Monday, April 20, 2015

DiGiCo Introduces S21 Digital Mixing Console

Incorporates top features from the company's existing line into a more entry-level console at a lower price point

DiGiCo has introduced the S21, a new digital mixing console incorporating the company’s Stealth Digital Processing, an FPGA-based technology that is key in delivering a tremendous amount of capability combined with flexibility.

“We wanted to design an entry level console that retained all the features and values DiGiCo is known for in terms of quality, ergonomics and style, and one we could be truly proud of at a price point that allows even more audio engineers to join the DiGiCo family,” states DiGiCo managing director James Gordon. “In fact, that was the condition John Stadius put on his design team. It is also why the console has been hidden in development for close to three years.

The build quality and design of the new S21 takes on the company’s core values such as aluminum extrusions, RGB switch encoders with HTL (Hidden Til Lit), polycarbonate overlays and two large multi-touch screens that allow the operator to get an excellent overview of what is at their fingertips.

“The challenge we faced in R&D was providing a true pro ‘high-end’ console at the desired price point,” Stadius adds. “The brief we got was very strict; we had to develop a console that gave the operator all the sensations they would get when stood behind the SD7. This requirement really motivated the team and S21 is the result.

“The worksurface design speaks for itself, but in terms of audio, you have the same FPGA algorithms as the SD7 and the mic pre design is lifted from the 192 kHz SD-Rack. The audio statistics on this console are very much high end; it should surprise a lot of new-to-DiGiCo engineers. Oh, and it’s 96 kHz with no processing limitations from day one like all the other DiGiCo consoles. As I said, no compromises were allowed.”

SD21 specifications include:

• 96 kHz as standard
• 24 mic line inputs
• 12 analog outs
• 2 AES I/O (mono)
• Word clock I/O
• 1 GPI and 1 GPO
• DVI out (for an external monitor)
• 2 DMI slots (up to 64 I/O slot)
• 2 Ethernet connections for networking
• 2 x 24 segment master / solo meters
• Touch sensitive rotaries with integrated switch and HTL
• 2 multi-touch screens
• 21 touch sensitive moving faders
• 4 layers of banks of 10
• Customizable bank and channel layout
• Snapshots
• Integrated USB2 audio I/m
• 46 buses: 16 x stereo (32), stereo Master (2), solo buses (2 stereo, 4 total), and 10 x 8 matrix (8)
• 40 flexi-channels mono/stereo (equivalent of 80 DSP channels)
• 16 flexi buses mono/stereo (equivalent of 32 DSP buses)
• 16 assignable 32 band graphic EQs
• 8 FX engines (reverbs, delays, w/modulation and enhancer)
• 4 assignable DiGiTubes
• 4 assignable Multiband comps
• 1 compressor per channel and bus
• 1 gate per channel and bus (switchable to ducker, or compressor with side chain access)
• User definable macros
• High power headphone amplifier
• 1/4-inch and mini jack socket



Posted by Keith Clark on 04/20 at 12:18 PM
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AKG Unveils K181 DJ UE Reference Class Headphones

Developed based on input from professional DJs and designed for use in club environments

AKG by Harman is introducing the new K181 DJ UE reference class DJ headphones, developed based on input from professional DJs. The K181 DJ UE (Ultimate Edition) headphones are built for professional DJ use in club environments.

The K181 DJ UE headphones feature a closed back design and a 50 mm transducer, delivering power to withstand PA speakers, especially for pre-fader listening. For loud working conditions, the Bass Boost will help DJs better hear low frequencies, while the headphones’ coiled cable offers freedom to move without stepping on a cable.

“The new K181 DJ UE headphones are the result of our listening to the needs and demands of our DJ customers in the field,” said Philipp Schuster, product line manager, headphones, AKG. “In speaking with our customers, we learned that some of their priorities include freedom of movement, high power and strong low-frequency reproduction. We feel the K181 DJ UE headphones fulfill these requirements and more!”

Key Features Include:

Bass Boost switch to emphasize low frequencies in loud working conditions.
Detachable coiled cable that gives freedom to move in the DJ booth.
Mono/Stereo switch for single ear monitoring.
3D-Axis folding mechanism for transport and storage in record or laptop bags.
Lightweight construction that enables multiple mixing positions.

