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Tuesday, May 12, 2009

Denon Professional DN-V210 DVD Players Selected For Classroom Use At University Of Notre Dame

40 DN-V210s have been installed to serve multiple lecture halls and departments

Denon Professional has announced that 40 of its DN-V210 professional DVD players have been selected for installation at a variety of locations on the University of Notre Dame, where they will provide DVD playback for multiple programs and departments in various classrooms and lecture halls.

As part of a technology upgrade spanning the university’s campus, the units were chosen for their dependable playback, intuitive operation and rugged, industrial construction. Granger, Indiana-based Vista AV Integration handled the selection of the DN-V210s and any subsequent product support or service, in coordination with Denon Professional.

“We made a suggestion to use Denon, and the University went with what we recommended,” stated Jim Hevel of Vista AV Integration. “Selecting the DN-V210 was an easy decision to make. We like the ruggedness and simple controls, and it’s designed for commercial use where the unit might be on for days at a time.”

As they will be the primary method of DVD playback in classroom situations, the DN-V210s will serve such diverse educational applications as lecture features, lesson enhancements and class projects.

Hevel added, “Notre Dame of course has a stellar reputation for its academic programs, and Vista AV understands what kind of gear schools need. We like to recommend simple and reliable equipment that performs well in educational environments, and that is exactly what the Denon DN-V210 provides.”

The DN-V210 Professional DVD Player is equipped with the standard functions of most DVD Players and includes advanced functions required by professional applications, such as High Definition Multimedia Interface capability (HDMI), Defeatable On-screen Icons, User-definable Wallpaper, NTSC/PAL Conversion, Auto Play and various Repeat modes.

Denon/D & M Professional Website

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Friday, May 08, 2009

Lectrosonics Introduces New HM Plug-On Wireless Transmitter

LCD interface and variable high-pass filter enhance operation

Lectrosonics has announced the introduction of the new HM Plug-on Transmitter, the latest in a long line of plug-on style transmitters developed by the company.

The new HM transmitter provides100 mW of RF power as well as several unique features, including an LCD with a membrane-switch control panel and audio level meter for ease of setting and operation.

It includes a user-selectable high-pass filter, enabling it to be employed for a wider range of applications from ENG (electronic news gathering) to audio system analysis when used as part of the Lectrosnics TM400 system. It is powered by two AA batteries, providing an operating time in excess of 12 hours with lithium cells.

The HM transmitter also employs Lectrosonics’ acclaimed Digital Hybrid Wireless technology for operation in its native, compandor-free hybrid mode, or in compatibility modes for Lectrosonics 200 Series, 100 Series, and IFB products along with receivers from two other manufacturers.

The body of the transmitter is meticulously machined from solid aluminum alloy to aerospace tolerances and finished in Teflon-impregnated nickel plating to ensure the extreme ruggedness and durability required in field production.

The HM also features a quick-locking XLR connector to ensure that the transmitter does not separate from the microphone while in use.

In addition, it incorporates a unique, multi-voltage phantom power feature that enables the transmitter to be used with virtually any microphone, including high-current condenser types—expanding the HM’s usefulness in high-end applications such as motion picture production.

The HM’s RF output circuit uses a one way circulator/isolator that greatly reduces the RF intermodulation produced when multiple transmitters are used in close proximity to one another.

Frequency response is rated at 40 Hz – 20 kHz ±1 dB, -3 dB at 35 Hz, while dynamic range is 125 dB (A). RF output is 100 mW.

Karl Winkler, Lectrosonics’ Director of Business Development, states, “The new HM transmitter is a logical extension to the line of Lectrosonics’ high performance wireless transmitter products. Incorporating our Digital Hybrid Wireless technology for superior audio performance, rugged build quality to ensure optimum performance under the most challenging conditions, and a rich feature set including an LCD display that dramatically enhances operational efficiency, I’m confident the new HM transmitter will receive a warm welcome by audio professionals involved in a wide range of wireless applications.”

Lectrosonics Website

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Yamaha M7CL Digital Console Chosen For Mickey Gilley Theatre In Branson

“The M7CL was able to replace all five of the analog consoles, not to mention all the outboard equipment." - Matthew Miles, Mickey Gilley Theatre House Engineer

The Mickey Gilley Theatre in Branson, Missouri, celebrating its 20th year as an entertainment venue, recently added a Yamaha M7CL digital audio console to mark the occasion.

Gilley, a legendary country performer who had nearly 40 songs at the top of the charts, built the 1,000-capacity theatre in 1989, where he hosts shows five nights each week. The venue has also welcomed many top entertainers over the years, including Les Brown Jr. and the Band of Renown, Bob Anderson, and Johnny Lee, to name a few. 

