Wednesday, September 12, 2012
Soundcraft Si Compact 32 Provides Northside Christian Church With Ease Of Use For Volunteer Staff
Utilized for all front of house and some wireless in-ear monitor use
When looking to upgrade its front-of-house console at Northside Christian Church in Wadsworth, OH, Matt Howard, music pastor at the church, opted for a Soundcraft Si Compact 32.
Northside Christian Church holds Sunday morning and afternoon services and utilizes the console for all front of house and some wireless in-ear monitor use.
The morning service is mostly traditional, which differs from the afternoon program, which Howard referred to as “worship on steroids,” meaning they incorporate lighting and music for a whole show experience.
Howard wanted a console that wasn’t too daunting for his volunteers to operate, but still had the sound quality and durability of the Vi Series Soundcraft boards that he has used before with success.
“One of the biggest challenges was finding a console that allowed us to save our settings so volunteers could easily operate the console week after week,” Howard explains. “We have a pool of about 20 musicians and 40 vocalists who constantly rotate each weekend. Since we don’t have professional sound engineers, we wanted the easiest board to manage their settings.
“With Soundcraft’s ability to snapshot settings, it has made the whole process very easy.”
With the additional MADI card that Northside Christian Church uses, the Si Compact 32 allows them to record rehearsals and provide a learning tool for the volunteers. “We turn the rehearsals into a virtual sound check where the person operating the console can play the service back and find the optimal settings for high-quality sound,” Howard adds.
With an acoustically challenging building, having the ability to find the perfect settings has proven to be beneficial. “We have a huge wooden wall behind the stage which dulls all the sound and there are also sound absorbing panels in the back row of the audience,” he says. “With the matrix on the Si Compact, we can offset that with some delays, and it has become really easy to manage.”
Along with the Si Compact 32, the Northside Christian Church deploys Crowns CTs 1200 and CTs 4200 amplifiers. “We never have to touch them, it’s great having the confidence that they are always up and running and providing the power we need,” Howard concludes.
Roland Systems Group Announces Version 1.5 Update For M-300 V-Mixer
Includes a new 31-band mono GEQ, an expanded group of library effects, cross-fade for scene changes and more
Roland Systems Group has announced a new firmware update (v1.5) for the M-300 V-Mixer console, which is a core component of the V-Mixing System providing mixing, effects and external control of digital snake pre-amps, multi-channel recording, instant playback, rehearsal and personal mixing for musicians.
The free version update includes a new 31-band mono GEQ, an expanded group of library effects, cross-fade for scene changes and a detailed recall filter function that enables selection of parameters to recall at a greater level of granularity.
In addition, enhancements in operability have been made such as a channel display screen for DCA groups, the ability to disable more user settings, and a default guest startup mode to allow basic users functionality without the administration credentials.
For monitoring, a dimmer function has been added and a lock out feature to disable the level knobs to prevent accidental monitor volume changes.
The Roland M-300 Version 1.5 upgrade has improved the number of RS-232C control parameters ensuring that system installers, integrators, and users have access to more remote control functionality from touch panels, video devices, and software.
The M-300 Version 1.5 software is expected to be released in Q4, 2012.
Roland Systems Group
PreSonus StudioLive Helps Florida Church Into The Digital Age
The StudioLive digital console made training the crew an easy undertaking
Josh Walker is a self-described “professional creative.” From music and recording to live sound and systems integration, Walker works with bands, musicians, and organizations, helping to create a powerful musical and visual experience.
In addition to his regular duties as creative arts director at Catalyst Church in Morgantown, WV, Walker is an AV consultant to churches and institutions across the U.S., helping users to design and get the most from their systems. As he puts it, “I love technology, and I love simplicity.”
Walker recent project at Safe Harbor Christian Church in the Orlando suburb of Sanford, FL. The church’s 250-seat sanctuary was plagued by a number of challenges, both environmental and operational.
“The room itself is actually pretty good, other than a rather high ceiling,” he explains. “But they had some rather outdated and ineffective technology, and that’s where we started.”
The sanctuary’s analog console lacked many of the features the church needed. “Even at its best, they could only get two monitor mixes out of it,” Walker notes. And the aging mixer had apparently seen better days, with several channels either partially or fully inoperable.
The multi-channel snake fared little better. “The snake had been spliced with what looked like residential copper wiring to extend it to the 250 feet needed to reach the desk,” says Walker. “It was pretty down and dirty and just a bit dangerous.”
