Wednesday, March 12, 2014
New Aviom D800-Dante A-Net Distributor Now Shipping
Offers easy integration of Aviom personal mixing systems with Dante networks
Audinate and Aviom have announced that the D800-Dante A-Net Distributor is now shipping. This unit, and the new D800 A-Net Distributor, which is also shipping, distribute audio and power to up to eight Aviom personal mixers and make them easier to integrate with various digital consoles and networks.
After licensing Audinate’s Dante protocol last year, Aviom used the protocol to create this new distributor because the integration of Dante allowed users with consoles and networks from various manufacturers to easily connect to an Aviom personal mixing system.
Built on existing networking protocols and standards, Dante is a plug-and-play networking solution which delivers ultra-low latency and tightly synchronized media, while simplifying installation and configuration of digital media networks.
Aviom product research and development manager Ray Legnini says, “The D800-Dante A-Net Distributor is one of the simplest solutions for getting up to 64 channels into the network digitally. With the D800-Dante, both channels going to the Aviom personal mixers and stereo mixes back from the personal mixers can remain in the digital domain, thus simplifying the workflow. Dante is an effective solution for users looking to integrate their audio gear across a single network.”
“Aviom has always been known for their innovative, technology-based products that meet the needs of audio professionals and musicians working in a number of environments,” addss Lee Ellison, CEO of Audinate. “The D800-Dante A-Net Distributor provides Aviom customers with a means to integrate easily with the rapidly expanding number of audio products on the market that are already operating on a Dante network.”
The D800-Dante A-Net Distributor simplifies connections to the Aviom personal mixers by making it possible to connect directly to any Dante console or network. With the D800-Dante A-Net Distributor, 64 channels from the network can be available to the personal mixers in the system. Each performer with an A360 Personal Mixer can mix those channels he or she wants from this pool of 64 available channels.
Both the D800 and D800-Dante A-Net Distributors are compatible with Aviom A-16II and A-16R personal mixers, but when used with the A360 personal mixers, the D800 and D800-Dante also offer the new Network Mix Back feature.
Network Mix Back sends a digital copy of the stereo mix output from each A360 personal mixer connected to the D800 or D800-Dante back to the Dante network or to an AN-16/o v.4 output module for simplified connections to musicians’ wireless in-ear transmitters. With Network Mix Back, transmitters for wireless in-ears can easily be set up off stage and cabling for the personal mixers on stage is simplified.
In addition, both D800s serve as a communications hub for iOS devices connected via an Ethernet WiFi router. iOS support for the A360 is scheduled for release later this year.
New LYON Line Array System Leads Meyer Sound Lineup At Prolight+Sound 2014
LYON-M main system and LYON-W wide-coverage system
At Prolight+Sound/Messe in Frankfurt, Meyer Sound is highlighting LYON, the latest addition to the Meyer Sound LEO family of linear sound reinforcement systems. (Hall 8.0, Stand F70)
LYON linear line array loudspeakers are available in two versions: the LYON-M main line array loudspeaker and the LYON-W wide-coverage line array loudspeaker.
Complemented by the 1100-LFC low-frequency control element and the Galileo Callisto loudspeaker management system, LYON-M can anchor a powerful system for installations in arenas and large auditoriums, as well as tours and festivals. LYON-W can serve as down fill to augment a LYON-based system.
Also making its Prolight+Sound debut is the MJF-210, the lightest self-powered stage monitor in the Meyer Sound product line. Only 13.9 inches high and weighing 67 pounds, the MJF-210 reproduces vocals and instruments with exceptional accuracy while offering all of the logistical benefits of self-powered systems.
A live technical demonstration will showcase the power of Audio Video Bridging (AVB) interoperability. It will feature an AVnu-certified Extreme Networks Summit X440-8t switch, a laptop, and a Meyer Sound steerable CAL column array loudspeaker routing audio signals on an AVB network.
Also featured on the booth will be the MINA line array loudspeaker with companion 500-HP subwoofers, the JM-1P arrayable loudspeaker, and a variety of externally powered 48-volt self-powered loudspeakers.
