Article

Friday, July 03, 2009

NSCA Announces New Online Entry-Level Class Providing Practical Knowledge Of Audio Systems

Valuable information on topics such as decibels, Ohm’s law, series and parallel circuits as voltage and current dividers, subjective loudness and temporal masking, sound distribution over time, and more

The new NSCA University Technical Fundamentals of Audio online seminar helps entry-level to experienced audio systems technicians gain years of experience and knowledge in a relatively short amount of time.

The course supplies technical knowledge for a variety of audio markets, including commercial, industrial, education and government facilities. 

Participants will earn 8.0 Learning Units (LUs) within NSCA University’s College of Technical Knowledge and gain valuable information on topics such as decibels, Ohm’s law, series and parallel circuits as voltage and current dividers, subjective loudness and temporal masking, sound distribution over time, and more.

“NSCA understands that technicians and installers don’t always have time to participate in on-site training,” said Norah Hammond, NSCA senior director of professional development. “The Technical Fundamentals of Audio course provides a concise summary of techniques that can take years of self-training and experience to obtain otherwise.

“Plus, the online option allows for convenient training that fits your schedule, and produces skilled employees for years to come.”

The instructor-led course brings together two of the industry’s most knowledgeable instructors on the fundamentals of audio systems. Larry Garter, NSCA’s master instructor, provides techniques 10 great ideas in audio technology, including math, measures, electrics and hearing.

Cost is $299 for NSCA members and $369 for non-members. NSCA members can also apply their education credits for up to 25 percent of the price of the course. Upon registration, participants will have access to the instructor-led course for 45 calendar days. 

For more information, go to www.nsca.org/elearning

NSCA Website

{extended}

IK Multimedia Summer Group Mix Promotion: By One T-RackS Singles Plug-In, Get Up To Three For Free

Promotion runs now through August 31, 2009

IK Multimedia has announced the “Summer Group Mix Promotion” where musicians, engineers and producers can get up to three free T-RackS 3 Singles plug-ins for the price of one.

From July 1, 2009 through August 31, 2009, when customers purchase and register any award-winning T-RackS 3 Singles plug-in from an authorized IK Multimedia Retailer or IK’s online store, they will immediately receive another T-RackS 3 plug-in free as a download from their User Area. 

Further, if 500 customers participate in this promotion, every participant will receive an additional T-RackS 3 plug-in in their User Area on the IK Multimedia web site.  Additionally, if 1,000 users participate in this promotion, every participant will receive another free T-RackS 3 Singles plug-in in their user area.

Each T-Rack 3 Singles plug-in has a list price of €18.75/$25 each (excluding taxes).

T-RackS 3 Singles are the individual processors from the award-winning T-RackS 3 Deluxe Mixing and Mastering Suite that operate as individual plug-ins, providing additional flexibility and better
sounding mixes when used during the mixing process. 

Additionally, T-RackS 3 Singles integrate into the T-RackS Standard processor 12-slot architecture, allowing users to purchase and use individual processors on an “as needed” basis for mixing, and build a high-end mastering chain of great sounding plug-ins at the same time.

T-RackS 3 Singles include:
· Vintage Tube Compressor/Limiter model 670
· Vintage Tube Program EQ
· Opto compressor
· Brickwall limiter
· Linear Phase Equalizer
· Classic T-RackS Compressor
· Classic T-RackS Multi-band Limiter
· Classic T-RackS Clipper
· Classic T-RackS Equalizer
· Complete Metering Suite

For more information about the IK Multimedia “Summer Group Mix” promotion or the plug-ins included in this promotion, please visit the IK website at www.ikmultimedia.com/groupmix

IK Multimedia Website

{extended}

Yamaha Commercial Audio Systems Announces Delivery of TXn Amplifiers

In addition to basic amplifier control and status monitoring, extensive speaker processing capabilities are available

Yamaha Commercial Audio Systems announced the September delivery of the TXn Series of amplifiers at 2009 InfoComm in Orlando.

The Yamaha TX4n at 2,200 watts, TX5n at 2,500 watts, and TX6n at 3,000 watts per channel (all at 2 ohms) offer Yamaha on-board DSP power and incorporate a sophisticated 24-bit 96-kHz DSP engine.

In addition to basic amplifier control and status monitoring, extensive speaker processing capabilities are available that will make outboard equipment such as equalizers, delays and speaker processors unnecessary in most applications.

A key element is the EEEngine technology that provides the sonic quality of Class AB amplifiers with the efficiency of Class D, solving all the problems of weight, size, and heat generation that users of large-output power amplifiers often encounter.

All models feature both analog and direct digital inputs, with automatic failsafe redundancy switching between digital and analog inputs.

Optional plug-in Yamaha mini-YGDAI interface cards can also be used to change the input configuration as required.

By replacing the standard AES/EBU I/O card, these advanced amplifiers are fully compatible with CobraNet or EtherSound audio networks, as well as any other format supported by the mini-YGDAI cards.

The built-in Ethernet port can be connected to a Windows-based computer running Yamaha’s NetworkAmp Manager II software, which allows monitoring, management and control of all TXn amplifier functions and DSP parameters, as well as the available functions of Tn, PC-1N, XP, XM and XH series amplifiers connected to the network via a Yamaha ACD1 Amplifier Controller Device.

