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Thursday, January 07, 2010

Rational Acoustics Posts Upcoming Dates For International & U.S. Smaart Training Classes

Smaart training coming to Mexico, Venuzuela, England and Tulsa (Pomona, CA dates already full)

Rational Acoustics, owners of Smaart and specializing in professional training in sound system optimization, has announced an upcoming slate of Smaart training classes to be held in Mexico, Venezuela, England and the U.S.

The sessions in Mexico and Venezuela will be led by Sonotribe Audio Consultants, while the others will be presented by long-time Smaart guru Jamie Anderson of Rational Acoustics.

Go directly to specific course outlines:
Smaart Fundamentals
Smaart Applications
Smaart Practical/Advanced User

The full Rational/Smaart Training Schedule page is here. An abridged schedule is below.

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Upcoming Schedule:

Mexico City
Jan 18-20, 2010  
Smaart Fundamentals & Applications, and Practical/Advanced User
Mexico City Class Info (pdf)

Caracas, Venezuela
Feb 1 -3, 2010
Smaart Fundamentals & Applications, and Practical/Advanced User
Caracas Class Info (pdf)

Tulsa, OK
Feb 2-3, 2010
Smaart Fundamentals & Applications
Tulsa Class Info (pdf)

Tulsa, OK
Feb 4, 2010
Smaart Practical/Advanced User 
Tulsa Class Info (pdf)

London, UK
Feb 5-6, 2010
Smaart Fundamentals & Applications
London Class Info (pdf)

Two classes slated for January in Pomona, CA, are already full.

Rational Acoustics Website

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Xilica Audio Releases V3.01 Software & Firmware Update For X Series Products

Wide range of new features and benefits along with enhanced user friendliness

Xilica Audio has released version 3.01 of its software providing sophisticated control and monitor for the company’s X Series products, along with an X Series V8.00 firmware update.

XConsole V3.01 update highlights:

- New lock section added in security.
- Login with no password as user and login with password as master. (Works both in the hardware and software.) 
- Both the “Link” and “Copy” menu structure are now the same
- Saving of the communication and link settings in “Configuration”
- Screen resolution has been brought down to accommodate smaller screens
- Shortcut in communication setup to the device manager and command prompt. Makes the initial communication setup much quicker.
- Separate box with big, calibrated VU meters/
- Both PEQ and GEQ have a “reset to flat” button
- Input and output names copy to all the other boxes, providing users with a better overview and added intuitive value.
- XPanel V2 Program and Upgrade software now intergraded into XConsole.

X Series Firmware V8.00 highlights:
- Removed SET Password in system menu.
- Power up will automatically lock the unit if there is a password.
- Added System Info in the system menu.
- Preset Recall and Preset Store are lock/unlock independent of the System Menu.
- When a menu is locked, it is hidden instead.
- Removed Config in system menu.

The software is available in the download section of the Xilica Audio website. (Direct link here)

Xilica Audio Website

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RapcoHorizon Showcasing Road Hog Series Of Rugged Cables At Winter NAMM

Series includes models for loudspeakers, microphones and instruments

RapcoHorizon is showcasing its Road Hog Series of cables at the upcoming Winter NAMM Show. The series includes instrument cables, microphone cables and loudspeaker cables, all designed for heavy-duty use.

Each cable is equipped with pure copper conductors encased in an incredibly durable, thick jacket that lays flat and coils easily.

Instrument cables feature a pure copper 20ga center conductor and a 95 percent serve shield. 

Microphone cables are designed with dual 24ga pure copper conductors and a 95 percent pure copper serve shield. 

Loudspeaker cables are 14ga with stranded twisted pair conductors for low noise operation.

The Road Hog Series comes with a lifetime warranty.

“Road Hog is among the highest selling cable series from the RapcoHorizon family of products,” says Lucas McCulley, Marketing Specialist at The RapcoHorizon Company. “Once a performer uses our Road Hog cable on stage, they never go back.  No other cable performs better and lasts longer in live applications.

“Ordinary cables can get torn, beat up and even fall apart after multiple shows, yet Road Hog Cables are designed to be road ready and tour tough to survive multiple shows night after night.”

RapcoHorizon will be exhibiting at Winter NAMM at booth 4558 in Hall C.

