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Sunday, January 31, 2010

Photo Gallery Tour: John Legend In Concert At Madison Square Garden

John Legend’s most recent tour in support of his album release Evolver extended through much of 2009, ending up with sold-out shows at New York City’s Madison Square Garden.

Touring with a sound reinforcement system provided by Escondido, CA-based Sound Image, the main PA included Adamson Systems line arrays powered by Crown I-Tech HD amplifiers.

Front of House Engineer Gordon Mack selected a Digidesign Profile console for his mixing needs, also recording shows on 96 channels of Pro Tools. Monitor Engineer Jon Ostrin also used a 64-channel Digidesign Profile console.

Take the PSW Photo Gallery Tour of John Legend and system in concert at the Garden, as photographed by Kevin Sturman.

Abbreviated Equipment List:

Loudspeakers
16 Adamson Y18
32 Adamson Y10
12 Adamson T21 subwoofers
6 Sound Image Wideline front fill

Amplifiers
64 Crown I-Tech I-T12000 HD

Front of House
Digidesign Profile (64 channels)
Pro Tools (96 channels)

Monitor World
Digidesign Profile (64 channels)
Sennheiser EK 300 A/B wireless IEM
Shure UHF-R wireless microphones

Go directly to the Photo Gallery

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Spectr Audio Unveils New LeraSonic LS636M Line Array Element At 2010 Winter NAMM

High output and wide coverage means fewer elements are needed to accomplish the necessary SPL and coverage

Unveiled at the 2010 Winter NAMM show, the new Spectr Audio LS636M is an excellent blend of independent chamber design and high-output drivers.

It is outfitted two 6-inch woofers with 2-inch voice coils and a 3-inch compression driver mounted to a wide coverage waveguide.

The high output and wide coverage of the LS636M means fewer elements are needed to accomplish the necessary SPL and coverage.

The LS636M has three independent chambers for true three-way performance. The chambers are acoustically sealed, allowing each of the three driver sections to work without interference from the others.

The hardware section of the LS636M can be adjusted by 10 degrees in 1-degree increments between elements and 5 degrees in 1-degree increments between element and subwoofer.

Features:
* 120-degree Horizontal Coverage
* High-Efficiency Neodymium Drivers
* 3 Independent Chambers
* Rapid Change Cartridge
* Ergonomic Flying Hardware
* Ground Stackable up to 6 Elements
* Compact and Light Design
* Ultra High-Output Configuration

Specifications:
MF:1 x 6-inch Neo with 2-inch voice coil
LF: 1 x 6-inch Neo with 2-inch voice coil
HF: 1 x 3-inch Neo CD 1.4-inch throat
Coverage (HxV): 120-degree x 10-degree
Frequency Response: 78 Hz – 18 kHz
Max SPL 1m: LF/MF: 126.8 dB HF: 135.8 dB
Max long term SPL: LF/MF: 126.8 dB HF: 135.8 dB
Sensitivity: LF/MF: 97 dB HF: 109 dB
Nominal Power: LF/MF: 150 W HF: 150 W
Continuous Power: LF/MF: 300 W HF: 300 W
Nominal Impedance: LF/MF:8Ω HF:16Ω
Internal Crossover/Biamp: Bi-amp or Tri-amp
Connectors: Dual Neutrik NL4
Finish Options: GigArmor/Textured Paint
Finish Colors: Black | White | Custom
Hardware: Rigging Hardware w/ 10-degree increments
Handles: 2 (1 on each side)
Material: 18mm Calibrated Baltic Birch
WxHxD (inch): 25 inches x 8.4 inches x 11.8 inches
Net Weight: 44 pounds

Spectr Audio Website

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Waves Audio Now Shipping MultiRack Native Application - Runs Plugins With Analog/Digital Consoles

Software host designed especially for live sound - concert, touring bands, club and church applications

Waves Audio is now shipping WavesLive MultiRack Native, the first-ever software application designed to run Waves plugins with live analog and digital mixing consoles.

MultiRack Native is a software host that lets sound engineers run multiple simultaneous instances of the same Native Waves plug-ins used in recording studios and mixing rooms the world over.

Armed only with a laptop, an I/O box, MultiRack Native and Waves plug-ins, users now have the power to shape their live sound with unprecedented precision, and do away with rack after rack of heavy effects units.

Great-sounding reverbs, equalizers, compressors, limiters and delays are now at users’ fingertips, without the limitations of hardware, and at a fraction of the cost, making it perfect for concert, touring bands, club and church applications.

WavesLive MultiRack Native features easy setup with advanced preset capabilities and an intuitive workflow which facilitates a smooth transition from traditional hardware-based systems to the live digital realm.

There are four basic components in a MultiRack Native setup:
—Plugins, which process the audio, including compressors, EQs, delays, etc.
—Racks (Virtual Racks, like hardware, hold multiple Waves plug-in processors)
—Snapshots (already familiar to some users as “scenes”) that store plug-in and Rack settings
—Sessions, which store the settings for all Waves plug-ins, Racks, and Snapshots, as well as information about the setup design and signal flow.