Walker recommended a PreSonus StudioLive 24.4.2 digital console. “I had mixed live shows on the PreSonus on a couple of occasions and was pretty impressed,” he says. “For its size and price, it’s surprisingly powerful. It’s ideal for small to mid-sized churches.”
Apparently it wasn’t hard to convince the church either. “They had been researching consoles, and the StudioLive was at the top of their list,” Walker states.
Not surprisingly, the butchered snake was a goner. “There was no way to salvage it, so we installed a new 200-foot multicore,” he says. “Between the snake and the StudioLive, we immediately raised their available monitor mixes from two to five. The snake enabled us to go up to eight, and the console allowed for ten.”
Another challenge plaguing the church was a lack of proper training. “Outside of their core team, it’s largely a volunteer crew,” he explains. “One of the guys had run the sound at a larger venue for about 20 years, so he knew audio but he didn’t know digital. The rest of them were folks who wanted to help out, but had no audio experience.”
Walker says the StudioLive made training the crew an easy undertaking. “We had to go through everything, from how to use a digital console down to the basics of how to mix, use EQ, compression, and so on. I think we did a total of around six hours of hands-on training, and when I left I was fully confident that they had a good grasp of things,” he says. “The console makes it so easy. The Fat Channel is so intuitive - all the information is right in front of you. There are no layers of menus. In fact, there’s almost nothing you can’t get to within two button presses or two turns of a knob.”
He points to the StudioLive’s expandability as another asset. “If their production grows twofold in the next couple of years, they can get another one and connect them via FireWire.”
JBL Introduces VTX-LZ-K Laser Accessory Kit For Precision Alignment Of VTX Series Line Arrays
Fosters optimum performance and audience coverage
JBL Professional has introduced the VTX-LZ-K Laser Accessory Kit, which facilitates the alignment of JBL VTX Series line array loudspeakers for optimum performance and audience coverage.
The VTX-LZ-K includes two VTX-LZ laser units and one rechargeable VTX-LZ-PS power supply. The VTX-LZ employs a Class 3R green laser (less than 5 mW, 532 nm wavelength) and is approximately 20 times more visible than a red laser for maximum visibility over long distances indoors or outdoors.
The VTX-LZ laser units connect to the VTX-LZ-PS power supply by means of a standard XLR cable and multiple lasers can be daisy-chained (up to 10 units powered from a single power supply).
All VTX-LZ-K components feature rugged aluminum and high-impact plastic weather-resistant construction for long-term durability.
The laser units are factory-calibrated, weather-resistant and feature fan-cooling and on/off cycling for extended laser life.
VTX-LZ laser units attach to the VTX enclosure suspension frame and are secured using a quick-release locking pin. Lasers can be mounted on either side of the enclosure by changing the orientation of the VTX-LZ mount tab and since the laser is centered on the middle of the enclosure, it provides an accurate site angle reference in accordance with JBL Line Array Calculator II (LAC II) software predictions.
“Precise VTX V25 line array vertical pattern control requires precise focus to achieve optimum coverage and the VTX-LZ-K Laser Accessory Kit is a valuable time-saver that helps to ensure the best possible setup of a JBL VTX line array system,” says Paul Bauman, senior manager, tour sound for JBL Professional. “Multiple VTX-LZ lasers can also be used to assist with microphone placement for more detailed system measurement as part of the calibration and tuning process and this has been specifically designed into the workflow of recently-released JBL HiQnet Performance Manager software.”
When mounted on the top enclosure of a VTX line array, the VTX-LZ laser provides a visual reference to confirm the on-axis vertical site angle of the array while also providing an azimuth indication so that relative horizontal pan angles can be matched for FOH left-right arrays.
With reference to LAC II software, the normal installation procedure is to attach a tape measure to the lower front corner of the bottom VTX enclosure as a reference for setting array trim height.
Once the array trim height is set, the front motor is turned off, the VTX-LZ is turned on and the rear motor is manipulated to adjust the array site angle while visually referring to the laser to ensure that top enclosure is pointed at the rear of the desired audience location.
For advanced system tuning, multiple LZ lasers can be deployed to serve as site angle references for individual array circuits, assisting in physical measurement microphone placement to correspond with virtual measurement microphones shown in LAC.
Using JBL HiQnet Performance Manager control software and with reference to measured spatial response, circuit level gain shading and JBL Line Array Control Panel (LACP) frequency tapering adjustments are performed as a first step in system tuning. This initial step is referred to as array calibration and JBL LAC II / LACP simulations provide a good starting point.