Harman Professional

Posted by House Editor on 04/20 at 11:22 AM
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Studiomaster Debuts New Injection Molded Compact Cabinets

Available in both self-powered and passive models, improving on the VPX and VSX series that DRIVE replaces

Studiomaster is showing the new DRIVE series portable injection-moulded PA cabinets for the first time in Europe.

DRIVE is a 2-way, compact and portable injection-molded PA speaker cabinet available in both self-powered and passive models, improving on the VPX and VSX series that DRIVE replaces.

DRIVE 4A is a 12 inch LF / 34 mm compression HF driver combination, and the DRIVE 6A a 15 inch LF / 34 mm compression HF driver combination; both models are powered with 310W RMS (1200W peak) class-D amplification delivering 126 / 127dB max SPL respectively. The rear input / control panel on both models includes mic and line inputs, 3-band EQ, and gain and level controls, with a balanced link output.

8Ω passive variants – the DRIVE 4 and 6 – are rated at 500W and 600W continuous program power (1000W / 1200W peak). All models are fitted with 35mm speaker pole connectors and five M10 flying points and recessed side and top carry handles.


Posted by House Editor on 04/20 at 11:09 AM
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Salzbrenner Presents 3D Audio Integration In New Polaris Evolution Interface

Processing technology has found its way into theatre and live productions

Salzbrenner’s new Polaris Evolution presented a manufacturer- and platform-independent interface for 3D audio integration at the Prolight + Sound 2015.

Initiated by the film industry, the 3D audio processing has found its way into theatre and live productions. The aim is to mimic the natural hearing experience by modeling realistic sound sources in three-dimensional space.

The new Polaris Evolution now integrates fundamental functions to control 3D audio objects as well as a direct connection to DAW via timecode. The integration consequently proceeds from the routing of the input sources to object-based assignment and the usual processing to a solid placing in the auditorium without favoured listening positions.

“Being based on modularity, flexibility and scalability, the concept of Polaris evolution provides sound engineers with the perfect platform for processing 3D audio technology, especially concerning object-related 3D audio technology,” product manager Bjorn van Munster explains. The entire graphical user interface by Fraunhofer-Instituts für Digitale Medientechnologie IDMT has already been integrated into Polaris Evolution, therefore the mixing console is now not only able to display its own DSP channels, but also external equipment.

The big multi-touch display and the dedicated GUI provide a workstation to control channels on a compact surface. Polaris Evolution works as a universal interface for the integration and controlling of external 3D platforms on a mixing console.

At the HighTecDay by Salzbrenner Stagetec Buttenheim on March 4, producer and audio designer Stefan Zaradic from Zaraproduction gave a demonstration on how to use Polaris Evolution when working with sound objects in three-dimensional space.

“Stefan Zaradic is one of the first practical users who understands the creative potential of 3D audio technology and introduces an incredible new sound experience.“ concludes van Munster.

Polaris Evolution

Posted by House Editor on 04/20 at 10:40 AM
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Lawo Demonstrates Mirrored Console Functionality For Theater Applications

New functions allow an mc² console to be located in the auditorium to prepare and fine-tune the mix during rehearsals

In Frankfurt on Booth B50 in Hall 8.0, Lawo demonstrated the mirroring of two mc²56 consoles – a requirement useful in theater applications that allows an mc² console to be located in the auditorium to prepare and fine-tune the mix during rehearsals.

This position allows you to set the mix where the audience is sitting, and enables the mix engineer to be in close contact with the director and actors. The auditorium console settings are mirrored to a console in the control room where the show mix is normally handled without disturbing the audience. Once the rehearsals are completed and the mix set, the auditorium console can be removed, freeing the seats in the auditorium to be taken by paying customers. The show mix is then handled within the audio booth but with the added confidence that the resulting mix presented to the audience is of the highest quality and attuned to the venue’s acoustical characteristics. 

Lawo’s mc²56 console also features include a built-in automix capability and integrates the RAVENNA audio-over-IP technology which is fully compliant with the AES67 IP network standard.


Posted by House Editor on 04/20 at 10:15 AM
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Waves On Board: Integrated Card Now Standard On CDC six And CDC eight Consoles

Both consoles now feature integrated Waves 64 channel I/O interface card, providing connectivity to the Waves MultiRack SoundGrid

CADAC has announced at Prolight + Sound that its new CDC six and CDC eight digital consoles are shipping with an integrated Waves card for Waves MultiRack SoundGrid server as standard.

