News

Tuesday, February 12, 2013

AVnu Alliance Opens Bridge Certification; Adds 50th Member

Several manufacturers have also submitted AVB-enabled devices for interoperability and conformance testing

AVnu Alliance, an industry forum that certifies Audio Video Bridging (AVB) products for interoperability, has announced the opening of its certification testing for AVB-enabled networking bridges at its appointed testing house, the University of New Hampshire InterOperability Laboratory (UNH-IOL). AVnu Certification is available to alliance member companies.

The announcement is an important milestone in AVnu Alliance’s mission to bring high-quality open-standard audio and video networking to professional AV, automotive, and consumer electronics segments.

Several manufacturers have submitted AVB-enabled devices for AVnu Alliance’s exhaustive interoperability and conformance testing, with more AVnu Alliance members expected to follow suit in the coming months.

Products that complete the testing program successfully will receive an official logo of certification, the global seal of interoperability for devices that implement the IEEE AVB standards.

“The commencement of bridge certification confirms that the AVnu vision of truly interoperable open standard networking is becoming a reality,” says Rick Kreifeldt, AVnu Alliance president and VP of Research & Innovation, Harman. “AVnu Alliance’s rigorous testing procedures will guarantee that only wholly compliant products receive the official stamp of approval.”

Simultaneously, the global reach of AVnu Alliance continues to grow with the confirmation of the group’s 50th member, Symphony Teleca Corporation (STC). Headquartered in Palo Alto, CA, STC helps customers worldwide manage the convergence of software, the cloud and connected devices.

Dean Miles, senior vice president automotive BU at Symphony Teleca, comments: “STC considers the AVnu Alliance to be the place where theory of IEEE specifications meets the real world. The alliance provides application interoperability and certification testing which is critical to STC’s business as we deploy Ethernet AVB in the automotive and consumer electronics marketplace. AVnu is the perfect alliance for STC to prove our technology and support the deployment and evolution of interoperable AVB products.”

AVnu Alliance

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Posted by Keith Clark on 02/12 at 09:40 AM
AVLive SoundRecordingNewsProductAVEthernetNetworkingSignalPermalink

Starin Named Exclusive U.S. Distributor Of Behringer

Previously represented Behringer in select territories

MUSIC Group, the corporate parent of Behringer, has announced the immediate appointment of Indiana-based Starin as its exclusive fulfiller for all 50 U.S. states and protectorates.

Starin had previously represented Behringer in select territories while the rest of the country was served by Shoreview Distribution. The company reports that Starin has sufficient quantities of product on hand to fill all orders across the country.

David O’Kelly, vice president of global sales for MUSIC Group, announced the appointment. “Starin has proven to be an exceptional partner, delivering service levels that are earning praise from our dealers across America,” O’Kelly states. “I want to thank Shoreview for their loyal support but it became clear to us that a single source for Behringer products was in the best interest of our dealers, and in turn our end users.”

Starin already distributes MUSIC Group brands Midas, Klark Teknik and Turbosound across the U.S. on an exclusive basis. Founder and principal Jim Starin says, “This is amazing news, and I’m proud that MUSIC Group has placed so much faith in our organization. We have a greatly expanded stock of goods that will vastly improve availability, as well as national freight and MAP programs that will greatly enhance profitability for our dealers.”

Starin
Behringer
MUSIC Group

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Posted by Keith Clark on 02/12 at 06:55 AM
AVLive SoundRecordingNewsAVBusinessManufacturerPermalink

Monday, February 11, 2013

Radial Introduces PreComp 500 Series Combination Preamp & Compressor

Includes Accustate gain control that simultaneously sets the output and sensitivity to maximize signal-to-noise

Radial Engineering has announce a new addition to the 500 series range of modules, the PreComp combination preamp and compressor.

The PreComp is a single wide module, with a high-performance preamp equipped with Radial’s unique Accustate gain control that simultaneously sets the output and sensitivity to maximize signal-to-noise at all levels. This is particularly important when recording in the digital domain where background noise can often be audible during quiet passages. 