For the actual real world installation, VTX-LZ lasers mounted on array circuits can be used as a reference for microphone placement to verify and further refine the starting point gain shading and tapering parameters that were pre-determined in JBL LAC II / LACP and Performance Manager.
Once SPL and frequency response has been optimized on a circuit level, global equalization can then be applied to the entire array to compensate for room-related effects.
For this step, array equalization can be based on the spatial average of all measurement microphones that were placed throughout the audience area with reference to VTX-LZ laser aiming locations. This patented approach to system measurement and tuning has been specifically designed into the workflow of Performance Manager (US patent 2008/0170729).
Tuesday, September 11, 2012
AKG Unveils Revamped D12 VR Bass Microphone
Encompasses vintage D12 performance, style and quality
Developed more than six decades ago, AKG achieved a breakthrough in recording and broadcast technology with the introduction of its first dynamic microphone, the D12.
Today, AKG has introduced the newly designed D12 VR large-diaphragm cardioid microphone intended specifically for kick drum live and recording applications.
D12 VR (vintage sound re-issue) offers a thin diaphragm within its newly designed capsule, which enhances low-frequency performance.
With phantom power disabled, the D12 delivers accurate, pure character from the sound source.
With phantom power enabled, one of three switchable active-filter presets can be used to quickly adapt the mic’s response to suit the user’s desired kick drum sound.
The vintage-style premium bass microphone offers three active sound shapes for recording: open kick drum, closed kick drum and vintage sound.
The D12 is manufactured with the original AKG C414 transformer from the 1970s.
AKG’s patented implementation of an active electronic filter within a dynamic microphone continues to provide the audio industry with perfected sound.
Internally, AKG’s dynamic microphones process frequencies within the filter circuit and connect the audio signal in the mic’s transformer. The impedance differences between the mic and tandem audio equipment are cancelled out, enabling the unit to showcase the ultimate sound, regardless of its connected device.
AKG’s transformers enhance the audio signal significantly, especially at high signal levels.
“With the reputation AKG’s D12 brought to the recording and broadcast industry, the latest D12 VR embodies its predecessor with the quality and reliability AKG has been providing the audio industry for 65 years,” stated Thomas Umbauer, product manager, PPA, AKG. “The relaunched D12 VR will give tracked drums a vintage, yet crisp and modern sound, sure to make percussion tracks shine for professionals or casual artists around the world.”
The Best Place To Put Subwoofers Is… ?
The most common answer is to put the subs on the floor. But is that really the best location in terms of overall sonic performance?
“Subwoofers should be located on the floor if at all possible.”
This is one of those classic bits of audio “conventional wisdom.” I hear it from system operators on nearly every project.
But is it true?
If we look at the physics of sound, we learn that, as with most things in the world of audio, “it depends”.
So, let’s start by discussing why the floor might indeed be a good place to put subwoofers.
Placing any loudspeaker against a large plane (relative to wavelength) produces a half-space loading condition, meaning that all the energy radiating spherically (equal energy in all directions) from the loudspeaker is now being radiated into a hemisphere, or half the area.
This results in a 3 dB increase in energy radiating into the hemisphere, the same increase that happens by doubling the number of subwoofers.
If the subs also happen to be very close to a vertical surface, say, a tall stage face, another quarter space loading is the result, producing as much as another 3 dB (assuming the stage face is a solid surface); in other words, again, another “doubling” of the number of subs.
For example, four subwoofers on the floor and close to a vertical surface could provide the equivalent output of as many as 16 subwoofers.
This certainly seems to support the argument for putting them on the floor (and near a vertical surface), but what other issues need to be considered?
How about inverse square law? You know, the one that says for every doubling or halving of distance from the source, there is a 6 dB change in level (outdoors)?
At some live shows, listeners might be as little as 10 feet away from subs on the floor, while the farthest listeners might be 200 feet away. Let’s say your mix position is 100 feet from the subs.
If the subs are hitting 100 dB SPL at the mix position, then the front row is getting about 120 dB while the last row is getting about 94 dB. That’s a 26 dB change in level from the front row to the last!
Of course, the difference wouldn’t be this great indoors, but it will still be uncomfortable for the first few rows of listeners.
Now let’s consider crossover points. With the subs on the floor, we have two sources (the mains and subs), reproducing the same content, that are separated by quite a large distance.