RapcoHorizon Website

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GrooveMaker Reggaeton Remixing App Now Avaiable For iPhone/iPod Touch

New style-based app allows anyone to create and share non-stop reggaeton tracks for remixing, multimedia and movie soundtrack compositions

IK Multimedia has released GrooveMaker Reggaeton, the latest application in the GrooveMaker range of remixing apps for the iPhone/iPod touch. This new style-based app allows anyone to create and share non-stop reggaeton tracks for remixing, multimedia and movie soundtrack compositions on the go, in real-time.

GrooveMaker Reggaeton provides a musical journey into the urban Latino landscape, all the way from Puerto Rico to Miami. It is packed with unstoppable party-like beats, moving basses, percussion, rhythmic synths and effects, all spiced up with instrumental lines and riffs from the Latin American and Caribbean cultures.

The new GrooveMaker Reggaeton includes three songs, plus one free song by registering, and a total of 252 loops in 95-96-95-92 BPM ranges for 161 MB of samples.

GrooveMaker has quickly become one of the top downloaded remixing applications for the iPhone/iPod Touch, with nearly 500,000 downloads, allowing any user to create professional, full-length tracks in minutes with its unique combination of advanced remixing software and high-quality included loops’ sound content.

With 11 available applications in the GrooveMaker range, there are now over 3,000 high-quality, fresh loops available for iPhone/iPod touch.

GrooveMaker allows for instantaneous control over eight stereo loop tracks, making it possible to remix the included massive loop library in virtually limitless ways. Its unique and patented randomization feature allows musicians to generate a sheer number of remixes on the fly, with one touch, and produce millions of possible groove combinations.

Loops made in GrooveMaker can be manipulated in real-time (pan, volume, mute, solo, group and tempo) and grooves can be arranged easily by dragging and dropping to create full-length tracks. These tracks can then be saved, previewed and recalled on the iPhone/iPod touch devices or exported as hi-quality .WAV files to any computer using a Wi-Fi network.

The new GrooveMaker Reggaeton is available in the Apple iTunes App Store for $9.99/€7.99.

GrooveMaker Website

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Telefunken Unveils New R-F-T AR-51 Large Diaphragm Tube Microphone

Affordably priced version of the renowned ELA M 251 E; see it at upcoming Winter NAMM show

The new Telefunken Elektroakustik AR-51 large diaphragm tube condenser microphone is the latest addition to the company’s affordably priced R-F-T line of tube mics, and is especially suitable for recording acoustic and electric guitars, piano, percussion, for drum overheads and close mic’ed drums, as well as for both male and female vocals

The AR-51 is designed in the tradition of the classic mics of the past, utilizing the same circuit design as the classic Telefunken ELA M 251E. 

The AR-51 employs new cost-efficient manufacturing methods to meet a price point suitable to any recording studio, from major facilities to voiceover rooms and home project studios. 

It utilizes premium components, including a vintage New Old Stock (NOS) tube that has been rigidly tested for noise and microphonics, as in the ELA M 251E, and also features a globally-sourced power supply and capsule, both rigorously tested prior to installation.

As with all products in the R-F-T range of Telefunken Elektroakustik microphones, the circuit board has been designed for superior current handling, permitting the amplifier to have full access to the necessary “power on demand” for handling low frequency and transient information. 

Modifications have been made to the amplifier circuit to optimize the performance of the capsule and a signal path that includes the same European manufactured output transformer found in every ELA M 251 E built since 1960.

At the Telefunken Elektroakustic studios in South Windsor, CT, audio engineers have successfully tested a wide range of applications for this new large diaphragm microphone. 

The microphone is especially suitable for recording acoustic and electric guitars, piano, percussion, for drum overheads and close miked drums, as well as for both male and female vocals.

Hear and see the new AR-51 and the entire Telefunken Elektroakustik collection at Winter NAMM, Booth 1868, Hall E.

Telefunken Elektroakustik Website

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Kling & Freitag Launches Redesigned Website Featuring Numerous Upgrades

Entirely redesigned and based on a completely new programming

Kling & Freitag recently launched a new website, to visually highlight the change that has been initiated by the company since the successful launch of the SEQUENZA 10 Line Array in 2008.

