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Tuesday, February 07, 2012

Fishman Unveils Triple Play Wireless Guitar Controller

The new Fishman Triple Play Wireless Guitar Controller combines guitar with any virtual instrument or hardware synthesizer to access a wide range of instruments, samples and sounds on stage to expand the depth and impact of live performances.

Triple Play comes with a wireless controller, hexaphonic pickup, and wireless USB receiver. The controller and included software works with industry standard DAWs and vitual instruments and installs quickly on any electric guitar. The system can be easily removed from the guitar because it doesn’t require any permanent installation.

The Triple Play system features several “hold” functions such as sustain, looping, and arpeggiators, along with string or fret splits for multiple instruments.

Also included are menu navigation controls for the included software and a guitar synthesizer volume control. A guitar, mix, synth switch is easily accessible during performances.

A low profile design (less than .5-inch) allows the controller to be left on the guitar and still fit in the case. It operates with a rechargeable Lithium Ion battery (included).

Triple Play’s powered USB wireless receiver interfaces with computers or iOS devices. The system comes with a comprehensive Windows, OSX and iOS software bundle to get users started.

A Triple Play Wireless Guitar Expander option provides additional connectivity for interfacing wireless MIDI signals to computers or iOS devices. It adds a full function USB audio interface with guitar input, bypass and headphone output, MIDI hardware IN and OUT and support for footswitches to extend Triple Play’s capabilities for recording, performing or composing music.

The new Triple Play Wireless Guitar Controller is scheduled for release in June 2012.

Fishman

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Sunday, February 05, 2012

Unit Audio Announces Affordable New Line Of Passive Summing Mixers

Unit Audio has introduced the Milli-Unit and Micro-Unit, two new 8-input by 2-output compact passive summing mixers for studio/recording applications. 

Both units are outfitted with eight balanced line-level inputs and two balanced microphone level outputs, all with Neutrik TRS connectors.

Input impedance is 20 Kohms, while output impedance is 220 ohms. Resistors are hand-selected, metered Xicon 1/4-watt, with 1 percent tolerance.

The units are hand-wired at the company’s headquarters in Nashville, TN, and are housed in rugged aluminum cases.

The Micro-Unit is also outfitted with two pan switches that allow for placing channels 1 and 2 in monaural (center), or hard left (channel 1), or hard right (channel 2).

“Is analog summing going to make your recordings sound like a Nashville studio with a billion dollars worth of equipment? Probably not, but you will notice a difference in your mixes using a Unit Audio summing mixer,” states Terry Auger, Unit Audio design engineer.

“Loosely quoting Shakespeare, one might say ‘To analog sum or not to analog sum?’” Auger continues. “This has been a point of controversy with digital recording for quite some time. With modern DAW software, mixing within the computer has resulted in some great sounding recordings, but I have long been intrigued by the concept of analog summing. I was not prepared to pay $800 or more to test that theory, so I engineered and built my own.

“Then to test the theory, I set out to see if there was any difference in the mixed sound. Much to my amazement and pleasure, I did notice a subtle but very pleasing difference in the stereo separation and placement of the instruments compared to my ‘in the box’ mixes.”

The Milli-Unit is priced at $149, while the Micro-Unit carries a price of $189. Both units can be ordered directly from the company website.

Unit Audio

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Friday, February 03, 2012

Brigham Young University-Idaho Goes Digital With Dual DiGiCo SD7 Systems

The new BYU-Idaho Center at Brigham Young University-Idaho, is a sprawling 435,000-square-foot building that includes a 15,000-seat auditorium outfitted with two DiGiCo two SD7 digital mixing systems as well as six DiGiRacks.

The process to outfit the venue with an audio/visual system took roughly three years from conception to completion, spearheaded by senior project engineer Andrew Prager of New Jersey’s Diversified Systems with the aid of BYU-Idaho audio engineer David Mann.

As a representative of the venue and its principals, Mann’s number one design criterion for the system was overall speech intelligibility. “Because this is primarily a worship facility,” he explains, “the spoken word is the reason the facility exists and was of utmost importance to everyone involved.”

Armed with that missive, Prager identified the scope of the system and its components, which included a front end and monitor mixer, digital signal processing, amplifiers, and loudspeakers.