“The M7CL console has been absolutely amazing,” states Matthew Miles, front of house engineer. “At the time of purchase, our theatre in Branson offered four different shows a day, six days a week. I had been using two analog consoles for Mickey’s show along with a smaller 24-channel console as a sidecar at front of house for three other shows and as well as a fourth for monitors.”

The theatre also has a complete video department where every show is filmed and a fifth analog console with a sidecar was used for a separate video mix.

“The M7CL was able to replace all five of the analog consoles, not to mention all the outboard equipment,” explains Miles. “The audio quality is outstanding, and the ability to jump from show to show using a thumb drive is incredible. The console has been truly a dream come true for me.”

At the time of purchase, Miles states that he was looking at several other consoles but kept coming back to the Yamaha M7CL because of the features offered at its price point.

“This console is by far the best ‘bang for the buck’ out there,” he adds. “Mickey’s show is using all 48 input channels, 15 monitor mixes, left, center and right main outs, a matrix mix to video, and 32 tracks of direct out recording.

“I’m also using all internal effects and processors, with no outboard gear,” Miles mentions, adding that the console has been readied for the road to travel with Gilley on upcoming tour dates.

Yamaha Commercial Audio Website

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Thursday, May 07, 2009

First Installation of Allen & Heath’s New iLive-T Digital Console At Victory Christian Church

Church makes the move from portable to permanent and from analog to digital with iLive-T

When Allen & Heath announced the availability of the lower priced iLive-T digital mixing system in January, President Dan Redman of Spinnaker Multimedia Solutions in Malvern, PA, was ready. The day after the announcement, Redman placed the first order.

“Our churches had been waiting for a console with these features, at this price point, for a very long time,” Redman explains. “So we were ready to go with it.”

The needs of Victory Christian Fellowship in Audubon, PA have been well matched by the new iLive-T112 mixing surface with iDR48 MixRack.

“This was the fastest project I’ve ever worked on. We started in early December and opened on March 29th,” says Redman. “It’s a testament to the builder, the architects, our manufacturer partners, and especially the church. They knew what they wanted to accomplish and made smart decisions quickly.”

As a result, Victory Christian has become among the first round of iLive-T installs in the U.S.

For the previous five years, Victory Christian had been a portable church, setting up each Sunday in a local high school auditorium, until steady growth made a permanent home feasible. The new 640-seat sanctuary was created in what had been an office building, totally refurbished in theater style with two tiers for good sightlines.

“Spinnaker provided a complete audio consult, from an acoustic architecture study through comparative sound system analysis,” notes Liam Slack, worship arts pastor for the church. “They helped us make educated decisions on everything from construction materials to gear, so the sanctuary would be as high-fidelity as possible.

“Our worship style could be described as “beyond contemporary”, using a more aggressive, pop rock approach than might be found at your average modern worship service.  Sound quality is very important to us, so we were drawn to Allen & Heath from the beginning. When Spinnaker told us the new iLive-T console was in our price range and we could be among the first to have one, we were thrilled.”

A key iLive feature critical to the Victory Christian Fellowship was the extensive output section. Spinnaker designed a Left-Center-Right system with Subwoofers for the sanctuary. Another 16 Aux Sends are used to feed the Aviom A16-II personal monitoring system used by most of the musicians. Two additional mono outputs are used to send full mixes to a pair of traditional floor wedges.

“The 15-foot ceiling limits throw distances, so we needed a total of eight main speaker cabinets in the room, three mains, three delays, and a pair of front fills,” explains Redman. Four dedicated console outputs feed an Electro-Voice Netmax N8000, which handles signal processing and distribution to the main loudspeaker system, which consists of Apogee AFI-8 loudspeakers for LCR, Apogee AE2S2 frontfills and two EAW SBX220 subwoofers.

The band is straight rock in structure, with two guitars, keyboards, bass and drums backing three vocalists, requiring about 30 of the iDR48’s 48 inputs. This leaves plenty of room for expanded configurations for guest artists who sit in on percussion, saxophone, etc.

“They can put any combinations of inputs and returns onto the Aviom channels,” notes Dan Redman. “They are set up with subgroups for things like drums and backing vocals. When they add more performers, the iLive-T makes it easy for them to reconfigure what’s on those 16 outputs.”

While the functionality and flexibility of the iLive-T fulfilled the church’s technical requirements, it was the sound quality that has really impressed Liam Slack. “The first time I played my guitar from the console, I was grinning from ear to ear. There’s a depth and a richness that you just don’t expect from a digital system. The on-board effects processing sounds phenomenal. And it’s all part of the system, so there’s less to go wrong, and no need to spend extra money on a rack full of outboard gear.”

