Monday, November 25, 2013
Lectrosonics Keeps Audio In Check At Emergency Operations Center
Lectrosonics Aspen processer central to unattended audio functionality
The Lee County Emergency Operations Center (EOC), located in Fort Myers, Florida, is the official county warning point for natural or man-made hazards such as hurricanes, water shortages, and wildfires that may threaten the area.
Lee County’s EOC is a state-of-the-art facility that makes extensive use of audiovisual equipment—and to ensure trouble free audio, the facility utilizes Lectrosonics’ Aspen audio processing technology.
Tampa, FL-based Encore Broadcast sales manager Douglas Taylor was responsible for working with the Lee County Emergency Management design team to develop a cost effective solution that met the requirements of the EOC.
Additionally, he was responsible for the sales, on-site installation, training, and the project’s continuing technical support program.
Recognizing the importance of an audio infrastructure capable of handling the EOC’s operations without requiring an on-site attendant, he deployed a Lectrosonics Aspen SPN1624 16 input / 24 output digital audio processor.
“For this facility, the Aspen processor handles automixing, level and muting control, some signal processing, and output matrixing,” Taylor reports. “The unit is installed in a dedicated AV equipment room outfitted with three racks necessary to hold all the equipment.
“As part of the unattended system functionality, the Aspen processor is interfaced with an AMX NI-4100 NetLinx Integrated Controller through a LAN/Ethernet connection.”
Having made use of numerous Lectrosonics AM- and DM- Series processors for many years, Taylor has been a long-time fan of the fundamental simplicity and versatility of Lectrosonics’ designs
“We selected the Aspen unit fully expecting the same level of positive experience we’ve had in the past with Lectrosonics equipment,” he explained. “We were extremely pleased that the processor exceeded our expectations. The Lee County EOC is a mission critical operation, so we required equipment that is designed to operate in this type of environment. The Aspen processor delivered the goods.”
The Lee County EOC’s AV system went operational in July and, since that time, the Lectrosonics equipment has been performing well.
“Our client report that the new equipment is really helping them be more effective,” says Taylor. “The Aspen processor is another example of a well-thought-out Lectrosonics design. We look forward to the next opportunity to specify and install another Aspen system.”
Posted by Julie Clark on 11/25 at 06:12 PM
RTW Provides Audio Loudness Management To Astro Productions
Top Asian Broadcaster Utilizes TM7 During Transition to Unified Metering
RTW recently sold eight RTW TM7 TouchMonitors to Astro Production Sdn. Bhd., a leading Asian broadcaster, for monitoring of audio levels.
The TM7s were equipped with several software modules, including: the SW20001, SW20002, SW20004, SW20005 and SW20006 units.
Stagetec Asia (http://www.stagetecasia.com), a long-time distributor of RTW, coordinated the sale.
Audio loudness standards have been a key concern for many broadcasters worldwide. That being said, the company sought a new tool that would help it to monitor its audio levels consistently.
Astro purchased the TM7 TouchMonitors after demoing a few of the units during its live broadcasts. The company will use them to ensure that all of its production facilities, including its fleet of OB vans, are using the metering and analyzers to have uniform loudness levels across its facility.
“The TM7 TouchMonitor suits our applications very well,” says Dennis Dovale, Vice President, Astro Production Services. “In order to ensure that all personnel and operators have the same frequency, when talking about the audio loudness metering and reading, they need a good monitoring tool such as RTW’s TM7.”
RTW, meanwhile, is thrilled to make further inroads into the Asian market with this sale.
“We are happy to support such a prominent broadcaster as Astro,” says Andreas Tweitmann, CEO, RTW. “The entire line of TouchMonitor audio meters was created to help engineers monitor their loudness levels easily and consistently.
“The fact that Astro has found our TM7 to be efficient and easy to use is further proof of RTW’s commitment to offering modern, innovative solutions for today’s loudness management issues.”
Posted by Julie Clark on 11/25 at 03:10 PM
National Renewable Energy Laboratory Installs Biamp In Energy Systems Integration Facility
The U.S. Department of Energy's Primary National Laboratory for Renewable Energy Research Benefits From Audia/Nexia Audio System Combination
Biamp Systems has announced the installation of an Audia/Nexia audio solution combination in the newly built Energy Systems Integration Facility (ESIF) at the National Renewable Energy Laboratory (NREL) in Colorado.
As the U.S. Department of Energy’s (DOE) primary national laboratory for renewable energy and energy efficiency research and development, the ESIF houses 200 researchers and staff in eight diverse work spaces. Each of the spaces was uniquely designed to fit the research and testing needs of the different work groups.
