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Monday, July 06, 2009

Sound Construction And Supply Unveils New Divinity Series Console/AV Gear Desk For Churches

Desks come in three sizes to handle a variety of console sizes and are available in oak or maple finishes

The new Divinity Series from Sound Construction and Supply is a desk available in three sizes to accommodate a variety of mixing consoles, ranging from 24 to 40 channels, with aesthetics that discretely fit into any church environment.

“We realize that audio equipment is an integral part of many worship services,” explains Todd Beeten, president of Sound Construction and Supply. “We can also appreciate that the equipment should not be the focal point of the room. Our objective with this new line of technical furniture is to ‘camouflage’ the recording console in the most tasteful, elegant manner.”

In addition to accommodating mixing consoles, Divinity Series desks also offer space for storing additional audio/AV equipment, such as wireless microphone systems and outboard gear. The lower portion of the desk contains a built-in 6-space equipment rack.

The Divinity Series desk is hand-made in the USA, and comes 99 percent pre-assembled. Finish choices are oak and maple.

Sound Construction and Supply Website

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Electro-Voice Unveils EVA (Expandable Vertical Array) Loudspeakers For Installed Sound Applications

EVA is modular, with four two-way models available that provide a range of coverage pattern, and units may be assembled in various configurations to provide the required coverage

Electro-Voice has introduced the EVA (Expandable Vertical Array) series of loudspeakers for installed sound, a debut that came at 2009 InfoComm in Orlando.

Part of the EV-Innovation (EV-I) family, EVA offers the benefits of concert line arrays in a new, simpler format.

EVA modules can quickly and easily be assembled into full-bandwidth line arrays with well-defined coverage, without the rigging and drive complexities of conventional concert line array products.

EVA is a modular system, with four two-way models available to provide a range of coverage patterns from 90 degrees by 6 degrees to 120 degrees by 20 degrees. The units may be assembled in various configurations to provide the required coverage.

The EVA series uses advanced transducer and crossover techniques to provide surprising low-frequency response without compromising midrange quality. In many EVA applications, subwoofers will not be required to provide a full musical experience.

EVA modules use passive crossovers and have 16-ohm impedances. Thus, a complete two-channel EVA system can be driven by a single two-channel amplifier of sufficient output.

The EVA loudspeaker model is designated EVA-2082S. It has four versions to provide a choice of directivity characteristics:
• EVA-2082S/906—90 degrees (h) x 6 degrees (v)
• EVA-2082S/920—90 degrees (h) x 20 degrees (v)
• EVA-2082S/126—120 degrees (h) x 6 degrees (v)
• EVA-2082S/1220—120 degrees (h) x 20 degrees (v)

The two vertical coverage angles (6 degrees and 20 degrees) can be combined to create line arrays optimized for spaces ranging from 12 meters (40 feet) to more than 60 meters (200 feet) deep. The two horizontal coverage options (90 degrees and 120 degrees) provide a match for any space.

Each module contains two EVS2008 8-inch woofers and four DH2005 1.25-inch high-frequency compression drivers on proprietary Hydra plane wave generators. The loudspeakers are arranged in two sets, with a slight inclination angle between sets. This angle is engineered to provide optimum vertical wavefront shape for EVA arrays.

EVA rigging uses simple and attractive coupling plates to join modules. The resulting array is smooth-sided and unobtrusive. There are no box angle adjustments.

Each module contains a complex and sophisticated passive crossover network that eliminates the need for loudspeaker DSP and multiple amplifier channels. Six EVA modules can be operated in parallel from a single amplifier channel capable of driving 2.7 Ohm nominal impedance (e.g. EV CPS 2.12).

Each module has switchable frequency-shading and attenuation options that are used to adjust the array uniform audience coverage. For each installation, the array design, including module switch settings, is done using EVADA (EVA Design Assistant) software, an easy to use array modeling program downloadable from www.electrovoice.com.

