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Tuesday, June 23, 2009

Renkus-Heinz Hosts Debut of New EASERA Gateway x.8 A/D-D/A Converter At 2009 InfoComm

The Gateway x.8 is the first 8-input/2-output converter specifically designed for live sound and installed sound measurement

At 2009 InfoComm in Orlando, Renkus-Heinz, worldwide distributor of Ahnert Feistel Media Group (AFMG) products, hosted the debut of the new AFMG A/D-D/A converter, the 8-input EASERA Gateway x.8.

The x.8 is the product of a collaboration between AFMG and German hardware designers DSPECIALISTS, and is designed to complement AFMG’s EASERA and SysTune audio measurement software tools to provide sound system engineers with a complete PA system tuning package.

The Gateway x.8 is the first 8-input/2-output converter specifically designed for live sound and installed sound measurement.

It provides four XLR/TRS combo mic/line connectors, eight SUB-D-25-based line connectors and two TRS servo-balanced outputs, and is fully integrated over Ethernet with both EASERA and EASERA SysTune Windows-based software packages.

The x.8’s eight input channels allows large systems, in particular line arrays, to be tuned with multiple simultaneous measurements with real-time display and control from both EASERA and SysTune. This feature is similarly useful for room-acoustic measurements at multiple locations.

The unit itself is housed in a rugged half-rack case that allows either rack mounting or portable use.

AFMG managing director Stefan Feistel comments: “The x.8 will have great appeal to system engineers and designers as well as to acousticians because of its ability to form a complete venue acoustics measurement system with EASERA or SysTune. Additionally, it is designed for professional performance with touring durability, but without the prohibitive cost of studiooriented A/D-D/A products.”

He adds: “The partnership with DSPECIALISTS has produced the ideal system, by combining AFMG’s software with DSPECIALISTS’ hardware and DSP engineering expertise. EASERA and SysTune purchasers frequently ask us to recommend an accurate, reliable and portable A/D converter or PC sound card to complete the package, but they have had to choose between MIbased products with limited measurement functionality or very expensive measurement equipment.

“We have answered this need with the x.8, which is both designed for the job and at a reasonable price point and thus takes the concept of the original EASERA Gateway introduced in 2006 one step further.”

Dr. Jochen Cronemeyer, managing director of DSPECIALISTS, adds: “We are very pleased with the outcome of the collaboration between DSPECIALISTS and AFMG, which has created a unique full-function hardware and software combination for any system engineer who wants to achieve very precise, live, sound system tuning and monitoring.”

Renkus-Heinz Website
AFMG Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Crown Introduces Updated Macro-Tech i Series Amplifiers With Increased Power & Dual Port Capability

An additional network port now allows a user to daisy chain the network control down the rack of amplifiers instead of having to run a separate cable from a switch to each individual amplifier

At the 2009 InfoComm in Orlando, Crown announced the latest update to its Macro-Tech i Series of amplifiers, featuring increased power and new dual port capability. 

Comprised of three models, the MA-5000i, MA-9000i, and MA-12000i, the Macro-Tech i Series features patented Class-I circuitry, which delivers greater power while reducing the amplifier’s weight by more than half.

The new Macro-Tech i Series also features dual-port capability. An additional network port now allows a user to daisy chain the network control down the rack of amplifiers instead of having to run a separate cable from a switch to each individual amplifier. 

“The professional sound reinforcement community knows what to expect from the Macro-Tech i Series. They are getting the best sounding, most reliable analog power amplifier in the world. The best just got better with these updates. The upgraded power and features reflect the needs of our customers and our desire to provide them with a solution that best meets their needs,” stated Brian Divine, director of marketing for touring and installed sound for Crown.

All Macro-Tech i amplifiers are also equipped with comprehensive status, fault, and load monitoring via standard Harman HiQnet System Architect software.  A universal power-factor corrected power supply ensures that the amps can be anywhere in the world, delivering full rated power regardless of the environment.

Power output ratings on the newly updated Macro-Tech i Series:
• MA-5000i – 3000W per channel at 2 ohms (with 2565W 20mS burst), 2500W per channel at 4 ohms,  1250W per channel at 8 ohms, 4000W at 4 ohms bridged, and 5000W at 8 ohms bridged
• MA-9000i – 4700W per channel at 2 ohms (with 4570W 20mS burst), 3500W per channel at 4 ohms, 1500W per channel at 8 ohms, 5600W at 4 ohms bridged, and 7000W at 8 ohms bridged
• MA-12000i – 6000W per channel at 2 ohms (with 5900W 20mS burst), 4500W per channel at 4 ohms, 2100W per channel at 8 ohms, 7500W at 4 ohms bridged, and 9000W at 8 ohms bridged

Crown Audio Website
Harman Professional

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Recent Wireless Technology Series: Inside The Lectrosonics D4

This is the third in a series detailing the latest technology in wireless microphone systems. Click here to go directly to the first installment (AKG DMS 700) and click here to go to the second installment (MIPRO ACT Digital).

The newest wireless system offering from Lectrosonics, the D4, is the first one I’m reviewing that does not use the UHF spectrum.

Instead, the D4 runs in the license-free ISM band between 902 and 928 MHz. Unlike the UHF band, this slice of spectrum is only 26 MHz wide (as opposed to over 230 MHz for UHF).

The FCC considers the ISM band to be license free, but still puts restrictions in place on how much power transmitters can have and how much bandwidth they can occupy.

However, the rules are very different than for wireless mics operating in the UHF band.

Beyond the differences in operating frequency between the D4 and the previously reviewed offerings, this system is completely different in form factor as well.