CDC six and CDC eight feature an integrated Waves 64 channel I/O interface card which provides connectivity to the Waves MultiRack SoundGrid via Cat5e cable. Audio is streamed from the console to the SoundGrid server, processed, and then streamed back to the console. This allows up to 64 channels of Waves studio-grade plug-ins to simultaneously run alongside CDC six and CDC eight’s own native effects options, with the Waves GUI displayed on the console’s touch screen for control.
As well as providing direct connectivity to a Waves SoundGrid server, the interface can connect directly to a standard laptop computer, which, with Waves SoundGrid Studio application installed, will connect to just about any DAW software. This permits the use of 3rd party plug-ins, multitrack recording and playback and “virtual soundcheck”. The Waves processing is patched into the console in the same way as any CADAC IO rack, and can be used as a send and return for effects processing, or alternatively it can be patched and used as inserts.

With every CDC six and CDC eight featuring the Waves SoundGrid interface, connecting the interface to a suitably configured computer with Waves “Tracks” software installed, will enable recording of up to 64 tracks of 24-bit, 96 kHz audio. Each of the CDC six and CDC eight’s input channels features two inputs. These can be configured as mic/playback and switching between them globally achieved at the touch of the screen.

CADAC brand manager, Richard Ferriday, comments, “Integrating the Waves interface card as standard in the CDC six and CDC eight greatly expands the operational capabilities of the consoles, both in enhancing their processing capabilities in live sound production, as well as offering extended possibilities for multitrack recording and virtual soundcheck, without the need for additional hardware interfaces.”


Posted by House Editor on 04/20 at 09:22 AM
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Prolight + Sound 2015: d&b Audiotechnik Introduces New D20 Amplifier

Touchscreen, digital signal processing and four independent 1600 Watt channels, each with two 16-band equalizers

d&b Audiotechnik introduces its newest four channel, two rack unit (2RU) amplifier: the D20. The new amplifier features a user interfaces and offers remote control and monitoring via Ethernet through the Open Control Architecture (OCA) protocol.

The D20 amplifier has four independent 1600 Watt channels, each with two 16-band equalizers which feature parametric, notch, shelving and asymmetric filters and up to 10 seconds of delay. The digital signal processing (DSP) power of the D20 means that external system processors are not required, reducing the equipment in the signal chain.

The amplifier’s user interface has a color touchscreen along with a rotary encoder. It is enabled with an integrated web interface for use with a browser and can be controlled using the d&b R1 Remote control software V2, which runs on Windows or Mac computers. R1 provides enhanced equalization functionalities, enabling users to freely define and manipulate EQ using a touchscreen or mouse and keyboard.

Four amplifier channels in a 2RU lightweight package minimizes the rack space required in installations as well as mobile applications and reduces transport costs.

The D20 gives all the power and processing needed for the smaller d&b loudspeaker Series, such as the E-Series and T-Series. The Y-Series and V-Series can be driven by the D20, but to realize the loudspeakers’ full SPL potential they need to be powered by the d&b D80. A D80 amplifier is required to power the J-Series and the M2 monitors.

Thanks to the Class D amplifier and a Switch Mode Power Supply with active Power Factor Correction (PFC) the D20 requires reduced input power and offers energy efficiency. The output capability of the D20 is largely independent from voltage variations caused by substandard electrical sources so the amplifier is able to maintain system performance when running from heavily loaded mains supplies.

Marc Weber, d&b product manger, “It’s really exciting to introduce this addition to the new generation of four channel d&b amplifiers. The D20 gives users the DSP power and field proven user interfaces of our flagship amplifier the D80. It is an ideal solution for smaller loudspeakers or systems and applications that don’t require the highest sound pressure levels. As such it is a versatile tool suitable for a wide range of applications.”

d&b Audiotechnik

Posted by House Editor on 04/20 at 08:30 AM
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Friday, April 17, 2015

Show Central: New Products & News From Prolight + Sound 2015

Welcome to ProSoundWeb’s coverage of the ongoing Prolight + Sound & Musikmesse 2015 in Frankfurt, which presents the latest products from the worlds of event technology and musical instruments.

Preliminary figures show a reported total of 2,257 exhibitors from 57 countries on hand this year, up from the 2,216 exhibitors reported in 2014.