The work spaced include a 3D collaboration lab, a control room that monitors and controls the facility processes, a visualization center where experiments being performed in the electricity, thermal, and fuel labs can be visualized on a large, high-definition screen and conference rooms of various sizes throughout the facility
The architectural firm of record, SmithGroupJJR (SGJJR), engaged Convergent Technologies Design Group to design an audio solution to fit the distinct needs across the varied spaces.
Audia and Nexia’s flexibility and modular DSP architecture allowed Convergent Technologies to design the best audio solution for the new building. Through this dynamic design partnership, the NREL facility is not just unique among similar types of facilities, but is one of the most technologically advanced in the world.
“Early involvement in a project is key,” shared Paul Corraine, president of Convergent Technologies Design Group. “Our long relationship with SmithGroupJJR enabled us to forecast and creatively solve for many unique needs the NREL had, while developing a seamless technological solution.”
“Biamp is excited that we could help facilitate an audio solution for the design team at CTG and SmithGroupJJR,” stated Michael Frank, mid-Atlantic regional manager for Biamp Systems. “We’re committed to providing our consultant and integrator partners the equipment and services to deliver innovative audio systems.”
Posted by Julie Clark on 11/25 at 02:58 PM
IED Announces Release Of Globalcom Digital Audio Bridge
IED announces the release of the IED1100DAB Globalcom Digital Audio Bridge, an expansion unit that is used in the GLOBALCOM system to provide a way to bridge CobraNet audio across local networks or VLANs
Innovative Electronic Designs LLC (IED) has announced the release of the IED1100DAB Globalcom COM Digital Audio Bridge.
The IED1100DAB is an expansion unit that is used in the Globalcom system to provide a way to bridge CobraNet audio across local networks or VLANs. This device is used to send and receive audio to Globalcom systems or Legacy Announcement Control Systems that reside on multiple networks.
Each network connection is dual redundant, allowing the maximum possible reliability in network connectivity. The IED1100DAB can coexist with data traffic over existing Ethernet networks saving money by eliminating additional infrastructure costs. The IED1100DAB allows up to 8 channels of CobraNet to be bridged between two networks in each direction (8x8).
When added to a system and the unit can be configured through the Globalcom System Management Center on the 1100/1200ACS. Announcement management will be linked and routed resulting in announcement distribution by using this network-based bridge.
“The 1100DAB allows seamless, real-time CobraNet audio distribution across multiple LANS or VLANS allowing greater flexibility for system designers and facility IT staff”, said IED VP and GM Jody Green. “This ensures Globalcom can grow with the ever changing audio distribution needs of any size facility.”
Innovative Electronic Designs (IED)
Posted by Julie Clark on 11/25 at 02:50 PM
Friday, November 22, 2013
Extron Introduces New SoundField Wide Coverage Two-Way Ceiling Speakers
Extron Exlectronics has announced the immediate availability of the SoundField SF 26X two-way ceiling speaker for use in non-plenum airspace environments.
Extron Electronics is pleased to announce the immediate availability of the SoundField SF 26X, a two-way ceiling speaker featuring an open back and coaxial dual driver design for use in non-plenum airspace environments.
The driver complement includes a 6.5” (16.5 cm) woofer coupled to a 3/4” (1.9 cm) ferrofluid-cooled dome tweeter. The SF 26X provides a frequency range of 50 Hz to 20 kHz for accurate voice and detailed music reproduction.
This speaker offers a nominal impedance of 8 ohms, and is engineered with a wide, uniform 110° conical coverage and uncolored off-axis response. The SF 26X features a thin-edged bezel for a refined appearance on the ceiling, and a magnetically attached grille.
“The SF 26X improves upon our very successful line up of ceiling speakers with a contemporary design and enhancements that simplify installation,” says Casey Hall, Vice President of Sales and Marketing for Extron. “This speaker offers refinements in sonic detail, and optimal off-axis response to deliver vocal clarity with wide coverage.”
Music reproduction is enhanced with the exceptional low-frequency response of the polypropylene woofer, which is specifically designed for infinite baffle environments, and extends the frequency range down to 50 Hz. The pivoting dome tweeter allows aiming of the mid and high frequencies for best area coverage and proper imaging.
The SF 26X is designed for 8 ohm direct connection to power amplifiers, and provides a simple means to wire speakers in parallel for 4 ohm amplifier operation. It features a power rating of 25 watts continuous pink noise and 50 watts continuous program capacity.
The SF 26X is sold in pairs and carries a 5 year parts and labor warranty.
Posted by Julie Clark on 11/22 at 12:53 PM
Antwerp Zoo Upgrades Original Aquarium With One Systems
Part of the complete renovation of the Antwerp Aquarium included installation of new One Systems weather resistant sound reinforcement system.
The Antwerp Zoo, built in 1843 in Antwerp, Belgium, is the oldest animal park in Belgium, and one of the oldest in world.