Users can create up to 64 racks that host up to eight plug-ins each.

WavesLive MultiRack Native Key Features:
- Allows users to take their studio sound to the stage and back again
- Complements hardware outboard gear
- Quick and simple setup
- A fraction of the cost of hardware
- Reduces the need for cartage of heavy rack-mounted devices
- Simple routing with less cabling
- Full snapshot automation with total recall — set and save presets and snapshots per song
and song sections
- ASIO and Core Audio I/O compatible
- Windows 7 and Mac OS X compatible

WavesLive MultiRack Native is now available from authorized Waves dealers and at www.waveslive.com.

Waves Audio Website

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ISP Technologies Highlights New HDL 3112 Powered Line Array At 2010 Winter NAMM Show

All three sections driven by proprietary high current DCAT amplification

At the 2010 Winter NAMM show, ISP Technologies highlighted the recently released HDL 3112, a three-way, small-format, self-powered line array system incorporating three high-frequency drivers with neodymium magnets and 1.75-inch non-metallic diaphragms that deliver a smooth, pleasant high-frequency signature.

A large-format mid-range compression driver covers the upper MF band, eliminating the “cone breakup” of typical cone drivers, enhancing clarity and dynamics. A single 12-inch neodymium driver handles LF, with all three sections driven by proprietary high current DCAT amplification (800 watts RMS total power).

The HDL 3112 is an 8-degree vertical box for long throw applications and is also available in a 15-degree near-field downfill cabinet.

By using a larger woofer and a taller box than typical 2 x 8 boxes, a longer line is formed from an equal number of boxes, resulting in better LF and low mid pattern control.

The HDL 3112 crosses over at 700 Hz from the woofer cones to the mid-range compression driver. The result is more consistent mid-range over wider angles, better pattern control, better projection, and far greater clarity on the voice and instruments.

In addition, the boxes are carefully designed with the aid of ISP’s proprietary LINESIM simulation program to enhance smooth response at all frequencies and listening positions.

HDL 3112 Data (Per Box)
LF Driver: 1 x 12 inch, very high sensitivity, neo magnet, flex loaded
MF Driver: 1 x 3 inch compression, very low moving mass, horn loaded, poly diaphragms
Coverage: 8 V x 110 H
Splay Angles: 15 V x 110 H TBD
Frequency Response: 68 Hz (4 boxes) to 17 kHz
Construction: Baltic birch plywood
Dimensions: 30 inches W x 14.1 inches H x 20.6 inches D
Weight: 85 pounds
Amplifier: 800 Watts RMS, 3 channels, high current DCAT, fan cooled
Power Required: 5 Amps x 120 VAC
Crossover: Outboard digital processor required which is capable of 3-way crossover
Rigging: 16 boxes @ 7:1 safety factor, aluminum alloy

ISP Technologies Website

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Sensaphonics Launches 3MAX Triple-Driver Earphones At 2010 Winter NAMM

World’s first triple-driver gel silicone custom earphones

At the 2010 Winter NAMM show, Sensaphonics announced the introduction of its latest model, the 3MAX triple-driver custom earphone.

The first and only triple-driver earphone with the long-wearing comfort of soft-gel silicone earpieces, the new 3MAX also features a field-replaceable cable as standard.

By combining a proprietary twin-driver bass system with a precision high frequency driver, the 3MAX delivers exceptionally accurate in-ear audio with higher SPL and more bass headroom than any previous model.

“We were the first manufacturer to extend low frequency response by adding a second speaker to a custom earphone,” notes Dr. Michael Santucci, Sensaphonics President and Founder.

“To meet today’s demands on IEM earphone performance, we developed a triple-driver design that can deliver as much acoustic push as modern wireless systems can provide, while retaining the sound signature that has made our 2MAX and 2X-S models so successful.”

In finalizing the 3MAX design, a panel of monitor engineers and musicians participated in blind tests to select the best sound quality. “It’s not how many drivers you can fit into an earphone – it’s how accurate they sound,” states Santucci. “And with the 3MAX, we’ve achieved a new level of excellence. Our test panel confirms it.”

Because the 3MAX attains significantly higher levels than previous Sensaphonics designs, Santucci cautions, “As an audiologist, I actively encourage musicians to listen at safe levels.  We strongly urge 3MAX customers to also consider our dB Check in-ear sound analyzer.”

The dB Check is an in-line metering device that allows users to see their in-ear levels in real time, and displays how long they can safely listen at that volume.

The Sensaphonics 3MAX custom earphone sells for $1,050 and is now available.

Sensaphonics Website 

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FBT Showcases New Mitus 206 LA Compact, Self-Powered Line Array At 2010 Winter NAMM

Can be configured using the new flyable Mitus 212 FSA active subwoofer or ground stacked on the Mitus 121 SA and 118 SA powered subwoofers

Showcased at the 2010 Winter NAMM show, the FBT Mitus 206 LA is a two-way, compact, self-powered line array system with extended performance in the mid and high frequencies.