As for the mixer specifically, it needed enough inputs/outputs to be shared between both the front of house and monitor mix consoles. Additionally, it needed to be digital and fiber-optic based. The sale comprised the two SD7s and six DiGiRacks—one dedicated to each console at front of house and monitors, with four shared between the two.

Having a fiber optic-based system was also top priority with a majority of advantages—price notwithstanding—including latency and speed. “It’s very cost effective to run fiber,” states Mann. “Obviously, the cost benefit of fiber is much more budget-friendly, but also the amount of information you can send via fiber optics is incredible.”

“The things that come to my mind when we’re talking about digital audio traveling as light instead of through copper is that it’s faster in terms of latency,” Prager adds. “It gives us a smaller cable pathway rather than big fat copper hoses running around the place, and there is a built-in immunity to grounding problems, which can be caused from different power ground and sources.

“We have a third party digital audio transport system running MADI over Opticore—a dual ring of fiber that goes between the mixer and the DiGiCo stage racks. It’s a very robust, very redundant system and because it’s a ring there’s a connection of fiber and the signal can just come from one way or go the other. “

The consoles are being put through a rigorous pace since their installation, on events ranging from BYU-Idaho’s on-going weekly Tuesday devotional service to a small number of musical and theatrical productions.

“Both the events and the Tuesday services range in size and scope,” says Mann. “The Tuesday service, with its single talking-head presenter, also showcases a special musical number, which ranges from a soloist with piano accompaniment to a 350-voice choir with orchestra. Depending on the week, it can be very simple or very demanding. On our typical devotional, we’re running approximately 6-8 inputs; on an elaborate one, it’s more like 80.”

Perhaps one of BYU-Idaho’s most elaborate events was the “Savior of the World” production performed in March, involving an 80-piece orchestra and a 230-voice choir. The input list alone was staggering—in the high 80s—40 of which were to accommodate wireless mics.

Coming from a live sound background, Mann says the challenges of the worship environment are very much different. “When you’re working with a band and vocalists, you generally get a good strong sound coming into your console so you have something solid to work with. In a worship environment, dealing with a single speaker on stage, especially in a podium-type situation, you don’t always get a great level and so it’s a challenge to get enough signal before it starts to feedback. That’s my main challenge in this environment. I think I would rather mix a 300-voice choir and 80-piece orchestra any day over a single voice speaker.”

DiGiCo

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Thursday, February 02, 2012

Stagetec NEXUS Supporting Jimmy Fallon Show Remote Production In Indianapolis

Tied into the upcoming Super Bowl game in Indianapolis, late night television host Jimmy Fallon is broadcasting four shows from the Hilbert Circle Theatre in downtown Indianapolis.

It presents a challenge in recreating the studio setup of the “Late Night with Jimmy Fallon Show,” which is normally broadcast from NBC Studios at 30 Rockefeller Center. 

Nathaniel Hare, front of house mixer for the show, was tapped as the sound designer for the four dates (three live-to-disc and then a live show after the big game). Wireless First, a Clair Global company, was selected due to their experience in both TV and touring sound to supply all of the necessary equipment.

Hare decided on Stagetec NEXUS to provide the backbone of the audio routing, with all audio signals from all stage sources to front of house and monitor— and to the Music Mix Mobile and Game Creek Trucks parked outside—are being transported through the NEXUS system.

The NEXUS network comprises of some 1728 inputs and 1984 outputs. Central to the system is the NEXUS Star, which connects 12 remote base devices throughout the theatre and the OB trucks. 

Further, several consoles connect via MADI, including front of house, music and main production, and the rest have direct connections to the NEXUS via AES/EBU.

“As the show after the Super Bowl is going to be live, I need to be 150 percent sure that there will be no equipment failures,” states Hare, “and the NEXUS not only has complete redundancy built in but it’s track record on reliability speaks for itself.”

Stagetec

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DI Boxes For Guitars: Different Approaches For Acoustic And Electric

There are varying factors in play, depending upon the type of instrument...

When amplifying an acoustic guitar, the use of a microphone can lead to concerns about feedback as well as being able to adequately amplify the instrument.

With electric guitars, there are also concerns about the microphone adequately and accurately picking up the sound from the guitar amp, and in many cases, there’s also a desire for a quieter stage.

Both scenarios lead to the use of direct (or DI) boxes as an alternative.

But note that when selecting a direct box, the choice is very different when dealing with acoustic versus electric guitars.

