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Wednesday, June 24, 2009

Middle Atlantic Debuts IsoCenter Rackmount Isolation Transformer System at 2009 InfoComm

The energy-efficient IsoCenter system consumes only 9 watts at idle

At 2009 InfoComm, Middle Atlantic Products introduced the new IsoCenter Rackmount Isolation Transformer system, which is engineered to enhance AV performance by eliminating many issues related to power and grounding.

The IsoCenter system is comprised of an energy saving high-efficiency shielded isolation transformer, control electronics and a dedicated load center, all housed in a compact 4-space (7-inch) chassis.

This integrated design reduces the labor and expense of installing multiple components. While typical isolation transformers consume 93 watts at idle, the energy-efficient IsoCenter system consumes only 9 watts at idle.

The IsoCenter system attenuates high frequency noise and voltage transients, performs auto shut down when safety ground integrity is compromised, and ensures over/under voltage protection, all without degrading power quality.

In addition, the system provides all 120-volt output circuits with the same phase to eliminate noise from cross-phase leakage. Superior electrical isolation is maximized by the rackmount design, which enables the use of shorter ground wire lengths, making the AV system even less susceptible to current-induced noise.

The unit enables the use of lighter gauge feeder wire, which saves on copper costs, and its magnetic leakage is negligible which allows placement within the rack.

An additional benefit is the inaudible sound level, unlike the loud buzzing of conventional transformers. The system also features an innovative rear support design.

The IsoCenter system is backed by a 10-year warranty.

Middle Atlantic Website

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

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Switchcraft Highlights New Dual-Transformer, Three-Way Isolated Audio Splitters At 2009 InfoComm

Both units offer eight inputs and 24 outputs

At 2009 InfoComm in Orlando, Switchcraft highlighted its new RMAS8 and RMAS8PRO, both eight-input, 24-output (three-way) dual-transformer isolated audio splitters. 

Both units also feature eight Switchcraft XLR front panel inputs, each with a line level pad and two ground lift toggle switches (one for each transformer isolated output). 

On the back, four DB25 connectors wired to the TASCAM DTRS standard pinout can be used to accommodate all of the units I/O’s. 

Additionally, the RMAS8PRO features JENSEN magnetically shielded (MU Metal) dual isolated audio transformers and has a third set of Euro-style terminal blocks.

http://www.switchcraft.com/products/pdf_files/audio_splitters.pdf” title=“Click here"target=“_blank”>Click here to view a pdf with more information.

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

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Tuesday, June 23, 2009

Fulcrum Acoustic CX/DX Family Of Loudspeakers Join TQ Install Series At 2009 InfoComm

A newly designed coaxial transducer/horn assembly, along with TQ processing, alleviates the problems previously associated with coaxial approaches

AT 2009 InfoComm in Orlando, Fulcrum Acoustic debuted the CX/DX family of loudspeakers, the first of the TQ Install Series.

Eight different products, all based on coaxial designs, provide 90- x 45-degree or 60- x 45-degree horn patterns and 12-inch or 15-inch woofers.  A newly designed coaxial transducer/horn assembly, along with TQ processing, alleviates the problems previously associated with coaxial approaches.

For example, the CX1595 is a coaxial loudspeaker that packs the output capability of a non-coaxial 15 inch, horn-loaded-HF loudspeaker into a much more compact enclosure. Its coaxial transducer can be rotated in 45-degree increments, which allows a user to precisely tailor coverage to best suit an application’s requirements.

The enclosure’s 40-degree trapezoidal shape may be mounted close to ceilings or in tight-packed vertical arrays.

The CX1595 requires digital signal processing, and many platforms are supported. Those platforms capable of implementing Fulcrum Acoustic’s TQ processing give the CX loudspeakers exceptional clarity and studio-monitor-like transient response even while it delivers high sound pressure levels.

When used with TQ processing, the CX Series and the companion dual-woofer DX Series loudspeakers provide exceptional clarity and consistent voicing even while delivering high sound pressure levels.

The proprietary horns employed in the CX series represent a modern digital-signal-processing-aware update to the traditional horn-loaded coaxial loudspeaker concept. The well-known benefits of the coaxial approach have been realized without the familiar shortcomings of historical designs.

Fulcrum Acoustic’s Temporal Equalization (TQ) digital signal processing techniques eliminate midrange colorations and high frequency harshness while producing a smooth, seamless coverage pattern through the crossover range.

In fact, the coaxial transducers were designed from the ground up to take advantage of the unique capabilities of TQ.

The coaxial transducer in the CX1595 includes a 3-inch diaphragm compression driver. The large diaphragm area permits the compression driver to operate at frequencies too low for smaller compression drivers to handle. This allows the high frequency horn to smooth the polar response of the low frequency section in the frequency range where the horn would otherwise cause shadowing.

