode it, and import it for editing and mixing. The Dolby E encoder has been improved to deliver multi-mono BWF files in addition to interleaved BWF files for direct import into Pro Tools. 

The new version also brings Pro Tools plug-in support to Windows XP and Vista and is fully compatible with Pro Tools 8 HD and LE. This update makes Neyrinck SoundCode For Dolby E a complete Dolby E encode/decode solution for Media Composer, Final Cut, Pro Tools, or any other media workstation that uses BWF audio files.

“SoundCode For Dolby E has been embraced by Pro Tools professionals on Mac OS,” commented Paul Neyrinck, “but broadcasters need Dolby E encoding and decoding on their video workstations to do their work as fast as possible.  And Windows-based Pro Tools users want to take advantage of SoundCode’s unsurpassed integration.  I am very pleased to say that now we offer a solution for nearly everyone, no matter what system they are using.”

The version 1.1.3 update is free for existing owners of SoundCode For Dolby E and can be downloaded at www.neyrinck.com.  SoundCode For Dolby E can be purchased worldwide from professional audio and video resellers and online at store.neyrinck.com.

Neyrinck Website

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Tuning A System At The Ultra Music Festival With EASERA SysTune (And “Dr. Bassenstein”)

A look at the tuning process - for subwoofers in particular - for an annual festival featuring performances by some of the top DJs in the world (Also be sure to check out "An Overview Of EASERA SysTune" by Charlie Hughes)

The Ultra Music Festival takes place annually in the spring in Miami, concluding a week-long Winter Music Conference attended by electronic music artists, producers, and fans from around the world.

Ultra Music features performances by some of the world’s top DJs, with the festival site crammed full of PA systems from various vendors.

This year I returned at the invitation of UMF Audio Chief Terry MacNeil (“Dr. Bassenstein”) to perform alignment work on systems as a couple of the stages.

In particular, a lot of attention gets paid to the subwoofers - there’s a lot of content below 50 Hz, and the subs need to be as “right” as possible. Unfortunately, festival scheduling issues restricted my efforts to a fairly tight window..

Advance Work
The PA vendor for both the main stage and Bayfront stage was Beach Sound (www.beachsound.com). The main stage would be equipped with 32 d&b audiotechnik J8/J12, 16 d&b J-Sub subwoofers flown along the J8s, and 24 d&b B2 subs in three high CSA stacks, four stacks per side.

In addition, BASSMAXX supplied 16 beta test subwoofers currently given the model designation SP218 or the “Dub-ill 18.” These are double 18-inch direct radiating vented subs. The challenge would be integrating the centered BASSMAXX subs with the B2s flanking them.

Issues:
1. Physical separation between sources, setting us up for interference problems.
2. Different models of subwoofers, setting us up for potential phase (frequency specific delay) issues.
3. Subjective sound quality difference between the two models of subs.

BASSMAXX chief David Lee supplied some phase data for the new sub, and it appeared the phase response wrapped smoothly enough (for example, no abrupt variations in the operating band) that there would be a good chance of acceptable integration.

I contacted Neil Rosenstock, Beach Sound System Engineer, about “the plan” and we began to coordinate a rational approach to getting as much of the work done in advance as possible. The initial plan was to be able to use incremental delay taps for the center cluster. However, the stacking arrangement proved to be advantageous, allowing us to fill the center without beaming as much as if it had been an eight wide/two high system.

Neil came up with a CSA stacking plan that would steer the B2s away from the center a bit, supplying an ArrayCalc solution that did just this.

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As we shall see later, a bit less steering got it within acceptable limits out in the overlap areas.

EASERA SysTune
I decided to give SysTune a test drive for the event, so three weeks prior I downloaded the evaluation and worked my way through the tutorial.

The tutorial is very good, and anyone who understands measurement issues and has used a dual channel FFT analyzer before will be in a good starting place after completion. Particularly, I wanted to use SysTune’s ASIO multichannel capacity.

My multichannel measurement rig currently consists of:
PreSonus Firestudio Project 8 channel FireWire mixer
Small custom 2 space rack, with power strip
4 SIA RTA-420 microphones
Josephson C-535 microphone
4 Manfrotto collapsible microphone stands
7 microphone cables, of 50- and 100-foot lengths
Assortment of cables and turnarounds
WiFi router and IBM X41 tablet PC for remote access into measurement computer

This all rides in a Pelican 1650 case. Because I was arriving on tuning day and didn’t want take a chance on an airline losing it, I used FedEx to deliver it to Beach Sound.

