Tuesday, July 01, 2014

Audient Bolsters Tech Support

Harry Lewis joins Audient's support team.

British manufacturer Audient invests in after-sales support with the appointment of new technical staff member Harry Lewis.

Since his arrival at Audient, Lewis has worked to upgrade and simplify the online technical help desk, populating it with factsheets and answers to frequently asked questions.

In addition, Audient has upgraded the online support page with an attractive new design which makes it easier to navigate to the subject in question. Navigation can be done by product or using a simple search function. In an effort to provide the best customer experience possible, the online support page continues to grow with ongoing updates to a knowledge base full of useful hints, trouble-shooting guides and FAQs.

Many of the factsheets are illustrated by handwritten notes and easy-to-understand drawings, to help decipher some of the more complicated audio explanations such as clocking and harmonic distortion.

If you have a question that you can’t find the answer to, you can submit a request on the tech page, email directly or call Audient during office hours.

Posted by Julie Clark on 07/01 at 02:48 PM
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Tannoy Introduces CMS 3.0 Ceiling Loudspeaker

The CMS 3.0 brings higher degrees of intelligibility, more consistent broadband directivity, and a brighter, more accurate soundstage.

Tannoy has introduced the CMS 3.0, the third generation of Tannoy’s premium in-ceiling loudspeaker system, featuring a new development of their Dual Concentric transducer technology.

The CMS 3.0 brings higher degrees of intelligibility, more consistent broadband directivity, and a brighter, more accurate soundstage. The new ceiling speaker represents a new level of sonic performance from a ceiling loudspeaker.

In addition to improved sound and smooth predictable coverage, the all-new CMS 3.0 also introduces several mechanical and aesthetic features that benefit both systems designers and contractors.

The new line of Dual Concentric equipped CMS consists of five models – CMS 403DCe, CMS 503DC, CMS 603DC and CMS 803DC – each designed to replace previous equivalent iterations. In addition the all-new CMS 803DCQ 8-inch high-Q model is designed for high-ceiling/longer throw applications. At the heart of each device is the next-generation Dual Concentric transducer.

The new driver features Omnimagnet technology and a unique Torus Ogive Waveguide assembly to deliver more consistent and controlled directivity, with notable improvement in higher frequency ranges, in comparison to previous generations.

The new design also delivers improved time alignment and greater coherence between LF and HF, resulting in an even wider sweet spot and brighter, more defined and precise sound – for appreciably enhanced performance both on and off-axis.

Philippe Robineau, director of engineering for Tannoy, comments, “Having enjoyed huge success with CMS Series over a long period, we had a good feel for the market in terms of how we could develop the product further. We listened closely to the consultant community and our key contracting customers and identified the areas where we needed to focus, in order to make a great loudspeaker even better.”

“We believe we have achieved just that, and we’re confident that CMS 3.0 represents the new benchmark in the premium in-ceiling audio space. We can only make that assertion, given that we had ourselves to beat.”

In addition to new driver technology, CMS 3.0 also benefits from new magnetically adhering grilles, easy to fit or remove (for hassle-free custom painting) and available in either Classic (traditional, inset within the bezel) or new Arco style – designed to conceal the entire unit including the bezel beneath a sleek architectural grille for use in applications where mitigating any aesthetic impact is a driving factor.

A new molded baffle design contributes further to the loudspeaker performance, providing subtle extension to the waveguide effect of the driver itself.

Around the back, there’s an all-new clamp design which offers greater extension (for thicker ceiling panels) and a unique locking design that prevents over-screwing that could lead to clamps falling out during installation.

Each model (except CMS 401DCe) is available in both PI (pre-install) and BM (blind-mount) variants, as with previous CMS Series iterations.

All models are 16 ohm, making them ideal for use in low-impedance systems, such as in conjunction with Lab.gruppen LUCIA amplifiers, while additionally featuring an integrated low insertion loss line transformer for 70 V / 100 V distributed applications.

TC Group

Posted by Julie Clark on 07/01 at 12:39 PM
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POLARaudio Provides Mackie Mixer With iPad Control To Premiership Football Club

The DL806 provides announcer Steve Buxton to mix much closer to the action.

The Britannia Stadium is the home of Premiership Football Club Stoke City. The grounds, which cost £15 million, opened in 1997 by Sir Stanley Matthews.

As a top-flight arena with a capacity of 28,000 spectators, the need to clearly deliver information throughout the venue is of great importance. From safety announcements and music, to team changes and minutes of added time, stadium announcer Steve Buxton is a busy man.