It also allows the compression driver to produce extreme sound pressure levels with an effortless sonic character.

The coaxial woofer’s large radiating surface works in conjunction with the HF horn to improve directional control at the bottom of the horn’s operating range, increasing directional control beyond what can be accomplished by the horn alone.

The coaxial transducer’s compact, neodymium magnet not only minimizes weight, but also allows very tight spacing between the compression driver and woofer voice coils.

The delay between the driver outputs is thereby minimized, which allows the coaxial device to work well with a passive crossover.

Fulcrum Acoustic Website

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

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JBL Professional Breaks New Ground With Debut Of CBT Series Line Array Columns At 2009 InfoComm

Proprietary Constant Beamwidth Technology provides directivity and versatility in passive column loudspeakers

At 2009 InfoComm in Orlando, JBL Professional introduced the CBT Series of passive line array columns, featuring patent-pending Constant Beamwidth Technology circuitry that provides consistent constant directivity coverage and audio clarity, even in difficult acoustical environments.

“With the CBT Series, JBL is improving upon a number of challenges customers have typically faced with traditional passive columns, which causes the listening area to be covered inconsistently and every listener hearing a different sound character, including inconsistent coverage angles at every frequency, frequency response that changes considerably with distance, and out-of-coverage lobes that contribute to a destructive reverberant field,” said Rick Kamlet, Senior Director, Commercial Installed Sound, JBL Professional.

“All these factors result in the listening area being covered inconsistently and every listener hearing a different sound character. After years of research by JBL engineers, the CBT Series, with Constant Beamwidth Technology, represents a new benchmark in performance and versatility for passive column loudspeakers, providing not only constant directivity, but also adjustable coverage control, full-fidelity sound quality, and one model that provides a very versatile asymmetrical pattern for more consistent front-to-back sound levels within the room while reducing reflections from the back wall.

“These features, along with high output levels, make the CBT Series a great choice not just for traditional column applications, but also for projects where larger point-and-shoot speakers would normally be utilized.”

The coverage pattern of the CBT models can be adjusted—with a simple switch—between Broad Mode (designed for mid-throw situations) and Narrow Mode (for long-throw applications). This versatility allows the CBT’s to meet the requirements of a broad range of applications.

In addition, the CBT speakers provide Dynamic SonicGuard overload protection circuitry, which reduces distortion at high drive levels, along with user variable voicing which allows selecting a flat frequency response or a midrange presence peak for especially clear speech intelligibility.

The CBT 50LA is a very compact 50 cm high column that utilizes a straight line of eight 2-inch drivers, while the taller CBT 100 LA is a straight 100 cm high column utilizing 16 2-inch drivers and handles 325 Watts continuous pink noise for high output levels.

Combined with Constant Beamwidth Technology circuitry, both provide constant directivity coverage. Both also contain low-saturation transformers, so they can be used on 70V/100V distributed speaker lines or as low impedance speakers.

The J-shaped CBT 70J is a 2-way coaxial line array utilizing 16 soft dome tweeters and four high power 5-inch woofers at a 70 cm height. 

The J-shape of the array works in conjunction with the Constant Beamwidth Technology circuitry to provide asymmetrical coverage similar to that of expensive line arrays commonly used in concert systems.

The column’s top half projects highly concentrated sound toward the back of the venue, while the bottom half down-fills a broader, less concentrated sound to the front of the venue, resulting in more consistent sound levels from front to back.

A pattern control switch for either 45 or 25 degrees vertical coverage is also provided.

The CBT 70JE is an extension cabinet for the 70J, further extending the pattern control of the CBT 70J by doubling its height, which lowers the frequency to which the loudspeaker holds a consistent pattern of coverage, and doubling the power handling.

The 70JE also increases the bass capability and extends the low-frequency response of the system to 1,000 Watts continuous pink noise.

The selectable vertical coverage, music/speech settings, the option to add an extension for bass and pattern control, asymmetrical vertical coverage, high output, and wide bandwidth makes the CBT70J an extremely versatile loudspeaker that fits into a wide variety of applications.

Despite the advanced features and performance built into the CBT Series, they are extremely easy to use, encompassing a new level of user-friendliness that makes them very straightforward to design into everyday projects. The CBT models can be installed either indoors or outdoors and the thin and sleek design is so unobtrusive that they almost vanish into the décor.

JBL Professional Website
Harman Professional Website

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

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Sennheiser Teams Up With Fox Sports To Mentor Aspiring Audio Technician

David Missall, Sennheiser Director of Market Development for the Eastern region, originated the program and selected its first student, junior Michael Stevens of Ball State University, to work with industry veteran Fred Aldous in the FOX Sports mix truck at the Coca Cola 600 NASCAR race

Sennheiser has teamed up with FOX Sports to reverse that trend with an immensely practical, hands-on, trial-by-fire introduction to real-world sports broadcasting for promising students of telecommunications.