Basics
The Lectrosonics D4 System consists of only two units: the D4T transmitter and the D4R receiver. Each of the units looks roughly the same, and are exactly the same size – about 4 inches by 4 inches by 2 inches.

Obviously, this transmitter is not designed to be worn on someone’s person, but instead used as a “base station” of some kind.

he receiver is roughly the same size as many camera-mount “portable” types, being much smaller than a rack-mount receiver but certainly larger than the really small receivers from Sennheiser and Lectrosonics.

The most important feature of the D4 is probably the multi-channel capability, being that the system shuttles four channels over a single carrier.

The system uses digital modulation (like the AKG DMS700 and MIPRO ACT Digital) but according to the specifications, the occupied bandwidth is 2 MHz (!) vs. a more typical 100 to 200 kHz for most wireless systems.

Again, this is because in the UHF band, the FCC specifies that transmitters must fit into a fairly narrow piece of spectrum, and the rules are different in the ISM band.

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And being that this spectrum is license free, this means that other types of systems may be operating there, depending on your location. Wireless DMX for lighting, as an example, also uses this band.

The wide occupied bandwidth also means that the number of channels (RF carriers) that can operate simultaneously is limited. As it turns out, the D4 offers four operating channels.

Thus, in theory up to 16 audio channels can be transmitted in the band.

The transmitter and receiver in the D4 system each have four mini XLR 3-pin jacks for connecting external devices.

The transmitter accepts line level or AES/EBU inputs, and the receiver outputs either line level or AES/EBU outputs.

So it seems that this is truly not a “wireless microphone” system, but more of a “wireless snake”.

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Specs
The audio performance claimed by this system is impressive: 20 Hz to 20 kHz (±0.5dB), which is superior to even some of the other “pure digital” offerings. Sample rate is 48 kHz and A/D, D/A is at 24 bits.

Latency is claimed as “less than 1 ms for digital in/digital out and 2.2 ms for analog in/analog out”. Signal to noise is 103 dB, A-weighted, which seems a bit low compared to some of the other offerings.

But what is it for?

The aim seems to be for this to be the equivalent of a four-channel snake. Range is claimed as “up to 1,200 feet” but of course as we all know, external factors play the largest role in the range of wireless systems like this.

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Still, this is good range and should be useful in certain applications. Perhaps this system can be used for monitor returns or some other type of signal from one place in the venue to another?

Because Lectrosonics is most well known in the film and broadcast markets, perhaps they are expecting this will be used as a camera hop system between a production mixer and one or more cameras.

I suppose time will tell.

Cost
U.S. list price for the D4 is $2,500 for the transmitter, and $2,500 for the receiver, or $5,000 for the system. I suspect street prices are closer to $4,000 for the system.

This is pretty expensive, but compares favorably to four channels of any other pro wireless system. It does offer some unique features but it is not as flexible as typical single-channel systems.

Conclusion
This is an interesting offering from Lectrosonics although it does not at all fit in the mold of what is offered by other manufacturers. Only Zaxcom has similar wireless products.

One thing’s for sure: It will be interesting to see how such new developments play out in the live sound industry.

Find out more about the Lectrosonics D4 here.

Signing off for now…
Mike Wireless

Mike Wireless is the nom de plume of a long-time RF geek devoted to better entertainment wireless system practices the world over.

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More posts by Mike Wireless:
Latest Wireless Series #2: Inside The MIPRO ACT Digital
Latest Wireless Series #1: Inside The AKG DMS 700
Is The UHF Spectrum Going To Ease Up After June 12?
Change The Only Constant In Marketplace For Wireless System Spectrum

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Monday, June 22, 2009

AKG Announces New DMM 4/2/2 Digital Automatic Microphone Mixer At 2009 InfoComm

The DMM 4/2/2 mixing algorithm automatically allocates gain among the system microphones

AT 2009 InfoComm in Orlando, AKG announced the release of the DMM 4/2/2 automatic microphone mixer, a processor controlled digital automatic mixing algorithm with four balanced universal (microphone/line) inputs and two stereo AUX inputs providing a unique and very intelligent mixing algorithm with noise sensitive threshold.

The DMM 4/2/2 mixing algorithm automatically allocates gain among the system microphones (NOM attenuation) with a special noise detect function and the “Noise Sensitive Threshold” algorithm (NST) that eliminates an accidental switching of the input channels.

The mixing algorithm features a “Last Mic On” function as well as a “Best Mic On” mode and the revolutionary control concept allows users to access all microphone functions via a single rotary switch for a very intuitive operation.

To compensate for level differences or any other obstacle, the DMM 4/2/2 incorporates a dbx compressor/limiter, which provides clear and pristine sound quality to an array of applications.

Each channel has switchable gain (Mic/Line, Mic-Lo/Mic-Hi) and switchable phantom power and every input is equipped with an incremental level control, including LED level and peak hold display.

The auto-mixing and ducking function can be enabled/disabled for each microphone and AUX channel individually providing an expansive amount of flexibility.

The DMM 4/2/2 has an expansion connector to cascade multiple mixers in a bigger system and a control I/O is located on the rear panel, providing logic in and outputs to control external devices.

The DMM 4/2/2 comes in a rugged 19-inch housing with an integrated power supply unit, one recording output via two chinch connectors and one master XLR output. The mixer can also be remotely controlled via logic in/outs with a Sub-D connector.

Each input incorporates a volume control, high frequency shelving filter, a low frequency shelving filter and a switchable bass cut filter.

The main output is equipped with an adjustable limiter as well as a master level control and all functions are controlled from the incremental controls on the front panel. The mixer also provides a software locking function to avoid unwanted operation.