The Acoustic Take
Most acoustic guitars are either equipped with a built-in piezo pickup with an on-board active preamp, or they can be outfitted with an after-market magnetic pickup that fits inside the sound hole.

The high-impedance output from the instrument is then sent to a direct box where the signal is balanced and the impedance is lowered to enable it to be sent a long distance without noise.

A typical direct box is equipped with a “thru” connector that is used to feed the artist’s stage amp, while the balance low-impedance XLR output feeds the sound system. 

The traditional approach to using a direct box is to capture the signal right from the instrument before it is processed on stage by the musician. The thru output going to the stage amp allows the artist to adjust the EQ or add echo to suit his personal needs on stage.

At the same time, this setup enables the front of house engineer to add reverb or coloration to suit the room without having to try to compensate for the effects added by the musician.

As noted, eliminating feedback on stage is a primary concern. Some DI boxes are equipped with a built-in high-pass filter that can reduce unwanted low-frequency resonance that often leads to feedback. This also reduces the energy content, resulting in greater headroom. More headroom means less distortion – another common cause of feedback.

Reversing the polarity at the DI output can also be very helpful as this changes the phase relationship between the sound coming from the system and the sound coming from monitoring system on stage. By electronically “moving” the acoustic peak so that it becomes a valley, hotspots that can cause resonant feedback can be eliminated.

Best of all, because these fixes do not involve using EQ to fight feedback, the instrument’s tone is not negatively impacted.

The Electric Take
Particularly since the advent of in-ear monitors, guitarists have become much more aware of the sound from their amps.

Before IEM, when they played guitar on stage, they were listing to their amps.

Today, they hear what the mic is picking up, and more often than not, they’re realizing that the sound doesn’t match up real well when compared with what they hear coming from their amp.

This makes sense. When a mic is placed right in front of a loudspeaker, a tremendous amount of effort is required by the sound engineer to make it sound “good/right.” Move the mic just a centimeter and the sound can change.

Further, as you go to different venues, the sound once again is subject to change do to a variety of variables. This includes different room acoustics, proximity and bleed from other instruments, the effect of stage resonance, and of course, mic placement.

However, using a traditional direct box in front of the amp does not work. The guitar sound needs to be captured after it has been processed by the amp.

And as any sound engineer can attest, simply placing a regular direct box with a pad at the output tends to sound like a swarm of bees. The requirement is to replicate the sound of both the amp and the cabinet.

Recent advances have allowed engineers to develop new direct boxes that employ advanced filtering to better replicate the sound. And by employing the loudspeaker as a reactive load, the sound coming from the direct box tends to be much more realistic.

The benefits to using a guitar amp direct box – correctly - can be significant. For the artist that is using in-ear monitors, the audio engineer can program the mixer and effects for tremendous consistency night after night.  This means sound checks can be done quicker.

And when the artist is comfortable and happy, it generally results a better performance. For the sound engineer, the starting point is immediately familiar, which eliminates “fighting” the mix for the first several songs.

The quality of a mix starts with the sources, and delivering a better mix improves the show for the audience.

Peter Janis is the president of Radial Engineering (www.radialeng.com) and has worked in professional audio for more than 30 years.

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Church Sound: #InstallationFail

The point is to show things should not be done...

 
This article, #InstallationFail, has been inspired by the many, many instances of bad installation practices I’ve seen throughout the years.

I’ve been taking pictures and cataloging these for quite some time, and I figured it’s time to share them with the world.

Now, I should point out I’m not publishing these to make anyone feel bad. Though some of you should feel bad for some of these installations. But that’s not the point.

The point of this article is to show you how not to do things. My thinking is that many bad installation practices are repeated because someone saw it done that way before and no one told said person it was wrong.

Surely, if you knew it was wrong, you wouldn’t do it this way… right?

In that spirit, here we go. Our first installment is a run of Cat-5 cable. The cable comes up from a lower floor into a pull box; and it comes up in a conduit.

That’s where things get weird. I’m not sure if they found pulling the cable through the conduit just too dang much work or what, but instead of continuing on out through the conduit at the top of the box, they punched through the side of the box and tie-wrapped to the conduit. I’m not kidding.

Now, there is a proper way to bring cable in and out of a box without using conduit. Cable clamps and bushings are two such options. Apparently, neither were handy when this cable run was done.