Let’s say the mains are flying at about 25 feet above the subs. What’s going on around the crossover point?
The first task is synchronizing the arrival of the subwoofer sound with the mid-high sound.
For the front row, the subs need to be delayed about 13 milliseconds (ms) to be in sync with the output of the mains.
Yet at the mix position 100 feet away, so the physical offset is only about 3 feet (or 2.7 ms), and the back row offset is only 1.5 feet (or 1.3 ms).
So who gets the good sound?
This physical offset affects system alignment resulting in anomalies in frequency response around the crossover point as well.
Any loudspeaker array in which there are two or more spaced sources reproducing the same sound produces a dip in the polar response in one or more directions, based upon the frequency and the physical spacing of the sources.
Figure 1 (click to enlarge)
That’s a mouthful, so here’s the bottom line: the listeners at each of our positions will get different frequency response in the form of dips around the crossover point.
Let’s do a little modeling the see what happens.
Figure 1 is a vertical polar graph of a mid-high loudspeaker flying at 25 feet high and a subwoofer on the floor around the 80 to 125 Hz range around the 100 Hz crossover point.
I don’t think anyone wants this kind of polar performance! And what does this mean to the listener?
Let’s look at the frequency response at each of our listener positions.
In Figure 2, the low- and high-pass filters are displayed along with the frequency response at 10 feet (green trace), 100 feet (blue trace), and 200 feet (pink trace), from 20 to 1000 Hz.
Figure 2: Functional drawing of a basic SLM (click to enlarge)
The first thing we notice is the difference in levels between each of our listener positions.
Second is the difference in level between our mid-highs and our subs at the 10-foot listener position (green trace). (Remember why?)
The third thing to notice is the frequency response anomalies around the crossover point of 100 Hz and how it differs at each listener position.
This is a result of the mis-alignment of the subs and the mid-highs.
The greater the mis-alignment, the greater the dips in response. So can we fix it with delay? Let’s see.
If we add 13 ms of delay to the subwoofers (Figure 3), then the response through crossover smooths out at the 10-foot listener position.
But notice that response at 100 feet and 200 feet got worse!
Figure 3 (click to enlarge)
O.K., let’s assume adjustments to this based upon what the sound person is hearing at the mix position (100 feet away).
Figure 4 shows the result of that alignment.
Figure 4 (click to enlarge)
Nice! That blue trace is exactly what we’re looking for through crossover, but now look at the front row response.
The point is that it’s not possible to fix fix physical offset anomalies for all listeners in the audience area.
The system can be optimized to sound great in one relatively narrow band of seating across the room, but the majority of the audience will get something between the pink and green traces.
Now let’s try flying the subs with the main loudspeakers.
We’ll mount them at the same 25 feet elevation and about 4 feet behind the mains.
Figure 5 shows us our polar response before performing alignment…
Figure 5 (click to enlarge)
...while Figure 6 shows the resulting frequency response at our three listener positions.
Figure 6 (click to enlarge)
This already looks better.
The vertical polars do not have the big nulls that happened with the subs on the floor, and the frequency response in the three listener positions is more similar.
Now let’s add some delay to the mains to align arrival times.
Figures 7 and 8 show a vast improvement in vertical polar performance.
As well, an improvement is seen in balance between the subs and, mains at the 10-foot listener position, and very smooth frequency response through the crossover at the 100 feet and 200 feet positions.
Maybe it would be better to fly those subs?
Figure 7 (click to enlarge)
Figure 8 (click to enlarge)
On a side note, should the subs be split left and right? This can create a “power alley” as shown in Figure 9.
Figure 9 (click to enlarge)
As you can see, the horizontal polar response has nulls all across the room in different locations at different frequencies.
Maybe the better solution is to fly them in a vertical stack in the middle.
In Figure 10, the subs are stacked vertically, producing far more smooth horizontal coverage.
Figure 10 (click to enlarge)
So, back to the original question: is the floor the best place to put subwoofers?
When ground stacking the entire system, sure! It keeps the physical offset to a minimum, and while there is still the inverse square law problem, at least it will be a consistent problem across the whole frequency range.
But if flying the mains, then it makes a lot of sense to fly the subwoofers as well. It might require more subs, but the latest crop of very high output and/or highly efficient subwoofers on the market lessens this need.
I would also suggest deploying some sort of low frequency directional array to keep the low-frequency energy going to the audience, not the ceiling.