Opened in 1911, the aquarium is located in a cave-like space under a Greek Temple in the southwestern corner of the zoo. Largely unchanged since it opened, the space had recently begun to show wear and tear due to the constant exposure to moisture and salt water.
As a result, the zoo embarked upon a complete renovation of the aquarium that included restoring the much of the stone and marble surfaces, replacing the rubber floor with an authentic stone floor and modernizing the tanks themselves.
As part of the project, the restoration committee decided it was also time to address the acoustic issues of the main visitor hall. The large rectangular room is roughly 130 x 55 feet and features an abundance of flat surfaces, marble archways and a 20-foot ceiling. Until now, no sound system was present.
With this new system the Zoo wants to create special effects for the visitor by playing 4 channel audio that will give the impression of sound rolling as a wave through the room. The Aquarium building will also be used for education and presentations.
Belgium-based COMMpunt bvba, a professional audio distributor that also provides design and integration support services, was hired to design and install, together with the electrical contractor, a new sound reinforcement system for the cavernous space.
“Between the size of the room and the hard, flat surfaces, we knew we needed a system that could provide controlled directivity but also withstand the humidity that comes with the aquarium environment,” explains ir. Michaël Rossignol, COMMpunt co-owner. “One Systems products came to mind immediately – they are completely weather proof and provide the audio quality and control the system required.”
Rossignol ultimately specified 13 pcs. of One Systems 106IM/100 loudspeakers, creating a distributed system that evenly covers the visitor viewing area with minimal overlap between zones. The loudspeakers, hung at 20-degree angles approximately 14 feet off the ground, are mounted with optional PT-10 bracket at the top of set-back archways that flank both sides of the hall. Complete coverage was ensured with placement of the enclosures in every other of the 26 archways. All loudspeakers and brackets were painted in the same color as the walls.
The One Systems 106IM was designed to provide high acoustic output, superb intelligibility and IP 56-rated direct-weather performance making them ideal for acoustic spaces like the aquarium. The 106IM design is unique in that it uti¬lizes a true compression driver coupled to a constant-directivity horn that provides a 100 degree horizontal by 70 degrees vertical coverage pattern.
The 106IM’s combination of the high-ef¬ficiency horn-loaded compression driver and an extra-large 1.75-inch (44.33 mm) voice coil design in the 6-inch (152 mm) woofer yields superior system intelligibility, vocal range in¬tegrity and added musical definition.
The aquarium system is powered by a Bosch 4-channel PLM-4P125 PLENA matrix amplifier which provides remote control and monitoring via the Plena Matrix app running on an iPad. Mixing and routing is done with the new Apart Audiocontrol 12.8. The COMMpunt team also installed a Sennheiser XSW 35 Wireless microphone system utilized for custom tours and educational presentations.
“The visitor hall at the aquarium recently opened to rave reviews from the public and the renovation committee,” concludes Rossignol. “The audio quality and clarity is exceptional in the hall. Everyone is extremely pleased with the new system.”
Posted by Julie Clark on 11/22 at 12:46 PM
Tuesday, November 19, 2013
Meeting Myriad Challenges: A Host Of Installed Microphone Solutions
Applications, technologies and techniques for a wide range of types and models
Many challenges in professional audio can be addressed with more than one solution. A good example is microphones – there are so many options and so many ways to deploy them.
Let’s take a look at a variety of mic solutions that have come to be considered “installed” in their nature, but the truth is that many of these products and solutions can produce great results in several sound reinforcement applications.
These are also called lectern or podium microphones, and have a small unidirectional condenser mic capsule on the end of a flexible boom about 6 to 18 inches long. A unidirectional polar pattern reduces pickup of room reverberation, feedback, and background noise.
The latest models are slim and elegant, and their boom arms adjust silently, unlike the creaky goosenecks of yesteryear.
The small mic capsule is sensitive to breath pops, but this can be eliminated with a foam pop filter and a high-pass filter set around 100 Hz.
Goosenecks tend to be popular boardrooms and council meetings, and an upside is that they’re less sensitive to paper-shuffling noises than surface-mounted mics.
Features to look for include redundant mic capsules; on/off switch, shock mount to prevent pickup of lectern thumps, high-pass filter to reduce thumps and breath pops, RFI suppression, interchangeable capsules with different polar patterns, mounting options, Atlas AD-11 flange, XLR connector, or desktop base.
