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Thursday, October 01, 2009

Taking The New Mackie Onyx-i, M-Powered Mixer For An Initial Spin

As noted a couple of weeks ago, I received a new Mackie Onyx-i Series mixer/interface that will run Pro Tools without the need for Avid hardware. (Read all about it here in Part 1 of this report)

My first inclination was to take it to the studio and try it out, and then I got to thinking that actually, a lot of people interested in buying this system might/probably be more likely to be using it in a home situation.

So instead I set up the Onyx mixer with my home PC laptop running Vista Home Premium (ugh), a set of headphones, and an inexpensive microphone. (Later, I took it into a bigger “pro” studio and also evaluated the M-Powered capability, and that will be the subject of my next report.)

The Onyx-i 820i that was supplied to me offers 8 channels, 3 of them with Onyx mic preamps, It’s also outfitted with a variety of Perkins EQ configurations, two aux sends, talkback controls, and flexible control room routing.

FireWire I/O lets you route all channels, auxes and the master L/R to many DAW software programs, (such as Pro Tools M-Powered 8, Logic, SONAR, Cubase, Ableton Live, and Final Cut Pro) for recording, and enables you to return a stereo signal to the control room, or into a channel, for mix integration.

I decided to first listen to the mixer, alone, using a set of Audio-Technica D40 fs headphones and a Audio-Technica M31 dynamic cardioid microphone - decent quality pieces that would be comparable, in price, when matched with the Onyx-i/Pro Tools 8 M-Powered combination.

For years I’ve used a Mackie 1202 mixer basically as a “volume control” for my powered KRK-V88 monitors, and I’ll occasionally use the EQ and mic preamps, so I have a frame of reference for the mixer comparisons.

The “boutique style”  preamps on the Onyx-i definitely sound better than the 1202 preamps, with an overall richer sound - a fuller, more rounded bottom end and a smoother top, as well as less noise.  It will be interesting to compare the Onyx-i preamps to actual “boutique preamps” in the studio, using both the same microphone as well as “studio quality” condenser models.

The Mackie Onyx-i 820i (click to enlarge)

Turning to the EQ… I wasn’t sure what a “Perkins EQ” was, so I found this definition on line: “A Mackie trade name for equalizer circuitry employed in their Onyx mixer series. The name refers to Cal Perkins, a veteran Mackie engineer who had previously done work for Marantz, JBL, and Fender.

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“Perkins started with the Wien Bridge circuit topology - a design inspired by the hallowed ‘British’ consoles of the ‘60s and ‘70s. This design essentially trades boost/cut capability for a wider, highly musical Q filter. He then specified capacitor and resistor values that would give Onyx mixers an extra 6 dB of control (+/-15 dB) without excessively narrowing the Q filters.

“Perkins also employed combining filters for minimum phase shift. The result is very musical EQ that provides a wide-ranging yet natural sounding boost or cut.“

Very good.

Now, my observations.

The high shelf on the first two mic/line inputs has a corner frequency of 12 kHz, not the typical 10 kHz on most fixed frequency high shelf EQs.

The low shelf is at 80 Hz, again, not your typical 10 kHz corner frequency. These are the same “Mackie frequencies” on my 1202 mixer.

As far as the mid-range, the peaking EQ sweeps from 100 Hz to 8 kHz, and all three bands have a +/- 15 dB boost/cut.

Inputs 3-4, mic input/preamp 3, have the same high and low EQ points, and two other peak EQ frequencies; one is low midrange at 400 Hz and the other is high midrange at 2.5 kHz. 

I’ve never preferred Mackie’s choice of 2.5 kHz as the high-mid frequency (again, also used on the 1202), but I can live with it, primarily because I usually do subtractive EQ (although the sweep mid is much more flexible).

The choice of 400 Hz as the low-mid frequency is interesting, considering the other frequencies chosen, and, with the preamp on this channel as well, you have the option of using a mic on inputs 1 or 2 with the sweep EQ, or on input 3 with the four fixed bands.  (All of these frequencies are also +/- 15 dB.)

Inputs 5-6 and 7-8 are line-only inputs, and have the same 12 kHz high frequency EQ, 80 Hz low frequency EQ, and 2.5 kHz mid-range EQ (all +/-15 dB).

The EQ sound very decent, and the sweep mid is, by far, the best of the three variations. The top is smooth and the bottom tight. 

The two Onyx-i 820i EQ sections

The mids 2.5 kHz are an annoying frequency to boost but an OK frequency to cut. But the sweep mid EQ can be boosted at higher or lower frequencies than 2.5 kHz to add more bottom or upper mids without any problem. 

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This can also cut any annoying mid frequency or boost any desirable mid frequency with ease. It would be nice to have a “Q” control, but at this price point, the mixer is very flexible, especially with the talkback, control room routing, and 24-bit/96 kHz FireWire I/O.

Note that they state “hybrid mono/stereo channel with 4-band Perkins EQ with sweepable mids” when it actually has four bands of fixed frequency EQ.

This brings me to the next point in this review. Setting up the Pro Tools 8 M-Powered software, Mackie’s V1.0 Universal Driver, and interfacing the mixer. 

First things first. My package didn’t include a FireWire cable. However, after this article was posted, Mackie informed me that indeed a FireWire cable is included with all production stock, which is good news. (And as a result, please disregard my previous statement about needing to borrow or acquire one.)

As noted earlier in this article, I’m going to save the discussion of the installation of the software and set-up of the mixer using my laptop for the next (and final installment).

In addition, I’ll focus on how the package sounds in the “pro” studio, with better mics, monitors, preamps and EQs, not to mention how easy (or difficult) it is to set-up on the faster, more powerful computers - both Mac and PC platforms.

Until next time…

Bob Buontempo has more than 30 years of professional recording experience, and has been the president/owner of Buontempo Entertainment Services since 1976. He has also taught numerous recording and audio educational courses over the years.

Friday, September 25, 2009

Sound For New Production Of “The Producers” Headed By DiGiCo SD8 Digital Console

The New Bedford (Massachusetts) Festival Theatre recently staged a two-week run of the musical “The Producers” at the Zeiterion Performing Arts Center, featuring original costumes and sets from the Broadway performance.

Jason Choquette, on vacation from his main gig as touring sound engineer for the “Phantom of the Opera”, designed the production’s sound system with a DiGiCo SD8 at its core following a chance meeting with DiGiCo U.S. Sales Manager Matt Larson.

