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Wednesday, February 08, 2012

Tannoy Unveils VLS Series Passive Column Array Loudspeakers

Tannoy has introduced the VLS Series passive column array loudspeakers offering a balance of performance and cost, when active beam-steering may neither be required nor affordable.

The VLS Series is the first Tannoy product to incorporate FAST (Focused Asymmetrical Shaping Technology), which delivers unique acoustic performance benefits. Central to this is its asymmetrical vertical dispersion, gently shaping the acoustic coverage towards the lower quadrant of the vertical axis. By the nature of a typical application, an “ideal” column loudspeaker should be biased in the vertical plane, toward the audience and away from reflective surfaces above (like ceilings) which are detrimental to intelligibility.

FAST also facilitates quicker, easier installation with less need for tilting or specific concern for optimal mounting height. Mounting is handled via supplied wall brackets.

Tannoy has packaged this performance in a slender and narrow profile, aesthetically refined, powder-coated aluminum chassis with curvilinear aluminum grille. Each model is available in either black or white as standard, with custom RAL finishes available at additional cost and lead-time.

Three models are available – VLS 7 (7 × 3.5-inch LF) designed for speech-only applications, VLS 15 (7 × 3.5-inch LF with 8 × 1-inch HF) and VLS 30 (14 × 3.5-inch LF and 16 × 1-inch HF), both of which are designed for more demanding full-range applications as well as speech.

All are IP64 rated for dust and water ingress and are salt spray and UV resistant as well as subject to rigorous high/low operational temperature and humidity testing.

Specification is aided by the addition of an exclusive Tannoy edition of EASE Focus v2.0 software, allowing systems to be designed with predictable results, along with the ability to specify VLS Series in conjunction with Tannoy’s existing column loudspeakers – including I Series and QFlex.

Tannoy

Hosa Technology Mogan Elite Omni Earset Microphone Now Shipping

Hosa Technology has announced that the new Mogan Elite omni earset microphone, the newest addition to the Mogan brand of subminiature microphones, is now shipping.

The Mogan Elite earset mic is outfitted with a moisture-resistant, 2.5 mm omni-directional capsule with -45 dB nominal sensitivity that is designed to be positioned farther from the user’s mouth.

Delivering full-frequency audio performance (20 Hz – 20 kHz) and high gain before feedback, this microphone provides a natural, resonant sound quality.

The new mic also offers an innovative earpiece designed to be worn comfortably for extended periods. With a fleshy ear cushion concealing its fully adjustable, sprung-steel (stainless) mechanism, the mic feels natural when worn over one’s left or right ear.

An interchangeable cable system allows connection of the mic to most popular wireless transmitters, including models from Shure, AKG, Sennheiser, and Audio Technica. Each mic ships with a detachable, Kevlar-reinforced cable with a hardwired connector.

The new Mogan Elite Omni Earset Microphone is available in either beige or black to blend with a variety of skin tones. Additionally, each unit includes a foam windscreen and a single mic clip. The entire package ships in an impact-resistant, compression-molded neoprene zippered case.

Jonathan Pusey, Hosa Technology director of sales and marketing, states, “The Mogan Elite earset microphone delivers impressive performance, enabling this microphone to be right at home in a number of high-end applications, including broadcast and theater, in which audio performance is critical. In addition to world-class audio quality, the Elite earset mic is very comfortable to wear and may be worn without distraction for hours on end.

“The earpiece is highly adjustable and the boom mechanism facilitates precise positioning of the microphone’s capsule. I am quite confident the Elite earset will be right at home in a number of demanding audio environments.”

MSRP for the Mogan Elite omni earset mic is $400.

Hosa Technology

Tuesday, February 07, 2012

Revolabs Enhances HD Control Panel For Entire HD Line Of Wireless Microphone Systems

Revolabs has announced that the company’s Windows-based HD Control Panel software has been enhanced to support the entire HD line of wireless microphone systems, bringing the monitoring and configuration tools found on the Executive HD to the HD Single/Dual Channel and the HD Venue systems.

