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Friday, February 05, 2010

Hong Kong Repertory Theatre Performance Of Scrooge Uses Meyer Sound Loudspeakers

Berkeley manufacturers products used extensively for 20-show run

This winter, the Hong Kong Repertory Theatre performed 20 shows of Leslie Bricusse’s Scrooge, a musical based on Charles Dickens’s A Christmas Carol. Staged at the Hong Kong City Hall’s 463-seat proscenium theatre, the presentation marked the christening of HKRep’s new Meyer Sound system.

“Space is very limited, so the speaker system has to be as small as possible, yet able to deliver exceptional sound pressure levels,” says Sound Designer Yuen Cheuk-wa. “There are bangs, thunder, explosions, tornados, and low drones, which demand a lot of headroom and low-frequency extension.”

Using Meyer Sound’s MAPP Online Pro acoustical prediction program, Yuen designed a system featuring two UPA-2P, four UPJunior VariO , and six MM-4XP miniature loudspeakers, in addition to four UMS-1P subwoofers. A Galileo loudspeaker management system with Compass control software was used for system drive and processing.

Meyer Sound’s Matrix3 audio show control allowed Yuen to create a sound design that immersed audiences in a haunting ambience for ghost Jacob Marley, and captivating gestural effects for the ghosts of Christmas Past, Present, and Yet to Come. Wild Tracks hard-disk playback was used for all of the show’s music multitracks, along with a CueMixer serving as a control surface for the sound effects operator.

“Scrooge covers a wide range of dynamics, from tender ballads to powerful thunder cracks,” Yuen says. “The director wanted to make the show sound present and natural, without sounding excessively loud. Meyer loudspeakers have a consistent tonal quality necessary to create the highly accurate coverage patterns we needed. The seams between coverage of each cabinet are essentially unnoticeable. The UMS-1Ps spaced along the forestage sounded powerful but are not seen. Even the producer asked where the subs were when he came to the dress rehearsal!”

Front of House mixing was handled by Kee ‘ah B’ King-yin, Audio Engineer at HKRep, with show programming by Lee Hoi-fai. Cheung King-ching, student intern from the Hong Kong Academy for Performing Arts, provided assistance.

Meyer Sound website

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Winter X Games Sees Stagetec Console Put To The Test

14th annual games used a Stagetec console for four events at Aspen, CO, event

Stagetec‘s Crescendo console was used as a sub-mixer used for routing all RF feeds used at four events at the 14th annual Winter X Games in January: pipe, slope, big air and snowmobiles. Over 30 RF audio feeds were coming into the truck from the talent, athlete and effects mics, follow-cams, hand-held cameras and on-board sled cameras.

The mobile truck used for the event contained a 16-fader/80-channel Crescendo console being controlled by Audio Mixer Jeff Shuey, from Denver, CO. Using the Crescendo for the first time, he was quickly routing signals after only one afternoon of training.

“The Crescendo was really easy to understand and operate,” states Shuey. “It enabled me to concentrate on getting everything else up and running.”

This was CP and Total RF Productions second year supplying a turn-key operation for all the RF mics, RF cameras and fiber infrastructure for the Winter X Games and everyone was set to go a day early this year.

According to Kurt Heitmann, President of Total RF Productions: “Although, 75 percent of the equipment on the truck is new, my team was able to get all the fiber laid up the mountain, RF HD cameras and audio going in record time.  We were very happy with the results and with the new Stagetec console as was our client ESPN. The Crescendo is packed with IO capabilities including MADI, and we hope to use even more of its resources on future events.”

Stagetec website

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InnovaSon Installed At Portland’s Village Baptist Church

72-input console controls sound reinforcement system for new worship center

Village Baptist Church near Portland, OR, has recently taken delivery of a 72-input/16-output InnovaSon Sy48 digital mixing console with DioCore stagebox following the opening of their brand new worship center in September 2009. The new building provides 43,695 square feet of space spread over three floors and includes nurseries, a toddler care room, five multi-use classrooms, lounge/coffee bar areas, and a 1,000-seat Sanctuary.