Choquette met Larson during the Minneapolis ‘Phantom’ run in June, and was telling him about designing the audio system for an upcoming production of “The Producers” at the Massachusetts theatre where he’d gotten his start. “The next thing I knew,” Choquette laughed, “I was going to a demo at a local sound shop to check out the SD8 console! Matt wanted some feedback for a new theatre software revision, but the only way I’d be able to do that was to use it in a real application like a show. I gave him the dates of ‘The Producers’, and within a few weeks, I had a demo console for feedback.”

As was typical in theatre productions, Choquette had previously mixed on analog Cadac J-Type consoles on productions including “Phantom,” as well as “Annie” and “Les Miserables.” But more recently, he’d been noticing more digital desks—in particular DiGiCo D5T—popping up on tours and in theatres such as the one used on the Tony-awarded “Billy Elliot”.

“I actually worked on a D5T once,” he recalled, “but since I was only the mixer, everything was already done for me. I just came in and threw faders. In this situation for “Producers,” I was able to actually dig in and program the console from the beginning. My first impression was that it looked like a typical digital console, but once I started working with it, learning all of its bells and whistles, it worked—and sounded—like an analog console.”

It took Choquette a little over two weeks to select mics and configure the console, which included a total of 68 inputs—32 instrument clip-on mics in the pit for the 13-piece orchestra, and 22 for vocal mics for the cast. Due to the space constraints in the theatre, he put a DiGiCo 48-input rack in the pit, with digital snakes leading back to the console.

“Once I got the full orchestra in for the initial soundcheck, I had the console up and running in 15 minutes,” he said. “We then threw in the cast for a complete run-through and I had the console pretty much dialed in after the second group song—with a couple tweaks here and there to compensate for the actors who put on hats during the course of the show.

:Having a digital desk for this kind of thing was invaluable. I was able to store EQs for those actors in those scenes, so when the lead character puts on a hat, you can have that EQ stored on that channel to compensate. The versatility of being able to program your EQs and dynamics, scene to scene, was amazing.”

He found the built-in effects to be amazing, as well. “I used three onboard ‘channels’ of reverbs, two for vocals and one for the band. The band reverb doesn’t change at all; the vocals do depending on the scene you’re in. You don’t usually find that clean of an effect built-in on a digital desk. The speed of the console with the processor is amazing! There’s like no load time whatsoever.

“The compressor and the gates on the console, which every channel has, are amazing. I didn’t use any of the inserts or the graphic EQs; I felt that the parametric EQs on each channel were enough. And the ability to edit the parameters on the effects, and the depth you can actually go into it, was incredible.”

Even though he was using the console in a relatively basic configuration, Choquette was blown away by all that it had to offer. “The basic power of the console is amazing, and you don’t have to go that far in-depth to do what you needed to do. I was using the console pretty much in its basic configuration, but as each week progressed, I added some more reverbs and such in, and started playing around with that. I also noticed that the processors were very clean. A lot of times on digital consoles you’ll hear a little ‘hiss’ and there is nothing like that on the SD8.”

Taking advantage of the DiGiCo MADI format, and using an RME MADIface interface, he was able to multitrack the show for archival purposes, but also found those recordings useful for fine-tuning his mixes. “With the flip of a button, you have the recording in front of you on the same channels that they were rerecorded on. I was able to fine-tune some of the show at that point, having all those tracks in front of me.”

Looking ahead, Choquette says he would definitely use DiGiCo again on a theatrical performance given the opportunity, although he thinks the SD7 would accommodate a typical, Broadway-type of production. And he very well might get the chance to switch over as he moves into the position of Head Of Audio for Phantom’s touring division.

DiGiCo Website

Wednesday, September 16, 2009

Solid State Logic Announces Enhanced Apple Final Cut Pro Integration For Gravity

Solid State Logic has announced a new Final Cut Pro media import/export plug-in for the Gravity Media Asset Management system.

The plug-in streamlines Apple Final Cut users import and export functions to and from Gravity’s shared storage. The plug-in is designed to further integrate Gravity’s media asset capabilities with Final Cut workgroups and end users.

“Our engineering team has developed a plug-in that will greatly enhance the Gravity experience with the growing Final Cut Pro community,” says Shaun McTernan, Gravity product manager for SSL. “With the new plug-in, editors can now choose the “Import from Gravity” or “Export to Gravity” option in the Final Cut file menu, allowing full access to Gravity media assets. This enhancement will speed up the workflow for all Final Cut users.”

With the new Final Cut plug-in, editors can choose the “Import from Gravity” option from the File menu which will open the “Import from Gravity” window listing all media assets available in Gravity’s shared storage.

From this location, editors can choose a file to be imported into Final Cut. Once the file is selected, the media and accompanying metadata will be available in the project bin of Final Cut.

Once the editor has completed the editing in Final Cut, the file can now be exported back to the Gravity system. The editor can simply highlight the files on the video timeline then select “Export to Gravity” from the File menu.

The editor can then choose a destination folder in Gravity’s shared storage for placement and can even choose to export the metadata added during the editing session including bookmarks and tagged information.

Once the export process is complete, the exported file is available in the Media Browser of the Gravity Asset Manager.

Gravity Media Asset Management systems pull together the essential elements of encoding, storage, transcoding, and decoding digital media to provide an integrated system for the ingesting, editing and playout of content for the broadcast, education, government, corporate and military markets.

Solid State Logic Website

Roland Systems Group Adds New Digital Mixing Console To RSS V-Mixing System Lineup

Roland Systems Group has added to its V-Mixing System lineup by introducing the new RSS by Roland M-380 digital mixing console.

The M-380 V-Mixer is a 48-channel console that possesses all of the features and benefits of the award-winning M-400 V-Mixer, but in a compact rackmount footprint.

It provides rapid recall of setups, 100mm motorized and touch sensitive faders, an 800 x 480 color screen, and dedicated knobs for EQ, Pan, and Gain.

The M-380 V-Mixer has up to 48-channel mixing capability including digital patch-bays, built-in effects processors, 16 Aux/Mon sends, 8 Matrices, 8 DCA’s, 8 Mute Groups, built-in stereo recording/playback and support for LCR configurations.

