Friday, June 12, 2015
Aviom Unveiling New D400 And D400-Dante A-Net Distributors At InfoComm 2015
Up to eight personal mixers can be connected to each D400 or D400-Dante A-Net output, and an unlimited number of distributors can be used when creating larger systems with more than eight performers
At the InfoComm 2015 show in Orlando, Aviom (booth 721) is introducing the new D400 and D400-Dante A-Net distributors, designed to distribute power and digital audio data to Aviom personal mixing systems at a reduced cost.
The standard D400 has an A-Net input and is for users with an analog input module or a digital console card as the front end of their system, while the D400-Dante has Dante I/O instead of the A-Net input.
The D400-Dante allows up to 32 Dante channels to be routed to the personal mixing system, which makes connecting to a Dante-enable digital console or audio network as simple as plugging in a Cat-5 cable.
Up to eight personal mixers can be connected to each D400 or D400-Dante A-Net output, and an unlimited number of distributors can be used when creating larger systems with more than eight performers.
“The D400 and D400-Dante make designing a new Aviom personal mixing system even easier and more affordable,” explains Ray Legnini, Aviom product research and development manager. “For users with existing systems, the D400 and D400-Dante offer additional flexibility when it comes time to expand or upgrade a system.”
The D400 and D400-Dante are fully compatible with both the original Aviom Pro16 version of A-Net and the new Pro16e version of A-Net, the technology driving the A360 and A320 personal mixers that alsoh allow multiple 16-channel banks of monitoring content to be delivered over a single Cat-5 cable.
Hungarian Sound Recordist Ottó Oláh Relies On Lectrosonics SMb Transmitters
With over 30 years of experience in film and broadcast, Hungarian engineer believes in using only the best technology available.
Sound recordist Ottó Oláh has been in the movie business for more than 30 years, and has worked as a location sound recordist on more than 25 films internationally, including several blockbuster American and European films, as well as several television shows and commercials.
He has come to rely upon the Lectrosonics SMb transmitters to help him meet the challenges of location sound work.
According to Ottó, the duties of a production sound engineer in Hungary are challenging like everywhere else in the world, consisting of shooting sessions in extreme weather conditions, or on heavy terrain or in a very dark studio.
In Hungary, according to Oláh, “It is required that I know the A to Z’s of the sound profession – from recording to supervising post-production, which is an overall knowledge that is very useful in my approach to work.”
Recently, Ottó recalled the challenges of working on the film, Álom.net (Dream.net) for director Gábor N. Forgács, which captures both the action of a boys’ high school basketball team and high school cheerleaders rooting for them.
While capturing the sounds of the basketball training and dialog was difficult enough, Ottó’s real challenge was getting the sound right for the cheerleaders. The difficulty was not only that the cheerleaders were often simultaneously, cheering, chatting, jumping and shouting – their tiny costumes for the film consisted of very short miniskirts and half tank tops.
“The Lectrosonics SMb transmitters were the perfect solution, says Ottó, who purchased them from Lectrosonics’ distributor in Hungary, TWELCO.
“The SM Series transmitters are so small that we could hide them in the tops; we just had to be careful when taping down the mics so the girls were ready for exercise. The unique RM remote control helped in setting the frequency and audio gain, sleep, wake, lock and unlock modes. The RM was working fine but the boom operator always looked for the SM transmitter on the cheerleaders, Sound quality was, of course, beyond reproach and with a 12-track file-based recorder, we could also handle the scenes with many actors.”
With this experience with Lectrosonics, Ottó was confident when working together with this director during the shooting of their next film together, Pillangók (Butterflies), even when shooting a scene where the little boy in the lead role was talking to his friends while playing soccer on the field.”
In terms of choosing Lectrosonics and other equipment to help him master the challenges, Ottó has a firm motto:
“My motto is: Move with the times. This is the reason why I always have the latest, state-of-the art-equipment available, which, along with my experience and knowledge, allow me to work on any number of varied international film, commercial and television productions.”
iD14 offers two channels of Audient's console mic preamps delivering 10 in/4 out with Burr-Brown AD/DA converters, all in a compact desktop package.
Audient announces that the brand new bus-powered interface iD14 is now shipping worldwide and is available to purchase from your authorized dealer.
iD14 offers two channels of Audient’s console mic preamps delivering 10 in/4 out with Burr-Brown AD/DA converters, all in a compact desktop package.
“The mic pres are exactly the same as those found in our flagship ASP8024 console and throughout the rest of the product range, delivering unbeatable audio quality for the price,” says technical director, Tom Waterman.
