Article

Wednesday, May 13, 2009

Full Sail University Installs Seven SSL Matrix Consoles For Enhanced Lab Program

Matrix provides unique opportunity to teach both analog and digital signal flow techniques

Full Sail University has installed seven Solid State Logic Matrix consoles and Duende PCIe cards as the centerpiece gear for the newly enhanced “Recording and Mixing Consoles” lab program.

Home to 13 SSL AWS 900+ consoles and three SL 9000 J Series consoles representing the largest installation of SSL music recording consoles and equipment in the world, Full Sail will use the Matrix to teach the basics of signal flow for both DAW and analogue projects.

The Matrix-based lab offers Full Sail the ergonomics and functionality of a larger analogue desk, while offering the on-console control of the lab’s Apple Logic Pro-based DAWs.

“When we decided to upgrade the program, we considered a lot of options, but all our research kept coming back to the Matrix as the console of choice,” says Dana Roun, director of audio programs for Full Sail University. “The Matrix just made sense for this lab and how this course work leads into other, more advanced parts of the degree program. We are an educational facility and we need to teach our students about what they are likely to find in the real world. Our students will definitely see the Matrix – and all SSL gear – out there in the industry.”

The seven Matrix consoles support course work revolving around the basics of signal flow and mixing. Once students gain the skills necessary to complete this course, they move on to full production situations in the AWS 900+ and SL 9000 J Series studios. The lab itself features six Matrix consoles, each controlling a dedicated Macintosh computer with Apple Logic Pro DAW software and SSL Duende PCIe cards. The seventh Matrix-Apple-Duende system is in a separate classroom.

“We replicated one of the lab stations and put it in a classroom,” explains Scott Dansby, industry relations director for Full Sail University. “The instructor typically gives a lecture for 30 or 40 students where he can point out features on the console and how to set up the signal flow between outboard gear, the computer and the Matrix. The six Matrix stations in the lab allow us to offer individual hands-on experience where each student can expand upon the material covered in the lecture.”

For the Recording and Mixing Consoles lab, students use pre-recorded material produced by students in the advanced classes using the AWS 900+ and 9000 J Series consoles. That multi-track material is brought into the Macintosh computers and serves as the basis for the mixing/routing experience taught in the lab.

The advantage of the Matrix and the Duende systems for Full Sail is that as students move into more advanced study, they start working on consoles with the same ergonomic design and audio quality as the Matrix, allowing them to focus on recording and production techniques, not learning different console topographies or compensating for tonal differences.

Pedro Uribe, course director for recording and mixing consoles for Full Sail University explains, “Matrix delivers the same look and feel that our students will find on the AWS 900+, Duality and the 9000 J and K Series consoles, while Duende gives the students exposure to SSL EQ & Dynamics processing in plug-in form. With the Matrix, students are learning signal flow through a DAW while experiencing analogue signal flow as they would find on the larger SSL consoles. A DAW controller can’t offer this.

“Matrix gives us full hands-on control of Logic software, allowing us to customize our softkeys so we can tailor our lectures and streamline the learning experience. At the end of the day, they understand how to work in a hybrid environment. On every level, Matrix is the right choice for this application.”

Solid State Logic Website

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Thursday, April 09, 2009

OPTOCORE Presents Two New Signal Converter Devices

The X6R and V3R can be seamlessly integrated into the OPTOCORE Optical Digital Network System

At the 2009 Prolight+Sound - Musikmesse in Frankfurt, OPTOCORE introduced the X6R and V3R, two new signal converter devices, both housed in 1U enclosures.

The 16-channel X6R offers flexibility with two card slots on the back panel that can be equipped with five different card types. It converts analog signals (16 inputs, 16 outputs, 8 inputs and 8 outputs, dual microphone inputs with two independent adjustable gains) to AES/EBU or it can serve as a sample rate converter for AES3 input signals, at sample rates up to 192 kHz.

The V3R offers one card slot for eight channels on the back panel and is ideal as an analog input or output satellite if no more than eight channels are required.

Five card types are available:
• 8 mic inputs
• 8 line inputs
• 8 line outputs
• 8 mic inputs with two independent preamps each
• 8 AES/EBU inputs with sample rate converters

The devices are especially designed for rack-mounted applications and permanent installation. All cards are equipped with Phoenix connectors.

The X6R and V3R can be seamlessly integrated into the OPTOCORE Optical Digital Network System.

All parameters of the converters can be remote controlled and monitored with the OPTOCORE Control software application. High quality preamps and A/D and D/A converters make the X6R and V3R units ideal for the incorporation into audio systems even if no OPTOCORE network is established.

The X6R with the dual microphone input card relieves all front of house and monitor engineers of the decision about the control of the microphone preamps. Every microphone input incorporates two independent microphone preamps and both can be adjusted individually. Different sample rates of devices with AES3 outputs are no issue any more as well. The 8-channel (16 audio channels) AES/EBU card will convert the sample rate to the one shared in the network.

The devices can be equipped exactly according to the customer’s requirements and the following versions can be purchased:

X6R
16 microphone inputs
16 line inputs
16 line outputs
8 microphone and 8 line inputs
8 microphone inputs and 8 line outputs
8 line inputs and 8 line outputs
8 microphone inputs with two independent preamps each
8 AES/EBU inputs (16 audio channels) with independent sample rate converters

V3R
8 microphone inputs
8 line inputs
8 line outputs

OPTOCORE Website

Take our Photo Gallery Tour of new products from this year’s Prolight + Sound - Musikmesse.