AKG Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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MediaMatrix By Peavey Unveils nControl Package That Expands NION DSP System

nControl is an auxiliary processing system that provides expanded control processing and additional extensive Python scripting capabilities for the NION platform

At 2009 InfoComm in Orlando, MediaMatrix by Peavey unveiled nControl, a hardware and software package that expands the control capabilities of the MediaMatrix NION digital signal processing system.

MediaMatrix nControl is an auxiliary processing system that provides expanded control processing and additional extensive Python scripting capabilities for the NION platform.

With nControl, users can monitor the operation and health of all devices on a network via SNMP. Devices with serial ports connect to the nControl either directly or to a supported network serial server for control and management.

nControl supports I/O cards that allow the nControl to act as a media server, including audio recording and playback over CobraNet. An FTP interface allows for transferring audio files across the network to the nControl for recording and playback without requiring a project to be deployed.

Additional internal cards and network-connected devices are available to expand the GPIO and serial functionality allowing for custom, application-specific system configuration.

The GPIO expansion enables the use of TTL logic, switches, LEDs and other custom circuitry for additional control driven functions.

Support for RS-232, EIA-485 and EIA-422 serial interfaces is available locally to the nControl and connected across the network.

Features:
- 2 Gigabit Ethernet ports, expandable to 10 Gigabit Ethernet ports
- Rackmountable, 3RU package
- Record audio via CobraNet
- Play back audio via CobraNet
- Monitoring and control of devices on a network
- Expandable GPIO for specific applications
- Support for RS-232, EIA-485 and EIA-422 serial interfaces
- Intel Pentium E2160 Dual Core 1.8GHz processor
- Two 250 GB 7200 RPM SATA-300 drives configured as RAID 1 array

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Friday, June 19, 2009

InfoComm 2009, Day 2: Digital Tide Keeps Rolling

Lots of digital developments, and other technology as well. Go here for 2009 InfoComm Day 1 coverage.

Day 2 of InfoComm 2009 in Orlando proved just as interesting as day 1, starting with a big announcement from Yamaha, which will be handling the North American distribution of the Audinate Dante-MY16-AUD card, which was also just introduced at the show.

Specifically, the MY16-AUD card is fully compatible with Yamaha digital MY16 card slots in consoles, processors and digital power amplifiers.

Audinate’s Dante technology supplies high-performance digital media networking, and it is self-delivering for true “plug and play” digital audio networking capability.

It uses standard Internet Protocols at 1 Gbps and/or 100 Mbps Ethernet. Dante-enabled devices that self configure and automatically discover the location and number of channels of other devices on a network. In short, this takes out a lot of complication.

“The Dante MY16-AUD card supplies a sophisticated, yet easy to use digital media networking approach with our products,” notes Marc Lopez of Yamaha Commercial Audio.

I’ll be providing more details about Dante next week… Stay tuned, as they saying goes…

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Progress continues full speed ahead on the new version of Smaart sound system measurement and optimization software from Rational Acoustics, Karen and Jamie Anderson report, with a launch date of this fall, perhaps before the AES show in New York. Beta testing will commence soon.

Keep an eye on the Rational Acoustics website for the latest updates about new Smaart version 7, which Karen notes “will provide all of the features that everyone loves about version 5 and version 6, plus much more.”

In the meantime, she also told me that Rational Acoustics is offering an Early Adopters special on Smaart, with anyone purchasing v6 right now eligible for a free upgrade to v7 as soon as it is released and available. Those who purchased Smart v6 prior to June 1 of this year can get the upgrade to v7 for $199.

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Audio-Technica has long been noted for its very clever and highly useful microphone developments, with evidence at this InfoComm show coming in the form of the new BP892 MicroSet headworn mic and the BP896 MicroPoint subminiature lavalier mic.

Both models are absolutely tiny, with the capsule on the headworn mic measuring just 2.6 mm and the capsule on the lavalier checking in at 2.5 mm.

Both are omnidirectional condenser type, capable of handeling high SPL and offering a wide frequency response.

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The MicroSet headworn mic has a contoured earpiece that hooks behind the ear and is very secure, and it’s available as a wired model as well as in a multitude of terminations to work with A-T and other wireless systems. (The wired version also features a switchable integral 80 Hz high-pass filter that provides easy switching from flat frequency response to a low-end roll-off.)

The MicroPoint lavalier plugs into its companion power module, which provides a low-frequency roll-off switch and an integral connector supplying a low-impedance balanced output. It also comes with an extensive accessory kit that includes clothing clip base, viper clip base, three single mic holders, two double mic holders, two windscreens and six element colors.

Steve Savanyu of A-T, who also was recently named to InfoComm Academy’s adjunct faculty, provided the overview, and he also showed me the new ATCS-60 IR Conference System, which I’ll provide more details about as soon as possible.

Powersoft has been developing leading power amplifier technology for several years. Based in Italy, the company has been enjoying increasing growth and acceptance in the North American market, as evidenced by the recent sale of 450 units of Powersoft DIGAM K-10 power amplifiers to leading sound company ATK Audiotek. (Go here for more details.)

At InfoComm this year, Powersoft has introduced Audio Suite software, wich provides PC-based control of numerous parameters found in the company’s amplifiers, as well as serving as the framework control protocol for current and future Powerswoft products.

Audio Suite allows users to manage and monitor all Powersoft K-Series products as well as remote versions of Q, D and QTU Series amplifiers. It’s downloadable (free of charge) from the Powersoft website.

A quick conversation with Robert Scovill of Digidesign confirmed what I had suspected - demand for the new Digidesign SC-48 digital console is strong. Last month I reported on the first public “trade show” debut of the SC-48, so you can read more about it here.