David Missall, Sennheiser Director of Market Development for the Eastern region, originated the program and selected its first student, junior Michael Stevens of Ball State University, to work with industry veteran Fred Aldous in the FOX Sports mix truck at the Coca Cola 600 NASCAR race in Charlotte, North Carolina

“I don’t see a lot of people coming up behind my generation,” said Aldous, who holds the dual titles of FOX Sports audio consultant and senior mixer. “Most students are fixated on breaking into the music, recording or live sound markets. I think it’s important to show students that there are careers outside of the music business – and good careers at that.”

At the same time, Missall kept hearing the same plea from the schools and universities he visited: help us find jobs for our talented students! “It’s well-known that the broadcast industry is struggling with a shallow talent pool,” said Missall. “With the contacts that we have at Sennheiser, I said why don’t we start connecting the broadcasters with the universities? Everyone would benefit.”

Missall approached Ball State University communications professors to find the most promising student who would benefit from the experience of working at Aldous’ side for two frenetic days. After a series of phone interviews, Missall selected Stevens.

In support of his expressed interest in broadcasting, the junior had already worked with the Ball State Sports Network as a utility technician, a camera operator, and as a technical director. Scaling that experience up to the level of FOX Sports at a NASCAR event would undoubtedly leave a lasting impression.

In addition to his many technical accomplishments, Aldous is an avid and infectious teacher. “Fred has done everything, and he has the patience to teach,” said Missall. “He is one of those special people that you want to work with who will foster this relationship between the schools and the broadcasters.” Aldous promised, not only to instruct but, to give Stevens full access to the FOX Sports mobile complex.

Sennheiser paid for Stevens’ travel, hotel and expenses for the intense, two-day experience. “I was surprised at how much actually goes into that broadcast,” Stevens said. “I had the idea that there was a main TV and a sub switch for video replays, but it’s so much more than that. FOX had four trucks, and they were all equally important. It was really cool to see how all the components interacted.”

As it turned out, the production was held hostage by rainy weather, which provided its own unscripted education. “The problem with the rain is that we were still on the air doing rain fill and, even after the network on Sunday chose to go to alternate programming, we still did updates every 10-15 minutes,” Aldous explained.

“There wasn’t a lot of time to go deep into a lot of things just because we had our obligations to do on-air updates. But the good thing for Michael was that he got to see us in full operating mode, which is total and controlled chaos.”

He continued: “Even though we originally wanted someone focused on audio, it was a benefit that he knew so much about so many different areas, because he got the big picture. I put him in the room with the producers and directors so he could get a better perspective on the interaction that they have. He sat with my effects mixer, the radio mixer. He saw how our graphics interact. It was to our benefit that he had a good basic understanding of television production.”

“What Sennheiser is doing with FOX is a blessing for people like me who want to get into this business,” Stevens said. “The experience really put into perspective what it takes to do a big show for a huge network like FOX. Without having seen it first-hand, I wouldn’t have appreciated its magnitude. If Sennheiser can keep doing this for students, there are going to be a lot of people – like me! – sold on the fact that they want to do live sports broadcasting.”

Based on this initial success, Sennheiser plans to repeat the unique internship program on an annual or semi-annual basis.

Sennheiser USA Website

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Shure Unveils New KSM353 And KSM313 Ribbon Microphones At 2009 InfoComm

“We chose to maintain the two Crowley and Tripp Roswellite models, the El Diablo and the Naked Eye, and bring them into our KSM portfolio as the KSM353 and KSM313." - Chad Wiggins, Shure

Shure has enhanced its KSM series of microphones with two new ribbon models - the KSM353 and KSM313 - intended for capturing world-class vocal and instrumental performances, both in the studio and on stage.

“Ribbon microphones have always been prized for their warm sound quality, but their delicate nature has limited their use to controlled conditions,” said Scott Sullivan, Shure’s Senior Director of Global Product Management. “We knew there was demand for ribbon microphones that could be used in a much broader range of applications.”

The new KSM353 and KSM313 use a revolutionary patented ribbon material known as Roswellite, which offers higher tensile strength and more resilient shape-memory properties than a traditional foil ribbon.

“Our recent acquisition of Crowley and Tripp ribbon microphones provided us with this opportunity,” added Sullivan. “There is a general perception in the marketplace that ribbon microphones aren’t durable enough to handle high SPL applications, like being closely miked on drums or a guitar cabinet on stage. 