Key features:
• True line array performance with EV’s patented Hydra plane wave generator
• Easy and quick to configure and install
• Aesthetically pleasing with internal hidden rigging
• Two vertical and two horizontal patterns for flexible designs
• Very high maximum SPL output capability with extremely low distortion level
• Sophisticated internal passive network system
• Designed for single amp channel drive
• Available in black or white in one of three versions: EVCoat (interior use), PI (indirect weather exposure), and FG (fiberglass - direct exposure)

Electro-Voice Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Friday, July 03, 2009

NSCA Announces New Online Entry-Level Class Providing Practical Knowledge Of Audio Systems

Valuable information on topics such as decibels, Ohm’s law, series and parallel circuits as voltage and current dividers, subjective loudness and temporal masking, sound distribution over time, and more

The new NSCA University Technical Fundamentals of Audio online seminar helps entry-level to experienced audio systems technicians gain years of experience and knowledge in a relatively short amount of time.

The course supplies technical knowledge for a variety of audio markets, including commercial, industrial, education and government facilities. 

Participants will earn 8.0 Learning Units (LUs) within NSCA University’s College of Technical Knowledge and gain valuable information on topics such as decibels, Ohm’s law, series and parallel circuits as voltage and current dividers, subjective loudness and temporal masking, sound distribution over time, and more.

“NSCA understands that technicians and installers don’t always have time to participate in on-site training,” said Norah Hammond, NSCA senior director of professional development. “The Technical Fundamentals of Audio course provides a concise summary of techniques that can take years of self-training and experience to obtain otherwise.

“Plus, the online option allows for convenient training that fits your schedule, and produces skilled employees for years to come.”

The instructor-led course brings together two of the industry’s most knowledgeable instructors on the fundamentals of audio systems. Larry Garter, NSCA’s master instructor, provides techniques 10 great ideas in audio technology, including math, measures, electrics and hearing.

Cost is $299 for NSCA members and $369 for non-members. NSCA members can also apply their education credits for up to 25 percent of the price of the course. Upon registration, participants will have access to the instructor-led course for 45 calendar days. 

For more information, go to www.nsca.org/elearning

NSCA Website

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Yamaha Commercial Audio Systems Announces Delivery of TXn Amplifiers

In addition to basic amplifier control and status monitoring, extensive speaker processing capabilities are available

Yamaha Commercial Audio Systems announced the September delivery of the TXn Series of amplifiers at 2009 InfoComm in Orlando.

The Yamaha TX4n at 2,200 watts, TX5n at 2,500 watts, and TX6n at 3,000 watts per channel (all at 2 ohms) offer Yamaha on-board DSP power and incorporate a sophisticated 24-bit 96-kHz DSP engine.

In addition to basic amplifier control and status monitoring, extensive speaker processing capabilities are available that will make outboard equipment such as equalizers, delays and speaker processors unnecessary in most applications.

A key element is the EEEngine technology that provides the sonic quality of Class AB amplifiers with the efficiency of Class D, solving all the problems of weight, size, and heat generation that users of large-output power amplifiers often encounter.

All models feature both analog and direct digital inputs, with automatic failsafe redundancy switching between digital and analog inputs.

Optional plug-in Yamaha mini-YGDAI interface cards can also be used to change the input configuration as required.

By replacing the standard AES/EBU I/O card, these advanced amplifiers are fully compatible with CobraNet or EtherSound audio networks, as well as any other format supported by the mini-YGDAI cards.

The built-in Ethernet port can be connected to a Windows-based computer running Yamaha’s NetworkAmp Manager II software, which allows monitoring, management and control of all TXn amplifier functions and DSP parameters, as well as the available functions of Tn, PC-1N, XP, XM and XH series amplifiers connected to the network via a Yamaha ACD1 Amplifier Controller Device.

Featuring an efficient, intuitive graphic interface, NetworkAmp Manager II also provides a number of features that make managing and controlling large multi-amp systems very straightforward.

Amplifiers can be named according to their function within the system, they can be grouped for simultaneous control and the groups also named for easy identification.

The software can also warn users when a parameter exceeds a pre-defined voltage, wattage, temperature, or impedance (upper/lower) value, enabling the user to keep track of all amplifiers from a central computer display in real time. Warnings are automatically logged to an information file so it’s easy to pinpoint and troubleshoot problems.

NetworkAmp Manager II requires no special drivers: the computer’s Ethernet port is simply connected to a standard high-speed Ethernet hub. The hub ports can then be directly connected directly to the TXn amplifiers to be controlled and monitored.