This fully digital system is built on REAC (Roland Ethernet Audio Communication) and eliminates the bulk and noise susceptibility typically associated with analog snakes and replaces it with cat5e (Ethernet/LAN) cable. It is easy to use and sets up in minutes by plugging in one lightweight cat5e cable from a choice of Digital Snake stage units to the compact M-380 V-Mixer making it ideal for corporate presentations, installations and portable applications.

The system generates superior sound quality by converting analog inputs to 24-bit digital streams at the stage end via high-quality mic preamps located near the source.

The V-Mixing System then secures the quality of audio signal throughout the complete system path en route to the M-380 V-Mixer, back to any outputs and on to limitless split positions.

The 40-channel assignable output split can be used with the powerful M-48 personal mixing system, the multi-hannel recording option from Cakewalk, and monitor and broadcast positions.

The intuitive interface applauded in the M-400 has been retained in the M-380 making it easy to learn and easy to use. Novice users will also appreciate the on-board Help system.

The M-380 V-Mixer integrates with PCs via its Remote Control Software for additional control or sending/receiving setup data allowing users to prepare channel setups and configurations before arriving at the venue.

Roland Systems Group’s breakthrough V-Mixing System along with the new M-380 V-Mixer is the answer to high-quality, cost-effective live digital audio control and distribution and represents a new level in configurability and convenience.

For more information see www.rolandsystemsgroup.com/m380

Roland Systems Group Website

Tuesday, September 15, 2009

A Sure-Fire Winner: The Guide To Better Mixing Through “Mixing”

Editor’s Note - This is intended as satire, and not to be taken too seriously (unless your mixes really stink).

Step 1. Load up your recent session and pour yourself a tall frosty brew.

Step 2. Set all faders to 0 dD and EQs to the flat position. Take a sip of your beer before bringing up the faders on the drum tracks.

Step 3. By the time your drums are at a nice “rough mix” stage your beer glass should be well emptied.

Step 4. Before starting on the bass track, pour another beer and have a shot of good tequila on stand by. I highly recommend a nice anejo or plata from Sauza, Herradura, or Porfidio.

Step 5. After your rhythm track instruments are “playing nicely” together, and the EQ of the kick and bass guitars are happy, pour yourself the fourth shot of tequila, ‘cause there’s no way you got to this point without at least two more shots.

Step 6. Once you’ve gotten used to the fact that your mixing room now spins, bring the faders up on your guitar tracks. At this point you should find that those guitar tracks you were POSITIVE would need major editing (because of their intonation and timing problems) have somehow managed to “correct themselves”.

Step 7. Set the empty bottle of tequila aside, tell Elvis to stop talking while you’re mixing, and bring up the acoustic guitar and piano tracks. Make sure you’ve got no phase problems between the left and right monitors, and find out who put those other left and right monitors in your studio.

Step 8. At this point you should have depleted your supply of quality micro-brews, and should be looking in the back of the fridge for your wife’s Miller Lite and Zima. Also be sure to grab that bottle of Melon Liqueur you were never quite sure what to do with, and head back towards the control room. You will most likely find that the hallway has somehow become warped beyond the point of being able walking straight through it.

Step 9. Now is the time to begin working on the vocal tracks. Since this is a project aimed at the radio market, be sure to erase all vocal tracks and overdub your best kazoo parts in their place.

Step 10. Demand that your assistant run to the nearest liquor store and pick up a bottle of Maker’s Mark. If your assistant stares blankly back at you, meows twice and cleans her face with her paw, fire her immediately and settle with the bottle of Melon Liqueur.

Step 11. Begin adding effects and start looking for your pants. Reverb, delay, and even the occasional use of pitch correction can be very effective and may be needed to mask the fact that every 30 seconds or so of the current track has been replaced by your finest rendition of “Danny Boy”.

Step 12. Invite your client over to listen to the first mix. Punch him in the face; kiss his girlfriend squarely on one of her mouths, drink the water from your blue lava lamp and pass out in the corner near your subwoofer.

Outcome: A successful final mix just before the intervention and a “nice trip to a quiet place in the country”.

Friday, September 04, 2009

Toby Keith On Tour: Two Amigos Talk About Concert Sound For The “Big Dog Daddy”

Dirk Durham and Earl Neal sat comfortably on a bus outside the Rockford Metro Center in Northern Illinois prior to the next to last show on Toby Keith’s “Biggest & Baddest Tour.”

This was also the calm before the twister. When Toby Keith takes the stage in 90 minutes, it’s a controlled audio stampede for the duration of the evening.

That morning entering the small arena, the first impression of the PA was “That’s a lot of PA!” A JBL VerTec rig was flying, arched like a skydiver. The system features 56 tops and 40 subs.

Earl Neal, Toby Keith’s Monitor Engineer, met us with a big smile. Neal’s short list credits include, Patty Loveless, Lenny Kravitz, Rod Stewart, Brad Paisley, Aerosmith and since 2003 – Toby Keith.

Before departing to coordinate his wireless, Neal walks us to the Front of House position and we get another welcome from Durham. He’s the other amigo on this award-winning live audio team.

Durham winks with the grin of a pastured cowhand and an Okie drawl, “Really I’m fortunate,” he says. “Toby will blow the back of the capsule of the mic out. It’s just keeping him up above everything else. You’ll see tonight – it’s a rock show. He’s all over the place. The band is flying around and with him singing, he can get a lung full of air and dominate the whole stage.”

Durham’s been with Keith since March of 2000, and he truly loves his gig. Asked if he got the job because he’s from Oklahoma, he smiles, winks again, and replies, “Ya know the up thing was, I had been around with other bands through the circuit – Dallas, Tulsa, and stuff playing back-to-back and touring. He had known of me. I knew who he was.

Dirk Dunham prior to showtime at his Midas XL-4 console. (click to enlarge)

“I had retired in ’96 and went home and was ranching when Toby’s production manager called me and asked if I wanted to go see what they thought of me and if I liked them. We hit it off right away. And I love it. I have to really mix every song and Toby keeps me real busy, which makes a 90-minute show seem like 30 minutes. I’ve tried several digital desks but he’s such an active performer and it’s such a dynamic show with the band and all, I have to use an analog console. I can’t just set it and leave it alone.

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When I started with Toby, I went out and bought all his CDs just to study his songs. After the first night I mixed him in Michigan, I almost had to throw all the CDs in the trash. His live performance is nothing like the CDs. There’s so much energy live. It’s a great gig.”

