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Friday, February 03, 2012

Peavey Debuts Expansion Modules For Powered Loudspeakers

New Peavey Expansion Modules expand the capabilities of the company’s EU Series, Impulse 12D, and the new PVXp powered loudspeakers.

The new 9-Band Graphic EQ Expansion Module aids users in controlling feedback using the built-in, proprietary FLS Feedback Location System, which makes accurate feedback elimination simple and intuitive.

The 9-Band module gives users greater control over shaping and accenting live or recorded vocals and live instruments, as well as increases control over general sound equalization, and removes 60 Hz AC hum.

Meanwhile, the new 3-Band Parametric EQ Expansion Module provides fine-tuning capabilities with gain, frequency and bandwidth (Q) control.

Finally, the new 3-Channel Mixer Expansion Module expands the powered enclosure’s input options by three input channels, with each channel featuring level control, high and low equalization control, and a combination XLR and 1/4-inch input.

9-Band Graphic EQ Expansion Module specifics:
—Nine frequency bands: 63, 125, 250, 500, 2k, 4k, 8k, 16kHz
—FLS Feedback Locating System
—+/- 15 dB boost and cut
—U.S. MSRP $59.99

3-Band Parametric EQ Expansion Module specifics
—Three frequency bands: Low 40 to 800Hz; Mid 200 to 4kHz; High 1kHz to 20kHz
—+/- 12 dB boost and cut on each frequency band
—Q adjustable from 0.1 to 1 on each frequency band
—Hard-wire bypass
—U.S. MSRP $49.99

3-Channel Mixer Expansion Module specifics
—Three channels of additional inputs
—Combination XLR female and ¼” TRS input
—Microphone and line-level input range
—Two-band EQ on each channel
—Switchable phantom power global for all three channels
—U.S. MSRP $79.99

The new Peavey Expansion Modules for powered loudspeakers are made in the USA will be available in Q2 2012 from authorized retailers.

Peavey

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Thursday, February 02, 2012

Powersoft Joins Crestron Integrated Partner Program

Powersoft is now a member of Crestron Integrated Partner Program with the full permanent installations catalog, which is a plug-in, developed by Crestron for Powersoft, that includes the entire range of products.

The catalog allows seamless integration of Powersoft amplifiers in Crestron-controlled environments, including video, security, evacuation and other remotely accessible devices.

The feature set includes full alarm monitoring, mute and volume control, preset selection, power on/off, and real time metering for Duecanali, M Series and K Series. In addition, Ottocanali is currently undergoing tests to be included in the list.

“This important development is yet another step in our plan to expand our presence in the permanent Installation market,” says Luca Giorgi, Powersoft pro audio business unit manager. “The future of this market will be increasingly characterized by the integration of various subsystems into a single complex environment, where the key concept is easy accessibility. We believe that we could not miss the opportunity of being part of it.”

“This is a significant step into that direction because it will greatly expand the interoperability of our products in that market, where we have already set the bar in terms of power consumption, energy efficiency and environmentally sustainable products,” adds Luca Baldi, the newly appointed permanent installation account manager.

Powersoft

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PSAV Deploys Crown Audio VRack Amplification System For Hotel Events

PSAV Presentation Services, the world’s largest A/V rental supplier with more than 800 offices worldwide, many located on-site at major hotels, specializes in providing in-house audio-visual services to the hospitality industry for meetings and events, and maintains one of the largest, most up to date equipment inventories in the industry.

Since its introduction, PSAV has been using Crown Audio VRack, a turnkey amplifier rack system that includes three I-Tech HD I-T12000 power amplifiers, a versatile input panel with analog and digital connections, and a globally universal power distribution system that can be set to meet U.S. and international power standards.

All of the components are housed in a wheeled rack that can be flown in the same manner as a line array loudspeaker system.

“Typically, a hotel sells the meeting space and we work with the end client to provide the equipment and labor required to manage the event,” notes Jacob Ingle, audio product manager for PSAV. “Since we own all of our equipment, we have to select products that are cost-effective, efficient and reliable in order to maintain a profitable bottom line.”

“We have been using Harman products for quite a long time and even discussed building pre-configured amp racks with Crown before VRack was introduced. When they introduced the VRack, it was the perfect solution for a number of our amplification needs,” continues Ingle.

“One of our goals is to standardize gear as much as possible so our technicians can move from location to location and be familiar with the equipment they’re going to use,” says Ingle. “Having a unified amplifier package like VRack makes this a lot easier. We have many locations large and small, and VRack is adaptable to different situations because it allows multiple configurations for analog and digital inputs, for different types of speakers and for system networking.”

“Crown’s VRack is the perfect solution for the audio rental supplier because of its benefits as a plug-and-play solution for customers like Jacob who face an ever-changing set of challenges based on each event,” states Brian Pickowitz, marketing manager for Crown.