And in case you’re wondering what might be wrong with pushing cable through a box in this manner, take a closer look from inside the box.

Those sharp edges on the box will gradually cut through the cable as the building vibrates. It may take a while, but the wire will eventually be compromised.

They also pulled rather tight, which puts pressure on the cable, another no-no.

Finally, after continuing up the outside of the conduit, the wire goes through a fire-rated wall; a big no-no. This is the kind of stuff that will get you shut down if you have a fire inspector with a limited sense of humor.

This #InstallationFail has a lot going for it (perhaps more correctly, not going for it). The sad thing is that it was installed by a company that does cable installation. Meaning, this was not the work of some well-meaning but uninformed volunteers.

Nope, this was a “professional” job. And frankly, that irritates me.

Now, let’s move long to some great reader finds. I won’t give credit, largely to protect the guilty, err… innocent. But you know who you are.

Actually, these were all found by people who were just as amused and disgusted at the same time as we all are.

This is a classic case of “Why work hard if you don’t have to!.” I’m not exactly sure how the bolt is connected to anything structural, but I’m pretty sure that little metal dome is not rated for holding a Parnel.

And really, trying to stuff all the wires inside the box? Waaaayyyy too much work. Let them all hang out. Keeps ‘em cooler, anyway. Nice work, to be sure.

The interplay of the yellow and blue wire nuts is stunning. The fact that someone took the time to do it is impressive. I’m not sure what exactly the little stub of a RJ-11 may have been plugged into, or how they managed to plug anything in while it was mounted in the wall, but it’s got creativity written all over it.

I can’t say for sure, but I’m guessing there was a RJ-11 coupler somewhere in the mix here…

Unquestionably bad, that is. I can’t decide which I like more…the duplex outlet with only one leg attached, or the plug end with no backing housing, leaving the hot terminals right out there in the open for all to experience.

I’ve seen a lot of sketchy electrical wiring in my day, but this one takes the prize for most sketchiest. I’m not sure what in parallel universe this may be considered safe, but it’s not this one.

They could have at least used gaff tape to cover up the hot leads…

Moving along, consider this a primer on how not to install cables.

At least I can’t chalk the above mess to a professional installer. The next photo however…well, it’s just the way the installer left it.

And just to prove the A/V guys didn’t favor plumbers over HVAC guys…

Yes, we’ve seen all sorts of creative installs. This is one of my favorites. Props for using conduit. But feeding an extension cord through it to plug into a dimmer? Hmmm…

Sometimes, however, conduit seems hardly necessary.

I really have nothing more to say about that one.

 

Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.

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New Firmware Update For Roland Digital Snake System Expands Flexibility

Roland Systems Group is now offering a new Version 2.500 firmware update for S-4000 Series digital snake systems.

The new functionality allows the S-4000H 8 x 32 digital snake head to support samples rates of 48 and 44.1 kHz – in addition to 96 kHz. This enables it to be used in V-Mixing System configurations, especially as an analog breakout box.

In addition, the update provides control of pre-amps of the S-4000S set in REAC Master mode using the S-4000R or S-4000 Remote Control Software (PC/Mac) without the need for slave equipment or the M-48 personal mixers present.

This allows new uses of the digital snake head such as a 40 input front end to a SONAR REAC Recording system – all connected to a PC via a Cat5e/6 cable.

The S-4000 Series was the first digital snake system using the REAC protocol - a low-latency, high-quality digital transport system.

The S-4000 digital snake system Version 2.500 firmware update will be available in mid-February. Visit www.rolandsystemsgroup.com/updates for more specific information.

Roland Systems Group

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Wednesday, February 01, 2012

Clear-Com Launches Global Rental Group To Provide Systems & Support

The new Clear-Com Global Rental Group (CGRG), a network of experienced rental partners equipped to provide Clear-Com intercom systems for productions of any size.

The new service is led by industry veteran Larry Estrin and is comprised of a select team of trained and experienced rental businesses worldwide. These partners support short-term and rapid installation needs with a full range of advanced wired and wireless production intercoms and technical support.

As director of CGRG, Estrin (who has extensive experience with events such as the Olympic Opening Ceremonies, Grammys and Academy Awards) provides rental partners with greater knowledge, skills and resources to supply the highest level of production communications.