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Thursday, April 02, 2009

SSL Debuts X-Desk, A Compact, Flexible “SuperAnalog” Mixer

X-Desk was created to offer a desk with components and features mirroring its popular Duality, AWS 900+ SE, Matrix & C200 HD consoles in a compact and portable format

The new Solid State Logic (SSL) X-Desk is a compact, “superanalogue” line mixer with eight dual-input mono channels, stereo and mono auxiliary sends and comprehensive monitoring control. It was unveiled at the 2009 ProLight+Sound/Musikmesse in Frankfurt.

X-Desk was created to offer a desk with components and features mirroring its popular Duality, AWS 900+ SE, Matrix & C200 HD consoles in a compact and portable format. It features a 16-channel SSL SuperAnalogue summing mixer with a compact analogue audio hub for studio use.

With, 100mm faders, professionally featured artist and studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering, SSL is boasting that X-Desk fulfills all of the essentials of the audio mixing process.

X-Desk is an ergonomically refined desktop mixer that comes with rack ears for standard 19-inch rack mounting (X-Desk is 7U). It is hand-built in the UK with an all-metal chassis and high quality controls and components. Several X-Desks or X-Desk & X-Racks can be cascaded via D-Sub connection to expand up to 150 inputs on mixdown.

Main Channels:
- 2 inputs per channel (e.g. line inputs and DAW returns)
- Insert point on each channel
- Direct out on each channel (Pre- or Post-fader)
- Stereo Cue send on each channel (can be used as a “small fader” second input) with volume and pan
- 2 mono Aux sends per channel
- 100mm Alps faders

Center Section:
- Main Mix Bus, with Insert and Insert Sum
- External stereo input
- iJack input
- Talkback mic
- Mono check
- Main and Alt monitor selector
- 2 stereo FX returns

Additional Features/Specs:
- Rackmountable, 7U high (rack ears included)
- Cascade multiple X-Desks using the link connector. This cascades: Mix Bus, Cue Bus, Aux Sends, Solo between multiple X-Desks. We suggest as maximum of 8 desks can be chained together to give 128 inputs, although larger systems may be possible.
- Cascade X-Rack summing systems into X-Desk using the Mix Bus Link

The selling price of the X-Desk will be $2699 and will be available around mid-June/July (2009).

SSL Website

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Monday, March 23, 2009

Salt Lake Acting Company Goes Analog With Yamaha IM8-32 Mixing Console

Delivering clarity and simple operation at edgy regional theater

Housed in a historic church, Salt Lake Acting Company premieres new, original plays with bold themes. When it came time to buy a new mixing console, in-house sound maven Cynthia L. Kehr Rees chose the Yamaha IM8-32, an analog board with a straightforward layout and feature set.

Kehr Rees, who is a member of United Scenic Artists local 829 and serves as a sound designer, system designer and sound engineer, has had extensive training on Yamaha’s digital consoles, including the O1V, the O2R and the LS9, but prefers the sound of analog. She also considered the learning curve it takes to operate a digital mixer when deciding to purchase the IM8-32.

“I was looking for a console that would be accessible to any operator walking up to it,” said Kehr Rees. “That is especially important here because we have a lot of people who appreciate having all the channels available without having to flip through screens. And I’m partial to the sound of analog; people say there’s no difference, but to me there’s a warmth you get with analog that has yet to be duplicated in a digital console within a comparable price range.”

The main theater seats 160 and occupies a space built as a multipurpose room within one of the earliest churches in Salt Lake City by the Church of Jesus Christ of Latter Day Saints. The room, which has never been acoustically retrofitted, presents interesting challenges that the IM8-32 helps tame.

The company presents dramas and musicals, with live accompaniment, but uses hanging microphones instead of a wireless mic system. During Saturday’s Voyeur, the theatre’s annual summer musical that parodies the local politics and society of Salt Lake City and Utah, audience members sit around the edge of the stage and enjoy picnic lunches.

“Often, the space changes entirely for each show. I like how the output structure, with four matrices, eight subgroups and eight auxes, with pre-post assigns grouped in pairs, offers a lot of flexibility for live theater. We need the flexibility to accommodate monitor systems, outputs for FOH, effects playback systems and other feeds; given the price point, especially, this board stands alone in its class.”

Kehr Rees praised the microphone preamps, the smoothness of the faders, EQ that rivals outboard devices and the onboard single-knob compression. “With the hanging mics and the gain structure set up on our old console, the loudest voices were the only ones we heard properly,” she said. “When we opened up the gain so we could hear the softer voices the big voices would peak out the system and we would have to ride the gain to keep from distorting. Yamaha’s input compression acts as a safeguard so no one voice can destroy the mix.”

Kehr Rees, who earned a BFA in Theatrical Design and Technology from Otterbein College and an MFA in Sound Design from the College-Conservatory of Music at the University of Cincinnati, has garnered experience at the Alabama Shakespeare Festival, in Montgomery, the Seaside Music Theater in Daytona Beach, Fla., Arena Stage in Washington, D.C., and many other regional theatre companies.

At Salt Lake Acting Company, she uses virtually all of the inputs of the IM8-32. “Things are spaced so you can actually use them,” she said. “Some manufacturers try to cram so much in that unless you have itty-bitty fingers, you can’t use the different functions on the channels. I have small fingers, but on some consoles I’ve used, you can’t get a hand in there to turn the potentiometers. The IM8-32 is a flexible console with an ergonomic design. Someone finally addressed the needs of the smaller professional theater.”

Yamaha Website

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Wednesday, March 18, 2009

Allen & Heath USA Announces iLive Digital Mixer Buy One, Get One Free Promotion

Purchase a complete iLive system, receive a free GL2400 console

Allen & Heath has just announced the iLive Buy One, Get One Free campaign, available for qualified purchases in the U.S.