One of the few USB audio interfaces in its price range to offer ADAT expandability, iD14 gives the option to add external mic preamps - such as the soon to be available ASP800, which can give you up to 10 inputs.
iD14 also introduces Audient’s revolutionary ScrollControl. With a touch of a button iD14’s volume encoder becomes a virtual scroll wheel that allows you to adjust DAW hosts, plug-in parameters, iD14’s mixer app and even scroll through your iTunes library - just like you’re adjusting a piece of hardware. Wherever your mouse pointer hovers, the iD knob can scroll to control.
See a video on ScrollControl here.
Key features of iD14 include: —1 x Discrete JFET Instrument Input —Main Speaker Output —Independent Class-AB Headphone Output —Full Monitor Control Functionality (software controlled) —ADAT Input for Expandability —Low Latency DSP Mixer —All-Metal Enclosure
Mackie Launches Control App For FreePlay Personal PA
FreePlay Connect users get control over levels, mutes and individual channel 3-band EQ, a feedback destroyer and FX processor.
Mackie announces that FreePlay Connect, the control app for the FreePlay personal PA, is now available for free download on the App Store and Google Play.
Anyone who has pre-ordered or is interested in purchasing a FreePlay can now download FreePlay Connect to get familiar with the workflow and feature set.
“Performers especially are going to love having wireless control over all aspects of their mix,” commented Mackie senior product manager, Matt Redmon. “They can easily incorporate backing tracks or house music into their set, mute or change effects between songs, and make tweaks to things like vocal levels or EQ - all during their show, and all right from the mic stand.”
With the FreePlay Connect control app, users get mobile freedom and increased control over everything from levels, mutes and individual channel 3-band EQ to sound-enhancing tools like a feedback destroyer and FX processor.
Solo performers can now take control of their mix right from the stage, attaching their phone to a mic stand for easy mixing while performing. Similarly, for corporate events or educational applications, the FreePlay Connect app allows for discreet level control right from the podium, or wherever else in the room it’s needed.
An all-in-one, full-range stereo PA, FreePlay features 300-watts of power, dual high-frequency drivers and a high-output 8-inch woofer, and is loud enough to fill small or medium-sized venues. Featuring Bluetooth music streaming and control, a full-featured 4-channel digital mixer and built-in effects, FreePlay allows users to connect microphones, line or instrument level sources, and provides built-in control for levels, EQ and more.
“The technology packed into FreePlay gives users wireless streaming and full control over their entire performance or presentation right from their device,” commented Redmon. “Plus, the additional flexibility added by our Lithium-Ion battery power and Kickstand / Pole Mount accessory make FreePlay the single-most versatile performance or presentation PA on the market.”
Mackie FreePlay Connect is now available for free download from the App Store and Google Play.
The Mackie FreePlay Personal PA will be available globally beginning July 2015 with a U.S. MSRP of $499.99.
Available accessories include the FreePlay Kickstand/Pole Mount ($24.99 U.S. MSRP), FreePlay Rechargeable Lithium-Ion Battery ($69.99 U.S. MSRP) and FreePlay Carry Bag ($69.99 U.S. MSRP).
Allen & Heath Launches dLive Digital Mixing Series (Video)
Surface layout is customizable, every input or mix can be assigned to any bank and layer, and there are also 26 assignable SoftKeys
Allen & Heath has launched dLive, a next generation digital mixing system, providing flexible architecture and FPGA processing core.
The new system provides control and networking options, plus the intuitive Harmony user interface with gesture control, meaning dLive is geared to applications from touring and festivals to installation in live venues.
dLive has a distributed system design with separate MixRack and Surface, with the system’s processing “brain” housed in the MixRack and available in three sizes – DM32, DM48 and DM64. There are also three accompanying control surfaces.
All MixRacks and Surfaces are mix ‘n match compatible, with common configuration, setup and show files. The MixRacks also contain the same processing engine, pioneered by the Allen & Heath R&D team using next generation FPGA technology.
The 96k/96bit XCVI Core provides capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, offering 160 inputs to mix, plus a fully configurable 64 mix bus architecture, with full processing on all 64 mix channels. dLive incorporates the DEEP processing portfolio of embedded plugins, including graphic EQs, compressors, multiband compressors and dynamic EQs, alongside its 16 slot FX racks, featuring Allen & Heath’s FX emulations.