“Another major advantage is that VRack interfaces with Harman’s HiQnet Performance Manager system design and setup software and is specifically designed to work with JBL VerTec loudspeakers. Because we use a lot of JBL, Soundcraft and other Harman gear in addition to Crown, VRack becomes part of an all-in-one solution where all components ‘talk to each other’ using HiQnet. This makes system setup and operation much easier and a great deal more efficient,” adds Ingle.

Crown Audio
Harman Pro

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Wednesday, February 01, 2012

Oslo Audio First Rental Company In Norway To Invest In L-Acoustics KARA

Oslo Audio has become the first rental company in Norway to invest in L-Acoustics KARA WST line source loudspeakers, ordering 24 cabinets from local distributor Scandec Systemer.

The KARA loudspeakers are powered by L-Acoustics LA-RAK amplified controllers and supplemented with SB18 subwoofers.

“KARA has a flexibility that will enable us to use the system for pretty much all venues in Norway,” says Paal Klaastad of Oslo Audio. “For us the audio performance of the KARA system was never in question. As a long-time L-Acoustics user, we are confident that the sound quality is first class. The reputation of the brand ensures that the end users are also confident of the system’s performance.

“The scalability of the system, its integration with the LA-RAK platform and the ease of rigging and handling makes us confident that this will provide a good return on investment for years to come. We look forward to putting the system to use, and to collaborating with other network agents in Scandinavia.”

Oslo Audio’s new KARA loudspeakers were used for the first time at the 10-year anniversary concert of Crystal Canyon Studios, with a lineup of Kåre & The Cavemen, Ulver, Paperboys, Kitchie Kitchie Ki Me O and André Holstad.

That system consisted of the 24 KARA cabinets with 12 SB118 subs and six 115XT HiQ coaxial monitors, powered by LA-RAKs.

L-Acoustics

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Monday, January 30, 2012

Summit Ridge Christian Fellowship Mobilizes With Powersoft Amplifiers

Summit Ridge Christian Fellowship located in Spokane, Washington, recently upgraded their worship services with a new sound system powered by Powersoft amplifiers.

The church leadership worked closely with AGI Professional, located in Eugene, Oregon, to design a system that would accommodate not only their contemporary services but also their requirement for the system to be portable with easy set-up.

“Summit Ridge is part of a growing segment of churches that doesn’t own a brick and mortar building but instead leases space for their regular services,” explains Kyle Anderson, owner of AGI Productions. “They currently use another church space that doesn’t have a big enough sound system to accommodate their needs – which is where we came in.”

Anderson specified a left-right system that consists of two Fulcrum Audio FA12 12” coaxial loudspeakers pole-mounted on 13 ft. heavy-duty truss stand with a steel crank-up. Two Fulcrum Audio Sub115 15” direct radiating subwoofers are positioned directly below the loudspeakers for driving low end.

A single four-channel Powersoft M50Q DSP+ETH provides all of the power necessary.

“With each channel providing 750W at 8 ohms, it was a no-brainer,” Anderson adds. “We used channels 1 and 3 for the subs and 2 and 4 on the mid/high boxes and had plenty of headroom.”
Anderson continues, “All we had to do was synch the DSP with the manufacturer’s FIR filters – do a little tuning here and there and we were good to go. We locked it down and provided the crew with a “show EQ” in their portable racks that they use if they run into a situation that requires minor modifications.”

The 4-channel M50Q DSP+ETH is equipped with four inputs and outputs all in one rack unit. Each channel offers five bi-quad filters for system equalization, two crossovers, eight bi-quad filters, and RMS and peak limiters eliminating the need for outboard equalizers. Presets can be created, stored, and completely monitored utilizing the Armonía Pro Audio SuiteTM software with computer and amplifiers communicating over standard Ethernet.

“Our clients were amazed that they didn’t need a huge amp rack to get the power the system provides,” Anderson concludes. “They were so delighted that they have spread the word to some other churches in the area that were looking for upgraded systems as well. It was a win-win for everyone involved.”

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Friday, January 27, 2012

Ashly Audio Ampliers, DSP Key System Upgrade At North Carolina Event Center

The Western North Carolina Agricultural Center (WNCAg) in Fletcher, NC, hosts a wide range of events, such as equestrian shows, dog shows, and gun shows that may run in parallel with conventions, meetings, and workshops.

WNCAg recently updated the Davis Arena, which offers 45,000 square feet of exhibition space plus meeting rooms and hospitality suites, with upgraded sound reinforcement.

Local A/V integrator B&R Audio deployed Ashly Audio amplifiers and signal processors, including a Pema multi-channel amplifier with on-board Protea DSP processor. To give the non-technical staff a transparent user interface, the company provided WNCAg with Ashly’s new FR-8 and FR-16 networkable remote fader controls.

“The center needed a very flexible sound reinforcement system that would allow any member of the staff to play music from a variety of input sources and deliver announcements that would be clearly intelligible,” says Bruce Jensen, president and owner of B&R Audio, who led the design and installation. “In a nutshell, they asked for input volumes and mutes as well as output volumes and mutes to a number of zones, including several far-flung buildings. But perhaps even more importantly, they wanted something that would not intimidate even the most technologically bashful user.”