Durham’s and Keith’s vendor of choice is Sound Image, with the decision-making process to use the sound company a collaboration.

“We had a weekend off from the Brooks and Dunn tour,” Durham continues. “Toby said, ‘Dirk, let’s go to the Aerosmith concert,’ and that’s what we did. After the show Toby said, ‘That’s what we need, that PA.’ So, I called up Dave Shadoan and we ended up with the first VerTec rig that Sound Image bought. Everyone at Sound Image has been like family to us. Everett Lybolt, Dave Shadoan and Ross Ritto take real good care of us. We never have to worry about a thing.”

Durham says he uses the same system regardless of the size of the arena.

The Big Dog Daddy in concert, outfitted with Fidelity Custom Earphones. (click to enlarge)

Standing at the Midas XL-4 at Front of House for Keith’s mix, he talks about the tack in his stable. “Seems that just about every digital desk I’ve been on, people try to get it to sound like an XL-4. So why use an imitation when you can have the real thing? I’m spoiled in the fact that they don’t cram me for space, so it works for me. For effects I use a Lexicon 960L and a TC 10000. In my drive rack are all dbx 4800s. It’s all Crown IT (I-Tech) powered.”

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When Durham needed to get to work on his Front of House footprint, I drifted to monitor world where Neal was just wrapping up pulling his frequencies.

“When I took this gig six years ago I was on an analog console, a Midas H-3000,” he explains. “I had some guys sharing mixes because we didn’t have enough outputs. At that time it was a 13-piece band. We had two more singers. It was a really busy gig then.

“Then we went to the DiGiCo D5, I was able to automate a lot of the stuff I was doing for the band and it left me open to mix for Toby on the XL-3. His ear mix is a Front of House mix. He likes to hear all the solos get rode.

“He likes to hear all the instruments. He’s got all the backgrounds in his mix. It’s a Front of House mix that’s a little hotter than if I was mixing Front of House.

“The cool thing is with the band, I can snapshot the songs that I know they have changes in on the D5. It leaves the rest of my thoughts taking care of the cowboy. I’m running the XL-3 just like the Front of House console. I’m going straight off the left and right bus.”

Flying arrays of JBL VerTec (click to enlarge)

“Basically, I’m dealing with the same stuff that Dirk is dealing with in keeping Toby’s mix up,” he continues. “There are a lot of guys to keep an eye on onstage. I mix with two hands, one on each desk. I love the sound of the DiGiCo – it can tend to be a little bland so I’m running dbx 376 tube mic pres on some of my primary instruments and vocals, just to give it a little dirt.

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“The D5 is super clean and I need to dirty them up a bit. That’s the only outboard I’m using with the D5. On Toby’s mix on the XL-3 I’m running a dbx 786 mic pre on his vocal and his acoustic. I got a big rack of dbx 160 SL stereo compressors. I love the dbx Blue Series stuff. I also have three Yamaha SPX2000s.”

Neal employs a Professional Wireless IAS system to handle the frequency coordination each day. “I have 37 pieces of wireless equipment. When I first took the gig, that was one of the biggest issues out here. They were having a lot of wireless problems.”

Everything Neal is using for wireless is Shure.

Monitor Engineer Earl Neal with his dual monitor consoles - DiGiCo D5 Live and Midas XL-3. (click to enlarge)

He elaborates, “Toby is Shure endorsed, but that is not the reason we use their products. I like them because I can trust them to stay on frequency. It’s really easy to blend their different bands together and come up with 37 pieces that work together.

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“Ryan Smith at Shure in Nashville takes excellent care of us. When we send things off to be serviced, they turn it around within 48 hours. That means the world to you when you’re out here.”

Toby Keith and his band’s in-ear selection sway little from one product – Fidelity Custom Earphones. (Author note: I own several different brands of in-ears, and Fidelity Custom Earphones Triples are up there with the industry leaders.)

“Every manufacturer out there that makes armature ear buds like Future Sonics, Sensaphonics, Westone, Fidelity Custom Earphones, etc., all buy their parts from the same companies,” notes Neal.

“It really comes down to a preference by the artist. Toby’s whole band prefers Fidelity Custom Earphones so that’s what they use. Toby has been experimenting himself the last couple dates with Future Sonics but he hasn’t made a decision whether he’s going to keep them or not.

“He has been using Fidelity Custom Earphones up to this point and I’m sure he’ll continue to do so in the future.”

You can’t take the rodeo mix out of the cowboys and Keith’s shows are nothing short of a Stetson raising bull ride.

A shed view of the JBL VerTec array configuration for the latest Toby Keith tour (click to enlarge)

Durham’s mixes come out on top with a gut gurgling rumble with massive lows like I’ve never experienced with any other country band. His mids slap you in the chest and the snare snaps you between the eyes.

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This show rates up there with some of the top rock acts I’ve seen over the last three decades.

Durham’s show is strong. He rides the board throughout Keith’s performance, never disappoints and always surprises – just like The Big Dog Daddy himself.

Keith in concert form with Shure wireless mic (click to enlarge)

Neal just enhances all that with his dueling desks, playing the boards like fine tuned instruments while he watches the cowboy on stage run and gun for keeps.

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The VerTec rig compliments throughout the entire show and Durham never gives it a rest. He steers it with perfection and warrant. That’s why these two Amigos never get bucked on their asses!

Nort Johnson is an entertainment production and management professional who has been working in the music industry for 30-plus years. He has supplied tour management, production management, Front of House and monitor duties for some of the more prominent entertainers of the last three decades.

Wednesday, September 02, 2009

Multiple New Interface Cards For Allen & Heath iLive Digital Consoles Now Shipping

Allen & Heath is shipping a host of new interface cards for the iLive and iLive-T Series digital consoles, including the RAB2 remote audio interface card host; the Mini Multi-Out Card for ADAT, Aviom, iDR 8-bus and Hearbus; the EtherSound Network Card; Allen & Heath’s proprietary ACE (Audio and Control over Ethernet) Card for 64 channel bi-directional link; and the new MADI 64 Channel Multi-link Card.

RAB2 is a remote audio card, enabling iLive digital mixing systems to work with a variety of common audio interface and networking standards. The new module has two front-loading, easy fit slots for plug-in options, which are auto-detected by the system firmware.