By connecting rental partners across the globe, the CGRG also gives customers local access to the most fitting communications equipment for their specific applications, whether for film and television, live performance, special events or theater.

Estrin also conducts interactive training for CGRG rental partners on spectrum planning and frequency coordination. Additionally, he facilitates the collaborative effort of rental partners to supply communications equipment and technical support for large-scale productions, including international sporting events and high-profile live performances.

Estrin will continue to strengthen existing rental partner relationships, as well as broaden the CGRG by bringing additional rental businesses on board. This will enable the company to supply an even greater number of Clear-Com systems throughout the world.

“Clear-Com has a longstanding commitment to expanding and improving the daily interactions we have with our customers and partners, helping them develop their knowledge base, enhance their decision-making and achieve their goals,” says Estrin. “By combining the strengths of all rental partners in the Clear-Com Global Rental Group, customers can access every type of communications solution, as well as expertise for even the most complex productions.”

Although Estrin will be the primary facilitator of the partner-to-customer relationship, customers also have the option and convenience of directly reaching out to rental businesses through the CGRG directory.

Moreover, CGRG provides customers with connections to experienced engineers and technical staff, which saves them both time and money as they will not have to cultivate the expertise internally.

Clear-Com
HM Electronics (HME)

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Tuesday, January 31, 2012

New Integrated Cores Provide QSC Q-Sys Technology For Smaller Applications

QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.

The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.

These two new Core models are fully integrated solutions, each with eight card slots on-board. The Core500i is capable of up to 128 network channels while the Core 250i provides up to 64 channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.

Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.

The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. All system design, configuration, administration and control operate under a simple and straightforward GUI. 

Additionally, custom user control panels are easily created and can be displayed on any Internet-connected PC, iOS device or QSC’s own Touch Screen Controllers (TSC-3, TSC-8). Any incoming signals may be mixed and routed to any output and nearly unlimited DSP is provided, including Acoustic Echo Cancellation.

Also newly announced is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)

It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.

QSC Audio

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Extron Introduces New Eight-Port Fiber Optic Audio Extractor

Extron Electronics has introduced the FOX AEX 108, an eight-port fiber optic audio extractor for independent processing and routing of audio signals in a fiber optic AV distribution system.

Each port accepts signals from a FOX Series transmitter to extract a two-channel analog audio signal for processing, and then re-transmits the original signal to a FOX Series receiver.

To simplify integration with mixers, DSP devices, and audio amplifiers, the FOX AEX 108 provides both balanced and unbalanced stereo.

Buffered loop-throughs feature output reclocking and full transmitter power levels to ensure signal integrity.

Available in multimode and singlemode models, the FOX AEX 108 is great for use in FOX Matrix system applications that require extraction of audio signals for local processing and independent distribution.

“System designers and integrators that rely on Extron FOX Series products for fiber optic AV signal distribution now have a new option to route audio within the equipment room,” says Casey Hall, vice president of sales and marketing for Extron. “The FOX AEX 108 provides an easy way to extract audio signals for independent processing while maintaining the integrity and convenience of the fiber optic link.”

The FOX AEX 108 is part of the larger, expansive FOX Series of fiber optic products from Extron. It is compatible with FOX Series matrix switchers, switchers, distribution amplifiers, and HDMI, DVI, VGA, VGA/YUV, and AV transmitters and receivers.

Housed in a compact 1U, half-rack width metal enclosure, the FOX AEX 108 is designed to provide convenient access for audio signal processing and routing from an equipment room.

Extron Electronics

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Friday, January 27, 2012

New “Dangerous Source” Portable Desktop Monitor Controller

At the NAMM 2012 Show, Dangerous Music announced its newest monitor controller, the “Dangerous Source” - a portable and desktop unit designed for portable applications or to fit a limited space on the desktop, a complement to any DAW for its centralized control of loudspeakers, headphones, and more.

Dangerous Source fits beneath a 13-inch laptop computer, and it can also sit unobtrusively on the desktop within arms reach to provide easy control of volume, input selection, loudspeaker switching, and headphone control. An input for USB audio simplifies a traveling mix rig even further.

“With the explosion of professional recording and mixing being done on today’s powerful laptop computers, we wanted to bring our standard of audio path quality and functionality to portable monitor control,” says Bob Muller, president of Dangerous Music. “We’ve been making monitor controllers since before the product category existed in the mainstream, so the Dangerous Source seemed like the logical next step in the lineage of Monitor, Monitor ST and D-Box.