Featuring an efficient, intuitive graphic interface, NetworkAmp Manager II also provides a number of features that make managing and controlling large multi-amp systems very straightforward.

Amplifiers can be named according to their function within the system, they can be grouped for simultaneous control and the groups also named for easy identification.

The software can also warn users when a parameter exceeds a pre-defined voltage, wattage, temperature, or impedance (upper/lower) value, enabling the user to keep track of all amplifiers from a central computer display in real time. Warnings are automatically logged to an information file so it’s easy to pinpoint and troubleshoot problems.

NetworkAmp Manager II requires no special drivers: the computer’s Ethernet port is simply connected to a standard high-speed Ethernet hub. The hub ports can then be directly connected directly to the TXn amplifiers to be controlled and monitored.

TXn amplifiers carry an MSRP of $4,699 for the TX6n, $4,199 for the TX5n, and $3,599 for the TX4n.

Yamaha Commercial Audio Systems Website

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

{extended}

AKG Unveils Architectural Microphone Series (AMS), Shaped Sound Customizable Mics

In total, the entire microphone series are available in more than 6,840 customizable settings

Based acoustically on the AKG Blue Line Series, the newest addition to AKG’s product line-up, the Architectural Microphone Series (AMS), presents a new wave of customizable possibilities in microphones. AMS was unveiled at 2009 InfoComm in Orlando.

AMS allows users to customize the microphone by easily adjusting the length of the gooseneck module as well as selecting various designs for the shape of the capsule housing unit.

The self-designed microphone can be personalized with any color as well as a shiny gold, chrome or a cool nickel finish for professional settings. In total, the entire microphone series are available in more than 6,840 customizable settings.

Premium studio microphones, like the AMS, are characterized by a very flat frequency response, low self-noise and a consistent polar pattern. Three precision transducers make up AMS, all with different polar patterns, including a cardioid, an omni-directional and a hyper-cardioid.

Beside the three different polar patterns to match different room acoustics, the AMS showcases a diverse range of capabilities, such as flat frequency response for acoustic performance, gold sputtered ultra-low mass diaphragms, switchable bass cut filter and preattenuation pad. The series also offers an extremely high resistance to RF interference for extended versatility.

Adding on to the extraordinary attributes of the AMS, the mics are equipped with a bayonet coupling system with self-cleaning contacts and the Blue Line bayonet coupling system enables the capsules to be easily change.

With the installation of any of the microphones in the AMS, different mounting modules are available, including a wide range of specialized mounting accessories specifically dedicated to making the installation easy and can bring the microphone into place.  Blended rubber material and high mechanical damping in the shock mounts help to eliminate any mechanical vibrations.

AKG Website

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

{extended}

Top-Flight Sound Reinforcement For A Raucous Week Of Concerts At Arizona’s Annual CycleFest

Pro Production Services handles the wild ride by combining experience and top components to serve a week of live performances by a roster of A-list artists

Fifty weeks out of the year, WestWorld in Scottsdale, Arizona is an equestrian center and special events facility, but during Arizona Bike Week (ABW), held in early April of this year, the ABW Cyclefest turns WestWorld into a raucous concert venue.

A 27,000 square-foot tent is erected on the premises and dubbed the HandleBar Saloon, and it’s where the majority of the concerts take place during Bike Week.

Arizona Bile Week, which actually spans 10 days, is an annual event that has taken place for the past 13 years in the territory in and around the city of Scottsdale and is the fourth-largest bike festival in the country.

Pre-Rally Days, the five days leading up to Cyclefest, also features concerts, rides and events – including the coronation of Miss Arizona Bike Week – that take place at various towns in the area. This year Pre-Rally Days started off with a concert staged at Chester’s Harley-Davidson in Mesa by the Charlie Daniels Band.

Pro Production Services has been handing production for ABW Cyclefest since 2004, and the Tempe-based company maintains a pretty diverse client base covering everything from fairs and festivals to corporate shows and even events for the White House.

Donovan Mote, director of operations for Pro Production Services out of their Phoenix office, relied on EAW KF750 loudspeakers and BH760 subwoofers driven by Crown I-Tech Series amplifiers to provide the wide horizontal coverage needed for the tent, as well as satisfy rider requirements for the bands coming through. This year’s lineup featured performances by hometown group the Gin Blossoms, Blackfoot, Eddie Money, and Cheap Trick, as well as performances by local bands.

Faced with the physical challenges of staging a large scale production in a tent, Mote has tried various configurations opting this year to go with ground stacked mains positioned in front of a 40- by 40-foot stage, expanded up this year from a 40- by 32-foot stage to satisfy set requirements for Cheap Trick. Crown I-Tech amps provided the power, and Rational Acoustics Smaart was employed by Mote primarily for time alignment of the system.

At front of house and monitors, both analog and digital consoles were represented. “This year we had a Midas XL200 (analog) at front of house, which is kind of our festival workhouse,” Mote says. “It’s really easy to use. There’s not always a lot of time for sound checks and there are charity raffles and things like that that happen in the tent where the concerts occur as well, so something that is really familiar to everyone is pretty important.”

A Midas Heritage 3000 (analog) console was provided for monitors, while Yamaha M7CL digital consoles were situated at both house and monitors. Mote continues, “It’s really kind of an ideal scenario for us, some bands prefer to work on the M7CL because they already had the cards or were more familiar with the console, so we were able to provide the headlining acts what ever they wanted to use.”