A full-feature compressor follows with adjustable threshold, compression ratio and make-up gain control that automatically transitions from soft-knee to hard knee as compression increases. 

A simple slow-fast switch makes it easy to set the PreComp for either percussive instruments or smoother tracks such as vocals.

Once connected to a 500 series power rack, I/O connections automatically route to the XLRs for balanced operation. When used with a Workhorse, connectivity increases with 1/4-inch TRS connectors and D-Subs and the Omniport provides direct patching to the preamp or the compressor, enabling the engineer to use each processor separately.

Radial senior engineer Dan Fraser explains: “The PreComp addresses the need to combine both a preamp with a compressor in a compact, single space module. This provides broadcasters and post production engineers with a quick and easy solution for voice and instrument processing. It is also a Godsend for live recording engineers as it enables them to maximize system density without compromising on performance or control.”

Other features include 180-degree polarity reverse for phase matching two microphones, a high-pass filter to eliminate unwanted resonance, 48-volt phantom power for condenser mics and an IN/OUT switch that lets you quickly compare the original uncompressed signal with the processed result.
 
Radial Engineering

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Posted by Keith Clark on 02/11 at 05:09 PM
Live SoundRecordingNewsProductProcessorStudioPermalink

Freeman Joins Harman Pro As Senior Manager, Business Development, Installed Sound, Western Region

Will work with local specifiers, dealers and venues on design support and applications

Harman Professional announced that Ken Freeman has been appointed as senior manager, business development, installed sound, western region (U.S.). He will report directly to Debbie Frantom, regional sales manager, western region, Harman Pro.

“Few people have the combination of real-world installed sound system experience and technical management expertise as Ken Freeman,” says Frantom. “He is uniquely suited to provide system designers and integrators with the best audio solutions for their needs as we continue to expand our RSO support capabilities.”

Freeman is responsible for supporting Harman Professional’s customers and channel partners in the Western U.S. installed sound market. He will work with local specifiers, dealers and venues on design support and applications for installed sound systems while expanding HARMAN’s customer base in the region.

Before joining Harman, Freeman was the technology sales manager at Meeting Services Inc., a leading corporate A/V and entertainment event production companies. While there he worked with numerous top-tier artists and event companies, along with various pro audio equipment manufacturers in the areas of product development and system field deployment.

Freeman has also held positions with ESPN and other production and event management companies. He studied Chemistry and Theater at San Diego State University.

Freeman states, “We have a well-organized team that is strongly positioned to provide the highest level of support with a local focus. I look forward to working with our many customers and helping them enhance their offerings and services and create value through Harman’s comprehensive product portfolio and system solutions.”

Harman Professional

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Posted by Keith Clark on 02/11 at 04:26 PM
AVLive SoundNewsAVBusinessInstallationManufacturerPermalink

Waves Audio Introduces GEQ Graphic Equalizer Plug-In

Offers selectable cut and boost at 1/3 octave intervals, using two unique filter types

Waves Audio has introduced the GEQ graphic equalizer plug-in, developed primarily for live users (but suitable for studio use as well).

GEQ offers selectable cut and boost at 1/3 octave intervals, using two unique filter types.

More about GEQ:

—Classic component with proportional Q
—Modern component with independent non-interactive filter types
—30 ISO bands
—6 dB, 12 dB, 18 dB selectable cut & boost
—Independent HPF, LPF and a parametric bell per side
—Zero latency
—2 input RTA with external input options
—RTA input difference mode with auto-suggest function
—Link L/R
—Touch Support with Fader Draw functionality

The GEQ graphic equalizer plug-in will be available soon with U.S. MSRP TBA.