Yamaha Commercial Audio Launches New QL Series Digital Consoles
Brings aspects from the CL Series such as all-in-one mixing, processing, and routing capability for small- to medium-scale applications
Yamaha Commercial Audio has launched the new QL Series of consoles, inheriting aspects from the CL Series such as all-in-one mixing, processing, and routing capability for small- to medium-scale applications.
The QL Series provides a solid sonic foundation as well as built-in premium internal processors such as Yamaha VCM technology and the Portico 5033/5043 created in cooperation with Rupert Neve Designs to shape and create as required. For a wide range of speech applications, built-in Dan Dugan Sound Design automatic mixing provides optimum channel balance while allowing the mix engineer to concentrate fully on the overall sound.
“When Yamaha learned about my process, they thought it would be good for us to get together,” states Dan Dugan. ” We collaborated on making a plug-in card that would go into Yamaha mixing boards, and it has been very successful. Then we decided to go one step further and build Dugan automatic mixing right into the new Yamaha QL. I am very excited about giving more Yamaha customers the opportunity to use my auto mixing.”
Significant features include port to port routing via built-in R Series input/outputs that can patch any input port to any output port so that a QL console can function as a remote I/O device for any other QL or CL, touch and turn knob operation, and direct file compatibility between the new QL and CL Series (no need for Console File Converter to exchange files).
QL Series consoles are outfitted with large touch-panel displays that make up a smooth, efficient control interface. In addition to ample analog input and output capacity, they’re also equipped with the same onboard Dante audio networking protocol that provides broad connectivity in CL consoles.
“The new QL Series brings the powerful features and quality of the CL Series to smaller applications along with additional enhancements not typically found in digital mixers in this price range,” explains Marc Lopez, marketing manager, Yamaha Commercial Audio Systems. “These new enhancements will enable the engineer to use a sophisticated system that improves the overall operating experience.”
Remote control via an iPad with Yamaha StageMix as well as online/offline QL Editor software for Mac and PC computers adds even more refinement to the operating environment.
Yamaha QL 1 and QL5 consoles include 16/32 built-in mic/line analog inputs, 18/34 faders, 8/16 built-in analog outputs, 32/64 + 8 stereo input mixing channels capability, and 16 mix + 8 matrix (or 24 mix total) + stereo + mono outputs. The built-in Dante interface (daisy-chain or redundant modes) provides a 64 x 64 matrix for the QL5 and 32 x 32 for the QL1.
All consoles have two MY Card Slots, 8-space Premium Rack, 8-space GEQ Rack, 8-space Effects Rack, and one license of Dante Virtual Soundcard is included.
Yamaha QL consoles are compatible with Nuendo Live (sold separately) and feature Nuendo Live Control, MIDI/GPI Control Ports, and two-track direct to USB and multi-track recording playback capabilities. The QL1 is also rack mountable (RK1 rack mount kit sold separately).
The Yamaha QL Series will be available in early April 2014 at an MSRP of $8,499 for the QL1 and $16,499 for the QL5.
Yamaha Commercial Audio
RCF USA Names Cowser Marketing 2013 Rep Of The Year
Company reps RCF and dB Technologies products in Texas, Oklahoma, Arkansas and Louisiana
RCF USA, the wholly-owned distributor of RCF and dB Technologies loudspeaker products in the U.S., announced its 2013 manufacturer representative awards at its recent bi-annual rep meeting in Atlantic City, with Cowser Marketing named the company’s USA Rep Of The Year.
Cowser Marketing, which operates several offices in Texas, handles that entire state as well as Oklahoma, Arkansas, and Louisiana. “They earned it,” states RCF USA national sales manager John Krupa. “They exceeded all expectations.”
Cowser Marketing president Jim Cowser adds, “The strength of our staff, working as a team with RCF personnel, to get the appropriate product in the hands of our customers with demonstrations and evaluation inventory has been the key to our success with RCF and dB Technologies products.”
Two individual sales honors were also awarded. Jerry Sehi, southern Florida product specialist for Quest Marketing, was named Mr. RCF 2013, “When you have a company like RCF, with the product line and back up support, it makes our sales process easy,” says Sehi. “With the new products they brought to market in 2013, RCF created solutions customers were looking for.”