Both 12- and 15-inch Radian MicroWedges (the original Dave Rat design that the new EAW monitors of the same name are based upon) were employed on stage, again powered by Crown I-Tech Series, though as Mote recalls, “Several of the acts had in-ears, and we provided some. We used the Shure PSM 700s and the PSM 600s for hard-wired, and Cheap Trick brought out their own set.

“We just picked up Crown I-Tech 4000s for the monitor amp rig and that was the first time we used them all networked. It’s really nice to be able to set up a custom panel and see the status of all the amplifiers and know how much headroom you have.”

“I’ve got our laptops set up so I can monitor all of the (Harman Pro Group HiQnet) System Architect devices, and in this case, it’s the I-Tech Series and a dbx 4800 DriveRack at house,” he continues. “I can also monitor all the wireless systems, and I also have it so I can run either of the M7CLs remotely from the laptop, walking through the crowd making mix adjustments and so forth. To be able to do all that from one laptop is pretty cool.”

The microphone selection is diverse, including AKG C414s and Neumann KM 184s, Shure KSM 9s and a standard selection of Shure SM58s and SM57s. Sennheiser e908s handled toms with Sennheiser 421s for other drum needs.” We just bring out basically two full mic packages and they’ll have pretty much anything that they could want to choose from,” says Mote.

In addition to sound reinforcement, Pro Production Services also provided all staging, lights, video, and backline, with Mote explaining, “More and more these days clients want to have company that they can make one phone call to and have most of their needs, if not all of them, met. So we’ve been trying to diversify our business model to accommodate that.”

He estimates that 50,000 people attended the five days of Cyclefest. “This year there were two other really large festivals that were the exact same time frame, and I hear reports from the other two as well as Bike Week that the numbers were as high as ever and in some cases higher. So while the economy is affecting a lot of people, we’ve been real lucky.”

Arizona Bike Week Equipment List

Front of House Consoles
Midas XL200
Yamaha M7CL-48

Front of House Processing
Yamaha SPX-2000
Yamaha SPX-990
TC Electronic D-2
BSS DPR-404
dbx 1066
dbx 1074

Front of House Drive
dbx DriveRack 4800
Klark Teknik DN360
Shure P4800

Front of House Loudspeakers
EAW KF750/755
EAW BH760
EAW JF80
Mackie SRM450 (vendor area public address)

Front of House Amplifiers
Crown I-Tech Series

Monitor Consoles
Midas H3000
Yamaha M7CL-48

Monitor Processing
BSS DPR-404
BSS DPR-504
Yamaha SPX-990

Monitor Drive
Klark Teknik DN360

Monitor Amplifiers
Crown I-Tech Series

Monitor Loudspeakers
Radian MicroWedge
EAW KF600i
EAW SB250
EAW SB1000
Buttkicker
Shure PSM 700 wireless IEM
Shure PSM 600 wired IEM

Microphones
Shure UHF-R wireless
Shure
Sennheiser
AKG
Audio-Technica
Neumann

Miscellaneous
Motion Labs Distro
Rational Acoustics Smaart
Harman HiQnet System Architect

Mark Johnson has been involved with audio and video for more than 35 years, including production, manufacturing and writing for various publications.

{extended}

BSS Audio Introduces Cost-Effective Break-Out Box To Soundweb London Family

BLU-BOB compliments the seven other members of London and represents an inexpensive solution to increasing the number of outputs in a Harman HiQnet networked system

BSS Audio has added a cost-effective break-out box to its Soundweb London family of digital signal processors, the new BLU-BOB output expander. Introduced at 2009 InfoComm in Orlando, BLU-BOB compliments the seven other members of London and represents an inexpensive solution to increasing the number of outputs in a Harman HiQnet networked system.

The BLU-BOB features eight analog audio outputs on standard terminal block connectors and the 256-channel, low latency, fault tolerant digital audio bus, also found on the BLU-800, BLU-320, BLU-160 and BLU-120 devices.

In addition to providing a backbone for the transportation of multiple channels, this bus also facilitates the creation of large, fault-tolerant, centralized matrices containing multiple devices. The digital audio bus uses standard, inexpensive Cat 5e or Cat 6 cable, which enables a distance of 100 meters between devices.

The BSS Audio MC-1 fiber optic media converter can be used to increase the distance between devices to over 10km (6.2 miles) using single mode fiber.

A series of DIP switches on the rear of the BLU-BOB device allow consecutive channels, in groups of eight, to be selected from the digital audio bus. Multiple BLU-BOB devices can be configured to receive the same or different eight channel ranges.

Signal present and power status are clearly displayed by front panel LED indicators for monitoring and troubleshooting. The BLU-BOB devices are powered by an external 24VDC power supply such as the BSS Audio 999-PSU.

Two chassis styles are available, the first (BLU-BOB1) is a half rack width, desk or wall mounted version and the second (BLU-BOB2) is a 19-inch single rack space version with mounting ears for equipment racks. Front panel indication and rear panel connections are identical on both versions.

Each of the eight different Soundweb London devices offer a different mix of signal processing, CobraNet and digital audio bus functionality.

