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Thursday, July 02, 2009

The “Vibe” Is The Thing: Monitor Wedges Or In-Ear Monitors Or Both?

Insights, clearing up misconceptions and approaches on monitor wedges and in-ear monitoring systems

The first time I saw a show where stage wedges weren’t used as the primary monitoring system was a Steely Dan tour in 1993.

The rumor at the time was that founding players Donald Fagen and Walter Becker only agreed to tour if their long-time studio engineer and “audio wizard” Roger Nichols agreed to mix monitors, including in-ear monitoring systems (IEM).

I attended a rehearsal with a couple of colleagues (all audio engineers), and during a break, I asked Nichols about the rumor, which he confirmed to be true.

As a result of that experience, the importance of the role of the monitor engineer dramatically increased in my eyes.

Also during that rehearsal, I noticed that there were some microphones at the front edge of the stage pointed toward the audience. Nichols told me they were there so the musicians - again, using IEM - could hear the audience and get a sense of how they were being received.

In other words, without that additional input, they’d think the audience wasn’t digging the show. Interesting! Of course this is old hat now, but 12 or so years ago it was news to me.

Over the intervening years, these and other related concepts have me thinking about how the role of the monitor engineer has changed.

To get up to date on the subject, I contacted a number of monitor engineers who have worked with both wedges and IEM, including Ian Beveridge with Foo Fighters, William Miller with Josh Groban and Chris Sharp with Rob Thomas. Each provided insight on the topic while dispelling some of my misconceptions.

Although so many artists have moved to IEM during the past decade, there are still plenty that still prefer wedges and sidefills.

And many acts use a combo of both. Beveridge, in fact, notes that only one band he’s worked with over the years has been completely on IEM.

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The only common element I could find is that for many “more experienced” performers, particularly in the rock ‘n’ roll genre, wedges are the norm.

Obviously, artists in this genre want to interact with the audience, and they also have performed for decades using wedges, so it’s their “comfort zone.”

Further, they want to “feel the vibe” of the show, and frankly, this is easier with wedges because the audience, backline, mains, wedges and fills all forge a cohesive overall soundscape for artist and audience alike.

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Miller puts it this way: “In a traditional wedge situation, your job as an engineer is to augment the world on stage. There’s already some sound happening up there, some acoustic energy. In other words, there’s sound present before you ever switch on your console.”

There are several reasons for the trend toward IEM and away from wedges. The most obvious is leakage, i.e. loud volume on stage makes it more difficult to mix because of bleed into the stage mics, reducing isolation and therefore control. And, feedback (or at least the potential for it) is always a cause for concern.

That said, Miller and Beveridge both feel that the job can still be done just as well with the traditional tools. According to Miller, “Feedback is most often caused by improper gain structure, misplaced monitors and poor equalization.”

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Beveridge adds: “Modern mics and loudspeaker technology allow you to make a very good sounding conventional monitor system with whatever coverage you like - sound quality does not have to be sacrificed for volume.”

But on the issue of stage coverage, Miller doesn’t completely agree. “Assuming no RF (radio frequency, with wireless systems) problems, an IEM mix is going to sound relatively the same no matter where you are on stage,” he notes.

“Obviously this isn’t the case with wedges. However, on a recent tour I found that by using line array loudspeakers as sidefills we could really provide the ‘sonic glue’ to the stage sound. The vertical consistency certainly helped to widen the ‘sweet spots’ on stage and provided a fuller sound when performers weren’t right in front of their wedges.”

Performers are also interested in protecting their hearing and feel that this can be better accomplished with IEM. Sharp adds: “It’s always nice to start off with your lead singer on ‘ears.’ It makes life easier at FOH when the engineer doesn’t have to fight stage wedges blowing into mics.”

Finally, the use of IEM can result in less stage “clutter,” which is desired by some artists and production designers in addition, to providing added space for things like more elaborate dance sequences.

To all of this, Miller lends a bit of perspective: “Now, performers don’t have to make a choice between good sound and a massive set. Artists have always used the entire stage for performances - think of Michael Jackson and The Rolling Stones in the 1980s - but with IEM, artists can take their mixes with them wherever they go on that stage.”

More Responsibility
Because IEM systems for touring are generally wireless, monitor engineers are sometimes faced with the need for more of a working knowledge of RF issues, frequency coordination and wireless system maintenance.( In addition to often being responsible for vocal wireless mic systems.)

Due to the added challenges of more wireless, one misconception can easily be dispelled, which is that using IEM saves time in comparison to setting up and “ringing out” a wedge/sidefill system.

“When you have as many wireless channels as I was dealing with on a recent tour, tuning for clear frequencies took as much or more time than tuning wedges,” Miller explains.

Sharp agrees, adding: “You must do your homework and know what frequencies that you as well as other bands are using at a particular gig site in order to avoid train wrecks.”

Most wireless manufacturers offer resources to help in this regard, and fortunately, current systems provide both RF and sound quality that is better than ever.

Longing For Better
During my touring days, I was well aware of how much difference that mics could make in terms of vocal quality, stage bleed and resistance to feedback.

For example, it’s not wise to use a single wedge directly behind a hypercardioid mic; rather, far better to use two wedges, each placed at the “nulls” of the hypercardioid pattern.

At the time, my choice for vocals was usually a Sennheiser MD431, an “old-school” high-end dynamic mic that sounded great and was very good at resisting feedback.

But still, I longed for something better, and the condenser mics I tried at that time sounded a bit harsh for my tastes, plus they tended to pick up too much stage wash.

Later, when I worked with Neumann, I was part of the team that developed the KMS105 handheld condenser. And although it picks up more stage wash than most dynamic mics, the sound is quite good with certain singers, particularly jazz vocalists where excessive stage volume is not the norm.

Additionally, at the time of its creation, the idea that vocalists were moving toward IEM was already in play.