“That’s the great thing about Roswellite ribbons. This material is incredibly resilient and enables these mics to be used, not only in the studio, but also in these high SPL applications.”

While conventional ribbon microphones can be damaged by loud sounds, the ‘shape memory’ of Roswellite ribbons enables it to withstand very high sound pressure levels over extended periods of time without damage.

“We chose to maintain the two Crowley and Tripp Roswellite models, the El Diablo and the Naked Eye, and bring them into our KSM portfolio as the KSM353 and KSM313,” said Chad Wiggins, Shure’s Category Manager for Wired Products. “We’re manufacturing these models true to the original Crowley and Tripp design using the same production process, fixtures, tooling, and materials.”

Hand assembled in the USA from state-of-the art transducers, transformers, and metals, the KSM353’s ribbon assembly provides rich low frequency response, natural midrange, and a rising response in the upper range for superior presence.  And, it’s bi-directional polar pattern is extremely uniform and symmetrical.

The KSM313 uses a “Dual-Voice” ribbon assembly, which enables the user to choose from two different sound signatures – addressing the front of the microphone delivers a warm, full sound that is ideal for many instruments while addressing the rear of the microphone results in a bright, articulate sound that compliments vocals. 

KSM353 and KSM313 features include:
• Rosellite ribbon material: Provides superior fidelity in extremely high sound pressure environments.
• 30 – 15,000 Hz frequency response: Ideal for capturing vocals, acoustic, and amplified instruments.
• Bidirectional polar pattern: Remains uniform throughout the frequency range.
• Custom-wound double-shielded transformer: Provides high output with minimum RF interference.
• Mahogany storage case: Protects the microphone while not in use.
• ‘Monocle’ swivel stand mount (KSM313 only): Accommodates a variety of microphone orientations.
• Spring-loaded suspension shock mount (KSM353 only): Accommodates a variety of microphone orientations and provides isolation from mechanical vibration.

Shure will manufacture ribbon microphones exclusively in the U.S.  Shure will also assume responsibility for ongoing service and support for existing owners of Crowley and Tripp ribbon microphone products.

Pricing and Availability
• KSM353 Ribbon Microphone: $2,695.00 retail [$3,320 MSRP]
• KSM313 Ribbon Microphone: $1,295.00 retail [$1,560 MSRP]

The KSM353 and KSM313 Ribbon Microphones are now available and carry a two-year limited warranty. Visit www.shure.com for a complete list of Authorized Dealers.

Shure Website

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

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Winners Selected In Latest PSW Sweepstakes For Two Audio-Technica Stereo Microphones

The next PSW Sweepstakes will be coming up soon!

Charles Harrigan of Greenville, SC is the winner of a premium Audio-Technica BP4025 stereo microphone ($749 MSRP) in the latest PSW Sweepstakes drawing.

In addition, Pam Crawford of Palm Harbor, FL also was selected as a winner in the same sweepstakes and is now the owner of an Audio-Technica AT8022 stereo microphone ($499 MSRP).

Congratulations to both Charles and Pam!

The next PSW Sweepstakes, where all readers are eligible to win just by entering, will be coming up soon.

Meanwhile, here’s more about the A-T mics awarded in the recent sweepstakes.

Designed for broadcast and professional recording, Audio-Technica’s BP4025 stereo condenser offers large-diaphragm capsules in an innovative coincident capsule configuration. This allows for a smaller housing while producing an X/Y stereo image with the spatial impact and realism of a live sound field.

The BP4025 delivers excellent channel separation, pristine sound quality, and exceptionally low noise. It offers switchable low-frequency roll-off and a 10 dB pad.

Audio-Technica’s versatile AT8022 is designed for easy use with either consumer or professional gear. The microphone operates on either battery or phantom power, and is supplied with two cables for use with either pro equipment offering XLR inputs, or with consumer gear equipped with 3.5 mm TRS input.

It offers switchable low-frequency roll-off and the convenience of battery or phantom power.

For more information, go to www.audiotechnica.com

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WorxAudio Technologies Announces New X1M-P Line Array At 2009 InfoComm

A combination of ultra-compact form factor and broad horizontal dispersion

At 2009 InfoComm in Orlando, WorxAudio Technologies introduced the X1M-P line array, a two-way, high efficiency, ultra compact line array loudspeaker system that’s the newest member of the company’s TrueLine Series.

The new X1M-P is designed for the most natural sounding reproduction of speech and music program material in applications such as frontfill, stage monitoring, and choir monitoring, as well as a host of other AV applications.

Like all loudspeakers systems in the TrueLine Series, the transducer complement is top shelf. The X1M-P incorporates a medium format, 1-inch exit compression driver coupled to a stabilized proprietary FlatWave Former (wave shaping device) that delivers clear but penetrating high frequencies over a predictable and controlled coverage area.