Audio-Technica U85QL gooseneck microphone
Lecterns both installed and portable, church, boardrooms, council meetings, tele/videoconference, courtrooms, distance learning systems, talkback in studios
❚ AKG CS 2 and CS 5 conference systems, GN series, 99er, AMS, Architectural Series
❚ Audio-Technica AT808G, ES905CL, ES915C, ES915SC, ES935C6
❚ Audix ADX12/18, MG Series, Micropod
❚ beyerdynamic MCS 20, MSC 50
❚ CAD (Astatic) GM10VP variable pattern
❚ Countryman ISOMAX 4RF
❚ Earthworks FM and FMR Series
❚ Electro-Voice PolarChoice podium and desktop
❚ Shure MX405, MX410, MX412, MX418
Small, inconspicuous boundary mics with a cardioid or supercardioid polar pattern. As their name indicates, these sit on top of tables and pick up the voices of people speaking. Inside the mic housing, a tiny directional mic capsule aims horizontally across the surface.
Because the mic capsule is small and lies on the surface, it picks up table sound reflections in-phase with the direct sound from the source. This prevents comb filtering caused by phase interference between the direct and reflected sound waves.
Shure MX392 tabletop microphone
The unidirectional polar pattern reduces pickup of room reverberation, feedback and background noise. Some models are miniaturized - about 1 inch long. Others are about 1/2-inch in diameter with omnidirectional pickup pattern, and these can be flush-mounted in the tabletop, resulting in a clean appearance.
A few models have interchangeable capsules with different polar patterns. It’s common to use multiple mics on a conference table, either one mic per person or one mic between every two people, about an arm’s length away.
These can all be run with an automatic (gated) mixer, which turns off all mics except the one in use, which reduces the number of open microphones, resulting in a clearer sound with less feedback.
Examples of automatic mixers include the AKG DMM 4/2/2, Shure SCM800 and SCM410, Dan Dugan Sound D-2 and E-1.
Yamaha also now offers the Dugan-MY16 card, which facilitates automatic mic mixing in current model Yamaha digital mixers and processors.
Lacking an automated mixer, mics that have built-in press-to-talk switches can be used. One innovative product is the Revoluto Microphone Array used in several beyerdynamic conference mic systems.
A group of mic capsules are wired together to create an array that provides the close-up sound of a gooseneck mic, but in a low-profile chassis.
Some recent models are also wireless.
Boardrooms, conferences, governmental body meetings (city councils, etc., tele/videoconference, courtroom, altar table in houses of worship, distance learning systems
❚ AKG C 547 BL
❚ Audio-Technica ES947, ES961, ES963 (multidirectional), Pro 44, U851R, U891RWx
❚ Audix ADX60
❚ beyerdynamic MCS wireless digital system, wired MCS system, Revoluto system
❚ CAD (Astatic) 2220VP, 930VPL variable pattern mics, 901R, 201R.
❚ Crown (AKG) MB3, MB4, PCC-170, PCC-170SW.
❚ Electro-Voice PC boundary mics (polar choice), PC boundary sat mic, RE90B
❚ Sennheiser WICOS wireless conference systems, SDC 8200 desktop goosenecks, infrared conference systems
❚ Shure MX391, MX392, MX393, MX690 wireless
❚ Shure MX405, MX410, MX412, MX418
Rugged, unidirectional boundary mics typically used on a stage floor to pick up actors in drama or musicals. Like a tabletop mic, it uses a tiny directional mic capsule on a surface to prevent the comb filtering from phase interference.
The frequency response is tailored for intelligibility, typically with a small high-frequency rise and low-frequency rolloff. The polar pattern is cardioid or supercardioid to reduce the potential for feedback and to minimize pickup of room acoustics.
Crown Audio PCC-160 boundary microphone
Some models have a permanently attached cable for extra ruggedness – a good idea if the mic’s tiny XLR connector is likely to be stepped on.
Usually one to four stage floor mics, placed a few feet from the front edge of the stage, will do the trick.
20 ft stage: 1 mic center stage
25-30 ft stage: 2 mics 12 to 15 feet apart
35-40 ft stage: 3 mics 15 feet apart
45-50 ft stage: 3 mics 17 feet apart
Because a floor mic is far from the sound source, feedback can be an issue. If this happens, place the loudspeakers closer to the audience than to the mics.
—You might want to delay the signal going to the loudspeakers so that the audience will localize the sound on stage.
—Use a feedback suppressor (such as the Sabine FBX1200) between the mixing console and the power amplifier, or use a 1/3-octave graphic equalizer between the mixing console and the power amplifier. Turn down frequencies that feed back by no more than 3 dB if possible.
—Place the mics as close to the actors as possible without getting in their way.
—Do not use compression.
—Train actors/people speaking to project - the microphones need something to pick up.
Theater stage plays and musicals, choirs, dance troupes
❚ Crown Audio PCC-160 (marketed by AKG)
❚ Bartlett TM-125, TM-125C
❚ DPA BLM4060
These inconspicuous mics are designed to mount in a wall or other surfaces, acting as a boundary mic. Some models are disguised as light switches; some are tiny disks, and some are weather resistant for use outdoors.