Over the past decade or so, there’s have seen a sort of renaissance with respect to mics, a renewed passion for new and improved designs.

“In the past, the subtleties of mics were much harder to detect, but with higher fidelity concert systems, everyone is looking for the very best sound possible. And the best sound starts with the right microphones,” Miller notes.

In addition, these newer mics are more rugged and less expensive than they used to be, and condensers designed for both live applications and the rigors of the road are in abundance.

Beveridge also considers mics to be part of a larger picture of what’s happening on the stage: “Spill must be given a lot of consideration. What may make a snare-top sound amazing may absolutely destroy the rest of the drum sound.”

For Dave Grohl’s vocals, Beveridge uses a MD431 mkII, a new version of the old classic, for its flat response, lack of distortion regardless of level, good rejection and stability against moisture and humidity.

“It’s a good example of modern materials technology applied to an older design,” he says of the MD431 mkll. “The Neumann 105 is an amazing sounding mic but it would be useless for the Foo Fighters because of the amount of ambient sound it collects. We used a Crown CM310 for Kurt Cobain because of its amazing rejection.

“Both mics are condensers but at the opposite ends of the spectrum as far as picking up stage bleed.”

Most Important Thing
In talking to these highly qualified monitor engineers, I’ve come away with the impression that the “vibe” is the most important thing with monitor mixing, whether it’s done with IEM or wedges or both. But with IEM, there’s more of a mix challenge.

“In an IEM situation, there is no vibe - the mix engineer is responsible for building the artist’s entire world,” says Miller. “In my view, this is what separates a mix where you can simply hear everything from a mix that is exciting, dynamic and inspiring to the performer.”

Of course, there’s an art to creating this world, and everyone approaches it differently. What I saw with Steely Dan back in ’93 was a pair of AKG C3000 mics, one on each side of the stage, pointed out towards the audience.

Several years later, while touring and recording what would be the Mirror Ball album, Sarah McLachlan and band were outfitted with a combination of different mics at the edge of the stage, in combination with shotgun mics hanging from a front stage truss.

I found this interesting, because it reminded me a lot of how large audiences are mic’d for events like award shows. Generally, it’s done to pick up the overall “wash” of audience response, but is also key in getting some of the individual clapping and vocalization of audience members to provide the sound some added immediacy.

“Don’t just set and forget audience mics, place them with the same care you would for any other mic,” Miller cautions. “In fact, I’m more obsessive with audience mics than most others I use on stage because they can make or break your performance.

“With Josh Groban, I’ve used up to six and am considering taking more next time. Covering a crowd 17,000 is difficult, but you have to make a huge audience sound huge.”

Miller also employs some additional tricks, sharing one in particular. “While I don’t time-align stage mics, I find aligning audience mics to be absolutely critical, especially when some of them are placed at FOH, which I tend to do,” he explains.

This parallels nicely with something that Sharp points out, which is the importance of time alignment for wedges and fills. “I time align my center wedge mix to my sidefills, and am careful about the quality of my mixes without having to over-EQ,” he says. “’Ears’ take away the time-alignment issue, at least for the most part.”

Not As Expected
The world of monitors has definitely changed since IEM came along, but not always in the ways I had expected. With the addition of audience mics and wireless systems, running monitors on IEM is a more sophisticated operation than the standard wedge/side fill method – of course, with some notable exceptions.

At the same time, with proper gain structure, mic placement and loudspeaker placement, there’s no reason to abandon wedges.

However, I do think that with the proliferation of better quality wireless, mics and PA systems, as well as more demands from artists, there will be more using the IEM approach. By the time we get it perfected, naturally, some new technology will come along.

Digital wireless cochlear implants, anyone?

Karl Winkler is Director of Business Development for Lectrosonics and has worked in professional audio for more than 15 years.

More articles by Karl Winkler on PSW:
Back To Basics: Seven Habits Of Highly Effective Sound People
Steps You Can Take To Improve Your Mix Right Now
Things I’ve Noticed About Working With Sound, And What They Might Mean
Top 10 Reasons For Bad Sound (And What You Can Do About It…)

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Product Review: DiGiCo SD8 Digital Mixing Console

What can this new digital console offer your church sound system?

DiGiCo has come out with a steady stream of digital consoles utilized in a wide range of sound reinforcement applications, including larger church sound reinforcement systems.

The company’s most recent development, the SD8 digital console, has 60 stereo or mono channels available (the equivalent of 120 channels of DSP)—plenty for most churches—and certain key functions are available on all channels all the time, in contrast with some digital consoles that don’t offer consistent processing on all channels.

How does it work, and how well does it work? Is it worth a look?

Click here to check out John F. McJunkin’s in-depth audio product review of the DiGiCo SD8 digital console featured in the June 2009 issue of Church Production, and also featured on http://www.churchproduction.com

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Sigmet Corporation Named Commercial AV Rep Of The Year For Middle Atlantic Products

Sigmet represents Middle Atlantic in both the northern (NY Metro) and southern (Eastern PA, DC and Virginia) territories

Sigmet Corporation was named Commercial AV Rep of the Year for Middle Atlantic Products at the company sales meeting prior to 2009 InfoComm in Orlando.

Located in Manalapan, NJ and Valley Forge, PA, Sigmet represents Middle Atlantic in both the northern (NY Metro) and southern (Eastern PA, DC and Virginia) territories.

Commenting on the award, Craig Decker, Northeast Sales Director for Middle Atlantic Products, stated, “We chose Sigmet this year based on their results and a variety of factors. Besides exceeding sales goals for 2008, they’ve continued to grow not one, but two territories in the Northeast region.

Decker continued: “Their professionalism, commitment and successful track record earned them this recognition.”

Sigmet Corporation was founded in October 1987, the result of the joining of two well established rep firms, Metrorep Sales of Freehold, New Jersey and Signal Marketing of Valley Forge, Pennsylvania.