Meanwhile, Tod White, president of Bob White Associates, was named Mr. dB Technologies 2013. “It has been a privilege to represent dB Technologies,” White states. “As a forward-thinking company, they design innovative products year after year which allows Bob White Associates to achieve new sales records.”
Bob White Associates handles Michigan, Ohio, Kentucky, Indiana, West Virginia and western Pennsylvania.
The RCF USA two-day rep event, held at the Revel Resort in Atlantic City, also included a demonstration of line array products, as well as educational seminars. Engineers from both RCF and dB Technologies in Italy were on hand for product presentations and training.
Tuesday, March 11, 2014
Radial Engineering Introduces ProMS2 Single-Channel Mic Splitter At Prolight+Sound
Eclipse transformer that is linear from 20 Hz to 20 kHz while exhibiting less than 0.01 percent distortion at 20 Hz
Radial Engineering has introduced the Radial ProMS2, a single-channel microphone splitter designed for PA, recording and broadcast applications.
The ProMS2 is completely passive and 100 percent discrete to insure optimal signal flow.
The engine inside is an Eclipse ET-MS10 transformer that is exceptionally linear from 20 Hz to 20 kHz while exhibiting less than 0.01 percent distortion at 20 Hz. The Eclipse transformer is equipped with a mu-metal can that shields the sensitive circuit from outside electro-magnetic fields to ensure the signal is delivered without artifact.
Features include microphone input with -30 dB pad to enable extra high level sources to be used without fear of saturating the transformer.
There are three outputs: The first is a direct-coupled output that is normally connected to the main FOH PA system mixer and provides a return path for 48 volt phantom should a condenser mic or active DI box be in use. The second is a transformer isolated output that is particularly adept at eliminating the hum and buzz caused by ground loops. The third is a direct output with a ground lift switch. This auxiliary output can be used to feed the stage monitors, recording system or remote broadcast truck.
The ProMS2 is made in Canada using heavy-duty 14-gauge steel and features an internal I-beam frame that is virtually impossible to torque. This ensures outside stress will not cause premature failure of the solder points that connect to the various components, connectors and switches.
A unique book-end design creates protective zones around the connectors and switches to further prevent mishap on busy stages. The outer shell may be removed to mount inside the J-Clamp to attach the ProMS2 to a podium or several may be ganged together and mounted in the J-Rak for multi-channel installations.
Radial production manager Steve Hopia: “Radial has been building custom mic splitters and snakes for over 20 years. More recently, the Radial OX8 has gained notoriety as the mic splitter of choice with artists as diverse as Rush and U2 when recording live performances. We felt that it was time that we made a single channel version of the OX8 that could be used for general PA applications and installations where high performance is needed at a more affordable price point. The ProMS2 delivers in spades.”
The ProMS2 is now shipping.
SSL Announces Trio Of New Duende Native Plug-Ins At Prolight+Sound
Two designed to bring analog saturation and distortion emulation to DAW, while third provides high-precision, frequency-specific phase correction
Solid State Logic is announcing three new Duende Native plug-ins at Prolight+Sound 2014 (hall 8, stand L80).
The three new plug-ins complement the existing range, with two of them (X-Saturator and X-ValveComp) designed to bring some analog saturation and distortion emulation to digital DAW and the third (X-Phase) delivering high-precision, frequency-specific phase correction.
X-Phase is an all-pass filter plug-in that offers manual control and benchmark audio quality. It enables the user to apply a phase shift (sometimes called a phase offset) at a specified frequency within a signal.
Unlike other filter types where the gain of selected frequencies is altered, with an all-pass filter, the gain remains unchanged throughout the signal. This is useful for fixing phase problems with microphones when recording (ex: overheads causing phase problems when mixed with close mics).
With X-Phase, the controls are simple: a frequency control selects the desired frequency where a phase offset needs to be applied, a Q control sets the slope of the curve of correction to be applied across the signal and a phase invert button enables the phase of the filter to be flipped 180 degrees.
