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Friday, October 02, 2009

Enter To Win An Audio-Technica 3000 Series Wireless Microphone System

Enter the ProSoundWeb Sweepstakes now for your own chance to win a premium Audio-Technica 3000 Series wireless microphone system!

The A-T 3000 Series wireless system offers automatic frequency scanning to find and set the best available channel, 200 selectable UHF channels, true diversity protection from RF hits and dropouts, soft-touch controls, easy setup and great sound. (Value of the system is $799 U.S.) Go to Audio-Technica to find out more about thesystem.

The drawing will be held at the end of October, 2009.

But wait, there’s more! All entrants also automatically qualify for drawings in two more PSW Sweepstakes drawings - for an Audio-Technica AE2500 cardioid condenser and dual-element instrument microphone in November, and for an Audio-Technica M3 wireless in-ear monitoring system in December. .

Enter once for three chances to win!

Entering the sweepstakes is simple. Just click here, fill in the short sign-up sheet that also registers you to receive the ProSoundWeb Product Showcase monhtly e-newsletter already distributed to tens of thousands of audio professionals worldwide, and…

That’s it!

Again, just click here to enter for your chance to own a Audio-Technica 3000 Series wireless system, as well as the two other drawings.

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Thursday, October 01, 2009

Monte Wise Remembered Fondly By Friends, Colleagues

"Anyone who knew Monte will agree that he personified the passion that brings people to our business"

Editor’s Note: We just received the following note from Thomas Hansen at Bosch.

It is with great sadness that we announce the passing of Mr. Monte Wise, Systems Applications Specialist, Pro Sound, for the Bosch Communications Systems Division.

Monte was an expert, a true professional. Monte’s ‘golden ears’ were second to none in the pro audio industry, and he helped perfect thousands of sound systems across the Americas, making friends everywhere he went.

A model for others, Monte’s care for our customers was never-ending. No matter what the time of day, he went to extreme lengths to ensure their happiness. For many, Monte was a mentor who improved and helped shape their businesses.

Always on the go, always smiling and always gracious and patient, Monte’s hands-on know-how was an essential part of Electro-Voice, a company whose heritage he loved dearly, and of whose success he was a driving force.

Anyone who knew Monte will agree that he personified the passion that brings people to our business. Monte had tons of talent, but he also had the charisma to back it up.

Though a masterful sound system technician, Monte always thought like a musician. A well-known face in his adopted hometown of Austin, Texas, Monte was always ready to pick up an acoustic guitar and sing.

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In work and in play, Monte always delivered, and it always had to sound superb, of course. His performances at company get-togethers will be fondly remembered.

Monte’s life and work will be celebrated for years to come by the thousands of friends he made along the way and the millions whose lives will simply sound better thanks to his skill and dedication.

The entire Bosch family extends its heartfelt condolences to Monte’s friends and family, especially his wife Natalie and daughters Shannon, Rebecca and Megan. There will never be another like Monte.

Thomas Hansen
Vice President, Americas
Bosch Security Systems Inc.
Communications Systems Division

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Taking The New Mackie Onyx-i, M-Powered Mixer For An Initial Spin

Continuing the look at the new Mackie Onyx-i analog mixer that runs M-Audio software

As noted a couple of weeks ago, I received a new Mackie Onyx-i Series mixer/interface that will run Pro Tools without the need for Avid hardware. (Read all about it here in Part 1 of this report)

My first inclination was to take it to the studio and try it out, and then I got to thinking that actually, a lot of people interested in buying this system might/probably be more likely to be using it in a home situation.

So instead I set up the Onyx mixer with my home PC laptop running Vista Home Premium (ugh), a set of headphones, and an inexpensive microphone. (Later, I took it into a bigger “pro” studio and also evaluated the M-Powered capability, and that will be the subject of my next report.)

The Onyx-i 820i that was supplied to me offers 8 channels, 3 of them with Onyx mic preamps, It’s also outfitted with a variety of Perkins EQ configurations, two aux sends, talkback controls, and flexible control room routing.

FireWire I/O lets you route all channels, auxes and the master L/R to many DAW software programs, (such as Pro Tools M-Powered 8, Logic, SONAR, Cubase, Ableton Live, and Final Cut Pro) for recording, and enables you to return a stereo signal to the control room, or into a channel, for mix integration.

I decided to first listen to the mixer, alone, using a set of Audio-Technica D40 fs headphones and a Audio-Technica M31 dynamic cardioid microphone - decent quality pieces that would be comparable, in price, when matched with the Onyx-i/Pro Tools 8 M-Powered combination.