But that’s a topic for another day…
Jerrold Stevens is a Principal Consultant with PMK Consultants in their Dallas, TX office. He has over 20 years of experience in the audio industry, including contracting, independent sales representative, live sound and studio engineering, and audio system consulting and design.
Community Professional Debuts New VERIS 2 Loudspeakers
And expanded, evolved collection of 11 new models
Community Professional Loudspeakers has announced the second generation of the VERIS (VERsatile Installation Systems) Series, a new range of 2-way, 3-way, and subwoofer designs created for installed sound reinforcement.
VERIS 2 is an expanded, evolved collection of 11 new VERIS models, from small-format enclosures for distributed systems, fill and delay applications to mid-sized systems designed for superior performance.
VERIS 2 includes some significant enhancements, such as newly designed 1-inch exit HF drivers, as well as a newly re-engineered grille design.
All models offer improved crossovers, with individually voiced crossovers on 64- and 96-degree models.
In addition, Community has added a new subwoofer to the line, the V2-215S dual 15-inch model.
Four compact models include single and dual 6-inch and 8-inch enclosures designed for surface mount or distributed systems. All smaller VERIS models come standard with a fully rotatable square horn.
Larger VERIS 2 systems include 2-way and 3-way models with 12-inch or 15-inch woofers. Larger models are available in multiple coverage patterns for short, mid, and long-throw applications.
Rounding out the new VERIS 2 line are three versatile subwoofer systems, ranging from the compact V2-210S dual 10-inch to the V2-212S dual 12-inch and powerful V2-215S dual 15-inch subwoofer for larger venues.
All VERIS 2 models are available in black or white finishes, and are equipped with threaded mounting points, making them compatible with the full range of accessory brackets available for the original VERIS series. Also available for VERIS 2 is the new Vertical Yoke Bracket that enables precise vertical aiming of all full-range VERIS 2 loudspeakers.
“We introduced the original VERIS Series in 2007, and it has been one of our most well-received and successful lines,” states Julia Lee, Community director of sales and marketing. “VERIS 2 continues the VERIS legacy of versatility, performance, and elegant design.”
Monday, September 10, 2012
Tony Del Gianni To Lead LOUD Technologies Global Operations
LOUD Technologies has announced Tony Del Gianni’s appointment to the role of vice president of operations. He joins the company from his most-recent position at Harman Professional.
Del Gianni will lead the evolution of LOUD’s manufacturing and operations function into a dynamic procurement, service, and support team designed to further enable the company’s product innovation and market expansion strategies.
“LOUD’s brands are generating some amazing market attention and sales for our channel partners thanks to innovative new products like the Martin Audio MLA Compact, Mackie DLM [owered Loudspeaker and EAW Avalon dance club system,” states LOUD Technologies CEO Mark Graham. “As we set our sights on even greater success at an even faster pace, I’m thrilled to have Tony take the reigns of our purchasing, procurement and support functions.
“I am confident that he will very quickly improve our time-to-market on new products and customer order fill rates, while at the same time increasing quality across our entire supply chain.”
Del Gianni will report to Alex Nelson, president of LOUD’s Mackie and Ampeg brands, and be based out of the organization’s corporate headquarters in Woodinville, WA.
He and his newly integrated team will manage all operations support functions, from new product procurement and sourcing, all the way through full lifecycle service and support.
“Tony has the ideal mix of engineering chops, sourcing and procurement experience, quality management, and broad pro-audio supply base contacts,” explains Nelson. “He will have a commensurately significant and immediate impact on both the availability and reliability of our products, and enable us to deliver on our promise of being the most valued provider of pro audio products on the planet.”
Clear-Com Announces Worldwide Shipment Of HelixNet Partyline Intercom System
Networked systems showcased capabilities at 31 sports venues during 2012 London Summer Games
Clear-Com has announced that the new HelixNet Partyline networked intercom system is now shipping worldwide.
HelixNet successfully showcasing its capabilities at 31 sports venues during the 2012 London Summer Games, with 50 main stations and 550 beltpacks across the venues, the live production teams were able to take advantage of the systems’ efficiency, cost-savings and flexibility from setup to operation and maintenance.
Under the initial release of HelixNet Partyline, users can purchase the HMS-4X main station, HBP-2X beltpacks, an HLI-2W2 2-wire interface module, and the HLI-4W2 4-wire interface module. T
Also, because the central administration of the entire system can be performed from the main station with a single cable, including firmware upgrades and maintenance, HelixNet can work off an existing cable infrastructure.