In addition, based upon customer feedback, Revolabs has created several new features for the HD line, including a DIP switch display, mute groups for Executive HD systems, and an expanded control system API.

With the HD Control Panel, users can monitor and control networked HD wireless microphone systems from a single PC software program with an intuitive graphical user interface.

The HD Control Panel allows users to control the mute status and gain of each microphone, and to lock out presenters from using the mute button.

The software also provides the ability to monitor each microphone closely for its real-time status, such as battery level.

The monitor tab of the HD Control Panel has been enhanced to provide the DIP switch status for each system, eliminating the need to look on the back of the system to see which switches are active.

Revolabs has also added several commands to the HD systems’ API, allowing A/V control systems to send global commands, turn off microphones, and even initiate pairing, all from the convenience of a room’s touch panel.

Finally, Revolabs has bolstered the Executive HD with the ability to assign systems to mute groups. This allows all systems in a building to be bussed together without muting each other, unless they are assigned to the same group.

“We are pleased to bring the capabilities of the HD Control Panel to users of our HD Single/Dual Channel and HD Venue systems, in addition to offering powerful new features across our entire HD line,” says JP Carney, CEO of Revolabs. “We take pride in listening to our customers as we continually strive to meet their evolving needs. New features, such as those released today, are a direct result of customer feedback.”

The enhanced HD Control Panel and new features are available through a firmware update (version 2.6.1) to both the base station and microphones. The update is available now at www.revolabs.com/downloads.

New feature enhancements require a Gold unlock code provided as part of a Revolabs service plan. Any system that has previously been unlocked will automatically receive the new features upon completion of the firmware upgrade.. 

Revolabs

Fishman Unveils Triple Play Wireless Guitar Controller

The new Fishman Triple Play Wireless Guitar Controller combines guitar with any virtual instrument or hardware synthesizer to access a wide range of instruments, samples and sounds on stage to expand the depth and impact of live performances.

Triple Play comes with a wireless controller, hexaphonic pickup, and wireless USB receiver. The controller and included software works with industry standard DAWs and vitual instruments and installs quickly on any electric guitar. The system can be easily removed from the guitar because it doesn’t require any permanent installation.

The Triple Play system features several “hold” functions such as sustain, looping, and arpeggiators, along with string or fret splits for multiple instruments.

Also included are menu navigation controls for the included software and a guitar synthesizer volume control. A guitar, mix, synth switch is easily accessible during performances.

A low profile design (less than .5-inch) allows the controller to be left on the guitar and still fit in the case. It operates with a rechargeable Lithium Ion battery (included).

Triple Play’s powered USB wireless receiver interfaces with computers or iOS devices. The system comes with a comprehensive Windows, OSX and iOS software bundle to get users started.

A Triple Play Wireless Guitar Expander option provides additional connectivity for interfacing wireless MIDI signals to computers or iOS devices. It adds a full function USB audio interface with guitar input, bypass and headphone output, MIDI hardware IN and OUT and support for footswitches to extend Triple Play’s capabilities for recording, performing or composing music.

The new Triple Play Wireless Guitar Controller is scheduled for release in June 2012.

Fishman

Mojave Audio Debuts MA-101SP Matched Pair Cardioid Condenser Microphones

Mojave Audio has introduced the new MA-101SP, a matched pair of MA-101fet cardioid condenser microphones for use in a range of stereo recording and live sound reinforcement tasks, with instruments such as drums and guitar amplifiers, as well as capturing room ambience and general stereo recording.

Each MA-101fet in the matched pair provides warm, full-bodied reproductions of instruments without the shrillness and high frequency artifacts so often encountered with modern condenser microphones.

The microphone’s warm FET circuitry and externally polarized capacitor mic element combine to deliver low noise and high quality performance.

The MA-101fet features both omni and cardioid polar patterns by way of interchangeable capsules and is outfitted with a 3-micron thick, .8-inch diameter gold sputtered diaphragm.