As a result, the website has been entirely redesigned and is based on a completely new programming. The modern, concise design offers improved, streamlined navigation, with usability greatly simplified. 

News articles are designed more clearly, permitting a rapid overlook about the contents. Equally, the search of documentation and technical drawings are more quickly accessible for Kling & Freitag.

Check it out at www.kling-freitag.de

 

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Wednesday, January 06, 2010

Radial Introduces New Komit Compressor-Limiter

New version features improved dynamic monitoring using a dual-function LED bar graph, a key-input via the Workhorse 5000’s Omniport™ and easier to use front panel graphics.

The Radial Komit is a feature-rich 500 series compressor-limiter that simplifies the process of dynamic manipulation while expanding upon creative tone shaping.

The design provides exceptional flexibility by introducing various automatic functions that are both musical and intuitive.  Developed by Burgin-McDaniel, the new Radial Komit retains the original design with full-size 100% discreet components throughout the audio path to ensure maximum signal transfer. Where it differs from the original is with improved dynamic monitoring using a dual-function LED bar graph, a key-input via the Workhorse 5000’s Omniport and easier to use front panel graphics. 

The design begins with a feed-forward VCA compressor that is designed to react real-time to program material and is easily adjusted from slight 1:1 compression all the way to 10:1 hard compression ratios using a single dial.  This is augmented with a dynamic control with program-dependent slow, medium and fast settings of the attack and decay times that auto-track as signal passes through. 

According to Radial Engineer Kevin Burgin: “During the Komit development stage, we tested all kinds of compressors and found that the front-panel controls rarely matched what was actually going on inside. In essence, the controls had very little to do with the audible settings. This caused us to reassess how compressors are used and we came to the conclusion that most folks simply use their ears when setting the controls. By rethinking the approach we felt we could cover all of the bases with a single control and a 3-position switch. This way, the user does not have to set all kinds of knobs to achieve the dynamics he may be looking for. This speeds up the process without hampering the creative flow.”

In the past, the traditional way to link compressors has been to share the VCA control voltage for two devices. The limitation of this approach means the accuracy of the attack and release characteristics is limited due to part tolerances and voltage tracking lag time. The tracking becomes all the more impractical when mixing in 5.1 surround where several devices must work in conjunction. To solve the problem, the Komit features an innovative ‘sync’ function that allows a pair of compressors to share the same time constant components to give you incredibly accurate stereo tracking for the most demanding mix environments.

A separate 20:1 limiter is on-board that may be bypassed or inserted to provide a dynamic ceiling for the audio track and prevent distortion from reaching the digital workstation. This function is performed using an ‘old-school’ diode bridge limiter that ranges from ‘quiet & confident’ to down right ‘nasty’ depending on how the drive output gain is set.  The 12 position switch provides repeatable settings from -10dB up to +21dB of gain. When driven hard, harmonic distortion can be introduced to add pleasing overtones reminiscent of the finest vintage devices.  The drive output gain control is post-compressor, pre-limiter and is equipped with auto-gain make-up to ensure more stable and natural sounding dynamics.  As most of the work is done automatically, a +4/-10dB input selector provides and input reference and sets the threshold for optimum performance.

When used with the Radial Workhorse 5000 rack, the Omniport acts like a key input to allow ducking for automatic voice-over or when combined with an EQ, frequency depending compression can be introduced for de-essing and other dynamic effects.

The Radial Komit combines the power of an advanced VCA compressor with the vintage tone of a diode bridge limiter in an easy to use, great sounding format.

Radial

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Loudness Joins L-Acoustics K1/KUDO Pilot Program

The live sound provider recently took delivery of 48 K1 and 36 KUDO elements, 24 K1-SB and 24 SB28 low frequency enclosures, and 60 LA8 amplified controllers housed in 20 LA-RAK units.

The L-Acoustics’ K1/KUDO Pilot Program continues its global expansion with the announcement that Loudness Sonorização of Brazil has now joined the roster of participating companies.

The live sound provider recently took delivery of 48 K1 and 36 KUDO elements, 24 K1-SB and 24 SB28 low frequency enclosures, and 60 LA8 amplified controllers housed in 20 LA-RAK units.

Loudness also simultaneously added additional quantities of ARCS and both 12XT and 115XT HiQ coaxial enclosures to further supplement its initial L-Acoustics investment made last year.