This ability to be run over cabling that is already in place enables easy deployment and expansion as needed, which made HelixNet a highly qualified solution for the Summer Games. Many of the venues where the game events were held already had an established cable infrastructure, so integrating the HelixNet with these setups was simple.
“HelixNet offers such users as the London Games the simplicity of running cable anywhere without worrying about each cable type or where it will run,” says Dan Muchmore, regional sales manager, UK, Ireland and Scandinavia, for Clear-Com. “Essentially, they only have to run one long cable, along which all of the channels can be run. It doesn’t matter how or where the cable is run—users will have access to every channel.
“At the beltpack end, users can choose what channel they want or need to run. Another advantage of HelixNet is that it can operate over inexpensive cabling, such as CAT-5, keeping the cost of deployment low. The ease of setup and reduced costs made possible by the system were a few of the main reasons HelixNet was selected as the intercom system of choice for nearly all of the venues at the games.”
Clear-Com was contracted for the games’ overlay functions, requiring it to provide communications for three separate groups. These included announcers and commentators along with the on-venue results (OVR) people—who were the primary HelixNet users—and the production people who manage the stadiums and events. As the HMS-4X HelixNet Main Station and interface modules feature a high channel density and user capacity, it was able to provide access to many people and areas at once.
The 1RU main station fits into any standard 19-inch rack, and can provide power and four channels of audio to support up to 20 digital beltpacks.
The all-digital HelixNet system is immune to electro-magnetic interference and ground loops, so there is never any hum or buzz. The main station settings and menus are quickly accessible, highly flexible and offer intuitive user operations.
The system’s firmware maintenance and upgrades can also be achieved easily via USB ports, and it offers greater connectivity with existing analog intercom systems and audio devices.
The HBP-2X beltpack offers high channel density and selectable channels to save resources. The rugged, ergonomically designed unit is a 2-channel beltpack that can access two of any four system channels, connect program audio and provide individual level control over just one single cable, while distributing networked audio over a twisted pair. These features decrease the required number of cables.
The beltpacks are also simple to operate and read, with optimally positioned buttons and volume knobs that are easy to locate, identify and control. Channel labels are simple to read on the high-contrast 10-character OLED displays. The flexibility of the units allow them to be set up in daisy chain or star configurations, with no need for active split boxes.
The HelixNet beltpacks are highly durable, fabricated from lightweight cast aluminum, and come with a beltclip, rubber bumpons and an integrated strap guide, offering a variety of practical mounting options.
The new HelixNet intercom system is on display at the ongoing PLASA 2012 show in London at stand I-F29.
HM Electronics (HME)
Studer Appoints Mark Hosking To Position Of Sales Director, Middle East & Africa
Will support Studer’s expansion in these markets
Studer has appointed Mark Hosking to the position of sales director, Middle East and Africa.
In his position, Hosking will be responsible for overseeing all sales activities in the regions, supporting Studer’s expansion in these markets.
Hosking brings more than 15 years of experience in the professional audio industry, having begun his career with AMS Neve in 1997.
He has also worked with DSP Media (forerunner of Smart AV and manufacturer of integrated audio post-production systems), the Arbiter Group PLC (UK audio distributor), and Euphonix, where he managed sales in the film, TV post, music and broadcast markets across the UK, Ireland, Middle East, India and Africa territories, before moving up to the position of director of sales, EMEA.
“Studer has a reputation for excellent products and innovation and clearly understands the evolving requirements of the broadcast market,” Hosking says. “I’m really excited to be part of a company with a focused approach while continually innovating.
“In joining the team at Studer and the wider Harman group, I’m pleased to be working with some of the best and most renowned people in the pro audio business and I’m looking forward to the challenge.”
“We are proud to announce the addition of Mark to the Studer team, as we anticipate his experience in the broadcast market will have an immediate, beneficial impact for our customers and on sales in the Middle East and Africa,” said Adrian Curtis, senior director sales, Harman Mixing Group.
VUE Audiotechnik Demo Tour Crosses The U.S… And Back Again
Demo tour features a full complement of VUE Audiotechnik current offerings
Responding to increasing demand after a series of successful demos in August, VUE Audiotechnik leadership just announced plans to expand the U.S. leg of their tour another eight weeks—hitting key demo sites throughout North America before expanding globally.
