Thursday, January 30, 2014
FiberPlex MADI SFP Passes Optical To Avid Live Mixer For NFL Pro Bowl Sunday
Custom Audio utilized MADI-to-optic conversion box and Avid Profile live audio console in order to run optical fiber across the stadium.
It was a double pass for optical fiber at Sunday’s NFL Pro Bowl game at Aloha Stadium in Honolulu. Copper cabling took a beating due to excessive moisture buildup from the rain.
“The issue with copper wasn’t noise for a change, it was water,” said Jeff Kang with Custom Audio, Kaneohe, Hawaii, which has been providing sound reinforcement for Pro Bowl for over 10 years.
Fortunately, this year, Kang had contacted FiberPlex Technologies about a MADI-to-optic conversion box for his Avid Profile live audio console in order to run optical fiber across the stadium, and thereby bypass the problems associated with a copper run.
The FiberPlex FOI-6010 conversion box with MADI SFP/SFP+ (small form-factor pluggable module) on one end and multimode fiber SFP/SFP+ on the other makes it possible to run a fiber snake between the Avid FOH rack and a main stage rack about 650 feet away, something Kang wishes he had been able to do with a secondary stage rack 350 feet up field. The secondary stage rack connected through copper cabling was glitchy due to a steady drizzle of rain the day of the game.
“The problem was that it (copper snake) would constantly switch between primary and backup because of the condensation,” he said, adding that the optical run was unaffected by weather or noise – which was good, because he didn’t have a backup system.
“That’s how much trust I put in these fiber systems,” commented Kang, who has two FiberPlex LightViper audio snakes that he uses for a variety of venues, including use as a 330-foot optical snake during the Pro Bowl game.
For Pro Bowl 2014, FiberPlex’s MADI SFP/SFP+ easily handled Avid’s modified MADI protocol for bidirectional 48x48 digital audio channels into multimode optical fiber supporting separate wireless mics, multitrack recordings, live band, plus a number of announcers and other sources that add to the mix of a typical NFL game.
The remaining channels of the 64x64 bidirectional MADI capability are used for controlling mic preamps, metering, and for reading data on the Avid stage rack down field. (This is part of Avid’s modified use of the MADI protocol.)
Custom Audio is one of a growing number of sound reinforcement firms now using optical snakes for live mixing and other applications that require transporting media error-free and transparently over long distances. Setup requires only a few strands of fiber for the copper equivalent of a 40-pair, 500-pound snake, which is why Custom Audio’s crew was able to dismantle the system in record time after the Pro Bowl game.
“My crew looked at me and said, ‘We got out of here two hours faster than we normally do,’” commented Kang.
Tuesday, January 28, 2014
Apogee Announces New JAM 96k Professional Guitar Interface for iPad, iPhone and Mac
JAM 96k lets you easily connect your guitar to your iPhone, iPad or Mac, whether you’re on-the-go or in the most advanced recording studio.
Apogee Electronics is pleased to introduce JAM 96k, a new professional guitar interface for iPad, iPhone and Mac.
JAM 96k lets you easily connect your guitar to your iPhone, iPad or Mac, whether you’re on-the-go or in the most advanced recording studio. Its circuitry is designed to reproduce the unique interaction between guitar and tube amp, resulting in an authentic tone and responsive feel from any guitar or music creation app you choose. For beginners to the most seasoned guitar players, JAM 96k delivers an inspiring experience for practicing, recording, or just jamming.
JAM was first introduced in 2011 alongside iPad 2 and GarageBand for iPad as part of Apple’s keynote presentation, marking the start of the iOS music recording revolution. Since then, JAM has become the standard for both aspiring and professional musicians. Its design and studio-quality sound inspired many imitators to follow in the iOS recording market.
The new JAM 96k features tube amp tone emulation and a beautiful nickel-plated finish. JAM 96k also provides the ability to make higher fidelity recordings – up to 24-bit/96kHz – and includes an iOS Lighting cable in the box. Like its predecessor, JAM 96k also includes an iOS 30-pin cable and Mac USB cable.