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On With It
After some travel delays, I finally arrived at the festival site around 2 p.m. the day prior to the kick-off of the festival. Due to the schedule restrictions noted above, we weren’t able to make “big noise” until 5 p.m.

I got my multichannel rig set up in less than 10 minutes, but the amp rack for the center BASSMAXX subs had not yet arrived. Rosenstock and I walked the field briefly to see what the steered B2’s were doing, and sure enough there was somewhat of a hole carved out in the center.

In the meantime, I took a small measurement rig to the Bayfront Stage, with this rig consisting of the Dell Inspiron 4150 measurement notebook, an M-Audio MobilePre USB, and the Josephson microphone.

The PA consisted of flown d&b J8/J12 (no J-Subs), and 16 BASSMAXX X2C “Deuces” lined up across the stage.

The sub line was long enough to get some serious pattern control outside the edges, and in fact this is what we wanted in order to avoid spill to the extent possible in other areas.

With this many systems, and this much sub content, any control available is gladly exercised.

The quick alignment job consisted of sub alignment via phase trace to the flown PA, some quick EQ on the PA (the d&b systems seem to never need much, particularly outdoors), and some sweetening by ear on the subs.

A 6 dB low shelf boost on the Deuces suggested by Dr. Bassenstein was applied, and after a little experimentation using Lake Contour controller, we liked what we heard.

The lack of a tech day meant that forklifts and lulls were constantly working everywhere. At one point I had my back turned to the stage, trying to figure out what was going with this crazy transfer function that could not possibly be right, noise running at a fairly high level.

I turned around and a lull had pulled up next to my measurement microphone, completely contaminating the measurement. It turned out this would be the rule, and not the exception, the rest of the day.

Back To The Main Stage
The amp rack for the center BASSMAXX array eventually arrived and we began. The first set of measurements was mostly on axis with the house right portion.

Using the multi-channel capacity of SysTune, it was quite easy to quickly switch between measurement microphones. Additionally, the easy management of overlays helped me move quickly between tasks.

Since we were short on time, our efforts were concentrated on integrating the center BASSMAXX stack with the spread CSA B2 stacks residing under each side of the PA.

The Figure 1 screen shot shows a measurement overlay taken on site, and reloaded back into SysTune after the fact. The measurements were done with a 64 kHz FFT size, yielding 1.46 Hz frequency resolution.

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This resolution is OK for low frequency work but is too fine for HF work.

Also, the delay offset and measurement levels do not affect the loaded overlays. Savvy users will notice the “zero” delay time – this is because we’re looking at reloaded overlays, not live measurements.

The previous measurement is of only the steered-out B2s, taken from the center of the audience area. The next step is to add the BASSMAXX cluster in the center as seen in Figure 2.

Keep in mind here we have steered the outside B2s away from the center a bit to allow the BASSMAXX boxes to have some of their own space. We have not adjusted the gain on the center sub array at this point.

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Listening tests validated our original notion that if they sound different enough, we should avoid overlap if possible, and these subs definitely do not sound “the same” - whatever that means.

So in our center position, the B2s began to drop off just below 40 Hz as seen in the screen shot. The BASSMAXX subs remained quite flat to 30 Hz.

The phase angles are mostly matched, if not perfectly timed at the measurement position.

However, after listening we decided to treat the BASSMAXX array separately and Rosenstock inserted an 18 dB octave low pass filter at 47 Hz (after some experimentation), and this yielded the above result.

Note the phase response in the areas of interest, not varying more than 90 degrees between the two systems. We played with some delay times but this yielded no appreciable difference, so we left it “as is.”

Walking the field revealed a few but mostly insignificant nulls, certainly far fewer than a traditional left and right sub arrangement. This is the measured response of the summed systems, in the center of the audience area, as shown in Figure 3.

A little subsequent tweaking sweetened the very bottom end, of which a few of the DJs (and particularly The Prodigy) tested to the limits.

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Overall, everyone was satisfied with the arrangement.