Until recently, Buxton mixed output received via walkie-talkie behind glass—a less than ideal mixing atmosphere. In order to better cater to the needs of a top sports stadium, Stoke City called in Paul Heath director at HSL Entertainment to consult about the best way to remedy the situation. Heath, in turn, contacted POLARaudio who supplied a Mackie DL806 iPad Control Wireless Mixer to allow Buxton to mix from the center of the action.

The DL806 allows its user to combine using a full-featured digital mixer with the ease and mobility of an iPad. Supplying exceptional sound quality with 8 Onyx mic preamps and the performance of 24bit Cirrus Logic AD/DA converters, the DL806, with seamless wired to wireless iPad control, now allows Buxton the freedom to mix from anywhere in the stadium. The power to deliver his choice of content is now instantaneous and quite literally, at his fingertips.

Buxton, who is also head of PR, event and media management at Stoke City, is relishing his new-found mobility:

“Being in every way so much closer to the action makes a huge difference. I’m now physically at the center of things and that allows me to respond to events and convey information without the previous to-ing and fro-ing via the walkie-talkie,” he adds. “Part of my job is also to help build the atmosphere before kick-off, so to be pitch-side rather than high up behind glass really helps me to feel properly part of what’s going on.”

“This was a relatively small scale solution to a major headache and it serves as a good illustrator of how choosing the right technology is the key to a successful outcome,” adds Heath. “The Mackie DL806 is a versatile piece of kit and has more than proved its worth at the Brittania Stadium. Steve can now concentrate on the job in hand from the thick of the action without all the previous hassles.”


Posted by Julie Clark on 07/01 at 12:19 PM
Live SoundNewsDigitalInstallationMixerSound ReinforcementPermalink

GC Pro Works With Make-A-Wish Southern Nevada To Help Aspiring Young DJs

Assembles and provides full rigs for youngsters suffering from debilitating conditions

Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on professional users, has been regularly collaborating with Make-A-Wish Southern Nevada, a chapter of the national organization that grants the wishes of children diagnosed with life-threatening medical conditions in the United States and its territories, to provide access to musical instruments and professional audio equipment for children in the program.

Most recently, the GC Pro office in Las Vegas worked with the southern Nevada chapter to make the dreams of two young DJs come true. In the cases of Kyle and Diego, two youngsters suffering from debilitating conditions, GC Pro fulfilled their wish list. 

The new rigs for each DJ now include a Numark NS7II DJ Controller with case and stand, QSC K12 powered loudspeakers and KW181 powered subwoofer, an Apple MacBook Pro laptop computer, Pioneer HDJ2000 professional headphones, Ableton Live 9 software, a Sennheiser E835 microphone and an Akai Professional EIE PRO 24-bit Audio/MIDI interface with USB hub. All of this equipment was provided fully assembled, configured and installed by Michael “Mickey” Lomboy, a member of the GC Pro Affiliates Program, with training also provided by GC Pro personnel.

“These kids are amazing,” says John Stevens, the account manager at GC Pro’s Las Vegas office who acted as the liaison for the project and for other similar collaborations since June of 2013. “They’re up against some serious illnesses — Kyle is permanently in a wheelchair and Diego has a serious neurological condition. But they are both really focused on becoming DJs. We wanted them to have the tools to achieve those dreams.”

Miriam Ceballos, Wish Granting Coordinator at Make-A-Wish Southern Nevada, states, “We work with many vendors on these projects, and I can say that every time we’ve worked with GC Pro it’s been a pleasant and fulfilling experience, for us and for the kids. DJ wishes have become very popular lately, and GC Pro knows exactly what the kids want and need, and it’s always right there when you need it. Sometimes the kids know what they want, and whatever it is, you know GC Pro has it in stock. And if the kids aren’t sure, GC Pro is there to help them figure out what works best for them.” 

Guitar Center Professional (GC Pro)

Posted by Keith Clark on 07/01 at 11:50 AM
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Harman Brands Unite To Power Up Dierks Bentley’s 2014 Riser Tour

Country music star Dierks Bentley is currently out headlining his 2014 Riser Tour with a full complement of Harman products.

Country music star Dierks Bentley is currently out headlining his 2014 Riser Tour through the fall. VER Tour Sound is supplying a sound reinforcement system featuring Harman’s JBL VTX line arrays powered by Crown I-Tech HD amplifiers.

Christie Lites is providing a full Harman Martin rig for the dynamic lighting system, highlighted by MAC Quantum fixtures.

The audio system features a left-right hang of 16 JBL VTX V25 line array loudspeakers per side, with six VTX S28 subwoofers per side in cardioid configuration.

For side fill, VER has supplied supplying eight V25 loudspeakers per side, along with six G28 ground-stacked subwoofers per side.