Founded in 1976, Loudness has steadily evolved into one of South America’s premier production providers, and the K1/KUDO system was strategically chosen by the company as a vehicle for continued long-term growth.

“No one can argue that V-DOSC absolutely revolutionized the live sound industry with the line array concept in the ’90s,” says Márcio Pilot, co-owner of Loudness and director of the company’s sound reinforcement and live recording divisions. “Even today, nine times out of ten when I receive rider requests for arena and stadium shows, L-Acoustics is still specified as the preferred system of choice.

“Naturally, when we were presented with the opportunity to take on the new K1, which represents the culmination of more than 15 years of acquired knowledge, experience and end-user input since V-DOSC first debuted, we knew that it would be a wise and safe investment – and it has certainly proven to be so. Our first event with the new K1/KUDO rig was a large outdoor show for DJ Tïesto and the system greatly impressed everyone with its amazing low end, overall sound quality and fantastic coverage.”

Pilot further noted that the K1’s captive rigging facilities and convenient LA-RAK units made the system a clear winner with Loudness’ engineers.

L-Acoustics Website
Loudness Website

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Source Audio Debuts Soundblox Pro Multiwave Bass Distortion Pedal At Winter NAMM

Source Audio Engineers Adapt Multiband Distortion Processing To Complement The Bass Guitar’s Unique Frequency Range

Source Audio, innovators of the award winning Hot Hand and Multiwave Guitar Distortion products will introduce the Soundblox Pro Multiwave Bass Distortion at the 2010 Winter NAMM. With the release of the new Soundblox pedal, Source Audio delivers the advantages of multiband processing to bass players.

Multiband processing—a technique that divides a signal into multiple bands then distorts them individually—gives musicians unprecedented levels of sound clarity and note articulation. After extensive research, Source Audio engineers adapted this process to compliment the bass guitar’s unique frequency range. Bassists can effectively combine complex chords and intervals with distorted tones—the Multiwave eliminates the mush and allows each note to ring clear and true.

With the new pedal, users have access to 23 modern and distinctive presets and an additional clean boost/EQ mode. Based on new proprietary algorithms, tones range from basic overdrive to aggressive synth-like, octave heavy, and extreme foldback settings that go far beyond traditional bass distortions. Each preset is further customizable via the 7-band graphic EQ, drive control, and separate mix knobs for clean and distorted signals. This advanced tone control eliminates the tendency for low-end reduction associated with most bass distortion boxes.

Six user presets, accessible via three footswitches, assist in the speedy recall of any custom tailored sound, and a traditional expression pedal input facilitates the seamless morphing from one user preset to another.  A MIDI input allows external access to presets and parameters, and, as with all Soundblox products, it is compatible with the Hot Hand ring controller.

The pedal is also available in a scaled down non-programmable version, the Soundblox Multiwave Bass Distortion. Both the Pro and the standard Multiwave Bass Distortion feature state-of-the-art 56-bit Digital Signal Processing (DSP) with 24-bit converters for crystal clear output.

MSRP for the Soundblox Pro Multiwave Bass Distortion is $299 (street: $219), and the standard Multiwave Bass Distortion is $169 (street: $119). They are now available.

Visit Source Audio at booth 5599 in Hall B of the NAMM convention.

Source Audio

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Shure Announces Strong Support Of New Legislation To Protect Wireless Microphone System Users

Proposal would protect 13 different classes of wireless microphone users from interference

Shure Incorporated President and CEO Sandy LaMantia today expressed the Shure’s strong support for legislation recently introduced by Representative Bobby Rush (D-IL) that proposes to protect 13 different classes of wireless microphone users from interference that could result from the operation of new devices that the Federal Communications Commission (FCC) has approved for frequencies (known as the “white spaces”) currently occupied by wireless microphone users.

“Shure thanks and applauds Congressman Rush for his very thoughtful and balanced approach to the white spaces issue,” said LaMantia. “New white space devices and wireless microphone users can certainly coexist in the white spaces if the new FCC policy reflects an appreciation for the different classes of wireless microphone users who deserve protection from interference.”