BSS Website
Harman Professional Website

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

{extended}

New Crest Audio CV 20 Mixing Console Provides Full VCA Control With Flexible Features & Frame Sizes

Standard on all CV 20 frames are eight stereo input channels consisting of four microphone-line channels and four dual-line channels with the same full assignment capabilities as the mono input channels

At InfoComm 2009 in Orlando, Crest Audio announced that it is now shipping the CV 20 mixing console, a flexible VCA audio solution designed for applications such as front-of-house, monitors and monitors from front-of-house.

The CV 20 is available in 32, 40, 48, 56 and 64 mono input configurations with four-band sweepable EQ and fully parametric mid-frequency control on each mono input.

A feature set of 12 aux sends, eight subgroup assignments and L/C/R panning to the Left/Right and Mono buses provide a wealth of audio routing options.

Standard on all CV 20 frames are eight stereo input channels consisting of four microphone-line channels and four dual-line channels with the same full assignment capabilities as the mono input channels, plus eight VCA masters, 12 aux masters, eight subgroups and separate left/right/mono controls that can be “fader reversed” to allow fader control of the aux masters.

CV 20 mixing consoles also feature 128 VCA assignment and 144 mute scenes with MIDI control, 16 mute groups, an 11x4 matrix that is expandable to 19x4, full dynamics on all subgroups and main buses (also routable to the aux masters) and full metering on all main and auxiliary outputs.

Available options include meter-bridge kits to monitor all outputs in VU and a bus link module kit for linking together two CV 20 consoles. The CV 20 can use its internal power supply as well as an optional, redundant external power-factor-corrected power supply.

Features
• 32, 40, 48, 56 and 64 frame sizes
• Full VCA control on all inputs and groups
• Eight dedicated stereo inputs on all frame sizes
• Eight VCA masters
• 12 auxes with flexible configuration
• True L/C/R panning from mono inputs and subgroups
• 11 x 4 matrix, expandable to 19 x 4
• Inserts on all Mono inputs and Main outputs
• Optional meter bridge to monitor outputs in VU
• LED bar graph metering on all inputs and outputs
• Fader-reverse function allows fader control on aux outputs
• Full dynamics on all main outputs (L/R/M and subgroups) in FOH mode
• Dynamics routed to auxes in Monitor mode (with fader reverse)
• 16 mute groups, 136 mute scenes and 128 VCA assignment scenes with easy editing, snapshot
automation and MIDI control
• Direct outs on all inputs, switchable from pre/post fader
• Made in the U.S.A.

Crest Audio Website

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

{extended}

Separate For Sanity: Mixing Monitors From Front Of House

Making the situation tenable for both ourselves and the band

If you’re a front of house mixer, here’s what you need to know about monitors. If asked to adjust monitor settings, look the person directly in the eye and say, “I handle front of house; I don’t do monitors.”

Speak it with authority and perhaps add a bit of disdain, then turn quickly and as you’re walking away add, “let me find the monitor mixer for you.”

At this point your job is done, unless of course, you actually happen to run across the monitor person. If so just say, “someone on stage is looking for you.”

Now let’s return to the real world.

Years ago, a band could be booked at a club three or four nights in a row; today, most clubs rotate bands on a nightly basis. This means the sound system has to go up and come down as quickly and easily as possible, including the monitors.

For those of us who do this system “up and down” work in a different club every night, a large monitor rig is neither time nor cost effective, especially without roadies.

While even smaller shows (think clubs) are now outfitted with a separate monitor world, a lot of mixers still must run monitors from front of house (FOH), usually due to necessity. And in my experience, it’s by far one the hardest things to do.

It doesn’t take very long to realize that regardless how good the house mix, your gig is insane if the monitors aren’t right. Between feedback and band member complaints, it can make for a long night.

A big drawback in handling monitors from FOH is often the limitations of the console – the majority used in club situations offer just two separate monitor sends, meaning that for a four-piece band, someone is sharing the same monitor mix.

For obvious reasons, a separate mix to each member of a band is preferred.

However, many of the consoles we use are also outfitted with several aux sends that can be used as monitor sends, thereby increasing the number of separate mixes on stage.

Keep in mind that when doing this, it’s important to use the pre-fade aux sends. Otherwise, any time house level is increased by using the fader that is on a post-fade aux, the monitor level will increase as well.

Most musicians want their monitors loud to begin with, so any further increases in level can result in feedback. So by running pre fader, any adjustments for the house will not affect the monitors.

This is not the case for the EQ section and gain control of every channel, where even running pre fader, everything else on the channel affects the monitors.

For example, let’s say you want a little more 3 kHz in a vocal out front - adding it via your channel EQ will also add it to the monitor as well. And this may not be favorable to whoever is getting that particular monitor mix; it may sound too thin and be on the verge of feedback.

By the way, one way to combat this is to put a separate EQ in line of each monitor send. 

In A Good Way?
Now, with all of this (and more) going on, the house still needs to be mixed, and keeping in mind that almost anything done to the mix out front will almost certainly affect the monitor mix. Will it affect it in a good way? Dream on!

Therefore, I threw in the towel years ago and came up with a separate monitor system that is cost effective, mobile, easy to set up/take down and keeps the musicians happy. And, it works well if you work with one particular band or several.