“We’ve also added a first for our products in that the Source connects directly to the computer via USB, saving even more cable hassles for the traveling engineer.”

The Dangerous Source monitor controller sports many of the key professional features of the company’s Dangerous D-Box, such as loudspeaker switching for two sets of loudspeakers, loudspeaker volume, AES/SPDIF digital IN, 2 Stereo Analog IN, and dual headphone out with a separate level control.

In addition, it can connect directly to a computer for monitoring of digital audio over USB. Dangerous Source is capable of up to 24-bit 192kHz on both digital inputs.

Although the Dangerous Source is the company’s first non-rack mount product, an optional 1RU user-installable front panel option will be available.

Highlights:
• Designed for portability
• Desktop form factor sits comfortably under a 13-inch laptop
• Optional 1RU front panel available
• Speaker volume control
• Two 1/4-inch headphone outs
• Supports 2 pairs of loudspeakers
• Alternatively select both loudspeaker outputs simultaneously for speakers and subwoofer combination
• Layering of multiple inputs in both the loudspeaker and headphone outputs
• 2 Analog IN: unbalanced 1/8-inch mini stereo at -10 dBv, balanced XLR/1/4-inch combo jack at +4 dBu
• AES/SPDIF digital IN, up to 24-bit/192 kHz
• USB IN, up to 24-bit/192kHz for Windows and Mac
• Line-level pass-thru for Control Room output
• Buffered digital thru output for AES/SPDIF input

The Dangerous Source is set for release in early Q2, 2012, the price is to be announced.

Dangerous Music

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Wednesday, January 25, 2012

New Pivitec e32 Personal Mixer Provides 32-Channel Ethernet AVB Capability

Introduced at the NAMM 2012 Show, the new Pivitec e32 personal mixer is a 32-channel Ethernet AVB “listener” endpoint that can be used to build a stereo mix up to 32 channels of network audio sources that can then be controlled wirelessly from iPhone, iPod touch or iPad using Pivitec’s V2Mix app for iOS.

The e32 features a high-output headphone amp loud enough to work in loud stage environments as well as stereo line outputs for driving other devices, such as wireless IEMs, power amplifiers or powered loudspeakers.

Both are driven by a 24-bit/48-kHz digital to analog converter.

A built-in DSP provides three bands of EQ on each audio channel as well as a stereo three-band EQ and limiter on the master outputs.

The e32 also includes a “local” stereo line level input for connecting an MP3 player or click track for local listening.

Features:
—Stereo line level outputs on 1/4-inch TRS connectors
—High-output headphone amplifier
—Local 3.5mm line level input
—Rugged extruded aluminum chassis with black anodized finish
—Wireless control from Pivitec’s V2Mix App for iPhone & iPad
—Power from external 48VDC supply or PoE (802.11af)
—Made in USA

As an integral component in the Pivitec Audio Networking product family, the e32 is an ideal complement for the e16i input module. Multiple e16i and e32 units can be utilized to builde a personal monitor mixing system. 

Four e32s can be rack mounted in a single 1U rack, or a microphone stand adapter can be deployed for local mounting.

Pivitec

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Church Sound: Building A Simple Box To Add Two Mixing Boards Together

A device to combine all of the functions of two mixing boards to feed graphic equalizers and crossovers

 
We’ve all been in a fix from time to time when we needed to sum two audio signals into one.

Much of the time, we need to convert a stereo signal into mono.

The other situation is typically when you need to add the outputs of two mixing boards together, summing the left, right, effects and monitor outputs into common lines so that two boards act as one large mixer.

For a church situation it could be that you need to add a “side-car” console beside your main mixing board so you can plug in another eight mics for the youth Christmas show, or perhaps add a temporary console to handle wireless mic inputs for your Passion Play.

The quick but incorrect fix is to plug everything together with “Y” cords from Radio Shack, jamming two outputs into one with typically disastrous results. If the output drivers of the gear to be summed have build-out resistors, sometimes this will work.

But most semi-pro and pro audio gear is designed around a 600-ohm output stage. If you attempt to combine most pieces of gear this way, bad things can happen, the simplest being a large signal imbalance between the two pieces of equipment.

In some cases severe oscillations and signal distortion will result, with possible circuit failure. Yes, you can blow up the outputs of a mixing board this way, so don’t use simple Y-cables to combine them.