DJ Tiesto’s Production Manager walked the field and commented on a few minor nulls but said “it is powerful enough.” Rosenstock and I walked around a bit and decided to pull the CSA stacks back in toward the center and it did help.

The Prodigy’s Front of House Engineer Jon Burto, had a few comments regarding the implementation and offered some suggestions. He had an interesting night mixing, between artists directly in front of the PA, an artist with a somewhat weak voice that evening, and the unenviable position of not hearing the same bass response his audience was hearing.

Final notes and observations:
• The mix platform was located on an SL-100 mobile stage. In fact, the bass response “up there” was significantly different than what the audience experienced.
• The RTA-420 microphone delivered equivalent performance to an Earthworks M30 for subwoofer work. The sensitivity is different but I detected no real difference in either magnitude or phase.
• The BASSMAXX array was quite powerful. We inspected it a few times during the show and experienced blurred vision and difficulty communicating. Yes, I had my -25 dB earplugs in.
• Behind the barricade, there was complete (and I mean COMPLETE) cancellation for a small distance between the stacks.
• While mixing sub models is generally not recommended, with some careful planning and overall awareness of the issues, if you have the tools you can make it work (usually…).
• Yes, it was “powerful enough.”

Doug Fowler is Director of Audio Engineering Services for Logic Systems Sound and Lighting in St. Louis.

(Also be sure to check out “An Overview Of EASERA SysTune” by Charlie Hughes)

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BSS Audio Introduces AEC Input Card To Soundweb London Family of Digital Signal Processors

Configuration, control and monitoring of the AEC input card is provided by Harman HiQnet London Architect

At 2009 InfoComm in Orlando, BSS Audio introduced the Acoustic Echo Cancellation (AEC) card to its Soundweb London family of digital signal processors.

Designed specifically for the Soundweb London BLU-800, BLU-320, BLU-160 and BLU-120 devices, the Soundweb London AEC input card complements the analog and digital, input and output card options, extending the reach of Soundweb London into teleconferencing applications.

The Soundweb London AEC input card utilizes a proprietary algorithm developed by Wavemakers, a Harman International company and specialist in voice optimization software for automotive and communications applications. The algorithm used on the Soundweb London AEC input card has been specifically designed to meet the needs of installed sound applications and the high expectations of today’s teleconference participant.

The Soundweb London AEC input card features four microphone / line level channels with Acoustic Echo Cancellation per channel. A direct microphone feed is made available to facilitate local sound reinforcement. Configuration, control and monitoring of the AEC input card is provided by Harman HiQnet London Architect.

The Soundweb London BLU-800, BLU-320, BLU-160 and BLU-120 devices joined the existing BLU-80, BLU-32 and BLU-16 devices. The newer devices feature a low-latency, fault-tolerant digital audio bus of 256 channels.

In addition to providing a backbone for the transportation of multiple channels, this bus also facilitates the creation of large, fault-tolerant, centralized matrices containing multiple devices. The BLU-800 and BLU-160 models feature configurable DSP, boasting four times the processing capability of BLU-80 and BLU-16 devices.

The BLU-BOB cost-effective break-out box was also added to the family and represents an inexpensive solution to increasing the number of outputs in a Harman HiQnet networked system.

Since its advent, the BSS Audio Soundweb London family has drawn acclaim for its flexibility and intuitive operation. All eight models offer pristine audio quality, advanced A/D and D/A conversion, 96 kHz capability, drag-and-drop system design with CobraNet bundle assignment, Ethernet-based control, an extensive range of control options from simple to sophisticated, easy expansion or reconfiguration of system hardware in the field and an upgrade path for future enhancements.

Each of the eight different Soundweb London devices offer a different mix of signal processing, CobraNet and digital audio bus functionality, making a Soundweb London system the perfect match for any application.

BSS Audio Website
Harman Professional Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Harman International And NETGEAR Launch Co-Branded AVB Switches

Co-branded BSS Audio|NETGEAR, the introductions are available through Harman Professional’s global distribution network and will complete the signal chain between Harman Professional’s new pre-standards AVB-enabled products including Crown Audio CTs amplifiers and dbx processors

Harman International Industries has announced an agreement between its BSS division and NETGEAR to launch the world’s first AVB (IEEE Audio Video Bridge) switches for networking multichannel audio and video over standardized Ethernet. 