EAW has been steadily building a line of commercial audio products under the direction of Dave Raneses, with the results of that effort now coming to full fruition. Dave showed me the new DX1208 DSP matrix mixer that EAW Commercial is unveiling at this year’s InfoComm, and its a very flexible and expandable unit incorporating a lot of great features specifically for install applications.

The DX1208 is a 12-input, 8-output 1U-rackspace DSP matrix mixer. Eight inputs are mic/line capable, with selectable 48-volt phantom power provided when the user selects mic level.

Four additional inputs on unbalanced RCA connectors allow the users to “stack” inputs, increasing the number of audio sources that can be connected, and yet another four digital inputs are available on S/PDIF with sample rate conversion to 48 kHz.

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In additon, the DX1208 can also receive up to six logic inputs and send up to three logic outputs, combined on a single 18-pin connector and programmable via the included EAW DX Navigator software. The DX1208 has serial RS-232 remote capabilities via a DB9 connector on the rear panel, for control by AMX/Crestron and other third party integrated control systems. Two RJ-45 connections are provided as well, for linking multiple (up to eight) DX Link-enabled products together in a ring network topology.

I should also note that EAW is also unveiling the new MicroSub at 2009 InfoComm, the latest addition to the MicroWedge line. More on that soon.

Denon keeps coming up with more digital recording and playback solutions, with Peter Papageorge of D & M Professional showing me the recent DN-F300 and DN-F400 audio players.

Both read MP3 files and uncompressed WAV files from SD or SDHC cards, and the DN-F300 reads USB drives as well.

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The DN-F300 also has IR control and a microphone input with music ducking, exdellent for paging applications. The DN-F400 is a half-rack-space unit, controllable via RS-232-C and GPIO. An additional facet is an optional RC-F400 remote controller outfitted with a large LCD display and an intuitive control unit for instant playback of audio or audio elements such as sound effects.

More updates from 2009 InfoComm are coming, including a new products gallery. Check back often.

Go here for 2009 InfoComm Day 1 coverage.

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Wednesday, June 17, 2009

InfoComm 2009, Day 1: Back To The Future

Big new developments that feature some old-school philosophy at a very busy first day of InfoComm

The Expo portion of InfoComm 2009 at the Orlando Convention Center is underway, so let’s dive right into a very busy and interesting day one of the show.

This morning I had the pleasure of sitting down with Rich Zwiebel. Ever heard of Rich? If not, let me take this opportunity to note that Mr. Zwiebel has made a profound difference in the lives of many audio professionals for more than 20 years with trailblazing technologies such as MediaMatrix and CobraNet. And he’s not done yet, by any means, as evidenced by the roll-out of the new QSC Audio Q-Sys.

Here’s Q-Sys in a nutshell: it is a completely integrated sound system platform extending from audio input through to the loudspeakers, and along the way, it supplies all audio routing, processing, control and monitoring necessary for any sound reinforcement system. And then some… Get the salient details here.

Rich was very generous in sharing with me his observations on the way the technology has evolved as he’s gone along. An early inspiration came more than two decades ago, when he wanted to develop a mix-minus capability in a very large (more than 50 mics) system. This started with taking a large-format analog console and going through the arduous process of adapting it to the application. It worked, but obviously, something more streamlined, efficient and providing far more capabilities was the goal.

Another influence was his design of a sound reinforcement system for the then-new Georgia Dome in Atlanta about 20 years ago, which deployed a very early iteration of Crown IQ control and monitoring of the system power amplifiers. (I had the pleasure of meeting Rich for the first time on that project, and to my everlasting “thanks” still remember him leading me on a crawl around the catwalks at the top of the dome, blazing hot and a couple hundred feet above the surface.)

Several aspects of that project came into play that moved his mind along, but chief among them was the shear amount of cabling it took to link the entire thing together. In fact, he notes that the budget for wire, cable and installation easily matched that of the entire rest of the system. Cue the development of leading-edge digital system control and networking and audio and data transport that ensued.

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Yet it’s actually been a full circle process now with the introduction of Q-Sys, Rich notes. Back in the day (before digital), the first priority and emphasis was sound quality. In the ensuing years, rapid advancements on the digital front did wonders for functionality, infrastructure, convenience, repeatability, reporting, control and a myriad of other aspects, but in Rich’s take, it also led to less focus on sound quality. Addressing that was his imparative, shared by that entire QSC development team that includes long-time industry veterans such as Gary Tschetter.

As a result, Q-Sys isn’t just an exceptionally powerful platform. It has been designed for operational simplicity: so simple to operate that the user’s focus can be devoted to sonic excellence, rather than paging through myriads of computer screens and trying to understand device linking and so on.

Several large-scale systems currently moving into the installation phase are incorporating Q-Sys, and we’ll be providing coverage as soon as they’re ready. In the meantime, kudos to Rich, Gary, and the QSC team for raising the bar.

Michael McDonald, VP of sales and marketing for Harman Professional, opened an introduction to several new products with the observation that the economy seems on the way to recovery, and this is based upon his frequent discussions with dealers and distributors around the world.  In fact, the outlook in some markets is quite upbeat.

Harman presented a wide range of new developments. Highlights include a new automatic microphone mixer - the DMM 4/2/2 - from AKG. It’s a processor controlled digital automatic mixing algorithm with four balanced universal (microphone/line) inputs and two stereo AUX inputs providing a unique and very intelligent mixing algorithm with noise sensitive threshold.