Powering the V25 loudspeakers are Crown I-Tech 4x3500 HD amplifiers, with I-Tech 12000 HD amps powering the subwoofers.

“Dierks really combines country and rock together and this show is very much like a rock and roll production,” said Chance Stahlhut, Account Manager, Tour Sound, VER. “At the same time, he’s true to his musical roots and the country element comes through in his performances.”

FOH Engineer James “Pugsley” McDermott has been working with Bentley for approximately nine years, and on this tour is working with monitor engineer Scott Tatter, system engineer Kennith Sellars, and RF tech Ashley Zapar.

“With Dierks, how it sounds on stage is exactly how he wants it to sound out in the audience,” McDermott said. “He knows his crowd and he wants it to be an energetic show.

“He’s spent a lot of time putting the show together and he keeps you on your toes as an engineer. He’s the kind of client you want: someone who will push you to be as good as you can be and will make sure you’re always on your game.”

In his approach to mixing Bentley’s shows, McDermott’s priority is finding the perfect balance.

“I treat this as a true rock and roll setup,” he said. “I want to mix to my audience, so if the crowd is loud I want to be just as loud. I want the first downbeat of the very first song to knock people back, to be impactful and surprising. That way the people know they’re in for a high-energy show. The PA and console are my instruments in that regard.”

McDermott added that he has worked with JBL throughout his entire career.

“I’ve seen their products evolve over several decades and I’ve spent the past five years working with every loudspeaker you can name,” he said. “I’ve never had issues with JBL because I always know what to expect. They’re workhorse products in this industry.”

McDermott first heard the VTX system two years ago and was impressed.

“I think it’s an accumulation of line array concepts and processing and drivers and design working together to get a good product,” he said. “It’s not too heavy, you can fly it in most places; you can hang more boxes compared to other speakers. I love the top end of it, I think it’s the most brilliant sounding speaker that JBL has developed.”

“The VTX is just a really great box, it’s very consistent and we’ve had great results with it,” Stahlhut adds.

On the lighting side, Chris Reade, Lighting Designer for Dierks Bentley, uses Martin’s MAC 2000 Wash, MAC 700 Profile, MAC Viper Profile, MAC Aura and MAC Quantum, all provided by Rod “Red” Gibson of Christie Lites. The Lighting Crew Chief is Marc “Chainsaw” Wuchter and the Production Designer is Bruce Rodgers of Tribe, Inc.

Reade mentioned that he was impressed right away with the MAC Quantum after seeing it at the LDI trade show in November, and decided he wanted to make it the workhorse in his rig.

“The Quantum has powerful looks that can be used in a dramatic fashion,” Reade continued. “This fantastic set and video design by Bruce Rogers has big rock and roll features, but also some subtle theatrical elements as well. It was fun to work together with Bruce, and together make the complete design with the Quantums in mind.”

“The Quantum light has a lot of effect possibilities and narrowing it down to get powerful, unique looks, without overdoing it was a challenge,” Reade said. “I believe effects are more powerful if they are not used over and over throughout a show.”

“The Quantum is a great pairing with the Viper because the output is amazing, and after I showed Reade the fixture at LDI, we immediately found a way to incorporate it into his design,” said Gibson. “Reade and the Dierks Bentley tour have been great, loyal clients. We work well together and I always try to provide him with the latest products. I gave him the Auras a couple years ago and then the Vipers last year, and I’m proud to say that he is now one of the first tours with the Quantums!”

Reade mentioned that the MAC Viper is a powerhouse, being extremely bright and very fast with great optics and color mixing; it’s his number one choice. 

Reade also said he enjoys the MAC Auras as well and typically uses them in groups to add to the effect, while the MAC 700 Profile is used for front key lights to provide a great look. He also uses the standard MAC 2000 Wash for color wash and punchy stabs when they are zoomed in.

“The reactions have been amazing,” Reade added. “Everything came together really well between all the departments, it was a great collaborative effort. I think we’ve been able to create something powerful and unique, and I’m really proud to be a part of this.

“I think the Quantums get a great reaction from the audience when they go from being used as a wash light to then being used as an effect. It’s pretty cool and unexpected and to be able to quickly transform from one type to another is pretty incredible.”

“The support from Martin has been outstanding,” Gibson said. “Grif Palmer was a huge help in making sure we had the Quantums in time for the start of the tour, and we couldn’t be happier!”

a href=“” title=“JBL ” target=“blank”>JBL

Posted by Julie Clark on 07/01 at 11:41 AM
Live SoundProductionNewsProductionAudioLightingAmplifierConcertLine ArrayLoudspeakerSound ReinforcementPermalink

Meyer Sound Constellation Fosters Idea Sharing At Enbridge Corporate Learning Center

Goal is clarifying corporate communication and facilitating the free flow of ideas.