Intended for small to medium sized applications, and with multiple cabinet line arrays to single pole-mounted loudspeakers, the Mitus 206 LA is equipped with 2 x 6.5-inch B&C neodymium woofers and a 1.4-inch-exit B&C neodymium compression driver mounted on a 100-degree (H) waveguide.

It also incorporates a class D amplifier design, with digital signal processing, that delivers 600 watts (RMS) to the LF and 300 watts (RMS) to the HF. A strong but light-weight switch mode power supply provides high reliability.

The Mitus 206 LA enclosure is constructed from high-impact polypropylene and incorporates integrated line array rigging hardware. The maximum vertical dispersion of each module is 10 degrees, depending on the number of elements combined in the array.

A rigid metal grille backed by a foam protects the transducers from wear.

It can be configured using the new flyable Mitus 212 FSA (2 x 12-inch) active subwoofer or ground stacked on the Mitus 121 SA (1 x 21-inch) and 118 SA (1 x 18-inch) powered subwoofers.

FBT Website

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Saturday, January 30, 2010

New Peavey Impulse 12D Powered Loudspeaker Incorporates IPR Amplifier Technology

Incorporates advanced new ribbon driver based on the ribbons used in the Peavey Versarray line array

Peavey has introduced the new Impulse 12D powered loudspeaker, which features a true ribbon driver and a 12-inch Peavey Black Widow loudspeaker engineered with dual voice coil, push-pull technology and a neodymium magnet.

A Woofer Servo circuit monitors back-EMF and controls cone motion, ensuring the cone’s movement mirrors the driving signal from the power amp, and resulting in very low distortion, high power handling and rock-solid low-frequency attack.

The advanced new ribbon driver—an exclusive Peavey design based on the ribbons used in the Peavey Versarray line array—provides 90-degree H x 30-degree V coverage, with sonically transparent reproduction.

Utilizing Peavey’s IPR power amplifier technology, the Impulse 12D produces 1,200 watts of efficient power while weighing a very lightweight 26 pounds

IPR amplifiers are designed with a lightweight switch-mode power supply and a high-speed class D topology that yields the highest audio resolution and efficiency available.

The input section features two input channels and a line output, with a mix of I/O options such as combination XLR/1/4-inch jacks, RCA and install-ready Phoenix connections.

Input channels 1 and 2 also have mic/line source switches and gain controls. The auto-off function automatically shuts off the power when it no longer detects a signal, while the line out allows the user to chain multiple units or send the input signal to another source.

The DynaQ section offers advanced tone controls such as Bass Enhancer, which is an overall loudness boost; a Music/Speech switch that provides optimized EQ settings for each audio type; and Contour, specially configured for program music.

A module bay allows for future expansion including wireless I/O, delay/time adjustment, mixer expander, Ethernet I/O and more.

The Impulse 12D is housed in a durable, injection-molded enclosure that includes a pole mount, three flying points and a tilt-back design to facilitate use as a personal monitor. The Peavey Impulse 12D will be available in quarter 2 of 2010.

Features:
• 1,200 watts from Peavey IPR power section
• Auto Off
• Two independently mixed input channels with level controls and mic/line switch
• Two-way, bi-amplified, optimized active servo drive loudspeaker system
• 12-inch Black Widow loudspeaker with dual voice coil and neodymium magnet design
• Proprietary 120 mm ribbon driver on a low-coloration waveguide
• Combo XLR/1/4-inch and Phoenix connectors on channel 1
• Combo XLR/1/4-inch and RCA connectors on channel 2
• XLR, 1/4-inch TRS and Phoenix outputs on line out
• Woofer Servo technology
• Exclusive DDT anti-clipping speaker protection
• Bass Enhancement circuit provides automatic equal loudness compensation
• Mounting bay for optional input function modules
• Rugged polypropylene molded enclosure with tilt-back design for monitor use
• Pole mount molded-in
• Top, bottom and side flying point inserts
• LED control switch: Power/Signal/Off
• 26 pounds
• U.S. MSRP $1049.99

Peavey Website

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Sony Introduces DWM-01 Digital Wireless Microphone System At 2010 Winter NAMM

Delivers high-quality, low-latency sound using an original Sony codec

Designed to provide performing artists with warm, vibrant and distinctive vocal delivery, the new Sony Pro DWM-01 digital wireless microphone system provides robust acoustic feedback protection, as well as switchable RF output levels.

The mic also features a concealed, organic EL display to illustrate channel, gain and other parameters.

The DWM-01 delivers high-quality, low-latency sound using an original Sony codec.

Its unique design allows the A/D audio conversion to follow the transmitter’s head amplifier, maintaining digital audio signal throughout the performance.

Two versions of this handheld mic will be offered, providing dynamic or condenser mic capsules.