Going “old school” again, the DMM 4/2/2 has a very cool control concept allows users to access all microphone functions (ducking, automix and so on) via a single rotary switch on the front panel. (It can also be remotely controlled via logic in/outs with a Sub-D connector.)

Meanwhile, dbx debuted the new DriveRack PA+, which includes a new, updated library of stored loudspeaker and amplifier settings, and much more.

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JBL introduced 14 new loudspeakers, with additions to the ASB Series, 8138 ceiling loudspeakers and more that we’ll cover later, but the new CBT Series of passive line array columns stand out in particular. They feature proprietary Constant Beamwidth Technology circuitry, which delivers consistent constant directivity coverage and audio clarity. The coverage pattern of the CBT models can be adjusted—with a simple switch—between Broad Mode (designed for mid-throw situations) and Narrow Mode (for long-throw applications), which allows them to meet the requirements of a broad range of applications.

Again touching on the “back to the future” theme, recall that Crown was a leader in plug-in amplifier technology from the outset, and at InfoComm 2009 today unveiled the PIP-USP4, the fourth generation DSP-based PIP (programmable input processor) module for CTs Series amplifiers. This single plug solution contains audio distribution, control and monitoring, and is a Harman HiQnet series component. And, it also incorporates the OMNIDRIVEHD DSP Engine that is featured in premium I-Tech HD amplifiers. 

Speaking of HiQnet, Harman Pro VP Rick Kreifeldt led the introduction of new HiQnet System Architect 2.0, which provides users with intelligent choices based on job function, system application and system sophistication. Rick explained that this new system design philosophy centered on workflow and the use of a diagrammatic representation of the installed or live sound venue. Find out more about HiQnet System Architect 2.0 here.

A significant day one announcement from Loud Technologies explains that the company has now teamed up its previously separate engineering, brand management and product management functions, and re-split them into a Pro Audio Group and a Music Gear Group.

“Loud has some of the industry’s most admired brands, a brilliant collection of multi-disciplined engineers and truly customer-focused product management teams, explained Rodney Olson, Loud CEO, in a prepared statement. “By unifying these disciplines around our core brands and the markets they serve, we will markedly increase our technical innovation and speed the delivery of the next round of products that leave our customers smiling… and our competitors reeling.”

Jeffrey Cox, VP of the Pro Audio Group, will manage the EAW and Martin Audio brands and their market positioning, product strategy and product development efforts. Jeffrey’s group will include the Whitinsville, USA EAW Engineering team headed by Jeff Rocha, who will also take on EAW product management responsibilty; the High Wycombe, UK-based Martin Audio Engineering team headed by Jason Baird; and the Victoria, Canada-based Pro Audio Software/Hardware Development Group headed by Chris Jubien.

John Boudreau, VP of the Music Gear Group (“MG”), and his team will develop the next wave of Mackie, Ampeg, Blackheart, Alvarez and Crate products. John’s group will include the Woodinville, WA-based Engineering team lead by Nathan O’Neill; the Woodinville, WA-based Industrial Design team headed by Kimberly Van Horn; Greg Young, Mackie brand director; and Pyotr Belov, director of Instrument Amps.

While the two groups will focus on the brands in their immediate purview, they will share core technology where it makes sense for Loud’s benefit. “I am confident Jeffrey, John and their teams will add the creative spark and entrepreneurial spirit that will take Loud to the next level of growth,” added Olson.

In another significant announcement, Midas announced that effective 1 July 2009, Midas Consoles North America will be the exclusive distribution channel for Midas and Klark Teknik in the USA and Canada. Based north of Los Angeles, Midas Consoles North America, a wholly owned subsidiary of JAM Industries, is a new, brand focused, distribution company dedicated to the sales and after sales support of Midas and Klark Teknik products in the world’s largest single market.

“This is a huge new chapter in our company history,” states David Cooper, sales and marketing director for Midas and Klark Teknik. “It ensures that our present and future customer base in North America is offered dedicated, brand-orientated sales expertise and technical support. We believe that a focused, brand led distribution channel is the best way of ensuring our already industry leading support is maintained and then continually improved. Our aim is simple: to establish the XL8 and PRO6 as industry standards in the live performance sector across North America. We see this move as the means of making that happen.”

Adds Lynn Martin a JAM executive and president of JAM’s AM&S (American Music and Sound) division, “The creation of Midas Consoles North America is yet another milestone. We are extremely proud to be awarded two of the greatest live sound brands in the industry and see great opportunities for those brands via the new Midas Consoles North America distribution channel.

“Both Midas and Klark Teknik operate in a unique market and we need to address the requirements of sound engineers, rental companies, houses of worship, theatre, live TV broadcast – in fact the whole live sector. I am also happy to announce that Jay Easley, who has been heading Midas and Klark Teknik sales in the US, will be managing the Midas Consoles North America sales team from day one and will ensure we hit the ground running! We aim to offer seamless customer support during the transition.”

The move gives Midas and Klark Teknik direct control of its US distribution channel, allowing it the flexibility and freedom to respond to the market and tailor its sales and service network accordingly. Launching a dedicated operation in the US comes during a period of huge development for the company, particularly in light of the rapid uptake of the XL8 and PRO6 digital systems. 

At a Sennheiser press event, not only were we treated to a tour of new Sennheiser wireless systems as well as the brand new K-array line of products that the company will be distributing in North Amerca, but we got to hear every word via Sennheiser Tourguide systems. (Read more about K-array here.)

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The brand-new Sennheiser 2000 Series wireless system is designed to make setting up multi-channel systems fast and simple. Depending on the UHF range, the units have a switching bandwidth of up to 72 MHz in the U.S., in which up to 64 compatible frequency presets are available for microphones and up to 32 for monitoring systems. The rack-mount units can transmit their frequency data, name, sensitivity, low cut, etc. to the corresponding portable transmitters or receivers via an infrared interface. Very slick.