Waves Audio

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Posted by Keith Clark on 02/11 at 04:19 PM
Live SoundRecordingChurch SoundNewsProductProductionAudioDigital Audio WorkstationsProcessorSoftwareSound ReinforcementStudioPermalink

PreSonus Introduces Eris-Series Studio Monitors

Affordable line of 2-way, bi-amped studio monitors

PreSonus has unveiled new Eris-series, an affordable line of 2-way, bi-amped studio monitors delivering accurate response with a tight bass and clear upper end.

They can also be user-adjusted to the acoustic space, allowing creation of a more accurate listening environment or to simulate different common listening environments.

The Eris E8 features an 8-inch, Kevlar low-frequency transducer, driven by a 75-watt, Class AB power amplifier; and a 1.25-inch (32 mm), silk-dome, high-frequency tweeter with a 65-watt, Class AB amplifier. It can deliver up to 105 dB SPL, peak. Frequency response is rated at 45 Hz to 22 kHz.

The compact Eris E5 sports a 5.25-inch, Kevlar low-frequency driver, mated with a 45-watt, Class AB amplifier; and a 1-inch (25 mm), silk-dome tweeter powered by a 35W, Class AB amplifier. It can crank out a clean 102 dB SPL, peak. Frequency response is rated at 64 Hz to 22 kHz.

Both Eris models have individual balanced XLR and 1/4-inch TRS input connections in addition to unbalanced RCA inputs. Both offer RF shielding, current-output limiting, over-temperature protection, and subsonic protection.

Users also can make several types of custom adjustments. A 4-position Acoustic Space switch controls a second-order shelving filter, centered at 800 Hz, that provides three attenuation points (no attenuation, -2 dB, and -4 dB), allowing control of the bass response relative to the wall proximity of the loudspeakers.

A high-pass switch sets the low-frequency cutoff (second-order slope, -12 dB/octave) to be flat, 80 Hz, or 100 Hz. Also included are continuously adjustable high-frequency and midrange controls from -6 dB to +6 dB.

This combination of controls fosters creation of a linear response for accurate monitoring. It also enables the simulation of different listening environments.

The Eris E8 and E5 are expected to be available in April 2013.

PreSonus



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Posted by Keith Clark on 02/11 at 02:11 PM
RecordingNewsProductLoudspeakerMonitoringStudioPermalink

Cabaret Performed With d&b At Savoy Theatre In London

Ben Harrison, sound designer, created a system based around older elements from d&b audiotechnik to create the ambiance he felt the production required.

There is something uniquely timeless about Kander and Ebb’s ‘Cabaret,’ if only people could wear their age as well as this musical. The current production at the Savoy Theatre, London bears the familiar hallmarks of love and lust that the musical is know for.

Ben Harrison, sound designer, created a system based around older elements from d&b audiotechnik to create the ambiance he felt the production required.

“Orbital Sound happens to own some d&b F1222s, these are the successor to the F1220 that was launched in 1988. Despite the age I did specify them deliberately,” he explains. “I have had occasion to use them a few times on bits and pieces and always liked them for their smoothness and total transparency.

“I’ve been waiting some time, looking for a show to put them on.”

The d&b F1222 is a two-way active loudspeaker with a precise 60 x 40 degree dispersion.

“I did the sound design for the previous production of Cabaret when it played the Lyric Theatre in 2006 and thought that for this new staging the F1222 would be the logical box,” Harrison continues. “Essentially it’s the same show, but it played bigger venues on tour before it came into London at the Savoy.

“Well suited to the bigger rooms, I thought that it would transfer well to the Savoy. Although the theatre has a narrow proscenium making the top centre position a little higher than normal, the room itself is a good size, and the acoustic is excellent.”

The F1222 built its reputation on transparency and a well defined constant.

For Harrison the loudspeaker had further noble attributes.

“Cabaret is quite a natural sounding show, and a lot of that in the delivery is down to the smoothness of this cabinet. In fact you don’t realize quite how loud it is until you turn the PA off, this loudspeaker is that smooth, especially in the HF; totally transparent.”