While Musikmesse has remained stable in terms of exhibitor numbers despite a volatile market, Prolight + Sound, which is celebrating its 20th anniversary, reflects the buoyant mood of its sector and has set a new exhibitor record, with 928 companies showing products and services.

“The ups and downs of companies in the musical-instrument sector represent a distinct contrast to the booming event-technology industry. We aim to take individual account of the opportunities and challenges of these sectors and develop the two events accordingly,” states Detlef Braun, a member of the executive board of Messe Frankfurt.

The exhibitors include key players from the fields of sound and stage technology, audio-visual media technology, systems integration, and lighting. Prolight + Sound is also characterized by a high level of internationality: 61 percent of the exhibitors come from 41 foreign countries – after Germany, the most represented nations are China, Great Britain, the United States, the Netherlands, Taiwan, Spain and France.

We’ll be providing updates regularly here on the “show central” page, so be sure to check back often for the latest.

Show News
Bright Norway & Sonalyst Place First Orders For New Meyer Sound LEOPARD & 900-LFC
Gigant Sound-Letus Adds New Soundcraft Vi7000 Digital Console To Inventory
Renkus-Heinz Appoints Audio Link As New Italian Distributor
Powersoft Celebrating 20th Anniversary at PL+S 2015
OCA Alliance Exhibiting, Providing Live Demos
Audio Precision Tests Audio Performance Of Dante-Enabled Devices
Adamson Systems Appoints Justin Stone As U.S. Account Manager
L-Acoustics Invests In Expanded Production, Logistics & Carpentry Facilities
Earthworks Appoints S.E.A. Vertrieb As New GSA Distributor
Penn Elcom Gets Automated
Outline Names Luca Giaroli Business Development Manager

FBT Launches MUSE 118FSA Reversible, Flyable Subwoofer
NEXO Debuts New ID Series Compact Loudspeakers
JBL Releases New VERTEC DrivePack DP-DA V5 Loudspeaker Presets
Meyer Sound Announces LEOPARD & 900-LFC Line Array System
EAW Introduces Redline Powered Loudspeaker Series
NEXT-proaudio Unveils 14-Inch-Loaded Active Stage Monitor
L-Acoustics Launches X Series Coaxial Loudspeakers
Outline Highlights New STADIA100 LA Loudspeaker & iP48 Processor
Adamson Systems Presents New Sub-Compact S-Series
K-array Unveils Concert Series Loudspeakers
New JBL VTX V20-DF Down Fill Adapter
Funktion-One Launches Evolution Series
Cerwin-Vega Showing XLS, SL And XD Series
Amadeus Debuts Philharmonia Loudpeakers Co-Designed By Jean Nouvel
JBL Professional Announces VTX V25-II Line Array
KRK Presents ROKIT G3 Studio Monitor Series
New d&b audiotechnik MAX2 Stage Monitor
Studiomaster Debuts New Injection Molded Compact Cabinets
Martin Audio Announces New CDD Series Installation Loudspeakers
FBT Introduces New VERTUS CLA 406A And CLA 118SA

DiGiCo Introduces S21 Digital Console
PreSonus Ships AVB Networking For StudioLive AI Mixers
Stage Tec Unveils Crescendo Update
Studiomaster Launches digiLiVE Hybrid Touch Screen / Tablet Mixer
SSL Announces Upgrades To Duality And AWS Studio Consoles
Allen & Heath Launches Serato Supported Xone Mixer
CADAC Announces The Worldwide Launch Of CDC six Sound Production Console
Yamaha Debuts TF Series Digital Small to Mid Format Consoles
Avid Introduces VENUE | S6L Modular, Scalable Live Mixing System
Allen & Heath Launches New GLD Chrome Edition
PreSonus Studio 192 Interface Doubles As Studio Command Center
Soundcraft Extends Vi Series With Vi5000 And Vi7000 Digital Mixing Consoles
Waves On Board: Integrated Card Now Standard On CDC six And CDC eight Consoles
PreSonus StudioLive CS18AI Control Surface For RM Mixers & Studio One
Lawo Demonstrates Mirrored Console Functionality For Theater Applications
New Compact Powered And Ultra-Compact Mixers From Studiomaster
Melkweg Gets On Board With Soundcraft Vi7000 Digital Mixing Console