More coverage of the news and new products from InfoComm 2009 will be coming tomorrow, and in fact, for several subsequent days. Be sure to check back often!

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XTA Announces Arrival Of DC1048 Installation Audio Processor At 2009 InfoComm

The DC1048 also has GPIO interface built in along with the USB easy access front panel connector

At InfoComm 2009 in Orlando, XTA Electronics has announced the arrival of the DC1048 Installation audio processor, featuring full matrix mixing and a palette of EQ functions.

The DC1048 incorporates 24-bit high-end converters coupled with 96k sample rate, ensuring a bandwidth in excess of 30kHz and a dynamic range of over 112 dB.

With its 4 inputs and 8 outputs all electronically balanced on 3 pin Phoenix connectors, the DC1048 also has GPIO interface built in along with the USB easy access front panel connector, and RS485 networking.

As with all XTA products, excellent sound quality is assured through the heritage of the 4 Series processing platform and the use of high resolution, high sample rate audio converters.

XTA Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Tuesday, June 16, 2009

Lectrosonics Unveiling ASPEN (Audio Signal Processing Expansion Network) Series At 2009 InfoComm

Nine new products for conferencing and matrix processing applications

At the 2009 InfoComm show in Orlando, Lectrosonics announces the introduction of the ASPEN (Audio Signal Processing Expansion Network) product line that employs sophisticated proprietary algorithms developed by Lectrosonics and the latest in high-speed DSP hardware.

The ASPEN Series also includes TCP/IP control over Ethernet, unlimited input expandability, real-time clock, 48-channel matrix bus, 1 Gbps expansion port, and true 48-Volt phantom powering for all inputs.

All ASPEN Series products are RoHS-compliant (Restriction of Hazardous Substances) and will include the SPN812, SPN1612, SPN1624, and SPN2412 matrix processors, the SPNConference unit for teleconferencing, the SPNTrio all-in-one teleconferencing processor with power amp, the SPN16i and SPN32i input-only modules, and the SPNPower12 multi-channel power amplifier.

All units employ the ASPEN port with 1 Gbps throughput capability for audio and control data on a single CAT-6 line.

At the heart of the ASPEN system is Lectrosonics’ proprietary Proportional Gain Algorithm (PGA) for auto-mixing without the use of noise gates, resulting in transparent audio and increased gain before feedback. Five mixing modes are individually selectable for every matrix cross point.

Centralized echo cancellation enables bridging for Telepresence applications along with simultaneous TELCO and videoconferencing. Near-side latency is kept to 1.33 ms for a single unit, with only 0.125 ms for each additional unit in the system. 48 mixes on each board facilitate output matrixing up to 48 channels.

Every input in the ASPEN system supports mic- or line-level signals and includes a 1/3-octave noise reduction filter, an 8-notch feedback suppressor, delay, a 4-band 4th-order filter set, a dynamic compressor, and two level meters. 48V phantom power is available on all inputs—allowing for the widest possible compatibility with all microphone types.

Every output includes an eight-stage, 4th-order filter set, delay, dynamic compressor, limiter, and level meter. All inputs and outputs are fully differential.

Programming and access of ASPEN devices is handled via a single, centralized point of control through Ethernet, USB, or RS-232. The system also allows for simultaneous multi-point third-party (Crestron and AMX) and native control.

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Karl Winkler, Lectrosonics’ Director of Business Development, states, “Encompassing matrix processors, teleconferencing units, the capacity for input expansion, integrated power, Phantom powering for microphones, plus flexible system control options, the ASPEN product line brings an entirely new level of feature-rich versatility to a wide range of conferencing applications.

“With the ability to be customized to their environment, these systems are ideal in presentation spaces, meeting facilities, boardrooms, houses of worship, and similar venues where the ability to automate and control a variety of input/output sources without supervision of an AV technician is highly desirable. I’m confident those who design and install AV systems will find much to like.”

Pricing and availability of the new ASPEN Series product line has not yet been finalized.

Lectrosonics Website

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Monday, June 15, 2009

Peavey Announces PV Series Mixer Rebate Program

Customers who purchase a new Peavey PV Series mixer from an authorized Peavey retailer until July 31, 2009 can qualify to receive cash back

Peavey is offering up to $75 cash back to U.S. customers who purchase select PV Series mixers through a special rebate program.

Customers who purchase a new Peavey PV 20 USB, PV 14 USB, PV 14, PV 10 USB, PV 8 or PV 6 audio mixer from an authorized Peavey retailer between June 1 and July 31, 2009, can qualify to receive cash back for their purchase.

Specifics:
PV 20 USB: $75 rebate
PV 14 USB: $50 rebate
PV 14: $40 rebate
PV 10 USB: $40 rebate
PV 8: $20 rebate
PV 6: $10 rebate

Some restrictions apply. Go to www.peavey.com/mixerrebate for complete rules and to download the official rebate form.

PV Series mixers offer Peavey reference-quality microphone preamps—featuring very low THD (total harmonic distortion) of 0.0007%—making them equally useful in project studios or live- and program-music mixing situations.

The PV 20, PV 14 and PV 10 also offer built-in DSP effects with multiple reverbs and delays, plus vocal enhancer and much more, while a USB port on all models with the “USB” designation allows direct connection to a computer for recording from the mixer or playing back digital audio.

These three models also include pre-fader monitor sends; post-fader effects send; inserts on all channels; and dual, switchable line inputs on the two stereo channels.