My gear list includes a 16-channel rack-mount mixer, two dual-15-band equalizers, a 16-channel rack-mount snake, a 1/4-inch patch bay and a rack on wheels.

Of course, depending upon need, the size of the console and snake can vary, and compressors, gates and effects units (and so on) can be added. Digital consoles also provide a lot of the comps, gates, effects and more that used to require separate outboard gear.

The main thing is to try to keep it all in one reasonably sized rack and pre-wired as much as possible.

I roll this on to the club stage, and then run three sub snakes: stage right, stage left and drums. These sub snakes plug into the splitter snake, which is mounted in the front of the rack.

The patch bay is also mounted at the rack front, and it provides sends to the monitor wedges, which are powered, by the way. (There are some amazing powered monitors these days.) When using non-powered wedges, I simply route from the patch bay to the monitor amplifier rack.

The only thing left to do is plug the splitter snake into the FOH snake, and then plug in the power. Having all connections at the front of the rack makes for fast and hassle-free interconnect, one of the big objects of this exercise.

When the band arrives, I dial in this monitor system for them, and then leave the rest to them. Each person in my band is familiar with this rig, and makes adjustments themselves throughout the night as needed.

If working with a different band, I still dial it in at the beginning of the night, with any adjustments made quickly during a break.

Driving Them Crazy
This, of course, brings me to the point that the monitor system needs to be as simple to operate as possible, and thus, it’s the reason I don’t include extra effects units.

Our drummer, however, does want some effects in his monitor, so I set him up with a small rack containing a rack-mount mixer and the effects unit he prefers. His monitor send routes to this rack and then to his wedge.

As you can imagine, the drummer was very happy about this. But the addition of effects to the vocals, guitar and keyboard in his mix drove the rest of the band crazy, because they could now hear reverb on things they didn’t want to hear it on. (Sigh…)

To fix this problem, I send two mixes from the monitor mixer to the drum mixer. One mix has the vocals and instruments, the other just the drums. Effects are applied to the drum mix only, with the other mix remaining “dry.”

Hurray! There’s nothing like a relatively content band, and we’ve been doing it this way long enough for the drummer to get quite good at changing his settings with his drumsticks.

I’ve yet to meet a FOH mixer that has expressed any sort of strong desire to mix monitors, and truth be told, most of us originally got into this line of work with the goal of working FOH.

So to all of you who take on the vital role of mixing monitors, simply, “thank you.”

And for the rest of us who are required to try to come to grips with doing both within the same show, remember, a little separation – as in separate systems – can go a long way to making the situation tenable for ourselves and the band.

With more than two decades of experience working with sound, Tim Andras is the mix engineer for the Tampa-based band Stormbringer and at Harborside Christian Church.

{extended}

Architectural Acoustics By Peavey Debuts PHR Series Ceiling Loudspeakers

A tap selector switch allows for easy system tuning and configuration for 70-volt or 100-volt distributed systems

Architectural Acoustics by Peavey introduced the new PHR Series loudspeakers, designed specifically for compact, in-ceiling operation in permanent installations, at the 2009 InfoComm show in Orlando.

The Architectural Acoustics PHR Series ceiling-mount enclosures are designed to provide high-intelligibility voice, program music and versatile signal reproduction in commercial, industrial and institutional applications.

A tap selector switch allows for easy system tuning and configuration for 70-volt or 100-volt distributed systems, and a full selection of taps up to 60 watts (model dependent) and an 8- ohm transformer bypass setting are included for maximum system versatility.

The UL-compliant enclosure is constructed of high-impact, injection-molded plastic and includes a press-fitted grille design that blends well with contemporary architecture. PHR Series enclosures are housed in steel backing cans and include two color-coded, screw-locked flying leads in a wiring chamber to allow for easy system wiring and daisy-chain wiring to additional PHR enclosures.

A C-shaped backing plate support and tile bridge brackets are included.

PHR 860
• 8-inch woofer with a 1.2-inch voice coil, polypropylene cone and rubber surround
• ¾-inch soft-dome tweeter
• Power handling: 90W (thru mode); transformer taps 60W, 30W, 15W, 7.5W, 3.75W (70V), 100V capable
• Frequency response: 80 Hz to 20 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 91 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 12.44-inch
• Overall depth: 11.3-inch
• Cutout diameter: 11-inch
• 12.5 lbs.

PHR 860S Sub
• 8-inch woofer with a 1.2-inch voice coil, polypropylene cone and rubber surround
• Power handling: 100W (thru mode); transformer taps 60W, 30W, 15W, 7.5W, 3.75W (70V),100V capable
• Frequency response: 55 Hz to 100 Hz, +/- 6 dB
• Crossover frequency: 120 Hz
• 89 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 15.75-inch
• Overall depth: 12.75-inch
• Cutout diameter: 14-inch
• 14.5 lbs.

PHR 630
• 6.5-inch woofer with a 1-inch voice coil, polypropylene cone and rubber surround
• ¾-inch soft-dome tweeter
• Power handling: 50W (thru mode); transformer taps 30W, 15W, 7.5W, 3.75W, 1.9W (70V),100V capable
• Frequency response: 90 Hz to 20 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 89 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 10.2-inch
• Overall depth: 8.6-inch
• Cutout diameter: 8.8-inch
• 7.6 lbs.