AKG Debuts C314 Dual-Diaphragm Condenser Microphone
sE Electronics Announces Rupert Neve-Designed Tube Mic And guitaRF
TELEFUNKEN M60 FET Microphone Makes Its Debut
AKG Introduces D112 MKII Kick Drum Microphone
AKG Introduces New D5 C Dynamic Directional Microphone

Stage Tec Debuts XACI Control Card
Audinate Announces Availability Of Firmware Update To Support AES67
CADAC Launches CDC MC Dante Version 2 : A & B Dante Channels With Redundancy
Salzbrenner Presents 3D Audio Integration In The New Polaris Evolution Interface
DiGiCo Delivers SD10 RE-Assurance

iConnectivity Releases iConnectAUDIO4+ Interface
Delec Expands Unito Series
Antelope Audio Introduces MP8d Eight Channel Preamplifier
Yamaha Commercial Audio Announces Rio 64-Input/Output Rack
Solid State Logic Launches New LMC+ Module For 500 Format Racks
Outline Highlighting STADIA100 LA Loudspeaker & iP48 Processor
Audient Announces iP14 Audio Interface
dbx Presents goRack Performance Processor For Portable PA Systems
d&b Audiotechnik Introduces New D20 Amplifier
Audient Releases New ASP800 Eight-Channel Mic Preamp

Steinberg Releases Cubase Elements 8 Production System
Meyer Sound Introduces MAPP XT System Design Tool
RTW Presents Mastering Tools Plug-In
Harman Professional Releases JBL HiQnet Performance Manager Version 1.7
L-Acoustics Releases Soundvision 3.0 - Faster and Free of Charge
JBL Professional Releases New VERTEC DrivePack DP-DA V5 Loudspeaker Presets
d&b audiotechnik Launches ArrayCalc V8 Simulation Software
DiGiCo Enhances SD Series With New Software Suite

JBL Professional Introduces VTX V20-DF Down Fill Adapter
IsoAcoustics Shows The Aperta Aluminum Acoustic Isolation Stands
AKG Unveils K181 DJ UE Reference Class Headphones
RCF To Enter The Headphone Market With Iconica Launch

Posted by House Editor on 04/17 at 02:01 PM
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PreSonus Ships AVB Networking For StudioLive Active Integration Mixers

Create a networked live-sound solution, using CAT5e or CAT6 cables instead of a snake

PreSonus is now shipping its SL-AVB-MIX Audio Video Bridging (AVB) audio networking option card for StudioLive AI-series console and StudioLive RM-series rack-mount Active Integration mixers.

AVB enables synchronized, real-time, low-latency, streaming of audio across an Ethernet network. All StudioLive RM-series mixers already have the SL-AVB-MIX option card installed and just need a firmware update to enable the new AVB networking functionality. The card is offered as an upgrade option for StudioLive AI console mixers.

With this first phase of AVB support, you can use the StudioLive RM32AI or RM16AI as a stage box and monitor mixer for any StudioLive AI-series front-of-house console mixer. Remote-control the StudioLive RM-series mixer’s recallable, Class A XMAX preamps from the console; take advantage of the RM mixer’s 16 additional aux mixes; and use the RM mixer’s Fat Channel processing and FX buses for independent monitor mix processing from the front of house mix.

Thanks to PreSonus Active Integration technology, the mixers on the AVB system can be set up, and your mixing workflows synchronized, in a single step. All input routing to and from the onstage RM mixer and the AI console mixer at front of house is configured automatically. You can change the channel source from “analog” to “network” on the channels you want to source from the other mixer.

In addition, the talkback and main L/R mix from FOH are set up as the talkback input and main L/R outputs on the RM mixer onstage. The talkback on/off at front of house also engages the talkback onstage, to communicate with the band. PreSonus Active Integration also keeps your scene save and recall in sync between the mixers in the system.

Both mixers can be controlled using PreSonus UC Surface touch-control software or VSL-AI and SL-Remote AI for Mac, Windows, and iPad, and all aux mixes can be wirelessly controlled using PreSonus QMix-AI for iPhone / iPod touch. All audio and control data flows over one Ethernet cable, so you can shed the analog copper snake.

“This is just the beginning of PreSonus AVB networking,” commented Ray Tantzen, senior product manager for PreSonus. “We have big plans to unleash the true power of a networked audio system. Our implementation of AVB will continue to grow, supporting more workflows and more devices from PreSonus and other manufacturers. With more manufacturers getting onboard with AVB, we are very excited about the future.”