The DWR-RO1D dual-channel wireless receiver is a 1U-size, 2-channel rack-mount receiver for studio and live concert use.

It features analog and AES/EBU digital outputs, with a remote-control function from the receiver to the transmitter.

Sony Pro Website

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Countryman Unveils New Type 10 Active Direct (DI) Box Featuring Advanced Design

Outfitted with an analog circuit that tunes itself to deliver low distortion, low noise, and high accuracy

The new Countryman Type 10 direct (DI) box combines the exceptional ruggedness and versatility of the company’s Type 85 with an advanced design.

The Type 10 is outfitted with an analog circuit that tunes itself to deliver sound with the lowest distortion, lowest noise, and highest accuracy of any direct box.

Some boxes achieve low distortion over a narrow range of frequencies and levels, but end up coloring the low frequencies and distorting loud signals. The Type 10 maintains exceptionally low THD and IMD across the entire audio band, and for a wide range of input voltages, rendering sound with extremely high fidelity.

Like the Type 85, the Type 10 is armored inside and out, with a molded core wrapped in an extra thick architectural aluminum housing. The switches and connectors are fully recessed. The electronics are just as tough—both the Type 10 and the Type 85 shrug off static spikes and will survive with the input connected directly to 110-volt or 220-volt line voltage.

The Type 10 has rock solid isolation and is designed to drive any board across hundreds of feet of cable, with or without phantom power.

It can handle sizzling hot outputs from active keyboards using the -15 dB pad with virtually immeasurable distortion. The edge of a coin can be used to access the battery. Check the battery voltage and monitor the quality of the phantom power with the flip of a switch.

Countryman Website

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Rane Introduces AM 2 Gain-Sharing, Eight-Channel AutoMixer At 2010 Winter NAMM

A maximum of eight AM 2s can be cascaded, offering up to 64 gain-shared mics

The new Rane AM 2, introduced at 2010 Winter NAMM, is both an 8-channel, gain-sharing automatic mic mixer and simultaneously a Rane RAD.

It can be used as a stand-alone mic-only mixer, add more gain-shared mics using up to seven additional AM 2 Automixers, and/or use the RAD Port to transport the mic mix via a Rane Mongoose to a CobraNet network.

If you need manually mixed line audio sources, including USB Audio I/O, see the Rane AM 1 Automixer.

Each of the eight XLR Mic Inputs offers front panel input Level controls feeding a gain-sharing automatic mixer.

Rear panel, 3-position selectors support dynamic mics (no phantom power), condenser mics (48 V), or line input optimized for wireless receiver outputs (+10 dBu max).

All Level controls come with front panel signal and overload indicators.

The AM 2 is optimized for automixing speech. The mic inputs have a fixed 100 Hz to 7 kHz bandpass filter to provide the best voice-only automatic mixing using the gain-sharing algorithm.

The XLR Main Output can be set to mic- or line-level to feed a mic snake or a +20 dBu max balanced input.

When an AM 2 is used standalone, both the XLR Output and the RAD Port output audio are affected by the front panel Output Level control. When the AM 2’s Cascade Output feeds a downstream Rane AM 1 or AM 2, the front panel Output Level control only affects the XLR Output.

The USB port is solely used as a firmware update port if future updates are needed.

The RAD Port sends the AM 2 Output mix to a Rane Mongoose for routing to output RADs and/or a CobraNet network.

Cascade IN accepts audio and data from an upstream AM 2’s Cascade OUT. This adds eight more mic channels to the initial AM 2 creating a 16-channel gain-sharing automix. A maximum of eight AM 2s can be cascaded, offering up to 64 gain-shared mics.

If an AM 1 is included, it must be the final device in the chain of no more than eight. Simply connect Cascade OUT ports to Cascade IN ports and the AM 1 RAD Port to the Mongoose. Both the Cascade IN port and the Cascade OUT/RAD Port have status indicators to aid setup and troubleshooting.

Rear panel Fault, Locate, USB and Power indicators inform head-scratchers of device errors, the AM 2’s physical location, positive USB audio device OS registration and AC power status.

Duplicate Locate and Power indicators on the front help installers physically locate and verify AC power to the AM 2.

Universal IEC power on the rear supports 100 to 240 VAC and 50/60 Hz. The AM 2 is UL Listed and CE Certified, and will be available April 2010.

Rane Website

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Waves Audio Announces WSG-Y16 Mini-YGDAI SoundGrid I/O Card For Yamaha Mixing Consoles

Card enables direct connection to Waves SoundGrid platform to run large numbers of Waves plug-ins with low latency

Waves Audio has announced the upcoming release of the WSG-Y16 mini-YGDAI SoundGrid I/O card for Yamaha mixing consoles.

Together with a Waves SoundGrid Server (SGS), a Control PC and an authorized iLok with SoundGrid-compatible Waves plug-ins, the WSG-Y16 enables Yamaha consoles to process 16 channels of audio with Waves plug-ins.