A separate delay section is applied to the entire signal for broader time alignment. The delay controls consist of a delay control which can be set to display and adjust in seconds, milliseconds, samples, metres or feet and a set of buttons for fine tuning.
The overall plug-in can be used in mono or stereo modes. X-Phase can be automated via standard DAW Automation data and has A&B preset “slots” with an A/B switch for easy comparison of two different combinations of settings. There are Input and Output Meters with Input and output level controls. X-Phase Price: £199, €249 and $329 +tax
X-Saturator delivers a range of analog-style distortion effects. It is an emulation of an analogue circuit that introduces either 2nd order valve style or 3rd order transistor style distortion, or a blend of the two.
At low drive settings, the distortion is mild and can add gentle warming to help instruments sit nicely in a mix or to add a little extra edge to help instruments cut through a mix. As drive levels are increased, so too is the level of distortion, until high drive levels at which heavy distortion occurs.
The controls are simple, a Harmonics control selects 2nd or 3rd order distortion, or a blend of the two; a Drive control sets the drive level; a depth control adjusts the amplitude of the distortion and a shape control adjusts whether the distortion has smooth or hard edges.
A headroom button provides an additional 6dB of headroom for creating heavily boosted/distorted signals without digital clipping. A dedicated wet/dry mix control facilitates parallel processing. There are input and output meters and input and output level controls. X-Saturator can be automated via standard DAW Automation data and has A&B preset “slots” with an A/B switch for easy comparison of two different combinations of settings. X-Saturator Price: £69, €89 and $119 + tax. Note: Special introductory pricing of £49, €59 and $85 (+ tax) is available for the first 30 days only.
X-ValveComp is a full-featured mono or stereo channel compressor with a full set of classic channel compressor controls and an added “valve” emulation stage. The valve emulation stage sits after the compressor in the signal path and adds a variable degree of primarily 2nd order harmonic saturation and distortion that thickens and colours the sound.
The compressor can be switched between [eak or RMS modes and has a full set of standard controls including threshold, ratio, knee, attack, release and hold. There are input and outputmeters with separate kick down compression amount indication and input and output level controls. There’s also a gain make up control and switched auto gain make up mode.
A dedicated wet/dry mix control facilitates parallel compression. A side chain input high- and low-pass filters can be used to trigger compression. X-ValveComp can be automated via standard DAW Automation data and has A&B preset “slots” with an A/B switch for easy comparison of two different combinations of settings. X-ValveComp Price: £69, €89 and $119 + tax. Note: Special introductory pricing of £49, €59 and $85 (+ tax) for the first 30 days only.
The new plug-ins are due for public release by May 1, 2014. To coincide with the new plug-in release, SSL has announced migration of the entire Duende Native plug-in collection to the iLok copy protection system. SSL has also announced a summer release for AAX versions of the entire suite.
“We’re excited to bring these new tools to the Duende family. Like the others in the Duende range, the new plug-ins are a mix of easy-to-use sound sweeteners and technical problem-solvers,” says Jim Motely, head of business for Workstation Partner Products at SSL. “By responding to our customers’ requests to move to what many see as the industry-standard copy protection system, we hope to ensure that using Duende plug-ins is as simple an experience as possible.”
Solid State Logic
Beyma Launches New MC500 Family Of Woofers At Prolight+Sound
Primarily designed for active loudspeaker systems and line arrays as mid-range or low-frequency components
Beyma has introduced the new MC500 family of ferrite-magnet woofers, available in 10-, 12-, and 15-inch sizes, primarily designed for active loudspeaker systems and line arrays as mid-range or low-frequency components.
All three models—10MC500, 12MC500 and 15 MC500—incorporate 2.5-inch voice coils with ceramic magnet as well as Maltcross technology, Beyma’s propietary cooling system, which allows them to handle up to 1,000 watts of program power while dramatically reducing loss due to power compression effect.
Further, MC500 models offering large displacement (8mm Xmax) while remaining very sensitive and linear in a wide band (above 97 dB 1w/1m).