“This is very different from the typical loudspeaker demo in that we’re meeting with potential customers at their own facilities, and demonstrating our entire line,” explains VUE executive vice president Jim Sides. “This format not only allows potential customers to audition our entire range, but it presents our team with an opportunity to better understand each customer’s unique business model.
“This is the type of personalized demo that I’ve always wanted to do, and we’re thrilled that people are responding so well to the format and to our products.”
The demo tour features a full complement of VUE Audiotechnik’s current offerings.
Identified by VUE’s CEO Ken Berger as the “first wave,” the current lineup was revealed at the InfoComm show in Vegas last June. It includes three product classes encompassing a broad range of systems, from the most compact contractor offerings to VUE’s flagship h-Class Active models.
Berger reports that a “second wave” is scheduled to arrive before the end of the year, and that those new products will be incorporated into the tour at that time.
“The VUE speakers clearly appeal to a diverse customer base,” states Steve Gorski of The SG Group, VUE Audiotechnik’s representative in the Southwest U.S., and an active participant in the first six stops of the tour. “From touring sound to AV integrators, the demos we’ve conducted have generated enthusiastic feedback across the board, and the resulting ‘word of mouth’ is fueling intense interest throughout the audio community. The momentum is definitely building, and I’m incredibly excited to be a part of it.”
The VUE team is conducting demos this week in Tennessee, North Carolina, and South Carolina.
From there, the demo tour moves to Florida and Georgia (Sept. 9-15), before heading north to New York and other northeast states.
The tour will then turn west, booking additional stops throughout October.
Those interested in participating in the demo tour are encouraged to contact their local VUE Audiotechnik representative. Contact information, as well as the growing list of tour stops, can be found online at www.vueaudio.com/events
Friday, September 07, 2012
SynAudCon Welcomes Music Group As New Sponsor
SynAudCon is pleased to announce that Music Group has joined the organization's sponsorship program.
SynAudCon is pleased to announce that Music Group has joined the organization’s sponsorship program.
The Music Group is one of the world’s largest holding companies for pro audio and music products brands. As the corporate parent of Midas, Klark-Teknik, TurboSound, and Behringer, the Music Group owns and manages some of the finest brands in the pro audio industry.
“SynAudCon is hands down the most comprehensive audio training solution in the world,” explains Steven Young VP, Installed Sound Division for the Music Group states. “We feel support of SynAudCon is a great investment for our collective future.”
The Music Group products can be found in professional and project recording studios, video and broadcast suites, post-production facilities, sound reinforcement applications including houses of worship, stadiums, nightclubs, retail locations and on major musical concert tours.
Behringer recently debuted their new Eurocom installed sound products which include a comprehensive line up of commercial grade mixer amplifiers, power amplifiers, ceiling and surface mount loudspeakers that deliver a rich feature set for commercial installers.
Music-Group will use SynAudCon’s web-based training for their internal tech support staff with the intention of elevating their skill level in the realm of distributed audio systems.
“We are pleased to welcome Music Group as a SynAudCon Sponsor,” concludes Pat Brown, president of SynAudCon. “Sponsorship demonstrates a company’s commitment to training and technical excellence. We look forward to collaborating with Music Group.”
Allen & Heath Launches New ICE-16 Audio Interface
Capable of studio quality interfacing, converting and bi-directional streaming of 16 channels over high-speed USB or FireWire
Allen & Heath has introduced the ICE-16, a 16-input/16-output audio interface for capturing high quality multi-track recordings direct to a USB drive or interface to a computer.
Fitted into a compact 1U rack design, ICE-16 is capable of studio quality interfacing, converting and bi-directional streaming of 16 channels over high-speed USB or FireWire at 24 bit, 96 kHz resolution.
Alternatively, 16 channels can be simultaneously recorded straight to a USB hard drive or memory stick at up to 24 bit, 48 kHz resolution .wav file. The ICE-16 is expandable for linking together and synchronizing the recording of many channels.
ICE-16 connects to any audio mixer or analogue source using 1/4-inch jacks for the inputs and RCA phono connectors for the outputs.
Signal and peak metering is provided for each channel and can be switched to show input or output. Headphone monitoring is also included and switches on each channel enable checking of individual or multiple channels.
ASIO drivers and Core Audio compliance ensure full compatibility with all the main DAWs, including Logic, Sonar, Cubase and Pro Tools.