“I have six rigged left/right, two for stalls, two for the circle, and two at the gallery,” explains Harrison. “To pull the image to the stage I have a centre cluster of eight T10s.

“The great thing about the T-Series is it’s so small, but so wide: I can get a sizable amount of them up in the air. That helps massively with pulling the image to the stage.”

For delays Harrison uses E3s, and the surround system is E0s.

“Even with its reputation for fidelity, the other d&b elements of the PA system all sound harmoniously in symmetry with the F1222s.”

Despite its origins in the analog era, Harrison chose to make one concession to modernity.

“I do like to run everything AES straight out of the Yamaha desk, so I asked Orbital to provide D12 amplifiers to run the F1222s instead of the older A1amplifiers that had been the norm.”

“It was the first time we’d ever been asked to do that,” said Dan Samson, Harrison’s Production Engineer, “But low and behold, d&b had already had the loudspeaker parameters preloaded into the D12 since day one, so Ben’s request was easily fulfilled.

“Whatever the reputation of the F1222s, and even allowing for the traditionalist view of the analog world, it was clear to Ben and to me that switching to the D12 actually made not the slightest colouration to the performance of the loudspeakers.”

“This revival of the 2006 production has allowed us to reimagine the production for the larger venues,” concluded Harrison, “Scaling up slightly while losing none of the focus on the all important sense of time and place.

“It’s been very fulfilling to see the F1222s be a part of that; I can think of no other loudspeaker that originated twenty four years ago, which we could expect to perform so well; just as this new cast has performed. Immaculate.”

d&b audiotechnik

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Posted by Keith Clark on 02/11 at 01:51 PM
Live SoundProductionNewsProductionAudioConcertLoudspeakerStagePermalink

Vu Reveals Redesigned Cable Up Series Microphone Cables

Rebuilt to improve overall performance and durabilit

Vu has announced the redesign of its Premium and Industrial Cable Up microphone cables, rebuilt to improve overall performance and durability.

The low capacitance, high bandwidth cables offer rugged neoprene jackets with a high strand count of oxygen-free copper and a 22 AWG braided shield. This combination provides excellent analog audio capabilities while allowing them to withstand harsh environments.

In addition, Cable Up Premium XLR cables are now terminated with Amphenol AX Series connectors, noted for their durability. The cables are RoHS compliant and will be available in March 2013. They can be purchased in lengths of 1 foot to 200 feet, as well as in 500-foot bulk spools.

Cable Up Industrial line microphone cables have tough PVC jackets and are manufactured with a high-performance, 22 AWG braided shield and soldered XLR connectors fitted with gold-plated contacts for reliable professional use. They provide high bandwidth and low capacitance at a competitive price. 

Cable Up Industrial cables are offered in 12 sizes from 1 foot to 100 feet, and are available for purchase now.

Cable Up rigorously tests every cable to ensure high standards of manufacturing and performance.

“The Cable Up line has been consistently developed over the years to remain a go-to product for many industry professionals,” stated Sean Sennott, vice president of FDW Corp. “We believe these latest changes demonstrate the quality of our products and their value to our customers.”

Vu/Cable Up
FDW Corp

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Posted by Keith Clark on 02/11 at 01:21 PM
AVLive SoundRecordingChurch SoundNewsProductAVInterconnectMicrophonePermalink

Behringer Launches U-PHORIA Precision USB Interfaces With Midas Preamps

All include +48-volt phantom power for use with condenser mics

Behringer has introduced the U-PHORIA Series, four new USB audio interfaces that span a wide range of audio applications.

U-PHORIA models include the UM2, built around Behringer’s low-noise XENYX mic preamps, as well as the high-end UM22, UMC202 and UMC204 that offer the sonic purity of Midas-designed mic pres. All models include +48-volt phantom power for use with condenser microphones.