The first port allows alternative standards to connect the iLive MixRacks and Control Surfaces, while the second port is used for system expansion, such as linking to secondary FOH/monitors consoles, feeding broadcast mixers, and record sends.

It is now possible to mix ‘n’match the flagship modular iLive hardware with the iLive-T fixed I/O MixRacks and Control Surfaces, increasing hire inventory flexibility and system integration. There is an upgrade path for current iLive owners wishing to take advantage of the new range of interconnection possibilities that RAB2 brings to the iLive family.

Allen & Heath has also introduced the MADI 64 option card. The new module provides two 64-channel MADI links, which can be independently routed in blocks of 8 connections, or for safety, configured as a primary and redundant pair.

Either of the two ports can be set as a sync master. There is bi-directional patchbay routing for the MixRack’s 64 inputs and 32 mixes.

As with other audio interfaces, MADI channels can be configured typically as mic preamp digital splits, channel direct outs, insert points, or bus in or out feeds.

The AUX connector can be used as a through connection of the MADI-1 inputs, or a split of the MADI-1 outputs; alternatively, it can function as word clock I/O for iLive-T systems without DARS.

To support the RAB2 module and all the iLive audio interface cards, Allen & Heath has released the latest update, Version 1.5, to the iLive and T Series firmware and Editor software. Many new features to enhance existing software functions are included.

Dual FOH/monitor control has been improved with the ability to allow independent gain trim for FOH and monitor desks when systems are digitally split between MixRacks using EtherSound or ACE.

Similarly, the functionality of the ‘Alt View’ button has been developed to include alternative functions for the channel rotary encoder. This allows settings, such as gain and direct output level, to be quickly adjusted on each control strip.

Also, iLive’s FX family has been extended with the introduction of the Dynamik FX Shaper, offering Gate and Ducking functions on all 8 FX engines. It is now possible to assign the Tap-Tempo function to any soft key for each of the 8 FX rack modules, including an optional LED display.

Allen & Heath Website
iLive Digital Website

Monday, August 24, 2009

Steinberg Releases Advanced Integration Updates for Cubase 5, MR816 CSX/X and CC121

Steinberg Media Technologies has released a set of updates to its software and hardware solution consisting of Cubase 5, MR816 CSX and CC121.

The added capabilities include substantially extended control options for CC121, workflow enhancements for MR816 CSX/X as well as functional additions and refinements to Cubase 5.

The updates further deepen the integration of the three components within the context of the Advanced Integration technology centred on the Cubase 5 Advanced Music Production System.

All three updates are available now as a free download for all registered customers of the respective products at www.steinberg.net.

“This series of updates expands functionality across three first-class software and hardware products, reflecting the outstanding engineering expertise in digital production environments on the part of both Steinberg and Yamaha,” comments Helge Vogt, Steinberg’s Product Marketing Manager for Cubase.

“This is a further step along the road of integrating software and hardware in ways that offer major benefits in terms of workflow, intuitiveness and sheer smoothness of the whole customer experience.”

Stefan Schreiber, Product Marketing Manager for Hardware at Steinberg, adds: “The updates and their additional features are also a direct result of input received throughout our ongoing interaction with our customers, in turn reflecting our full commitment to customer satisfaction and service.”

The updates include new control options for the CC121 Advanced Integration USB Controller. The AI Knob now offers control for VST 2.x plug-ins, allowing ultra-quick “point and control” of any parameter accessible which supports use of the mouse wheel, speeding up workflow with plug-ins using older versions of Steinberg’s VST standard.

The CC121 EQ section has also seen a major update, including optional control over the eight Cubase 5 Quick Controls, allowing the first two rows of rotary EQ controls on the CC121 to control almost any Cubase project parameter.

The lower four EQ encoders now offer control of Send FX levels for the selected audio or instrument track, adding a new layer of functionality to the already extensive CC121 repertoire.

Refinements to the encoder resolution when controlling the Cubase Channel EQ have also been implemented, while folder tracks can now be opened and closed directly from CC121, aiding navigation through large projects.

“These new functions make for an even more productive and intuitive experience with Cubase, giving more control and heightened flexibility,” comments Schreiber.

MR816 CSX and MR816 X customers see additional metering and workflow enhancements, including faster access to MR settings directly in Cubase.

The Hardware Setup menu has been expanded to offer more information and control within one window, and now features output level metering of each audio stream as well as additional control of the MR master volume levels directly from within Cubase.

The window also offers a new Settings tab with direct access to all driver settings, further consolidating all functionality in one easy-to-navigate area.

As well as support for the new functionality developed for MR816 CSX/X and CC121 with the 1.5 versions, Cubase 5.1 also extends connectivity with Yamaha’s MOTIF XS, which now supports use as an external instrument even if a FireWire connection is not present by using the MIDI protocol.

Project Tagging has also been introduced to the MediaBay, allowing whole Cubase 5 projects to be tagged and rated in the same way as other media. The rating functionality has also been extended to all preset browser windows, allowing rating of all presets almost anywhere with Cubase 5.

Audio Track presets have been expanded to include Input bus settings, speeding up workflow with Track Presets by automatically connecting to the most suitable input bus available within the current VST Connection setup. A range of smaller functional improvements is also included in the 5.1 update.

Steinberg Website

Tuesday, August 18, 2009

Midas XL8 and Klark Teknik DN9696 Duo On Gloria Estefan’s Farewell Concert Tour

Pop music superstar Gloria Estefan swept into the U.K. in late July, headlining at the Summer Pops Music Festival at Liverpool’s Echo Arena, on a concert tour that is intended to be her last, also covering Latin and South America plus European festival dates.

Clair Brothers Audio is supplying the tour with both a Midas XL8 live performance system and Klark Teknik DN9696 hard disc recorder.

By the time the tour arrived in Liverpool, FOH engineer Mark Dowdle had clocked up around 50 shows on the XL8 and was having a great time using it.

“I was searching for something that would give me the facilities I need for a show of this size: normally more than 100 inputs,” he says. “I’ve used some digital desks which allowed me a lot of inputs on a small surface but they didn’t give me the sound I was used to getting, so I gravitated back to analog.”

As a longtime Midas user, when Dowdle heard about the XL8, he looked into spec’ing one for this tour. “I’ve used XL4s, H3000s and PRO40s over the years and always loved the sound,” he continues. “Midas desks have that musicality and transparency I’m looking for, the EQ is always responsive and sounds fantastic. As soon as I got in front of the XL8 and heard it for myself, I knew it was what I was looking for.