JAM 96k Highlights
PureDIGITAL instrument connection delivers pristine sound quality
Designed for electric guitar, bass and acoustic instrument with a pickup
Discrete Class A Input stage emulates the tone and responsive feel of a classic guitar amp
Nickel plated finish
Up to 96kHz, 24-bit analog-to-digital recording
Works with iPhone, iPad, iPod touch and Mac
Includes iOS Lightning cable, iOS 30-pin cable, Mac USB cable
Simple setup, you can start recording in minutes
Control knob allows easy input level adjustment
Multicolor LED for status indication and input level monitoring
Studio quality instrument preamp with up to 40dB of gain
No batteries or external power required
Made in the U.S.A.
Price: $129 USD—Availability: Now Shipping Worldwide
Posted by Julie Clark on 01/28 at 09:55 AM
Steinberg Announces New UR44 Interface
Steinberg introduces six-in, four-out USB audio interface, featuring comprehensive connectivity, studio-grade sound quality and great software bundle
Steinberg Media Technologies GmbH announces the UR44 audio interface, a six-in, four-out audio interface that will be available in January 2014, further extending the UR range of USB 2.0 interfaces.
With up to 192 kHz and 24-bit audio quality, MIDI input/output, Class-A D-PRE microphone preamps and its class-compliant mode for iPad use, the UR44 is a portable production studio with ample connectivity choices.
“The UR44 caters to all your needs: the build quality is outstanding, the sound quality superb, use it with the massive software bundle or hook it up to your iPad. All this in a portable size that allows you to easily carry it around with you,” said Stefan Schreiber, product marketing manager at Steinberg. “You cannot possibly expect more from an interface!” Schreiber exclaims further.
The UR44 is a USB 2.0 audio and MIDI interface with six inputs and four outputs. It offers latency-free monitoring with the DSP-powered REV-X reverb and the Sweet Spot Morphing Channel Strip in Cubase, or any other DAW software via the included dspMixFx application.
Four Neutrik combo inputs boast D-PRE microphone preamps and phantom power, Hi-Z attenuation on inputs 1 and 2 and line attenuation on inputs 3 and 4, and two headphone jacks plus two additional balanced line inputs on the rear panel. Also available on the back panel are four balanced line outputs alongside two main outputs, MIDI I/O and a switch to class-compliant mode.
With the included software bundle, the UR44 transforms into a full system solution for recording music in studio quality. Cubase AI 7 is based on the same core technologies as Steinberg’s highly acclaimed Cubase advanced music production system, providing tools for composing, recording, editing and mixing. The Basic FX Suite consists of a range of VST effects and sound-processing tools: the Sweet Spot Morphing Channel Strip, the REV-X reverb and Guitar Amp Classics with guitar amp simulations developed by Yamaha.
The UR44 interface is now available from resellers and through the Steinberg Online Shop. MSRP is $399.
Features at a glance:
• 24-bit/192 kHz USB 2.0 audio interface
• 4 Class-A D-PRE mic preamps supporting +48 V phantom power
• 4 analog XLR/TRS combo inputs (mic/Hi-Z on input 1/2 and mic/line on input 3/4), 2 TRS line inputs
• 4 line outputs (TRS balanced), plus 2 main outputs L/R (TRS balanced)
• MIDI input and output
• 2 separate headphone buses with individual outputs
• Latency-free DSP powered monitoring with REV-X reverb and Sweet Spot Channel Strips with any DAW by using the latest dspMixFx technology, including Basic FX Suite VST plug-ins
• Rugged full-metal housing
• Includes Cubase AI DAW software download version
• Cross-platform compatibility for Windows, Mac OS X and iOS
• iPad connectivity thanks to CC mode (with the Apple iPad Camera Connection Kit)
Steinberg Media Technologies GmbH
Radial Announces Space Heater Tube Drive & Summing Mixer Combo
Designed to bring character to the sterile world of digital recording
Radial Engineering has announced the Space Heater, a combination 8-channel tube drive and summing mixer designed to bring character to the sterile world of digital recording.
Set up as four stereo pairs, the Space Heater design begins with a choice of 1/4-inch TRS or D-sub inputs for quick connection to a workstation. Each channel pair is 100% discrete enabling four stereo sets to be used independently or be sent to a stereo mix bus with left and right outputs.
To control the effect on the tube, each channel set is equipped with a separate drive control to increase or decrease the signal being sent to the 12AX7 tube and a level control to set the output.