“Focusing on feedback from our customer base and key engineers, we have developed a new Allen & Heath technology base for live mixing. The XCVI Core is designed from the ground up to execute our DEEP Processing algorithms from within the FPGA channel processor core. This unique architecture allows users to select various embedded processing models on every input and mix channel on the fly, without burning valuable FX slots or adding latency,” says Allen & Heath’s R&D director, Dr. Rob Clark.
Remote IO expansion is provided at both the MixRack and Surface through dual-redundant Cat-5 DX ports. This enables connection of up to three modular DX32 expansion units. Further inter-system and network connectivity is available through five resident 128 channel I/O ports for a range of audio networking cards, including Dante, Waves SG, ACE, and MADI, with a fiber optic option also under development.
The dLive Surfaces come in a choice of three sizes – the S3000, S5000 and S7000, with the layout customizable—every input or mix can be assigned to any bank and layer, named and color coded, and the engineer also has 26 assignable SoftKeys at their disposal.
Key to the Surface design is the new Harmony UI which integrates screen and wrap-around controls with a single or twin 12-inch capacitive touchscreen, gesture control, configurable widget areas for Scenes, meters and FX. There is also advanced illumination control for optimal visibility in daylight or low light conditions, including backlit keys, RGB coloured encoders, and an integrated LED light strip.
Alternative mixing control is provided via MixPad and OneMix apps, Editor on/offline software, TCP/IP control for third party integration, and network-enabled IP fader and rotary remote controllers.
Finally, dLive has a new pro touring grade chassis, optimized for weight and rigidity. All units have dual power supply slots for redundancy, with PSUs hot swappable between Surfaces, MixRacks and Expanders. Dual redundancy is also built into every audio connection throughout the system.
“It really is the ultimate mixing system, with all the processing tools and power that the most demanding engineers would expect, and the flexibility and networkability to cater for any application. This is coupled with an extremely intuitive user interface and what we believe is the fastest workflow in the industry,” says Nicola Beretta, senior product manager. “dLive is equally at home in fixed installations, such as a church or theatre, as it is at festivals and out touring.”
Prices range from $22,500 for a small dLive venue solution to approximately $35,000 for a large touring system.
Sometimes my first reaction to something isn’t always my best reaction.
Recently I was mixing a group that I’d handled a few times before, and after about 30 minutes of rehearsal, the leader walked out in to the house to listen to the mix.
What happened next is where I thankfully took time to process rather than react. After a few minutes, the leader shouted, in what I interpreted as a rather curt tone, “The kick drum is way too loud!”
My passive aggressive nature was screaming from me to either shout back or turn up the kick even more.
But fortunately, in my case, a bit of wisdom has finally come with age. So rather than elevate the conflict, I did the smart thing and turned down the kick. Doing so also allowed me to think a bit more rationally.
My thoughts, not in any particular order:
1) The leader knows the band and what the mix should sound like.
2) The leader is an idiot. Everyone likes to feel the kick drum (notice I said I was only a bit more rational).
3) I’m a professional and know how to mix (OK, so I’m not always rational).
4) Maybe the kick is a little heavier on the main floor (I was mixing from a balcony position).
5) The average age of the audience will be somewhere between blue hair and retirement home, so the leader is probably just asking me to mix to the audience.
6) I’ve been accused before about having too much kick in my mixes.
7) Perhaps my mix is not matching the musical performance.
That last thought, number 7, is the one I settled on as “most” valid and most likely what the leader intended: the sound of the performance should match the music of the performance. Bill Gaither music should not sound like rock. Rock should not sound like classical. Classical should not sound like there is a sound system present. Etc…
I was thankful I didn’t take his “suggestion” as a personal attack and do something stupid, and I was able to provide a mix that better represented the musical performance. Win-win.
Later in the rehearsal, I went down to the main floor to hear how it sounded overall, and to specifically evaluate the kick. I thought the kick (and drums overall) sounded O.K., maybe a little light, but I asked the leader to join me and share what he was hearing.
His take was that the drums, overall, were a little too loud. It was his show, he had written all of the arrangements, and he leads this band all of the time, so he knows the sound he is looking for. It was my job to make that happen.
The morals of this story:
1) Be slow to speak and react.
2) Don’t take things personally. Just because someone makes a suggestion, don’t get offended.
3) Our role as sound mixers is to best represent what’s happening on the stage and to mix to that style of music, not how we personally like it.
4) The leader has the final say. He (or she) has either written or picked out the arrangements, secured the musicians, and has an opinion on how it should sound.
Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 30 years.
Bel Digital Launches BM-A2-4SHD MKII For OB And Flyaway Systems
With a reduction of both chassis depth and overall weight, the new BM-A2-4SHD MKII is ideal for OB or flyaway applications.
Bel Digital’s BM-A1-4SHD four channel audio monitor/de-embedder is now available in a larger 2U chassis, providing increased definition in metering and an increase in SPL.
With a reduction of both chassis depth (down to 200 mm) and overall weight, the new BM-A2-4SHD MKII is ideal for OB or Flyaway applications.
The BM-A2-4SHD MKII can de-embed any group of four channels of audio from one of two SDI sources (up to 3G SDI) and display the levels on the front panel meters, as well as providing stereo audio monitoring of any combination of the four channels.
In addition to the auto-detecting SDI inputs, the BM-A2-4SHD MKII has four balanced XLR analog inputs and two AES3id BNCs. A re-clocked loop-through output is available for the selected SDI source, providing a convenient and cost-effective method of switching SDI feeds to an external monitor.
Channels 1 to 4 of the selected source are also routed to two AES3id outputs. Therefore providing format conversion and SDI de-embedding facilities. In addition, the stereo audio monitor mix is available as a separate balanced feed at a pair of XLRs.
Very simple to set up and use, like the BM-A1-4SHD, all source selection and main monitoring setup is done from individual controls on the front panel, without any need for menu navigation.
The BM-A2-4SHD MKII’s audio performance is tuned for maximum clarity and delivers a higher SPL compared to the more compact BM-A1-4SHD monitor.
Users have full flexibility in assigning any channel to left, right or both speakers (or neither), and automatic level attenuation compensates for monitoring multiple channels. A ¼-inch jack headphone output socket is provided on the front panel, which mutes the loudspeakers when in use. If external monitoring on larger speakers is required, the audio level at the rear panel analog outputs may be configured to be either fixed or to follow the main volume control.
The 53-segment, tricolour LED bargraphs include user setup options to allow a choice of four scales and ballistics (including BBC or DIN PPM, VU and AES/EBU), as well as color transition points and peak hold.
The front panel LCD provides signal status information of the selected source (including video format of the selected SDI signal and AES lock) and volume level indication.
For the tour, rental company Nitelites provided DiGiCo SD7s for both front of house and monitor positions.
British singer-songwriter Ben Howard is enjoying success on both sides of the Atlantic, having completed a sold out UK tour in December and a successful run in the US, returning to the UK in April.
For the tour, rental company Nitelites provided DiGiCo SD7s for both front of house and monitor positions.
Nitelites director Andy Magee, who has been working with Howard since 2012, elected to take up the front of house position, with Barrie Pitt mixing monitors.
They use SD7s, he says, simply because they are head and shoulders above anything else.
“The band knows exactly what they want and we try very hard to give it to them. It’s always a challenge and every console we use is pushed to the limits of its performance,” he says. “Almost all the band members are engineers and have worked in studios, so they push us really hard. It’s good for us because it keeps us sharp.”
“The SD7 sounds great. There’s still nothing that comes close to it for performance and it still keeps getting better. The monitor console has 140 channels into 48 outputs at 96kHz and there’s no other console that can do that or the complicated routing we need.”
At front of house the show is heavily dependent on automation and by using the SD7, Magee knows he can do just what he needs to do.
“If things change during the show, I can hit a safe button and get exactly what I need,” he says. “The band is great and the show sounds fantastic; the layering in the music is really subtle. With other consoles you just don’t hear everything with such depth.”
Magee’s SD7 has the addition of a Waves Soundgrid, along with a DiGiGrid MGB to multitrack every show to a MacBook, which he plays back to Howard each day. Pitt, meanwhile, has a Universal Audio Apollo 16 plugin server with a DiGiCo Mini-Rack.
A pair of SD9’s are also employed as the support band consoles.
And what about support?
“Before the tour started, I had some hardware training from Rob Andrews and Dave Bigg at DiGiCo,” Magee concludes. “As ever, their support is the best in the industry.”
Mackie’s Redesigned And Expanded ProFX Series Now Shipping
Sonically-enhanced ProFXv2 series includes all-new Vita preamps and ReadyFX effects engine.
Mackie announces the immediate availability of ProFXv2 series professional effects mixers.
The redesigned ProFXv2 series features an all-new preamp design and effects engine, for live sound applications.
The series has been expanded with two new models, the 4-channel ProFX4v2 and the 30-channel ProFX30v2, opening up the ProFX toolkit to a wider range of applications.