Running March 10 to May 31, 2009, anyone purchasing a complete iLive-144 Digital Mixing System, including the iDR10 MixRack, will receive a free GL2400-32 mixing desk, and anyone purchasing a complete iLive-112 Digital Mixing System including the iDR10 MixRack will receive a free GL2400-24 mixing desk.

Purchasers must take delivery of new qualified product on or before May 31, 2009.

Find out more about the Allen & Heath iLive

Find out more about the Allen & Heath GL2400

For further information on the program, go to http://www.americanmusicandsound.com/iLiveBuy1Get1Free.html

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Thursday, February 26, 2009

New Dutch Rental Company AVL Concept Invests In Midas PRO6 and H3000 Consoles

"For our technicians and account managers there was only one dilemma to deal with and that was Midas analog or Midas digital." - AVL Concept Owner Ben Rosema

Newly-formed Dutch rental company AVL Concept has made a strong investment in its future growth by investing in a large amount of new pro audio equipment, including a Midas PRO6 and a Heritage 3000 consoles.

The company, which was supplied by Midas Consoles Benelux, has taken over some well known companies including audio rental company Cazemier LGB and AV rental and installation specialist Provision.

“We’ve set up the new company to be ready for the next decade or so,” says AVL Concept Owner Ben Rosema. “AVL Concept is not a classic concert sound rental company, neither is it a traditional AV install company. We offer our clients the best, both in high end rental plus install, focusing on the highest level of audio, lighting, video, production and staging.

“We’ve only been able to achieve this level of business by taking over existing, well-performing specialist companies and implementing their expertise and contacts into our new company with one goal in mind: to provide a one-stop shop covering our entire and diverse customer base by providing relevant and specific market segment expertise. “

“AVL Concept relies on a strong financial base, and we’ve achieved this by investing in the right people, brands and market segments,” Rosema continues. “For our technicians and account managers there was only one dilemma to deal with and that was Midas analog or Midas digital.

“After some brainstorming sessions with Axel of Midas Consoles Benelux I came to the conclusion that the Heritage is still a rock solid investment for some markets, whereas for the digital approach the PRO6 is a safe and sound investment, so we bought both.”

Adds Axel Nagtegaal, MD of Midas Consoles Benelux, “With the credit crunch reaching new levels every day, those companies who were already lagging behind are the ones who will lose out when it comes to adapting to the various markets. From that perspective I do not find it surprising that we’re selling Midas PRO6s at a higher rate than we sold the Heritage during its best years. The entertainment market is not slowing down and businesses need to demonstrate to their clients what actions they are taking to stay ahead.

“A lot of our customers are investing in Midas digital knowing that they can set themselves apart from their competitors more than ever. The PRO6 is a stable and proven digital investment in a market which is all about trust and return on investment, not to mention sound quality.”

Midas Website

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Sunday, January 25, 2009

Recent Church System Trends & Highlights

A tour of recent audio technology applications...(Check out our photo gallery of recent projects.)

The world of church sound has never been more exciting, as the constant flow of new technology continues to make a positive impact on the quality of audio provided for worship services.

Further, these developments, as well as the increasing knowledge among both church sound practitioners and systems integrators of how best to apply them, are opening up a plethora of new possibilities in terms of increasing the scope of worship production.

Enjoy this tour of some recent audio technology applications at a variety of churches.

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Friday, January 23, 2009

SM Pro Audio Releases AB-8 Transformer Balanced ADAT A/D

With 8 analog inputs and one ADAT output interface, the AB-8 is well suited for use in a wide variety of studio configurations

The new SM Pro Audio AB-8 is a transformer-balanced, multi-channel analog to ADAT converter designed to deliver an additional 8 inputs to many of today’s current digital audio products.

With 8 analog inputs and one ADAT output interface, the AB-8 is well suited for use in a wide variety of studio configurations.

Whether working with I/O cards, digital mixers or digital musical instruments - the AB-8 converts analog data reliably and professionally to an 8 channel digital ADAT format stream with fidelity.

Transformer isolated inputs on all 8 channels protect audio signal from any excessive hum or other noise due to power or grounding issues. Passive level attenuators are also provided to adjust incoming signal as desired.

The AB-8 features the latest full resolution 24-bit converters and offers both internal and external sync at 44.1/48kHz sample rates. BNC word clock connectors are provided on the rear.

Features:
- 8 x Balanced and line inputs (combo)
- 8 x Passive level attenuators
- 8 x Transformer isolated inputs
- 24-bit 96kHz Delta Sigma converter
- Internal and external sync
- Word clock I/O
- 44.1/48kHz operation
- 1 RU rack-mountable chassis

Housed in an external chassis, the AB-8 is shielded from any stray electrical interference. Robust combo connectors are provided for all inputs.

SM Pro Audio Website

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Guitar Center, GC Pro Named Exclusive U.S. Distributors Of New Neve Genesys Console

The Genesys is available only at Guitar Center and GC Pro; in addition, this weekend (Jan 23-25) take advantage of GC's Red Carpet to get $50 off purchases of $350 or more (Click here for more info)

Guitar Center and Guitar Center Professional (GC Pro) have announced an agreement with AMS Neve stating that GC Pro is the exclusive U.S. sales channel for the new Neve Genesys, a custom-crafted, expandable analog recording console with digital workstation control, as well as related products.

In coordination with the recently signed agreement, GC Pro has also announced four demonstration facilities throughout the U.S., in New York, Los Angeles, Nashville and Miami. An additional flight-cased Genesys console will be moved on a monthly basis to other GC Pro locations throughout the country.

In partnership with Neve, GC Pro will host a series of industry events to present the product to customers nationally. A Genesys console has already been installed in GC Pro’s West LA location, with additional demo consoles arriving in January.