Jensen had worked with Ashly Audio before and caught wind of the FR-8 and FR-16 before they were officially released.

“Ashly’s FR-8 and FR-16 remote controllers were perfect for this installation,” he continues. “And because Ashly’s support is so complete and reliable, I had no fear that I’d be stranded with a semi-functional beta if I pressed the company for an early model.”

The FR-8 and FR-16 offer eight and sixteen faders and mutes, plus a master fader. The integrator has full control over which input, output, or mixer volumes are controlled by each fader, with flexible range limits and defaults.

An Ashly ne24.24M DSP Matrix Processor handles all of the complex input processing, matrix logic, and output processing behind the scenes. Jensen was careful to set the fader limits and the ne24.24M’s output protection limiting in such a way that even a complete novice can do the system no harm.

Four Ashly Audio amplifiers provide power to the Davis Arena’s distributed loudspeakers. An ne2400.70 2-channel networkable amplifier rated at 1200W into 70V feeds an outdoor collection of Community R1-64Z weather-resistant horn-loaded loudspeakers.

An ne800.70 Network Amp covers the bathrooms and corridors, with ne1600pe.70 and ne2400pe.70 Networkable Amplifiers powering the main exhibition hall.

All indoor loudspeakers are down-firing SoundTube models, which do a good job of keeping energy off the reverberant walls. Both main exhibition hall amplifiers deliver loudspeaker conditioning with integrated DSP.

“Like everything with Ashly, when I buy the amps, I know I’m also getting the company,” says Jensen. “The stuff is solid, and on those rare instances when there is a problem, the people at Ashly are on it right away. Ashly installations always run smoothly.”

Because several of the buildings that require a music and/or announcement feed from the Davis Arena are quite distant, Jensen convinced the WNCAg for forego the miles of speaker cable (literally) they had been using in favor of fiber optics. A MultiDyne DAM-1000 provides conversion on either end of a pilot feed.

“They weren’t sure that they wanted to commit to fiber optics, so we did one trial run,” Jensen says. “They love it, and we’ll be upgrading the other distant feeds in the near future.” Every aspect of B & R Audio’s installation is future-proof. Jensen continued, “One of the nice features of the Ashly ne24.24M is that the input and output count is totally modular. So when the needs of the event center change, we can accommodate those changes without having to rip everything out.

As part of the renovation, the WNCAg added three classroom spaces that are large enough to require sound reinforcement.

“It was the perfect application for Ashly’s Pema Multi-Channel DSP Amplifier,” Jensen explains. “Because the Pema has everything I needed inside a two-rack space unit, the installation was simple, quick, and reliable.”

The Ashly Pema 4250 four-channel delivers input conditioning, switching logic, and loudspeaker conditioning (again for SoundTube loudspeakers). Similar to the FR-8 and FR-16 in the big room, each classroom has an Ashly neWR-5 wall-mounted remote control that allows users to easily select inputs and volumes.

Ashly Audio

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Thursday, January 26, 2012

Powersoft Presents “Outstanding Service” Awards

Rich Trombitas of Cardone Solomon & Associates and Vic Palmer from Quest Marketing were presented with “Outstanding Service” awards at the annual Powersoft rep meeting held at the 2012 NAMM show.

“Rich and Vic have gone above and beyond for our customers during 2011,” explains Ken Blecher, EVP of Powersoft Advanced Technologies Corp. “It was only appropriate that we acknowledge their efforts and our appreciation with the Outstanding Service awards.”

During the meeting Blecher also announced the addition of Jonathan Garner to the Powersoft team. Garner will provide inside sales and logistics support for the company.

“We continue to experience tremendous growth in the U.S. market,” adds Blecher. “With our powerful team of sales reps and expanded infrastructure in California, we are well prepared for continued growth in 2012.”

Powersoft

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Wednesday, January 25, 2012

Extron Introduces 800-Watt ENERGY STAR Qualified Power Amplifier

Extron Electronics has introduced the new XTRA Series XPA 4002 two-channel power amplifier, a compact 1U, convection cooled amplifier that delivers 400 watts RMS per channel, also available in low impedance and 70-volt versions.

The XPA 4002 is an ENERGY STAR qualified amplifier with an Extron exclusive, highly efficient, advanced Class D amplifier design.

It also features patented CDRS - Class D Ripple Suppression technology that provides a smooth, clean audio waveform and an improvement in signal fidelity over conventional Class D amplifiers.

The XPA 4002 is half the size of comparable amplifiers, conserving rack space and weighing only 9 lbs (4 kg). The Extron exclusive, high efficiency design generates very little heat and allows the amplifier to be convection cooled.

“The XPA 4002 is our newest ENERGY STAR qualified amplifier that delivers a unique combination of high power output and very efficient operation,” says Casey Hall, vice president of sales and marketing for Extron. “It is ideal for driving high powered speaker cabinets or a large quantity of distributed speakers in large spaces such as auditoriums and houses of worship, while consuming less energy, running cooler, and taking up less space than competitive models.”