Users connect a SoundGrid-compatible PC to the mixing console, route a channel to a WSG-Y16 channel and then process the channel signal with Waves plug-ins on the SoundGrid server.

Additionally, the WSG-Y16 supports MIDI input, for remote plug-in control directly from the console or external control surface.

Waves Audio SoundGrid technology gives users the ability to run large numbers of Waves’ award-winning audio processors with low latency, using standard PCs via Ethernet, far surpassing the specs of dedicated DSP-based platforms.

Waves SoundGrid system takes advantage of the recent advances in both Ethernet and CPU technologies to provide superb performance for the live sound markets, bringing the worlds of studio recording and live sound closer than ever before.

With the introduction of the WSG-Y16 mini-YGDAI card for Yamaha consoles, Waves brings the networking and processing capabilities of SoundGrid functionality to the live sound realm.

WSG-Y16 Features:
- Supports 44.1, 48, 88.2, 96 kHz
- 16-channel processing at 44.1/48kHz, 8 channels at 88.2/96kHz
- For 32 channel processing, install 2 cards
- Supports MIDI control directly from the console
- Redundancy and Recovery support via SoundGrid
- Connects with other SoundGrid-enabled audio equipment

SoundGrid Key Benefits:
- Provides a low latency platform for running Waves plug-ins
- Uses standard, off-the-shelf components: computers, switches, servers, Ethernet cables, etc.
- Upcoming SoundGrid versions will implement recording capabilities

SoundGrid Applications:
- Live sound and touring
- Centralized processing hub for mixing, post production, and broadcast facilities
- Networked audio for sound installations

Waves Website

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Wireless Update 2010: June 12 DTV Transition Anniversary Is 700 MHz Deadline

“There will be two classes of wireless system operators going forward.”

The FCC finally dropped the other proverbial shoe during the 2010 Winter NAMM show when it issued an Order and Further Notice of Proposed Rulemaking prohibiting sales of wireless microphone and monitoring systems that operate in the 700 MHz frequency band, and kicking existing ones out by June 12 of this year.

This final step in the DTV transition clears the way for the 4G consumer and emergency wireless services that roll out this year.

Verizon, which paid $9.3 billion for their share, tested Boston and Seattle last year, with plans to roll out service in 24 to 30 cities later this year and full national service in 2011. Qualcomm’s Media Flo service has been interfering on channel 55 for more than a year.

The FCC’s consumer outreach plan includes a website listing all affected wireless systems (www.fcc.gov/cgb/wirelessmicrophones) and whether they can be re-tuned for legal operation.

A quick inspection of the site’s equipment list shows that, except for Lectrosonics, most wireless 700 MHz equipment cannot be re-tuned and will soon be worthless. Its only value will be when used to take advantage of a trade-in or rebate, which some manufacturers have reinstated following this latest FCC announcement.

Reading through the 103-page Report and Order, which takes some time, it’s clear that the FCC doesn’t attach the same urgency to the operation of wireless systems that we do in live sound.

The FCC also has restricted power levels of unlicensed (Part 15) wireless mics to 50 milliwatts (mW), unless they’re licensed under Part 74, in which case they’re willing to make exceptions on a case by case basis.

Furthermore, unlicensed operation,which is the bulk of us in live sound, must accept interference from other licensed and unlicensed devices. These and other warnings will be required to be displayed prominently on packaging and websites selling wireless systems.

Licensed operation under Part 74 is restricted to broadcast and movies. The FCC is trying to figure out whether to broaden licensing under Part 74 to include theaters, performing arts centers, sports arenas and churches, and perhaps to also cover trade shows, cultural events, and governmental or educational institutions.

There will be two classes of wireless system operators going forward. Part 74 licensed users will have their geo-location information entered into a data base, so that unlicensed TV Band Devices (TVBDs) can try to figure out if they’re about to interfere with them, and thereby know when to shut themselves off.

Unlicensed users under Part 15 must accept interference from others (what we currently do every time we operate a wireless system).

However, in this new world of TVBDs, their operation is liable to occur in the very buildings where people are likely to walk in with portable TVBDs. Since the geo-location database and licensed use go hand-in-hand, expansion of Part 74 is in our best interest.

Those who must replace wireless equipment in the next few months must consider systems that operate in the several 6 MHz TV channels on either side of channel 37 (608-614 MHz), which are safe-havens from TVBDs, making Shure’s UHF-R wireless mic system in its J5 band and new PSM900 wireless monitoring system in its K1 band good choices for the future.

Frequencies below TV channel 21 are off limits to mobile TVBDs, except in the 13 largest cities where they’re used for mobile radio services, which makes Audio-Technica’s new I band (TV 16-20) another good selection.

Eight VHF frequencies from 169-171 MHz (just below TV channel 7) can be licensed for churches, schools, hospitals and businesses under Part 90, up to 50 mW.

While VHF wireless fell out of favor long ago, it might be one of the best options going forward.