With the new build came a new sound system, at the heart of which is an InnovaSon Sy48 with a DioCore complete with the onboard VB-Audio FX package and a 16 x 2 Aviom A-Net card. Positioned at Front of House in the Sanctuary, the Sy48 handles both the Front of House mix and monitors, while additional feeds are used for recording purposes and for distribution throughout the rest of the building.

Village Technical Director and Sound Engineer, Jerry Keifer, explains that he went through a rigorous selection process before settling on the Sy48. “A biggie for me is sound quality,” he states. “I don’t care how many features can be crammed into a console if it sounds bad. I mean, we all like these digital boards for their versatility and processing power, but what good is any of that if the preamps make everything sound like garbage? With the Sy48 I get the same richness as a good analog console, but I have the recall and processing power of digital.”

“Another thing that really drew me to the Sy48 was the layout of the console, or, rather, the lack thereof,” continued Jerry. “That I could design the console using the Personal Console Builder and put everything where I want it was a huge draw. Add to that the wonderful functionality of the Xfads, and I have the ability to mix the way I want to mix; I’m not limited to the way some design engineer thought a console should be used.”

To illustrate his point, Jerry described his first configuration of the board: “I had a split of each channel onto virtual faders which were for my monitor mixes, so I was literally able to mix monitors and Front of House independently of one another while still keeping my channels divided into groups via the Xfads… it was a bit ambitious for my introduction to a digital system, and I need a little more time to get used to it before I use that configuration in a live situation. But my point is that the Sy48 is able to do just about anything an engineer can imagine; the only real limitation is the engineer him or herself.”

InnovaSon website

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Thursday, February 04, 2010

Bond Communications Upgrades Chooses Martin Audio OmniLine & W8LC Arrays At Emirates Ballroom

Devising a system serving the space as a complete unit, or in three separate, divisible modes

AV system integrator Bond Communications was recently charged with replacing and retrofitting a sound system serving the ballroom at the seven-star Emirates Palace Hotel in Abu Dhabi, which features a marble grand entrance and gold leaf atrium overlooking the Persian Gulf.

The ballroom can accommodate up to 2,800 people, with Bond Communications devising a system serving the space as a complete unit, or in three separate, divisible modes, with simple control and operation.

The system also had to be sufficiently flexible to deliver high spec intelligibility across the frequency spectrum for presentations but also be capable of concert style reinforcement from a conventional left/right stage system, when the venue hosts live entertainment.

Bond decided that a combination of Martin Audio OmniLine scalable micro-line arrays, in conjunction with a Martin Audio W8LC compact line array, would meet the coverage challenges.

Richard Maunder of Martin Audio Dubai-based distributor VTI, as well as Peter Child, Martin Audio Applications Engineer, were brought in to provide design support and EASE program measurements.

“It was decided to use line array loudspeakers for the main front-of-house system as these have more ‘throw’ than a conventional loudspeaker and the dispersion pattern is very predictable thus offering more control over the large coverage area,” explains Child.

Normally, to cover a distance such as the length of the ballroom, a long line array, accurately articulated and flown, would suffice and delays would not be needed. However, with the relatively low ceiling height, a different approach was required.

A shorter, five-box array of W8LC’s each side, has been supported at the bottom of the hang by a single W8LCD Downfill box to maintain clarity, impact and fidelity; the addition of four delay points, comprising time-aligned W8LCDs, evenly distribute the sound further down the room.

Used only as required (rather than part of a permanent install), this delay system maintains the tonality and dynamics of the system.

Although mounted discreetly behind an acoustically transparent cloth the W8LC would generally function more than adequately as a full-range system. However, also incorporated into the design are eight WS218X dual 18-inch subwoofers (four per side) providing low-end extension that can be used as required.

For stage monitoring, 10 Martin Audio LE1200S floor wedges have also been supplied.

In conference mode, 12 clusters of 16 OmniLine enclosures now provide the playback. The design consists of two OmniLine columns at each end of the three conference sections so that the point of focus can change based on the physical location of the presentation.

This approach ensures that intelligible speech and high quality music playback are delivered as unobtrusively as possible.

OmniLine was set up using the system’s dedicated optimization software. Child first worked out the calculations in the OmniLine software before exporting an XGLC file for later use in the EASE program.