“I like making things simple and the ICE-16 makes life easy in many ways,” states Allen & Heath R&D director Mike Griffin. “Recording multitrack at a live show no longer requires booting up a laptop and configuring a session - just plug in, turn on and press record. ICE-16 is also ideal for connecting audio to your DAW in the studio, or for expanding your existing system to add channels.”
The new ICE-16 will be on display at the PLASA show next week. SRP is £654, ex VAT.
Allen & Heath
Roland Systems Group Introduces R-88 8-Channel Recorder And Mixer
Serves demanding multichannel applications
Roland Systems Group has introduced a new flagship field recorder, the Roland R-88, providing seamless integration of a recorder, mixer and a multi-channel audio interface.
With eight discrete channels of audio recording plus a stereo mix, the R-88 serves demanding multi-channel applications such as location sound design, event production, event videography, and live musical performance.
The Roland R-88 includes a full on-board mixer, various timecode modes and slate tone/mic for memos. The stereo mix output on the R-88 enables a stereo mix back to the camera to record reference audio or provides a stereo monitor output while simultaneously recording individual tracks.
With 8 discrete outputs you can also embed the audio tracks into a SDI video feed by using a multi-channel SDI audio embedder.
It also features professional AES/EBU digital I/O to digitally record from or send to a mixing console or other digital source.
The R-88’s built-in mixer is equipped with a 3-band EQ enabling a quality stereo mix to be monitored and/or recorded simultaneously along with each discrete audio track. The large touch screen display enables clear and intuitive device setup and control. You can lock the display and front controls to avoid any accidental operations.
Beyond field applications the R-88 is nicely suited for post-production environments featuring a built-in 10-input/8-output USB audio interface for multi-channel recording. The 8-output ports are especially useful for surround projects. The interface function is also able to provide a backup record mechanism simultaneously recording all tracks to a DAW of choice.
The R-88 is extremely portable weighing less than 6 pounds, including eight AA batteries. Optional accessories include a custom carrying bag, and remote footswitch controllers for start, stop and record, marking function, etc.
The Roland R-88 Highlighted Features:
• Simultaneous recording of 8 channels + stereo mix (up to 96kHz)
• Up to 24bit/192kHz uncompressed linear PCM recording (up to 4 channels)
• 3 hours of recording time using 32GB SDHC card (24bit/96kHz, 10ch)
• 8 XLR inputs, 8 XLR outputs, AES/EBU input/output
• Built-in 8 channel mixer with 3-band EQ and MS microphone decoder
• Built-in 10in/8out USB audio interface
• Touch Panel Display for intuitive navigation
• SMPTE time code In/out for video sync
• Supported power types – AA batteries, rechargeable Ni-MH battery, AC power, and 4-pin XLR external battery types.
The R-88 will be available in early 2013.
Roland Systems Group
Studer Adds Automatic Microphone Mixing To Vista Series Digital Consoles
Removes the need for an operator to manually adjust all of the faders all of the time
Studer has introduced a software upgrade for its range of Vista digital mixing consoles, specifically, VistaMix automatic microphone mixing that removes the need for an operator to manually adjust all of the faders all of the time, leaving the microphones of talking participants open while closing the microphones of silent participants in order to reduce spill and background noise.
Without this facility, the reaction time of a human operator will often result in audible fade-ins of people who start talking rather unexpectedly. Also, changes in fader positions can quickly lead to disturbing changes of the total ambience/noise level in the mix.
VistaMix offers the solution by mimicking the action of a human operator: increasing gain for ‘talking’ mics and reducing gain for all others, but doing it very quickly and keeping the amount of total gain constant, so a clean live mix can be created.
VistaMix also offers the ideal solution for news operations when multiple mics are installed in the studio but the desk operator is not sure which ones will be used. VistaMix switches on only those mics that are in use. VistaMix source channels may also be mix minus (N–X) owners.
Each source channel has a weight control, which provides two possibilities:
First, it allows the desk operator to add weight, or priority, to the main presenter such that if required he can ‘talk over’ the guests or contestants.
Second, it allows the desk operator to give more gain in the mix to any contributors who have weak voices or are too far from their microphones. The weight control may also be used during a show to adjust the relative balance dynamically. This function is set with the “Knob Assign” control.
This new feature is available to all existing Vista systems with SCore Live DSP engines. By simply upgrading to software version 4.8 and adding the special VistaMix channels to the DSP configuration, VistaMix is ready to go.
No additional hardware is required to the Vista surface, the new controls are fully implemented within the standard Vistonics screens and controls.