Wireless system users are frogs in the proverbial pot of warm water.

Ribbit.

The FCC’s 30-day comment period ends on Valentine’s Day. It is vitally important that you:

1. Visit the FCC’s “Electronic Comment Filing System” home page at www.fcc.gov/cgb/ecfs

2. Click on the “Submit a Filing” link under the “ECFS Main Links” section

3. Fill out the form (Proceeding Number is 10-24) entering all the required (*) fields

My comments to the FCC are as follows:

“Dear Sir or Madam,

With regard to 10-24, I’m concerned as a professional user of wireless microphones. I own a dozen systems and often rent others for use in live concert sound.

I’m writing to encourage the FCC’s expansion of licensing under Part 74 to include theaters, performing arts centers, sports facilities, churches,

educational and government institutions, which all benefit enormously from reliable wireless microphones used for public assembly.

Unlicensed use under Part 15 - cohabiting spectrum with unlicensed consumer services (TVBDs) - would be catastrophic to many live events that regularly take place.

I urge you to expand the categories of licensed use under Part 74.

Thank you,
Mark Frink.”

Please use your particular circumstances to discuss this situation in YOUR comments to the FCC before Valentine’s Day.

Mark Frink is Editorial Director of Live Sound International and Product Specialist of ProSoundWeb.

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2010 Winter NAMM Show Overview: Industry Gathers For A Comeback

Attendance increases following worst economic year in recent memory

The National Association of Music Merchants (NAMM) has announced the final registration and exhibitor numbers for the 2010 Winter NAMM Show, the longest-running trade show in the United States.

At show close, NAMM reported 87,569 registrants, a 2 percent increase from last year. International registration experienced a 2 percent decrease from last year.

Even in economically challenging times, the association reported 1,373 exhibitors at this year’s show, including nearly 250 new exhibitors—a new record number in the event’s 108-year history, showing a surge in market enthusiasm.

“This year’s NAMM Show marks a critical turning point for the international music products industry,” said NAMM President and CEO Joe Lamond.

“A strong NAMM Show signals the beginning of a comeback with buyers returning to their hometowns with renewed energy, passion and hope for a strong 2010, and exhibitors enjoying strong floor traffic and sales as they introduced hundreds of new and innovative products to the market.”

The event featured Quincy Jones and Yoko Ono, who spoke on behalf of the importance of music education for children. Ono also celebrated the 70th anniversary of John Lennon’s birth at a press conference held on the Thursday.

Other events included highly attended mentoring sessions for music products retailers; performances by Jason Mraz and Ted Nugent; and celebrity appearances by Julianne Hough of Dancing with the Stars, Slash of Guns and Roses and Velvet Revolver, Eddie Van Halen, Chad Smith of the Red Hot Chili Peppers, Stevie Wonder, Orianthi and Gene Simmons of KISS and hundreds of touring artists and band members.

Yamaha Corporation of America celebrated its 50th anniversary in the United States with a star-filled dealer concert featuring Vince Gill, Michael McDonald, Natalie Cole, John Ondrasik, Jon McLaughlin and Jason Mraz.

Themed “Get Ready,” the trade show offered attendees the opportunity to reunite with industry peers, learn the latest business and marketing tactics and trends at daily NAMM University sessions, and ultimately make their biggest business deals for the year ahead.

Exhibiting product manufacturers had good feedback about their business at the show.

“We are extremely pleased with our retailers’ response to this year’s show in general, and our product offering in particular,” said Paul Jernigan, vice president of global channel marketing at Fender Musical Instruments Corp. “The overall feeling we have received from our customers and business partners is overwhelmingly positive. Additionally, we are impressed, as always, with the entire NAMM organization. This has to rank as one of the best shows we’ve attended, and we’re proud to be a part of it.”

“Our booth was packed from day one, and our dealers had a level of energy and enthusiasm here at the NAMM show that I found very exciting, said Rick Young, senior vice president of Yamaha Corporation of America. “Given what we’ve all experienced this past year, Yamaha is very grateful for the warm reception we received for our new products, programs and services. Now this very positive feeling has to be transferred to the sales floor.”

“The show has been great. We have been packed like crazy since the show opened or even actually a little beforehand,” said Kristina Hodgson of Shure. “Lots of great questions, lots of people being interested in our product, trying things out. It’s been a great show.

“We have a lot of old friends stopping by and filling out orders, so it’s been a really great sales show for us, and then a lot of new connections as well, so hopefully towards the future we’ll get some more good business. We’ve got a lot of artist signings and they’ve been amazingly popular. Very good show for us and definitely NAMM is busier than many of us remember in lots of years.”

“Roland was very pleased with the results of the NAMM Show,” said Dennis Houilhan, president of Roland Corp. US. “There was a definite positive attitude from retailers and a genuine optimism for a better 2010 ahead.  The response to all our new products and technologies was strong. NAMM’s theme was “Get Ready!” Dealers were ready to buy and get 2010 off to a strong start.”