Sigmet offers its principals over 80 years of combined experience in the field of manufacturers representation, and employs 13 outside salespeople.

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Two complete support offices are maintained, with managers, one in each of the primary markets served, with a remote office for the new territory of upstate New York.

Middle Atlantic Products Website

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Eventide Releases v2.3 Software for PitchFactor Harmonizer Stompbox

User-driven features and enhancements added

Eventide has announced the beta release of v2.3 software update for its PitchFactor pitch and delay stompbox, providing enhancements and features suggested by PitchFactor users from around the world. 

Effective immediately, registered PitchFactor owners can log on to eventide.com and download the new software directly into their PitchFactor at no cost.

The new enhancements include new scales for the Diatonic and Quadravox effects. Users can now select from the following:
[MAJ] - Major
[min] - Minor
[DOR] - Dorian
[PHRG] - Phrygian
[LYD] - Lydian
[MLYD] - Mixolydian
[LOC] – Locrian
[Hmin] - Harmonic Minor
[Mmin] - Melodic Minor
[Wton] - Whole Tone
[ENIG] - Enigmatic
[NPLT] - Neopolitan
[HUNG] - Hungarian

Also added is the ability to lock Expression Pedal programming, the ability to more easily select from the 100 supplied user presets using the select knob, a wider range of Tuner calibration, and the ability to control PitchFlex via MIDI continuous controller messages.

“With this release, PitchFactor is better than ever” said Ray Maxell, Eventide vice president of sales and marketing. “The upgradeability of our stompboxes allows us to continually improve these products based on user comments and requests. In fact, by virtue of our painless web-based software update system and web forums, the community of Eventide Factor users has become an integral part of our development team.”

The PitchFactor Harmonizer pitch and delay stompbox features:
• Up to 1.5 seconds of stereo delay and up to 4 voices of intelligent pitch shifting
• Software upgradeable via USB 2.0
• MIDI control via USB or MIDI in, out/thru
• Instant program change
• Real-time control with 10 knobs, MIDI, or expression pedal
• Tap tempo and MIDI clock sync
• True analog bypass
• Rugged cast metal construction
• Reliable metal footswitches for instant preset access
• Mono or stereo operation
• Guitar or line level inputs and outputs

PitchFactor includes Eventide’s 10 best signature pitch+delay effects: Diatonic, PitchFlex, Quadravox, Octaver, HarModulator, Crystals, MicroPitch, HarPeggiator, H910 / H949, Synthonizer

PitchFactor was released in March 2009. MSRP is $579, street price is $499

Eventide Website

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Community Debuts Color-Matched Grilles & Yokes For WET, R-Series Loudspeakers

Will enhance the product’s weather-resistance as well as improving the appearance

Community Professional has enhanced its WET and R-Series loudspeakers, ideal for outdoor sound reinforcement, with the introduction of color-matched grilles and yokes with improved weather-resistance. 

As an example, Community’s R-Series, beginning with the model R.5HP, will gain attractive, two-layer, powder-coated steel yokes and grilles. 

These will be light gray in color, to match the enclosure, and will enhance the product’s weather-resistance as well as improving the appearance.

The rest of the R-Series product line will receive the same makeover later this year (the R6 will remain black). 

Similarly, Community’s WET Series II will gain attractive, stainless steel grilles and yokes with two-layer powder-coating to match the choice of white or black enclosures.

“It’s been ten years since Community introduced the original WET228 and R2, which may be the single most important advance in school systems in the last decade,” said Bruce Howze, Community’s President and Chief Engineer.

“These new refinements to our all-weather mounting hardware will ensure an even longer lifespan for R-Series and WET products, many of which already outlast not just the competition, but sometimes even the buildings they’re installed on.”

Community Professional Website

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Wednesday, July 01, 2009

The Accidental Electrician: A Tale Of Eliminating Dreaded Sound System Hum & Buzz

The primary point in dealing with ground loops: treat the causes, not the symptoms, all as part of the quest for ultimate system quality and performance

There’s no better feeling than when you’ve set up your system and powered it up to find it lacking any noise. 

This is no major feat when you have your own electrical distribution, but when you’re relying on the house or festival distribution, things can be a bit more dicey.

The classic scenario when the system powers up with a hum is for the operator to declare “ground loop!” followed by muttering and cursing while digging in the accessories box to locate the power cord cheaters.

I find it funny how a device that’s supposed to be used to provide an electrical ground connection on older two-prong outlets is most often employed to lift the ground instead.

But I often see that the whole ethereal concept of a “ground loop” is a distraction from one big fact: not every hum is from a ground loop.

What seems to be nearly universal is that a lot of folks don’t understand that the existence of a ground loop is not actually the cause of a ground loop hum.  A ground loop is an existing condition that is exploited by the true problem, which is an electrical current flowing through the loop.

Just so we’re all on the same page, a ground loop occurs when there are multiple ground paths between two pieces of gear. Typically, these paths are through the electrical ground, the audio wiring shield, and through shared chassis contact when together in the same rack.

Carefully designing a system to not have ground loops is certainly a valid engineering endeavor, which goes to my primary point: treat the cause, not the symptom.

An Interesting Case...
I had one system upgrade project at a mid-sized church here in Washington state where the sound system had a buzz problem that historically had not been solved.

When the original system contractor and I first walked into the sanctuary, the buzz was immediately apparent. The contractor turned to me and said, “Oh by the way, we’re going to solve their noise problem too.” Which was to say, “You need to fix this because I can’t.”

I hemmed and hawed about how the problem could be from the transformer on the pole, but was actually just making stuff up out of thin air, aggravated about this additional time-consuming task being added to my already conservatively budgeted schedule.

But I got on with acquainting myself with the system. Much of it had been obtained as surplus from the 1986 World’s Fair in Vancouver. I was surprised to find a rack filled with Bryston amps, a few years of warranty left and working just fine!