As one would expect from a David Royer designed microphone, each MA-101fet in the MA-101SP matched pair offer performance specifications that are impressive. Frequency response is 20 Hz - 20 kHz (+/- 3 dB), sensitivity rating is -40 dB (1 volt per pascal), and the distortion rating is less than 1 percent @ 120 dB SPL (-15 db pad off) and less than 1 percent @ 135 dB SPL (-15 dB pad on). The microphones operate on standard 48-volt Phantom power.

Mojave Audio president Dusty Wakeman states, “The new MA-101SP matched pair of microphones is the result of countless requests from the audio community. Drawing upon the strengths of the MA-101fet, these mics are a terrific choice for a wide range of stereo recording tasks where imaging is critical. 

“Engaging the 15 dB pad allows one to take advantage of the fast transient response on instruments such as snares, toms and loud guitar amps. The MA-101SP is a remarkably versatile general purpose recording and sound reinforcement tool that, I’m confident, will find a home in a wide variety of environments.”

The new Mojave Audio MA-101SP ships in a single carrying case that includes a stereo bar. MSRP is $1,195, and availability is Q1, 2012.

Mojave Audio

Monday, February 06, 2012

Radial Introduces Shuttle Multi-Function Effects Insert Module For 500 Series

Radial Engineering has introduced the Shuttle, a new multi-function effects insert module for the 500 Series frame format and the Radial Workhorse.

The Shuttle offers three insert loops:

—Loop-1 is a front-panel insert that employs 1/4-inch TRS connectors for fully balanced connectivity
—Insert-2 is an unbalanced insert that is also front panel mounted that easily interfaces to standard effects devices
—Insert-3 is available on the Workhorse using the Omniport, which is wired following convention with tip-send, ring-return, making it ideal to interface with a remote patchbay.

All three loops are equipped with an insert switch that lets the user compare the wet and dry signal paths.

The insert points may also be used as inputs to feed a signal into the Workhorse mix bus. This opens the door to using the Workhorse with source devices such as CD players and iPods or with multi-channel fader packs and so on.

The Shuttle also enables those who own a Workhorse to easily integrate older 500 Series modules into the Workhorse mix buss. One mounts the non-Radial module next to the Shuttle, engages the feed function, and the signal will automatically be routed.

“As soon as our engineers started to integrate the Workhorse within the digital studio environment, they immediately noticed a need to simplify the process of patching effects in and out following what studios would normally do using a patch bay,” says Radial sales manager Steve McKay. “And as we delved further down the rabbit hole, we realized that the 500 Series was limited with respect to performing functions such as overdubbing. The Shuttle addresses these limitations while opening the door to creative new patching options.”

Radial Engineering

Lexicon Offering Individual Plug-Ins From PCM Native Effects & PCM Native Reverb Bundles

Lexicon has announced the availability of the individual plug-ins from its PCM Native Effects and PCM Native Reverb Bundles, with a total of 14 plug-ins available, including Pitch Shift, MultiVoice Pitch, Chorus, Resonant Chords, Random Delay, Dual Delay, Stringbox, Vintage Plate, Plate, Hall, Room, Random Hall, Concert Hall and Chamber.

“Offering the individual plug-ins from our PCM Native Effects and PCM Native Reverb Bundles represents our commitment to provide Lexicon users with greater flexibility and ease to obtain exactly the sound quality they are looking for from the specific plug-in(s) they need for any project,” says Rob Urry, vice president Harman Professional Division & GM of Signal Processing and Amplifier Business Units.

The PC- and Macintosh-compatible plug-ins are designed to work with popular DAWs like Pro Tools, Logic and Nuendo, as well as with any other VST, Audio Unit or RTAS-compatible host.

Each plug-in can be run in mono, stereo or mono in/stereo out, and on-screen input and output meters are provided for precise level setting.