Calgary-based energy company Enbridge recently implemented a Meyer Sound Constellation acoustic system with the goal of clarifying corporate communication and facilitating the free flow of ideas.

Eliminating the need for lavalier or handheld microphones, the systems support a variety of functions in two adjacent meeting rooms located in the company’s new Learning Center and are are part of a complete AV design by Bill Schuermann, senior consultant at the Houston office of SLR Consulting.

“The rooms are used for everything from executive meetings, teleconferencing, and employee training to safety orientations for construction workers, and even occasional social events,” says Amin Ladha, AV subject matter expert at Enbridge. “Constellation has performed exceptionally well for all of them.”

Constellation is an active approach to expanding the acoustic capabilities of a multipurpose space. In environments where speech communication is essential, the voice lift feature of Constellation enhances speech intelligibility by generating precisely articulated and directed early reflections.

In Learning Center A at Enbridge, the system is equipped with three preset modes to take advantage of the voice lift feature. For presentations, the system picks up signals near the presenter and reproduces them in the audience area. In Conference Table mode, the system focuses on sounds from the center of the room, and Small Groups mode uses subtle reverberation effects to provide acoustical isolation between adjacent groups.

“Learning Center A is a large room, and several important staff members are very soft-spoken,” says Ladha. “If that person is at one end of the room, he or she could not be heard at the other end without Constellation turned on. But when it’s on, they can talk in a natural tone of voice, and everybody hears clearly at the other end, even though the voice stays localized in place. It sounds like the person is five feet away rather than 50.”
Worldwide partners connecting with Enbridge via teleconferencing have also noticed the improvements in intelligibility. “We used to have people at the other end complain that it sounded like we were in a tunnel,” reports Ladha. “In the new rooms, that is all eliminated.”

The system in Learning Center A comprises 66 MM-4XP self-powered loudspeakers and six MM-10XP subwoofers, both with IntelligentDC technology, and 24 miniature condenser microphones tucked close to the ceiling. Learning Center B has a similar setup, employing 30 MM-4XP loudspeakers, two MM-10XP subwoofers, and eight microphones. A D-Mitri digital audio platform with the patented VRAS acoustical algorithm is at the core of both systems.

Ladha also notes that, since the new systems have been installed, requests coming to him for technical support to solve audio problems have dropped by about 75 percent. “These are multi-purpose rooms, and Constellation’s voice lift technology is in use constantly,” he says. “It’s easy to use, highly effective, and is proving exceptionally useful. Before Constellation, people in the back were asked to stand and talk louder. Now, people can stay focused on the conversation.”

In addition, the Learning Center has equipped its small meeting room and two social areas with 39 Stella-8C installation loudspeakers and three MM-10XP subwoofers.Other technologies include Biamp Systems Tesira audio DSP and routing, NEC and Sharp video screens, and a Crestron DM control system.

All systems were installed by the Calgary office of AVI-SPL, with project management by Chad Lavoie. With more than 11,000 employees in Canada and the U.S., Enbridge specializes in distribution systems for crude oil and natural gas, as well as renewable energy projects.

Meyer Sound

Posted by Keith Clark on 07/01 at 11:16 AM
AVLive SoundNewsAVBusinessDigitalInstallationLoudspeakerNetworkingProcessorSignalSound ReinforcementPermalink

Eighteen Sound Announces 18iD High Performance Subwoofer

Eighteen Sounds new 18iD subwoofer is engineered for maximum power transfer when operated with Class D and similar (iPal compatible) amplifiers.

Eighteen Sound has announced the 18iD extended low frequency neodymium transducer. The new subwoofer is engineered for maximum power transfer when operated with Class D and similar (iPal compatible) amplifiers.

Designed for vented and bandpass subwoofer cabinets, the subwoofer works best with amplifiers capable of delivering 2600 Watts (10,000 Watt peak) of power. The end result is clean and undistorted LF reproduction at ultra-high SPL with the lowest possible power compression.

The transducer features a state-of-the-art 5.3-inch inside-outside ISV (Interleaved Sandwich Voice coil) voice coil which dissipates heat very effectively. A low-density material air diffractor placed into the heatsink acts as a cooling system, increasing the power handling capability and lowering the power compression figure.

The 18iD is able to perform properly under inclement weather conditions, utilizing exclusive cone treatment that provides water repellent properties to both sides of the cone. A special coating applied to both the top and back plates makes the transducer far more resistant to the corrosive effects of salts and oxidization.

The iPal compatible 18iD sets a new benchmark for ultra-powerful subwoofers with extended low frequency and extraordinary acoustic power with high transient behavior.