The SL-AVB-MIX option card for StudioLive AI Console Mixers is available now for a U.S. retail price of $399.95.


Posted by House Editor on 04/17 at 08:51 AM
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Digital Audio Denmark Names plus24 North American Distributor At NAB

DAD will exhibit the new line of AX/DX interfaces at NAB 2015 in Las Vegas

Digital Audio Denmark (DAD) has named LA-based plus24 as the company’s North America distributor. DAD manufacturers analog-to-digital and digital-to-analog converters.

“We are very excited to be working with plus24,” commented Mikael Vest, sales director of NTP Technology and its DAD brand, “We are focusing now on the needs of US users and welcome plus24’s extensive knowledge base and well-established industry network.”

At the heart of DAD AX/DX products is a router, I/O structure and IP Audio. All I/O’s (Coax/optical MADI, Digilink, AES and DANTE) are completely independent. The AX model makes available up to a total of 48 analog channels (total in and out).

* 64 channels of MADI I/O (Up to 192 channels with two optional SFP modules)
* 16 channels of AES I/O
* 64 channels of Pro Tools I/O over 2 DigiLink ports
* 64 Channels of Dante I/O over Ethernet IP.

Any input channel (from any source) can be routed to one or more output channels (of any source) on a mono basis via the Connectivity Matrix in the DADman user interface. So in effect, the AX32/DX32 eliminates the need for a digital patch bay.

DAD is also shipping the PRO | MON monitor control option for the DAD AX32 and DX32 with EUCON 3 support for the Avid S6 Control Surface. 

As an Avid Connectivity Partner DAD is introducing for the first time at NAB, the PRO | MON as a solution for monitor control for the S6 and other EUCON 3 enabled control surfaces. PRO | MON takes monitor control provides functionality of both the Avid XMON and Studio Monitor Pro in one and the same platform with various I/O that adapt to any Pro Tools HD, HDX or HD Native S6 based hardware environment enabling music and post production facilities to benefit from interfacing to both analog and digital domains with speaker formats from stereo, 5.1, 7.1 all the way to 64 channels for Dolby ATMOS.

Digital Audio Denmark

Posted by House Editor on 04/17 at 08:12 AM
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AKG Introduces D112 MKII Kick Drum Microphone With Flexible Mount

Improving upon its predecessor with a new integrated flexible mount, while retaining all the original sonic characteristics

AKG by Harman announces the introduction of its D112 MKII kick drum microphone, successor to the company’s D112. The D112 MKII improves upon its predecessor with a new integrated flexible mount.

“The D112 has earned a well-deserved reputation as one of the best kick drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction,” said Erich Gaertner, product line manager, AKG. “However, its rigid mount sometimes made it a little tricky to place in the optimum position. With the debut of the D112 MKII, we have accommodated the requests of tour sound pros who asked for a more flexible, pivoting and rotating mounting system, which now enables the D112 MKII to be set up perfectly in any application.”

The AKG D112 MKII cardioid dynamic mic can handle more than 160 dB SPL without distortion. Its large diaphragm has a very low resonance frequency that delivers response below 100Hz. Low end is complemented by a narrow-band presence boost at 4kHz.

“One of the many reasons artists and sound engineers love the D112 MKII is that it requires no additional EQ to sound just right as soon as you bring up the fader,” Gaertner noted. Further refining its performance, the D112 MKII features an integrated hum-compensation coil that keeps noise to a minimum.

In addition to being a kick drum mic on stage and in the studio, the D112 MKII is also for miking electric bass cabinets and trombones.


Posted by House Editor on 04/17 at 07:37 AM
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Thursday, April 16, 2015

Stinger Staging Steps Up To Martin Audio MLA

The system includes 16 Mini enclosures and four MSX subs, used for a 50/50 mix of music and corporate events

Based in Wakefield, MA, Stinger Staging is a versatile full service AV production, installation, management and communications company that recently purchased a Martin Audio MLA Mini loudspeaker system to enhance its capabilities for a wide range of events.

“In terms of shows, we do about 50% music and 50% corporate,” says company principal Chaz Loews. “In fact, we’re setting up the MLA Mini system right now for a concert by the Dropkick Murphy’s at their departure gate in Logan Airport’s terminal E before they leave on a tour of Ireland.