The XPA 4002 features an auto power-down feature that automatically places the amplifier into standby after a period of inactivity, and consumes 30 watts or less when idle and less than 1 watt in standby mode.

It also has an ultra low inrush current draw to prevent power circuit overload that occurs when multiple amplifiers are switched on simultaneously. This feature eliminates the need for power sequencing in systems with multiple amplifiers in large centralized equipment racks, and prevents other equipment from experiencing power interruption from associated power surges.

Additionally, the XPA 4002 amplifier features very low thermal dissipation under full load, which keeps racks and equipment cabinets cool.

Extron

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Friday, January 20, 2012

Eugene First Church Of The Nazarene Builds For The Future With Powersoft Amplifiers

Powersoft M30D DSP+ETH amplifiers were recently installed at Eugene First Church of the Nazarene to power a new sound reinforcement system designed and installed by AGI Professional, also of Eugene, Oregon.

In the midst of fund-raising efforts to build a new 900-seat church, the leadership at Eugene First Church of the Nazarene was committed to providing the very best worship experience at their current 400-seat church. As a result, the new system was designed for the existing location with the capability of being built out to accommodate the new sanctuary when it is ready.

“It was important to the church leaders that the current contemporary services offer high quality audio,” explains Kyle Anderson, president of AGI Professional. “The ability to transition one system to the next was imperative.” 

Each side of the new left-right system consists of one Fulcrum Acoustic CX1295 12” coaxial loudspeaker and one Fulcrum Acoustic US212 dual 12” subwoofer powered by a single Powersoft M30D DSP+ETH amplifier.

“The single rack-unit amplifiers offer an amazing amount of power,” notes Anderson. “The clients were blown away. We were able to replace four amplifiers with two one rack-units getting rid of 10 rack spaces – incredibly efficient on power and space with ample headroom.”

The two-channel M30D DSP+ETH amplifiers provide two inputs and outputs with each channel offering five bi-quad filters for system equalization, two crossovers, eight bi-quad filters, and RMS and peak limiters.

The DSP+ETH units are equipped with Powersoft’s Armonía Pro Audio Suite software which provides control and monitoring as well as preset management, uploading over the network, various crossover filter types (including IIR and FIR), and separate input and output EQs with a wide variety of filters.

“Tuning the system was a breeze. The EQ on these units was very nice to work with, very responsive – reminiscent of other high-end EQs on the market,” Anderson adds. “And because the amps are rack-mounted in a closet behind the stage, the ability to monitor and control them from front-of-house was another substantial improvement over the old system.” 

“After seeing what the amplifiers have done for the new system the leadership at Eugene First Church of the Nazarene is very enthused to bring more into the new facility when it is built – which speaks volumes for how impressed they are with their performance,” Anderson concludes.

Powersoft

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Crown Audio Introduces I-Tech DriveCore Series Multichannel Power Amplifier

Crown Audio has announced the introduction of its new flagship I-Tech HD Series 4x3500HD DriveCore Series 4-channel power amplifier.

The 4-channel I-Tech 4x3500HD incorporates Crown’s sixth-generation Class I engine with DriveCore technology to deliver 3,500 watts per channel burst into four or two ohms, and offers a host of Crown’s most advanced features. The amplifier offers a 4.3-inch TFT LCD with capacitive touchscreen, exclusive Harman HiQnet System Architect 2.0 control functionality and Version 5 DSP preset support for JBL Professional’s newly-launched VTX Series V25 plus VerTec Series line array loudspeakers.

The I-Tech 4x3500HD offers an unprecedented degree of operational flexibility. The 4.3-inch front-panel LCD touchscreen provides amplifier monitoring and access to key functions with color-keyed visuals that are similar to the at-a-glance FaderGlow™ indicators used on Soundcraft and Studer mixing consoles.

The Crown I-Tech 4x3500HD delivers 1,900 watts per channel into eight ohms, 2,000 watts per channel into four ohms and a massive 4,000 watts into four ohms bridged with all channels driven at full bandwidth all from an amplifier that measures just 2U rack spaces high.

This remarkable power to size ratio is made possible by Crown’s exclusive DriveCore amplifier IC chip. The DriveCore chip combines the amplifier driver stage into the power output stage (along with additional audio-signal functions), to dramatically reduce overall size and power-consumption requirements and yield energy-efficient operation that conforms to Harman International’s GreenEdge environmental initiative.

DriveCore technology also gives the I-Tech 4x3500HD the ability to better control and more quickly recover from high-voltage transients, for a highly accurate reproduction of the input signal and better low-frequency response.

The I-Tech 4x3500HD four analog inputs, four AES3 digital inputs and four AES inputs over VDrive and the ability to select four CobraNet inputs. The amplifier also includes SpeakON or banana plug speaker connectors, as well as a Neutrik PowerCON AC input connector to prevent the power cord from coming loose in transit.