All Lexicon plug-ins are Native only, and require iLok2 authorization. The individual plug-ins will be available in February 2012.

Lexicon
Harman Pro

PreSonus Adds New Control Options To StudioLive Mixers

PreSonus has announced new updates to its StudioLive Series digital mixers, including a number of features not found on any other digital mixer from any manufacturer. 

New features include:

QMix. Up to 10 musicians can simultaneously control their PreSonus StudioLive monitor (aux) mixes using an iPhone or iPod touch and PreSonus’ QMix app, a free download from the Apple App Store. QMix/VSL is the only solution that allows multiple users to each control their own aux from separate iPhones.

Smaart Engine Technology. PreSonus has begun incorporating Rational Acoustics Smaart Measurement Technology for sound-system analysis and optimization directly into PreSonus Virtual StudioLive remote-control/editor/librarian software.

With Smaart technology and VSL, you’ll be able to precisely identify nasty feedback frequencies and get your loudspeakers to play nicer with the room-all without having a degree in acoustical engineering.

The first version of VSL to incorporate Smaart technology will be part of PreSonus Universal Control 1.6, which is expected to be available later this spring.

Universal Control 1.5.3 and StudioLive Remote 1.2. Universal Control 1.5.3 features an improved version of Virtual StudioLive that supports the new QMix iPhone app, including QMix permissions (so that each user controls only one specified aux mix) and the ability to name aux buses.

Universal Control 1.5.3 also adds VSL features that work with PreSonus StudioLive Remote 1.2 for iPad to enable SL Remote permissions so that iPad users can only control front-of-house mixer features or a specified aux. Tap tempo has been added to both VSL and StudioLive Remote.

VSL adds the ability to copy and load channels, copy main mix to aux mix (and aux to aux), link channel faders so that they can move together, and make your StudioLive mixer default to Fader Locate Mode once a fader has been adjusted in VSL or in StudioLive Remote for iPad.

PreSonus

Sunday, February 05, 2012

Unit Audio Announces Affordable New Line Of Passive Summing Mixers

Unit Audio has introduced the Milli-Unit and Micro-Unit, two new 8-input by 2-output compact passive summing mixers for studio/recording applications. 

Both units are outfitted with eight balanced line-level inputs and two balanced microphone level outputs, all with Neutrik TRS connectors.

Input impedance is 20 Kohms, while output impedance is 220 ohms. Resistors are hand-selected, metered Xicon 1/4-watt, with 1 percent tolerance.

The units are hand-wired at the company’s headquarters in Nashville, TN, and are housed in rugged aluminum cases.

The Micro-Unit is also outfitted with two pan switches that allow for placing channels 1 and 2 in monaural (center), or hard left (channel 1), or hard right (channel 2).

“Is analog summing going to make your recordings sound like a Nashville studio with a billion dollars worth of equipment? Probably not, but you will notice a difference in your mixes using a Unit Audio summing mixer,” states Terry Auger, Unit Audio design engineer.

“Loosely quoting Shakespeare, one might say ‘To analog sum or not to analog sum?’” Auger continues. “This has been a point of controversy with digital recording for quite some time. With modern DAW software, mixing within the computer has resulted in some great sounding recordings, but I have long been intrigued by the concept of analog summing. I was not prepared to pay $800 or more to test that theory, so I engineered and built my own.

“Then to test the theory, I set out to see if there was any difference in the mixed sound. Much to my amazement and pleasure, I did notice a subtle but very pleasing difference in the stereo separation and placement of the instruments compared to my ‘in the box’ mixes.”

The Milli-Unit is priced at $149, while the Micro-Unit carries a price of $189. Both units can be ordered directly from the company website.

Unit Audio

RFvenue Releases New Long-Range UHF Antenna For Wireless Mic & IEM Systems

RFvenue has introduced the new high-gain, foldable, circularly polarized CP Beam antenna for use with wireless microphone and in-ear monitoring systems used in applications such as concert touring, location sound, audio/visual, and broadcast.