PHR 410
• 4-inch woofer with a 1-inch voice coil, polypropylene cone and rubber surround
• 1-inch duo-dome polymer tweeter with phase plate
• Power handling: 40W (thru mode); transformer taps 10W, 5W, 2.5W, 1.25W, 0.63W (70V),100V capable
• Frequency response: 115 Hz to 13.5 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 86 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 7.9-inch
• Overall depth: 7.87-inch
• Cutout diameter: 6.57-inch
• 4.6 lbs.

Architectural Acoustics By Peavey Website

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

{extended}

Shure Extends Rebates For 700 MHz Wireless Systems In Canada To December 31, 2009

Customers may submit rebate forms to SF Marketing – Shure’s Canadian distributor

Shure Incorporated is extending its Canadian rebate program of up to $1,200 for the trade-in of Shure 700 MHz frequency band (698-806 MHz) wireless systems and related components and for any other manufacturers’ qualifying 700 MHz frequency band wireless systems and their related components until the end of the calendar year – December 31, 2009.

“Due to the current economic crisis, there are some dealers who have not been able to take advantage of this program yet, and we want to do what we can to help them,” said Mark Humrichouser, General Manager of Shure’s Americas Business Unit.  “In addition, the response to the rebate program has been overwhelmingly positive so far, which is also why we’re extending the rebate until the end of the year.”

Customers may submit rebate forms to SF Marketing – Shure’s Canadian distributor, with the purchase of any UHF-R, ULX, MX690/SLX4L, PSM 700 (H3, L2 bands), or PGX wireless system.

To help customers with the transition and to better understand the changes to the RF frequency regulations, SF Marketing has a team of experts who are available to answer questions and to provide solutions to technical challenges associated with the new legislation.

For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible for the rebate program, and to obtain a rebate form, visit http://www.shurecanada.com/ProAudio/EN/index.html and click on the “Trade-in & Trade-up” banner in the center of the page.

Shure Website
SF Marketing Website

{extended}

Drummer Tracy Broussard Tours With Blake Shelton & Drum Kit Loaded With Sennheiser evolution Mics

“We might be using the mics in different applications but they’re really coming through." - Tracy Broussard, drummer

When Tracy Broussard moved to Nashville from his native Louisiana 13 years ago to pursue his musical dreams, he had no prospect of a steady gig.

Now, with a new drum kit and a top five spot in the country music category in Modern Drummer magazine’s recent poll, Broussard is a Sennheiser endorser currently on the road with Blake Shelton as an opening act for country music legend George Strait every night.

Broussard has long used a full complement of Sennheiser evolution series microphones on his drums.

Performing behind Blake Shelton – a multi-platinum selling country artist who has racked up five number one singles – Broussard has brought a couple more Sennheiser mics into the mix to cover his expanded setup.

“I have a unique setup for country music,” he explains. “I have a 16 x 16 floor tom turned on its side that I’m using as a ‘jungle’ kick drum. That’s used for a couple of songs Blake has that have drum loops on them. I’m using a (Sennheiser) e 902 on that.The idea is for it to sound distinctly different than the primary kick drum, so it gives kind of a round [Roland TR] 808 [drum machine] tone.”

For a long time, he continues, he has used an evolution e 602 on the outside of his regular kick drum. “That mic alone just sounds incredible. It’s always sounded great on every kick drum I’ve played. Then we incorporated the e 901 inside,” he says. “Having the 901 and the 602 filled in all the gaps – if there were any that I didn’t know of – and just totally spoiled me.”

In combination with the 22 x 20 mahogany kick drum on his new Pearl Reference kit, he says, “There’s an amazing sound that comes out of this drum. It just floors me every night.”

An e 905 captures all the nuances of Broussard’s various snare drums. “I’ll never forget the first night I played the kit with that 905. It made all the difference in the world,” he recalls. Whether he’s using a 14 x 5-inch aluminum or a 14 x 6.5-inch brass snare drum, he says, “The e 905 really brings out the characteristics of each snare drum I use.”

A 12 x 7 auxiliary snare drum that is also brought into play for the loop-based songs is miked with an e 604, which is more typically a tom mic. “We might be using the mics in different applications but they’re really coming through,” he says.

Initially, Broussard used e 604s on his rack and two floor toms, he says. At the suggestion of Tim Moore, Sennheiser’s artist relations manager, he switched up. “We started using e 602s with the larger diaphragm on the floor toms. The low-end I’m getting with those on these new maple/mahogany mix floor toms with the combination of Aquarian drumheads is just killer.”

The hi-hat and ride mics are e 614s and the overheads are e 914s. ”We started using the ride cymbal mic about a year ago and it really cleared up my mix. I didn’t have to have my right overhead predominantly over the ride cymbal and lose my last crash,” explains Broussard.

“Plus,” he adds, “I have a tambourine mounted underneath my ride cymbal, and having the 614 right under there, that comes out, too.”

Broussard is thrilled with the consistency that the Sennheiser mics bring night after night, regardless of the drum kit he is using. But, he stresses, “I can’t say enough about these mics being roadworthy. First of all, you need the durability. Secondly, you need the product support. I can’t remember the last time we had to swap something out because it wasn’t working or whatever. But if it does happen, the product support is great.”

To pass the time on the road, Broussard has set up a website for drummers (www.roaddawgonline.com) where he posts interviews and roundtable discussions, equipment reviews and photos.