All PV Series mixers include Tape to Control Room and Tape to Mix assigns, which allow the operator to monitor an external stereo signal without using any of the mixer’s channels.

In addition, the mixers’ Control Room output sends a stereo master output signal to an external source for monitoring.

Phantom power, effects send and a contour switch are also standard on all models.

Peavey Website
Peavey PV Series Overview Page

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Friday, June 12, 2009

QSC Audio Unveils Q-Sys, A Complete Integrated System Platform

Q-Sys is a seamless hardware/software platform from a single supplier, providing complete routing, processing and control

New Q-Sys from QSC Audio is a complete, integrated sound system platform that encompasses everything from the audio input to loudspeakers, providing all audio routing, processing, control and monitoring necessary for any sound reinforcement system while maintaining exceptional audio quality and reliability.

It will be unveiled at the upcoming 2009 InfoComm show at Orlando, with QSC providing demonstrations on the hour beginning at 10 am each day of the show at the company booth, number 6443. And, click here to take a virtual online tour of Q-Sys.

Q-Sys is designed for a wide range of large-scale applications—stadiums and arenas, attractions and theme parks, performing arts venues, transportation hubs, legislative and judicial chambers, hotels and casinos, houses of worship, corporate campuses, educational facilities or anywhere else the need exists for a powerful system-wide audio solution.

The primary elements of a Q-Sys system are the Core and I/O Frame.

The Core performs all audio routing and processing, and also handles all control functions. It is available in three sizes, Core 1000, 3000, and 4000, and features a centralized processing architecture, yet Q-Sys retains the ability to physically locate the input and output connections near their sources and destinations using I/O Frames.

Each I/O Frame can house up to 4 I/O cards enabling up to 16 channels of input and/or output in a single unit.

Available cards include a 4-input standard and a 4-input premium-quality mic/line input card, 4-channel line output card, an AES card with 4-channels of input and output, and a 4-channel card for connection to QSC DataPort amplifiers. Additional cards will be added in the future.

Q-Sys supports multiple levels of redundancy. Network redundancy may be implemented by simply adding additional network switches and cabling. In the event of a network failure, the Q-Sys components switch over instantly to the back-up network.

Core redundancy allows a second core to be connected to the network. Should the primary core fail, the secondary core takes over, and I/O Frame redundancy gives the designer the option of adding redundant I/O Frames for high-priority areas.

Amplifier redundancy is also possible with the use of the QSC DAB-801 (DataPort Amplifier Backup panel), an accessory that connects to the inputs and outputs of five QSC DataPort amplifiers with one amp serving as a backup for the other four (4 + 1 redundancy, using 2-channel amplifiers). A second DAB-801 may be added for 8 + 1 redundancy.

Q-Sys relies on Q-LAN, a proprietary, standards-based, low-latency Gigabit Ethernet network implementation that is responsible for audio routing between devices and ensures that all signals are transmitted from source to destination in less than 1/3rd of a millisecond.

Q-Sys combines Q-LAN with audiophile quality, 32-bit floating point distribution and high performance A/D and D/A converters for exceptional fidelity and a total system latency of less than 2.5 milliseconds. In addition to low latency distribution, Q-Sys also supports long-haul IP streaming of audio over Wide Area Networks (WAN) as well as auto-discovery and configuration of end nodes.

The Q-Sys design environment is laid out without clutter or complicated, multi-level menus, and designs can be compiled and deployed in seconds.

A suite of trouble shooting and measurement tools is also provided. A test probe provides an RTA display of the signal at any point in the design. FFT-based real-time analysis and impulse response are also provided for on-site acoustical measurements.

In the Q-Sys Cores, the internal processing is 64-bit, with even the smallest Core, the Core 1000, offering more DSP resource than is likely to be fully utilized in any real-world application.

In addition to huge processing capacity, Q-Sys offers an extensive selection of processing and control functions, including crossover, delay, dynamics, meters, filters and equalizers, mixers and routers, test and measurement, and a host of other functions such as amplifier load monitoring.

Q-Sys can be used with any amplifiers or loudspeakers, but the system’s power increases exponentially when integrated with QSC loudspeakers and DataPort amplifiers.

For example, using the DataPort output card in conjunction with PowerLight, PL2, PL3, CX, or DCA amplifiers enables complete end-to-end system-level telemetry and supervision, while utilizing QSC loudspeakers opens opportunities for greater control and system reliability by enabling functions such as driver excursion limiting and loudspeaker fault detection.

QSC Audio Website
Click here to take a virtual online tour of Q-Sys.

(Be sure to visit PSW’s 2009 InfoComm New Product Gallery.)

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Enter Sonic Circus Free Drawing To Win Drawmer DS501 Power Gate

The DS501 is a dual-channel noise gate with fully tuneable 'Peak Punch' i

Enter a free drawing currently being held by Sonic Circus for the opportunity to win a Drawmer DS501 Power Gate.

The DS501 is a dual-channel noise gate with fully tuneable “Peak Punch,” incorporating a number of features pioneered by Drawmer which are not found on conventional noise gates.

DS501 Power Gate highlights:
* ‘Tuneable’ Peak Punch
* Cariable high pass and low pass filters for “frequency conscious” gating
* Comprehensive envelope control, attack, hold, decay, and range
* Key input for external triggering
* “Key listen” facility
* Extremely fast attack time, to preserve the natural attack of the sound
* Balanced inputs and outputs
* Stereo linkable
* Can be used for “Gating” or “Ducking”

Entry requires filling out a simple online form. Go here to enter.