In addition to the physical change in moving from a portable sanctuary to a permanent one, the technical staff at Victory Christian Fellowship has had to make the transition from analog to digital. “The irony is that this console would have made our portable system so much simpler – like instant recall of settings and replacing the 32-channel snake with a single CAT 5 cable,” say Liam Slack. “It’s a huge change, but we haven’t had any difficulties whatsoever. The iLive-T is just so intuitive and it sounds so great, the transition has been a cakewalk. We couldn’t be happier.”

Evolved from the successful flagship iLive digital range, the iLive-T Series has all the performance and power of the original iLive in a new lightweight, affordable package. The T Series comprises the fixed I/O iDR-32 and iDR-48 MixRacks and the iLive-T80 and iLive-T112 surface options with remote CAT 5 connection. Each rack can be used with either control surface, and all models will be compatible with the existing iLive units.

The T Series surfaces feature the same iLive fader strip layout with four layers per bank, and color assignable channel ID strip. Above is the large, instant access channel processing section with familiar analogue style controls that quickly help the new user feel at home with digital mixing. A built-in touch screen provides an additional graphical view of the processing and access to the memories and system configuration. All its settings can be transferred using USB. Administrative lock-down features together to full scene recall and onboard effects make the iLive-T the perfect choice for touring, events, and fixed installations.

Allen & Heath iLive Digital Mixing System Website

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Wednesday, May 06, 2009

Avid Unveils Digidesign VENUE SC48: Compact Digital Console for Small to Mid-Sized Live Applications

Affordable and portable system delivers exceptional sound quality, more creative mixing options and compatibility with leading third-party tools

Avid today introduced Digidesign VENUE SC48: a fully-integrated audio and processing live sound solution developed for small to mid-sized houses of worship, clubs, and corporate A/V companies, as well as touring customers. 

VENUE SC48 combines I/O, digital signal processing and tactile control and offers built-in support for a number of professional audio plug-ins that provide more creative mixing options.

Building upon the company’s VENUE family of professional live sound systems, the VENUE SC48 system delivers the same sound quality and clarity customers around the world have come to expect from VENUE, in a compact footprint. The console introduces several new features designed to enhance and streamline the mixing process including:

• Professional Plug-In Support enables customers to install and use software plug-ins from Digidesign and a number of third party developers to easily and instantly re-create and recall an artist’s signature studio sound during a “live” performance.
• Direct Connection to Pro Tools LE makes it simple to record shows and perform Virtual Soundcheck: a timesaving process that enables customers to playback and mix tracks recorded from a previous performance using a computer connected via VENUE SC48’s built-in USB port.
• Channel Control allows easy access, display and adjustment to any channel parameter with the single click of a button. In addition, any eight parameters can be assigned to the color-coded framework for immediate access during the mix.
• Center Flex Channel provides immediate access to any key input, such as a lead vocalist’s microphone, without having to go through fader layers.
• VCA and Group Spill provides easy control and quick access to grouped channels within a mix by focusing the control surface layout to match the logical groupings created by VCA and Group style mixing.

“The sonic quality of the SC48 far surpasses any other digital desk I’ve mixed on and has really helped us improve our finished product,” said Eric Kibbe, audio manager and mixer of Saddleback Church in Lake Forest, Calif. “Our services often change on the fly, and the size, flexibility and layout of SC48 enables me to work more quickly to address things in the mixes that were never before possible.”

All VENUE systems, including the VENUE SC48, Mix Rack, Profile and D-Show console, use the same VENUE D-Show software, allowing customers to easily transition show files between any system in the VENUE product line within a familiar interface.

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And with VENUE D-Show 2.8.1 software – available in June to registered VENUE system owners for $149 USD via authorized dealers – customers can take advantage of several new workflow innovations, popular user-requested features and other enhancements to increase workflow and mixing efficiency across all VENUE systems.

“We realize that our wide spectrum of customers have different requirements. With the VENUE SC48, we’ve been able to advance our popular VENUE platform to meet the specific needs of customers in smaller to mid-sized applications, at an aggressive price point,” said Tex Schenkkan, Avid’s vice president and general manager, audio.  “By expanding the current portfolio of the VENUE product family, the solution’s open plug-in architecture also enables our customers to integrate the console with industry-leading creative tools, enhancing the live sound experience.”

The new VENUE SC48 is available now. Click here for more specific information.

Digidesign Website

Take our Photo Gallery Tour to find out more about the SC48.

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Metric Halo Introduces ULN-8: Converter - Processor - Preamp - Interface

All of the capabilities of the ULN-8 are built atop Metric Halo's fifth-generation 2d Processing, mixing and FireWire interfacing platform

Metric Halo has launched its anticipated ULN-8 - an audio processing converter and interface offering archival-grade converters, enhanced digitally controlled ULN (ultra low-noise, high-headroom) preamps, dedicated analog-domain sends and returns, analog domain 7.1 monitor controller, AES interfacing, extensive front panel control with excellent front panel metering.