A unique Heat switch lets the user apply 25, 50 or 100 volts on the tube depending on the fidelity needed. Lower voltages starve the tube causing more distortion. On the other hand, higher voltages produce a cleaner signal.
Each stereo set is also equipped with a handy high-pass filter to help eliminate resonance and clutter, useful for cleaning up a mix.
To expand patching options, all eight channels are equipped with separate send and receive insert jacks. The send jack works double duty as a second output with the D-Sub for parallel processing. The master section features a simple level control, headphone amp and choice of XLR or TRS outputs.
Everything is housed in a 1 RU 19-inch rack frame and as with all Radial products, it’s made from 14-gauge steel for greater rigidity and maximum shielding. An external power brick works globally by accepting anything from 100 to 240 volts.
According to Radial president Peter Janis: “Ever since the success of our Workhorse 500 series power rack with built-in summing mixer, we have been thinking about building a dedicated summing mixer that would be a worthwhile addition to the industry. As there are plenty of passive analog summing mixers on the market, we wanted to bring something out that would be both unique and of value.
“While talking about how many producers prefer to fatten up the sound of drums using analog recorders, it occurred to us that it would be really cool if you could add tube coloration and transformers to a drum track. So we got to work! The Space Heater is an 8-channel 12 AX7 tube line amplifier with big fat Eclipse transformers.
“These combine to produce a huge bottom end. We then added a 3-position switch that lets the user select the applied voltage on the tube so that it can be lo-fi, mid-fi or hi-fidelity, depending on the need. It is fun, easy to use, and I’m sure it will be welcomed by the more adventurous minded producers and engineers.”
The Space Heater is expected to start shipping in April, 2014 with an estimated retail price of $2,000 USD.
Monday, January 27, 2014
Midas Debuts DL150 Series I/O Boxes
Five options deliver cost effective I/O and Midas quality
Midas has unveiled their new DL150 Series fixed-format I/O stage boxes.
The series consists of 5 unique models with networked connectivity, ranging from 24 in DL151, 24 out DL152, or 16 in x 8 out DL153. The all-new series was designed for deployment with Midas’ highly-acclaimed PRO Series digital mixing consoles, and features the same microphone preamplifiers.
Having 5 models to choose from makes it easy for system designers to provide the right amount of I/O for any chosen application, plus affect easy and cost-effective scalability as requirements change.
The series offers a variety of mic preamps and balanced line-level output combinations – and the DL154 and DL155 models also provide dual-redundant AES50 networking capability. All models deliver legendary high-resolution sound quality utilizing Midas’ time-tested and proven technologies.
“The Midas DL150 Series significantly increases networking flexibility, capacity and the number of microphone inputs and analogue outputs,” said Shawn Watts, VP global sales –professional division. And each model in the series is housed in a road-ready, rugged 19″ rack-mountable chassis that is styled to match our existing console aesthetic. High-performance I/O has never been easier – just choose the combination that best suits your setup.”
Aphex Announces Two New 500 Series Modules
Based on our popular designs but with modern features and more affordability
Aphex has announced two new additions to its 500 Series module line, the CX 500 and Project 500.
The new CX 500 is based on the Aphex CX-1 compressor/gate unit – one of the first 500 Series modules from the early 80s. It provides the company’s patented EasyRider compressor and logic-assisted gate, a Jensen output transformer, and multi-function meter for gain reduction, gating and output level.
The new Project 500 is a module-sized version of Aphex’s Project Channel rack unit. A full channel strip, it includes a Class A mic preamp, optical compressor, and dual-band semi parametric EQ. This full-featured channel strip will be aggressively priced to be part of complete solutions with 500 Series racks.
“These new 500 Series modules are based on our legendary designs,” says Aphex chairman David Wiener, “but we’ve added modern features – and more affordability – to make the CX 500 and Project 500 home run products.”
Waves Audio Announces SoundGrid Studio System
Open platform that seamlessly integrates with all DAWs and SoundGrid-compatible I/O
Waves Audio introduced the new SoundGrid Studio System at the 2014 NAMM show, an open platform that seamlessly integrates with all DAWs and SoundGrid-compatible I/Os.
With the SoundGrid Studio System, users can run a nearly unlimited amount of plug-ins; track and rehearse with full-on effects and near-zero latency; connect everything and everyone through a centralized hub; and network with multiple DAWs.