“It’s not recognizable as a digital console when you listen to it. It’s unique in the digital world as far as the audio quality is concerned. Having incredible sounding mic preamps combined with the approach taken laying out the control surface, it’s almost like I’m on an analogue console with the extra ability to handle the large input bands I’m used to.

“My favorite feature is the XL8’s POP groups, which allow me to go directly to whichever inputs are assigned to that group; at the push of a button it’s all right in front of you and immediately accessible.”

Dowdle has used the XL8’s automation to programm 29 scenes for the show. “I end up mixing rather actively, but with as many inputs as I have, along with a multitude of instrument changes throughout the show, having a great starting point for each song is invaluable,” he says. “It allows me to have everything set exactly the way I want it, so I’m comfortable that I’m starting in a good place and I can take it from there.”

Cheryl Preston is operating the Klark Teknik DN9696. “I love it; I had it up and running straight out of the box and its ease of use is unbelievable,” she says.

The benefits of the DN9696 are two-fold on this show. First, with no time to soundcheck on an average show day, it’s invaluable for virtual soundchecking. “Having a multitrack of the actual show as it’s supposed to sound is wonderful because we can pull it up, tune the PA, and even if we only have an hour, we’re up and running,” says Preston.

“And for recording the shows, rather than have a truck and a bunch of people turning up, and making sure they understand what’s going on and that it’s being done right, there’s one little box, and in three minutes you’re ready to go. It connects straight into the XL8 and is practically fool-proof.”

The DN9696 has been mounted inside a case, with hardwired connections to two external hard disc drives.

“We average three shows on a set of hard drives, then I pull them out, put them into a box and ship them to the studio for remixing; it’s that easy,” says Preston.

Both Dowdle and Preston are more than happy with the increased functionality and flexibility the XL8 and DN9696 have added to the tour.

“The XL4 was the best sounding analogue console that I’d ever used, and Midas have done such a great job of translating that sound to digital that I have the best of both worlds,” concludes Dowdle. “The XL8 has quickly become my all time favorite console, bar none. The shows just keep getting better and better thanks to the XL8.”

Midas Website
Klark Teknik Website

Wednesday, August 12, 2009

System For Southern Baptist Convention Powered By New Yamaha TXn Amplifiers

The Southern Baptist Convention, held in June at the Kentucky Fair and Exposition Center in Louisville, was served by a sound reinforcement system powered by 24 new Yamaha TX6n amplifiers  

The Yamaha amplifiers were purchased from Capital Design Group by the Southern Baptist Convention (SBC) late last year, in preparation for this year’s event. The SBC-owned audio inventory is vast and can support crowds of up to about 15,000 in a convention center/exhibit hall/theater configuration.

“We chose the new Yamaha TX6n amplifiers based on three main criteria,” states Jeff Davidson, SBC Technical Coordinator. “First, was the needed power and sonic quality to properly support our distributed loudspeaker system; second, the ability to maintain a completely digital signal path from the digital mixer through the signal processing and directly to the amplifiers utilizing an EtherSound protocol. This was made possible via Yamaha MY-16-ES64 and MY16-EX Mini-YGDAI cards inserted into the Digital I/O slots on the TX6n amps. And third, the extensive system monitoring and internal digital signal processing capability afforded by the new amplifiers.”

“The Yamaha amp manager software was great for an event like this where the speaker and amplifier zones are hundreds of feet apart,” adds Phil Allison, System Engineer. “Being able to actively monitor individual amplifier channel parameters during the program was a great advantage.”

Front of House Engineer Chris Hinkle notes that ‘the Yamaha TX6n amplifiers did indeed supply an amazing amount of headroom. With the increased overall headroom, the amplifiers produced less distortion throughout the system.  Even though the room had a fairly high ambient noise level (HVAC), we could get the program above the noise to an intelligible level without the distortion we had been accustomed to.’

Davidson also said that Yamaha Commercial Audio staff were available to ensure a successful event and provided exceptional customer support, from sales engineering and network configuration, to telephone and on-site set-up support. “We are so pleased with the new amps, we intend to purchase additional TX6n to replace our current monitor amps before next summer’s event.”

Yamaha Commercial Audio has supported the SBC for over 20 years, and this year provided the mixing, digital signal processing, and amplification selection consisting of DME64N, PM1D, PM5D-RH and PM5D-EX digital consoles, DSP5D Expander, SB-168ES stage box, all on an EtherSound network.

The SBC Louisville event featured choirs, orchestras, and worship teams from First Baptist Church of Woodstock, GA; Second Baptist Church of Springfield, MO; Hunter Street Baptist Church of Hoover, AL; and Highview Baptist Church of Louisville, KY. Featured Christian performers included NewSong, Brian Free & Assurance, music evangelist Luke Garrett, and worship recording artists The Paul Baloche Band.

Audio assistance was provided by Bill Thrasher, Thrasher Design Group; Chris Hinkle, Prestonwood Baptist Church of Dallas; Blair McNair, independent monitor mix engineer; Phil Allison, Waveguide Consulting; Jim Carey, Liberty Baptist Church; Jack Pitts, Capitol Design Group; as well as house of worship product and marketing managers from Yamaha Commercial Audio Systems, Inc. Jeff Davidson of First Baptist Church of Dallas provided technical coordination.

The Southern Baptist Convention sound team, left to right: Bill Thrasher - Thrasher Design Group Inc., Kennesaw, GA; Steve Storie, Southwestern Baptist Theological Seminary, Fort Worth, TX; Jeff Davidson, First Baptist Church of Dallas, TX; Kathy Allison and Phil Allison, Waveguide Consulting Inc., Decaturm GA; Lon Brannies, Yamaha Commercial Audio Systems Inc.; Chris Hinkle, Prestonwood Baptist Church, Plano, TX; Blair McNair, Independent consultant and monitor engineer; Jim Carey, Liberty Baptist Church, Hampton, VA; and Nathan Rathel, First Baptist Church, Woodstock, GA (SBC stage manager).

Yamaha Commercial Audio Website

Friday, August 07, 2009

Sound Engineer Harry Bishop Hits The Festival Circuit With Soundcraft Vi6 Consoles

This summer, London-based sound engineer Harry Bishop has provided live audio systems for a variety of festivals in England, including the One Taste festival in Hyde Park and several festivals in association with Chai Wallahs, an organization dedicated to providing an eclectic blend of high-quality musical acts.