“Musicians and professional engineers have come to rely on Mackie ProFX mixers to deliver the complete feature set and unwavering performance they need for their live sound applications,” remarks Matt Redmon, Mackie sr. product manager.
“With ProFXv2, we’ve not only expanded the lineup, we’ve invested heavily in elevating the sonic performance of the series. ProFXv2 mixers sound amazing and, as always, are available at an extremely attainable price.”
Mackie has designed the all-new Vita preamp specifically for the highly-dynamic world of live sound. Vita preamps are virtually noiseless, even at high gain levels. The Vita design features a Class-A front end, dual feedback stabilization and bias current optimization for low-noise performance.
“Recalling how good the mic preamps in v1 sounded to my ears, I was truly impressed upon auditioning the new Vita preamp in ProFXv2,” offers Strother Bullins in his review of the ProFX30v2 (PAR, April 2015). “Wide open with a variety of sound sources and microphones, the only hiss I heard was from the powered monitors I was using. I found the ProFXv2 to be super clean with an impressively professional-grade sound.”
Also contributing ProFXv2’s sonic performance is the all-new ReadyFX effects engine. This new engine employs floating-point DSP with more horsepower and all-new algorithms. Each ProFXv2 mixer features a choice of 16 reverbs, choruses and delays for a wide array of sonic applications.
“We are excited to deliver these premium new effects to the popular ProFX platform,” Redmon commented. “The reverbs feature realistic room emulation, the delays are densely textured, the choruses add a rich shimmer and ambience to any source…they are simply the best effects Mackie has ever put into an analog mixer.”
ProFXv2 delivers a live mixing toolkit that eliminates the need for expensive rackmount gear. It’s ideal for situations where purchasing extra gear is cost-prohibitive and the result is a simple setup that can easily be run by novices, but offers all the right tools for in-house engineers. Each ProFXv2 mixer features multi-band GEQ, critical for tuning mains to get the best possible sound in any venue. Onboard GEQs are also great for eliminating nasty feedback from stage monitors. Each model features a flexible mix of I/O and, with six models available, covering applications ranging from 4 to 30 inputs, there is always a ProFXv2 mixer right-sized for your application.
ProFXv2 mixers also feature built-in USB recording and playback. Users can record the live mix for distribution to the audience, be it a band’s fan base or a House-of-Worship congregation. It’s also perfect for music playback in any live sound situation. Just connect the ProFXv2 mixer to a Mac or PC and stream music directly to the house during performance breaks. It’s ideal for band rehearsal also, as musicians can capture their ideas and improve their live performances.
“It’s a super choice for budget-conscious churches and smaller music venues who aren’t interested in jumping in the digital pool yet, but want the latest advances in whistle-clean mixer technology,” observes PAR’s review.
The ProFXv2 Series features a wide range of models, each with their own complement of I/O and features to suit nearly any live sound application. There are three compact models - ProFX4v2, ProFX8v2 and ProFX12v2. These utility workhorses deliver professional live sound features in compact designs perfect for smaller applications. The ProFX16v2, ProFX22v2 and ProFX30v2 not only offer the higher-channel count needed for bands, Houses-of-Worship and more, they include additional features for professional applications. They each feature 4-bus architecture for additional mix management and dedicated inline channel compression on select channels that add life and punch to guitars or bass and increase the presence of any voice.
The ProFXv2 series expands on the models available in the line with the new ProFX4v2 and ProFX30v2. The ProFX4v2 is the most feature-rich ultra-compact mixer on the market. No other mixer of this size and price features the comprehensive toolkit that ProFX4v2 provides. It’s ideal for cafès and other small performance venues. It’s also perfect for vocal-only reinforcement in band rehearsal spaces. The ProFX30v2 extends the line into truly professional applications. It’s ideal for live sound venues looking for a higher-channel count solution without needing excess outboard gear. Bands that bring their own PA to the venue will also appreciate the flexibility and power of the ProFX30v2.
PAR’s review concludes, “... the ProFX30v2 was useful everywhere I would choose an analog mixer, with plentiful I/O and solid effects. It shines as a premium small club mixer, impressed both others and myself as a recording/tracking mixing console, and was intuitive to nearly everyone who put their hands on it.”
Mackie ProFXv2 series mixers are now shipping worldwide.
The series includes six models to cover a wide range of applications.
The ProFX4v2 has a U.S. MSRP of $169.99.