All of the capabilities of the ULN-8 are built atop Metric Halo’s fifth-generation 2d Processing, mixing and FireWire interfacing platform.

This integration provides significant benefits to the owner in the form of reduced cabling (lower cost, weight and less opportunity for failure), weight, power consumption, and cost, while at the same time providing exceptional performance for recording, editing, mixing and mastering suites.

The unit’s standalone operation and standard AES and analog interface allow use as the Audio Front End and Monitor Controller for Pro Tools, stand-alone and PC-based recording systems.

Features:
• Eight channels of archival quality, zero-phase distortion DC-coupled, calibrated 192k A/D
• Ten channels of archival quality, zero-phase distortion DC-coupled, calibrated 192k D/A
• Eight channels of Metric Halo digitally remote-controlled, high-headroom ULN-R preamps (-130 dBu EIN)
• Two channels of exceptional ultra high-Z direct input for instruments
• 8in/8out 192k AES interface
• Full-featured front panel tactile control surface for standalone and connected operation
• All inputs switchable between line and mic
• Eight channels of analog domain send (for analog S/R before conversion and analog preamp output)
• Metric Halo’s exclusive per-channel selectable Character
• Word clock in and out
• Digitally-controlled analog domain monitor control
• Full-featured fifteen segment precision metering
• SMPTE I/O channels
• MIDI I/O for direct connect of Mackie control protocol control surface
• Integrated mixing and deep instantiable DSP processing (includes full +DSP license)
• Stability - mature, real-world-tested firmware, and time-tested fifth-generation Mac OS software and drivers
• FireWire interfacing with ultra-stable, ultra low-latency drivers (FW400 & FW800 supported)
• Exceptional power performance (only 32 watts - DC powerable)
• Low mass (9 lbs. / 4.1 kg.)
• Extremely compact (everything in 1 RU)
• Rack-mountable

The ULN-8 provides archival-quality conversion at multichannel prices. Eight channels of conversion and AES interfacing allow for multiple analog and digital processing signal chains as well as monitoring and processing in surround. If more analog processing chains are required, additional ULN-8s may be added to a system.

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The ULN-8 also provides “boutique-quality” preamps. Multiple ULN-8s may be combined to build large-scale recording packages in a small space. The ULN-8 can also be combined with 2882 and ULN-2 units in a complete recording system.

The integrated mixer in the ULN-8 is a complete digital console with mono to 7.1 bus support, monitor control section, instantiable delay-compensated processing with full delay-compensated send and return support in the mixer.

The mixing and processing engine of the ULN-8 can serve as a ultra-high-quality digital outboard summing system, or the converters can drive an analog summing bus, with results captured.

The ULN-8 has an MSRP of US $5,995, and is available immediately from Metric Halo and it’s worldwide distribution channel.

Metric Helo Website

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Britannia Row Purchases Third Midas XL8 As Double System Heads Out With Depeche Mode

By October '09, company's first Midas XL8 will have been with Oasis tour for monitors for nearly 15 months

Britannia Row Productions has purchased a third Midas XL8 Live Performance System, a move that comes as one of the company’s systems continues its world tour with Oasis while two more XL8’s are specified for the Depeche Mode Tour of the Universe, which begins in Israel this month.

“Oasis went into rehearsals for their world tour last summer and will have had a Midas XL8 out on tour on monitors for nearly 15 months by the time they finish in October 2009,” says Britannia Row’s Mike Lowe. “That console, specified by their monitor engineer Nahuel Gutierrez, is now on the South American leg of the tour.

“Another Midas XL8 went into in SIR studios in New York with engineer Sarne Thorogood for Depeche Mode monitor rehearsals,” Lowe continues. “Anthony King, the band’s front of house engineer, also specified a Midas XL8, and as the Depeche Mode World tour will go into 2010, we purchased our third XL8.

“After a warm-up show in Los Angeles, more band rehearsals in London and production rehearsals in Luxembourg, both consoles ship to Tel Aviv for the first concert of the world tour on the 10th of May.”

In addition to the three XL8s, Britannia Row also owns six Midas PRO6 Live Audio Systems.

Midas Website

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Monday, May 04, 2009

Allen Morgan Blends Old Technology & New For Remix Of “Brick House” With The Commodores

The challenge was to turn this classic tune into a modern piece that captures the attention of both old and new audiences

A remix project on the classic hit “Brick House” with the song’s original artists, The Commodores, presented Producer Allen Morgan an opportunity to use his Focusrite Liquid Mix to accentuate the old-school vibe of the song using vintage compressor and EQ emulation plug-ins while also introducing modern elements with the Liquid Mix’s modern emulations.