Bishop is utilizing Soundcraft Vi6 consoles, which have helped him make the conversion from analog to digital during the hectic festival season.

At the One Taste festival, Bishop deployed Soundcraft Vi6 consoles at the front of house and monitor positions. “We decided to use them in part to compare them to their analogue counterparts in terms of operation and sound quality,” he says.

Bishop used the board as he would have an analogue system and worked off a generic ‘festival patch.’

“My usual complaint with digital systems is a lack of transient dynamics, sharp and uncomfortable high/mids and unresponsive EQ,” Bishop explains. “With the Vi6 I immediately felt that the sound it was producing was pleasing to the ear, accurate and musical in the warm and typically analogue way that other digital boards have been unable to emulate.”

Christian Bailey, monitor engineer at the One Taste festival, concurs: “It was a pleasure to use the Vi6 for monitors at the One Taste festival in Hyde Park,” he says. “The board was simple to set up and although we were very pushed for time, with a quick line check for each band all the mixes were dialed in fast and musicians were soon smiling. The sound quality was excellent and the vocals sounded smooth and natural.

“The whole console is very intuitive and great to use in a time-pressured situation,” Bailey adds. “I would confidently recommend it to any monitor engineer who is thinking of taking out a digital board.”

For the Chai Wallahs events, Bishop relies on a touring marquee with full in-house production. Chai Wallahs attends a minimum of six festivals a year including Glastonbury, Secret Garden Party, Green Man and Electric Picnic. With at least 10 bands a day for four days with no sound checks, providing live audio is no easy task.

“Four monitor mixes are mixed from front of house with up to six extra zones, three analog external effects units (for a visiting dub band), with eight record output groups, talk-to-stage and shout boxes between me and the stage,” Bishop says. ”I use a 30-channel festival patch which covers a massive diversity of acts ranging from singer/songwriters to African drumming bands to 10-piece funk bands and the odd beat-boxer.”

Bishop has used a variety of consoles for Chai Wallahs in the past, but has found an ideal solution in the Vi6. “The analog solutions sounded great, but lacked the recall ability that I required given the number of repeat artists,” Bishop notes.

“Finally I was able to get my hands on a Vi6 and instantly it was apparent that it ticked all the boxes I needed. I think I have found the desk most fit for my purpose. There is nothing in the market that comes close without doubling your budget.”

Bishop has a multitude of reasons for the Vi6’s superiority, not the least of which is the console’s user interface. “The user interface is impressively simple and intuitive,” Bishop says. “The multiple touchscreens add much-needed benefits to quick navigation and control of functions and their parameters. Plus, spread over one bank of faders, the 1/3rd octave graphic is just as grab-able as its analogue counterpart. In combination with the changing fader colours depending on their designated function, the interface makes for a quick and intuitive experience with a drastically decreased ‘digital panic’ factor.”

Moreover, the Vi6’s ‘de-esser’ function has proven to be a lifesaver for Bishop. “The de-esser function strikes me as a much more versatile tool than the name suggests; its centre frequency can be tuned to any frequency in the audible spectrum and can be applied to a signal in much the same way as dynamic EQ,” he says. “It is a very powerful tool for perfecting tweaks to wayward or slightly harsh source sounds.”

Bishop also cites the Vi6’s zoning capabilities as a high point in a long list of beneficial features. “With 32 output busses with parametric and graphic EQ on every one, I have an endless ability to zone different areas, set delay times, assign record groups and monitor sends,” Bishop says. “The two stages of EQ allow for a much more precise and musical approach to monitor and FOH mix EQ. There is a tremendous amount of processing power available, all processing is available on every channel and buss at all times.”

Soundcraft Website

Thursday, August 06, 2009

EAW Now Shipping DX1208 DSP Matrix Mixer For Installation & Commercial Sound Applications

EAW is now shipping the DX1208 DSP matrix mixer, designed to meet a wide variety of installation and commercial sound applications.

“The DX1208 was introduced at InfoComm 2009 in June, and it received an overwhelmingly positive response from contractors and system integrators,” stated EAW Commercial Product Manager Dave Raneses. “Six weeks later, we are shipping the product, and we look forward to meeting the demand that has spread since InfoComm.”

The 12-input, 8-output, 1U-rack-space DX1208 offers eight inputs are mic/line capable, with selectable 48-volt phantom power provided when the user selects mic level.

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

An additional four digital inputs are available on S/PDIF with sample rate conversion to 48 kHz.

All 12 inputs are included in the audio matrix and can be assigned DSP functions prior to distributing signal at line level.

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

The DX1208 has serial RS-232 remote capabilities via a DB9 connector on the rear panel, for control by AMX/Crestron and other third party integrated control systems.

Two RJ-45 connections are provided as well, for linking multiple (up to eight) DX Link-enabled products together in a ring network topology.

A remote control port (RJ-25 connector) is included on the rear panel, facilitating the linking of two different types of remotes, all mounted on wall panels.

Up to 10 remotes can be attached to the DX1208, and each is individually addressable.

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

(click to enlarge)

In addition, up to 24 programmable presets are available per DX1208; the programming interface is flexible, with connection via the USB port on the front panel or the Ethernet jack or DB9 connector on the rear panel.

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The DX1208 employs a universal power supply, 100-240 VAC, 50/60 Hz.

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

EAW Website

Wednesday, August 05, 2009

iZotope Partners With Underworld For New iDrum Edition

iZotope has collaborated with English electronic band Underworld for the latest release of their popular iDrum app for Apple’s iPhone and iPod touch.

This new app features tracks adapted from all of Underworld albums in celebration of the release of the band’s full catalog on iTunes and in conjunction with a concert available to stream on the iPhone and iPod touch.

“iDrum Underworld Edition has been carefully designed as a completely new medium of musical expression where users can interact with Underworld’s music,” explains Mark Ethier, CEO of iZotope, “We’re proud to be part of this successful artistic collaboration between iZotope, Underworld, tomato and GForce Software.”

Building on the core iZotope interface of iDrum, the graphical user interface skin was specially commissioned from John Warwicker, co-founder of tomato and Underworld Creative Director.