The CP Beam antenna is optimized for long-distance applications in the 470-698 MHz UHF range.

“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” states RFvenue CEO Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs.

“It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”

Robert J Crowley, inventor of Crowley and Tripp microphone technology and chief of Soundwave Research, which operates RFvenue, adds, “The new RFvenue antennas all incorporate ergonomic and human factors that have been ignored in the past. RFvenue’s products make wireless systems easier to use, more dependable, and eliminate guesswork in an increasingly complex RF spectrum.

“The CP Beam is a high-gain, broad bandwidth, directional antenna that is excellent for long-range wireless mics or IEMs, as well as point-to-point RF links.”

The new CP Beam has a $499 list price. The company’s products are shipping worldwide through distributors, dealers, and a nationwide manufacturer’s rep force in the US.

RFvenue

Friday, February 03, 2012

Peavey Debuts Expansion Modules For Powered Loudspeakers

New Peavey Expansion Modules expand the capabilities of the company’s EU Series, Impulse 12D, and the new PVXp powered loudspeakers.

The new 9-Band Graphic EQ Expansion Module aids users in controlling feedback using the built-in, proprietary FLS Feedback Location System, which makes accurate feedback elimination simple and intuitive.

The 9-Band module gives users greater control over shaping and accenting live or recorded vocals and live instruments, as well as increases control over general sound equalization, and removes 60 Hz AC hum.

Meanwhile, the new 3-Band Parametric EQ Expansion Module provides fine-tuning capabilities with gain, frequency and bandwidth (Q) control.

Finally, the new 3-Channel Mixer Expansion Module expands the powered enclosure’s input options by three input channels, with each channel featuring level control, high and low equalization control, and a combination XLR and 1/4-inch input.

9-Band Graphic EQ Expansion Module specifics:
—Nine frequency bands: 63, 125, 250, 500, 2k, 4k, 8k, 16kHz
—FLS Feedback Locating System
—+/- 15 dB boost and cut
—U.S. MSRP $59.99

3-Band Parametric EQ Expansion Module specifics
—Three frequency bands: Low 40 to 800Hz; Mid 200 to 4kHz; High 1kHz to 20kHz
—+/- 12 dB boost and cut on each frequency band
—Q adjustable from 0.1 to 1 on each frequency band
—Hard-wire bypass
—U.S. MSRP $49.99

3-Channel Mixer Expansion Module specifics
—Three channels of additional inputs
—Combination XLR female and ¼” TRS input
—Microphone and line-level input range
—Two-band EQ on each channel
—Switchable phantom power global for all three channels
—U.S. MSRP $79.99

The new Peavey Expansion Modules for powered loudspeakers are made in the USA will be available in Q2 2012 from authorized retailers.

Peavey

Blue Announces Mikey Digital Microphone For iPod touch, iPhone, iPad

Blue Microphones announces Mikey Digital, a plug-and-play external microphone for recording stereo audio on the latest iPod touch, iPhone and iPad models using iOS audio apps or the video function. 

It offers automatic and manual gain control and a multi-source auxiliary input for direct recording of guitar and other sound sources.

“Mikey Digital is the highest quality and most versatile solution for capturing professional recordings on your iOS device with most audio apps or the built-in video camera,” says John Maier, CEO of Blue Microphones. “Mikey Digital brings more than professional-quality recording to these mobile platforms, it also turns your iOS device into a studio interface for recording guitar, connecting a lavaliere mic or capturing line level audio straight to your iPod touch, iPhone or iPad.”

It includes two custom-tuned condenser capsules for capturing studio-quality audio—the same capsules used in Blue’s Snowball and Yeti USB microphones.

Mikey Digital users can switch between Automatic and Manual gain settings, allowing the automatic gain control to intelligently adjust to fluctuating volume levels or manually locking in a high or low sensitivity level. 

Mikey Digital is also equipped with an LED clipping indicator that signals whenever volume levels are producing distortion, providing immediate feedback to adjust for best recording results.