“It was then just a case of inserting each of the 16 hang OmniLine GLLs into their correct locations in the EASE model and importing the XGLC file which automatically applied the correct inter-cabinet angles and EQ, as determined by the OmniLine software.” he says.

The system is powered by Martin Audio amplification, with the WS218X subwoofers driven by a pair of MA18Ks, the main FOH system and W8LC/LCD delays are run from a total of 18 MA5.2Ks, and the OmniLine system is assigned to nine MA6.8Qs.

System control is via four mix racks housing Symetrix CobraNet-enabled SymNet Express DSP (configured 12-in/4-out)..

The DSP is set it up so that each room can be used in its single configuration — and as further rooms were added, the installer created a separate output on the console to provide full functionality over all four zones. “The system needed to be really flexible because it would be used for different events,” he adds.

Any input can be routed to any zone and the zone assigned to the main system. It will also automatically send the delay taps to the time-aligned OmniLine arrays when the system is used in presentation mode. The OmniLine arrays also help bring out the HF of the installed W8LC system, and boost the intelligibility, given the length and shape of the room.

Martin Audio Website

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METAlliance Certifies Millennia HV-3R 8-Channel, Remote-Control Microphone Preamp

"A remotely operated mic pre is one of the most valuable and underused elements in the studio. The Millennia software worked right out of the box and they have added tremendous capability to an already excellent mic pre." - Frank Filipetti

Millennia Music & Media Systems has had its new HV-3R eight-channel microphone preamplifier certified by the Music Engineering and Technical Alliance (METAlliance).

The HV-3R employs the same HV-3 mic preamp circuit found in their popular HV-3C and HV-3D units, while gain control is achieved via ultra-quiet, proprietary techniques.

MIDI and Ethernet are the HV-3R’s primary remote protocols and MIDI interface allows plug-and-play compatibility with Pro Tools systems.

John La Grou, Millennia Founder and President, remarks, “It was critical that the remote control of our HV-3 preamp did not compromise our signature sound in any way. After several years of experimenting with different circuit designs and hundreds of critical listening sessions, we came up with the proprietary method used in our HV-3R. 

“I’m glad that the ears of the METAlliance agree with ours.”

Established as a classical music recording company in the 1980s, Millennia Media has now shipped more than 30,000 microphone preamplifier channels.

METAlliance Co-Founder and Grammy Award-winning engineer Ed Cherney comments, “My Millennia mic pres go with me everywhere, and I especially rely on them for live recording. I’ve used them exclusively for dozens of Rolling Stones recordings and live broadcasts I have done, and they have all of the headroom and gain I ever need.

It’s difficult to get them to distort and typically all I have to do is adjust the gain and record.  When recording live, there are long cable runs and when I place the Millennia racks on stage there are never issues when I have to send audio down a few hundred feet of wire. The audio is robust and the transients are always fast and accurate, with an incredible signal-to-noise ratio. I can’t imagine going into a live recording without them.”

Millennia’s Ethernet interface coupled with AElogic HV-3R control software offers a wide-range of features, including high-resolution virtual metering, headroom and dynamics indication, 10 link-groups of channels, extensive scene management, channel naming and scratch-pads, instant system-wide visual data presentation, context-sensitive help screens, and a self-correcting “smart” data error detection hierarchy to protect against accidental removal or disabling of a remote preamp unit in the middle of a network.

METAlliance Co-Founder George Massenburg notes, “For a long time there’s been a slot in my rack allocated to Millennia. The HV-3R is a terrific high-performance front-end, and fits right into my high-resolution setup.”

Frank Filipetti adds, “A remotely operated mic pre is one of the most valuable and underused elements in the studio.  The Millennia software worked right out of the box and they have added tremendous capability to an already excellent mic pre.”

The HV-3R can also be used as a stand-alone mic preamp with “white light” liquid crystal displays showing channel numbers, gain settings, eight-segment metering, and an intuitive menu structure.

“I’m very impressed with the sonic and build quality of the Millennia mic pre,” says Chuck Ainlay. “In a live recording or large, multi-room facility situation, the remote capability makes this pre-amp a first choice.”  Al Schmitt concluded, “We are very impressed with the Millennia preamps and highly recommend them.”