What disturbed me was that everything at the amp rack was plugged into “cheaters” and Radio Shack power-line RF filters. Someone wasted a pocketful of cash to buy those, and it was simply very bad AC practice to boot. 

This led to fix number one: I removed all cheaters and filters, and the molesto mucho buzz was transformed into a simple hum. A step in the right direction.

No other obvious conditions that might be causing the hum could be detected at that point after eliminating the lighting dimmers as a source.

The Saga Continues...
Two days later, we were back, doing the first thing these projects often require: taking everything apart. As the week progressed and we slowly re-assembled the system, I got to a place where I could examine the power distribution. 

I strung an extension cord from one of the sockets at the amp rack to the front of house position, and then deployed a Wiggins (solenoid voltage tester) to check between the hot on the extension cord and the hot at the FOH outlets. 

As feared, it measured 208 volts, meaning that the two different power circuits were on differing phases. Time to root around in the breaker box…

The building had a modern electrical system, which is fortunate. I’ve run across some problems in systems that were on legacy electrical distribution, and short of violating code, there’s sometimes not a whole lot that can be done to fix a problem. 

Suffice to say that a dedicated electrical ground and a modern distribution system is imperative for safe, noise-free sound.

Four circuits in the breaker box were dedicated to the sound system, and sure enough, they were grouped together all in a column. This was a typical commercial three-phase breaker box with the phase alternating for every row. 

The shame was that I could tell by reading the written-over labels that originally, the sound system circuits had been on every third row. My guess is that a well-meaning electrician had thought it would be smart to group the circuits together during one of the church expansion projects.

So, fix number two: I returned the circuits to their original spacing.

It’s a good idea to have all the power circuits on an identical phase because power supplies can leak.  Float a piece of gear and you can usually measure a small voltage from the chassis to power ground. 

When the chassis is electrically grounded, this potential doesn’t magically evaporate, and under the right circumstances, it can actually help create a ground loop current. 

If there happens to be leakage from gear elsewhere in the ground loop and it’s of a different phase, an inter-chassis current can flow through the loop due to differing resistance in the multiple ground paths.

Having all the sound system gear on a common electrical phase minimizes the chance of having a leakage induced ground loop current.

In other words, less chance of current = less chance of hum.

Moving Right Along...
The original installation also included a remote power switch for the amp rack, which consisted of a key-switch on a panel at front of house that fed low-voltage AC from a doorbell transformer to the coil on a relay at the amp rack. Turn the switch, the relay closes and the amps have power.

The problem was that the electrical installer appropriated one of the shielded balanced lines running through the front of house to stage/amp rack conduit for the remote power switch.

I don’t care what kind of coupling was going on in that 80 feet of conduit because no matter how you look at it, what was happening in there was a sin.

Thus, fix number three: eliminating the remote power switch. We could have run an alternate line, but ultimately decided to skip the hassle and just do away with it.

Almost There...
When we got the system to the point where the console was re-patched and turned on, there was still a hum. 

What the heck?

Examining the console, I noticed some channels and sends marked “Bad, Don’t Use”. Perhaps it was just age, or maybe a surge during a lightning storm - the details weren’t really important, but the console had been in this condition for some time without repair.

And so, we implemented fix number four: replacing this faulty gear (combined with a lecture about surge protection).

We snagged the console from the church’s youth room and patched it in, and ahhhh - sweet silence! 

I thought we were home free.

One Final Twist...
The last day of the project, and nearing time for a sound check with the worship team, we patched in numerous microphones for vocals, piano, drums, guitar cab, as well as DI boxes for bass and keys. 

Opened the channels, pushed up the faders, and again there’s a hum. It wasn’t on just one channel, but almost every channel from the stage. Pull the faders down or mute the channels and the hum would go away, so the problem’s got to be before the console inputs. 

Phantom on or off made no difference. Dynamic mic, condenser mic, or DI also made no difference.

I hit the stage and started taking a closer look, and noticed the printing on the jacket of one of the mic cables.

This cable bore a respected name but had no business being there. And I had seen this before.

Whether the cable was the result of a manufacturing problem or possibly a counterfeit, it had no valid use anywhere in this sound system. It wasn’t even shielded twisted pair, but instead had dual shielded conductors that didn’t even appear to be marked for identifying + and - . And, the shields were tied together at both ends.

The first time I encountered this cable it caused a hum on any channel it was used. Now, looking across the stage, I saw upwards of two dozen of these demon-possessed cables from hell. This system never had a chance!

Finally, fix number five: A trip to the local pro audio store to procure suitable replacements, and before throwing the demon cables into the dumpster, I took the added precaution of cutting them into small pieces, lest anyone be tempted to salvage them.

Moral Of The Story...
For the first time in the history of this church, there was silence in the sanctuary with the sound system turned on.

And there wasn’t a single lifted ground or shield anywhere in it.

The church as so happy that they soon devoted funds to a new house console, as well as investing in proper surge protection.

I’d entered this quest reluctantly. It proved far more challenging that I had imagined.

And I’m really glad I pursued it all the way through to a successful outcome.

Solving hum and buzz problems is never easy, and it’s easily among the least glamorous facets of our work in sound reinforcement.

But the fact is that it can make all the difference in the world when it comes to the final result of any project.

Since his start 29 years ago on a Shure Vocalmaster system, James Cadwallader remains in love with live sound. Based in the western U.S., he’s held a wide range of professional audio positions, performing mixing, recording, and technician duties.

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More articles on PSW by James Cadwallader:
Coffee Beans & Microphone Techniques: The Desired Result Determines The Method
Feedback: A Big Necessity In Developing Quality Live Mixing Skills
How And Why Unity Mixing Can Make All The Difference In The World
Yes, Virginia, System Gain Structure Matters - Here’s Why
No Slave to Gear: Maximizing What You Get Out Of What You Have

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KRK Systems Now Shipping R6 Passive Studio Monitor

New monitor’s look and performance based on company's Rokit monitors

KRK Systems is now shipping the R6 passive studio monitor, which incorporates design cues from KRK’s popular Rokit line, including radically radiused edges along the front of the cabinet.