For years I’ve used a Mackie 1202 mixer basically as a “volume control” for my powered KRK-V88 monitors, and I’ll occasionally use the EQ and mic preamps, so I have a frame of reference for the mixer comparisons.

The “boutique style”  preamps on the Onyx-i definitely sound better than the 1202 preamps, with an overall richer sound - a fuller, more rounded bottom end and a smoother top, as well as less noise.  It will be interesting to compare the Onyx-i preamps to actual “boutique preamps” in the studio, using both the same microphone as well as “studio quality” condenser models.

Turning to the EQ… I wasn’t sure what a “Perkins EQ” was, so I found this definition on line: “A Mackie trade name for equalizer circuitry employed in their Onyx mixer series. The name refers to Cal Perkins, a veteran Mackie engineer who had previously done work for Marantz, JBL, and Fender.

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“Perkins started with the Wien Bridge circuit topology - a design inspired by the hallowed ‘British’ consoles of the ‘60s and ‘70s. This design essentially trades boost/cut capability for a wider, highly musical Q filter. He then specified capacitor and resistor values that would give Onyx mixers an extra 6 dB of control (+/-15 dB) without excessively narrowing the Q filters.

“Perkins also employed combining filters for minimum phase shift. The result is very musical EQ that provides a wide-ranging yet natural sounding boost or cut.“

Very good.

Now, my observations.

The high shelf on the first two mic/line inputs has a corner frequency of 12 kHz, not the typical 10 kHz on most fixed frequency high shelf EQs.

The low shelf is at 80 Hz, again, not your typical 10 kHz corner frequency. These are the same “Mackie frequencies” on my 1202 mixer.

As far as the mid-range, the peaking EQ sweeps from 100 Hz to 8 kHz, and all three bands have a +/- 15 dB boost/cut.

Inputs 3-4, mic input/preamp 3, have the same high and low EQ points, and two other peak EQ frequencies; one is low midrange at 400 Hz and the other is high midrange at 2.5 kHz. 

I’ve never preferred Mackie’s choice of 2.5 kHz as the high-mid frequency (again, also used on the 1202), but I can live with it, primarily because I usually do subtractive EQ (although the sweep mid is much more flexible).

The choice of 400 Hz as the low-mid frequency is interesting, considering the other frequencies chosen, and, with the preamp on this channel as well, you have the option of using a mic on inputs 1 or 2 with the sweep EQ, or on input 3 with the four fixed bands.  (All of these frequencies are also +/- 15 dB.)

Inputs 5-6 and 7-8 are line-only inputs, and have the same 12 kHz high frequency EQ, 80 Hz low frequency EQ, and 2.5 kHz mid-range EQ (all +/-15 dB).

The EQ sound very decent, and the sweep mid is, by far, the best of the three variations. The top is smooth and the bottom tight. 

The mids 2.5 kHz are an annoying frequency to boost but an OK frequency to cut. But the sweep mid EQ can be boosted at higher or lower frequencies than 2.5 kHz to add more bottom or upper mids without any problem. 

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This can also cut any annoying mid frequency or boost any desirable mid frequency with ease. It would be nice to have a “Q” control, but at this price point, the mixer is very flexible, especially with the talkback, control room routing, and 24-bit/96 kHz FireWire I/O.

Note that they state “hybrid mono/stereo channel with 4-band Perkins EQ with sweepable mids” when it actually has four bands of fixed frequency EQ.

This brings me to the next point in this review. Setting up the Pro Tools 8 M-Powered software, Mackie’s V1.0 Universal Driver, and interfacing the mixer. 

First things first. My package didn’t include a FireWire cable. However, after this article was posted, Mackie informed me that indeed a FireWire cable is included with all production stock, which is good news. (And as a result, please disregard my previous statement about needing to borrow or acquire one.)

As noted earlier in this article, I’m going to save the discussion of the installation of the software and set-up of the mixer using my laptop for the next (and final installment).

In addition, I’ll focus on how the package sounds in the “pro” studio, with better mics, monitors, preamps and EQs, not to mention how easy (or difficult) it is to set-up on the faster, more powerful computers - both Mac and PC platforms.

Until next time…

Bob Buontempo has more than 30 years of professional recording experience, and has been the president/owner of Buontempo Entertainment Services since 1976. He has also taught numerous recording and audio educational courses over the years.