The METAlliance is comprised of a group of globally-recognized, award-winning audio engineers and producers who have been deeply involved in establishing techniques and technical standards that are the foundation of modern music recording. Founders are Chuck Ainlay, Ed Cherney, Frank Filipetti, George Massenburg, Phil Ramone, Elliot Scheiner and Al Schmitt.

METAlliance Website
Millennia Music & Media Systems Website

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Allen & Heath iLive Digital Consoles Acquired By Greek PA Company

Two iLive digital mixing systems land on the Greek island of Chios

Two Allen & Heath iLive digital mixing systems have been purchased by Focus Studio on the Greek island of Chios. Focus Studio provides studio recording facilities and also PA services during the summer season when the tours of renowned bands and artists visit the region.

Purchased through Allen & Heath’s Greek distributor, IMA Audio Lighting Ltd., Focus Studio selected an iDR-48 MixRack with an iLive-T112 Control Surface and an iDR-32 MixRack with a second iLive-T112 Control Surface, to be employed as part of the PA rig for seasonal concerts.

“Investing in the iLive systems has enabled Focus Studio to significantly increase its level of business in rental services, and build on its reputation for high tech equipment and quality sound,” comments Focus Studio founders, Andreas Apesos and Giorgos Pavlidakis.

Since the introduction of the budget-conscious iLive-T modules in the spring of 2009, Allen & Heath has seen a huge uptake, with over 500 systems sold into Europe alone.
Michalis Asitzoglou of IMA Audio Lighting comments, “We are thrilled that Focus Studio has invested in Allen & Heath’s digital technology. iLive will give them a flexible, quality tool set, which can be expanded and adapted in the future, so they can offer their customers good service. It’s most gratifying for IMA to be able to contribute to the improvement of PA sound in Greece.”

Allen & Heath website

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Audio-Technica Debuts MCB4 Antenna Combiner For M3 Wireless IEM Systems

Also suitable for many other in-ear wireless systems

Audio-Technica has introduced the MCB4 IEM antenna combiner, which allows the signals of up to four A-T M3 wireless in-ear monitor stereo transmitters to be combined onto a single transmitting antenna, reducing rack clutter.

A wide-band unit that operates over a nominal 470-865 MHz range, the MCB4 is also suitable for many other in-ear wireless systems (with external BNC antenna connections).

The MCB4 provides one output and four isolated transmitter inputs. All RF connectors are BNC-type. Passive antennas may be used.

Four jacks on the rear panel (controlled by the unit’s power switch) provide 12V DC (center positive) to power as many as four transmitters operating on 12 volts at up to 500 mA each.

Included with the unit are four DC cables appropriate for use with A-T’s M3T stereo transmitter or like-powered transmitters from other manufacturers.

The 12-volt supplies for powering transmitters are short-circuit protected, and the unit features all-metal construction for extreme durability and protection from RF interference.

Features:
- Broadband UHF operation (470-865 MHz range).
- Combines the signals of up to four wireless in-ear monitor transmitters into one antenna.
- Centralized power supply with ability to power four individual transmitters.
- Maintains clean signals with low distortion.
- Includes hardware for front-mounted antenna for improved performance.
- Includes adapters to allow the unit to be mounted into a single rack space.

The MCB4 IEM antenna combiner will be available Spring 2010, with U.S. MSRP of $799.

Audio-Technica Website

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Wednesday, February 03, 2010

TC Group Americas Names Ben Cook As Key Accounts Manager

Will primarily be focusing on the installation market of the TCGA brands

TC Group Americas, distributor of Tannoy, Lab.gruppen, TC Electronic, TC Helicon, Dynaudio Acoustics and Linn, has announced the appointment of Ben Cook as Key Accounts Manager.

Cook will primarily be focusing on the installation market of the TCGA brands as well as being a primary support to the senior sales team. 

“It’s great to see Ben take on a more focused sales role at TCGA, assisting us in driving sales and market share in a very key vertical market,” states Marc Bertrand, CEO of TCGA. “His 12 years of experience within the organization across various departments gives him a solid understanding of our customer’s needs and how our extensive range of products apply in many scenarios.