Dual 8-inch neo drivers coupled to the (A.I.M.) Acoustic Intergrading Module to minimize cone filtering throughout the entire operating range and provide a rich, fully balanced sound with a frequency range that spans from 50 Hz to 18 kHz.

What really differentiates the new WorxAudio X1M-P from competing loudspeaker systems is the enclosure’s unique angle design.

Featuring one side that is flat with a 90-degree angle to the floor, the new X1M-P makes a great choice as a frontfill. Positioned along the front edge of the stage in this orientation, the loudspeaker faces directly out at the audience—making a great choice to provide coverage to those members of an audience located close to the stage.

Alternately, the other side of the new X1M-P features a 5 -degree angle. In this orientation, the loudspeaker makes a great choice as a floor monitor. With its unusually broad 160-degree horizontal dispersion, a single X1M-P placed in the center of the stage area can readily serve as the monitor for an entire choir or group of performers.

To facilitate easy positioning of the X1M-P, the loudspeaker ships with rigging hardware designed to enable mounting of the enclosure on the top or bottom with the optionally available Chief CMA 395 Series angle bracket. With this mounting hardware, the X1M-P can readily be positioned atop a pole.

The loudspeaker enclosure is constructed from sturdy multi-ply Baltic Birch and is heavily braced for cabinet rigidity. Protecting the enclosure is a multi-layered, two part polyurea ProTex finish — available in black or white. A 16-gauge, perforated, cloth-backed, powder coated steel grill with a high transmission ratio protects the transducer complement.

Designed expressly for use with the X1M-P is WorxAudio Technologies’ highly-regarded PMD-1 digital power amp. Housed in the rear of the enclosure, the PMD-1 eliminates the headache of selecting the right amplifier/signal processing to mate with the loudspeaker and saves space as well.

Featuring 500 watts for the low frequencies and 250 watts for the highs, the amplifier incorporates twin digital program processors, a mute switch for each output, a detented volume control, an XLR transformer with isolated I/O, and industry-standard AC PowerCon switchgear I/O.

Hugh Sarvis, WorxAudio Technologies’ CEO and Director of Engineering, commented on the new TrueLine X1M-P, “The new X1M-P was designed to address the audio community’s desire for an ultra-compact, high performance loudspeaker system with the versatility to function as either a high-performance frontfill or as a monitor wedge—and that’s precisely what the flat and 5 -degree angled sides of this enclosure accomplish.

“Combined with its industry-leading, 160-degree horizontal dispersion, the X1M-P provides unusually broad dispersion. With its unobtrusive appearance and the included EASE Focus array aiming software, the new X1M-P represents exceptional value.”

The new WorxAudio Technologies TrueLine X1M-P Install line array carries a U.S. MSRP of $4,650, and is available now.

WorxAudio Technologies Website

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

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Renkus-Heinz Hosts Debut of New EASERA Gateway x.8 A/D-D/A Converter At 2009 InfoComm

The Gateway x.8 is the first 8-input/2-output converter specifically designed for live sound and installed sound measurement

At 2009 InfoComm in Orlando, Renkus-Heinz, worldwide distributor of Ahnert Feistel Media Group (AFMG) products, hosted the debut of the new AFMG A/D-D/A converter, the 8-input EASERA Gateway x.8.

The x.8 is the product of a collaboration between AFMG and German hardware designers DSPECIALISTS, and is designed to complement AFMG’s EASERA and SysTune audio measurement software tools to provide sound system engineers with a complete PA system tuning package.

The Gateway x.8 is the first 8-input/2-output converter specifically designed for live sound and installed sound measurement.

It provides four XLR/TRS combo mic/line connectors, eight SUB-D-25-based line connectors and two TRS servo-balanced outputs, and is fully integrated over Ethernet with both EASERA and EASERA SysTune Windows-based software packages.

The x.8’s eight input channels allows large systems, in particular line arrays, to be tuned with multiple simultaneous measurements with real-time display and control from both EASERA and SysTune. This feature is similarly useful for room-acoustic measurements at multiple locations.

The unit itself is housed in a rugged half-rack case that allows either rack mounting or portable use.

AFMG managing director Stefan Feistel comments: “The x.8 will have great appeal to system engineers and designers as well as to acousticians because of its ability to form a complete venue acoustics measurement system with EASERA or SysTune. Additionally, it is designed for professional performance with touring durability, but without the prohibitive cost of studiooriented A/D-D/A products.”

He adds: “The partnership with DSPECIALISTS has produced the ideal system, by combining AFMG’s software with DSPECIALISTS’ hardware and DSP engineering expertise. EASERA and SysTune purchasers frequently ask us to recommend an accurate, reliable and portable A/D converter or PC sound card to complete the package, but they have had to choose between MIbased products with limited measurement functionality or very expensive measurement equipment.