A security mic also can be used to sense ambient sound levels.
AKG C 562 CM miniature boundary microphone
The mic signal controls the gain of a PA system, turning up the amplified sound to prevent masking whenever ambient levels increase.
While most models have a mic-level output, some produce a line-level signal for direct connection to a recording device’s line input.
Building entrances, transportation stations, surveillance, recording meetings, interrogations, warehouses, schools
❚ AKG C 562CM
❚ CAD (Astatic) WM-625, 210, WM-1000, 202RW
❚ Crown Audio PZM-11, PZM11LL, PZM-11LLWR, PZM-10
Miniature condenser mics that clip onto clothing about 8 inches under the chin (or in the hair), allowing the talker freedom of movement.
Lavs have a tailored or contoured frequency response.
The high-end rises to compensate for the mic being off-axis to the mouth, where high frequencies are weak.
Sound diffraction of the body tends to cause a peak in the frequency response around 730 Hz, so some models include a dip filter at that frequency. The result is a more natural sound. It’s common to clip-on two of these mics for redundancy in critical applications.
Most models have an omnidirectional polar pattern. The advantages are less clothing noise, less wind noise, and more consistent sound levels when talkers turn their head.
Audix L5 lavalier microphone
Cardioid models are recommended when background noise or feedback are severe.
Some models are designed for use with wireless mic transmitters, and are equipped with mini-connector that mates with the transmitter’s mic connector.
Church, broadcast, wandering lecturers, theatrical productions
❚ Audio-Technica AT803, AT831R, AT899, BP896 MicroPoint
❚ Audix L5
❚ Countryman B3, B6
❚ DPA 4060 and numerous variations
❚ Electro-Voice RE90Tx, RE90L
❚ Shure MC50B, MC51B, MX 183, SM93, WL183, WL93
❚ Sennheiser MKE Platinum-4-C, MKE 2 Gold
❚ Sony EM77B
As the name implies, these small mics are worn on the head, so the user is free to move around while talking. A wire or plastic frame goes around the ear, and sometimes around the back of the head. A slim boom holds the microphone close to the edge of the mouth.
Because the mic is so close to the sound source, gain-before-feedback is excellent – even with omnidirectional models. It’s nearly invisible in use.
Sennheiser HSP2 headworn microphone
Several models are designed to work with beltpack wireless mic transmitters.
At the end of the mic cable, a miniature connector mates with the mic connector in the transmitter.
Worship, lecturers, presenters, actors, singers, health club (aerobics and yoga instructors)
❚ Audio-Technica ATM73a, ATM75, BP892 MicroSet
❚ Countryman E6 and E2 Earset
❚ DPA d:fine
❚ Electro-Voice RE97Tx and RE97-2Tx
❚ Sennheiser HSP 2, HS 2, Ear Set 4, Ear Set 1
Small, unidirectional condenser mic capsules at the end of long cables, typically hung near a choir or actors upstage. The mic cable usually carries a mediumimpedance unbalanced signal from the mic capsule.
At the end of the cable is an XLR connector or small chassis. Inside the connector or chassis, a circuit provides a low-impedance balanced output and converts phantom power into DC bias for the microphone capsule.
Electro-Voice RE90H hanging microphone
The polar pattern is cardioid, supercardioid or hypercardioid to reduce feedback, and the frequency response has a small rise at high frequencies to compensate for being off-axis to the mouth.
Generally, use one microphone in the center of every 20- to 30-foot span of singers. A choir of 30 to 45 voices should need only two or three mics. Place them about 18 inches in front of the first row of singers and about 18 inches above the head height of the back row.
The mics are raised so that the front row is not too loud relative to the back row. Run a fishline between side walls to anchor the mics so they don’t rotate.
If it’s inconvenient to hang choir mics, consider using mics mounted to thin carbon-fiber booms on mic stands, such as the Audix Micro- Boom, AKG GN155 CHOIR boom stand, CAD (Astatic) 2700VP or 1700VP. The latter models have continuously variable polar patterns.
Although hanging mics can be used for overhead pickup of a conference, this application is not recommended. The mics are usually too far from the talkers, and the resulting sound tends to be muddy and noisy with poor gain-before-feedback.
Choirs, actors who are upstage, security-surveillance
❚ AKG CMM 99, HM 1000 hanging module with CK capsules
❚ Audio-Technica ES933C, ES933H, U853 Series
❚ Audix ADX40
❚ Countryman Isomax 2
❚ Earthworks C30/C
❚ Electro-Voice RE90H and RE92H
❚ Shure MX202
Bruce Bartlett is a recording engineer, live sound engineer, microphone design engineer (www.bartlettmics.com), and audio journalist. His latest books are “Practical Recording Techniques 5th Edition” and “Recording Music On Location” (Focal Press).