Key specs for the 10MC500:
Nominal impedance—8 ohm
Minimum impedance—5.7 ohm
Power capacity—500 W AES
Program power—1000 W
Sensitivity—97 dB 1 W @ 1 m @ ZN
Frequency range —60-5000 Hz
Voice coil diameter—63.5 mm 2.5 in
BL factor—18.2 N/A
Moving mass—0.044 kg
Winding length—19.5 mm
Air gap height—9.5 mm
Xdamage pp—40 mm
Total weight—13.42 pounds
Noted New York Irish Pub Sounds Better Than Ever With Renkus-Heinz
CFX 61 loudspeakers meet the need for intelligibility and tight pattern control
In a city with no shortage of Irish pubs, the Pig ‘n’ Whistle Murray Hill in New York truly stands out, but the room’s cozy confines can present some acoustical challenges, with its long, narrow dimensions and high-beamed ceilings making it difficult to achieve the right balance of sound across the entire space.
“It’s a relatively narrow room, which makes it hard to provide consistent coverage,” explains John Paturno of Rego Park, NY-based Starview Audio. “The high ceilings add to the boominess.”
The demand was for a budget conscious, high-quality sound system that would meet the pub’s needs for intelligibility and tight pattern control. Starview selected a system centered on 10 Renkus-Heinz CFX 61 2-way Complex Conic loudspeakers.
Six loudspeakers cover the pub area in front, with the remaining four serving the rear dining space. The loudspeakers are powered by Powersoft amplification, with processing handled by Symetrix Solus 8.
“The CFX61’s coverage pattern is very tight and very accurate, and gives us seamless coverage from box to box with wider spacing between the cabinets,” says Paturno. “That translates to fewer speakers than we would have needed to achieve this degree of consistency with a different solution.”
He adds, “They needed a system that could provide a comfortable level of background music for the day crowd, but had the capability to get loud enough for the sports crowd. The CFX61 delivers great speech intelligibility, which is great when there’s a full house watching the game. Everyone involved is truly pleased with the results.”
Metallica Adds 76 Meyer Sound MJF-210 Stage Monitors To Touring Kit
Monitor was developed to the exacting demands presented by the Metallica production team
Metallica will expand its touring inventory with 76 units of the new MJF-210 stage monitor from Meyer Sound.
The lightest self-powered stage monitor in the company’s product line, the MJF-210 was developed to the exacting demands presented by the Metallica production team. The new monitors will first be used on the band’s South American tour this spring.
Looking for a new solution to meet a series of on-stage reinforcement requirements, including weight, footprint, power, and clarity, the Metallica team turned to Meyer Sound. The team, including Dan Braun, show director, along with monitor engineer Bob Cowan and assistant monitor engineer Adam Correia, subsequently took part in the beta product testing during the Asian leg of the band’s recent tour.
“Meyer Sound embraced our demanding performance specs for a new compact stage monitor that would stand up to the rigors of Metallica touring and satisfy the critical ear of James Hetfield,” says Braun. “The resulting MJF-210 exceeds every parameter without compromise. The support we received from the company’s engineering staff demonstrates that everybody at Meyer Sound is indeed a part of the Metallica family.”
Each monitor measures less than 14 inches high and weighs 67 pounds, and provides the sonic and practical advantages of a self-powered system, including reliability, low distortion, and ease of setup and configuration. With the amplifier built into the cabinet, the MJF-210 eliminates amplifier racks and saves backstage and truck space.
The front of the MJF-210 slopes at an optimal 40 degrees from the stage, while the exceptionally well-behaved constant directivity horn (50 H x 70 degrees) gives the performer more freedom to move on stage while staying within the wide vertical coverage. The drivers are powered by a 3-channel class D amplifier.
DiGiCo Announces 2014 Masters Series Tour Dates
First five locations of this year’s hands-on training sessions announced
DiGiCo has announced the first five locations for this year’s DiGiCo Masters Series Training Tour, which presents hands-on training sessions.
Presented in conjunction with Group One Limited, DiGiCo’s U.S. distributor, the single-day course is designed to provide attendees with plenty of hands-on console time, including multi-track playback to the desk and the ability to mix down to headphones, allowing them to put into practice what they’ve learned throughout the day.