2009 InfoComm in Orlando saw the immediate introduction of a pair of 16-port and 24-port co-branded switches featuring specialized AVB hardware and software for use in a wide array of fixed installation audio video applications. 

Standardized multichannel audio and video over Ethernet, enabled by AVB, provides AV professionals and their customers with considerable cost-per-node savings in deploying complex AV systems, while advancing integration, ease of use and system functionality and control.

The IEEE 802.1 Audio Video Bridging Task Group is an IEEE initiative comprising engineers from a host of technology leaders in the semiconductor, enterprise computing, automotive, professional AV, consumer electronics and networking solutions markets.

The group has developed protocols to allow vendors to build a standards-based network with the appropriate quality of service for high-quality audio performance and production.

Co-branded BSS Audio|NETGEAR, the introductions are available through Harman Professional’s global distribution network and will complete the signal chain between Harman Professional’s new pre-standards AVB-enabled products including Crown Audio CTs amplifiers and dbx processors.

Commenting, Robert Urry, Harman Professional Chief Technology Officer, noted, “This introduction is a game-changing moment in AV integration that immediately makes advanced AV networking simpler, more affordable, more effective and more compelling to a broader market than was ever before possible.

“I am confident that AVB will grow the market for professional-grade AV products and services by enabling a new, wider variety of AV applications from distance learning in education and corporate training and communications, to digital signage in retail, hospitality and municipalities countless other uses in medicine, banking and, of course, entertainment and infotainment.  We’re very pleased to work with NETGEAR in leading the industry by being the first to launch an AVB-capable switch.”

Sanjay Kumar, NETGEAR’s Director of Product Management for Switching agrees. “NETGEAR is always striving for innovations and developing products that will bring its customers the maximum benefits from the latest technologies.  We foresee the market potential and benefits of AVB switches to our customers.  Working with Harman Professional enables NETGEAR to prove this remarkably high-performance and rugged technology in the most demanding professional-grade applications before migrating it to other markets.  We’re confident that the new BSS Audio|NETGEAR switches will provide the professional community with plug & play standardization coupled with great sound and video!

The new IEEE 802.1 Audio Video Bridging standards provide three major enhancements for 802-based networks:
• Precise timing to support low-jitter media clocks and accurate synchronization of multiple streams
• A simple reservation protocol that allows an endpoint device to notify the various network elements in a path so that they can reserve the resources necessary to support a particular stream
• Queuing and forwarding rules that ensure that such a stream will pass through the network within the delay specified by the reservation

The enhancements enabled by IEEE 802.1 standards require no changes to the Ethernet lower layers and are compatible with all the other functions of a standard Ethernet switch (a device that follows the IEEE 802.1Q bridge specification).

Harman Professional Website
BSS Audio Website
NETGEAR Website

 

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Community Professional Debuts New, Powerful S4 Subwoofer Application At 2009 InfoComm

“Designing a delayed bass array is no longer a complex and mysterious procedure." - Chris Foreman, Community’Professional

At 2009 InfoComm, Community Professional introduced S4 (Subwoofer Steering Simulation Software), a simple and intuitively designed application that allows the user to input basic information on the system specifications (number and spacing of subwoofers, desired cutoff frequency) and quickly configure the optimal arrangement for any situation.

Community’s S4 calculator’s easy-to-use graphical interface provides a two-dimensional polar prediction for an array of LF point sources at any given frequency, and predicts the frequency and phase response in front and behind the array, delivering an accurate prediction of the system performance both onstage and in the audience area.

S4 also provides box spacing and DSP settings for bass arrays of Community VLF208 or VLF212 woofers, and advanced settings provide the ability to calculate average bandwidth, polar degree and amplitude resolutions, listener position and several other parameters.

“Designing a delayed bass array is no longer a complex and mysterious procedure,” says Chris Foreman, Community’s Vice President and COO. “Our S4 application has hidden the mathematical calculations behind a simple software interface that runs within Microsoft Excel. S4 calculates several different types of arrays and delivers a simple graphical readout.

“You can select the array that works best for a given application, or use the software to experiment with different configurations.”

The S4 software application is available as a free download from Community Professional’s website at www.communitypro.com. Separate versions are available for Microsoft Excel 2003 and Excel 2007.