The UMC202 (2 x 2) and UMC204 (2 x 4) employ high-precision 24-Bit/96 kHz digital converters for quality encoding and playback of analog audio. Both models include dual mic/line/instrument inputs and an array of controls.

The UMC22 and UM2 offer a single mic input and one instrument input and are ideally suited to recording on the go with a laptop. All units have high-speed USB 2.0 interfaces.

Compatible with many popular software packages including Avid Pro Tools, Ableton Live, Steinberg Cubase, and others, Behringer is also offering a recording, editing and podcasting software bundle (with virtual instruments and effects plug-ins) as a free download.

All U-PHORIA Series models have powerful phones output with level control and direct monitor select, status, signal and clip LEDs. They are powered via the user’s USB port, making them as portable as a laptop. A rugged aluminum chassis can hold up to the rigors of stage use or repeated tossing into a computer bag.

Behringer
MUSIC Group

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Posted by Keith Clark on 02/11 at 12:49 PM
AVLive SoundRecordingChurch SoundNewsProductAVEthernetInterconnectProcessorSound ReinforcementStudioPermalink

Ashly Amplifiers Power Up Downstream Casino & Resort

Recently Downstream Casino Resort undertook an ambitious expansion plan to add a six-story tower with 155 additional guest rooms, restaurants, event spaces, and spa services. They called upon A1 Audio to install a complete sound reinforcement system for the expansion.

With its parking lot in Kansas, its main entrance in Missouri, and its gaming facilities and guest accommodations in Oklahoma, Downstream Casino Resort is quite literally on top of the region’s historic tri-state junction.

Recently Downstream Casino Resort undertook an ambitious expansion plan to add a six-story tower with 155 additional guest rooms, restaurants, event spaces, and spa services.

The Tribe hired A1 Audio of nearby Branson, Missouri to design and install a comprehensive distributed audio system.  A1 Audio delivered system powered by a modest rack of high-powered, low-cost
Ashly Audio KLR-3200 amplifiers.

For years, Downstream Casino Resort has relied on A1 Audio for live show rentals and technical support. When plans materialized for the new expansion, the Quapaw called on A1 Audio to bring that same level of professionalism to its new facilities.

For reasons outside of A1 Audio’s control, the timeline on the new project was incredibly tight.

“Massive crews from all the trades swarmed the new construction,” explained Pete Savel, vice president of A1 Audio. “At one point when we were pulling cable, they had something like 250 guys on drywall. It was a huge undertaking.”

Despite the rush, the new system is elegant and refined, in consonance with the architecture and professionalism of the casino and resort staff.

Five dual-channel Ashly KLR-3200 amplifiers power the entire sound reinforcement system. Eighty Community loudspeakers from the 70-Volt D4, D6, and D8 wide-dispersion series deliver articulate, full-frequency content throughout the tower.

In a few locations with less than six inches of ceiling space, low-profile Community D4LP deliver comparable performance. Yamaha DME-N series processors provide all input conditioning and matrixing, and an AMX system provides user control via an intuitive and engaging iPad interface.

“The Ashly KLR-Series amplifiers are tremendously powerful, yet remarkably affordable,” said Savel. “Nothing else comes close on a performance-to-cost basis. We’ve used them in several installations now, and they worked from day one without a single glitch. That’s the kind of reliability we count on.”

Ashly Audio

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Posted by Keith Clark on 02/11 at 12:31 PM
AVLive SoundNewsAmplifierInstallationLoudspeakerSound ReinforcementPermalink

Universal Audio Announces Teletronix LA-2A Leveler Plug-In Collection For UAD Platform

Definitive software collection of the revered optical compressors

Universal Audio (US) has announced the impending release of the Teletronix LA-2A Classic Leveler collection for the UAD powered plug-ins platform and Apollo high-resolution audio interface.

Picking up where UA’s legacy LA-2A plug-in left off, the new LA-2A plug-in collection provides emulations of three distinct Teletronix hardware units, right down to their transformers, amplifiers, and aged luminescent panels.