At a price-point of less than $50,000, Genesys offers a base configuration of 16 channels of mic/line preamps, 16-channel DAW monitoring, 32-channel analog summing at mixdown, DAW control for Pro Tools, Logic, Nuendo and more, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an internal power supply.

Further, Genesys has the ability to upgrade as studio owners’ requirements change — it can be expanded to over 60 channels in a straight or articulated frame, with options including motorized fader automation, recall, mastering-grade A/D and D/A converters, digitally controlled EQ and dynamics, remote mic amp control and much more.

Genesys was created by Robin Porter, AMS Neve Head of Analog Design, who with his 35 years at Neve has vast experience with the classic 8068, 8078 and VR consoles and was also the principal designer of the 88R.

“Neve is a legendary name, and Genesys represents 40 years of analog console development,” commented GC Pro Director Rick Plushner. “We’re very proud and honored to be selected as the U.S. distributor, and our division is fully behind this product line.”

Mark Crabtree, Managing Director of AMS Neve, says that choosing Guitar Center and GC Pro as exclusive sales and support partner was simple. “The staff are exceptionally well trained and their contacts in the industry are widespread,” he said. “Having store locations in key markets and allowing hands-on access to the console in well-equipped studio environments makes for a very impressive organization.

“Neve customers expect a high level of customer service before and after the sale, and we’ve seen how GC Pro has delivered above and beyond with other Neve products, so we know that with GC Pro our new customers will be well taken care of.”

“Guitar Center is excited to offer the extraordinary line of AMS Neve Genesys consoles to our customers,” stated Bill Wrightson, GC Vice President, HiTech Merchandise. “Our partnership with AMS Neve, combined with the outstanding services of our GC Pro organization and our financing/leasing options, will help make it easy to own a Neve console.”

Guitar Center Website
GC Pro Website
Neve Website

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Wednesday, January 21, 2009

Barry Rudolph’s Recording Gear Hits At The 2009 Winter NAMM Show

Manufacturers were well armed with "ready-to-ship" gear promised at the AES Show last October or brand new products ready soon. Here are a some winners I instantly gravitated toward as I made the rounds.

If there is an economic recession you couldn’t prove it by attending the 2009 NAMM show this month at the Anaheim Convention Center.

Although most exhibitors felt the general traffic flow around the show floor was less than the 2008 show, the furious business action in the booths more than made up for it.

Manufacturers were well armed with “ready-to-ship” gear promised at the AES Show last October or brand new products ready soon.

Here are a few winners I instantly gravitated toward as I made the rounds.

PreSonus StudioLive
Announced at last year’s AES Show, PreSonus now delivers the StudioLive 16.4.2 Digital Mixer.

“Digital” could be misleading because there are 16 analog Class A XMAX mic preamps with XLRs on the channel inputs, and each channel has 1/4-inch TRS balanced line inputs and insert points.

The four subgroups outputs, and six aux bus inputs and outputs also are 1/4-inch TRS balanced, and the main outs are on both XLR and 1/4-inch TRS, along with a 1/4-inch mono output.

The console has a four-band semi-parametric EQ, high-pass filter, compressor, limiter, and gate on every channel.

The console’s digital side starts with a dual-port FireWire audio interface that routes all channels and buses to and from any ASIO-compliant audio application running on a Mac or Windows PC, including Logic, Cubase, Live, Digital Performer, Sonar, and Audition.

Latency is low so StudioLive works in real-time for recording and monitoring live performances. For reverb and delay effects, there are two 32-bit stereo effects processors onboard.

StudioLive comes bundled with the especially configured Capture recording software for Mac OS X and Windows XP/Vista.

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Capture has all the professional tools such as: importation of .WAV files, dropping markers on the fly, basic editing, return recorded tracks to the mixer via FireWire for further processing, and mixing back to Capture for rendering in .WAV and/or Open TL files.

All settings, including Fat Channel settings and individual digital effects, are saved and recalled at the touch of a button.

PreSonus will release a free firmware update that will enable you to use the two FireWire ports to daisy-chain, with sample-accurate synchronization, up to two StudioLive mixers for 32 channels of recording or up to twelve StudioLive mixers for 192 channels in live performance.

Find out more about the PreSonus StudioLive Console.

Chandler Limited Little Devil Compressor
If you own an API (or other manufacturer’s) Series 500 rack know that the list of compatible modules fattens with Chandler’s Little Devil compressor and equalizer.

Wade Chandler is able to use discrete components, transformers, inductors (in the EQ) and no ribbon cables or surface mounting techniques within the small size of these modules.

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My fave was the Little Devil Compressor; an FET (Field Effect Transistor) loosely based on his Germanium Comp and the design of the Neve 2264—notably the transformers used.

You get three ratios, variable attack and release, full hardwired bypass, variable frequency sidechain filter (yowsa!), and Chandler’s THD selector—as if this compressor isn’t colorful enough!

The module finishes with the cutest VU meter I’ve ever seen.

Find out more about the Little Devil Compressor.

Pete’s Place BAC-500 Compressor
Part of A-Designs is Pete’s Place Audio and they now have the BAC-500 compressor for the 500 Series racks.

The BAC or Brad Avenson Compressor is a feedback-style FET compressor built around two discrete op amps and a custom wound output transformer.

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Considering the limited real estate on these modules, like the Chandler, it is also a single-space unit featuring large, man-sized silver rotary input and output knobs.

Smaller pots for attack, release and ratio are used and additional features include a three-position sidechain contour switch, eight-LED gain reduction meter, and push-buttons for distortion and bypass.