Furthering its capabilities, Mikey Digital also features a multi-source 3.5mm auxiliary input jack for stereo line-in, instrument-in and mic-in. This versatile input turns it into a multifaceted professional recording interface for direct recording of other sources including guitar, handheld mics, mixers and more.

Using a built-in, high-quality mic preamp and a CD-quality A/D converter, Mikey Digital records the highest fidelity possible on the iOS platform and can handle the high SPL of loud environments.  It also features a USB pass-thru connection for charging your device while in-use for continuous recording without draining battery life.

Outfitted with a 230-degree rotating head for optimal positioning, it can also capture enhanced audio while recording video by rotating the mic to align with the front- or rear- facing camera. \]

Further, it incorporates an advanced microprocessor allowing for upgradeability and future control through iOS applications. Plug-and-play, Mikey Digital directly connects to latest iPod touch, iPhone 4/S, iPad 2 and iPad and is instantly recognized for use with most audio and video applications.

Blue Microphones

Thursday, February 02, 2012

MXL Introduces V67 Recording Microphone Kit

MXL has introduced the V67 Recording Kit, which includes the V67GS microphone as well as two V67N microphones, as well as mounts, adapters and a case.

The V67GS is a large-diaphragm cardioid condenser mic that combines Class-A FET circuitry and a transformer /coupled output for an open sound. The gold-sputtered diaphragm is 6 microns thick, and the capsule measures 1.26 inches. Frequency response is 30 Hz to 20 kHz.

The V67GS offers a smooth rising presence peak which is preferred for vocals when there is a heavy low end in the mix, and it includes a high-pass roll-off switch and additional -6 dB pad.

The V67N is a pressure-gradient condenser mic with cardioid/omni pattern, with a signature marked by the right blend of power, presence and clarity.

Hand-selected components and transformer-balanced output help deliver a solid bottom end and exposed top, making it good choice for drums, piano, guitar, choirs, and other applications.

The V67N’s 6-micron-thick diaphragm is also gold-sputtered, with the capsule measuring .87 inch. The mic is internally wired with Mogami cable for added sonic integrity. Frequency response is 20 Hz to 20 kHz.

New Firmware Update For Roland Digital Snake System Expands Flexibility

Roland Systems Group is now offering a new Version 2.500 firmware update for S-4000 Series digital snake systems.

The new functionality allows the S-4000H 8 x 32 digital snake head to support samples rates of 48 and 44.1 kHz – in addition to 96 kHz. This enables it to be used in V-Mixing System configurations, especially as an analog breakout box.

In addition, the update provides control of pre-amps of the S-4000S set in REAC Master mode using the S-4000R or S-4000 Remote Control Software (PC/Mac) without the need for slave equipment or the M-48 personal mixers present.

This allows new uses of the digital snake head such as a 40 input front end to a SONAR REAC Recording system – all connected to a PC via a Cat5e/6 cable.

The S-4000 Series was the first digital snake system using the REAC protocol - a low-latency, high-quality digital transport system.

The S-4000 digital snake system Version 2.500 firmware update will be available in mid-February. Visit www.rolandsystemsgroup.com/updates for more specific information.

Roland Systems Group

Tuesday, January 31, 2012

New Integrated Cores Provide QSC Q-Sys Technology For Smaller Applications

QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.

The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.

These two new Core models are fully integrated solutions, each with eight card slots on-board. The Core500i is capable of up to 128 network channels while the Core 250i provides up to 64 channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.

Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.

The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. All system design, configuration, administration and control operate under a simple and straightforward GUI. 

Additionally, custom user control panels are easily created and can be displayed on any Internet-connected PC, iOS device or QSC’s own Touch Screen Controllers (TSC-3, TSC-8). Any incoming signals may be mixed and routed to any output and nearly unlimited DSP is provided, including Acoustic Echo Cancellation.

Also newly announced is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)

It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.

QSC Audio