“We’ll talk about festivals, catering, drums, port-a-potties, whatever. It’s gotten me back into drums again. I was getting a little jaded. Now I’m checking out other guy’s kits, and through these interviews I’m learning their stories. Plus, it’s bringing the drumming community closer together – especially in Nashville.”

Sennheiser USA Website

{extended}

Crown Expands Range Of CDi Series Of Fixed Installation Amplifiers With New CDi 6000

The CDi 6000, like the other amplifiers in the series, has the ability to run both low-impedance two-, four- and eight-ohm loads as well as 70- and 140-volt outputs

Crown Audio introduced the CDi 6000 amplifier, the fourth amplifier in the CDi Series, at the 2009 InfoComm show in Orlando.

“The CDi 6000 provides an unmatched combination of processing, power and a competitive price that makes it the clear leader in its class. The new CDi 6000 is a reflection of our commitment to providing integrators with the greatest range of options for power and scalability for the challenges that each individual installation presents,” stated Brian Divine, director of marketing for touring and installed sound for Crown.

The CDi 6000, like the other amplifiers in the series, has the ability to run both low-impedance two-, four- and eight-ohm loads as well as 70- and 140-volt outputs. 

The amp also features 20 available presets that can be recalled at the touch of a button. All CDi amplifiers can be controlled and configured through Harman HiQnet System Architect. 

All CDi Series amplifiers feature an intuitive front panel LCD display that guides installers through their configurations. All amps in the CDi series also offer onboard DSP for loudspeaker signal processing. 

Other features include a switch-mode universal power supply, useful function indications, proportional-speed fan-assisted cooling, removable Phoenix-style inputs, as well as barrier strip outputs for 70V/100V/140V loads.

Equipped with Crown’s extremely light and efficient universal switch-mode power supply, each of the four CDi models weigh only 19 pounds and can be conveniently and reliably run off of a standard 15-amp outlet.

Power output ratings on the CDi 6000:
• 3000W per channel at two ohms
• 2100W per channel at four ohms
• 1200 per channel at eight ohms
• 2500 per channel at 70V
• 6000W in bridge-mono mode at four ohms
• 5000W in bridge-mono mode at 140V

Crown Audio Website
Harman Professional Website

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

{extended}

Magical Mystery Spec: Why Is Distortion Overlooked In Loudspeakers?

The sooner we can begin to understand typical distortion in these devices and its effect on our work, the sooner improvements in performance can be made that can result in better sound

Almost everybody in the pro audio business is a specification or “spec” junkie. From folks on the recording side to the sound reinforcement practitioners, we all want every detail of the technical performance of every piece of equipment in a system.

Specs seem extremely important, particularly those that represent a numerical improvement from past products, which are heralded as an advantage. 

But man cannot live by specs alone. Quite often, those who turn to specifications to answer questions should instead be using their ears for the answer. You see, specs are all too often taken at face value, whether they’re actually relevant or not.

Manufacturers sometimes take advantage of this propensity to over-emphasize specs (and who can really blame them?) but sometimes it comes at the expense of real performance and value. Why is this phenomenon so prevalent in our industry?

The most straightforward answer is that it’s a by-product of a craft that has a highly subjective final product. It would be nice if we could judge the performance of the work via strictly objective measurement. But it’s not that easy. Therefore, the next best thing for sound professionals to do is point at the specs of as a validation of choices, system designs and configurations, and mixes.

No audio equipment spec is more revered than distortion. (O.K., a bit dramatic, but work with me.) Distortion is measured to two and sometimes three decimal points on almost every piece of equipment in the signal chain. From the input of the console to the output of the amplifier, every fraction of a percent of distortion is stressed.

Sure, this makes some sense from the standpoint that the sum of distortion throughout a signal chain can add up to something that could be easily heard and perhaps detrimental to audio quality.

But here’s the key question: What audio products do we rarely see distortion specs for? Transducers! Yes, somehow microphones and loudspeakers slip right under the distortion radar.

In many cases, I suspect that those who design and produce these products never even measure distortion. Leading to our next question: why? My best guess is that distortion measurements are omitted because they would be shockingly “substandard,” to put it kindly.

Mics are the first “acquisition point” for what is fed to a sound system. These electromechanical devices convert acoustic energy into electrical energy. We’re starting to see some digital mic concepts emerge, and some of these offer designs with the potential to lower distortion and therefore improve accuracy.

That said, I believe that distortion in mics is fundamentally different than distortion in loudspeakers. Mic distortion is part of the acoustic signature (or “sound”) of the device, which can be an important part of the creative process.

For example, a mic can “color” a source sound in a highly pleasing way, and very importantly, this applies only to that particular source, leaving the rest of the mix unaffected. Therefore, I tend to think that any distortion spec for a given mic would not be all that critical in telling us much that is meaningful about its performance. Further, this “data” likely would be very hard to qualify.

Not Talking Fractions
Loudspeakers, however, are a whole different ballgame. The measured distortion produced by many loudspeakers is quite high indeed - we’re not talking fractions of a percent, rather, figures in the high single digits and even double digits.

Simply, this is a huge number compared to the total sum of electronic distortion that is created through the signal chain in a typical system, and perhaps most significantly, it applies to all output, not a single source.