The R6, like its Rokit brethren, provides a sleeker, more modern look, including a molded front baffle also engineered to minimize diffraction of high-frequencies, resulting in a sweet spot that is significantly larger than products with square or lightly rounded baffles.

The baffle also houses a molded front-facing bass port that minimizes low-frequency phase distortion and unwanted frequency emphasis typical of rear-facing bass ports.

The R6 voicing is designed to mimic the voicing of KRK’s Rokit 6 monitor, which is noted for its accuracy and mid-range clarity. The R6 features five-way speaker binding posts, a precision crossover and is capable of handling 100 watts (RMS) of power.

“While powered monitors make up the majority of the studio monitor business, there is still demand for passive monitors. The R6 addresses the needs of broadcasters, project studios and home enthusiasts by providing legendary KRK precision and accuracy in a passive speaker,” said Tony Rodrigues, Vice President of Marketing for KRK Systems.

KRK Systems Website

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Production Hire Debuts Its New Martin Audio W8L Longbow Line Arrays At RockNess Music Festival

“The system definitely throws and there must have been 25,000 in front of it when Prodigy appeared on stage." - Mark Neal, Production Hire

When Production Hire realized the amount of summer festival work and autumn dance events that were available if the company could provide adequate PA coverage, proprietor Mark Neal decided it was time to invest in a new line array system.

After evaluating a couple of leading systems, Neal purchased 24 Martin Audio W8L Longbow line array enclosures and gave them a first initiation at the RockNess Music Festival near Inverness this month, where Prodigy, Basement Jaxx, Dizzee Rascal and Flaming Lips were among the headliners.

He ran 12 W8L hangs a side, with W8LD Downfills on the front corners providing the necessary infill, while Martin Audio’s predictive 3D Display software helped insure the coverage was fully optimized.

“The system definitely throws and there must have been 25,000 in front of it when Prodigy appeared on stage,” Neal reports. “We always knew Longbow would handle live shows but we first tried it out at a dance music event —and it was sensational.”

“We really like that (the low-mids of Longbow) because it’s 1-inch instead of 1.4-inch,” he adds. “This leads to a very sparkly system which goes all the way up and down the frequency range, which a lot of line arrays don’t do.”

Neal also notes that because the system is horn-loaded the sound tends not to flap around in the wind. “Again, this is a problem with many other systems I have experienced,” he adds.

Last year, Neal had only been able to cover Stage 2 at RockNess for production company Loud Sound Events (using the seven-a-side W8LC rig), but this year he could handle both, adding Martin Audio W3s for infill support on the second stage.

“Aside from the additional festivals we can now do this summer, we have a series of autumn dance events lined up, and Longbow will be perfect for that,” he concludes.

Martin Audio Website

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Fishman Marks Successful InfoComm Debut With Solo Performance Portable PA System

Designed to be carried in one hand and provide instant set up, the Solo Performance System features two XLR and quarter-inch input channels with three-band EQ, phantom power and high-quality preamps that accept a wide range of input sources—from acoustic instruments to microphones and line level sources.

Fishman Amplification’s first appearance at InfoComm for the 2009 show in Orlando saw the company unveil the new Solo Performance System, which weighs less than 25 pounds and provides a versatile all-in-one portable P.A.

The Solo Performance System is based on a compact line array loudspeaker design that provides wide horizontal dispersion and deeper sound penetration than traditional point source systems and amplifiers.

With this system, solo performers can project their presentations with a full, wide sound (150-degree horizontal, 40-degree vertical dispersion).

It comes with a digital (Class D) power amplifier capable of producing 220 watts (115 dB SPL Max @ 1 meter), the system features six 4-inch ultra-high excursion drivers, a 1-inch soft dome neodymium tweeter, and servo power amp implementation that eliminate the need for subwoofers. Frequency response is specified at 80 Hz - 20 kHz.

Designed to be carried in one hand and provide instant set up, the Solo Performance System features two XLR and quarter-inch input channels with three-band EQ, phantom power and high-quality preamps that accept a wide range of input sources—from acoustic instruments to microphones and line level sources.

Each channel also offers independent reverb level, effect loop, mp3 inputs, and phase and notch filters to fight feedback.

Other useful features include four digital reverb effects; Monitor Input/Output for onstage ensemble monitoring, an Auxiliary stereo input with level control; Balanced XLR D.I. outputs for both channels, plus main mix; a set-break Mute button and universal voltage for worldwide operation.

The Solo Performance System ships complete with a padded carry bag and stand.

Fishman Amplification Website

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

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NEXO Marks 30th Anniversary & First Full Year With Yamaha Commercial Audio

Since its creation in 1979 by Eric Vincenot and Michael Johnson, NEXO has found great success in both the touring and installation markets

At InfoComm 2009, NEXO marked its 30th Anniversary, and this is also the first full year of NEXO’s transition to becoming a wholly-owned subsidiary of Yamaha Corporation Japan, a partnership that provides customers with complete sound system solutions by utilizing products from both lines. Currently, NEXO’s distribution network extends to over 50 countries, with exclusive representation in the North America by Yamaha Commercial Audio Systems. (YCAS).

Since its creation in 1979 by Eric Vincenot and Michael Johnson, NEXO has found great success in both the touring and installation markets. From its prestigious first install at the Maison de la Culture in Grenoble (1984), in southern France, NEXO products have been installed in many performing arts venues and houses of worship including the Cerritos Center for the Performing Arts in California, First Baptist Church in South Carolina, Liberty Hall in Kansas, The Classic Center in Georgia, and many more.