“We have answered this need with the x.8, which is both designed for the job and at a reasonable price point and thus takes the concept of the original EASERA Gateway introduced in 2006 one step further.”

Dr. Jochen Cronemeyer, managing director of DSPECIALISTS, adds: “We are very pleased with the outcome of the collaboration between DSPECIALISTS and AFMG, which has created a unique full-function hardware and software combination for any system engineer who wants to achieve very precise, live, sound system tuning and monitoring.”

Renkus-Heinz Website
AFMG Website

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

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Crown Introduces Updated Macro-Tech i Series Amplifiers With Increased Power & Dual Port Capability

An additional network port now allows a user to daisy chain the network control down the rack of amplifiers instead of having to run a separate cable from a switch to each individual amplifier

At the 2009 InfoComm in Orlando, Crown announced the latest update to its Macro-Tech i Series of amplifiers, featuring increased power and new dual port capability. 

Comprised of three models, the MA-5000i, MA-9000i, and MA-12000i, the Macro-Tech i Series features patented Class-I circuitry, which delivers greater power while reducing the amplifier’s weight by more than half.

The new Macro-Tech i Series also features dual-port capability. An additional network port now allows a user to daisy chain the network control down the rack of amplifiers instead of having to run a separate cable from a switch to each individual amplifier. 

“The professional sound reinforcement community knows what to expect from the Macro-Tech i Series. They are getting the best sounding, most reliable analog power amplifier in the world. The best just got better with these updates. The upgraded power and features reflect the needs of our customers and our desire to provide them with a solution that best meets their needs,” stated Brian Divine, director of marketing for touring and installed sound for Crown.

All Macro-Tech i amplifiers are also equipped with comprehensive status, fault, and load monitoring via standard Harman HiQnet System Architect software.  A universal power-factor corrected power supply ensures that the amps can be anywhere in the world, delivering full rated power regardless of the environment.

Power output ratings on the newly updated Macro-Tech i Series:
• MA-5000i – 3000W per channel at 2 ohms (with 2565W 20mS burst), 2500W per channel at 4 ohms,  1250W per channel at 8 ohms, 4000W at 4 ohms bridged, and 5000W at 8 ohms bridged
• MA-9000i – 4700W per channel at 2 ohms (with 4570W 20mS burst), 3500W per channel at 4 ohms, 1500W per channel at 8 ohms, 5600W at 4 ohms bridged, and 7000W at 8 ohms bridged
• MA-12000i – 6000W per channel at 2 ohms (with 5900W 20mS burst), 4500W per channel at 4 ohms, 2100W per channel at 8 ohms, 7500W at 4 ohms bridged, and 9000W at 8 ohms bridged

Crown Audio Website
Harman Professional

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

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DPA Joins Forces With Rycote To Provide Windshield Solution For 4017 Shotgun Microphone

The new solution has been designed specifically to take the DPA shotgun mic’s compact size and light weight into consideration

DPA Microphones has joined forces with Rycote to develop the DPA 4017-R Shotgun/Rycote Windshield Solution.

The new strong suspension and windshield solution has been designed specifically to take the DPA 4017 shotgun mic’s compact size and light weight into consideration.

The DPA 4017-R consists of the 4017 shotgun mic with XLR cable and DPA windscreen; the distinctive Rycote Windshield 2 measures just 210mm; the Rycote fur windjammer; Rycote suspension mount in vibrant red and Rycote XLR holder.

This kit provides everything an outside broadcaster, journalist or location film maker could need for clear, directional sound, regardless of the weather and environmental conditions.

“DPA and Rycote share the same philosophy and it has been a great pleasure to work on a project with them,” says Rycote’s managing director Vivienne Dyer. “From conception to fruition it has taken us just three months and DPA has always responded immediately to our requests for information or feedback.

“DPA know what they want and we are so pleased that we have been able to fulfill their needs. The collaboration has been a great success that will ultimately benefit both companies. We respect DPA and everything that they stand for and look forward to working with them closely in the future.”

Adds DPA director Morten Stove, “We were looking for a good way to protect our 4017 shotgun microphone from wind and rain, and contacted Rycote to see if they were interested in making a dedicated shield. Rycote has been wonderfully professional to work with and we look forward to a fruitful business relationship. We are certain that this is a wind-wind solution.”

DPA Microphones Website

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Xantech Unveils DDS DIGI5 Digital Audio Delivery System At 2009 InfoComm

New technology, developed with the Linear Home Technology Group, delivers high-quality digital sound over CAT5

At 2009 InfoComm in Orlando, Xantech Corporation unveiled the DDS Digital Delivery System, utilizing DIGI-5 technology, which uses CAT5 wiring to distribute audio.