Community Professional Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Pete’s Place Audio Introduces New Microphone Blast Pad

New dual-screen filter designed especially for high SPL environments

Pete’s Place Audio has announced the official introduction of its latest tool, the Blast Pad, a unique filter designed to protect microphones used in high-SPL applications.

“Considering how sensitive and expensive vintage tube and ribbon mics can be, it’s a wonder that many engineers don’t think twice about putting up a cheap pop filter in front of them,” says Pete’s Place Audio President Lisa Montessi.

“The downtime and cost to re-ribbon a mic can be substantial, making the Blast Pad a wise investment. So far, the response that we’ve gotten back from professional recording engineers testing the Blast Pad on all different types of instruments and vocals is that this is an absolutely indispensable tool for preserving mics, stopping ‘pops’, and capturing every detail in even the loudest of settings.”

Over time, high sound pressure levels – from kick drums, amp stacks, horns, harmonicas, powerful vocalists, and the like – can ultimately distort and/or damage ribbon and large diaphragm condenser microphones.

The Blast Pad very effectively minimizes the air movement received by the mic, protecting a valuable investment while transparently taming plosives that can ruin an otherwise great “take.”

The Blast Pad, developed and handcrafted by Pan60 for Pete’s Place, is a chambered dual-screen filter with six ports around the outer edge of its circumference.

The main body structure is made of corrosion-resistant aluminum, which is anodized for added protection, while the filter mesh consists of two different-sized corrosion-resistant stainless steel screens.

Easily cleaned with soap and water, the highly durable Blast Pad is built to last a lifetime.

Weighing slightly over five ounces, the product features a five-inch diameter with a four-inch opening, plus a mount for a standard microphone stand or gooseneck.

Retail pricing for the Blast Pad is set at $297 (USD).

Pete’s Place Audio Website

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Sennheiser Wireless Microphone & Personal Monitor Systems See Heavy Usage At 2009 CMT Awards

Sennheiser wireless microphones and personal monitor systems made appearances throughout the night’s telecast, during which Sennheiser artists Sugarland and the Zac Brown Band took home awards for Video Duo of the Year and the USA Weekend Breakthrough Video of the Year

Several performers utilized Sennheiser wireless systems for live performances at the recent 2009 Country Music Television (CMT) Awards show held at the Sommet Center in downtown Nashville.

Kevin Sanford of Wireless First of New York provided wireless coordination and equipment for the show and the red carpet area, including multiple channels of Sennheiser’s new fully digital EM 3732 receivers.

“I love the new 3732s. It’s very user friendly,” comments Sanford. “The sensitivity, the functionality, booster on/off, the power aspect. The readout is flawless, and its readability is exceptional compared to other systems.” Sanford is especially pleased with the antenna functionality of the new unit. “You can go into one 3732 unit and link eight units with two antennas with no need for a DA [distribution amplifier].”

Sugarland took the audience by surprise when, during a rendition of the B-52s’ big hit, “Love Shack,” the Athens, Georgia-based band joined them onstage. Sugarland’s Kristian Bush and Jennifer Nettles performed with Sennheiser SKM 5200 RF handhelds with MD 5235 dynamic capsules, with background vocals on evolution series e 935 wired mics.

Sanford oversaw in excess of 150 channels of wireless, including communications systems as well as microphones and wireless personal monitors. Onstage Sennheiser users, in addition to Sugarland, included Eric Church and Justin Moore, who both made use of the handheld SKM 5200/MD 5235 combination.

The Eli Young Band also performed with the SKM 5200/MD 5235, as well as a new 2000 Series RF handheld vocal mic with a 935 capsule, and Gloriana used a similar 2000/935 combination along with an SKM 5200 topped with a Neumann KK 105 capsule. Lady Antebellum made use of a wired MD 441 vocal mic for the trio’s performance of their 2008 single, “Lookin’ For A Good Time.”

Sanford, who fielded a half-dozen channels of the new Sennheiser 2000 Series wireless microphones, offers, “They’re beefy! They performed really well.” With everybody watching their dollars, he adds, “The 2000 Series is at a price point most of us rental boys can afford.”

Outside Nashville’s Sommet Center, Sanford maintained about a dozen channels of Sennheiser wireless. That included handheld SKM 5200/MD 5235 combinations plus ew 300 IEM G2 monitor/IFB systems for CMT’s red carpet arrival area hosts, Katie Cook and Lance Smith.