The original LA-2A hardware — still hand-built at UA headquarters in Scotts Valley, CA — brings smooth, warm compression to everything, especially vocals. With the new LA-2A collection, Universal Audio modeled the entire electronic path of three coveted hardware units — “Silver,” “Gray,” and the original LA-2 model.

“While our original LA-2A plug-in provided a breakthrough rendition of the original hardware, we’ve learned a lot about analog emulation over the past 10 years,” explains Bill Putnam Jr., founder and CEO of Universal Audio. “Our new Teletronix LA-2A Classic Leveler collection adds tube amplifier and transformer modeling, improvements in T4 gain reduction nonlinearities, and superior time constant behaviors. Put simply, these are the most musical and authentic LA-2A emulations ever created.”

The Bill Putnam-era LA-2A “Silver” model features a fast time constant, making it suitable on all sources, including drums and percussion. The Jim Lawrence-era LA-2A “Gray” model maintains an average time constant, providing a range of “medium-speed” compression. Finally, the LA-2 plug-in models the rarest of original Teletronix units, providing a super-slow compression response and a unique “mellowed” sound due to 50 years of luminescent panel aging.

Additionally, the LA-2A Classic Leveler collection plug-ins includes presets from famous LA-2A users, including Ross Hogarth (Van Halen, R.E.M., Ziggy Marley), Carl Glanville (U2, Billy Joel, Jason Mraz), Darrell Thorp (Beck, Radiohead, Charlotte Gainsbourg), Vance Powell (Jack White, Red Fang, The Dead Weather), and Jeff Juliano (John Mayer, Shinedown, Train).

Available as part of an upcoming UAD Software release scheduled for February 2013, the LA-2A Classic Leveler collection will be available for $299 US via UA’s Online Store, or for $149 US for current owners of the original LA-2A Leveling Amplifier plug-in.

Universal Audio 

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Posted by Keith Clark on 02/11 at 12:29 PM
Live SoundRecordingNewsProductDigital Audio WorkstationsProcessorSoftwareStudioPermalink

Louis Hernandez Named New CEO Of Avid

Tapped to lead company through next wave of innovation and growth

Avid has announced that its board of directors has appointed Louis Hernandez as president and chief executive officer.

Hernandez succeeds former president and chief executive officer Gary Greenfield, who will remain on Avid’s board of directors.

Hernandez has been a member of the Avid board since 2008. Most recently, he was also chairman of the board and CEO of Open Solutions, Inc., a technology provider to financial institutions worldwide, which was acquired in January 2013 by Fiserv, Inc.

“Louis is a visionary, inspirational leader with a stellar track record of driving the operations and growth of technology companies in a variety of industries,” says George Billings, speaking on behalf of Avid’s board. “As lead director, he spent years developing a deep familiarity with Avid’s customers, markets, and products that will allow him to quickly make a positive impact as chief executive.”

“It is an exciting opportunity to lead Avid at this very important juncture in the company’s history,” states Hernandez. “As the industry leader for more than 25 years, Avid continues to set the standard for non-linear-editing, media management, and collaboration in the audio, video, and broadcast markets. The company is well positioned for growth and global expansion in this fast-moving marketplace. It is exciting to be working with the Avid team, as we drive results and value for our customers, employees, and shareholders.

“On behalf of the Avid community, I want to thank Gary Greenfield for his outstanding leadership and lasting contributions to Avid and our industry.”

Avid

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Posted by Keith Clark on 02/11 at 11:15 AM
AVLive SoundRecordingNewsAVBusinessManufacturerPermalink

Saturday, February 09, 2013

Roland Systems Group Unveils M-200i 32-Channel iPad Controlled V-Mixer (Bumped: Includes Video)

Fuses iPad control with the capabilities of a professional digital mixing console

Roland Systems Group has introduced the M-200i, a compact mixer offering the flexibility and mobility of iPad control fused with the capabilities of a professional digital mixing console. (Check out video coverage of the new M-200i below.)