Further, the system is compatible with both Waves and third-party plug-ins.
The SoundGrid Studio System includes the following components:
SoundGrid Studio Application – Smoothly integrates with all DAWs and SoundGrid-compatible I/Os, providing endless possibilities for setups of every size, from a single DAW with one SoundGrid I/O, to a whole network of host computers, I/Os and SoundGrid DSP servers.
eMotion ST – The mixer component of the SoundGrid System. Integrates with StudioRack and lets users run SoundGrid plugins for low-latency monitoring and rehearsing outside of their DAW.
—8 input channels, 64 inputs from StudioRack
—2 stereo FX, 6 stereo aux bus/return, and a main mix buss
—8 insert slots per channel for SoundGrid plugins
—Connect multiple SoundGrid-compatible devices and hosts
StudioRack Virtual Plug-in Rack – A virtual plug-in rack designed to run plugin chains and offload plugin processing to a SoundGrid DSP server. The StudioRack plug-in opens as an insert on any channel, letting users run chains of up to eight plug-ins per rack, with the option of directing the processing to a host computer CPU or a SoundGrid DSP server.
—Compatible with Waves and third-party plug-ins
—Bridges Pro Tools HDX DSP and the SoundGrid DSP server in order to process plug-ins in low latency while recording
—Intuitive MIDI and quick-access controls
—Monitor mix integration with eMotion ST
Audio-Technica Introduces System 10 Wireless Guitar Stompbox
Pedalboard-mounted wireless system streamlines signal flow and reduces stage clutter, and provides an A/B switcher for multiple signal options
Audio-Technica introduced the new System 10 2.4-GHz digital guitar stompbox wireless system (ATW-1501) at the 2014 NAMM show.
The System 10 Stompbox streamlines onstage signal flow by making the wireless receiver part of the pedalboard, and provides an A/B switcher for multiple signal/amp options.
The system combines the advanced 24-bit operation, easy setup and clear, natural sound quality of other System 10 wireless configurations with unique functionality for guitarists, bassists and other instrumentalists.
Operating in the 2.4 GHz range, far from TV and DTV interference, the System 10 Stompbox offers a rugged, metal, pedal board-mountable receiver with foot switch, two switched TRS balanced 1/4-inch outputs and an output mode selector. With the tap of a foot, musicians can toggle between outputs (e.g., for switching amps) or mute and unmute one output without muting the other (e.g., for tuners without a self-muting feature).
A single receiver can be paired with up to eight UniPak® body-pack transmitters, allowing users to easily switch between instruments without having to move a body-pack from one instrument to the next.
System 10 wireless ensures clear communications by providing three levels of diversity assurance: frequency, time, and space: Frequency Diversity sends the signal on two dynamically allocated frequencies for interference-free communication. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Space Diversity uses two antennas on each transmitter and receiver to maximize signal integrity.
Each ATW-1501 Stompbox system includes an ATW-R1500 Stompbox receiver, an ATW-T1001 UniPak body-pack transmitter with an AT-GcW guitar cable, and Velcro strips for adding receiver to an effects pedal board. The ATW-R1500 is a digital receiver with sturdy, metal-body construction, easy-to-read digital ID and transmitter battery level displays, and AF Peak and Pair indicator lights.
The System 10 Stompbox system will be available spring 2014 with a U.S. MSRP of $614.95.
Klark Teknik DN9680 Expands With 192 Channels And 1,000-Meter Range
Network bridge option overcomes the 100-meter limitation of Cat-5 cabling
Klark Teknik launched the new DN9680 port extender at the 2014 NAMM show, providing a high-performance network bridge option that provides excellent signal transmission over long distances.
The new DN9680 allows up to 192 bidirectional channels of AES50 digital audio to be extended up to 1,000 meters via a dual fiber-optical cable, thereby overcoming the 100-meter limitation of Cat-5 cabling.
Klark Teknik designed the DN9680 for use with Midas digital consoles, including support for dual-redundant AES50 networking. Multiple clock source options are available for flexible system integration, which even provides a high-precision one part-per-million (1 ppm) temperature-compensated internal clock reference for jitter-free sample-synchronous operation across AES50 networks.