Eighteen Sound

Posted by Julie Clark on 07/01 at 09:59 AM
Live SoundNewsProductBusinessManufacturerSound ReinforcementSubwooferPermalink

Monday, June 30, 2014

Martin Audio Introduces DD12 Powered Loudspeaker

Incorporates onboard networking, DSP and class D amplification with high-end transducers and proprietary Differential Dispersion horn technology

Martin Audio has introduced the new DD12, a multi-purpose loudspeaker incorporating onboard networking, DSP and class D amplification with high-end transducers and proprietary Differential Dispersion horn technology to meet the needs of a wide range of applications.

Differential Dispersion technology is designed to provide more consistent audience coverage than systems with X- x Y-degree horns, providing more throw to the rear to distribute sound evenly front-to-back, with close-up horizontal coverage for the front rows.

The DD12 will meet stand-alone and distributed sound reinforcement requirements, including touring, theater, church and portable live sound applications in small-to-medium size coverage areas. It can also be used as an in fill loudspeaker in large-scale systems.

Whether configured stand-alone or as part of a larger MLA/MLA Compact system, individual DD12s can be controlled and monitored from a laptop or wireless tablet PC via VU-NET proprietary software. PC connection can be made directly via USB or via Martin Audio’s proprietary U-NET network and Merlin loudspeaker and network management system.

In addition, the DD12 is equipped with internal memory, which allows factory plug-and-play’or user-generated DSP preset snapshots to be recalled by means of a preset selector button on the rear panel, instead of using computer control.

Accessories support a wide variety of mounting options, including surface, ceiling and pole mount. The DD12’s universal bracket facilitates a range of down-tilt and up-tilt angles in both portrait and landscape orientation, and can be mounted directly onto the pole of a speaker stand or attached to a scaffold clamp.

Jason Baird, R&D director for Martin Audio, notes, “This market sector has been underserved from a technology and innovation point of view for far too long. DD12 will signal a true shift in fidelity, output capability and coverage and bring our Differential Dispersion horn technology to, quite literally, a wider audience”.

Martin Audio

Posted by Keith Clark on 06/30 at 05:02 PM
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First Fairlight EVO.Live Mixing Console Installed At The CatholicTV Network

True split configuration with a main control surface located in the audio production suite and a second, smaller surface positioned in the video control room

The CatholicTV Network, which broadcasts local national and international religious programming including live coverage of Pope Francis from production facilities in the Greater Boston area, has been equipped with the first Fairlight EVO.Live digital mixing console.

Based on Fairlight’s Crystal Core technology, EVO.Live offers integrated HD video and multitrack audio recording designed for live production and broadcast studio applications that can be quickly reconfigured to operate as a post production system.

Fairlight’s first production mixing console, EVO.Live can be used in a dual-operator configuration with each engineer having independent fader sets. The console delivered to The CatholicTV Network is a true split configuration with a main control surface located in the audio production suite and a second, smaller surface positioned in the video control room.

Both surfaces access the same I/O and EVO.Live FPGA core processor but operate independently of each other. Either surface can control the audio going to air while the other is being used for a rehearsal or getting set for the next production.

According to Mark Quella, director of engineering and operations for The CatholicTV Network, “Only Fairlight could meet the wide range of capabilities we required from our audio production system in the timeframe we needed it. EVO.Live meets all of our needs and then some, from easy integration with the communications of the newsroom to the beautiful musical horsepower to do symphonic recordings. Plus, of course, Fairlight’s world-class post production mix-to-picture capability is second to none.”

Steve Sasso, CatholicTV assistant chief engineer, adds, “Fairlight has hit this one out of the park. The design of this desk is really well thought out. When I’m in front of it, it’s ‘in my face.’ That’s what I like, not to have to search for controls, especially in a live situation. And, I can still record all my tracks for use in post later on. I would recommend this console to any broadcaster that wants ease of operation and full control in any live situation—as well as in post. Plus, Steve Rance and the guys at Fairlight are just a text away when it comes to support, with in-depth knowledge of every aspect of the desk.”

The EVO.Live is being used at the CatholicTV Network facility to mix live and pre-recorded HD programming, including “This is the Day,” a live chat show that features interviews with Catholic artists, authors, musicians, organizers and ministers from around the world; “WOW: The CatholicTV Challenge,” a long-running children’s game show; and “Catholic Newsbreak,” an update ofdaily news for Catholics. The network also broadcasts coverage of the Pontiff’s world travels, devotional and educational programs as well as live religious services, including daily Mass, and events from the Vatican.