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Clear-Com Boosts U.S. Regional Sales Team With Key Staff Changes

James Schaller joins company, Michael Rucker receives promotion

Clear-Com Communication Systems has announced two key changes to its U.S. sales organization, with Michael Rucker, formerly the company’s Regional Sales Manager, Central Region, promoted to Senior Sales Manager, Central Region, and James Schaller joining the company as its new Regional Sales Manager, Northeastern Region.

With the introduction in recent years of new solutions such as the Concert software-based intercom, FreeSpeak and Tempest2400 digital wireless intercoms and the Hybrid Time-Divisional Multiplexing (TDM) Intercom/IP Server Network, Clear-Com has experienced a rapid increase in its customer base.  Rucker and Schaller will play critical roles in maintaining and further strengthening this success in the U.S.

“At Clear-Com, we require our sales staff to have a deep understanding of the most advanced technology on the market, so that they are well-equipped to provide guidance to any customer,” says Bob Boster, Clear-Com Director of Sales for the Americas and Asia Pacific.  “Michael and James exemplify this expectation ─ their customers feel confident in the support they receive and are always the first to know about innovations in digital intercom system technology. 

“They also have excellent reputations with the dealers, system integrators and customers in their respective regions.  We’re pleased to welcome James to the team and happy to see Michael embrace his new role.”

Rucker joined Clear-Com in 2002 with more than 15 years of experience in the sale of broadcast equipment. Building upon his previous responsibilities, Rucker will now oversee the activities of additional sales managers across the country.

As Clear-Com continues to expand its team based on increased sales wins, Rucker will be responsible for training new hires, expansion into new markets and assisting with the coordination of regional trade show efforts.  He will also offer a second level of sales support to existing Regional Sales Managers.

“After working with Clear-Com for the past seven years, I have seen firsthand the technological edge we provide with our products in the industry,” says Rucker.  “In my new role, I will continue to strengthen Clear-Com’s position with our dealers and system integrators, as well as work internally to further build our ever-growing sales team.  I’m eager to delve into this exciting new phase in my career with the company.”

Schaller comes to Clear-Com from CoachComm, where he was responsible for supporting the Clear-Com team as a third-party vendor with Tempest2400 digital wireless intercom sales. 

In his new position, he will draw upon his previous sales management experience in the region to build upon Clear-Com’s current roster of sales partners, fostering new relationships as well as working with current corporate and network customers.

“I have had the pleasure of working with the Clear-Com team previously on Tempest2400 sales, and was very impressed with their dedication to customers and endless pursuit of innovation in digital wireless communications technology,” says Schaller.  “I look forward to providing current and prospective Clear-Com customers with the high level of customer service they have come to expect from the company, as well as continuing to expose them to Clear-Com’s high-performance intercom communications solutions.”

Prior to CoachComm, Schaller honed his wired and wireless intercom sales and system design skills at ASG/Systems Wireless. Other industry brands where he has worked include Sanken, KRK, Brainstorm and George Massenburg Labs. 

He also brings to the table previous experience in video and audio production for TV, film and live performance, offering customers a knowledgeable understanding of production workflows and the key benefits of Clear-Com solutions.

Clear-Com Website

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Novation Introduces Launchpad Interactive Controller For Ableton Live

Designed to provide the most interactive experience possible in Ableton Live

Novation has released Launchpad, a hands-on, interactive controller for Ableton Live.

Launchpad is designed to provide the most interactive experience possible in Ableton Live. It communicates bi-directionally with the software to give users real-time session feedback.

Launchpad has been jointly designed by Novation and Ableton, to bring the features of Live to the fingertips of the modern musician. The 8 x 8 grid of backlit buttons addresses a multitude of functions, with the help of mode selectors that transport the user around the Live interface.

Flip from launching clips to tweaking mixer settings in a stroke. Launch your song into a heavy build-up, then switch to a synth or a drum machine for an impromptu solo at the touch of a button.

The device is bus-powered from a single USB connection, and has a 10-inch square desktop footprint. Rubber feet ensure Launchpad stays secure on the surface on which it’s placed, and an optional padded neoprene travel sleeve is available.

It ships with a USB cable, plus a DVD ROM with Mac and PC installers for a special ‘Launchpad Version’ of Ableton Live 8, as well as 1 GB of sample content from Loopmasters and Mike The Drummer. It also comes Automap enabled.

Key features:

• Launch Clips and Scenes
Launchpad’s raison d’être: launch, pause and flip between clips at the touch of a button. Each clip has its own button, with a multi-colour, variable-brightness LED to display its status: an amber button tells the user that a clip is loaded, green means it’s playing, and red means it’s recording.