With five ratio positions ranging from 2:1 to 20:1, you can configure the BAC anywhere from smooth, totally innocuous compression all the way to pumping and breathing limiter effects.

Find out more about the BAC-500 Compressor

Shure PG27 and PG42 Condenser Microphones
Shure has a couple of new side-address large diaphragm condenser mics fitted with both conventional XLR connectors and USB jacks.

Both the PG27 and PG42 also come as the PG27USB and PG42USB for direct connection to a computer DAW—no mic pre-amp required.

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As an unusual feature, both these cardioid condenser microphones have built-in headphone amps with mix controls for zero latency monitoring.

Both mics are said to have a flat, neutral frequency response suited for instruments and vocals.

They come with a low-cut filter and external shock-mount and the USB models have an integrated mic pre-amp with gain control.

Find out more about the Shure PG27usb and PG42usb microphones.

Neutrik Unisex XLRs
Neutrik seems to always come up with the best ideas for connectors—the lowly products they are not. convertCON (NC3FM-C) is the first unisex three-pin XLR connector.

The word unisex and XLR don’t often collide in the same sentence but that’s what these single connectors are. They are a male and female cable connector in a single housing—also available in a black chrome housing and gold contacts (NC3FM-C-B).

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I have a pair of 50-foot cables with these at each end and I can’t tell you how many miles of shoe leather I’ve saved by not having to swap ends—no matter what, you’ve always got the right connector at both ends—even for weird setups like amateur-wired home studios that do not follow conventional connector standards.

By simply sliding the housing back and forth, convertCON is transformed from a male to female connector.

Find out more about Neutrik convertCON.

JBL LSR2300 Monitors
One big positive sticker shock was the new line of powered monitors by JBL.

At the demo room I was looking for other speakers hidden behind the curtains because the low frequency reproduction belies these monitors diminutive size.

Don’t ask me technically how they can do this but the new LSR2300 Series includes: the 160-watt LSR2328P Bi-Amplified 8-inch Studio Monitor with low frequency extension down to 37Hz; the 85-watt LSR2325P Bi-Amplified 5-inch Studio Monitor goes down to 43Hz; and the 180-watt LSR2310SP 10-inch Studio Subwoofer makes sound below 29Hz.

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It all has something to do with new long-excursion low-frequency transducers with high-flux motors and a custom-tuned port.

All use a single one-inch silk-substrate tweeter, and were all developed using the same Linear Spatial Reference technology as JBL’s top of the line monitors.

I also like the new styling with the single blue LED in the center of cabinet and the trademark large waveguide and the elliptical tweeter aperture look better than ever.

Find out more about JBL LSR2300 Monitors.

Focusrite Liquid Saffire 56
Focusrite launched the latest addition to the Saffire range with the Liquid Saffire 56.

Saffire 56 is a 2U Firewire audio interface/recording consolette that has two Liquid Channel mic pre-amps (out of a total of eight mic channels) with your choice of 10 different mic pre-amp emulations.

These include emulations based on the Neve 1073, Pultec MB-1, Telefunken V72 and seven more.

A harmonics dial on each Liquid pre-amp will creatively add levels of 2nd, 3rd and 5th harmonic distortion.

This would make Liquid Saffire 56 the first 8-channel mic-pre that can be set with three different types of pre-amps simultaneously. (Two different Liquid Channel emulations and the standard Focusrite.)

Liquid Saffire 56 acts as either a master clock or slave and has a lot of I/O options: 10 analog outputs, 16 channels of ADAT Lightpipe In/Out, stereo S/PDIF or AES (on RCA phono), MIDI connections and two virtual ‘loop back’ inputs for routing digital audio between software applications.

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Finally, the included Saffire Mix Control software offers a zero-latency 18 x 16 DSP Mixer/Router for one-click mixing setups and large on-screen metering for inputs, outputs, submixes, headphones and plug-in usage.

Find out more about Saffire 56.

VocalBooth.com Amplifier Enclosure
I found many problem solvers at this year’s show and VocalBooth.com’s VB Amplifier Enclosure is a great one.

It solves the problem of recording electric guitar in proximity to other quieter instruments or in the same room as your apartment/home studio.

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After you place your amp inside this enclosure and close it up, you’re ready to dial up a full and loud rockin’ tone, play on “10” if you must, all without breaking your lease.

The enclosure comes in four sizes and has a convoluted foam interior.

There is a cable “pass-through” port and room for your microphone(s) and you can order it with optional caster wheels and/or baffled-ventilation system to vent heat from a big tube amp.

Find out more about the VocalBooth Amplifier Enclosure.

Heil Sound Drum Microphone Kits
Bob Heil of Heil Sound showed three new drum microphone kits, the HDK-8 Primo, the HDK-7 and the HDK-5.

All of the HDK drum kits come in road-worthy, foam-lined travel cases and feature microphones from the Heil Sound product line as well as several brand new mics specifically designed for drum kits.

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The HDK-8 Primo kit consists of two PR 22s for snare and high-hat, three PR 28s for toms, two PR 38s for overheads and a single PR 48 for kick.

In addition, a new tom mount called the HH-1 is included.

I checked the HH-1 on the show floor and there is no doubt in my mind that you can put the mic exactly where you want it—no matter how gnarly a drum kit setup you encounter.

Find out more about the Heil Drum Mic Kits.

Pete’s Place Blast Filter
Pete’s Place also showed the most effective and best-looking microphone pop filter I’ve ever seen.

Peter Montessi refers to this all-metal beauty as the Blast Filter and it enables the use of condenser or ribbon mics in generally verboten applications.

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Not only does this filter kill air blasts P-popping and other plosives it also lowers the actual SPL from kick drums, guitar amps, or ridiculous loud singers who insist on eating the mic!