Morgan took the roles of producer and remixer, with the goal of creating a modern, club-friendly take on this classic funk/soul single. Lead vocalist and drummer Walter “Clyde” Orange says the band wanted the remix to be “very different. We’re an R&B//pop band, and we wanted to do something that’s ‘not us.’ Music has changed.”

The challenge was to turn this classic tune into a modern piece that captures the attention of both old and new audiences. “It’s a real honor to work on a song like this,” says Morgan, “but at the same time, it’s a lot of pressure. All over the world, everybody knows ‘Brick House’ and I wanted to honor the original while making a remix that holds its own.” 

Morgan had full access to the band itself as well as the multitrack tapes. Recording took place in stages, all in the digital realm. The current band of Walter “Clyde” Orange, William “Wak” King and J.D. Nichols did vocals, with studio musicians handling the instrumental tracks. As producer, Morgan traveled to Washington DC to capture the tune’s signature horn sound, courtesy of the Pietasters, an area ska band.

For the remix, Morgan used the Liquid Mix to create compressor/EQ audio chains that were true to the song’s 70s roots, with a mix of tube and solid state gear.  He added the Liquid Mix plug-in to virtually every element, plus the final stereo mix. 

Among the EQ emulations used were the Brit Desk 5 (SSL G Series 6-band EQ), Trany 4 (API 550b 4-band EQ), and Old Tube 1 (Pultec EQP1 3/4-band EQ), paired with compressor emulations including US Vintage Tube 1 (Fairchild Model 670), Copy Cat (Empirical Labs EL8 Distressor), and Stellar 1 (1176LN). Morgan’s audio chains for lead vocals, backing vocals and horns are available on the Focusrite website.

“It’s no secret that the vintage stuff just sounds better. If it didn’t, there would be no market for it and it wouldn’t be called vintage; it would be called obsolete,” explains Morgan. “Obviously, I have my favorites. I really love BritDesk5. It’s based on the 6-band EQ of an SSL G Series console. I use that all the time.”

For the final mix, Morgan rented a bare room in an LA-area mastering house and brought in his personal system – an Apple computer running Steinberg Nuendo software, augmented by an RME Digiface soundcard, Novation ReMOTE 25 Midi controller and, of course, his Focusrite Liquid Mix.

“For a remix like this, the track count is insane, maybe up to 120. You have 20 tracks of horns, 12 tracks of vocals – it adds up pretty quickly,” he explains. “That’s where Liquid Mix comes in. I have all my favorite audio chains saved for instant recall, and it gives me 32 tracks of 24-bit, 48 kHz of DSP to use on my audio groups without loading down my computer.”

Whether he’s in a studio with a large-format console or on the road armed with only his portable system, Focusrite Liquid Mix is an essential element in Allen Morgan’s workflow. “Liquid Mix is one of my go-to tools. It gives me access to all the vintage analog gear I love, anytime and in any location. Plus, I love the fact that it’s also a control surface. I like mixing with my ears, not my eyes, so I love the fact having the ability to make changes without using a mouse.”

In the end, Morgan and the band created a powerful, dance-ready mix that retains both the groove and sound quality of the original. “For me, this is a whole new sound, and it is exciting,” says vocalist and drummer Walter “Clyde” Orange. “This version of ‘Brick House’ sounds good, feels good, has a positive vibe, and is a whole new avenue for The Commodores. The electronic instrumentation puts a great twist on our music. Now, not only are the lyrics captivating, but the sound is as well.”

The Commodores’ “Brick House” remix is scheduled for worldwide release this coming summer.

Check out http://www.allenmorganaudio.com to hear the Liquid Mix in action.

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For further information on the entire range of Focusrite products please visit http://www.focusrite.com.

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Soundcraft Si3 Digital Console Utilized For Breizh Side Soriou Concert In Delhi

Sound company Dhawan Electrical Pvt. of Delhi, also supplyied a JBL loudspeaker rig comprising VRX932LA compact arrays and SRX 728S subwoofers powered by Crown IT4000 amplification

Outdoor concert goers were recently entertained in Delhi by touring French song and dance troupe Breizh Side Soriou, with the 47-member troupe performed through a Soundcraft Si3 digital console and PA company, Dhawan Electrical Pvt. Ltd of Delhi, also supplying a JBL Professional loudspeaker rig comprising VRX932LA compact arrays and SRX 728S subwoofers powered by Crown IT4000 amplification.

The onstage monitor system included JBL SRX 712M’s with JBL SRX 725’s in use for side fill coverage.