The iPad app is fully functional on all key aspects of the M-200i mixing and control parameters. It contains the typical preamp control, pan, high pass filters, and extensive PEQ and GEQ control, as well as the ability to store and recall scenes, adjust compressors and gates, sends on faders, effect editing and many other controls. This enables complete remote control of a mix from any location in the room.

Wirelessly connect using a router plugged into the LAN port on the M-200i or use the Roland Wireless Connect adapter (WNA1100-RL) plugged into a USB port. Additionally, an iPad can be connected by using a multi-pin iPad cable included with the M-200i that not only provides wired connectivity but also charges the iPad.

The physical console features a 32-channel architecture with 17 motorized faders, 8 aux, 4 matrix, 8 DCAs, 24 physical inputs and 14 outputs (expandable to 64 x 54).

In addition to the physical inputs, the M-200i can mix in audio sources from the USB port (flash key). If an iPad isn’t available, the console is fully controllable via the built in LCD screen along with buttons to navigate all the mixing parameters in the M-200i.

An intuitive and precise feature is touch and turn that allows the user to touch a particular parameter on the iPad and control it with a physical knob on the console.

The M-200i also includes a Roland Ethernet Audio Communication (REAC) port that opens the door to powerful expandability options including multi-channel playback/recording, additional remote physical inputs, and personal mixing system.

The REAC port can expand the number of physical inputs by connecting one of the popular Digital Snakes heads such as the S-1608 a 16-input, 8-output box connected via a single, inexpensive Cat5e/6 cable. In addition, the REAC port can provides live multi-channel recording using Cakewalks SONAR Producer.

The Roland M-200i also supports the M-48 personal mixing system.

It expected to be available in January 2013.

roland

 

 

 

Roland Systems Group

 

 

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Posted by Keith Clark on 02/09 at 11:34 AM
AVLive SoundChurch SoundNewsVideoProductConsolesMixerSound ReinforcementPermalink

Behringer Expands X32 Line With Four New Digital Mixer Models (Bumped: Includes Video)

New X32 COMPACT, X32 PRODUCER, X32 RACK and X32 CORE all share the flagship X32's performance specifications

Following the success of the X32 digital mixing console, Behringer has unveiled the addition of four new models to its X32 product line. (Check out video coverage of the X32 line below.)

The new X32 COMPACT, X32 PRODUCER, X32 RACK and X32 CORE all share the flagship X32’s performance specifications with digital connectivity, virtual FX, Midas-designed mic preamps, and a wide variety of inputs and outputs.

All models include Klark Teknik-engineered AES50 ports, which can be connected to Behringer S16 digital snakes for expanded I/O regardless of mainframe size, and can be controlled using XControl for PC/Mac/Linux, XiControl optimized for iPad and XiQ for iPhone/iPod Touch.

The X32 COMPACT is a 40-input channel, 25-bus console with 16 programmable Midas preamps, 17 motorized faders and all of thefunctionality and intuitive workflow of the original X32. Sporting a slimmed-down chassis, the X32 COMPACT is designed for applications where space is limited or the application only requires 16 local mic inputs. When connected to an S16 digital snake, I/O is expanded to full X32 capacity.

The X32 PRODUCER is a 40-input channel, 25-bus console with 16 programmable Midasreamps, 17 motorized faders and a form factor that makes it suitable for professional and home project studios.. A high-resolution, day-viewable 5-inch TFT screen provides complete visibility into the mix, FX and metering—plus it can be rack mounted via the included rack kit. Remote mixing is simple using an iPad or Laptop.

The 40-input channel, 25-bus X32 RACK Mixer also offers 16 programmable Midas preamps and a high-resolution 5-ing day-viewable TFT, housed in a 3U rack housing. The X32 RACK delivers the mixing and FX power for applications where PC/MAC/Linux computers, iPad or iPhone/iPod Touch control is desired.