Weighing in at about five ounces and at five inches in diameter, the filter is made using an anodized aluminum ring with two different mesh sizes of stainless steel screens sandwiched together.

Air exit ports are machined into the ring’s circumference. I’ve been using this in the studio and it is like an insurance policy for any sensitive mic I know would sound great on loud and raucous sound sources but didn’t want to risk it.

More photos of the Pete’s Place Blast Filter.

Cranesong Ltd. Egret
Cranesong has Egret an eight-channel line mixer with eight D/A converters that takes mixing outside the box to the upper most level with its ability to add analog color (a blend of 2nd and 3rd harmonics) in any amount that fits your music’s style.

Each channel has a level knob, a post aux send control, analog color control, pan, solo and mute buttons.

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Every channel also has an analog/digital source button for selecting an alternate analog line input such as a live audio source.

There are also completely balanced direct outputs and inputs for inserting analog processing into individual channels and a balanced stereo effects return. The master stereo bus level control is a 1-dB stepped attenuator for accurate and repeatable gain control and stereo gain matching is better than .05 dB.

Multiple Egrets can be chained together for more inputs or for connection to other Cranesong products.

The standard interface supports AES single wire to 192KHz, ADAT, and S/MUX to 96K.

Find out more about the Cranesong Egret.

Visit Barry Rudolph at http://www.barryrudolph.com

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Chandler Limited Introduces LITTLE DEVIL Equalizer and Compressor For API 500 Series

Technically and sonically speaking, the Chandler LITTLE DEVILS are steeped in the sound and function of all Chandler gear - discrete amplifiers, inductors, and transformers.

Chandler Limited enters the (API) 500 Series race with its new LITTLE DEVIL Equalizers and Compressors.

Using all discrete circuits that combine Chandler’s best designs with the hottest designs from the past, transformer balanced everything, and American-handmade quality, the LITTLE DEVILS will take the lunchbox UP (or DOWN:-) to the next level…

Technically and sonically speaking, the Chandler LITTLE DEVILS are steeped in the sound and function of all Chandler gear - discrete amplifiers, inductors, and transformers.

And, there are no surface mount or ribbon cables in the Little Devils (used to build cell phones and computers) that are becoming popular money-saving and sound-crippling build techniques.

LITTLE DEVIL Compressor
- All controls are marked by +/- 1 to 6
- FET Compressor using concepts from both the Chandler Germanium and the 2264 Comp
- Input Control: Curve selection with Zener and Germanium diode knees
- Gain Make Up
- Ratio in three positions
-  Attack
- Sidechain Filter - 30, 60, 90, 150, 300 Hz
- THD selection
- Release
- Hardwire bypass

LITTLE DEVIL Equalizer
- All controls are marked by +/- 1 to 6
- English-style console EQ similar to 1081 and 33115 vintage units
- Treble and bass shelf +/- 18 dB. Treble is set to 12k while bass is selectable 50 and 110 Hz
- HI and LO Mid +/- 18 dB with HI and LO “Q” switching on each band. Inductor based English style with 7 selections per band.
- HI MID: 8k2, 6k8, 5k6, 4k7, 3k3, 2k7, 1k2
- LO MID: 820, 560, 470, 390, 330, 270, 220
- Three position filter: 47, 82 and 150 Hz
- Hardwire bypass

LITTLE DEVIL modules will run without problem on any 500 Series rack and PSW.

Chandler Limited Website

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Friday, January 16, 2009

Cranesong Shows Egret Workstation Back End At Winter NAMM ‘09

Contains 8 channels of high quality D/A converters and a stereo line level mixer with color options to help bring analog summed digital mixes to life.

The long-awaited Cranesong Egret, on display at the 2009 Winter NAMM show, is a highly flexible workstation back end. It contains 8 channels of high quality D/A converters and a stereo line level mixer with color options to help bring analog summed digital mixes to life.

The stereo mixer has a level control, a aux send which is post level control, a color control, and a pan control on each channel. Each channel also contains an analog/digital source button, and solo - mute buttons.

The color function is adjustable from a transparent sound to a complex mix of second and third harmonic content. Creating the possibility of having clean modern sounds mixed with vintage sounds.

By using the balanced direct outputs and the balanced analog inputs you can insert analog processing into individual channels.

The built in Aux bus with its master level control can be used as an effects send. A balanced stereo effects return is built into the system.

The master stereo bus level control, which is a stepped attenuator, has 1 db steps for most of its range,  This allows for accurate gain control, repeatability, and stereo gain matching to better than .05 db.

The headphone system allows a monitor mix to be created when Egret is being used in multi channel location recording.  Thus allowing the monitoring of all channels.

The D/A converters support sample rates up to 192K and have sample rate converters on each channel for jitter reduction.  There is a front panel switch to disable the SRC for cases where lower latency is required. 

The system is built so that the converters and the interface can be upgraded as the technology changes.

The standard interface supports AES single wire to 192KHz,  ADAT, and S/MUX to 96K.  The converters can also be independently operated, even at different sample rates.

Egret is built so that the stereo, and cue buses can be chained together to create a many input system. 

With a special cable Egret’s stereo bus can also be tied to a Crane Song SPIDER as a way to sum additional analog inputs while working in a mix mode.

Cranesong Website

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Thursday, January 15, 2009

Yamaha Unveils IM8 Series 8-Bus Analog Consoles At Winter NAMM ‘09

The IM8 series includes the same build-quality and rigorous testing procedures as the successful PM series mixing consoles and will be available in three models with 24 (IM8-24), 32 (IM8-32) and 40 (IM8-40) channels.

To help small and medium-sized venues and touring productions get the most from their live sound mixing boards at a reasonable price, Yamaha introduces its new IM8 series of analog consoles.