EVO.Live provides 104 inputs into 128 bus elements; one main and 24 subgroup outputs configurable as mono, stereo or 5.1; 24 auxiliary outputs; 16 mix-minus buses; a 128-track digital audio disk recorder and a HD video recorder. The system supports 6-band EQ on every channel, main, sub and aux bus and dynamics processing on every channel and bus. It also has an integrated cart machine that may be controlled from the console surface or from a PC or tablet anywhere on the facility network.

CatholicTV began broadcasting from Boston on January 1, 1955 and currently operates out of HD production studios in Watertown, MA. Known as “America’s Catholic Television Network,” The CatholicTV Network is available in nearly 14 million homes via various broadcast stations and cable systems, including Comcast, RCN and Verizon FiOS, many regional carriers throughout the U.S. along with ROKU and to countless others over the Internet at


Posted by Keith Clark on 06/30 at 04:47 PM
Live SoundRecordingNewsConsolesDigitalMixerProcessorSound ReinforcementStudioPermalink

Equator Monitors Intregal To Pacific Beat Recording Success

Recording engineer/producer Alan Sanderson relies on his Equator D5 studio monitors at Pacific Beat Recording.

Recording engineer/producer Alan Sanderson relies on his Equator D5 studio monitors at Pacific Beat Recording to create consistent playback quality for his clients’ projects – a high priority demand for his customer base.

Sanderson’s credits involve all types of recordings, ranging from music production and live radio broadcast to TV and Film sound. Sanderson has recorded in state-of-the-art studio facilities in Los Angeles, San Diego, New York, London, San Francisco, Zurich, and Rio de Janeiro.

Working on many sessions with internationally recognized artists such as The Rolling Stones, Elton John, Elvis Costello, and Fleetwood Mac, he has engineered for notable producers including Don Was, Bill Bottrell, and Glyn Johns. He discussed his experience with Equator’s D5 monitors.

“Here at Pacific Beat Recording, the D5s have become an integral part of everything we do,” Sanderson reports. “They serve as a very important secondary pair of monitors for mixing and recording music projects.

“These monitors have a very significant role, as they enable me to check and verify what I hear from my other monitor system. This process enables me to have a high level of confidence that any work coming out of this studio will play properly on other systems.”

In the few short months that Sanderson ahs das the D5s, he has been working on a number of different artist’s projects, encompassing a wide range of musical styles and genres. He has been recording Eagles songwriter Jack Tempchin as well as Jason Mraz protégé Cody Lovass and Nashville recording artist Taylin Rae. The D5s are in the trenches with him every step of the way.

Sanderson explains, “When I first heard these speakers, I was blown away and amazed at how good they sound. I was looking for a great set of secondary monitors to place next to my Focal Twin 6Be for the new studio and couldn’t believe how well these small speakers stood up to the larger monitors in terms of imaging and frequency response.”

“The D5’s low end was similar—very present and clear,” Sanderson added. “For a small monitor speaker, I was surprised that they didn’t distort easily when turning them up loud. I especially like the mid-range of these little guys, as it really helps me dial in my mixes.

“The D5s help me make the mix more focused and find the right balance for the most important part of a recording—the lead vocal(s). I get a lot of mixes these days where there are 150-200+ tracks and the Equator D5s have been able to handle any situation. If it sounds good on the Equators, I know it sounds good at home.”

Before shifting his focus back to his current project, Sanderson offered these parting comments, “I’m really happy with the Equator D5 monitors at Pacific Beat Recording and was actually very surprised that such a small monitor sounds so good. Being that the studio is based in San Diego, having guys like Equator here in town is a huge plus. I hope to be able to use some of their other products in the future.”

Equator Audio
Pacific Beat Recording

Posted by Julie Clark on 06/30 at 02:50 PM

Hollywood Sound Hosts Yamaha NUAGE, Steinberg Nuendo Demos

Yamaha NUAGE production demonstration will take place at Hollywood Sound on July 1.

David Lees and Marcel Mauceri from Yamaha Commercial Audio Systems, Inc. will be demonstrating the new Yamaha NUAGE production system along with a Nuendo masterclass presented by Steinberg’s Greg Ondo on Tuesday, July 1st between 7:00 – 9:00 pm at Hollywood Sound.

The demonstrations will be held at 1541 North Wilcox Ave., Hollywood, CA location.

NUAGE is a highly refined, scalable hardware/software production environment for recording, video post-production, ADR, music production and mixing. NUAGE features many unique and exciting features such as an integrated ADR system, efficient content management, advanced media access system, and much more.

A joint collaboration between Yamaha and Steinberg, NUAGE is a hardware and software system that adds the power of Dante audio networking, and is a complete, flexible system that allows engineers to choose and combine components to perfectly match individual application and workflow requirements.