“Last week we had the MLA system at the Gaylord National Resort and Convention Center in Maryland for a big corporate event, so we’ve had the Minis out a lot lately.”

The system includes 16 Mini enclosures and four MSX subs and was a logical choice for Chaz, a longtime Martin Audio user. “We’ve had very good results with the W8LC rig for over a decade and we’re big fans of the Martin Audio brand,” he points out.

“So when they came out with the MLA Mini system it was definitely something on our radar that we wanted to take a look at and invest in. We listened to a bunch of other similar sized PAs in a shootout situation and determined that MLA had the control and versatility we wanted and, most importantly, the sound of a big PA. My biggest pet peeve is to have a tiny PA that sounds like a tiny PA.”

“The MLA Mini threw a lot further than other similarly sized PAs, which is great for our clients because we don’t have to fly as many points, or bring in a bigger system. Plus there are no sightline issues and we get the impact of a big PA with less equipment. MLA Mini works equally well for speech and music because we do high tech seminars and meetings for MIT and MediaLab in Kresge Auditorium that are more speech-oriented along with jazz concerts and operas, and the clarity and coverage for both is excellent.”

Chaz also appreciates the control that MLA offers, “in terms of directing sound exactly where you want it and not where you don’t want it. The control software with DSP built into the MSX is very helpful when we’re designing the PA in difficult buildings, especially in an airport where it’s a bunch of walls and glass that are all reflective. We can design the PA so we don’t have those standard issues in a room.”

Asked about reaction to MLA Mini, Chaz responds, “Clients love the system’s profile, that’s a big thing nowadays. For that show at Gaylord’s, we had an 18 x 80 foot screen, which didn’t give us a lot of space to put in a PA and the Mini’s small profile was very beneficial. We could kind of tuck them away and hide them, and it still sounded like a big PA in the room.

“A lot of different engineers mix through it, guest engineers as well as our staff engineers and everyone responds really well to it. The last show a guest engineer was blown away by the gain before feedback you get out of the PA and the general sound of it, nice and flat right from the get-go.”

“We’re very happy with MLA Mini,” Chaz concludes. “It works well for us and as new technology, it really give us a competitive advantage. MLA represents a whole new way of designing and using a PA that puts Martin Audio in a good place for the future.”

Martin Audio
Stinger Staging

Posted by House Editor on 04/16 at 03:23 PM
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iConnectivity Releases iConnectAUDIO4+

Multi-Computer Audio & MIDI Interface enables new creative workflow possibilities for Mac, PC, iOS and standalone use

iConnectivity, developer of interfaces for musicians, announces the immediate worldwide availability of iConnectAUDIO4+, audio and MIDI interface for Mac, PC and iOS.

iConnectAUDIO4+ is a multi-host audio and MIDI interface for MAC, PC, and iOS that enables creative workflow by combining several of iConnectivity’s technologies.

iConnectAUDIO4+’s Multi-Host technology supports multiple audio and MIDI peripherals, and also multiple computing devices, all at once. iConnectAUDIO4+ can do the job of multiple interfaces and numerous cables. Any combination of up to 2 Mac, PC, and iOS devices as well as up to 9 connected MIDI peripherals can share iConnectAUDIO4+’s audio inputs, outputs and MIDI I/O.

iConnectivity’s multi-host and Audio and MIDI passThru technologies bridge iOS; Macs and PCs in a professional environment. Control a virtual instrument (or any music program) on one computer device from another one. Audio and MIDI flow back and forth without extra cables, and with no audio degradation. All the computer devices act like a single integrated machine.

Many peripherals use USB for MIDI I/O, but an iOS device can only access one of them with its single port. The iConnnectAUDIO4+ Host Port eliminates that limitation, enabling users to connect up to 8 Class-Compliant USB MIDI devices at the same time by using a standard USB powered hub.