“The show’s been going good,” said Jason Lee of Everly Music, North Hollywood, CA. “We have a lot of meetings with everybody. This show seems to be a lot more exciting than last year. I think it’s on the up-and-up with the economy, and we have a lot of new products out so it’s going good. It’s where we’re going to introduce a lot of the new strings, a lot of the new designs. We go to a lot of meetings at night, but we were out at a show last night, it was fun to see old friends.”

“It’s going fantastic,” said Don Harrington of Rhythm Ring, San Diego. “We’ve got great feedback, great response, made some good relationships. It’s our first year here, so we’re doing pretty well. We did a little social media marketing to pump it up a little bit, but it’s just first-time attendees and we’re doing really great.”

“It’s going very well,” said Andrew Naumann of Schilke Music Products, Melrose Park, IL. “I think this year’s very positive. It’s fantastic for us. Everyone seemed very upbeat and that was nice to see.”

Retailers at the NAMM Show were also quite enthusiastic about what they were seeing.

“Business has been very good,” said Brian Marsh with idjnow, a pro audio, lighting and video company. “It’s been a very progressive show so far. A lot of manufacturers are coming out with a lot of innovative new products. For us Numark happens to be one of the ones that is standing out.”

Dow Ferguson, owner of a brand new online music store thelutherie.net, said the last time he came to the NAMM Show was in 1973 when it was in San Francisco. Now he is looking for companies who will ship product directly to his new online customers.

“I wanted to tie down some string companies that will drop ship them to save costs and make it easier for me and for the customer,” Ferguson said.

“My business has been good so far at the show,” said Kevin Kuptz of Ingnited Light and Sound. “We’ve been able to pick up a couple of new lines of pro audio equipment and we’ve had more business and less extra people around.”

The next NAMM trade is Summer NAMM, which will be held June 18-20, 2010 in Nashville.

NAMM Website

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PreSonus Unveils StudioLive 24.4.2 Digital Mixer At 2010 Winter NAMM Show

While the 16.4.2 is a 32x18 FireWire interface, the 24.4.2 can send 32 channels to the computer and can return 26 channels via FireWire

At the 2010 Winter NAMM show, PreSonus announced a new member of the StudioLive family, the new StudioLive 24.4.2, and like its 16-channel sibling, the 24-channel version of StudioLive is designed for both studio recording and live sound.

StudioLive 24.4.2 sports the same friendly user interface, robust feature set, and extensive I/O configuration as the StudioLive 16.4.2 but with several significant additions and enhancements.

The most obvious difference is that the new mixer provides 24 input channels, rather than 16. As with the 16.4.2, each input features a trim pot, XLR mic input with XMAX mic preamp, 1/4-inch TRS balanced line inputs and unbalanced insert points.

Also like the 16.4.2, the StudioLive 24.4.2 offers 4 subgroup outputs, but where the 16-channel model offers 6 aux buses, the 24.4.2 provides 10 aux buses.

Both StudioLive models serve as dual-port FireWire audio interfaces that can route all channels and buses to and from a Mac or Windows PC. But where the 16.4.2 is a 32x18 FireWire interface, the 24.4.2 can send 32 channels to the computer and can return 26 channels via FireWire.

The Fat Channel provides extensive metering and the programming interface for the EQ, dynamics processing, high-pass filter, and signal routing.

In addition, the StudioLive 24.4.2’s Fat Channel provides a 4-band fully parametric EQ, an upgrade over the StudioLive 16.4.2’s semi-parametric equalizer. The gate/expander has also been upgraded from the gate/expander in the 16.4.2, adding Key Filter and Key Listen features.

The StudioLive 24.4.2 provides 31-band graphic EQ. But whereas the 16-channel mixer has 1 stereo graphic EQ for the main bus only, the 24-channel StudioLive has 4 stereo 31-band graphic EQs, and they’re available to the main, subgroup, and aux outputs. The graphic EQ’s settings can be stored and recalled individually or as part of a mix scene, as with every other setting on the StudioLive.

Otherwise, for the most part, the StudioLive 24.4.2 has essentially the same feature set and interface as the StudioLive 16.4.2, with two stereo 32-bit effects processors, stereo tape sends and returns, a talkback section, stereo S/PDIF digital output, and all of the other StudioLive features.

You can daisy-chain the StudioLive 24.4.2 with another StudioLive (either model) and with FireStudio-series interfaces, to create a mega-system with up to 52 inputs and outputs for mixing with recording.

Up to three StudioLive 24.4.2s can be daisy-chained in Standalone mode for live mixing without recording.

The two StudioLive models offer the same audio quality, with high-headroom, 32-bit floating-point processing; Class A XMAX mic preamps; and 24-bit, 48 kHz digital converters with 118 dB dynamic range.

Both mixers’ FireWire interfaces work with any ASIO- or Core Audio-compliant audio application and are compatible with Windows and Mac OS X, including Windows 7 and Mac OS X 10.6 (Snow Leopard). Latency is so low that you can use your host program and plug-ins with either StudioLive in real time for live performances.