Tracks from the Underworld catalog were adapted by sound designer Dave Spiers, co-founder of GForce Software, under the direction of the band’s own Rick Smith. GForce is well-known for their meticulous vintage synthesizer modeling in addition to providing technical expertise to a number of bands.

The app includes 12 tracks, featuring “Born Slippy”, “Two Months Off” and “Cowgirl”.  In addition to allowing users to remix and re-sequence tracks from more than 20 years of Underworld’s music, the app also includes an original track created exclusively for the app.

“Ten years ago I could only imagine that something like this would be possible,” explains Rick Smith of Underworld, “What we saw in iZotope’s [iDrum] software was an opportunity to allow kids to get inside the bones of our grooves and our music and reinvent their own personal versions. I can’t wait to hear what cool things the peeps are going to make with this beautiful ‘Groove-Toy.’”

On August 7, 2009, the band will broadcast a concert live from the Fox Theatre in Oakland, California available via the internet and the iPhone or iPod touch. See www.underworldlive.com for details.

Features:
• Content featuring tracks for all Underworld albums
• An exclusive track created by Underworld
• Remix and re-sequence tracks for new arrangements
• Tap the screen to play and record your own patterns
• Bring sounds in and out of the mix to perform live
• Transfer kits and samples to and from your computer with iDrum for Mac/PC

Purchase iDrum Underworld Edition on iTunes at:
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewSoftware?id=324031786&mt=8

iZotope Website

Friday, July 31, 2009

Northwood Baptist Church Selects Allen & Heath’s iLive-T For New Worship Center

The planning and construction of Northwood Baptist Church’s new worship center in North Charleston, South Carolina, took nearly four years – and the church couldn’t be happier.

“It took a little longer than we had originally hoped, but the patience paid off,” admits worship pastor Michael Bell. “But by taking the time to get it right, we got way more than we ever thought we could have. Our new Allen & Heath iLive-T console is a perfect example.”

Design-build integrator Signature Sight and Sound handled the audio, video and lighting for the new facility.

“When the T Series was announced,” recalls Mark Gladden, president and chief systems designer for Signature, “it had everything we had hoped for. It’s got that Allen & Heath sound quality, with great EQ and mic preamps, plus virtually all the capabilities and ease of use of the full iLive, but at a very comfortable price point. We approached the church and said, ‘this is what you wanted,’ and they agreed. After that, it was just a matter of timing.” In fact, the timing was so good that Northwood Baptist received the very first iLive-T in the U.S., with serial number 3 engraved on the back panel.

The new worship center, which seats 1,000, is a large square with a theater-style stage set in the back corner and seating arranged on the diagonal. Live video is projected on three large screens, while the primary sound system is a left-center-right system featuring three clusters of EAW AX Series loudspeakers.

Stage monitoring is a combination of truss-mounted speakers and floor wedges for the vocalists, with an Aviom in-ear system for the contemporary worship band.

The MixRack for the iLive-T112 resides offstage, handling 48 mic inputs from the stage and a dozen wireless systems. Auxiliary inputs for CD, DVD and computer audio are handled at the iLive-T control surface, FOH position. System outputs include three for the main PA clusters, 16 channels for the Aviom hub, four monitor mixes, plus a separate stereo output for video.

“We knew we had a huge learning curve with all the lights and video and everything else as well. But surprisingly, the console was probably the easiest transition for us,” notes Michael Bell. Training was provided by Sterling Coleman, partner and director of installation for Signature.

“Sterling’s an amazing guy,” says Bell. “Here we had a brand new console, the first one ever, and he seemed to know it like the back of his hand. I can’t say enough about all the things he did to make this project a success, everything from training to troubleshooting, audio, video and electrical. He’s so much more than an installation guy.”

Northwood offers both traditional and contemporary services requiring very different setups, something the iLive-T handles with ease.

“For our traditional service, our engineer is a school principal who had very limited audio background. She was so nervous about the new console, she was thinking about quitting,” relates Bell. “So we brought her in, taught her how to power the system, how to pull up the right scenes and presets, and what to do in an emergency, like if a wireless goes down, and she was ready. It took about two hours - amazing!” 

For the contemporary service, head sound engineer David Geddings and his team have a more formidable task. With a full drum kit, four guitars, three keyboards and 6 to 8 vocalists, plus brass, woodwinds and strings, there can be up to 20 people on stage – not counting the choir. But with the iLive-T, the team handles it with similar ease. In fact, with its exceptional sound and virtually unlimited on-board DSP effects, Northwood Baptist Church now has a system capable of handling the needs of touring artists.

“In September, we’ll be hosting the group Rush of Fools,” notes Bell. The concert promoter looked at our new system and told us it would be perfect for them. We won’t have to rent any gear, and the band won’t have to bring anything but their guitars and amps. It was an awesome feeling to hear that.”

Allen & Heath iLive-T Website

Wednesday, July 22, 2009

Yamaha Commercial Audio To Present Digital Sound Reinforcement Class In Kentucky

The Yamaha Commercial Audio Training Seminars (YCATS) group will hold a two-day Digital Sound Reinforcement (DSR) 101 class on Tuesday and Wednesday, August 11 and 12 in Covington, Kentucky.

Sponsored in part by Shure, the class provides complete audio system design and networking solutions and will focus on set up techniques ranging from microphones to large-scale loudspeakers. Topics include: gain construction, attenuator settings, and SPL estimation.

Yamaha DSR101 course components include fundamental concepts: dBSPL, dBu. dBV, calculations, and level management; cables for various signal formats, word clock distribution; microphone techniques: microphone characteristics, how to select a microphone, digital technology; wireless technology: how to maximize the benefits of wireless systems and managing frequencies; digital vs. analog systems; speakers and processors: designing output systems and level management for system protection.

The two-day course is designed to assist audio engineers, system designers, system techs, audio operators in houses of worship, live sound venue/tour engineers, obtain a better understanding of available solutions.

In order to maximize the Digital SR System 101 training seminar and demo experience, attendance for the seminar is limited. There is no cost for attending and breakfast and lunch will provided. Travel and accommodations are the responsibility of the attendee.

Attendees must reserve their spot by August 7. Seminar details can be found at http://www.yamaha.com/ycats/digisr101/description.asp.

For Registration visit: https://www.yamaha.com/ycats/digisr101/registration.asp  The location and class time will be provided upon registering on line.

Yamaha Commercial Audio Website