On the stage, iConnectAUDIO4+ can also operate stand-alone without a computer. It mixes/merges audio, and hosts MIDI routing and processing set-ups (both 5-pin and USB).

iConnectivity’s iConfig software for iOS, MAC, PC (included) offers control over iConnectAUDIO4+’s I/O, providing direct control over audio and MIDI routing. Snapshots are then stored in flash memory on the device.

iConnectAUDIO4+ features at a glance:

Multi-host Device ports – use 2 computer devices (Mac/PC/iOS) at the same time
Host port for connecting up to 8 MIDI peripherals (with Class-compliant devices connected to a powered hub)
Audio and MIDI passThru routes audio digitally between two computing devices.
Standalone computer-less operation – mix/merge audio and host 5 pin DIN + USB class compliant MIDI
4 XLR – ¼” TRS combo analog inputs.
4 microphone preamplifiers with 48v phantom power
4 ¼” TRS balanced analog outputs
¼” Headphone output with independent mix
1 X 1 regular 5 pin DIN MIDI in/out.
29 routable MIDI ports: Mac, PC, iOS, 5 pin MIDI DIN and class compliant USB MIDI devices
Audio mixing and routing between connected USB computing devices and analog outputs
iConfig software (Mac, Windows, iOS) to set up filtering/routing/merging scenes – which are also stored in flash memory on the device.
Up to 24-bit/96kHz AD/DA conversion.
Capacitive touch user controls
Charges an iOS device


Posted by House Editor on 04/16 at 02:47 PM
AVRecordingAVDigitalDigital Audio WorkstationsInterconnectNetworkingStagePermalink

Prolight + Sound 2015: Delec Expands Unito Series

The new devices are format converters used to encode and decode audio signals to/from Dante

Delec announced it will expand its unito product range at Prolight+Sound 2015. The new devices are format converters used to encode and decode audio signals to/from Dante. Together with the unito NAM power amplifier modules launched in 2014, Delec now provides a complete hardware range of networked audio devices.

Four devices are added to the unito series. Despite the same footprint as the popular oratis compact communication platform, the unito devices differ in terms of digital AES3 and analog line I/Os:
Delec unito NIO 0800 provides eight AES3 I/Os.
Delec unito NIO 1212 and unito NIO 1624 come with 12 or 16 AES3 and 12 or 24 analogue I/Os.
Delec unito NIO 0204 is fitted with two AES3 I/Os and four different analog interfaces: two microphone inputs, stereo line inputs and outputs as well as a stereo headphone output, for monitoring of Dante signals.

All Delec unito devices provide Dante Primary and Secondary ports for redundant network integration. They can be used either as a standalone general purpose signal converter or in conjunction with an oratis communication unit.

“The unito series boosts the oratis communication platform’s integration with IP-based networks,” commented Norbert Schömel, Delec’s managing director. “Using oratis as the IP-networked intercom core, and unito units to encode and decode audio signals, our portfolio allows to build audio networks with maximum performance in a compact footprint, with minimal hardware and cabling. Using the existing IT infrastructure for AoIP has never been easier and more cost effective.”

Visit Delec on the joint Salzbrenner Stagetec Mediagroup stand in hall 8, level 0, stand K64.

Posted by House Editor on 04/16 at 02:28 PM

Prolight + Sound 2015: Stage Tec Unveils Crescendo Update

The new 4.0 firmware introduces system-based A/B switching at channel strip input level and performance improvements

At the Prolight+Sound 2015 convention, Stage Tec shows its mid-sized Crescendo console with the new platinum look already available for its big brother, Aurus.

The new 4.0 firmware introduces system-based A/B switching at channel strip input level and performance improvements. Crescendo is the Berlin-based pro audio specialist’s mid-sized offering between Aurus and the more compact Auratus console: despite its depth of a mere 60cm, the console handles up to 300 audio channels and 128 summing busses. Future Crescendo models will sport the new “platinum design” premiered with Aurus Platinum at the “Tonmeistertagung 2014” convention.

Firmware release 4.0:
Stage Tec seized the opportunity to upgrade Crescendo’s firmware to version 4.0. It introduces A/B switching or summing at the input of each channel strip, a feature requested by Crescendo users. In addition, overall system performance has been improved, thanks to the integration of the ROSS control protocol and a revised scene automation system.

Stage Tec at the Prolight+Sound convention: Hall 8, level 0, stand K64 in Frankfurt (Germany), from 15 through 18 April 2015.
Visit Stage Tec on the shared Salzbrenner Stagetec Mediagroup stand in hall 8, level 0 (K64).

Stage Tec

Posted by House Editor on 04/16 at 02:13 PM
AVLive SoundAVConsolesDigitalMixerProcessorSound ReinforcementPermalink
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