The ProFX8v2 has a U.S. MSRP of $299.99.
The ProFX12v2 has a U.S. MSRP of $359.99.
The ProFX16v2 has a U.S. MSRP of $629.99.
The ProFX22v2 has a U.S. MSRP of $809.99.
The ProFX30v2 has a U.S. MSRP of $1149.99.
Roland Professional A/V Division Holds Rep Training Event In Burbank
Two-day training event at CenterStaging Rehearsal Studio in California introduces sales representatives to the M-5000 and other new products.
Roland’s Professional A/V division recently held a two-day training event for the new M-5000 live digital mixing console at CenterStaging rehearsal studio in Burbank, California.
The hands-on training was designed to equip Roland’s independent U.S. sales network, along with Pro A/V sales teams from Latin America and Canada, with in-depth knowledge of the M-5000’s design and operation to support end users in the field.
CenterStaging pro audio staff members participated in the M-5000 hands-on training in preparing for M-5000 placements at the rehearsal facility.
A portion of the training also covered video system design, featuring the Roland V-1200HD and integration with the Roland M-5000.
Additionally, Roland provided training on the recently released version 2.0 software update for the Roland XS Series AV Matrix rack mount switchers. The updated software features uninterrupted output mode switching, cross dissolve switching, PGM/PST operation mode, enhanced customization Picture-in-Picture capabilities and a new customizable iPad app for wireless touch control.
Roland will be demonstrating these new products later this month at the InfoComm Show in Orlando, Booth #853.
Paul Weller Back On The Road With Soundcraft Vi6 Digital Console
Monitor engineer Samuel Manigley's Vi6 joined by a 64-channel Vi Stagebox and a Compact Stagebox for additional inputs
Singer, songwriter and musician Paul Weller is back on the road in support of his latest album, Saturn’s Pattern, with monitor engineer Samuel Manigley utilizing a HarmanSoundcraft Vi6 digital console supplied by SSE Hire.
Weller’s current touring band is comprised of six musicians in total (including Weller), with a second drum kit having been added to the instrumentation in January.
“Paul Weller’s concerts are sensational, and he has such a varied back catalog of songs, from great guitar tracks like ‘Peacock Suit’ to beautiful piano-driven tunes like ‘You Do Something to Me’,” Manigley notes.
Along with the Vi6, Manigley has a 64-channel Soundcraft Vi Stagebox, plus a Compact Stagebox for additional inputs. “It’s 64 inputs just from the band on stage so we needed some extra room and the Stageboxes have worked out great,” he says.
Manigley became familiar with the Vi Series consoles last year while mixing monitors for Courtney Love’s academy tour, citing features such as the Vistonics II control interface and FaderGlow fader illumination technology.
“We used in-house consoles everywhere we played and a lot of these academies had Vi4 or Vi6 desks,” Manigley adds. “The ease of use with those desks is incredible and the way they’re laid out, you see exactly what you need right in front of you. So I pushed hard for us to get a Vi6 for this tour.”
“The Vi consoles give you everything you need in a digital desk, but they also hold massive analog principle—everything is in a linear format and very intuitive,” he concludes. “I’m hoping to be able to use a Vi3000 later this year and as much as I love the Vi6, I know the (new) Vi3000 will be even better.”
Roland Artists Showcase Latest AIRA Gear At Detroit Movement Festival
Roland’s presence extended throughout the festival, giving performers hands-on time with the newest Roland AIRA gear.
Roland recently took center stage as a sponsor of the Movement Electronic Music Festival in Detroit.
Each year, over 200,000 people journey to the birthplace of Techno for the festival, which features three days of performances by DJs and producers, as well as up-and-coming electronic music artists.
This year’s lineup took to the stage with a heavy rotation of Roland AIRA gear and clothing.
Kevin Saunderson, who rocked his Roland MX-1 Mix Performer and Roland TR-8 Rhythm Performer; Nina Kraviz, who performed wearing AIRA gear; Detroit legend Carl Craig, who wowed the audience with his Roland SYSTEM-1m semi-modular PLUG-OUT Synthesizer, MX-1 and TR-8.
Bulgarian artist KiNK infused his Euro-style music with beats from his TR-8; Cell Injection, Shawn Rudiman of Detroit Techno Militia and Techno influencer Kenny Larkin who all performed with their TR-8s; and originators of Acid House, Phuture, who performed with their full array of AIRA gear including TR-8s, Roland TB-3 Touch Basslines, and MX-1s.