These sessions are free and open to all members of the audio production community. Please RSVP to 323.466.2416. For more details, visit

Yamaha Commercial Audio Systems, Inc
Hollywood Sound

Posted by Julie Clark on 06/30 at 02:35 PM
Live SoundNewsConsolesDigitalEducationSound ReinforcementPermalink

Symetrix Handles Processing Requirements At Nikki Beach Phuket

Multi-zone foreground and background music requirements at a luxurious bar/club venue are satisfied by Symetrix' Radius 12x8 open-architecture scalable DSP and ARC remote control panels.

Situated on the beautiful shores of Thailand’s Layan Beach, the newly opened Nikki Beach Phuket is the stylish club and bar’s tenth permanent location in the world.

Making good on its contemporary credentials, the venue relies on Symetrix’ Radius 12x8 open architecture Dante scalable DSP to handle its audio processing requirements across multiple areas including a pool, indoor and outdoor dining options, a VIP lounge, and four bars.

“We are so proud to be opening our second location in Thailand,” says Nikki Beach Worldwide founder and owner Jack Penrod. “We look forward to welcoming both our loyal and new customers to experience the amazing cuisine, service and ambience found at all the Nikki Beach locations around the world at Nikki Beach Phuket.”

Marquee Audio Asia can certainly attest to the venue’s captivating ambience, having been enlisted to design and install a distributed background/foreground audio sound system that was “visually as low-key as possible, but with the functionality to perform for parties and events on a day-to-day basis without the need to hire-in on a regular basis,” explains Marquee Audio Asia owner Tim Cowling.

Flexible processing was absolutely pivotal, then, and in this regard Cowling’s team “didn’t look much further than Symetrix” in its search for a DSP able to offer 8 inputs and nearly 20 outputs to cater for multiple zones and speaker groupings.

“We have used Symetrix products many times and were certain we would have enough processing power to do the job along with the flexibility we needed. The combination of the open architecture scalable Radius 12x8, one xOut 12 audio output expansion unit and six ARC-K1e modular wall panel remotes made it ideal,” he says.

Audio expansion over Dante and “great support” from local distributor Fuzion Far East solidified the specification of Symetrix. The system design also includes Quest Audio HPI111, HPI18LP and HPI5 loudspeakers, Bose FS51 speakers in landscaped areas, Quest QA Series amplifiers, Pioneer’s DJM-2000 DJ mixer and CDJ-900 multi-player, and a Yamaha MGCX mixer.

Cowling concludes: “The overall design provides the good quality and level of audio required, and using a product like Symetrix makes it possible for non-technical staff to operate a powerful and sophisticated system with ease.”


Posted by Julie Clark on 06/30 at 02:16 PM
Live SoundNewsDigitalInstallationProcessorSound ReinforcementPermalink

Professional Performance Meets Affordability With AKG Project Studio Microphone Line

Building on almost 70 years of experience in developing world-class microphone technology, Harman’s AKG is adding five new models to its Project Studio line of microphones.

The new models are designed for enthusiasts and professionals alike, meeting the needs of makeshift project studios as well as professional environments.

The Project Studio line was built on AKG’s heritage of technical excellence and was developed in collaboration with some of the audio industry’s top professionals. The new Project Studio microphones deliver historical premium AKG sound quality in a classically designed series.

“As more and more manufacturers continue to enter the marketplace, it’s becoming increasingly difficult for end-users to identify the best microphones for their needs,” said Erich Gaertner, Product Line Manager, AKG. “Therefore, we chose to update the Project Studio line with professional-grade microphones at accessible prices, thereby making it easier for our customers to find the perfect microphone to meet their demands.

“Thanks to AKG’s depth of research and development resources, the new Project Studio line of microphones are both high-quality and affordable.”

The new additions to the Project Studio line include: the P120 general purpose recording microphone; the P170 general purpose instrument microphone; the P220 large-diaphragm true condenser microphone; the P420 large-diaphragm dual-capsule true condenser microphone; and the P820 dual-capsule tube microphone.

The P120 is a 2/3-inch diaphragm true condenser microphone that offers durability, outstanding performance and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail for vocals, speech and instrument recording in project studios and for home recording.

The P170 is a small-diaphragm condenser microphone for recording of overheads, percussions, acoustic guitars and other strings. Its lightweight half-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.

The P220 is a large-diaphragm true condenser microphone offering a warm and clear sound for lead vocals, acoustic guitar and brass instruments. A switchable bass-cut filter and attenuation pad make it perfectly suited for use on loud sound sources with sound pressure levels up to 155dB SPL. The rugged and roadworthy design also makes the P220 a perfect choice for on-stage applications. The P220 represents the most popular and successful microphone within the actual Project Studio Line. It comes complete with a spider-type shock mount in an aluminum carrying case.