“We know some applications call for an extremely-long cable run, and the DN9680 fits the bill, providing the pristine transmission signal feeds required for high-end digital audio applications,” says product manager. Al Walker. “Now you get all the benefits of simplified connectivity, faster setup times and a lower cost for cabling infrastructure – plus the confidence that it will sound great.”
User control is made simple and intuitive by an internal web server, which allows familiar browser-based configuration via a dedicated Ethernet control port. This flexible approach means users are not constrained to one particular computing platform, since all that is required is a common Internet browser to communicate with the DN9680′s web server via wired or wireless Ethernet.
The DN9680 is available at a suggested U.S. MAP of $1,199 and is covered by Music Group’s 3-Year Limited Warranty Program.
Radial Unveils The Headload Guitar Amplifier Attenuator
Fosters reducing volume levels on stage while driving the amp hard for maximum tone
Radial Engineering has announced the new Headload, a guitar amplifier attenuator that allows the artist to reduce the volume levels on stage while driving the amp hard for maximum tone.
According to Radial president Peter Janis, “With the proliferation of in-ear monitors, there has come a tremendous need for reducing sound pressure levels on stage. Outside of drums, the next biggest culprit is the guitar amplifier. To get tone, guitarists like to drive their amps hard. This is particularly true for smaller amps that sound great when pushed to the max.
“Having tried all kinds of load boxes - we have never been all that impressed with the ones currently on the market. Although they all reduce the sound level coming out of the amp, they fall short when it comes to producing a usable signal for the PA system. We felt that if we could leverage the incredible success we have enjoyed with the Radial JDX direct box and combine this with the Phazer phase adjustment tool, a new type of load box could be created. After a year of trial and error, we are pleased to announce the Headload—the culmination of our quest for great amp tone.”
The 100 percent discrete fan-cooled design begins with a series of high power cement-encrusted epoxy-coated copper coil resistors that are used in conjunction with a 6-position Grayhill rotary switch to dissipate the power generated by the amplifier.
A variable range control allows incremental power reduction at low levels if needed. This is augmented with separate high and low resonance switches to compensate with extra sparkle or bottom end.
Power going to the speakers may also be turned off for quiet recording or to eliminate the speaker cabinet on stage. A front-panel 1/4-inch headphone jack with level control makes the Headload a great companion for quiet practicing.
In addition to the 8-ohm speaker cabinet outputs, the Headload comes with a built-in Radial JDX direct box, coupled with a 6-position voicing switch with that lets you choose the desired amp and cabinet emulation. This is supplemented with a 2-band EQ for fine tuning and a low-pass filter to eliminate overly harsh harmonics that are produced by some amplifiers.
Two JDX direct outputs offer the choice of pre- or post-EQ settings to allow the artist to control his wedge or in-ear monitors to suit while sending a non-equalized tone to the front of house mix position.
For engineers who prefer to combine a microphone with a direct feed, the Headload has also been outfitted with a Radial Phazer phase alignment tool. This enables the stage tech to align the direct feed with the mic and dial-in the mix on stage.
In the studio, the Phazer can also be used for creative equalization such as creating Boston-type out-of-phase rhythm tones or an ultra-thick wall-of-sound. A second set of 1/4-inch line outputs may be used to feed additional stage amps or effects if needed.
The Headload is made in Canada from 14-gauge steel, measures 5.06 x 19.15 x 7.44 (inches (h x w x d), and is supported with a 3-year transferable warranty.
The Headload will start shipping in spring 2014. Estimated retail: $600 USD.
API Takes 500-series Lunchbox To New Level With 500-8
Includes all of the features of the 500-6B plus two new slots
API introduced its new eight-slot 500-8 lunchbox at the 2014 NAMM. The new eight-slot model is priced the same as the six-slot 500-6 lunchbox, effectively giving new purchasers two free slots.
In addition, the new 500-8B includes all of the features of the 500-6B, including DB-25 (D-Sub) connectors for easy I/O, universal power supply (100- or 250-volt, 47 Hz to 63 Hz), phantom power, rack-mounting with optional rack-ear kit for robust performance, and new toggle switches for channel linking.
Notes Larry Droppa, president of API, “Listening to our end users is key to our product development. As we add new 500 series modules to our line, including the new 505-DI and 565 Filter Bank, it was only natural to add two more slots to the 500-6 lunchbox. And to make it even sweeter, we decided to offer the 500-8 lunchbox at the same price as the 6.”