DDS provides cleaner audio at louder listening levels than previous similar analog systems. With powerful, dependable and intuitive operation (with no extra programming necessary), RS-232 control compatibility, audio distribution to anywhere from four to 28 Zones, and a number of other exclusive features, Xantech’s DDS is well suited for a wide range of commercial and residential applications.

DIGI-5 patent-pending technology is the result of years of research to develop an affordable, scalable and easy-to-install distribution system that delivers high-quality digital sound to multiple rooms/zones over a CAT5 wiring network.

DIGI-5’s end-to-end digital architecture ensures that the entire signal path of the audio system remains in the digital domain from start to finish, meaning that noise, signal loss and other unwanted audio-degrading effects, even over long wire runs, are eliminated.

Xantech’s DIGI5 DDS features the proprietary Xan-Net network port-connect for SPLCD, media metadata and more. The units include a built-in 30-Watt high efficiency digital amplifier, as well as volume, tone and balance control. Only one CAT5 cable is dedicated to the keypad.

The units are sold in either Single Source or Four Source models. The unit’s display is bright LED with back-lit touch surface, featuring source selection and time-out control.

The units’ Amplified Digital Keypad (30W/Channel) features five-button control for volume, system power, mute, party mode and EQ adjustment. It has a built-in IR receiver with an external IR input on the back for remote placement. It is very easy to install and intuitive to use.

Since the Keypad is amplified, speaker wiring is dramatically reduced, as no home-run is required. Loudspeakers connect directly to the in-wall single-gang keypad within in the room.

Xantech’s DIGI-5 system is available in standard rack-mount configurations or as a “flat-pack” design.

Xantech Website

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

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Recent Wireless Technology Series: Inside The Lectrosonics D4

This is the third in a series detailing the latest technology in wireless microphone systems. Click here to go directly to the first installment (AKG DMS 700) and click here to go to the second installment (MIPRO ACT Digital).

The newest wireless system offering from Lectrosonics, the D4, is the first one I’m reviewing that does not use the UHF spectrum.

Instead, the D4 runs in the license-free ISM band between 902 and 928 MHz. Unlike the UHF band, this slice of spectrum is only 26 MHz wide (as opposed to over 230 MHz for UHF).

The FCC considers the ISM band to be license free, but still puts restrictions in place on how much power transmitters can have and how much bandwidth they can occupy.

However, the rules are very different than for wireless mics operating in the UHF band.

Beyond the differences in operating frequency between the D4 and the previously reviewed offerings, this system is completely different in form factor as well.

Basics
The Lectrosonics D4 System consists of only two units: the D4T transmitter and the D4R receiver. Each of the units looks roughly the same, and are exactly the same size – about 4 inches by 4 inches by 2 inches.

Obviously, this transmitter is not designed to be worn on someone’s person, but instead used as a “base station” of some kind.

he receiver is roughly the same size as many camera-mount “portable” types, being much smaller than a rack-mount receiver but certainly larger than the really small receivers from Sennheiser and Lectrosonics.

The most important feature of the D4 is probably the multi-channel capability, being that the system shuttles four channels over a single carrier.

The system uses digital modulation (like the AKG DMS700 and MIPRO ACT Digital) but according to the specifications, the occupied bandwidth is 2 MHz (!) vs. a more typical 100 to 200 kHz for most wireless systems.

Again, this is because in the UHF band, the FCC specifies that transmitters must fit into a fairly narrow piece of spectrum, and the rules are different in the ISM band.

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And being that this spectrum is license free, this means that other types of systems may be operating there, depending on your location. Wireless DMX for lighting, as an example, also uses this band.

The wide occupied bandwidth also means that the number of channels (RF carriers) that can operate simultaneously is limited. As it turns out, the D4 offers four operating channels.

Thus, in theory up to 16 audio channels can be transmitted in the band.

The transmitter and receiver in the D4 system each have four mini XLR 3-pin jacks for connecting external devices.

The transmitter accepts line level or AES/EBU inputs, and the receiver outputs either line level or AES/EBU outputs.

So it seems that this is truly not a “wireless microphone” system, but more of a “wireless snake”.

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Specs
The audio performance claimed by this system is impressive: 20 Hz to 20 kHz (±0.5dB), which is superior to even some of the other “pure digital” offerings. Sample rate is 48 kHz and A/D, D/A is at 24 bits.

Latency is claimed as “less than 1 ms for digital in/digital out and 2.2 ms for analog in/analog out”. Signal to noise is 103 dB, A-weighted, which seems a bit low compared to some of the other offerings.

But what is it for?