TXn amplifiers carry an MSRP of $4,699 for the TX6n, $4,199 for the TX5n, and $3,599 for the TX4n.

Yamaha Commercial Audio Systems Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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AKG Unveils Architectural Microphone Series (AMS), Shaped Sound Customizable Mics

In total, the entire microphone series are available in more than 6,840 customizable settings

Based acoustically on the AKG Blue Line Series, the newest addition to AKG’s product line-up, the Architectural Microphone Series (AMS), presents a new wave of customizable possibilities in microphones. AMS was unveiled at 2009 InfoComm in Orlando.

AMS allows users to customize the microphone by easily adjusting the length of the gooseneck module as well as selecting various designs for the shape of the capsule housing unit.

The self-designed microphone can be personalized with any color as well as a shiny gold, chrome or a cool nickel finish for professional settings. In total, the entire microphone series are available in more than 6,840 customizable settings.

Premium studio microphones, like the AMS, are characterized by a very flat frequency response, low self-noise and a consistent polar pattern. Three precision transducers make up AMS, all with different polar patterns, including a cardioid, an omni-directional and a hyper-cardioid.

Beside the three different polar patterns to match different room acoustics, the AMS showcases a diverse range of capabilities, such as flat frequency response for acoustic performance, gold sputtered ultra-low mass diaphragms, switchable bass cut filter and preattenuation pad. The series also offers an extremely high resistance to RF interference for extended versatility.

Adding on to the extraordinary attributes of the AMS, the mics are equipped with a bayonet coupling system with self-cleaning contacts and the Blue Line bayonet coupling system enables the capsules to be easily change.

With the installation of any of the microphones in the AMS, different mounting modules are available, including a wide range of specialized mounting accessories specifically dedicated to making the installation easy and can bring the microphone into place.  Blended rubber material and high mechanical damping in the shock mounts help to eliminate any mechanical vibrations.

AKG Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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New Crest Audio CV 20 Mixing Console Provides Full VCA Control With Flexible Features & Frame Sizes

Standard on all CV 20 frames are eight stereo input channels consisting of four microphone-line channels and four dual-line channels with the same full assignment capabilities as the mono input channels

At InfoComm 2009 in Orlando, Crest Audio announced that it is now shipping the CV 20 mixing console, a flexible VCA audio solution designed for applications such as front-of-house, monitors and monitors from front-of-house.

The CV 20 is available in 32, 40, 48, 56 and 64 mono input configurations with four-band sweepable EQ and fully parametric mid-frequency control on each mono input.

A feature set of 12 aux sends, eight subgroup assignments and L/C/R panning to the Left/Right and Mono buses provide a wealth of audio routing options.

Standard on all CV 20 frames are eight stereo input channels consisting of four microphone-line channels and four dual-line channels with the same full assignment capabilities as the mono input channels, plus eight VCA masters, 12 aux masters, eight subgroups and separate left/right/mono controls that can be “fader reversed” to allow fader control of the aux masters.

CV 20 mixing consoles also feature 128 VCA assignment and 144 mute scenes with MIDI control, 16 mute groups, an 11x4 matrix that is expandable to 19x4, full dynamics on all subgroups and main buses (also routable to the aux masters) and full metering on all main and auxiliary outputs.

Available options include meter-bridge kits to monitor all outputs in VU and a bus link module kit for linking together two CV 20 consoles. The CV 20 can use its internal power supply as well as an optional, redundant external power-factor-corrected power supply.

Features
• 32, 40, 48, 56 and 64 frame sizes
• Full VCA control on all inputs and groups
• Eight dedicated stereo inputs on all frame sizes
• Eight VCA masters
• 12 auxes with flexible configuration
• True L/C/R panning from mono inputs and subgroups
• 11 x 4 matrix, expandable to 19 x 4
• Inserts on all Mono inputs and Main outputs
• Optional meter bridge to monitor outputs in VU
• LED bar graph metering on all inputs and outputs
• Fader-reverse function allows fader control on aux outputs
• Full dynamics on all main outputs (L/R/M and subgroups) in FOH mode
• Dynamics routed to auxes in Monitor mode (with fader reverse)
• 16 mute groups, 136 mute scenes and 128 VCA assignment scenes with easy editing, snapshot
automation and MIDI control
• Direct outs on all inputs, switchable from pre/post fader
• Made in the U.S.A.