X32 CORE is a 40-input channel, 25-bus digital rack mixer that packs all of the mixing, routing and FX of the X32 into a 1RU rack-mountable chassis. I/O connectivity requires the addition of S16 digital snake boxes and accommodates up to 96 remote inputs, or X32 CORE can be connected to a DAW with a full 32 x 32 channels, massive FX and near-zero latency using USB 2.0 or FireWire.

Uli Behringer, founder/CEO of Behringer parent corporation the MUSIC Group, states, “The introduction of the X32 demonstrated that a high-performance, cost-effective digital mixer, is not only possible, but has been embraced by a very demanding market place. Now that the X32 has earned critical user acclaim, we want to bring its functionality to applications where form-factor plays a more significant role.”


image

 

 

Behringer
MUSIC Group

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Posted by Keith Clark on 02/09 at 09:52 AM
AVLive SoundRecordingChurch SoundNewsProductProductionAudioAVConsolesDigitalEthernetInterconnectMixerSound ReinforcementStudioPermalink

Friday, February 08, 2013

Beachsound Implements L-Acoustics KARA At Florida’s Seminole Casino

Left and right arrays each comprised of eight KARA enclosures flanked by LF arrays of three SB18 subs

Miami Gardens-based Beachsound & Lighting, now an official L-Acoustics Certified Provider, reports that it has installed KARA arrays at Seminole Casino in Coconut Creek, FL.

The new arrays went into The Pavilion, a Sprung structure that was converted into an intimate 1,200-seat performance venue during the casino’s recent $150 million expansion project.

Today, artists performing in the showroom benefit from left and right arrays each comprised of eight KARA enclosures flanked by LF arrays of three SB18 subs.

Below each KARA array is an additional stack of three SB28 for additional low-end reinforcement, while five coaxial 8XT are spaced out across the stage lip for front-fill. LA-RAKs loaded with LA8 amplified controllers power and process the entire system.

“We installed a V-DOSC system into Hard Rock Live Hollywood, another Seminole property, several years ago and they’ve been very happy with that investment,” says Andre Serafini, president of Beachsound. “Following its proven success, they wanted to implement L-ACOUSTICS into The Pavilion for consistency between the venues, so a KARA system was our natural recommendation.”

Steve Minick, production manager at Seminole Casino Coconut Creek, points out that system flexibility and rider acceptability were other key considerations.

“We bring in a really wide variety of acts—from Vince Neil, Tesla and Adam Ant to Tony Orlando, Buddy Guy and Kool & The Gang—so we needed a system that could satisfy them all,” Minick says. “KARA totally does. Since it went in, I haven’t used any other rig in the room, and I don’t intend to. The coverage is great, the clarity is phenomenal, and the power absolutely stomps! Our customers rave all the time about how they love what they’re hearing, and I agree. This is one of the best sounding systems I’ve ever heard.”

“Our choice to recommend and use L-Acoustics for the Coconut Creek project went far beyond just sonic excellence and versatility,” adds Jerrod Cring, Beachsound’s head of systems integration. “We wanted a company that would work ‘with’ us through the entire process, from system design to integration to training. In the end, L-ACOUSTICS with its standard of excellence was the best choice we could have made.”

Coincident with the recent installation at Seminole Casino, Beachsound increased its own inventory of L-Acoustics enclosures for its rental division as well as completed the necessary training to officially become an L-Acoustics Certified Partner.

“Beachsound and L-Acoustics have enjoyed a long history together and we’re thrilled that they’ve now joined our Certified Provider family,” says Paul Tillman, L-Acoustics US regional sales manager. “With the company’s recent KARA, KIVA, ARCS II and LA-RAK inventory additions, we know that Andre and his outstanding team will continue to provide Florida and beyond with exceptional sound reinforcement services and support.”


image


Beachsound & Lighting
L-Acoustics

 

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Posted by Keith Clark on 02/08 at 03:41 PM
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