For the live performance sector, NEXO has been a name on the rider for nearly 20 years, since the debut of the TS system in 1991. Always evolving, the design team produced the Alpha line in 1996 and the GEO Series in 2001, opening the doors for NEXO to become one of the dominant brands in this field, performing at Ozzfest, Glastonbury, Roskilde, Voodoofest, Japan’s Rising Sun Festival, Monsters of Rock, Montreal Jazz Festival, Merle Fest, events surrounding Super Bowl XLIII in Tampa, Summerfest, to name a few.

“NEXO’s market presence and service levels to North American customers has been significantly improved by the expansion of sales channels in the U.S. and Canada,” states Larry Italia, Vice President and General Manager, Yamaha Commercial Audio Systems. “We are currently in the process of appointing additional manufacturer’s rep firms to take the NEXO brand even further into the marketplace.”

In 2007, after 27 years of strong growth at its original Roissy location, the company moved into new headquarters, a wholly-owned campus capable of housing the entire manufacturing resource, located just 30 minutes north of Paris.

The new site enables Yamaha and NEXO to implement a highly automated production line that reduces overall manufacturing time, providing a definitive advantage in meeting the needs of customers worldwide. 

At this year’s InfoComm show, visitors saw the many NEXO lines on display, including the PS Series which has remained a very popular line since the first PS10 cabinet was launched in 1993; the distinctive GEO T and the flagship of the GEO Series, first seen in 2002 and which now encompasses four tangent-array system designs; and the new RAY Sub technology, expanding NEXO’s reputation for sub-bass performance into a new bracket. Launched in 2007, the NXAMP, the first collaboration between Yamaha and NEXO design engineers will also be on display along with the new GEO S12 line array and GEO D system.

Learn more about NEXO milestones here.

Yamaha Commercial Audio Systems Website
NEXO Website

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Cakewalk Now Shipping SONAR V-Studio 100 Compact Music Production Studio

Second product in the V-Studio line of integrated hardware and software from Cakewalk and Roland is now available worldwide; SONAR V-Studio 100 integrates a USB 2.0 Audio Interface, DAW Controller, Digital Mixer, SD Recorder, and VS Production Pack for Mac & Windows

Cakewalk has announced the SONAR V-Studio 100 portable music production studio is now shipping worldwide. The multi-function V-Studio 100 provides a compact and portable solution for the most critical functions needed by the musician, singer-songwriter, MC, producer, or engineer, regardless of whether they use a Mac or PC.

Highlights of the SONAR V-Studio 100 include:
* High speed USB 2.0 Audio Interface (Mac/Win)
* Universal DAW Controller (Mac/Win)
* Personal Digital Mixer
* SD Wav Recording/Playback
* VS Production Pack suite of Virtual Instruments and Effects (Mac/Win)
* SONAR VS Digital Audio Workstation (Win)

Musicians can take control of their music production by using the V-Studio 100 as a 24-bit/96 kHz high speed USB 2.0 audio/MIDI interface and universal DAW controller.

The unit also includes the VS Production Pack, a powerful suite of high quality instruments and effects. The VS-100 hardware and VS Production Pack have been designed to enhance productions on both Mac and Windows in conjunction with popular DAW software including SONAR, Cubase, Logic, Ableton Live, and others.

For PC customers getting started with digital recording, SONAR V-Studio 100 includes the SONAR VS digital audio workstation.

In standalone mode, the VS-100 hardware functions as a personal digital mixer and SD Wave recorder. Musicians can use the VS-100 to record and mix rehearsals and live gigs and can also use it to play backing tracks (even while recording).

Users can then simply transfer the stereo recordings to their favorite DAW software to use as the basis for new tracks, for further editing and sweetening, to upload to the Internet, and more. 

The V-Studio 100 is a high quality USB 2.0 audio and MIDI interface for Mac/Windows utilizing Roland engineering design and component technology.

* 8 in + mix / 6 out at 24-bit/96 kHz quality
* 2 dual XLR/TRS inputs with high quality mic pre-amps and phantom power
* Hi-z option for recording electric guitar & Bass
* MIDI I/O
* Mac/Windows compatible with ASIO, WDM, WASAPI and Core Audio support
* Works with DAWs including SONAR, Logic, Live, Cubase, Digital Performer, and others

The V-Studio 100 is a universal DAW controller that supports popular software for Mac/PC via Mackie control protocol, including Logic, Live, Cubase, and Digital Performer. Additionally, V-Studio 100 provides extended control capabilities over SONAR through the implementation of Cakewalk’s Active Controller Technology (ACT).

* 100 mm motorized, touch-sensitive fader
* 5 rotary encoders, 11 buttons and transport control
* Dynamic LCD display
* Programmable footswitch
* Use with any DAW on Mac/Windows that supports Mackie Control protocol
* Advanced control of SONAR through Active Controller Technology

The V-Studio 100 provides a digital mixer for small groups or solo performers who need easy control of a few instruments and vocal mics, or DJs, MCs, and electronic musicians who need to mix multiple sound sources. All users can enhance their live sound with the pro-quality pre-amps and on-board effects which offer easy routing and accessibility.

* Ideal for mixing small bands, solo musicians, DJs, home studios
* 8 inputs, 6 outputs plus headphones
* 4 types of reverb
* 6 channels of EQ with LCD plot
* 6 channels of Compression with threshold and compression meter
* Meter & FX Display on LCD

The V-Studio 100 can capture that creative moment whenever inspiration strikes by providing high quality digital recording that can be used without being connected to computer. Record directly to the VS-100’s SD-card to capture song ideas, rehearsals, or live performances.

Create backing tracks on your DAW of choice and transfer them to the VS-100’s SD-card for playback during live performance (even while recording). Likewise, recorded performances can be easily transferred from the VS-100’s SD-card for additional editing, tracking, and sweetening.