Latin American house scene producer Guti also performed with the AIRA TR-8 during the Movement after party.
Roland’s presence extended throughout the festival, including a special AIRA section in the Movement Artist Lounge that gave performers hands-on time with the newest Roland AIRA gear, plus an AIRA booth in the Movement Tech Area for festival-goers who wanted to hear, play and learn about all the latest gear, including the TR-8, TB-3, VT-3, MX-1, SYSTEM-1, SYSTEM-1m and the AIRA modular effects units, including the new TORCIDO Modular Distortion, BITRAZER Modular Crusher, DEMORA Modular Delay, and SCOOPER Modular Scatter.
AIRA street teams gave away t-shirts and daily prizes to festival-goers. They also kept fans across the country updated on the latest festival happenings with live streaming from the stage, on-site Tweets and artist interviews. Roland AIRA wearables were also sold at the festival’s merch tent.
Festival artist KiNK, an emerging DJ in Bulgaria, relies on his Roland AIRA gear, which includes the new TR-8, a modern-day version of the classic Roland TR drum machines. KiNK remarks, “For live use, I think the TR-8 is much better than the originals. It’s the machine I’ve been waiting for my whole life.”
AIRA U.S. product manager Brandon Ryan reflected, “Roland products and the Detroit Techno scene have a long history together – dating back to the mid-eighties – so it’s only fitting that we should support today’s electronic musicians and listen to their feedback about what they need to help them shape the next chapter of music history.”
Before the advent of stereo in-ear monitors and double-miking instruments, long before dedicated effects and “sweetening” tracks (and “click”), way before the B-stage and the guest inputs, consoles with 32 channels and 16 auxiliaries covered any band and most festivals.
But today, 32 x 16 desks are consigned to clubs and support acts, with today’s largest shows often requiring 100 channels and 50 mixes or more.
The digital train keeps a-rollin’: the advantages of digital consoles are so numerous we may take many for granted. And Neal Young is right: once considered a frivolous extravagance, today’s largest consoles operate at 96 kHz.
From “copy and paste” to preset libraries for EQ, effects, dynamics, entire channels and even sets of channels (like an entire drum kit), there’s a lot to work with. Presets can even be made of an auxiliary send, making monitor mix presets possible. Control groups are even larger on the biggest desks.
Engineers used to worry they wouldn’t have enough faders on digital consoles to manage high channel count shows, but the new digital workflow allows engineers to mix from DCAs, “spilling” contributing channels to the next fader bank where they can be tweaked. New designs improve workflow with custom fader layers, but control group “spill” onto adjacent fader banks is the ultimate custom layer.
Size and weight are obvious digital advantages. Analog consoles and their associated outboard racks, splitters and multi-core interconnect snakes are becoming a thing of the past. Large digital control surfaces weigh one or two hundred pounds and take far less room than analog equivalents for smaller footprints in theaters and at festivals.
Digital snakes are eliminating the hums and buzzes of yesterday, and networking a digital console’s preamps on stage shortens the path from mic to preamp. Gain-sharing means consoles don’t need a splitter, so mix engineers don’t have to listen to their inputs through transformers.
“In-the-box” mixing, where mix processing is performed entirely within a digital console, means engineers can save shows and open them on identical or similar consoles. They can email a file to the next gig’s console vendor, “cc-ing” themselves a copy as backup.
Remote control of a console from an iPad has become a standard feature and a powerful tool, allowing front of house engineers check their listening area while monitor engineers can stand beside performers – both with controls in hand.
MADI has enabled manufacturers to provide multi-track I/O for recording and playback to laptop-based DAWs providing affordable virtual sound check. This simple innovation allows engineers to easily check a previous show, test sound systems with a previous performance, practice mixing or tweak a show file, teach others to mix, and afterwards, easily mix a show down for distribution using the same console.
Another advent is simple 2-track recording and playback using USB “thumb drives,” allowing engineers to walk away from a console with a board mix they can easily listen to and then e-mail to others if they like. It also provides simple and foolproof playback of walk-in and intro music with no moving parts.
All engineers will be using iDR10 MixRack with iLive control surfaces and PL10s for remote control with 64 channels of Dante available for recording.
UK hire company, SSE, is providing iLive modular digital systems by Allen & Heath for two key tours taking place this summer by artists Paolo Nutini and Morrissey.
Having visited the UK and Europe in the spring, Morrissey will be performing 4 nights at the Sydney Opera House, followed by a comprehensive tour of the USA throughout June and July.