Mackie used to sell a very nice active bus mixer called Mixer Mixer, which did individual buffering and allowed for master volume controls to be added where desired. But that’s been a decade or more so don’t be looking on Craig’s List for Mixer Mixer.

Time to build your own. My original Bus’tr I built back in 1990 isn’t quite so fancy: I designed it into fit in an aluminum project box with 1/4-inch phone jacks and 680-ohm build-out resistors. To use it, you just hook the outputs of anything you want to mix together into two of the jacks, and the signal comes out the third jack, simple as that.

You can modify Bus’tr to sum as many separate channels as you like, from two to dozens of buses are possible. Don’t try to make it something its not. By modifying it to allow more than two signals to be summed into a common output, the losses become too great very quickly.

I usually build my own Bus’tr boxes with eight sets of inputs, allowing me to combine all of the functions of two mixing boards to feed my graphic equalizers and crossovers. There will be a 3 dB insertion loss the two boards because of the passive summing, but normally you’ve got lots of extra signal, so losing a little output won’t hurt you a bit.

Notice that all three jacks have a build-out resistor, allowing any two jacks to act as an input. Also, since this is a purely passive circuit, you can use this box to route a single channel into two outputs, while adding 680 ohms in line. This won’t affect the signal at all, except under some conditions of very long line runs.

You can substitute RCA jacks for the 1/4-inch jacks if desired, just be sure that the equipment you’re hooking together is rated at 600 ohm or less output impedance. Higher impedances can be made to work by substituting a large resistor value, but I’ve never encountered a modern piece of musical gear where this is necessary.

Also, if you want to keep your signal balanced using TRS (Tip Ring Sleeve) or even XLR jacks, all you need to do is duplicate the same resistor trio on the “Ring” circuits for TRS or Cold-minus (pin 3) on XLR circuits.

The actual value of the summing resistors isn’t too critical, with anything from 220 ohms to 1,000 ohms probably working just fine (just keep all three resistors in a stack equal) and even 1/8 watt resistors should work just fine.

You can find resistors like these in five-packs for a buck or two at Radio Shack or Allied Electronics, so even without raiding your junk box,

Bus’tr only costs about $5 a channel in parts to build, so this is a cheap and easy project. A fancy Bus’tr in a nice aluminum case shouldn’t set you back more than a couple of Jacksons.

I always keep Bus’tr handy in my gig box for those times when I’ve got to hook up a second mixing board in an emergency, feed a press mult when I don’t have an extra output on the board, or simply make stereo into mono for a delay stack, and it has never let me down.

There are no batteries to wear out, no possibility of overloading active circuits with excessive signal levels and no induced noise.

Plus it’s cheap to build. What’s not to like?

Mike Sokol works with the HOW-TO ASSIST Tour (Academy of Sound System Integration, Setup & Troubleshooting) which provides sound and electrical contractors and sound system installers with the best possible training on how to setup, integrate and troubleshoot live sound systems of any size. Find out more here.

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Behringer Introduces FIREPOWER FCA610 & FCA1616 Recording Interfaces

At the NAMM 2012 Show, Behringer introduced the FIREPOWER USB/FireWire audio interfaces, the FCA610 and FCA1616.

The FCA610 and FCA1616 incorporate 24-bit/96 kHz A/D-D/A converters, support Windows XP/Vista/7 plus Mac OS X, and provide onboard phantom power for use with condenser microphones. 

Due to its small size and low-latency operation, 6-input/10-output architecture, and two XENYX mic preamps, the FCA610 is a tool for traveling musicians who record and edit on their laptops. The portable FCA610 can receive power from a computer’s 6-pin FireWire bus or via the included external power supply.

Built-in MIDI I/O allows for easy connectivity with keyboards and other outboard MIDI hardware. All standard I/O formats are supported, including analog and S/PDIF (both coaxial and optical).

The half-rack-space FIREPOWER FCA610, which stows easily in a travel kit, can also be used as a premium 2-channel mic preamp and A/D-D/A converter.

With an expanded 16-channel I/O, four XENYX mic preamps and ADA8000 ADAT connectivity, the FCA1616 is more suitable for permanent applications as well as live performance multi-track recording rigs.