“The idea behind these one-day trainings is to not only give those that attend a great introduction into the DiGiCo mixing environment but also make sure they understand the ins and outs of system configuration and operation,” says Ryan Shelton, sales and support specialist and instructor for Group One. “This is a great opportunity for those interested in what DiGiCo has to offer as a mixing platform as well as those who are familiar with DiGiCo but may simply want to brush up on what’s new.”
The first two training tour dates of 2014 will take place in Atlanta on March 19 and 20, followed over the next couple of months with stops in St. Louis (April 22, 23), Chicago (April 29, 30), Phoenix (May 13, 14) and Denver (May 20, 21). Additional cities and dates will be announced soon.
Although there is no cost to attend the DiGiCo Masters Series training sessions, reservations are limited to ensure that all attendees are able to spend sufficient time on the desks. Complimentary lunch will also be provided. For more information and to reserve a seat for one of the upcoming dates, visit DiGiCo’s Masters Series Facebook page at www.facebook.com/digicomastersseries.
Group One Limited
Monday, March 10, 2014
TASCAM Announces UH-7000 High-Resolution USB Interface & Microphone Preamp
New HDIA (High Definition Instrumentation Architecture) that makes it very well suited for solitary use outside of the digital channels
TASCAM has introduced the UH-7000 USB 4 x 4-channel audio interface and stand-alone microphone preamp.
The UH-7000 incorporates new HDIA (High Definition Instrumentation Architecture) that makes it very well suited for solitary use outside of the digital channels.
The mic pres feature a fully-balanced signal path from input to output, an instrumentation amplifier architecture, and premium components to achieve a -128 dBU noise floor, 117 dB signal-to-noise ratio and 0.0009 percent THD rating.
Dual-sided PCM4220 A/D converters capture mic or line inputs at up to 192 kHz/24-bit resolution. The temperature-compensated internal clock offers 1PPM resolution – better than many stand-alone clock generator, and limiting jitters for clean recordings. When monitoring and line output, the UH-7000 sends audio through a Burr Brown DA converter for fluid and honest sound reproduction.
Another crucial component of the UH-7000 is its power supply with an extra-large power transformer and other factors guarantee that all internal components work to their full potential.
The UH-7000 is housed in a solid aluminum structure, with knobs that are calibrated for smooth, custom-tapered gain setting and the bright 20-segment LED peak meters accurately convey each channel’s true level.
The device is equipped with two XLR balanced inputs with +48V phantom power, two balanced 1/4-inch inputs, two balanced XLR outputs, and AES/EBU digital out.
—Supports 24-bit/192kHz USB transmission and AD/DA conversion
—Support for Mac and Windows operating systems
—4-in/4-out audio streaming from a PC connected via USB 2.0
—Burr-Brown PCM4220 AD converter
—Burr-Brown PCM1795 DA converter
—HDIA microphone preamps: –128dB EIN
—Thin film metal resistors with outstanding noise performance
—High audio quality film capacitors with low distortion
—Low-latency monitoring through the DSP mixer
—DSP mixer can be switched between multitrack and stereo mix modes
—DSP mixer enables independent adjustment of recording and monitoring levels
—Line or digital outputs can be selected using the DSP mixer
—DSP dynamics effects can be applied to inputs, outputs or the master (compressor, noise suppressor, de-esser, exciter, EQ, limiter/low cut)
—DSP REVERB (hall, room, live, studio, plate) send effect is perfect for monitoring when recording
—Link line function enables volume control of powered monitors
—Single-punch MIXER PANEL button
—Strong, highly-durable aluminum body
—Large INPUT level knobs enable precise adjustment of input levels
—Two 20-segment LED level meters
—Standard TRS headphones output jack - 45mW/channel output
—+48 phantom power supply
—Two balanced analog XLR jacks for both input and output
—Professional output specifications (maximum output level: +24 dBu)
—Two balanced analog TRS input jacks
—XLR digital input and output jacks support AES3-2003/IEC60958-4 (AES/EBU) and IEC60958-3 (S/PDIF) formats
—IEC AC input cable
—Confirmed operation with major DAW software, including Sonar X3, Pro Tools, Cubase and Live
Sennheiser Announces Spring Rebate On Select Wireless Systems, Microphones & Headphones
Until April 30, bonus savings of up to $100 on select wireless systems and up to $50 on select microphones and headphones
Sennheiser has just announced a new rebate promotion in which consumers get up to $100 cash back on select wireless systems and $50 cash back on select microphones and headphones purchased at an authorized Sennheiser dealer.