Crest Audio Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Architectural Acoustics By Peavey Debuts PHR Series Ceiling Loudspeakers

A tap selector switch allows for easy system tuning and configuration for 70-volt or 100-volt distributed systems

Architectural Acoustics by Peavey introduced the new PHR Series loudspeakers, designed specifically for compact, in-ceiling operation in permanent installations, at the 2009 InfoComm show in Orlando.

The Architectural Acoustics PHR Series ceiling-mount enclosures are designed to provide high-intelligibility voice, program music and versatile signal reproduction in commercial, industrial and institutional applications.

A tap selector switch allows for easy system tuning and configuration for 70-volt or 100-volt distributed systems, and a full selection of taps up to 60 watts (model dependent) and an 8- ohm transformer bypass setting are included for maximum system versatility.

The UL-compliant enclosure is constructed of high-impact, injection-molded plastic and includes a press-fitted grille design that blends well with contemporary architecture. PHR Series enclosures are housed in steel backing cans and include two color-coded, screw-locked flying leads in a wiring chamber to allow for easy system wiring and daisy-chain wiring to additional PHR enclosures.

A C-shaped backing plate support and tile bridge brackets are included.

PHR 860
• 8-inch woofer with a 1.2-inch voice coil, polypropylene cone and rubber surround
• ¾-inch soft-dome tweeter
• Power handling: 90W (thru mode); transformer taps 60W, 30W, 15W, 7.5W, 3.75W (70V), 100V capable
• Frequency response: 80 Hz to 20 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 91 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 12.44-inch
• Overall depth: 11.3-inch
• Cutout diameter: 11-inch
• 12.5 lbs.

PHR 860S Sub
• 8-inch woofer with a 1.2-inch voice coil, polypropylene cone and rubber surround
• Power handling: 100W (thru mode); transformer taps 60W, 30W, 15W, 7.5W, 3.75W (70V),100V capable
• Frequency response: 55 Hz to 100 Hz, +/- 6 dB
• Crossover frequency: 120 Hz
• 89 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 15.75-inch
• Overall depth: 12.75-inch
• Cutout diameter: 14-inch
• 14.5 lbs.

PHR 630
• 6.5-inch woofer with a 1-inch voice coil, polypropylene cone and rubber surround
• ¾-inch soft-dome tweeter
• Power handling: 50W (thru mode); transformer taps 30W, 15W, 7.5W, 3.75W, 1.9W (70V),100V capable
• Frequency response: 90 Hz to 20 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 89 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 10.2-inch
• Overall depth: 8.6-inch
• Cutout diameter: 8.8-inch
• 7.6 lbs.

PHR 410
• 4-inch woofer with a 1-inch voice coil, polypropylene cone and rubber surround
• 1-inch duo-dome polymer tweeter with phase plate
• Power handling: 40W (thru mode); transformer taps 10W, 5W, 2.5W, 1.25W, 0.63W (70V),100V capable
• Frequency response: 115 Hz to 13.5 kHz, +/- 4 dB
• Crossover frequency: 4 kHz
• 86 dB SPL (8 ohms nominal mode)
• UL compliant
• Outermost diameter: 7.9-inch
• Overall depth: 7.87-inch
• Cutout diameter: 6.57-inch
• 4.6 lbs.

Architectural Acoustics By Peavey Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Shure Extends Rebates For 700 MHz Wireless Systems In Canada To December 31, 2009

Customers may submit rebate forms to SF Marketing – Shure’s Canadian distributor

Shure Incorporated is extending its Canadian rebate program of up to $1,200 for the trade-in of Shure 700 MHz frequency band (698-806 MHz) wireless systems and related components and for any other manufacturers’ qualifying 700 MHz frequency band wireless systems and their related components until the end of the calendar year – December 31, 2009.

“Due to the current economic crisis, there are some dealers who have not been able to take advantage of this program yet, and we want to do what we can to help them,” said Mark Humrichouser, General Manager of Shure’s Americas Business Unit.  “In addition, the response to the rebate program has been overwhelmingly positive so far, which is also why we’re extending the rebate until the end of the year.”