Hob Sound Adds Soundcraft Si Expression To Its One-Man Show
Owner Rob Bernstein requires a versatile console to match his needs
Rob Bernstein, the sole owner of Hob Sound in Framingham, MA, recently purchased a Soundcraft Si Expression 2 to accommodate his production and mixing needs.
As a one-man business that provides sound equipment for a wide range of events, Bernstein requires a versatile console to match his needs. In addition to recallable features and analog-type controls, the Si Expression Series comes with GEQ effects on every bus as well as built-in Lexicon effects.
Within 15 minutes of working with the Si Expression, Bernstein was impressed with the console. “Its versatility blows anything else out of the water,” he says. “Having the graphic EQs available to all the buses is a huge advantage, and combined with the availability of compressors on each channel, this console replaces a lot of gear. This is critical to my operation, since I cannot haul all those additional racks by myself.”
The console’s ‘1 Control = 1 Function’ ensures that there is never any layering of controls. The One Touch Easy Mix (TOTEM) allows a single key to mix to an AUX, FX or Matrix bus. The Si Expression also imcludes FaderGlow color-coded illuminated faders and a range of connectivity and network cards.
“I love how much faster it is to set up for an event, due to the recallable features,” Bernstein adds. “Even though this is my first digital board, it retains the simple feel and authentic sound of an analog board that I have grown accustomed to in my decades of experience. Also, I no longer have to worry about choosing which channel gets compressed or gated.”
Hob Sound recently mixed a show with the local band The Fools in the Boston area, with Bernstein reporting, “The Si Expression sounded great, and it is everything that I need from a console.”
The console was purchased through Pro Audio Star, based in Brooklyn, NY.
Posted by Keith Clark on 11/19 at 06:03 PM
SSL Announces Live Console Distribution In France And Italy
Cablateam to handle Italy, while Juke Box Ltd is official dealer in France
Solid State Logic has started to roll out its commercial distribution network for the live sector, with distribution for the new Live console in France to be handled by SSL France, with Juke Box Ltd as the official SSL Live dealer. And, in Italy, the console will be distributed by Cablateam.
“SSL has been established for a long time in both France and Italy,” says Philippe Guerinet, director of international sales for SSL. “We have been working closely for many years with Giovanni Blasi in Italy and JB Lierre in France for our music products, so the SSL Live was a natural addition to their portfolios. The conclusion of some of the first commercial sales in these territories is clear evidence that we are on the right track.”
“Continuing the very successful cooperation between our two companies over the past 10 years, we are delighted to embark on a new adventure with the Live console,” says JB Lierre, owner and managing director of Juke Box, the official main dealer for Live in France. “SSL is entering the live audio world with one of the most exciting products since the invention of the line array!”
“I am glad that SSL has expanded into the live performance market and, based on the level of interest we’ve already seen, I am confident that SSL Live will soon establish itself as the most wanted console,” says Giovanni Blasi, head of Cablateam. “The SSL brand name will continue to remain in high regard for live audio applications with the Live console.”
Solid State Logic
Juke Box Ltd
Posted by Keith Clark on 11/19 at 05:38 PM
Monday, November 18, 2013
Middle Atlantic Brings Under Table Rackmounting To Meeting Spaces
Conference table support system houses equipment and cables
Middle Atlantic Products has unveiled the TechPed Series Technology Pedestal, designed to provide localized and discrete equipment mounting in huddle rooms, conference rooms and other collaboration spaces.
The TechPed is designed to be an easy-to-integrate, easy-to-service conference table support system that houses equipment and cables.
The TechPed incorporates the company’s proprietary Frame to Furniture design, an installer-friendly approach that eliminates long waits, speeds up integration and reduces the effects of transit damage.
The inner steel rack frame ships directly from stock, allowing integrators to begin the integration of the system immediately. The outer surfaces are shipped separately to the installation site or shop and can be quickly and easily attached to the core structure to cover the metal and complete the installation.
Quick and simplified system maintenance is made possible by the TechPed’s removable side panels and the inclusion of the patent-pending Lever Lock tool-free internal management system, which maximizes rack space and cable management options within the side channel of the pedestal.
Available in three sizes and a wide range of standard color choices, a custom millwork kit option is also available that provides detailed shop drawings for a woodworker to create a customized look for the TechPed and mounting hardware to attach it to the frame.
Middle Atlantic Products
Hosa Technology Debuts SuperSpeed USB 3.0 Cables
Hosa USB-300 Series SuperSpeed USB 3.0 cables feature data transfer rates up to 10x faster than USB 2.0
Hosa Technology is pleased to announce the introduction of the USB-300 Series SuperSpeed USB 3.0 cables.