The 500-8 lunchbox is now shipping.
Thursday, January 23, 2014
Aviom’s New D800 and D800-Dante A-Net Distributors Now Shipping
Aviom is now shipping the D800 A-Net Distributor and the D800-Dante A-Net Distributor.
Aviom (NAMM Hall A, Booth 6720) is pleased to announce that the D800 A-Net Distributor and the D800-Dante A-Net Distributor are now shipping.
Both units are designed to distribute audio and power to up to eight Aviom personal mixers like their predecessor, the A-16D Pro A-Net Distributor, but these units offer new features that give users even more options and that make Aviom systems easier to integrate with various consoles.
The D800 A-Net Distributor used in conjunction with the Aviom SB4 System Bridge makes it possible to send audio from up to four console cards into an Aviom A360 Personal Mixing System. With four cards, users can make up to 64 channels available to the Aviom Personal Mixers connected to the D800, and each A360 Personal Mixer can have a unique set of channels for the performer to mix.
Similarly, the D800-Dante A-Net Distributor simplifies connections to the Aviom personal mixers by making it possible to connect directly from any Dante console or network into the Aviom system. With the D800-Dante A-Net Distributor, 64 channels from the network can be available to the personal mixers in the system. Each performer can mix those channels he or she wants from this pool of 64 available channels.
Both of the new distributors are compatible with Aviom’s A-16II and A-16R Personal Mixers, but when used with the A360 Personal Mixers, the D800s also offer the new Network Mix Back feature. Network Mix Back sends a digital copy of the stereo mix output from each A360 Personal Mixer connected to the D800 or D800-Dante back to the Dante network or to an AN-16/o v.4 Output Module for simplified connections to musicians’ wireless in-ear transmitters.
With Network Mix Back, transmitters for wireless in-ears can easily be set up off stage and cabling for the personal mixers on stage is simplified. In addition, both D800s serve as a communications hub for iOS devices connected via an Ethernet WiFi router. iOS support for the A360 is scheduled for release later this year.
Aviom’s product research and development manager, Ray Legnini, says, “The D800s make it possible for A360 users to get up to 64 channels into the network digitally. Making more channels available and giving performers the ability to customize the channel selection on their personal mixers makes for better monitor mixes all around. With the D800 and D800-Dante, all that can happen in the digital domain.”
Tuesday, January 21, 2014
Biamp Systems & InfoComm Partnering To Train On AV Networking In Mexico
Three-day training sessions scheduled for each quarter of the coming year
Biamp Systems and InfoComm International have announced a partnership to provide networked AV systems training to industry professionals in Mexico.
As host of four quarterly sessions of InfoComm’s “Networking Technology” course in Mexico City, Biamp is extending a discount to its local systems integrators.
The three-day sessions are scheduled for:
• Feb. 27-March 1
• May 29-31
• Aug. 18-20 (during TecnoMultimedia InfoComm Mexico 2014)
• Nov. 27-29
“Biamp is committed to supporting education and training programs that can help increase the number of trained AV professionals in Latin America,” said Ernesto Montañez, area manager, Central America, Biamp Systems. “InfoComm’s foundational ‘Networking Technology’ class is ideal for current integrators who carry Biamp products as well as those who have completed, or are currently completing, our certification program.
“Based on the results of a similar course held by InfoComm in December of last year, which was fully booked, we expect demand to be high for the 2014 series of courses.”
“The AV world has changed and if you’re not up to speed on IT networks, you are at risk of being left behind,” said David Labuskes, CTS, RCDD, Executive Director and CEO, InfoComm International. “InfoComm thanks Biamp Systems for helping to develop the industry globally, and Latin America in particular.”
In “Networking Technology,” students will learn to understand and troubleshoot IT networks that support AV systems. Held at the Mexico City office of Biamp Systems’ Mexican distribution partner, Representaciones de Audio, each session will be limited to 10 attendees and will be presented in Spanish. As the program’s sponsor, Biamp is offering its channel partners and Mexican integrators a 50-percent discount on registration.
Extron Expands New Cable Cubby Series/2 Lineup
Modular enclosures support the AV industry's broadest range of available AV connectivity and AC power options
Extron Electronics has introduced the Cable Cubby 500 and the Cable Cubby 700, the latest additions to the company’s new Cable Cubby Series/2 line of cable access enclosures for AV connectivity and AC power.