The eight-bus IM8 series, which fill a large gap in the analog console market, includes the same build-quality and rigorous testing procedures as the wildly successful PM series mixing consoles and will be available in three models with 24 (IM8-24), 32 (IM8-32) and 40 (IM8-40) channels, respectively.

All three models inherit technology from Yamaha’s professional consoles and deliver low-noise, intuitive operation. With Yamaha’s innovative single-knob compression feature, operators can dial in the right amount of compression simply and quickly.

“We’ve gotten many requests from sound engineers looking for smaller format consoles with advanced features and a competitive price,” said Wayne Hrabak, marketing manager, Live Sound, Yamaha Pro Audio & Combo Division. “These new mixers offer all the tone-shaping features that just about any sound pro would want, but they are simple to operate.”

All mono input channels feature both balanced XLR and TRS phone jacks, with individually switchable +48v phantom power, 26-dB pad switch, gain control, pan pot and four-band EQ with sweepable mids. Each mono input channel also includes a polarity switch and 80 Hz high-pass filter switch.

Four stereo input channels provide L and R phone jack inputs, phono jack stereo pairs, input gain control, balance control and four-band EQ.

All inputs feature eight individual AUX send controls that can be switched in pairs for pre-fader or post-fader operation, and can be set pre- or post-EQ via internal jumpers. The noiseless faders are 100mm long to allow for greater control over the levels.

A comprehensive master section provides extensive signal routing and control versatility, while an output matrix affords extra output flexibility, particularly for installations. In addition to offering direct outs on all mono channels, the boards include a USB port to accommodate direct digital recording and playback with the supplied Cubase AI4 audio workstation software.

The IM8-24 (MSRP: $4,799), IM8-32 (MSRP: $5,799) and IM8-40 ($6,499) are currently shipping.

For more information:
Yamaha Website

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Thursday, December 11, 2008

Al Galladoro: The Passing Of A Music Master

Al Galladoro, a master of the clarinet and saxophone, passed this week at the age of 95.

Born in Chicago in 1913, the son of an immigrant, Galladoro picked up his father’s clarinet when he was 5, and by the time he was 14, Galladoro had embarked on an 9-decade career that took him first to New Orleans and then to New York City.

Galladoro thrived in an era when music was performed live on stage or broadcast live into homes over the radio, creating a unique style blending jazz and classical.

He played in vaudeville houses and speakeasies, night clubs and symphonies, Carnegie Hall and international jazz festivals. His longest association (nearly four decades) was with the “King of Jazz” Paul Whiteman, where Gallodoro played lead 1st alto sax, as well as clarinet and bass clarinet for the orchestra, leading to his nickname of “Triple Threat”.

Galladoro joined the Paul Whiteman Band at the age of 23; played for the “Chesterfield Cigarette Hour” with Bing Crosby; performed the clarinet soundtrack for the movie “Rhapsody in Blue”; and was a member of the NBC Symphony under the leadership of Arturo Toscanini and Leopold Stowkowski; among many other accomplishments.

In fact, he holds the world record for the most performances of the clarinet slide of “Rhapsody in Blue” - more than 10,000 times.

Later in life, after the passing of his wife died and the music industry had greatly changed, Gallodoro moved to rural Oneonta in upstate New York, but he continued to play. In fact, “It seemed the older he was getting, the more popular he was getting,” said his manager, JoAnn Chmielowski.

ProSoundWeb Senior Sales Manager Mark Shemet, who’s also still active as a drummer, had the pleasure of a few performances in support of Galladoro.

“My favorite was backing him on ‘Sweet Georgia Brown’. He was playing faster than we all could, and it was tough to keep up,” Shemet recalls. “He was also sweet guy, so full of life, and worthy of our praise.”

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Wednesday, October 22, 2008

Staying Analog In An Increasingly Digital World

It seems like every company on the planet has seen fit to bring out an amazing fancy new digital mixer, even some well-established companies that haven’t produced a mixing console before at any level.

This explosion of the digital sound reinforcement product sector over the last half-decade or so has produced a tempting array of solutions.

I’ve watched these developments carefully, worked with most of the offerings, and seen other companies utilize these powerful tools to great benefit.

My sound company recently started looking for a set of new consoles to support our expanding activities, so I began talking in earnest with manufacturers over what they could offer me in return for my money.

After carefully weighing a number of factors, I’ll be taking delivery of an analog VCA console from the great folks at APB-DynaSonics, headquartered in New Jersey.

This article briefly explains my decision to buy an analog mixing console in today’s market and why I’m pretty sure I’m not insane for having done so (contrary to the opinions of many!).

“But Bennett! How could you resist the allure of the brand new Hobart R2CZ?” Let me assure you, it was a difficult decision.

First of all, I’m not buying analog, or writing this article, because I hate digital. I’m a well-known advocate of DSP and the flexibility available in essentially every digital mixer. I’ve got racks full of the stuff myself; it’s great problem solving equipment that I use on nearly every show.

The issue here isn’t one of whether or not digital is a good thing, but one of whether or not it’s the right decision at this point in time for my company.

One of my first considerations when I began this hunt was budget. I discovered early on that I could sink around $10-$20,000 into a new mixing board. This immediately narrowed my possibilities. If I’d had $40,000 to spend, or $4,000 to spend, my decision to buy analog might have been different.

I’m sure I’m not alone in looking into a new desk at this price point, and I think my observations are valid for many small sound companies.

I won’t try to dodge the issue; one of the main reasons I’m staying analog is sound quality. I don’t side with people who believe digital audio equipment automatically sounds like junk. I’ve heard too much fine sounding digital gear for that to be true.