Featuring data transfer rates up to ten times faster than USB 2.0, new SuperSpeed USB cables are ideal for DJ’s, musicians, and audio professionals seeking to maximize the performance of their equipment, including portable disk drives, recording and playback systems, cameras, and more.
Available in 3-, 6-, and 10-foot lengths, Hosa’s new SuperSpeed USB cables offer two configurations: (1) the traditional Type A to B option commonly used to connect a PC to an audio interface, external hard drive, or similar device and (2) the Type A to Micro-B connector that can be found on DSLR cameras, smart phones, tablets, and portable drives.
Regardless of the connector type, Hosa SuperSpeed USB cables are fully compliant with USB 3.0 specifications, providing transfer rates of up to 5 Gbps and increased power handling capabilities.
All Hosa USB-300 Series SuperSpeed USB cables utilize Nickel-plated plugs for enhanced signal transfer and an Aluminum-Mylar shield for superior EMI and RFI rejection, making these cables an outstanding choice for connecting an audio interface, USB microphone or instrument, or computer peripherals to newer generation PCs.
Jose Gonzalez, Hosa Technology’s Product Manager, commented on the company’s new SuperSpeed USB 3.0 cables, “Our new SuperSpeed USB cables provide DJ’s, musicians, and audio professionals with a valuable means of making connections with the latest equipment to capitalize on the increased bandwidth provided by the USB 3.0 specification.
“USB 3.0 grants users the ability to transfer data at faster rates than ever before—at speeds up to ten times faster than USB 2.0—with significantly improved power capabilities so your devices are always fully charged when needed.
“With a good selection of cable lengths and connector options designed to fit any USB 3.0 device, I’m confident these new USB cables will be well received by our industry.”
The new Hosa USB-300 Series SuperSpeed USB 3.0 cables are expected to become available in December 2013. MSRP pricing is as follows:
USB-303AB SuperSpeed USB Cable, Type A to Type B, 3 ft $11.10
USB-306AB SuperSpeed USB Cable, Type A to Type B, 6 ft $14.10
USB-310AB SuperSpeed USB Cable, Type A to Type B, 10 ft $17.25
USB-303AC SuperSpeed USB Cable, Type A to Micro-B, 3 ft $22.95
USB-306AC SuperSpeed USB Cable, Type A to Micro-B, 6 ft $25.05
USB-310AC SuperSpeed USB Cable, Type A to Micro-B, 10 ft $27.00
Sri Lankan Adult Education Centre Refits With QSC
KLA & K Series Speakers Used in Main Auditorium & Lecture Halls at the SLFI
Sri Lankan QSC distributor Dynamic AV technologies has installed QSC Audio KLA and K Series loudspeakers in a refurbishment of the auditoriums at the Columbo-based Sri Lankan Foundation Institute (SLFI).
The Institute is one of the Sri Lankan Republic’s largest and oldest adult education centers.
The SLFI, which celebrates its 40th anniversary in 2014, specializes in vocational training for the Sri Lankan people in a variety of career disciplines, including psychology, sociology, business and language studies.
The sound reinforcement systems in the Institute’s main auditorium and four associated smaller lecture halls were all recently refurbished, receiving new loudspeakers, microphones, and sound mixers.
Dynamic AV Technologies suggested QSC KLA and K series loudspeakers for the PA systems. The main auditorium was the recipient of four QSC KLA12 line array units (two per channel) with a pair of KLA181 subwoofers, and a further pair of K8 Actives acting as sidefills.
A new mixer and wireless Lavalier microphones for use by lecturers completed the upgrade. The four lecture halls each received a portable PA system comprising a pair of QSC K8 loudspeakers supplemented with a compact sound mixer and wireless mics.
Commenting on the performance of the QSC KLA and K Series following the installation, the management of the Sri Lanka Foundation have professed itself very happy with the sound quality of the QSC system, after searching for some time to ensure that the quality of the PA system would be sufficiently high.
The management was persuaded to choose QSC after noticing that QSC systems have been used in many Sri Lankan government installations.
Friday, November 15, 2013
Tech Tip Of The Day: DIY Balancing Of Unbalanced Lines
A way to pseudo-balance an unbalanced line in a pinch?
Q: Recently I was working a live show and needed to get an unbalanced signal from point A to point B. Given the noise that was induced in running the unbalanced line that distance, it was obvious we needed to balance the signal.
However, of course, we had an awfully limited kit (this was a really inconsequential and tiny show) and we didn’t have any balancing transformers available.
I’m sure there’s a way to pseudo-balance a line in an emergency, but how do you do it?
A: Nice question!
Let’s say you needed to run a signal from a keyboard to your mixer. Obviously, in your case, the unbalanced line was quite noisy, and you didn’t have the requisite balancing transformer.
What to do?
It’s not hard to make a pseudo-balanced line from the unbalanced output of the keyboard. Basically, you make the run with a standard balanced cable (TRS or XLR).