* Record away from your computer
* 2 channel wave recording and playback
* Capture rehearsals and live performances
* Play along to backing tracks and record your mix simultaneously
* Built-in metronome for accurate timing when recording new ideas
* Insert markers during record and playback
* Loop a region for practicing parts or jamming
* Easily transfer audio to and from any computer via USB

VS-100 Production Pack (Win/Mac) suite of effects and instruments includes the VX-64 Vocal Strip, a seven-stage processor designed specifically for shaping and sculpting incredible sounding vocal tracks. Each of the VX-64’s stages have been fine-tuned to be vocal-specific, taking the work out of dialing in an entire chain of vocal processors. 

The VX-64 features a new Cakewalk technology that employs phase-coherent, multi-band saturation to avoid unwanted distortion; unique filtering to avoid harsh artifacts at extreme high and low frequencies; and an auto-leveling circuit that prevents the tube saturation from sounding too harsh when high gain transients are processed by it.

The VX-64 also employs a new de-essing algorithm designed with Cakewalk’s LP64 linear phase effect filtering technology to remove sibilance without creating any frequency smearing.

Processing stages include:
* Input — simulates a tube pre amp
* De-esser — removes sibilance without smearing
* Compander — vocal compressor with an expander to reduce unwanted background noise
* Tube EQ — for adding character ranging from subtle warmth to intense heat to the vocal
* Doubler — advanced doubling effect providing the quality of actual re-tracking
* Delay — preset delays useful for vocal tracks with tempo sync
* Output — provide saturation control with a built in soft-clipping filter
* Order of processor stages is user definable with click & drag reordering

Channel Tools — provides easy and powerful control over individual placement of the left and right channels anywhere in the stereo field. Ideal for adjusting L/R channel placement, gain, pan/width, and phase; also provides a widening or narrowing effect to stereo recordings through adjustments to mid-side gain.

Boost 11 Peak Limiter — gives your tracks radio-ready punch through transparent peak limiting and volume maximization without additional coloring of the source material. Boost 11 employs a “look-ahead” limiter and PDR (Program Dependent Release) to provide professional results with a simple interface.

Native Instruments Guitar Rig 3 LE — built on the latest award-winning guitar amp modeler from Native Instruments; 3 amps and cabinets, 11 effects, tuner, metronome, and over 50 presets.

Dimension LE — a streamlined version of the acclaimed Dimension Pro instrument from Cakewalk. Dimension LE features over 400 sound programs, ranging from bass, organ, and electric piano samples to cutting-edge synth sounds, rhythmic grooves, and a special edition of Garritan Pocket Orchestra.

Rapture LE — is a special version of the award winning Rapture wavetable synthesizer. It includes over 200 programs and hundreds of oscillator shapes. Rapture LE is perfect for performing the modern synthesized sounds igniting today’s pop, dance, and electronic music.

Cakewalk Studio Instruments — a collection of four virtual instruments that provide a fast and easy way to create backing tracks using a photo-realistic, interactive user interface. Instruments include a Drum Kit, Bass Guitar, Electric Piano, and String Section.

SONAR VS digital recording software (Windows only) — a special entry level DAW based on the powerful SONAR 8 audio engine but offering a streamlined user interface.

Availability:
SONAR V-Studio 100 ships with the VS-100 hardware (Mac/Win), the VS Production Pack (Mac/Win) and SONAR VS (Win) software available in English, German, French, Spanish, and Italian; Online Help contained in all versions in English, German, French, Spanish, and Italian; printed documentation is in English.

SONAR V-Studio 100 is now available through select music and sound retailers throughout the world. For more information on SONAR V-Studio 100 and to find a local retailer, please visit www.sonarvstudio.com. 

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SurgeX Partners With IAG For International Manufacturing & Distribution

In North America, Electronic Systems Protection (ESP) of Zebulon, NC continues to helm the brand

International Audio Group Ltd. (IAG), the parent company of Wharfdale, Quad, Mission and several other professional audio, lighting and hi-fi brands, will now be manufacturing and distributing SurgeX products globally, with the exception of North America, where Electronic Systems Protection, Inc. (ESP) of Zebulon, NC continues to helm the brand.

“It is our mission to provide consultants, contractors and end users with the finest quality, most technologically sophisticated products on the market, and SurgeX is certainly no exception,” says IAG Managing Director Daniel Chang. “When it comes to power, nothing on the market surpasses the brand’s level of protection, and we have no doubt that this alliance will both greatly expand SurgeX’s global business and be highly beneficial to professional and residential integrators worldwide.”

SurgeX Founder and Senior Principal Michael McCook states, “SurgeX and IAG have been working closely on expanded technology development and new products in the global marketplace for several years now and I am confident that this partnership will finally bring SurgeX’s superior technology solutions to the entire world.”

With regard to the ways in which IAG will be internationally developing the SurgeX brand, Chang comments, “Development and production of expanded SurgeX products for the global market will be swift. Along with the rapid availability of existing SurgeX form factors, such as standalone and hardwired styles, customers can expect to see network addressable sequencers and UPS units.

“SurgeX technology will also be brought into the custom residential market in an elegant product form. Further, our IAG Yachting division will be utilizing SurgeX in all of its sensitive electronic applications and specific products suited for the marine market that will be produced beginning in 2010.”

SurgeX Website
IAG Website

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Tuesday, June 30, 2009

The RF Spectrum Before & After The “Big Day”

A look at the spectrum between 500 MHz and 700 MHz

So the big day (June 12, formerly February 17, 2009) came and went, and now we have the results of “the change”.

For those of you living under a rock for the past 10 years, what has happened is that full-power analog TV broadcasts have ceased in most US markets.

At the same time, most of the of spectrum between 698 and 806 MHz, formerly used by TV broadcasts and wireless microphones, now has new owners and is not populated by TV broadcasts any longer.

The legal status of wireless microphone systems in the 700 MHz band is not entirely clear, but the FCC’s intentions appear to be that wireless mics will not be allowed here.

So let’s look at the spectrum between 500 MHz and 700 MHz, covering most what is now available to DTV broadcasts and Part 74 users, including wireless microphone systems.