Yogesh Dhawan, Director of Dhawan Electrical, explains, “The troupe’s French FOH Engineer, Mr. Paul Schneiter, found the Si3 to be very user-friendly and he quickly learned the board’s features and was very comfortable mixing in no time. By the time we finished the one-hour sound check, he was very familiar with the entire desk and its features.“

He adds, “The Si3 easily managed the 18 mic inputs for the show and all four onboard Lexicon processors were employed throughout. The mixer is as easy to use as any analogue console and the only difference being that the audio quality is far better than any console I have ever used.

“Also, the Soundcraft FaderGlow and OLED displays make a huge difference for the engineer operating the desk and I sincerely believe that this is a multi purpose desk that can be used anywhere without hesitation.”

Soundcraft Website
Harman Professional Website

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Saturday, May 02, 2009

Symetrix & Mercenary Audio Renew Alliance On Lucid Brand

"We had a very strong past relationship with Lucid and are excited to rekindle that alliance." - Jay Fitz, Mercenary Audio

Symetrix has announced a renewed alliance with pro audio specialty retailer Mercenary Audio, which is once again carrying Lucid, the Symetrix brand targeted at digital audio applications.

The Foxboro, Massachusetts-based company is now stocking the Lucid 88192 A/D and D/A converter as well as the GENx192 Ultra Low Jitter Studio Master Clock, and will be actively marketing both of these models to digital audio customers throughout the U.S.

The two companies had forged a strong business relationship earlier this decade as Mercenary Audio became a successful Lucid dealer, exposing their customers to Lucid digital audio tools being brought to market by Symetrix. That relationship eventually waned but is now being revitalized.

“It was a partnership that was profitable on multiple levels for both of us,” noted Jim Latimer, Northern Regional Sales Manager for Symetrix. “We each gained some knowledge, experience, and credibility from the other. We had some fun, and got to play with some really cool, high-quality, digital audio gear that enhanced a lot of people’s recordings.”

Jay Fitz of Mercenary Audio states, “We were very pleased when we found out that Lucid was making a comeback within the Symetrix family. We had a very strong past relationship with Lucid and are excited to rekindle that alliance. We know that Lucid makes a quality product and did not hesitate when asked to once again support the line.”

Symetrix Website
Lucid Website
Mercenary Audio Website

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Friday, May 01, 2009

Ashly Audio Debuts New User-Friendly NE Series Digital Processors

Hardware options include four-channel mic/line inputs with software controllable gain and phantom power, CobraNet network audio input and output, EtherSound network audio I/O and AES/EBU digital audio I/O

The new Ashly Audio ne4400, ne4800 and ne8800 digital signal processors bring user-friendly setup and control to networked audio systems using Ashly’s PC-hosted Protea NE Software via standard 10/100 Ethernet and RS-232 protocol.

These latest additions to the company’s NE (Network Enabled) Series offer a multi-channel routing matrix with microphone input, network audio and digital audio hardware options, plus an extensive menu of 32-bit/96kHz SHARC-based DSP that supports hot-plug software control.

The three standard units offer 4x4 (4400), 4x8 (4800) and 8x8 (8800) analog line input/output formats with 24-bit A-to-D and D-to-A converters and a high-performance analog audio path that provides a dynamic range of better than 114dB.

Hardware options include four-channel mic/line inputs with software controllable gain and phantom power, CobraNet network audio input and output, EtherSound network audio I/O and AES/EBU digital audio I/O.

Running on multiple SHARC 32-bit processors at 48KHz or 96KHz sample rates, the comprehensive DSP library offers a menu of processing blocks that include an 8x8 matrix mixer; a full array of variable Q graphic and parametric equalization; crossover filters to 8th-order Butterworth, Bessel, Linkwitz and Notched-Linkwitz with up to 48 dB/octave slopes; an extremely advanced automatic feedback suppressor; auto-levelers; compressors; matrix duckers; limiters; frequency-keyed noise gates; time delay up to 1,365 ms on every channel; and sine wave, pink noise and white noise generators.

Ashly’s Protea NE Software, running on the PC platform, permits hot-plugging any function into any channel block while running live audio with no latency or recompiling necessary. Computer or supported third party device interface is via 10/100 Ethernet and RS-232 protocol.

Automatic DHCP network IP configuration ensures quick and easy setup. Limited front panel controls and multiple levels of multi-user password-enabled software ensure tamperproof security.

All three models feature word clock input and output, and automatic master clock switchover between network, word clock, AES/EBU and internal clock with front panel source indicators. The front panel also features input and output metering with individual channel mutes, plus input source (analog, digital, network) and sample rate indicators.

Additional features include: network audio routing at matrix mixer to inputs from outputs, or in/out of matrix mixer, eight link groups on most functions, a high-performance analog audio path (dynamic range exceeding 114dB), support of Ashly digital remote controls, and a front panel full meter bridge with mute keys.