For an XLR cable, at the end where the cable plugs into the keyboard connect a precision potentiometer to pin 3 (cold, or “-”) and to ground/shield (pin 1).
On a TRS this would be between ring and sleeve. Connect pin 2 hot, or “+” as normal. On a TRS this would be the tip.
Turn the equipment on and turn up the gain on your mixer until you hear a good amount of hum and line noise coming in from the keyboard line.
Turn the potentiometer (which will change the resistance between “-” and ground) and you will hear the hum and noise level change. With some careful work you should be able to find a “sweet spot” where the hum is minimized.
If this were a permanent installation you could then measure the resistance of the pot at that setting and substitute a precision resistor in place of the pot.
What you have done is put a resistance in parallel with the output impedance of your source (in this case a keyboard) from “-” to ground that matches the “+” relationship.
Normally, on an unbalanced line, “-” would be shorted to ground, and you give up any CMRR (Common Mode Rejection Ratio) your mixer’s balanced input has.
Although not a perfect substitute in all instances, we’ve heard this make a dramatic difference in certain circumstances.
Remember, you must use precision components here, as minute changes in value will significantly effect the signal-to-noise ratio.
For more tech tips go to Sweetwater.com
Riedel Sponsoring Innovative Monash University Formula SAE Team
Spotters, engineers, and drivers communicate with one another to ensure safe and effective testing and racing
Riedel Communications is sponsoring Monash Motorsport (MMS), a team of students from Australia’s Monash University that each year designs, builds, tests, and races an open-wheeled formula-style racecar in the renowned Formula SAE (FSAE) series.
Using two-way Motorola radios and headsets supplied by Riedel, MMS team spotters, engineers, and drivers communicate with one another to ensure safe and effective testing and racing of the team car.
“The radios provided by Riedel have been fantastic, and the reception is clear and crisp,” said Areeb Hassan, business team leader and suspension engineer for MMS. “We haven’t had a single issue with the gear and have had no need to contact Riedel for support, but the company has been very helpful and accommodating.
“We look forward to expanding our use of the communications system to enable the reception of valuable live telemetry data from the car and for competition updates during the Endurance Event.”
MMS competes in the FSAE design competition, which includes more than 500 universities from around the world. The team is currently ranked No. 2 in the world and has won the FSAE Australasia Competition for the past four years.
Having completed their latest car, the M13, the team has been testing and validating their design in preparation for the Australasia competition in December as well as a series of high-profile races in the U.K. and Germany in 2014. MMS was an early pioneer of the use of aerodynamics in FSAE, with its 2002 car being one of the first cars in the competition to feature wings.
The M13 has been designed with a much more aggressive aerodynamics package, boasting some of the largest front and rear wings in the competition, as well as the use of an undertray. The team designed the M13 using CFD modeling and has physically validated it in the Monash Wind Tunnel, also located at Monash University in Melbourne.
“The MMS team is an innovative and inspiring group of students that has achieved remarkable results in the FSAE Series, and it’s a pleasure to support their efforts by providing the reliable, high-quality communications equipment so critical in live test and race environments,” says Cameron O’Neill, solutions manager at Riedel Communications. “We wish MMS the best of luck as the team takes its new M13 car into global competition.”
Posted by Keith Clark on 11/15 at 05:55 PM
EAW’s Anya Makes Korea Debut, Takes Center Stage On Cho Yong-Pil Tour
RhinoSound chooses Anya to support Korea's top musical artist
Before it joins the hottest concert tour in Asia, Korean distributor Dasan SR’s newly acquired EAW Anya system made its debut in Korea and participated in loudspeaker “shoot-outs” at the recent KoSound+Stagetech 2013 show.
“We’ve had a lot of comments from people at the show about Anya’s incredible, studio monitor-like fidelity and that she simply sounds amazing,” states Davwinder Sheena, Asia-Pacific managing director for EAW.
Fresh off that competition, the same system will hit the road on Cho Yong-Pil’s 50-city “Hello” tour currently in progress in Korea and Japan. Yong-pil is Korea’s most enduring pop star. His 19th album, “Hello,” knocked Psy off of the number 1 spot for Korean album sales.
SunMo Kang, Dasan SR president, explains why RhinoSound chose Anya for this tour: “The most important reason is Anya’s Adaptive Performance technology. RhinoSound has many years of experience with mega-size stadium concert tours, and the engineers have fallen in love with the Anya system. They can program its multi-direction sound to cover all levels, from the ground floor to the second and third levels and on. It saves an enormous amount of time for FOH engineers, and gives them full mixing satisfaction.
“It serves not only the most powerful but also the most luxurious sound performance possible,” Kang adds. “We sincerely believe Anya will begin a new trend in live sound.”