Customers may submit rebate forms to SF Marketing – Shure’s Canadian distributor, with the purchase of any UHF-R, ULX, MX690/SLX4L, PSM 700 (H3, L2 bands), or PGX wireless system.

To help customers with the transition and to better understand the changes to the RF frequency regulations, SF Marketing has a team of experts who are available to answer questions and to provide solutions to technical challenges associated with the new legislation.

For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible for the rebate program, and to obtain a rebate form, visit http://www.shurecanada.com/ProAudio/EN/index.html and click on the “Trade-in & Trade-up” banner in the center of the page.

Shure Website
SF Marketing Website

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Crown Expands Range Of CDi Series Of Fixed Installation Amplifiers With New CDi 6000

The CDi 6000, like the other amplifiers in the series, has the ability to run both low-impedance two-, four- and eight-ohm loads as well as 70- and 140-volt outputs

Crown Audio introduced the CDi 6000 amplifier, the fourth amplifier in the CDi Series, at the 2009 InfoComm show in Orlando.

“The CDi 6000 provides an unmatched combination of processing, power and a competitive price that makes it the clear leader in its class. The new CDi 6000 is a reflection of our commitment to providing integrators with the greatest range of options for power and scalability for the challenges that each individual installation presents,” stated Brian Divine, director of marketing for touring and installed sound for Crown.

The CDi 6000, like the other amplifiers in the series, has the ability to run both low-impedance two-, four- and eight-ohm loads as well as 70- and 140-volt outputs. 

The amp also features 20 available presets that can be recalled at the touch of a button. All CDi amplifiers can be controlled and configured through Harman HiQnet System Architect.   

All CDi Series amplifiers feature an intuitive front panel LCD display that guides installers through their configurations. All amps in the CDi series also offer onboard DSP for loudspeaker signal processing. 

Other features include a switch-mode universal power supply, useful function indications, proportional-speed fan-assisted cooling, removable Phoenix-style inputs, as well as barrier strip outputs for 70V/100V/140V loads.

Equipped with Crown’s extremely light and efficient universal switch-mode power supply, each of the four CDi models weigh only 19 pounds and can be conveniently and reliably run off of a standard 15-amp outlet.

Power output ratings on the CDi 6000:
• 3000W per channel at two ohms
• 2100W per channel at four ohms
• 1200 per channel at eight ohms
• 2500 per channel at 70V
• 6000W in bridge-mono mode at four ohms
• 5000W in bridge-mono mode at 140V

Crown Audio Website
Harman Professional Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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EAW Introduces Flexible DX1208 DSP Matrix Mixer For Commercial/Installation Applications

DX1208 incorporates features that are the direct result of end-user feedback

The new EAW DX1208 DSP matrix mixer, introduced at 2009 InfoComm in Orlando, is designed to meet the needs of a wide range of commercial and installation applications, incorporating features that are the direct result of end-user feedback.

The DX1208 is a 12-input, 8-output 1U rack-space DSP matrix mixer, with eight inputs mic/line capable and selectable 48-volt phantom power provided when the user selects mic level.

Four additional inputs on unbalanced RCA connectors allow the users to “stack” inputs, increasing the number of audio sources that can be connected.

An additional four digital inputs are available on S/PDIF with sample rate conversion to 48 kHz. All 12 inputs are included in the audio matrix and can be assigned DSP functions prior to distributing signal at line level.

The DX1208 can also receive up to six logic inputs and send up to three logic outputs, combined on a single 18-pin connector and programmable via the included EAW DX Navigator software.

The DX1208 has serial RS-232 remote capabilities via a DB9 connector on the rear panel, for control by AMX/Crestron and other third party integrated control systems. Two RJ-45 connections are provided as well, for linking multiple (up to eight) DX Link-enabled products together in a ring network topology.

A remote control port (RJ-25 connector) is included on the rear panel, facilitating the linking of two different types of remotes, all mounted on wall panels. Up to 10 remotes can be attached to the DX1208, and each is individually addressable.

The DX1208 is supplied with EAW DX Navigator software that allows access to all of the system’s settings and configurations. The expected range of user-adjustable processing such as EQ filters, gates, compressors/limiters, priority assignment, delay, gain and crossovers are included.