“Ben has a proven ability that he can exceed expectations of our customers, and this new role will enable him to spend more time doing just that. “

Cook has held various positions within the organization, starting in 1998 with Tannoy North America Inc. as Purchasing Coordinator, and has since worked his way up through Tannoy and TCGA from Inventory and Logistics to Sales Operations Manager. 

“I look forward to the challenge of growing our key accounts further and expanding relationships between TCGA and our sales channel,” Cook says.

In addition to his new role as Key Accounts Manager within Install, Cook is also the primary contact within North America for TCGA’s product compliance with outside organizations. such as UL, and he also remains very involved with all aspects of sales reporting and communications with all senior sales staff in all TCGA’s market verticals.

TC Group Americas Website

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Three Euphonix Users Receive Oscar Nominations For Upcoming Academy Awards

Inglorious Basterds’ Mike Minkler and Tony Lamberti, Sherlock Holmes’ Hans Zimmer nominated

Euphonix congratulates the sound mixing team of Michael Minkler and Tony Lambert, as well as veteran composer Hans Zimmer on their Academy Award nominations announced this week.

Minkler and Lambert were nominated for Best Achievement in Sound Mixing for Inglourious Basterds that was dubbed on a dual-operator Euphonix System 5 digital audio mixing system at Todd-AO Hollywood’s newly refurbished Stage 1. The pair shares the nomination with Production Mixer Mark Ulano.

Zimmer was nominated for Best Achievement in Music Written for Motion Pictures, for his original score of the film Sherlock Holmes.

A long-time Euphonix client, Zimmer creates his world-class music using his two Euphonix System 5 digital mixing systems installed at his Santa Monica-based studio, Remote Control Productions.

Inglourious Basterds marks the eleventh Oscar nomination for Minkler, who has previously won three times for Black Hawk Down and Dreamgirls, which were also mixed on the Euphonix mixing systems, and Chicago.

It’s Zimmer’s eighth nomination, who is looking for another win since his first Oscar for the score of The Lion King. This is Lamberti’s first nomination.

Mixing teams on movies dubbed with Euphonix consoles have been nominated for Sound Mixing Oscars every year since 2001 and have won the award six times, including last year’s breakout hit Slumdog Millionaire mixed at Pinewood Studios in the United Kingdom.

The 82nd Academy Awards will be presented live on Sunday, March 7 at the Kodak Theatre in Los Angeles.

Euphonix Website

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Spider Ranch Adds McCauley M421 Quad “Bone-Crushing” Subwoofers

Augments existing inventory of McCauley Monarc MLA6 and MLA3 main line array systems and M88 2 x 18 subs

Spider Ranch Productions, located in San Francisco, CA, recently purchased McCauley Sound’s new M421 Quad subwoofers to augment its existing inventory of McCauley Monarc MLA6 and MLA3 main line array systems and M88 2 x 18 subs.

The M421 incorporates four 21-inch long-excursion neodymium motor transducers with 6-inch voice coils, with the unit’s continuous power handling capacity in excess of 12,000 watts (24,000 watts instantaneous peak) and a maximum peak output of 155 dB SPL (at 1 meter).

Spider Ranch owner Alex Moran explains, “What makes the M421 special is that it adds a powerful bone-crushing low end that I have never heard before from any sub in all my 30 years of doing concert audio.” 

Moran also notes that the M421 significantly increases his ability to handle a variety of large shows that demand heavy low end SPL. “It doesn’t just get loud, the fast response results in a highly musical experience.”

McCauley is now shipping the M421 worldwide.

McCauley Sound Website

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Lake Debuts New LM 26 Digital Loudspeaker Processor With Audinate Dante Networking

Dante networking provides seamless compatibility with Lab.gruppen’s Dante-enabled PLM Series as well as legacy Dolby Lake Processors

Audinate announced that Lake, a wholly-owned subsidiary of Lab.gruppen, has launched the new LM 26 digital audio loudspeaker processor with Dante networking inside.

The LM 26 is the successor to the Dolby Lake Processor (DLP) with extensive digital matrix functions including Dante digital networking, which provides seamless compatibility with Lab.gruppen’s Dante-enabled PLM Series as well as legacy DLPs.