The Rush legislation, H.R. 4353, would require the FCC to provide access to an electronic database where wireless microphone users will register their frequencies, thereby protecting their operation from interference from signals transmitted from the newly approved white spaces devices. Read HouseResolution4353.pdf

The 13 classes of wireless microphone users in the Rush bill include amusement parks, arenas, convention centers, educational facilities, fairgrounds, government facilities, houses of worship, lodging facilities, museums, recording studios, restaurants, stadiums, and theaters. 

“Congressman Rush’s bill simply and comprehensively identifies the professional classes of wireless microphone use and calls for their protection from interference by new devices,” said Mark Brunner, Shure’s Senior Director of Global Brand Management. “The general public is often unaware how common wireless microphones have become in everyday American life.  This legislation spells it out and calls for continuity.”

Shure Website

 

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Tuesday, January 05, 2010

API’s JDK Audio Unveiling R22 Two-Channel, Rack-Mount Compressor At Winter NAMM

"We’re excited that JDK Audio’s R22 offers the same inline compressor formerly found only in Paragon consoles." - Larry Droppa, API

JDK Audio, a new brand developed and engineered by API Audio, announces the fourth product in its line of robust signal processing equipment, the R22 two-channel, rack-mount compressor.

It offers a linkable stereo operation that uses true RMS power summing, a patented Thrust circuit for chest-hitting low-end, and easy to use, refreshingly musical control of all parameters.

The R22 interconnects with both balanced XLR and quarter-inch inputs and outputs. Because the R22 has LED indicators and switchable analog metering of the output level and gain reduction, it’s easy to optimize gain structure.

Switchable hard- or soft-knee compression, combined with variable threshold, ratio, and make-up gain controls deliver a wide range of compression textures for an equally wide range of source material.

Equally at home in a project studio or commercial recording facility, the R22 offers flat frequency response out to 50 kHz.

“We’re excited that JDK Audio’s R22 offers the same inline compressor formerly found only in Paragon consoles,” said Larry Droppa, president of API. “Everyone who has ever used that compressor has fallen in love with it, and we predict the same will be true of the R22. The Thrust circuit is a unique addition to an already great piece of gear.”

JDK Audio will formally introduce the R22 compressor at the 2010 Winter NAMM Show in Anaheim at API Booth #6411. Visitors will have the opportunity to listen to multitrack material through the new R22 and other JDK gear at the JDK listening station.

API Audio Website

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Tonelux To Introduce New TILT 8-Channel Tone Control At Upcoming Winter NAMM

Re-balances a channel’s high- and low-frequency content via a single knob

Tonelux, distributed in the U.S. by TransAudio Group,  will introduce the new TILT eight-channel tone control at the upcoming Winter NAMM Show in Anaheim.

The TILT control, designed by Tonelux founder Paul Wolff, re-balances a channel’s high- and low-frequency content via a single knob, and was first featured on the company’s MP1a discrete mic preamp module.

Centered on approximately 700 Hz, the TILT control knob boosts high frequencies from 0 dB to 6 dB while simultaneously cutting low frequencies by the same amount when turned fully to the right.

When turned to the left, low frequencies are boosted by up to 6 dB while high frequencies are similarly cut. This allows a user to conveniently alter the EQ of a track to better fit into the mix using a single rotary control.

The TILT effectively alters everything from bass guitars to cymbals, and is perfect for vocals, warming up or cooling off tracks, and as the final stage in a live personal monitoring system when the overall mix needs to be changed slightly to compensate for ear fatigue.

Introduced as a standalone, multi-channel unit at the request of Tonelux customers following their experiences with the single-channel MP1a module, each of the TILT’s eight channels features a rotary TILT control knob with associated in/out and polarity reverse switches, plus separate LED indication of signal presence and clipping. Inputs and outputs for channels one and two are accessed via XLR connectors, with a D-Sub multi-pin connector offering I/O access for all eight channels.

The new Tonelux TILT eight-channel tone control unit is intended as the first of a new range from the company. It is planned that line will also include a dual channel microphone preamplifier and a dual compressor, as well as a channel strip.

Each of the models in the new range will be standardized on the robust steel chassis and single RU form factor of the TILT, which incorporates an internal power supply.

Noted Brad Lunde, president of TransAudio Group, “Paul Wolff understands what recording engineers want and then has the smarts to engineer the gear to fit the need. I can’t think of anyone else in the industry who can grasp and deliver the way Paul can. This is a standout product for Tonelux.”