StudioLive comes bundled with PreSonus’s new Capture 1.1 recording software for Mac OS X (including OS X 10.6) and Windows (including Windows 7).

Designed primarily for live recording, Capture is preconfigured to record with the StudioLive, so all mixer channels are correctly routed to Capture tracks.

It also comes with a free copy of PreSonus Studio One Artist digital audio workstation software for Mac and Windows, which features unlimited track count, a full complement of PreSonus Native Effects plug-ins, and more than 4 GB of third-party resources.

Expected street price of the StudioLive 24.4.2 is $3,299.

PreSonus Website

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Friday, January 29, 2010

Harman Professional Systems Installed At CityCenter Las Vegas

AV technology at the forefront in new attraction

In a metropolis obsessed with the biggest, best and costliest, CityCenter Las Vegas moves to the front of the class – way to the front. At a price tag approaching $11 billion, CityCenter is the largest privately funded development in the United States. This vast 76-acre, mixed-use complex encompasses not only a mega-size resort and casino (the 61-story Aria), but also three somewhat smaller boutique hotel/residential towers as well the sprawling, upscale Crystals retail and entertainment district.

CityCenter also deploys fully networked AV technology on an unprecedented scale, with the core network technologies for audio systems – as well as the lion’s share of all connected audio equipment – supplied by the Harman Professional Group.

“This is rumored to be the largest consolidated AV system design in history,” reports Darren Smith, who has lived and breathed CityCenter for three years, first at Senior Designer for PMK Consultants, and later in a parallel role with Technology West Group, one of three principal AV contractors. “We estimated the cost at over $100 million for the PMK-designed portion alone. That included 60 venues, thousands of ceiling loudspeakers, several complete concert line array systems, more than 20 equipment rooms, hundreds of input-output panels, thousands of fiber optic runs, and the list goes on.”

In every structure across the campus, the predominant audio equipment manufacturers in nearly all audio categories were companies of the Harman Professional Group. Jim Bowles, Manufacturers Representative for Sound Marketing in Las Vegas estimated component quantities installed into the complex to be 750 BSS London networked DSP units, 700 networked Crown amplifiers, and more than 5,300 JBL loudspeakers.

Because of the highly networked audio infrastructure, it was critical that major components be compatible with not only the networked audio platforms but also common control and monitoring system.  At CityCenter, nearly all audio is routed via BSS Soundweb London and then to Crown CTs Series amplifiers, with monitoring and control via Harman Professional’s proprietary HiQNet network using System Architect software.

A keystone component found throughout the complex is the BSS Soundweb London BLU-800, which offers prodigious digital signal processing power as well as connectivity to both CobraNet audio networking and Soundweb’s own propriety BLU-Link bus.

“The BSS BLU-Link alone was a lifesaver on this project,” acknowledges designer Darren Smith. “Overall, the Harman solution offered the only option to satisfy my vision and the extreme requirements. The size of the project dictated equipment rooms spread out over the campus, and we needed complete interconnection and routing ability for any and all sources.  We could not come up with a viable solution using any other platform.”

Once the audio networking was set, monitoring and control functions quickly fit hand-in-glove, according to Smith. “Once we confirmed our BSS distribution and DSP design, it was a natural transition to lay out requirements for HiQNet.  We required complete monitoring and control of everything from London to Crown amplifiers to VerTec powered line arrays and even the Soundcraft/Studer mixing consoles. Essentially, we needed the ability to grab a specific venue and easily tweak and monitor every aspect of audio on the fly. With such a vast facility, this type of monitoring is absolutely top priority.”

The basics of performance and code approvals also weighed on component selection. “In Las Vegas, UL listing is key, and JBL had it on every product,” notes Smith.  “Also, JBL’s speakers for high ceilings were critical in solving high frequency issues when mounted forty-plus feet above the finished floor.”

From the earliest days of the project, Smith and PMK principal consultant Daniel Saenz worked closely with Jim Bowles from Sound Marketing, Harman’s Josh Beaudoin, Paul Chavez and the applications engineering staff at the Harman Professional Group to assess needs for the project. “It was a long and thorough evaluation process,” recalls Saenz, “one that included trips to the JBL factory to audition loudspeakers.  Harman was extremely helpful in putting it all together.”

As Darren Smith notes, putting the massive project together in less than three years was “far beyond fast track, even for Las Vegas.”  But in at least one respect, contends Harman Professional’s Paul Chavez, the compressed time frame worked to their advantage.

“If this project had happened just 18 months earlier, I’m not sure we would have been able to supply PMK without most recent system advances which allowed them to design an infrastructure to support a comprehensive a and fully integrated system. That applies to both the range of JBL loudspeakers and the scope of integration on the network side. It’s been developing over the years, but with this project we crossed a new technology threshold.”

Harman Pro Group website

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