• Dedicated Ableton Live Modes
Dedicated buttons provide shortcuts to the different areas of Ableton’s control window, including the Session View, the Mixer and the Instrument racks.

• Session Overview
A feature that allows the user to jump around eight-channel sections of the Live session, allowing for easy navigation of larger configurations.

• Max for Live control
Launchpad is the ideal controller for Max for Live, the extension of Ableton’s software that “puts the power of Cycling 74’s Max/MSP inside Live”.

• Launchpads work seamlessly in a team
Up to six Launchpads can work together on the same system. What’s more, a Launchpad will happily provide additional functionality alongside any other MIDI controller, such as one from Novation’s SL MkII series. Use a Zero SL MkII to control the mix, with a Launchpad to trigger clips.

• Works with any DAW software
Although it’s designed for the ultimate control of Ableton Live, Launchpad can be used to control any music application, as a standard MIDI controller.

Launchpad will be on sale in stores worldwide on November 1, 2009, US MAP price will be $199.

Novation Website

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Outline Unveils New OpenArray 3D Predictive Software

OpenArray is based on a GL platform and features very fast rendering times from input of data to final design, and it also has the ability to import DXF files

Outline has launched its OpenArray 3D software that helps predict coverage and other esults from both live and installation applications of the company’s products.

Training seminars for the new software were held during the recent PLASA 2009, with a company statement noting the intention of releasing an “alpha” version of software is to gain the experience of system engineers consistently working in the field.

Building on the success of the Outline V.I.P. (Vector Implementation Protocol), the goal is to have engineers provide a “wish list” of additions to the software that would assist them in the future. The software can also be used by sales designers to show clients what can be expected from their purchases.

OpenArray applies to three line array products from Outline -  Butterfly, Mini-COM.P.A.S.S. and Mantas - and by the end of this year, all the company’s subwoofer products will be included. Early next year, all Outline products, including all point-source products, will be covered.

OpenArray is based on a GL platform and features very fast rendering times from input of data to final design, and it also has the ability to import DXF files, thus giving engineers a head start to final deployment of the intended system.

The program went into its first event one week following PLASA at the Guinness 250 celebrations, where an Outline Butterfl’ system was used in HOP HOUSE 13 for performances by Tom Jones and Kasabian.

Britannia Row System Engineer Sergiy Zhtytnikov comments, “The program is really easy to use and accurately predicts the eventual performance of the Outline Butterfly. As a building platform for further enhancements that will appear soon and with the input from actual users the software has no competitors.”

Outline Website

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New CAD/Astatic 1700VP Variable Pattern Microphone Offers Remote Polar Pattern Control

The user can remotely adjust the shape of the pick-up pattern to attain optimum gain before feedback

The new CAD Audio/Astatic Commercial 1700VP is a continuously-variable pattern condenser overhead recording microphone system with remote polar control design (patent pending) and a 56-foot carbon fiber boom with an exclusive clutch rotational system.

The 1700VP’s variable polar pattern with remote control allows the user to precisely adjust the shape of the pick-up pattern to provide the best gain before feedback from a remote location using the standard mic cable.

Designed to be mounted on any microphone stand, the 1700VP’s carbon fiber boom is highly effective in the recording and sound reinforcement of vocal groups, orchestral point miking of instruments and general miking for recording, broadcast and live applications.

The remote variable polar pattern control uses a two-conductor shielded cable (max length 2000 feet) between the microphone head and the pattern-control box (VPC-1), giving the installer or end user the ability to change polar patterns when installed, or from scene to scene without inducing noise into the audio chain.

Adjustments to the pick-up pattern can be made ”on the fly“ without changing capsules or using additional microphone accessories.

Special attention has been given to the frequency response and sensitivity of the microphone while utilizing the variable-pattern control to precisely alter the shape of the pick-up pattern.

The large-diameter, low-noise elements produce a frequency response of 40 Hz to 20 kHz with a selectable, recessed 80 Hz, 12 dB/octave high-pass filter that removes unwanted low-frequency energy when engaged. The filter control is conveniently located on the control box.

Up to six control boxes can be mounted in one rack unit. The polar-pattern dial is positioned for easy adjustment and can be secured with a single “flat style” blank panel when rack mounted.
Engineered and built in the USA, the 1700VP has been designed to resist interference from cell phones, two-way communication devices and lighting apparatus.

Using Astatic’s RF Resistant Architecture, the 1700VP meets RF standards set by the European Union.

CAD/Astatic Website

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