The new LM 26 will accept audio signals via Audinate’s Dante digital audio network at 48 and 96 kHz sampling rates. Automatic input priority switching may be enabled, and the unit can function as both an input matrix mixer and Dante break-in box or break-out box.

Audinate’s Dante is a gigabit networking solution that offers a no hassle, self-configuring, true plug-and-play experience. Dante media networking technology suite transports low-latency, uncompressed audio over a standard IP Ethernet network with sample accurate synchronization.

Dante simplifies installation because it supports automatic device and channel discovery, with easy-to-use signal routing. Dante also provides comprehensive network monitoring tools.

“We are very proud to bring LM 26 to market. This new Digital Audio Loudspeaker Processor builds on the Lake heritage and, with its unique and advanced features, takes loudspeaker management systems to new levels of versatility and practicality,” says Ulf Larson, Lab.gruppen’s Chief Executive Officer.

“Among the features is the Dante Digital Audio Network that ensures total integration with Lab.gruppen PLM products, legacy Lake processors and other Dante-enabled devices to suit almost all applications.”

Lake Products Website
Audinate Website

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Tuesday, February 02, 2010

JBL Professional Appoints Ralph Quintero To Vice President of Sales

Responsible for sales planning and management, including close collaboration with the regional sales managers and manufacturer’s representatives

JBL Professional has announced the appointment of Ralph Quintero to the position of Vice President of Sales, effective immediately.

Quintero rejoins JBL Professional after more than six years with Global Sales Management, an audio systems consultancy Quintero founded.

With Global Sales Management, Quintero helped businesses achieve breakthrough results in sales and brand development in Latin America.

During his previous tenure with JBL Professional, Quintero served as Director of Sales, Intercontinental. 

“After successfully developing innovative strategies with a variety of prestigious clients with Global Sales Management, I am eager to face new challenges as Vice President of Sales for JBL Professional,” Quintero said. “I look forward to helping drive worldwide sales for JBL, which not only manufactures the highest-performing loudspeakers in the industry, but also offers the world’s most varied range of professional loudspeakers.”

In his new position, Quintero is responsible for sales planning and management, including close collaboration with the regional sales managers and manufacturer’s representatives in the domestic market and international distributors and sales directors.

“Ralph was a valuable and highly successful part of JBL Professional in his previous time with us, and his knowledge of the industry and understanding of our leadership position within the industry makes him an ideal choice for Vice President of Sales,” said John Carpanini, President of JBL Professional. “We welcome Ralph back to the JBL Professional family as we are confident that, once again, his talent and expertise will serve us greatly.”

JBL Professional Website

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Monday, February 01, 2010

Audio-Technica Supplies More Than 250 Microphones For 52nd Annual Grammy Awards

13th Straight Year for microphone company to be used on awards show broadcast

For the 13th year in a row, Audio-Technica supplied over 250 microphones for the 52nd Annual Grammy Awards, at the Staples Center in Los Angeles.

The event included an array of hard-wired mics and the manufacturer’s Artist Elite 5000 Series of wireless systems. Two other interesting selections were A-T’s AT4050ST stereo condenser mic and AT4081 bi-directional ribbon mic.

The sound system was provided by ATK AudioTek with Front of House Engineers Ron Reaves and Mikael Stewart, with the house audio supervised by Leslie Ann Jones, a prominent member of the Producers & Engineers Wing of The Recording Academy.

New Jersey/California-based remote facilities company Music Mix Mobile were onsite with their M3 trucks to create the music mix, facilitated by Broadcast Music Mixers John Harris and Eric Schilling, while Tom Holmes was responsible for the overall broadcast mix.

The broadcast audio was supervised by Phil Ramone and Hank Neuberger, also leading members of the P&E Wing. Michael Abbott returned as Audio Coordinator, and Music Mix Mobile’s Joel Singer served as Engineer-in-Charge.