In other words, loudspeaker distortion colors the entire mix. And it is even more detrimental because the distortion can wildly vary at different points throughout the coverage area of the loudspeaker. Further, it can vary throughout the bandwidth of the device.

As an industry - collectively - we’ve never demanded that manufacturers provide distortion specs on loudspeakers for comparative purposes. In addition, no manufacturer has ever made distortion the cornerstone of a marketing campaign.

To do this would require pointing out the fact that loudspeakers are, by their very nature, relatively high distortion devices, in turn prompting the need for real education on why a distortion spec matters, and also, why lower is better. The only realistic way that distortion in loudspeakers can be addressed: publish the specs and then work to improve on them.

Therefore it might be time, as an industry, for us to start to paying much closer attention to the concept of distortion in transducers, and specifically, loudspeakers. The sooner we can begin to understand typical distortion in these devices and its effect on our work, the sooner improvements in performance can be made that can result in better sound!

Michael MacDonald has been involved in the professional audio industry for more than 30 years. Beginning as a freelance mixer/engineer in the 1970s, he transitioned to working for manufacturers and has been employed by, developed products for, and consulted with major companies, and currently is serving as a VP for Harman Professional.

{extended}

EAW Introduces Flexible DX1208 DSP Matrix Mixer For Commercial/Installation Applications

DX1208 incorporates features that are the direct result of end-user feedback

The new EAW DX1208 DSP matrix mixer, introduced at 2009 InfoComm in Orlando, is designed to meet the needs of a wide range of commercial and installation applications, incorporating features that are the direct result of end-user feedback.

The DX1208 is a 12-input, 8-output 1U rack-space DSP matrix mixer, with eight inputs mic/line capable and selectable 48-volt phantom power provided when the user selects mic level.

Four additional inputs on unbalanced RCA connectors allow the users to “stack” inputs, increasing the number of audio sources that can be connected.

An additional four digital inputs are available on S/PDIF with sample rate conversion to 48 kHz. All 12 inputs are included in the audio matrix and can be assigned DSP functions prior to distributing signal at line level.

The DX1208 can also receive up to six logic inputs and send up to three logic outputs, combined on a single 18-pin connector and programmable via the included EAW DX Navigator software.

The DX1208 has serial RS-232 remote capabilities via a DB9 connector on the rear panel, for control by AMX/Crestron and other third party integrated control systems. Two RJ-45 connections are provided as well, for linking multiple (up to eight) DX Link-enabled products together in a ring network topology.

A remote control port (RJ-25 connector) is included on the rear panel, facilitating the linking of two different types of remotes, all mounted on wall panels. Up to 10 remotes can be attached to the DX1208, and each is individually addressable.

The DX1208 is supplied with EAW DX Navigator software that allows access to all of the system’s settings and configurations. The expected range of user-adjustable processing such as EQ filters, gates, compressors/limiters, priority assignment, delay, gain and crossovers are included.

In addition, up to 24 programmable presets are available per DX1208; the programming interface is flexible, with connection via the USB port on the front panel or the Ethernet jack or DB9 connector on the rear panel. The DX1208 employs a universal power supply, 100-240 VAC, 50/60 Hz.

DX1208 Features:
• 32-bit DSP and 24-bit analog-digital conversion
• Eight balanced mic/line inputs and four unbalanced line inputs
• Four digital input channels via S/PDIF
• Six programmable logic inputs, three programmable logic outputs
• 16-channel DX Link expansion bus
• USB, Ethernet and RS-232 connectivity

EAW Website

{extended}

New JBL Control CRV Loudspeaker Provides Combination Of 70V/100V Transformer And Weather Resistance

Control CRV also offers contemporary, curved design and a wide range of configurations

The new JBL Professional Control CRV loudspeaker, introduced at 2009 InfoComm in Orlando, affords numerous mounting options and a wide range of configurations, providing a wide variety of solutions in terms of coverage, appearance and mounting.

Immediately noticeable is the Control CRV’s unique, contemporary, quarter-round design that makes a modern design statement, adding to any venue’s visual aesthetics in either a wall-mounted or corner-mounted configuration.

In addition, this sleek appearance serves a notable functional purpose, as the Control CRV is combinable into half-round, three-quarter-round or a full, 360-degree round arc cluster that is suspendable from the ceiling via a fan pole assembly. 

A single Control CRV mounted at a wall-wall or wall-ceiling junction physically curves across the junction, acoustically coupling with the adjacent surfaces, widening the sound field, and producing an increased sense of sonic spaciousness.

A multi-tap, 30-Watt transformer allows for use on 70V or 100V distributed speaker lines, providing the capability to run multiple speakers on a single amplifier channel as well as individual level taps for each speaker and the ability to be connected via long cable runs. 

Available in either black or white, both models have a high level of weather resistance, allowing the loudspeakers to be located either indoors or outdoors.

The 75 Watts continuous pink noise power handling (300 Watts peak) and dual 4-inch Polyplas woofers provide superb sound quality. Frequency range is specified as 80 Hz-20 kHz.

“With the Control CRV, the contemporary design, configurability — and of course, excellent sound quality — give designers and integrators a great range of versatility from one loudspeaker,” said Rick Kamlet, Senior Director, Commercial Installed Sound, JBL Professional.

JBL Professional Website
Harman Professional Website

{extended}