Tonelux Website
TransAudio Group Website

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Monday, January 04, 2010

Radial Debuts PowerPre Microphone Preamplifier

Maximum performance when fit inside a standard API style lunchbox frame

The new Radial PowerPre is a high performance microphone preamplifier that has been designed from the ground up to attain maximum performance when fit inside a standard API style lunchbox frame. 

It features a differential design with 100 percent discreet components throughout to assure maximum signal integrity while delivering up to 60 dB of gain.

Particular care and attention has been applied to part selection during the development to ensure low noise at all stages yet the simplicity of the design is reminiscent of the very finest vintage equipment. This delivers a design that avoids zero-cross distortion and other limitations imposed by off-the-shelf op-amps.

It offers a front-panel mounted XLR input for easy access with desk top workstations and a second XLR input via the lunchbox frame for traditional patch-bay setups.

Phantom power is accessed via a protective “set & forget” recessed switch. This avoids erroneous activation which could harm older vintage ribbon mics. 

Other features include a ground lift for the XLR output and 180-degree polarity reverse. This is augmented with transformer isolation to eliminate hum & buzz caused by ground loops and a 10-segment LED for optimum signal monitoring.

“We think a good preamplifier must deliver on several fronts,” says Radial President Peter Janis. “So when we started laying out the PowerPre’s design philosophy, we wanted a mic pre that could provide a full spectrum with clinical accuracy at one end and personality or color at the other. 

“And with our pedigree, we did not want to do this by simply tossing in a chip and then inserting some form of EQ. Instead, we used a vintage approach whereby we introduced a transformer into the circuit and then change the applied voltage and RC networks to introduce the extra character.

“The three-way ‘voice’ control basically lets the audio engineer select ‘punch’ mode for a meatier bottom end to fatten up guitars or warm up a female voice; ‘normal’ mode for times when absolute pure signal gain is needed; and ‘air’ mode for times where more breath and sparkled is applied to enhance a male voice or accentuate an acoustic guitar in the mix.”

When the PowerPre is used with the Radial Workhorse, several new features are made possible. Both ¼-inch line level inputs and outputs are provided for easy connectivity while the Omniport has been designated as a high-impedance instrument input for direct to workstation recording. This is configured with a switching jack that will automatically disconnect the XLR inputs when it is being used.

The Radial PowerPre mic preamplifier combines full-size discreet components with a transformer coupled output for a vintage ‘feel’ while delivering pristine ultra-low noise for the most demanding engineer.

Scheduled delivery is February 2010, at a retail price of $500.

Radial Website

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Earthworks Introduces PM40T Touring PianoMic System

The heart of the system is two random incidence, omnidirectional, high-definition microphones; see it at Winter NAMM 2010

Earthworks has introduced the PM40T touring PianoMic system, offering the features and sonic performance of the company’s PM40T touring PianoMic system while offering quick, simple, and easy setup, in a compact airline friendly carry-on case.

The heart of the system is two random incidence, omnidirectional, high-definition microphones. They offer a frequency response of 4 Hz to 40 kHz, delivering excellent impulse response and short diaphragm setting times that make them well suited to perform within the piano’s highly diffused sound field (multiple direct and reflected sound sources).

The mics exhibit no proximity effect (change in LF levels), regardless of their distance from the piano strings or soundboard, enhancing consistency.

Gain before feedback is exceptional because the mics are positioned very close to the sound source and are within the sound field of the piano.

Because the mics are placed inside the piano shell, they are well isolated from sound outside the instrument, and with positioning of 3-6 inches above the piano strings, the mic’ed piano sound is dramatically louder than any sounds emanating from outside the piano. As a result, any outside leakage picked up by the piano mics is dramatically lower in level than the sound of the piano itself.

The PM40T’s adjustable, telescoping tube is supported by the sides of the piano case, facilitating flexible placement of the microphones close to or away from the dampers—facing toward or away from the keyboard.

The new Earthworks P40T touring PianoMic system carries a U.S. MSRP of $4,695. It is shipping now, and will be on display at the company’s booth, 6292 in Hall A, at the upcoming Winter NAMM show in Anaheim.

Earthworks Website

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