Although audio producer Michael Abbott notes that he was removed from the action, sitting in the audio remote truck, he was impressed with the performance of the new EM 3732 and 2000 Series receivers in a dynamic environment.

Noting that lighting effects on the stage set, which covered two-thirds of the arena floor, generated “a high noise floor of unwanted RF,” he says, “The Sennheiser equipment worked really well. We didn’t have any dropouts.”

Sennheiser USA Website

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iZotope Mobile Audio Software Brings Audio Effects to iPhone & iPod Touch Developers

Two key iPhone application developers will be among the first to incorporate iZotope technology into products

iZotope has expanded its extensive licensing program with a suite of audio enhancement tools and effects available for integration into third party software applications for the iPhone and iPod touch handheld devices.

Over the years, many companies have chosen iZotope’s research and development, product design, and long-term support to help improve and differentiate their products, with the new iZotope Mobile Audio software development library based on award-winning and innovative audio DSP code base derived from iZotope’s professional and consumer product lines.

Two key iPhone application developers will be among the first to incorporate iZotope technology into products. “FiRe” from Audiofile Engineering and “SmackTalk!” from Marcus Satellite will both feature licensed audio tools from iZotope.

Audiofile Engineering, a leading Mac-based developer of professional audio products, plans to incorporate iZotope audio effects for audio normalization, cleanup, and enhancement in an upcoming release of its “FiRe” Field Recorder App for the iPhone.

“We already rely on iZotope’s expertise and audio DSP for our Mac OS X line of products, so it was natural for us to work with iZotope to bring high quality audio processing to the iPhone,” explains Matthew Foust, Co-Founder of Audiofile Engineering.

Marcus Satellite is looking forward to using the iZotope audio effects SDK in his top-100 best selling iPhone App “SmackTalk!” to enhance his users’ experience by adding a wide array of interactive voice effects. “I’ve been using iZotope’s audio DSP technology as VST plug-ins on the desktop, and I’m excited about having that level of quality and interactivity available on the iPhone platform,” he says.”

iZotope Website

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Saturday, June 27, 2009

DiGiCo Highlights New MACH2 Software Suite For SD7 Digital Console At 2009 InfoComm

The MACH2 Software Suite unlocks more power from the Super FPGAs (Field Programmable Gate Array) in DiGiCo’s Stealth Processing engine

At 2009 InfoComm in Orlando, DiGiCo showcased the much-anticipated MACH2 Software Suite for the SD7 digital console — now available onboard all new SD7 consoles and as a free upgrade to all existing SD7 owners.

The MACH2 Software Suite unlocks more power from the Super FPGAs (Field Programmable Gate Array) in DiGiCo’s Stealth Processing engine.

MACH2 brings a significant number enhancements:
—DiGi-TuBe (the world’s first Super FPGA preamp tube emulation, with full drive and bias control, available on all 256 processing paths, including channels, auxes, groups or matrix)
—Dynamic EQ (individually switchable and now available on all 256 processing paths and on all four EQ bands)
—Multi Band Compressor (on all 256 paths, adding an extra two compressors per path)
—Effects (another first are the 16 floating point stereo Super FPGA Stealth digital reverbs)
—Talk-to-bus with dim function (a dedicated talkback channel that can be routed to any aux bus, allowing direct communication to any wedge or in ear mix)
—8 bands of parametric EQ (now available for all 128 buses for auxes, groups and matrix adding 512 bands of EQ to the console)

The SD7 digital console, which debuted in the fall of 2007, is powered by DiGiCo’s latest in high density digital processing, the Stealth mixing and routing engine.

Based on the latest incarnation of FPGA, it’s a core component of the SD7’s design, allied to two of the latest generation of SHARC effects, dynamics and control processors that endow the console with eight times the overall processing power of a DiGiCo D5 Live.

The benefits include 128 simultaneous 192 kHz signal paths that readily achievable, or 256 signal paths at 48 kHz/96 kHz. Flexibilty is dramatically enhanced as well, with 448 simultaneous optical and 224 MADI and 24 integral connections, 128 buses plus 32 matrix buses, and 32 graphic equalizers.

DiGiCo Website
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(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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