The Crown I-Tech 4x3500HD provides a variety of DSP sound-tailoring capabilities. Its proprietary BSS OmniDriveHD processing engine employs 32bit/192kHz A/D and D/A converters for superb sonic clarity and the ability to precisely tailor the amplifier’s audio output. Crown’s exclusive linear phase FIR and IIR filters provide optimized loudspeaker crossover points with improved midrange clarity and off-axis loudspeaker response.

The amplifier is compatible with the Harman HiQnet System Architect and JBL HiQnet Performance Manager sound reinforcement system design software. JBL HiQnet Performance Manager is a highly refined user interface that facilitates the design of touring and live performance venue sound reinforcement systems. The inclusion of JBL VerTec Version 5 DSP preset tunings for VERTEC Series loudspeakers interface with the I-Tech 4x3500HD’s FIR filters to improve the loudspeakers’ sound quality and horizontal coverage performance. For enhanced control and monitoring capabilities the amplifier is also compatible with the Powered By Crown iPad/iPhone application.

“The I-Tech 4x3500HD DriveCore Series offers control, connectivity, DSP and system interfacing capabilities that have never been available in a professional high-power multichannel amplifier before,” said Brian Pickowitz, Market Manager, Tour Sound for Crown. “We designed it entirely without compromise to be the most flexible and useful multichannel amplifier on the market today.”

“The I-Tech 4x3500HD will be an integral part of our turnkey system package for the newly-released, VTX Series V25 flagship fullsize enclosure as well as a powerful, versatile platform that allows VerTec to achieve it’s full performance potential with V5 processing”, added Paul Bauman, Senior Manager, Tour Sound for JBL Professional.

The I-Tech 4x3500HD incorporates a host of additional useful features including Crown’s innovative LevelMax limiter technology that combines the operation of the amplifier’s Peak, Thermal and RMS limiters for more effective protection; a front-panel USB port that enables users to load preset amplifier settings or device files and update firmware.

Power per channel with all channels driven for two seconds is as follows: 1,900W at eight ohms; 2,000W at four ohms; 2,000W at two ohms; 3,800W at eight ohms bridged; 4,000W at four ohms bridged.

The Crown I-Tech 4x3500HD DriveCore Series will be available in February 2012.

Crown Audio

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Monday, January 16, 2012

Lab.gruppen Amplifiers At Heart Of Ongoing Audio Upgrade At Bahamas Resort

With attractions including a 50,000-square-foot casino, one of the largest outdoor marine habitats in the world and “The Current,” a mile-long water ride that snakes through the resort, Atlantis Bahamas offers up impressive entertainment options.

The facility is currently undergoing an audio upgrade headed by Paradise Show and Design of Orlando, FL, with the resort’s aging power amplifiers being replaced with new Lab.gruppen C Series units.

To this point, 16 Lab.gruppen amps – C 28:4s and C 16:4s – have been implemented in five of the resort’s towers, including a portion of the opulent Atlantis Royal Towers. “They’re running almost all of the outdoor distributed audio now and they’re wonderful,” says Tim Strauss of Paradise Show and Design. “The main thing I like about Lab.gruppen is their clean sound, and the fact you can do virtually anything on their four-channel amps, right down to 70-volt systems.

“And if there is something wrong,” he adds, “they’ll tell you what’s going on, and that I love.” Having said that, given the size of the resort, tracking down a problem through miles of cable isn’t exactly a pleasure, he admits. “But in the long run, you know it’s done right.”

In addition to the guest room towers, Strauss is also beginning to install Lab.gruppen amplifiers elsewhere on the resort as part of a comprehensive new install at Atlantis’ latest swimming and socializing venue.

Lab.gruppen

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Thursday, January 12, 2012

CAD Audio Introduces HA4 Headphone Amplifier, MH110 Studio Headphones

At the upcoming NAMM 2012 show in Anaheim (booth 6632), CAD Audio has expanded its recording product offering with the compact new HA4 stereo 4-channel headphone amplifier and the new MH110 studio headphones.

The new HA4 headphone amplifier is outfitted with four discrete channels with individual volume controls. Frequency response is 20 Hz to 50 kHz, and signal-to-noise ratio is 110 dBA.

CAD Audio is also offering dealers a special HP110 Recording Bundle that includes four MH110 headphones and one HA4 stereo 4-channel headphone amplifier.

Meanwhile, the new CAD MH110 studio headphones are equipped with high-output 50 mm neodymium drivers that produce an extended frequency response of 18 Hz to 18 kHz along with exceptional detail and clarity.

With a circumaural, precision-built monitor design, the MH110s are light weight and include an easy-fold, comfort-fit headband that allows easy, convenient storage and hours of fatigue-free listening.

CAD Audio is also offering dealers a special HP110 recording bundle that includes four MH110 headphones and one HA4 stereo 4-channel headphone amplifier.

The HA4 has an estimated street price of $49.99, the MH110 headphones have an estimated street price of $39.99, and t he HP110 bundle has an estimated street price of $149.99.

Again, all of these products will be on display in the CAD booth (6632) at the upcoming NAMM 2012 show in Anaheim.