However, digital consoles in the price range I can afford have often left something to be desired in my opinion. Any time you pack that much complexity and power into something so compact and affordable, quality compromises have to be made.

The analog desk I have acquired has some of the cleanest, clearest sound output I have ever heard, and what’s more, it continues to sound good even if you abuse it with excessive levels or radical EQ. I have no qualms about putting this desk on any show, at FOH or monitors, headliner or opener, acoustic or rock.

Hand in hand with sound quality goes ease of use. My company works with a lot of artists and many other companies throughout each year. While I am fairly comfortable mixing on nearly anything, I’m not buying just for me. This console is going to be used by BE’s hot off the bus, late for sound check.

The last thing they or I need to be doing at that juncture is learning yet another user interface. With an analog layout, every switch and knob is in plain sight, they’re all labeled, and if you’ve seen one VCA console you can pretty much work with any of them.

True, at the end of the night I’ll be resetting most of those controls by hand one at a time, but at least I know where they are and what they need to be reset to.

The choice of an analog board was also driven by my need for a reliable, easily repaired mixer that would still be with me a decade from now. I don’t have enough equipment that I can afford to let some of it sit around the shop being repaired and this board in particular is too large an investment not to pull its weight at every show I book.

Therefore, reliability during and after the gig is an enormous issue in my mind. I always carry a spare console in case of failure, of course, but there’s no way I can afford to carry a spare identical console. If my FOH desk goes down, I’ll be finishing the show on something considerably less capable and probably rack-mounted. I’d like to avoid that, for obvious reasons, so I take reasonable steps to avoid console failure.

First of all, I buy redundant power supplies for my consoles, an option for every analog console I considered. The number of digital consoles with that option in the sub-$20K category is slim. In fact, there may only be one. I don’t believe just because a power supply is running a digital console it’s any less likely to fail, so I find the lack of this option untenable.

Digital consoles crash, an issue analog gear is generally exempted from. Some digital equipment kicks the bucket more gracefully than others. The high dollar ones tend to lose the control surface, but keep passing audio, which is better than the alternative. The ones in reach of my checkbook drop everything, including audio. All the advertising about “only five seconds to reboot” is fantastic, but that’s five seconds that could be in the middle of a song or an important speech.

If this was rare I’d be less nervous, but it’s impossible to work with digital gear on a regular basis without having had some of it crash on you. I’ve spoken to many of my colleagues about this, and while some have been far luckier than others, there’s no escaping this basic truth.

Now that’s not to say that there aren’t occasional problems with analog consoles as well. However, the console I bought is modular in banks of eight. You could take a chainsaw to everything right of the master section and the thing would still be usable for whatever channels you didn’t hack up. Hot sun, dust, and moisture aren’t going to gum up any motorized faders or short delicate little digital pathways. Hell, I had an analog console catch on fire once, opened it up, replaced some resistors, and used it on a show that evening.

I can even carry spare channels on the truck at minimal expense. On a digital console, an internal failure of even small magnitude could cost you your entire surface, and it’s not like you can take it to just any electronics technician for repair. A digital mixer also tends to have a lot riding on it. Lose that surface and you’re down all your channels, all your compressors, all your EQ, and so on.

Two other motivating reasons for my analog choice are flexibility and ease of signal chain modification. With digital, you’re stuck with whatever’s built into that console from the get go. Don’t like the compressor on the console you have? If you don’t have the cash for high-dollar digital, you’re stuck with your console’s stock dynamics, unless you want to haul around outboard.

When I compare costs between analog and digital, I include all the outboard I have to carry with an analog mixer. If I’ve got to carry it for my digital mixer, too, a lot of cost and size advantage is lost. Analog gear is inherently flexible. I can use whatever effects and dynamics I want, connected in any order.

I can even use two comps on my lead vocal, something I’ve found to be difficult to impossible to accomplish on the majority of digital consoles, at any price range. This patch anything, anywhere capability has helped me out on any number of tough shows.

The final reason I chose analog is its longevity. Near and dear to the heart of any small business owner is return on investment. How long is the gear that you buy going to keep its value? I worried that if I bought a new digital console, in just a few years it might be obsolete, unsupported, or no longer rider-friendly.

I’ve mixed on several-decades-old analog consoles on many occasions without complications, but the marketplace for digital gear is in constant flux. I would be concerned that by the time I’d recouped my investment in a digital console it would be so far surpassed by current offerings that I wouldn’t be able to pay someone to take it off my hands.

Out of no particular devotion to analog gear, I therefore find myself with an entirely analog signal path, from a mic on the stage through my console and processing out to my speakers. It just so happens that my speakers, from tiny portable boxes to line array, have internal all-analog processing and amplification.

This is for many of the same reasons I chose analog mixers – first and foremost fidelity and reliability. The designer of these speakers believes strongly in analog, and has used it to great advantage to make each speaker sound good both during normal use and during periods of heavy limiting. The components inside are not easily prone to failure, even in that hot vibrating environment, with the added advantage that field repair and diagnostics are simplified.

Conveniently, the company that makes my speakers also makes rackmount analog processing for integrating their speakers into a coherent system.

I’m living in an analog world and loving it. My systems sound better than ever, and I certainly feel that I’ve made the right decisions for my company. I’ve got the proper tools not only to take on my gigs for today, but for the next few years, and I know and trust them to make my clients look good every time.

Digital processing in all its many forms is a wonderful tool, but like anything in live audio, it’s not a one-size-fits-all solution, and laying it on too thick can have real drawbacks. 

Bennett Prescott is a frequent contributor to the ProSoundWeb Live Audio Board, owns a sound company in New York state and represents EONA ADRaudio in North America.

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