In addition, up to 24 programmable presets are available per DX1208; the programming interface is flexible, with connection via the USB port on the front panel or the Ethernet jack or DB9 connector on the rear panel. The DX1208 employs a universal power supply, 100-240 VAC, 50/60 Hz.

DX1208 Features:
• 32-bit DSP and 24-bit analog-digital conversion
• Eight balanced mic/line inputs and four unbalanced line inputs
• Four digital input channels via S/PDIF
• Six programmable logic inputs, three programmable logic outputs
• 16-channel DX Link expansion bus
• USB, Ethernet and RS-232 connectivity

EAW Website

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New JBL Control CRV Loudspeaker Provides Combination Of 70V/100V Transformer And Weather Resistance

Control CRV also offers contemporary, curved design and a wide range of configurations

The new JBL Professional Control CRV loudspeaker, introduced at 2009 InfoComm in Orlando, affords numerous mounting options and a wide range of configurations, providing a wide variety of solutions in terms of coverage, appearance and mounting.

Immediately noticeable is the Control CRV’s unique, contemporary, quarter-round design that makes a modern design statement, adding to any venue’s visual aesthetics in either a wall-mounted or corner-mounted configuration.

In addition, this sleek appearance serves a notable functional purpose, as the Control CRV is combinable into half-round, three-quarter-round or a full, 360-degree round arc cluster that is suspendable from the ceiling via a fan pole assembly. 

A single Control CRV mounted at a wall-wall or wall-ceiling junction physically curves across the junction, acoustically coupling with the adjacent surfaces, widening the sound field, and producing an increased sense of sonic spaciousness.

A multi-tap, 30-Watt transformer allows for use on 70V or 100V distributed speaker lines, providing the capability to run multiple speakers on a single amplifier channel as well as individual level taps for each speaker and the ability to be connected via long cable runs. 

Available in either black or white, both models have a high level of weather resistance, allowing the loudspeakers to be located either indoors or outdoors.

The 75 Watts continuous pink noise power handling (300 Watts peak) and dual 4-inch Polyplas woofers provide superb sound quality. Frequency range is specified as 80 Hz-20 kHz.

“With the Control CRV, the contemporary design, configurability — and of course, excellent sound quality — give designers and integrators a great range of versatility from one loudspeaker,” said Rick Kamlet, Senior Director, Commercial Installed Sound, JBL Professional.

JBL Professional Website
Harman Professional Website

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Thursday, July 02, 2009

Product Review: DiGiCo SD8 Digital Mixing Console

What can this new digital console offer your church sound system?

DiGiCo has come out with a steady stream of digital consoles utilized in a wide range of sound reinforcement applications, including larger church sound reinforcement systems.

The company’s most recent development, the SD8 digital console, has 60 stereo or mono channels available (the equivalent of 120 channels of DSP)—plenty for most churches—and certain key functions are available on all channels all the time, in contrast with some digital consoles that don’t offer consistent processing on all channels.

How does it work, and how well does it work? Is it worth a look?

Click here to check out John F. McJunkin’s in-depth audio product review of the DiGiCo SD8 digital console featured in the June 2009 issue of Church Production.

Other recent Church Production reviews:
Peavey Sanctuary S-32 Console
DiGiCo SD8 Digital Console
Sony UWP Wireless System
JBL EON 515 Loudspeaker
Audio-Technica AT2020USB Microphone

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Community Debuts Color-Matched Grilles & Yokes For WET, R-Series Loudspeakers

Will enhance the product’s weather-resistance as well as improving the appearance

Community Professional has enhanced its WET and R-Series loudspeakers, ideal for outdoor sound reinforcement, with the introduction of color-matched grilles and yokes with improved weather-resistance. 

As an example, Community’s R-Series, beginning with the model R.5HP, will gain attractive, two-layer, powder-coated steel yokes and grilles. 

These will be light gray in color, to match the enclosure, and will enhance the product’s weather-resistance as well as improving the appearance.

The rest of the R-Series product line will receive the same makeover later this year (the R6 will remain black). 

Similarly, Community’s WET Series II will gain attractive, stainless steel grilles and yokes with two-layer powder-coating to match the choice of white or black enclosures.

“It’s been ten years since Community introduced the original WET228 and R2, which may be the single most important advance in school systems in the last decade,” said Bruce Howze, Community’s President and Chief Engineer.