Rear panel connectors include Euroblock connectors for audio, preset recall, DC remote level control and data in/out. Programmable eight-channel 5V logic input or output control and eight channels of 0 to 5V analog level, BNC word clock input and output and RS-232. An optional output module offers eight-channel, general-purpose logic control-to-control room lighting, projection screens or other controllable devices.

Accessories include four dedicated remote controls for level, logic I/O and programmable functions, including Ashly’s wall-mounting WR-1 2-ch level control, WR-2 four-position switch and WR-5 programmable selector, plus the desktop/wall-mount RD/RW8C 8-ch level control panel.

Ashly Audio Website

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Midas Unveils PRO6 Digital Mixing Console To Brazilian Marketplace

“The high turnout showed us that there is great interest in both our products and our partnership in the rapidly growing Brazilian market." - Robert Klesser, Bosch Communications Systems Division

Nearly 300 audio professionals from the world of broadcasting, live audio, and audio rental came together on March 25 for the Brazilian launch of the PRO6, the new digital mixing console from Midas.

Organized by the Bosch Communications Systems Division, their Brazilian distributor TelePonto, and regional dealer Vitoria-Som, the launch was held at Vila Country, a 12,000-square-meter, western-themed complex with dance floors, saloons, shops, and space for livestock auctions. Vila Country is also outfitted head-to-toe with audio equipment from Electro-Voice, effectively making it Brazil’s largest EV showroom.

“Having raised the bar with the flagship XL8 system, the introduction of the PRO6 brings Midas digital technology to a more compact size and accessible price point,” says Robert Klesser, Sales Manager, Brazil, Bosch Security Systems, Inc., Communications Systems Division.

“There has been a tremendous amount of interest in the new digital Midas – our guests couldn’t wait to try it and see if it captured the ‘Midas Sound’ – no one was disappointed.”

The launch festivities began in the evening with a reception for the guests, who were treated various demonstrations of the latest equipment from Electro-Voice and Klark Teknik. The guests then adjourned to the venue’s saloon for the main event: a demonstration of three new Midas PRO6 consoles and an XL8.

A brief presentation and hands-on demos by Mitch Mortenson (Bosch), Joao “Cotô” Guarino (TelePonto), and Andre Spinola (Diante do Trono) ensued while three country bands – Vila Country House Band, Barra da Saia, and Lucas e Luan – performed live on stage.

In addition to the PRO6 and XL8 mixing consoles, the stage was equipped with Electro-Voice N/DYM and RE-2 wireless microphones for the bands and presentations, with sound reinforcement via 16 EV XLC127 DVX line array loudspeakers and eight Xsubs, powered by nine EV P3000RL amplifiers and controlled via IRIS-Net processing.

“The launch of the Midas PRO6 was a fantastic success,” says Klesser. “The high turnout showed us that there is great interest in both our products and our partnership in the rapidly growing Brazilian market. On behalf of Bosch, I would like to thank all our guests and our friends at TelePonto and Vitoria-Som for making this such a memorable event.”

Midas Website

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Thursday, April 30, 2009

Tour Tech East Supplies Dual DiGiCo Digital Consoles For 2009 East Coast Music Awards

A DiGiCo D1 digital console was deployed for monitors, while front of house engineer David W. Hillier manned a DiGiCo SD7 digital console

The recent 2009 East Coast Music Awards (EMCA) saw many leading artists and industry figures come together in Corner Brook, located in the province of Newfoundland & Labrador, for a celebration of Canada’s East Coast music scene, with Nova Scotia-based Tour Tech East providing DiGiCo digital consoles for the two-stage production.

Celebrating its 21st year, this year’s EMCA ceremony featured 17 live performances and video clips interspersed with the presentation of awards in 31 categories, ranging from “DVD Of The Year” through to “Aboriginal Recording Of The Year”. One of the stages hosted band performances while the other hosted the house band and singer-songwriters with guest musicians.

A DiGiCo D1 digital console was deployed for monitors, while front of house engineer David W. Hillier manned a DiGiCo SD7 digital console.

“We had 64 inputs, with 32 from each stage split between FOH, monitors and the recording truck,” explains Hillier. “The podium mics, host mics and video playback went to a separate FOH mixer and operator, although we ran them to the SD7 as well for backup.”

“We also sent the recording truck mix to the other FOH console and the SD7 mix went to the recording truck so that we would have alternate backup mixes.”

The event marked Hillier’s first experience with the SD7, and it went quite well. “I spent a couple of hours at our local supplier, Tour Tech East, studying the SD7’s features and then I was pretty comfortable to go into soundchecks and rehearsals in the venue,” he says. “I used the eraser end of a pencil so that I could tap and move quickly on the touch screens during the show and I had a sequential playlist of the performances, so it took seconds to reset between acts.”