The first/top image (below) shows this range before the transition, and the second/bottom image (also below) shows the same spectrum after June 12. It is evident that almost all analog sources have disappeared, while only DTV sources remain.

What about using wireless microphone systems in the 700 MHz band?

First, you may still have systems in the 700 MHz band that will continue to operate, until such time as a new, strong signal comes along and interferes.

For many, this may be the right approach: use your equipment until it no longer works. However, keep your eyes open for any announcements about the likely FCC ruling rendering such systems actually illegal.

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Currently, there are few signals in that range, but there are some, and soon there will be more.

For those of us using systems between 470 and 698 MHz, our lives should actually be a bit easier for a while. The spectrum is more open, and we should not see the kinds of rapid changes we have seen over the past couple of years.

DTV transmissions are still being optimized, and broadcasters are recommending that people “do a new scan for channels once a month”. I would suggest the same thing for your wireless microphone systems, to insure that you are steering clear of any potential interference. (But you were doing that already, right?)

As to what will become of the remaining usable spectrum, it’s too early to tell. But as TVBD (TV Band Devices) begin to appear, we’ll certainly learn more.

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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More posts on PSW by Mike Wireless:
Latest Wireless Series #3: Inside The Lectrosonics D4
Latest Wireless Series #2: Inside The MIPRO ACT Digital
Latest Wireless Series #1: Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

Also check out:
Basic & Essential: What You Need To Know About Wireless Systems (A Primer)

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Meyer Sound Introduces New JM-1P Arrayable Self-Powered Loudspeaker

The JM-1P delivers controlled coverage while minimizing reverberation in large or reflective acoustical environments

Meyer Sound has introduced the JM-1P arrayable loudspeaker, a self-powered high-Q system designed to integrate seamlessly in tight-packed clusters where horizontal coverage must be predictably scaled to exacting requirements.

Distinguished by its precisely defined 20-degree horizontal by 60-degree vertical pattern, the JM-1P delivers controlled coverage while minimizing reverberation in large or reflective acoustical environments.

With a consistent polar response and trapezoidal enclosure patented by Meyer Sound, the JM-1P delivers optimum performance in tight-packed arrays providing horizontal coverage that is proportional to the number of units deployed.

Single JM-1P cabinets can be used as a point-source system in either horizontal or vertical orientations. The JM-1P is suited to critical quality applications including theatres, houses of worship, theme parks, stadiums, concert halls, and nightclubs. In touring sound, it offers flexible solutions for center- and side-fill systems.

Meyer Sound’s experience in point-source systems dates back to 1980 when John Meyer, CEO of Meyer Sound, patented the trapezoidal cabinet shape with the release of the UPA loudspeaker.

The JM-1P features a Meyer Sound’s patented REM ribbon emulation manifold technology, which results in low distortion and a tight pattern control, while a constant-Q horn ensures a uniform response throughout the coverage area.

The JM-1P’s exceptional power-to-size ratio and flexible Quickfly rigging options allow for easy mounting and flying in a variety of applications. Captive sliding rigging links on the front and back of the cabinet facilitate easy arraying, and optional pickup and array plates are available for flying horizontal arrays of up to five JM-1P cabinets.

A top grid receives links and pins directly from the JM-1P cabinet and allows for flown vertical arrays of up to four cabinets.

“The JM-1P gives sound designers the flexibility to accurately tailor coverage in highly reverberant or oddly shaped environments,” notes John Meyer. “You can conform your horizontal coverage to fit the room, so you maintain a smooth response at all seats while avoiding echoes or excessive reverberation.”

The JM-1P’s precise high-frequency section is driven by a 4-inch diaphragm compression driver, complemented by a 15-inch, long-excursion cone transducer for the low-mid section. Power is supplied by a dual-channel class AB/H amplifier with a total power output of 1275 W (2550 W peak), while onboard processing includes electronic crossover, comprehensive driver protection, and correction filters for flat frequency and phase responses.

Performance of the JM-1P is exemplary in all respects, with a wide operating frequency range of 55 Hz to 18 kHz, and a maximum peak SPL of 136 dB (at 1 m). The optional RMS remote monitoring system allows comprehensive monitoring of system parameters on a Windows-based computer.

The JM-1P can be controlled with the Galileo digital loudspeaker management system and presets for JM-1P arrays will be available to provide mid-bass and bass management.

Designed and manufactured at Meyer Sound headquarters in Berkeley, California, the JM-1P arrayable loudspeaker will begin shipping in August 2009.

Meyer Sound Website

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

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Ultrasone Partners With Griffith Sales Associates For Southeastern U.S. Distribution

Manufacturer’s rep firm to distribute Ultrasone headphones in Georgia, Alabama, Mississippi, North/South Carolina and Tennessee

Ultrasone has announced a manufacturer’s representation partnership with Griffith Sales Associates for Southeaster United States distribution.

Griffith Sales Associates has built a reputation as a top distributor for professional audio, video, lighting and musical products.

“We couldn’t be more pleased to have Griffith Sales Associates handling our headphones in the Southeast U.S.,” commented Paul Taylor, President of Ultrasone Inc. “The enthusiasm and energy that they bring to the sales channel is unequalled and we feel our brand will benefit from their experience and professionalism.”

Griffith Sales Associates is based in Georgia and distributes some of the industry’s most prominent audio, video, lighting and musical products in the Southeast United States.

In addition to Ultrasone, Griffith Sales Associates represents Edirol, Tannoy, Audix, Sabine, Chauvet, TC Electronic and other leading manufacturers.

“The clarity and safe listening characteristics of Ultrasone’s headphones are unparalleled in the industry and our associates are thrilled to have the opportunity to represent them,” said Griffith Sales Associates Founder Gene Griffith.  “Our goal is to help Ultrasone become the headphone of choice for all musicians, producers and engineers throughout the Southeast.”

Ultrasone Headphones

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