The aim seems to be for this to be the equivalent of a four-channel snake. Range is claimed as “up to 1,200 feet” but of course as we all know, external factors play the largest role in the range of wireless systems like this.

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Still, this is good range and should be useful in certain applications. Perhaps this system can be used for monitor returns or some other type of signal from one place in the venue to another?

Because Lectrosonics is most well known in the film and broadcast markets, perhaps they are expecting this will be used as a camera hop system between a production mixer and one or more cameras.

I suppose time will tell.

Cost
U.S. list price for the D4 is $2,500 for the transmitter, and $2,500 for the receiver, or $5,000 for the system. I suspect street prices are closer to $4,000 for the system.

This is pretty expensive, but compares favorably to four channels of any other pro wireless system. It does offer some unique features but it is not as flexible as typical single-channel systems.

Conclusion
This is an interesting offering from Lectrosonics although it does not at all fit in the mold of what is offered by other manufacturers. Only Zaxcom has similar wireless products.

One thing’s for sure: It will be interesting to see how such new developments play out in the live sound industry.

Find out more about the Lectrosonics D4 here.

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 by Mike Wireless:
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

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Midas, Klark Teknik Appoint Midas Consoles North America As New Distributor

“This is a huge new chapter in our company history. It ensures that our present and future customer base in North America is offered dedicated, brand-orientated sales expertise and technical support." - David Cooper, Midas/Klark Teknik

Effective 1 July 2009, the newly formed Midas Consoles North America has been appointed as the exclusive distribution channel for Midas and Klark Teknik in the U.S. and Canada.

Based north of Los Angeles (in Agoura Hills, CA), Midas Consoles North America, a wholly owned subsidiary of JAM Industries, is a new, brand focused, distribution company dedicated to the sales and after sales support of Midas and Klark Teknik products in the world’s largest single market.

“This is a huge new chapter in our company history,” states David Cooper, sales and marketing director for Midas and Klark Teknik. “It ensures that our present and future customer base in North America is offered dedicated, brand-orientated sales expertise and technical support.

“We believe that a focused, brand led distribution channel is the best way of ensuring our already industry leading support is maintained and then continually improved. Our aim is simple: to establish the XL8 and PRO6 as industry standards in the live performance sector across North America. We see this move as the means of making that happen.”

Adds Lynn Martin a JAM executive and president of JAM’s AM&S (American Music and Sound) division, “The creation of Midas Consoles North America is yet another milestone. We are extremely proud to be awarded two of the greatest live sound brands in the industry and see great opportunities for those brands via the new Midas Consoles North America distribution channel.

“Both Midas and Klark Teknik operate in a unique market and we need to address the requirements of sound engineers, rental companies, houses of worship, theatre, live TV broadcast – in fact the whole live sector.

“I am also happy to announce that Jay Easley, who has been heading Midas and Klark Teknik sales in the US, will be managing the Midas Consoles North America sales team from day one and will ensure we hit the ground running! We aim to offer seamless customer support during the transition.”

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The move gives Midas and Klark Teknik direct control of its US distribution channel, allowing it the flexibility and freedom to respond to the market and tailor its sales and service network accordingly.

Launching a dedicated operation in the U.S. comes during a period of huge development for the company, particularly in light of the rapid uptake of the XL8 and PRO6 digital systems.

Midas Consoles North America Website

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Radial Engineering Presents The Radial H-Amp Loudspeaker To Headphone Driver

It features a variable level control, high pass filter to remove excess low-end, a variable tone control to smooth out the highs, and more

Radial Engineering has announced the release of the Radial H-Amp, a unique passive interface that takes any loudspeaker signal and converts it to a headphone source.

Designed for live stages, the H-Amp is the an interface that allows, for example, a drummer to get a monitor feed from any loudspeaker!.

Using the ‘through’ connection from a wedge monitor or side fill, the H-Amp is equipped with a Neutrik Speakon connector input and converts the high level loudspeaker signal to a mono feed for headphones.

It features a variable level control, high pass filter to remove excess low-end, a variable tone control to smooth out the highs plus a selector switch to enable various headphone types with wide ranging impedance as well as in-ear monitors to be connected.

A second Speakon provides a throughput to feed a second H-Amp opening the door for applications such as in the studio or on concert stages where multiple members of the orchestra may need a headphone feed.

The H-Amp is 100 percent passive. Because it only taps a small portion of the signal, it will not affect the amplifier’s impedance or load making it easy to use without any system reconfiguration.

It is designed to handle the rigors of professional touring, with a 14-gauge steel welded internal I-beam frame with an outer book-end design that provides a protective zone around the connectors, switches and potentiometers plus a full-bottom no-slip pad.

U.S. retail price of the H-Amp is $220.

Radial Engineering Website

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