CAD Audio

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Pascal Launches New Ultra-Compact 1000-Watt Amplifier Module

Pascal A/S, a manufacturer of high-power OEM amplifier modules, has launched the new, ultra-compact S-PRO2 amplifier module, designed to power a wide range of loudspeakers, line arrays and subwoofers.

The new S-PRO2 is a complete power pack offering 2 x 500 watts (RMS) at 4 ohms, and 1,000 watts in bridge mode. The integrated universal power supply including power factor correction (PFC). It measures only 2 x 3.1 x 8.5 inches (5.1 x 8.0 x 21.5 cm).

It incorporates proprietary Pascal UMAC class-D technology, as well as Pascal UREC power supply technology and PFC functionality that provides universal mains and regulation for worldwide AC mains compatibility and consistent power performance.

“Our new S-PRO2 is our response to client demand for an ultra cost effective 2 x 500 watts,  all-in-one amplifier module with an unprecedented price per watt ratio,” states Pascal sales manager Peter Frentz. “Yet it delivers extremely audiophile sonic performance.”

The S-PRO2 includes a wide range of protection features as well as auxiliary power for DSP cards.

All amplifier channels are over-current protected on outputs. Current clipping is engaged when the amplifier channels exceed its specified peak current output.

A built-in DC protection circuit will attenuate any DC signals on the amplifier inputs, produced by an input signal containing a DC signal.

Power supply over- and under-voltage protection is implemented, which means that the power supply will enter a protection mode when the operational off-line voltage exceeds or drops below the specified upper and lower operational off-line AC voltages.

Temperature protection of power-stages and heat-sinks is implemented to secure the amplifier module from overload.

The S-PRO2 is also has Energy Star Compliance, particularly handy in installations. When the amplifier is put into Sleep Mode, major circuitry parts are powered down, which leads to low AC
mains power input specification of less than 0.5 watt. In sleep mode the +7.5-volt and +/- 15-volt rails are still active, which enables a possible network/DSP to remotely power up the amplifier again.

A high frequency protection is implemented in order to protect filter components from overload, protecting the amplifier from excessive HF signals on the outputs.

Pascal

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Tuesday, January 10, 2012

Bringing Clarity To Loudspeaker Power Ratings & Their Relationship To Performance

It’s unfortunate that misunderstandings about power ratings have precipitated an arms race to provide large numbers

One of the most confusing subjects in audio? Loudspeaker power ratings.

It’s generally accepted that a large loudspeaker power rating is a sign of quality and something to be desired.

And it’s the performance metric that probably has the greatest influence on the consumer’s buying decision.

But a closer look reveals that power rating is far less significant than other metrics regarding the performance of the loudspeaker.

The term “power rating” requires further explanation to avoid misunderstanding. It’s tempting to associate it with the acoustic output of the transducer, or even the recommended amplifier size.

But it has little to do with either.

First, let’s expand the term to make it more meaningful.

How about “maximum input power dissipation?” The term “input power” is appropriate because the loudspeaker presents a load to an amplifier.

Assuming negligible effects from the cable (a safe assumption if the correct wire selection criteria are used), the output power of the amplifier becomes the input power to the loudspeaker.

And because bigger amplifier power ratings are accepted as better (i.e., a sport utility vehicle versus an economy car), it’s assumed that larger loudspeaker power ratings indicate a better product.

Amplifiers that connect directly to loudspeakers are called power amplifiers, because their output is a higher voltage and current facsimile of the input voltage to the amplifier. (Figure 1)

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Power amplifiers are rated for power generation. A bigger number is generally better as it indicates the potential for the amplifier to do more work.

Loudspeakers are rated for power dissipation. Their power rating describes the amount of continuous power that can be dissipated in the form of heat without damage to the loudspeaker.

While at first glance it may appear that more power dissipation is better, this is only true if the method used to achieve it does not compromise the efficiency of the loudspeaker.

Modern power amplifiers act as constant voltage sources to the loudspeaker. This means that the output voltage of the amplifier is essentially independent of the load placed on it by the loudspeaker.

If you drive an amplifier with a signal and measure its output voltage with no load connected to the output terminals, and then connect a loudspeaker to the terminals, there is no significant change in the reading on the voltmeter.

The difference between the no load and loaded case is that with the load present current will flow from the amplifier terminals through the loudspeaker.

Lower load impedances (more loudspeakers in parallel) draw more current from the amplifier, increasing the total power transfer from source to load. (Figure 2)

This is why the total output power of the amplifier generally increases when driving more loudspeakers. Note that the output power of the amplifier increases, but the power is distributed among the connected loudspeakers.

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So, if one loudspeaker is connected in parallel with another, the total power output of the amplifier increases but the power per loudspeaker does not.

In fact, it probably drops a little. It is best to keep amplifier loads above 4 ohms to minimize cable effects and avoid excess current demands on the amplifier.

The Arms Race
The power drawn by the loudspeaker from the amplifier is found by multiplying the voltage times the current.