The compact Cable Cubby 500 and mid-size Cable Cubby 700 join the previously-announced Cable Cubby 1200 low-profile enclosure and Cable Cubby 1400 double-sided enclosure, offering four unique, conference room cable management solutions that complement any furniture style or room décor.
The modular enclosures support the AV industry’s broadest range of available AV connectivity and AC power options, including Extron Retractor cable retraction modules, AAP – Architectural Adapter Plates, and AV cables. AC power modules are available for the U.S., Europe, and other major world markets.
The Cable Cubby 500 and Cable Cubby 700 are available in a durable yet elegant black anodized or brushed aluminum finish.
“Extron Cable Cubby enclosures are recognized worldwide as the AV industry’s ‘gold standard’ for cable management, providing architects, consultants, and integrators with unequaled flexibility in creating just the right mix of AV connectivity and AC power for any application,” says Casey Hall, vice president of sales and marketing for Extron. “The new Series/2 enclosures, including the Cable Cubby 500 and Cable Cubby 700, take the Cable Cubby experience to the next level of sophistication, with a combination of design aesthetics, ease of installation, and serviceability that can’t be beat.”
All Cable Cubby Series/2 enclosures are engineered for fast assembly and installation on the job site. A simple integrated clamp system secures the Cable Cubby Series/2 enclosures to the furniture surface.
The patent-pending, modular design allows convenient installation or replacement of AV cables or AAPs from the top of the enclosure, after it’s installed. The Cable Pass-Through Plate features a unique, split-ring design that facilitates cable installation while eliminating the need for separate cable grommets. The AAP Plate can be pre-populated and cabled before installation within the enclosure.
Most AC 100 Series AC Power Modules provide two unswitched AC outlets. To support the charging of smartphones, tablets, and other mobile devices in AV presentation environments, the optional AC+USB 200 Series Power Modules provide one or two AC power outlets, plus two 5-volt DC USB power outlets with 2.1 amp/10.5 watts of total power.
Monday, January 20, 2014
Church Sound: The Basics Of Mixing Console Channel Inserts
One of the features often found on the rear panel of a mixing console is the channel insert. The insert serves simultaneously as both an input and an output for either a single channel or for some other signal path, such as a submix or main output bus.
It is a point in the signal path at which the signal can be detoured — sent out of the mixer — and then returned to its normally scheduled programming, creating what is called an effects loop. In other words, it allows you to “insert” an outboard device into the signal path.
On many mixers, a single 1/4-inch three-conductor jack provides connections for both an input and an output. What would you do with such a strange jack?
1. Apply effects to a channel or submix. Because an insert is both an input and an output, you can route the signal from the channel out to a reverb, compressor, limiter, etc., and then back into the channel. You might send the signal to a noise gate to automatically “turn off” a mic when it’s not in use.
Reducing the number of mics that are on, or “open”, reduces the risk of feedback and improves your signal-to-noise ratio.
2. Use it as a direct output, like a post-mic preamp, but pre low-cut filter, mute, EQ, fader, etc. Just because you’re sending something out doesn’t mean you have to bring it back. You can use each insert to send a “direct out” signal to a line-level input of a tape recorder, or to another mixer for a broadcast or recording feed.
At the mixer end of your direct out cable, you’ll want a standard 1/4-inch mono (or TS, tip/sleeve) phone plug. Push the phone plug part way into the insert jack, just to the first click. This will route the direct out signal via the cable, without interrupting the signal flow in the mixer.
If you insert the plug all the way to the second click, you will still get a direct out signal, but the signal in the channel will be interrupted at that point — removed from the mix.
3. Insert a signal through a “Y” cable — using the insert as both a direct out and an effects loop. As an alternate approach, create your effects loop as described earlier, then insert a “Y” adapter after the processor to affect (compress, for example) both the direct out and the individual channel in the mix.
A good application for this might be to compress a pastor’s lapel mic or a pulpit mic, in both the house mix and a recording or broadcast.
Whether you use them as part of your normal setup every week, or just to solve an occasional routing problem, inserts add tremendously to the versatility of your mixing console.
Article provided by Mackie.