All standard I/O formats are supported; including analog, S/PDIF (coaxial and optical), ADAT and S/MUX, and a built-in MIDI I/O allows the user to connect keyboards and other outboard MIDI hardware.

The single rack-space FCA1616 also features eight analog Inserts for use of external effects such as compressors, gates and EQs. A dedicated power supply comes with the unit.

Included with both FIREPOWER interfaces is a massive software download at behringer.com that includes the widely popular Audacity audio editor, as well as a selection of audio software such as Podifier, Juice, Podnova and Golden Ear. Also included are more than 100 virtual instruments and 50 FX plug-ins.

FIREPOWER Features:
• Low-noise, high-headroom audio interface with 24-bit/96 kHz resolution
• Operates as multi-channel audio and MIDI interface via FireWire and USB2.0
• XENYX mic preamps with individual switches for Phantom Power, Pad, Low Cut and Hi-Z
• Direct Monitoring and Main Volume control on hardware front
• Two headphone outputs with individual volume control, mono and source signal select for flexible monitoring purposes
• Level control of stereo or 7.1 active loudspeaker systems with a single knob turn
• Smooth cross-fading between inputs and DAW playback signals
• Status and signal presence indication for all analog and digital I/O
• Standard port for Kensington security lock

Behringer

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Tuesday, January 24, 2012

Radial Engineering Announces The New Firefly Tube Direct Box

Radial Engineering has introduced the Firefly tube direct box, a fully discrete class-A unity gain amplifier designed for both studio and live performance.

Radial company president Peter Janis explains: “We have always wanted to launch a tube DI to round out our product range. But over the past two years, we have been sidetracked as we developed the Workhorse and our many 500 series modules. We finally got back on this project and are pleased to bring the Firefly DI to market.”

The Firefly begins with two inputs, each of which features a separate level control to enable the artist to set each instrument with optimal gain.

Switching between inputs can be can be done using the front panel switch or via the optional JR2 remote footswitch. The instrument signal is immediately routed to a tuner output that is always on.

When used with the JR2 footswitch, the Firefly may also be muted remotely for quiet on-stage tuning. Both the footswitch and front panel are equipped with LED indicators for status monitoring.

Following the Radial JDV, the Firefly’s front end circuit is 100 percent discrete class-A and is void of any circuit stabilizing negative feedback. This produces a more open, less constricted sound. 

The Firefly is also equipped with Drag Control load correction that enables the artist to adjust the load on the magnetic pickup for a much more natural rendering. When bypassed, the load jumps to 4 meg-ohms enabling the Firefly to be used with piezo pickups such as common with upright bass and other acoustic instruments.

The exceptional warmth and detail is achieved by combining Radial’s unique front end with an all new12AX7 tube drive circuit. Contrasting the input sensitivity with the output drive enables the artist to fine tune the grit or edge to give the sound more character. 

Firefly comes shipps with two 12AX7 tubes, a select premium tube for audiophile performance and a low-fi version for added growl.

A fully variable high-pass filter enables the engineer to set the bass cut-off frequency for optimal layering. This ‘Nashville trick’ lets you set the cut-off to better match the size of the instrument whereby a lower cut-off would be used on contrabass, slightly higher on acoustic and higher again on fiddle or mandolin. By setting a different cut-off for each instrument one can eliminate resonance while still retaining the character.

Connectivity is extensive: The rear panel begins with two stacked 1/4-inch instrument inputs. A second set of stacked 1/4-inch jacks presents the user with a buffered thru-put that delivers either the original instrument’s tone or the output from the tube circuit.

Below, an insert jack enables one to add in effects in series with the tube drive circuit and apply the effects to the overall sound.

The third set of stacked jacks feature a tuner output and a TRS jack for the JR2 remote control. The Radial transformer coupled XLR output is outfitted with a ground lift switch and a 180-degree polarity reverse. This can be helpful when controlling feedback or interfacing with older vintage gear.

Power is supplied via an exterior switching supply for 100- to 240-volt operation and delivers a variable output that ranges from a typical unity gain DI level to a full +4 dB line level for direct recording.

The Firefly is road ready with 14 gauge steel construction plus a protective zone around the controls and switches. This is augmented with steel cased switches and potentiometers plus a double sided military grade PCB for added life.

The Firefly comes with a carry handle that may be removed should rack mounting be needed for touring using optional rack-mount kits.

Radial Engineering

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