Conservation of energy says that all of the power from an amplifier must be accounted for. Part of the power produces the mechanical movement of the loudspeaker, and the rest of it becomes heat.

The mechanical movement of the cone produces the sound from the loudspeaker. The heat is a waste by-product, and like any waste quantity, it must be disposed of.

Unfortunately the conversion of electrical power to acoustical power is an inefficient process (less than 10 percent is typical) so most of the amplifier power is wasted (heat) and must be dissipated.

The power rating of the loudspeaker describes the capacity of the loudspeaker to dispose of the heat produced by the inefficiencies of the conversion process – so back to our expanded definition of “maximum input power dissipation.”

As such, it’s a mistake to associate the power rating of the loudspeaker with its sonic performance. Higher power dissipation ratings simply mean that the loudspeaker is better at cooling itself.

But power ratings by themselves give no indication of efficiency in producing acoustic power, which is the purpose of the loudspeaker.

It’s possible to increase the power dissipation rating of the loudspeaker by reducing its efficiency. One could simply add some resistive elements internally.

The result is a very large power rating but very little sound – not what we’re after!

The sound pressure level (SPL) produced by a loudspeaker is more closely related to the applied voltage than the applied power.

This can be seen by plotting the on-axis SPL against both. (Figure 3)

The power drawn by the transducer varies with frequency, and while the SPL is often referenced to the input power, it actually tracks the input voltage quite closely.

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It’s desirable for the loudspeaker to have a flat voltage response, so that equal drive voltage per frequency produces a flat magnitude response on-axis.

The ideal loudspeaker could produce the desired sound pressure level using as little power as possible. There would be less heating due to the higher efficiency.

So there is nothing impressive or inherently beneficial to driving lots of power into a loudspeaker.

It’s more impressive to get lots of sound with less applied power. Think of mileage ratings for automobiles, and you have the right idea. It’s more about efficiency than consumption.

Horn loading and boundary placements are methods of increasing loudspeaker efficiency, allowing more sound per applied electrical watt.

Proper Perspective
The same misconceptions about power ratings in loudspeakers occur when we choose a light bulb. The wattage rating is often associated with the light output – more watts, more light.

Bulbs have a luminosity rating that describes their light output, but few consumers ever consider it.

So, if we need more light in a room we buy a “bigger” bulb (higher wattage rating).

It’s only natural to apply this assumption to loudspeakers. Next time, shop for the highest lumens output for a given power input and you’ll get the best value.

A very high power rating on a loudspeaker doesn’t mean that it will be very loud.

Rather than saying “Wow, the Killsound 5K loudspeaker handles 5,000 watts!” it would be better to ask “Why do I have to feed 5,000 watts to the Killsound 5K to get 100 dB SPL in the audience? On the hand, the Efficienator 1 loudspeaker can produce that level and only have to dissipate 100 watts!”

A more meaningful loudspeaker rating would be that of maximum SPL. This rating can be found by scaling the loudspeaker’s sensitivity rating by the maximum input power rating.

It allows a loudspeaker with a lower power rating – but higher sensitivity – to compare favorably with a loudspeaker with a higher power rating but lower sensitivity.

It’s unfortunate that misunderstandings about power ratings have precipitated an arms race among manufacturers to provide large numbers.

Big power ratings are an easy sell, but high efficiency is a better goal.

Power Test
Many methods exist for determining the maximum input power to a loudspeaker. All of them have their merits, and all have similar attributes.

A meaningful power test must include:
- A broadband noise stimulus that is band-limited for the device-under-test.
- A method of determining the power transfer between the amplifier and the device-under-test.
- A time metric that describes how long the loudspeaker can dissipate the applied power.
- And (ideally) a measurement of SPL from the loudspeaker.

Figure 4 shows a useful way of plotting the results of the test. The noise stimulus is often pink noise (equal energy per 1/n-octaves).

Some methods use flat pink noise and others use a weighting scale to simulate the spectral content of music.

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The latter type can produce higher power ratings since more of the electrical energy is shifted toward the lower frequency bands where a transducer can usually dissipate more heat due to its heavier construction.

To determine power transfer, both the voltage and the current applied to the device-under-test must be monitored.

It’s not sufficient to calculate the power transfer from the applied RMS voltage and the nominal impedance of the load.

The load impedance will increase when the device-under-test heats up, reducing the power drawn by the load (power compression).

When a loudspeaker is operated near its power dissipation limits it is not unusual to increase the power applied to the load by turning up the amplifier, but with the result of no additional sound pressure level and even a reduction in power transfer.

It’s best to consider power ratings on a decibel (proportional) rating scale. Wattage ratings can be extremely misleading with regard to the performance of a device.

Consider the fact that a loudspeaker with a 500 watt continuous power rating will only be slightly louder than one with a 250 watt rating (+3 dB), assuming that the efficiency of both are the same.

This means that there is little practical difference between the two, even though there is an apparent large difference in their ratings.

Most power tests modify the pink noise stimulus to have a lower crest factor – the peaks in the program material are reduced by a clipping circuit.