Customers can learn more and take advantage of the promotion by visiting http://en-us.sennheiser.com/rebate.
Rebates are valid on select Sennheiser HD series headphones; evolution, MD and MK series microphones; and XSW and EW series wireless systems purchased from an authorized U.S. Sennheiser dealer between now and April 30, 2014. Following are rebate values for the various products that are included:
XSW 12: $40
XSW 35: $40
XSW 72: $40
EW 112P G3: $50
EW 122P G3: $50
EW 135P G3: $50
EW 100 ENG: $75
EW 300 IEM: $75
EW 300-2 IEM: $100
e 604: $10
e 609: $10
e 835: $10
e 602-II: $20
e 614: $20
e 935: $20
Three Pack e 835: $20
Three Pack e 604: $30
MK 4: $30
MD 421-II: $40
e 914: $40
e 965: $50
HD 280 PRO: $10
HD 380 PRO: $20
HD6 MIX: $30
HD7 DJ: $30
HD8 DJ: $40
HD 600: $40
HD 650: $50
To receive a rebate on eligible products, customers will need to mail the following to Sennheiser following their purchase (postmarked no later than May 31, 2014):
—A completed rebate form, which can be downloaded from the Sennheiser website here.
—The original UPC and EAN code, cut from the box (no photocopies will be accepted)
—A copy of the sales receipt, dated between March 1, 2014 and April 30, 2014, from an authorized Sennheiser dealer for a product listed above.
All rebates must be postmarked no later than May 31, 2014.
Waves Audio Introduces The Waves/Abbey Road Reel ADT
First plug-in to successfully emulate Abbey Road Studios’ pioneering process of Artificial Double Tracking.
Waves Audio has debuted the Waves/Abbey Road Reel ADT, the first plug-in to successfully emulate Abbey Road Studios’ pioneering process of Artificial Double Tracking.
ADT was the signature effect created at Abbey Road in the 1960s to meet the requirements of some very special clients: The Beatles. It is the most legendary of all Abbey Road tape effects and can be heard on countless historic recordings.
Over the years, many recording engineers have tried to replicate the effect, but only with partial success. This is largely because a definitive description of the exact process used at Abbey Road has been a closely guarded secret—until now.
The effect that would become an integral part of Abbey Road’s signature sound was initially created at the famed studios in the 1960s to meet the Beatles’ unique recording needs. As the band’s success grew, so did their desire to find new ways of working, leading Abbey Road’s engineers to experiment with new technology.
By 1966, the band had become frustrated with the need to continually re-record vocals to create multi-layered vocal effects. To solve the problem, Abbey Road engineer Ken Townsend created Artificial Double Tracking (ADT).
By connecting the primary tape machine to a second, speed-controlled machine, two versions of the same signal could be played back simultaneously. And by gently wobbling the frequency of an oscillator to vary the speed of the second machine, the replayed signal could be moved around just enough to make it sound like a separate take.
The introduction of ADT was a milestone in the history of sound recording, and the technique was used heavily on many recording sessions at Abbey Road Studios. ADT became such a prominent and integral part of the production process that Abbey Road’s momentous move from 4-track to 8-track recording was postponed for several months—from May to September 1968—until the new M3 8-track tape heads could be modified to enable the independent sync output needed for achieving ADT. John Lennon reputedly dubbed ADT “Ken’s Flanger,” which some say led to flanging becoming established as a technical term in studios around the world.
Reel ADT puts the magic of that era in your hands within seconds. Using its intuitive controls, advance or push back the doubled signal to achieve genuine, lush-sounding delay and pitch variations. Also, drive each of the signals separately to add beautiful tape saturations.