Artists who performed throughout the evening using Audio-Technica’s Artist Elite 5000 Series UHF wireless system included Jamie Foxx, T-Pain and Doug E. Fresh, performing Foxx’s “Blame It”; Album-of-the-Year winner Taylor Swift and Stevie Nicks, on a medley of recent Swift hits and the Nicks-penned Fleetwood Mac classic “Rhiannon”; double award recipient Maxwell; and Lil Wayne and Drake, who performed with Eminem.

All of these performers used A-T’s AEW-T5400 handheld microphone/transmitter, except Swift, who used A-T’s AEW-T4100 handheld microphone/transmitter. Additionally, Elton John, who performed with Lady Gaga, used a hardwired AE6100 hypercardioid dynamic handheld microphone.

The backline mic complement of A-T wired microphones included AE5400 cardioid condenser handheld mic for backing vocals and horns; ATM350 cardioid condenser clip-on microphone for strings; AT4050 multi-pattern condenser microphone for guitar and bass cabinets; the new AT4050ST stereo condenser microphone for overheads; and the new AT4081 bi-directional ribbon microphone on percussion and guitar cabinets, as well as for Jeff Beck’s guitar amp during a tribute to late guitar legend Les Paul. Audio-Technica’s 5000 Series wireless was also used on background vocals.

John Harris, Co-Music Mixer, states, “For high-profile broadcast events like the Grammy Awards, we always turn to Audio-Technica because there can’t be any room for error. A-T gives us an unwavering level of confidence, as I know the mics will work perfectly regardless of the situation. Also, I have been moving away from traditional overhead microphone techniques for cymbals, and instead using a single stereo mic for the whole kit. The AT4050ST has been spectacular in this application.”

Joel Singer, Music Mix Mobile Engineer-in-Charge, states, “Audio-Technica products always perform flawlessly from a technical standpoint, and they continue to be our company’s go-to mic because of fidelity, clarity, overall reliability and consistency from microphone to microphone. And of course the quality of audio that comes through with A-T’s RF is not at all sacrificed because it’s a wireless – it’s transparent.”

Audio-Technica website

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Yamaha Announces Debut Of New M7CL-48ES Digital Audio Console

Includes a built-in EtherSound interface with a third port for PC control and monitoring, and much more

Yamaha Commercial Audio Systems has announced a new addition to the M7CL digital console product line.

The M7CL-48ES, available in the spring of 2010, with its main I/O interface being the SB168-ES remote stage box, connects via a single Cat5 cable.

The new console includes a built-in EtherSound interface with a third port for PC control and monitoring, eight omni ins (mic/line), eight omni outs, and three MY card slots.

The M7CL-48ES supports up to three SB168-ES stage boxes and, like the M7CL-48, can mix up to 48 mono plus 4 stereo inputs to 16 mix buses, 8 matrix outs, stereo and mono outputs. 

The new Stage Box Quick Set up feature provides plug-and-play connection of up to three SB168-ES units.

“Using the I/O within the SB168-ES stage boxes will provide end users with up to 48 remotely controllable mic preamps and 24 outputs,” states Kevin Kimmel, Mixer Product Manager.

Utilizing the onboard omni inputs and outputs brings the number of mixable channels to 56 and 27 outputs.

“The M7CL-48ES is physically laid out much the same as the original M7CL-48, so for those users who are familiar with the M7CL, they will immediately feel comfortable on the new console,” Kimmel adds.

With the built-in EtherSound interface, the M7CL-48ES gains all the benefits of a digital network infrastructure while allowing the card slots to be used for other purposes, such as personal monitoring systems and recording outputs.

Because the new M7CL-48ES console runs the same software as standard M7CL consoles, there is direct file compatibility between all M7CL models.

And, new Version 3 software updates, available in coming weeks, will include direct sends on fader access from the M7CL knobs in sends on fader mode, sends on fader in M7CL Editor; new recall safe parameters (input patch, output patch, direct out patch, insert out patch); inclusion of VCM effects (comp 276/276s, comp 260/260s, open deck, EQ601); additionally, omni in 1-8 can be used for talkback. 

The new console consumes even less power, 50 percent less to be exact (150 watts vs. 300 watts).

Other new features include on board analog insertion via omni in/out and added output port delay for each EtherSound output.

The new M7CL-48ES has a targeted MSRP of $21,499.

Yamaha Commercial Audio Website

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