The practical reason for clipping the waveform is to allow the amplifier to deliver more power to the load.

The maximum output power for unclipped pink noise is about 1/10th of the amplifier’s sine wave rated power. Clipped pink noise can produce about 1/2 of the amplifier’s sine wave power rating, allowing power testing with reasonable amplifier sizes.

The clipping artifacts do not contribute significantly to the heating of the loudspeaker, but the lower crest factor produces more power (higher RMS voltage) into the load.

A continuous power test feeds 6 dB crest factor pink noise to the loudspeaker for a specified period of time (i.e. two hours). This is a demanding test for the loudspeaker, since there are no breaks in the program material to allow cooling.

Program power ratings attempt to simulate music or speech by reducing the duty cycle of the waveform. If the noise is pulsed, some cooling can occur between bursts and more short term power can be applied prior to failure.

Many manufacturers estimate the program power rating by doubling the continuous power rating (+3 dB or 2x is a reasonable assumption).

The actual recommended amplifier size will be larger than either of these ratings. A reasonable estimate is the continuous power rating +6 dB (4x).

Given these definitions, a complete and meaningful power rating for a loudspeaker might be: Maximum Input Power – 200W/400W/800W (continuous, program, recommended amplifier size)

Apples To Apples
Once can easily see the problem with comparing loudspeaker power ratings.

It takes a lot of research to assure an “apples to apples” comparison, and many specs simply don’t include enough background information to allow this. Feeding a loudspeaker with less than its rated power presents no danger.

In fact, it will have a longer, happier life with less power. I recommend limiting the input power to no more than one-half (-3 dB) of the continuous rating for reliable operation.

In the preceding example, this would mean using an 800-watt amplifier, feeding it typical program material (10 dB to 14 dB crest factor) and driving it just to the brink of clipping as a maximum.

Under these conditions, the amplifier will be producing about 80 watts or less into the loudspeaker, which is safely below the continuous rating.

Since the amplifier has a potentially large output, care must be taken to assure that low crest factor program material is not turned up too loud as it could damage the loudspeaker.

Finally, it’s important to realize when the point of diminishing returns is being reached when turning up the volume on a sound system.

Each 40 percent increase in applied voltage to the loudspeaker produces twice the input power, and a slight (+3 dB) increase in sound level.

Remember that with audio it is the proportional chance that matters. As the volume of the system is increased in 3 dB steps, eventually the limits of heat dissipation are reached and the next 3 dB “breaks the camel’s back.”

A loudspeaker is very near its maximum loudness at one-half of its rated power. There is nothing to be gained by going further and the loudspeaker will likely suffer permanent damage.

Advancements in automotive technology have produced vehicles with greater efficiency and lower operating cost due to reduced waste.

The audio industry should have a similar goal – achieving the desired SPL using less amplifier power.

As efficiencies increase, the need to dissipate lots of power should diminish – as should our fascination with high power ratings.

Pat & Brenda Brown lead Syn-Aud-Con, conducting audio seminars and workshops around the world. Synergetic Audio Concepts (Syn-Aud-Con) has been a leader in audio education since 1973. With nearly 15,000 “graduates” worldwide, Syn-Aud-Con is dedicated to teaching the basics of audio and acoustics. For more information, go to http://www.synaudcon.com

More articles by Pat Brown on PSW:
Specification Sheets: What Do The Charts & Graphs Really Mean?
The Vital Impact That Acoustics Can Have On Sound At Your Church
How To Illuminate The Audience With Beautiful, Consistent Audio Coverage
Proper Loudspeaker Placement: How To Avoid Lobes and Nulls
Ten Reasons Why Church Sound Systems Cost More
What Makes A Quality Loudspeaker?

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Powersoft Announces New Account Manager For Central & South America

Powersoft has appointed Daniel Costa Salomao as its new account manager for the CALA (Central America-Latin America) region, where he will be working to increase business in countries where Powersoft is already marketed and sold, while also opening up new business and territories in the region.

Previously, Salomao served as account manager in Brazil, and his success there led to this new, expanded role with the company.

“During the last nine months of collaboration the flawless symbiosis with Daniel has brought outstanding results,” states Luca Giorgi, Powersoft pro audio business unit manager. “We are confident that his knowledge of the market and his experience in the field will play a major part in expanding our market share in those areas where we are present while simultaneously extending to those where we are not.”

“Powersoft products are universally recognized as those granting the best new clean technology/performance ratio in the pro audio industry” says Salomao. “I had the pleasure of visiting Powersoft’s manufacturing facility in Italy and I was amazed by the amount of care and attention paid to every detail of every single product that Powersoft manufactures.

“I’m sure Powersoft will be greatly successful in all Latin America,” he continues, “because this is a market in rapid development and professionalization, constantly looking for the latest and most advanced technologies available. We will make sure to supply our customers with only the best solutions.”

Salomao has a bachelor’s degree in international business and significant experience living abroad and managing sales in different continents. He is based in Miami.

Powersoft

 

 

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