Sonic Circus Website

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Focusrite Debuts Saffire Pro 24 FireWire Audio Interface

Saffire Pro 24 incorporates two low-noise and low-distortion Focusrite pre-amps, combined with quality digital conversion and proprietary JetPLL jitter elimination technology, and much more

Focusrite has introduced the Saffire Pro 24 FireWire audio interface, designed with recording musicians and the modern home studio in mind.

The Saffire Pro 24 incorporates two low-noise and low-distortion Focusrite pre-amps, combined with quality digital conversion and proprietary JetPLL jitter elimination technology that help ensure pristine quality as audio flows between analog and digital domains.

Alongside the two Focusrite pre-amps are a host of I/O options; two additional analog inputs, six analog outputs, ADAT inputs (for expanding the interface with, for example, Focusrite’s OctoPre), stereo SPDIF I/O and two virtual ‘loopback’ inputs for routing digital audio between software applications - ideal for capturing online audio.

Front panel five-LED metering for each analog input offers accurate viewing of levels.

Saffire Mix Control, the zero-latency 18 x 8 DSP Mixer/Router software provided with Saffire PRO 24, provides exceptional audio interface control. It features flexible output routing and monitoring, as well as intuitive one-click set-up solutions designed to help you track, monitor and mix as quickly as possible.

Saffire Pro 24 also comes with the latest version of the Focusrite Plug-in Suite, providing a significant upgrade in terms of standard sequencer effects. The suite includes Compression, Reverb, Gating and EQ.

Focusrite’s established Xcite+ bundle is also included. The bundle features Ableton Live Lite (for all your production, performance and compositional needs), Novation’s Bass Station soft synth and over 1 GB of royalty-free samples from Loopmasters and ‘Mike the Drummer’.

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The new Saffire PRO 24 is available worldwide in June 2009 from a selection of pro audio retailers worldwide. 

Focusrite Website

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dbx Offering Free db10 Direct Box With Purchase Of Select Compressors

The promotion will run through July 31, 2009 and is being offered through participating dbx retailers across the U.S.

dbx Professional Products is offering a free db10 Premium direct box with the purchase of either a dbx 266XL compressor/gate or a dbx 166XL compressor/limiter/gate.

The promotion will run through July 31, 2009 and is being offered through participating dbx retailers across the U.S.

The dbx dB10 direct box provides premium audio performance, superior electronic components, and rugged construction, converting unbalanced line-level signal to balanced mic-level output and allowing users to connect their guitar, bass, or keyboard directly to a sound mixer without losing tone due to impedance mismatches, long cables or cycle hum. 

It helps musicians be sure that the sound from their instrument reaches the mixing console balanced and noise-free.

The dB10 has been designed – both inside and out – to sound great while handling the grueling abuse direct boxes take on stage.

Customers are required to pay only the shipping cost ($7.95) of the free merchandise.

All details about this offer, the downloadable mail-in coupon and the offer terms and conditions are available online at www.dbxpro.com/CurrentPromotions

“This promotion represents an excellent opportunity to give customers a chance to own a more complete system. At dbx we strongly believe in fostering long-term relationships with our customers and we take pride in being able to offer these types of deals to them,” stated Jay Woolley, marketing director, portable PA for dbx. “There has never been a better time to purchase a compressor from the company with pioneered their development over 30 years ago.” 

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dbx Website

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Conan O’Brien & JBL Loudspeakers Make Their Debuts On “The Tonight Show”

“We designed a system to provide audio that met the standards of both live performance and television broadcast, configured to blend in seamlessly with the set design." - Jeff Peterson, Green Audio

From a new studio at Universal Studios Hollywood, Conan O’Brien recently made his debut as the new host of “The Tonight Show” on NBC Television, with Valencia, California-based ATK AudioTek supplying the sound reinforcement system serving the venue, including loudspeakers from several JBL Professional product series.

Jeff Peterson of Green Audio designed the system, which he notes had to be visually unobtrusive. “We designed a system to provide audio that met the standards of both live performance and television broadcast, configured to blend in seamlessly with the set design,” Peterson says.

The main sound system consists of left and right clusters that each contain four JBL VRX932LA-1 compact constant curvature array systems with one VRX918S subwoofer on top. A center cluster features three VRX932LA-1 loudspeakers.

The system is enhanced by a center array of two VERTEC VT4880A full-size arrayable subwoofers, and also includes two delay clusters flown 40 feet downstage from the main system, each containing two VRX932LA-1 loudspeakers.

Peterson’s system design features a unique approach to nearfield sound support, with a JBL Control 23 surface-mount speaker underneath every other audience seat in the theater for dialogue, creating an “under-seat” system of 178 individual speakers.

Each row in the under-seat system is treated as an individual zone for signal-delay purposes, time-aligned to the main PA so they can be used in tandem.

Onstage are 16 JBL SRX712M stage monitors for performers, four VRX915M stage monitors for drums, and two VT4881A compact arrayable subwoofer for the drum monitor system.

Crown I-Tech 4000 amplifiers power the PA system, with high-powered I-Tech 8000’s driving the subwoofers. Crown I-Tech 4000 amplifiers power the stage monitor system.

Signal processing for the entire audio system is accomplished via two BSS Soundweb London BLU 800’s, while the system is networked for remote control and monitoring with Harman HiQnet System Architect software.

Designed to meet the exacting needs of a leading television show while also providing a concert-quality experience for performers and audience alike, the system design and installation has won instant favor on the set. “The system sounds terrific,” Peterson said. “The JBL loudspeakers, from the line arrays to the under-seat models, were easy to install and configure, and provide reliability and consistency in this application.”

JBL Professional Website
Harman Professional Website

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