Meanwhile Paolo Nutini will be playing various outdoor and festival dates across Europe this summer with a control package from Wigwam Acoustics.
“iLive has been out of tour with both of these artists a number of times, and SSE is delighted to be able to fulfil the tour requirements by continuing to provide the systems,” says Dan Bennett, hire project manager at SSE. “iLive has proved to be a great success on the road, it’s easy to travel with, compact, quick to set up, and everyone is very pleased with the sonic quality.”
Selected by engineer, Tom Howat, the monitor system for Paolo Nutini’s tour comprises an iDR10 MixRack with iLive-112 Control Surface, with a PL10 controller for additional ‘per-song cues’, and an ME-1 for remote tech monitoring duties.
iLive will be managing both front of house and monitors for the Morrissey tour. Front of house engineer, David Millward, has opted for an iDR10 MixRack and iLive-80 Surface, whilst on monitors, engineered initially by Tom Howat with Will King taking over for the US leg, there will be an iDR10 with iLive-112 Surface. All engineers will be using PL10s for remote control and there will be 64 channels of Dante available for recording.
“This will be the third time I’ve travelled around the globe with iLive. It’s an exceptionally compact surface, which is great fun to mix on. I love the quality of sound, and the range of built-in effects have in my opinion the best reverbs I’ve heard on any console in any price range. I also particularly love the ability to drag ‘n drop any type of channel strip, inputs, outputs, DCAs, FX returns anywhere on the entire surface and even on a per scene basis without affecting audio or worrying about re-patching inputs. Bringing just the channels needed specifically for each song right to your fingertips means you can really concentrate on mixing and being creative. I enjoy it so much it is currently the only console on my audio specification.” says Millward.
New Version 2.0 Of Roland XS Series Multi-format Matrix Switchers Now Available
The XS Series switchers benefit live production and fixed installations, enabling processing and switching of digital or analog video sources to multiple outputs simultaneously.
Roland announces a new version 2.0 update for its XS Series Multi-Format Matrix Switchers.
The XS Series rack mount switchers offer features benefitting both live production and fixed installations, enabling processing and switching of digital or analog video sources to multiple outputs simultaneously.
New 2.0 features include uninterrupted output mode switching, cross dissolve switching, PGM/PST operation mode, enhanced customization Picture-in-Picture capabilities and a new customizable iPad app for wireless touch control.
The XS Series Matrix Switchers come in three configurations: XS-84H is 8-in x 4-out, XS-83H is 8-in x 3-out, and the XS-82H is 8-in x 2-out. Each provides integrated video and audio conversion and switching with iPad control.
The XS Series supports HDMI, HD Component, RGB, and composite video signals with output resolutions up to 1080p. Up to eight compatible line or two mic inputs with digital audio effects can be accommodated.
Users can remotely control the Roland XS Series using the native iPad app, XS Remote, via RS-232C interface, or control over LAN connections. Remote control is valuable for installed applications where front panel controls are not accessible or a programmable touch control interface is required that can access functions of the XS Series.
Advanced video processing functions makes multiscreen video productions possible for both signage and live applications such as HOW environments. Users can scale a single image across multiple displays using the SPAN mode, then quickly and easily switch to a different image on each screen in MATRIX mode. Each input channel supports adjustments for scaling, positioning and aspect ratio before output, ensuring the best possible picture.
The XS series can switch between and route HDCP video from computers, smart phones, blu-ray, and even still images from internal memory to displays ideal for education and live production applications. Up to four HDBaseT outputs can be used for long distance transmission of audio and video content to displays throughout a campus.
Roland’s new HT-TX01 HDBaseT Transmitter and HT-RX01 HDBaseT Receiver products convert HDBaseT signals to and from an HDMI signal ideal for use with the Roland XS Series. They transmit or receive audio, video and RS-232 control information up to 100 meters over Cat5/6e cable. The HDBaseT products are HDCP compliant and support signals up to 1080p as well as WUXGA over HDMI to connect video cameras, computers, Blu-ray decks, switchers and other sources to LCD monitors, projectors, video switchers, and other display devices up to 330 feet away.
For teleconferencing applications, the XS series features four internal audio/video busses. This can be used to create minus-one audio to feed directly into teleconferencing systems. Switch up to eight computer and video devices in both analog and digital formats. In addition, an audio ducking function lowers audio levels when microphone audio is detected, making it ideal for conference or boardroom environments.
The XS Series Version 2.0 features will be demonstrated at Roland’s InfoComm booth #853.
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