“With a great digital recall system and a great onstage audio crew, the show was extremely straightforward to operate,” he adds. “I only used the console’s onboard processing for three reverbs, one delay and two graphic EQs.”

For reference purposes, he recorded some soundchecks into ProTools using an M-Audio 1814 FireWire interface to his MacBook Pro, taking a matrix output of the SD7 to mirror the main L-R mix. And, he also made use of the SD7’s built-in video camera and monitor, a unique facility.

DiGiCo Website

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Monday, April 27, 2009

Soundcraft Si Series Gains Offline Editing, Graphic EQ &  MADI Interface

Completing the new software functionality is the ability to integrate with a Harman HiQnet system and send Venue Recall messages to equipment in the network

Following last month’s launch of the compact Soundcraft Si2, Soundcraft has announced a new software revision to include graphic equalizers on the desk and the availability of an offline editor, Virtual Si, for the platform.

Si software version 2.0 adds the capabilities to display composite EQ curves on the touch screen for any channel or output, but perhaps more importantly provides a BSS Audio 30-band graphic equalizer on every output (groups, auxes and matrices), which is controlled by the faders in the same way as on the larger Soundcraft Vi Series platforms.

When switched to Graphic EQ mode, the Soundcraft FaderGlow system lights the first 15 faders on the desk in red to indicate EQ mode, and the OLED display above each channel shows both the ISO frequency of the filter and the gain or cut.

Another feature is the pseudo centre-detent provided in the motorized fader at the 0 dB point. Simple scrolling allows the faders to control all 30 bands in three sections of the low, mid and higher frequencies.

The Si Series now has a full complement of gates, compressors, graphic EQs and Lexicon effects engines inside the single box analog-replacement solution.

Completing the new software functionality is the ability to integrate with a Harman HiQnet system and send Venue Recall messages to equipment in the network.

Channel direct outputs on the Si Series will shortly be provided through an optional MADI interface card, which fits into one of the option slots on the rear of the Si Series chassis.

The card, based on the Studer D21m I/O system card and a version of which is also used on the Vi Series, provides up to 64 direct outputs from the channel down a MADI stream, which can be fed to a MADI-based audio multitrack recorder to record live shows, or even used as a stage splitter to feed the inputs to another console which has a MADI interface to its inputs. The card is expected to ship by the end of April.

The new Virtual Si software allows an engineer to completely setup a show, with channel labels, aux/group assignments, EQ settings and cues etc, offline on a PC or laptop, save the show to a USB memory stick and load it directly into the console, saving valuable set-up time at a gig. The software GUI is an exact replica of the desk, so can be used also as a learning or tutorial aid.

A free download of Virtual Si is available at www.soundcraft.com

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Variety Of Midas Consoles Accompany AC/DC As Black Ice Tour Lands In The U.K.

It's a mix of Midas analog and digital to meet all mix needs on the tour and more

The AC/DC Black Ice world tour has landed the UK, accompanied by vintage as well as the latest in Midas console technology.

Front of house engineer Paul “Pab” Boothroyd is using a refurbished 1980s PRO40 analog console to mix the band, with a PRO6 live audio system alongside to run the Klark Teknik DN9696 hard disc recorder and mix support band The Answer.

A Midas Heritage 4000 is the monitor console for AC/DC, with a second PRO6 being used to monitor support bands.

“I’ve always enjoyed analogue consoles, and I’ll use whatever suits the job,” explains Pab. “A band like AC/DC warrants using a good old analogue desk because they’re a good old analog band. It’s not like I have masses of processing, FX sends or over-EQing going on, just a little bit of compression. Nothing fancy as it doesn’t need to be, and I’m having a great time using it.”

The 25-year-old PRO40 was painstakingly cleaned up and restored by Pab, together with Tim Boyle and Pete Cornell of Concert Sound, which owns the desk.

“I have a lot of association with this console, and it’s got a great history,” Pab continues. “We had access to lots of spare parts and modules and spent many hours restoring it, wiping away the years of dirt with a Q Tip. Concert Sound and Midas would have worked closely on what was needed when it was made, listening to feedback and ideas.

“That’s a process that still goes on today and what’s always been good about Midas, they listen to and work with the people that use the gear.”

In addition to working with the KT DN9696 hard disc recorder, the Midas PRO6 on the front end has also been programmed with a live mix for the band in case the PRO40 has a “senior moment”. However, as befits its rock ‘n’ roll credentials, so far this hasn’t been necessary.

Also check out our PSW Photo Gallery for a wide range of images of the system currently out with the AC/DC Black Ice tour.

Midas Website

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