With its authentic modeled valve tape machine sound and faithful emulation of wow and flutter, this plug-in can enhance any track with the impression of two separate takes, providing results as close as possible to real double tracking.
Other classic Abbey Road tape effects such as flanging and phasing can also be achieved with ease. All the character, depth and panoramic sound of this inimitable classic effect can now be created digitally, simply and for real: Reel ADT.
Mirek Stiles, head of audio products at Abbey Road Studios, says, “From my time as an assistant engineer, I remember the setting up of ADT as being a lengthy process, but totally worth it. Not only hearing, but also controlling ADT for the first time was amazing. Using the remote Varispeed on the tape machine, it was possible to add lush movements, stereo width and dramatic depth to almost any track. For the first time ever, Waves has captured not only the true sound of ADT, but also the feel of this classic effect.”
The Waves Abbey Road Reel ADT is Native only, and is currently available with a U.S. MSRP of $200 and an introductory price of $99.
Radial Introduces Next-Generation JDI Duplex 2-Channel Direct Box
Smaller for easy handling, incorporates rack-mount option, and adds 3.5mm TRS connector for greater flexibility
Radial Engineering has announced its “latest generation” of the Radial JDI Duplex, a 2-channel direct box designed for professional touring and studio recording.
“The Duplex has gained international stature as the unchallenged champion of the stereo direct box world,” according to Radial senior engineer Dan Fraser. “So before making any changes to update such a legend, we wanted to make sure that we would retain the flexibility, ease of use, build quality and of course, amazing sound. At the end of the day we focused on making it smaller for easy handling, incorporating a rack-mount option and adding a 3.5mm TRS connector for greater flexibility when being used with laptops and tablets.”
The JDI Duplex is a passive direct box that is equally capable of handling low level instruments such as an electric guitar, or the most dynamic instruments, such as a digital piano.
The 100-percent discrete design is centered around two high performance audio transformers that produce an exceptionally linear response from 10Hz to 40kHz and gently smooth out transients for a natural limiting effect that is often referred to as vintage sounding.
An array of connectors including 1/4-inch, 3.5mm, RCAs and XLRs on the input side with XLR outputs enhance versatility.
As with all Radial direct boxes, the Duplex is made with a 14 gauge steel I-beam enclosure to reduce opportunity for stress on the PCB which could shorten the lifespan while providing a protective zone over the switches to prevent misuse or damage. A full bottom no-slip pad provides plenty of stay-put.
Front panel switches include -15 dB pad, stereo-to mono mix, 180-degree polarity reverse, ground lift and XLR select.
The Duplex starts shipping in late March 2014.
Soundcraft To Host “Mixing with Professionals” Sessions At Prolight+Sound 2014
Training and demonstrations on Soundcraft’s Si Expression range and the new Vi3000 digital console
Harman’s Soundcraft is hosting its “Mixing with Professionals” (MwP) training sessions at the upcoming Prolight+Sound show in Frankfurt. The sessions will offer formal training and demonstrations on Soundcraft’s Si Expression range and the new Vi3000 digital console.
“We trained around 2,000 engineers over the past year on the Expression range as well as Vi and know the Vi3000 especially will draw lots of interest at the show,” says Keith Watson, marketing director, Soundcraft Studer & AKG, Harman Professional. “The MwP sessions offer a great opportunity to get hands-on experience with industry experienced engineers on hand to help and provide tips of the trade, everyone is welcome to join a session.”
The “all-in-one-box” Soundcraft Vi3000 digital live sound console offers a host of features, a new industrial design, 96 channels to mix, and onboard Dante. It also uses the new internal Soundcraft SpiderCore DSP based on sister company Studer’s Vista 1 engine, with Soundcraft’s Vi Version 4.8 operating software offering the new “3D” Vistonics user interface, while adding a fourth 24-channel fader layer to improve access to the console’s 96 input channels.
The surface operation and layout is similar to other Vi Series consoles, providing a familiar feel while offering expanded functionality. And, the Vi3000 also includes upgraded microphone preamps and 40-bit floating-point DSP processing.
The MwP sessions will be held all four days of the show (March 12-15) in both German and English languages at the Harman stand, number F32 in Hall 8. More details here.