The P420 is a multi-pattern large diaphragm true condenser microphone for demanding project studio recording applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound quality perfectly suited for ensemble recording, grand piano, woodwind and brass instruments, as well as drums and percussion. With three selectable polar patterns—cardioid, omnidirectional or figure 8—it is an ideal tool for stereo miking techniques and ambient recording.

The P820 Tube high-performance multi-pattern tube microphone is an excellent tool for highlighting lead vocals, brass instruments, electric guitars and drums. With its dual one-inch diaphragm capsule and the advanced ECC83 dual-triode circuitry, the P820 Tube delivers real tube sound and raises the bar in its class of affordable tube microphones.

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Posted by Julie Clark on 06/30 at 01:03 PM

New RCF L-Pad Compact Mixer Series Now Shipping

Seven models in series kick off company's new mixer division

The new RCF L-PAD Series of compact mixers, intially introduced at the NAMM 2014 show in January, are now shipping. The series represents the first result of a strategic decision by RCF to create a mixer division, supported by an investment in R&D with a dedicated team of engineers.

Further, RCF recently acquired Rome, Italy-based ZP Engineering, a design company that brings additional expertise and experience with digital audio networks, DSP, voice processing, and design. Future plans for the division call for the development of several new digital products.

With the L-PAD Series, considerable attention was devoted to the design of warm-sounding, transparent mic preamps. The compressors on the microphone channels are intuitive, with a single knob that controls the threshold and compression ratio at the same time. The compressors also offer a very soft but effective action.

Mono channels include 3-band EQ on mono channels, with 2-band EQ on stereo channels. Smaller models have 45 mm faders, while larger models have 60 mm faders.

Accessories include an add-on board for recording and playback of mp3 audio files. Files can be collected on a USB stick (up to 32 GB) and managed by a dedicated transport panel. A further optional Bluetooth card allows connection of devices such as smartphones or tablets to enable music to be played directly via the L-PAD mixer.

Models include:

L-PAD 12CX and 12C
Offers six mic inputs, four stereo line inputs and 2-track I/O. Four single-control compressors are included on mic channels. The CX model provides 99-preset, internal FX DSP effects capability. When not in use for effects, the FX send and aux sends can be used for monitors.

Offers four mic inputs, four stereo line inputs and 2-track I/O. Two single-control compressors help in handling more dynamic, complex signals. The 10C can be installed on a mic stand or in a rack with optional accessories.

L-PAD 8CX and 8C
Offers four mic inputs, three stereo line inputs, 2-track I/O, and two single-control compressors on mic channels. The CX model provides 99-preset, internal FX DSP effects capability.

L-PAD 6X and 6
Offers two mic inputs, two stereo line inputs and 2-track I/O.The CX model provides 16-preset, internal FX DSP effects capability.



Posted by Keith Clark on 06/30 at 06:19 AM
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Shure Announces ShurePlus Channels App For iOS Mobile Devices

Compatible Shure wireless products can be remotely monitored and controlled via new iOS7 app for iPhone, iPad and iPod Touch

Shure has announced ShurePlus Channels, a new iOS app providing real-time precision monitoring of select Shure wireless systems.

Supported on Apple mobile devices running iOS7 and available this summer for free download from the iTunes App Store, ShurePlus Channels is compatible with Axient, ULX-D digital wireless, the newly-launched QLX-D digital wireless microphone systems, as well as the PSM1000 personal monitor system.

When connected to a dedicated Wi-Fi network, ShurePlus Channels automatically discovers compatible Shure hardware, offering remote visibility to critical channel information like RF signal strength and interference alerts, audio levels, transmitter battery life and alerts, and other key attributes.

When combined with ShowLink Remote Control for Axient, ShurePlus Channels allows for simultaneous adjustment of transmitter and receiver settings.

Through in-app purchase, users can gain additional ability to remotely control their Shure gear and make changes to channel parameters. For a one-time $9.99 fee per wireless product line, receiver and transmitter settings such as frequency assignment, audio input/output levels, channel and device naming, and menu locking can also be adjusted from an iPad, iPhone, or iPod.

“ShurePlus Channels was designed to meet the demands of today’s audio professionals,” says Chad Reid, user interface design manager, Global Product Management, at Shure. “The ability to freely roam a performance space and confidently monitor and operate their wireless gear provides invaluable flexibility. It works as a great complement to our powerful Wireless Workbench 6 application, but also just as well as a stand-alone solution for users of less complex systems and products, like the new QLX-D digital wireless microphone system.”



Posted by Keith Clark on 06/30 at 05:39 AM
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