“These new refinements to our all-weather mounting hardware will ensure an even longer lifespan for R-Series and WET products, many of which already outlast not just the competition, but sometimes even the buildings they’re installed on.”

Community Professional Website

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Wednesday, July 01, 2009

SurgeX Partners With IAG For International Manufacturing & Distribution

In North America, Electronic Systems Protection (ESP) of Zebulon, NC continues to helm the brand

International Audio Group Ltd. (IAG), the parent company of Wharfdale, Quad, Mission and several other professional audio, lighting and hi-fi brands, will now be manufacturing and distributing SurgeX products globally, with the exception of North America, where Electronic Systems Protection, Inc. (ESP) of Zebulon, NC continues to helm the brand.

“It is our mission to provide consultants, contractors and end users with the finest quality, most technologically sophisticated products on the market, and SurgeX is certainly no exception,” says IAG Managing Director Daniel Chang. “When it comes to power, nothing on the market surpasses the brand’s level of protection, and we have no doubt that this alliance will both greatly expand SurgeX’s global business and be highly beneficial to professional and residential integrators worldwide.”

SurgeX Founder and Senior Principal Michael McCook states, “SurgeX and IAG have been working closely on expanded technology development and new products in the global marketplace for several years now and I am confident that this partnership will finally bring SurgeX’s superior technology solutions to the entire world.”

With regard to the ways in which IAG will be internationally developing the SurgeX brand, Chang comments, “Development and production of expanded SurgeX products for the global market will be swift. Along with the rapid availability of existing SurgeX form factors, such as standalone and hardwired styles, customers can expect to see network addressable sequencers and UPS units.

“SurgeX technology will also be brought into the custom residential market in an elegant product form. Further, our IAG Yachting division will be utilizing SurgeX in all of its sensitive electronic applications and specific products suited for the marine market that will be produced beginning in 2010.”

SurgeX Website
IAG Website

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Tuesday, June 30, 2009

The RF Spectrum Before & After The “Big Day”

A look at the spectrum between 500 MHz and 700 MHz

So the big day (June 12, formerly February 17, 2009) came and went, and now we have the results of “the change”.

For those of you living under a rock for the past 10 years, what has happened is that full-power analog TV broadcasts have ceased in most US markets.

At the same time, most of the of spectrum between 698 and 806 MHz, formerly used by TV broadcasts and wireless microphones, now has new owners and is not populated by TV broadcasts any longer.

The legal status of wireless microphone systems in the 700 MHz band is not entirely clear, but the FCC’s intentions appear to be that wireless mics will not be allowed here.

So let’s look at the spectrum between 500 MHz and 700 MHz, covering most what is now available to DTV broadcasts and Part 74 users, including wireless microphone systems.

The first/top image (below) shows this range before the transition, and the second/bottom image (also below) shows the same spectrum after June 12. It is evident that almost all analog sources have disappeared, while only DTV sources remain.

What about using wireless microphone systems in the 700 MHz band?

First, you may still have systems in the 700 MHz band that will continue to operate, until such time as a new, strong signal comes along and interferes.

For many, this may be the right approach: use your equipment until it no longer works. However, keep your eyes open for any announcements about the likely FCC ruling rendering such systems actually illegal.

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Currently, there are few signals in that range, but there are some, and soon there will be more.

For those of us using systems between 470 and 698 MHz, our lives should actually be a bit easier for a while. The spectrum is more open, and we should not see the kinds of rapid changes we have seen over the past couple of years.

DTV transmissions are still being optimized, and broadcasters are recommending that people “do a new scan for channels once a month”. I would suggest the same thing for your wireless microphone systems, to insure that you are steering clear of any potential interference. (But you were doing that already, right?)

As to what will become of the remaining usable spectrum, it’s too early to tell. But as TVBD (TV Band Devices) begin to appear, we’ll certainly learn more.

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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More posts on PSW by Mike Wireless:
Latest Wireless Series #3: Inside The Lectrosonics D4
Latest Wireless Series #2: Inside The MIPRO ACT Digital
Latest Wireless Series #1: Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

Also check out:
Basic & Essential: What You Need To Know About Wireless Systems (A Primer)

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