This is an old but very effective trick for mic’ing kick drums.
Take a Yamaha NS10 speaker cone and use that to capture the extra low frequencies of the drum.
Without going into too much theory about this, a dynamic microphone and a speaker are essentially the same thing: they’re both transducers. They take acoustical energy and convert it into electrical energy or vice versa.
So what you do is take the speaker out of the box and solder a male XLR plug on a short cable to the speaker terminals. Pin 2 goes to (+) and Pin 1 goes to (-) pin 3 is not used.
The matter of mounting this speaker to a stand is a different matter, and the main reason to go buy the Yamaha Subkick (pictured below), because of it’s great, easy-to-use mounting system.
That, and it’s also more durable likely than the home version.
(click to enlarge)
One way to do it is to take a standard mic clip apart and fitting the slotted part securely to the corner mounting holes of the speaker; that is, if the speaker you’re using has the 4 corners and not just holes drilled just around the cone [square not a circle]. Or you can attach it to a microphone boom or gooseneck permanently.
The output of the subkick is very hot, meaning you’re going to have to attenuate the signal for it to be of any use to you. An inline -20 dB pad, a pad at the mic pre, or one built into the mic will need to be used.
This guy used a 10k Ohm in series with pin 2 and a 1k Ohm resister across pins 1 and 2 to drop the output about 20 dB.
Mic placement: These work really well at the edge of the drum parallel to the skin. Try it under a floor tom too.
Why the NS10? Most time you see these in a studio it will be with an NS10 cone, but why? From what I’ve been told it is because there are usually extra NS10s lying around a studio, all studios had NS10s, you could predict how it would sound, and they have a frequency response that works well. Don’t know how much truth there is to that.
You can use any speaker you want; it will obviously make a difference in the sound.
Finally, here is a picture I took of one of the two DIY subkicks at Metalworks Studios. Note mounting, placement, and inline pad.
Jon Tidey is a Producer/Engineer who runs his own studio, EPIC Sounds, and enjoys writing about audio on his blog AudioGeekZine.com. To comment or ask questions about this article go here.
The family offers a full complement of professional features including signal encryption, dynamic filters, gain control, channel scanning and more.
Utilizing the same 4th-generation digital wireless platform as the flagship XD-V75, the XD-V55 family offers handheld, lavalier and headset systems and the compact, portable XD-V35 family includes handheld and lavalier systems.
“For performers who want wired mic audio performance and wireless freedom, the combination of Line 6 modeling and our class-leading digital wireless platform makes the latest XD-V systems the only choice,” says Steve Devino, live sound product manager at Line 6.
“Proven on countless stages and tours worldwide,” he continues, “fourth-generation Line 6 digital wireless technology ensures the best possible performance experience with crystal-clear audio, rock-solid reliability and simple, license-free operation – worldwide.”
Ensuring faithful reproduction and full-range audio clarity, XD-V systems all provide 10 Hz - 20 kHz frequency response and wide dynamic range (up to >120 dB). They do not use companders or compress the audio signal in any way, and audio quality does not degrade with distance.
XD-V systems operate in the 2.4GHz band, which is free from interference due to TV broadcast, public safety announcements, cell phone towers and other transmitting devices. Encoded DC (Digital Channel Lock) technology prevents reception of any audio interference from other 2.4 GHz devices.
XD-V handheld systems feature a selection of up to 10 models of popular vocal microphones. Using this incredibly diverse sonic palette, vocalists can choose the perfect microphone sound to match their voice and style of performance.
For active spoken-word performers, instrumentalists or singers who require a hands-free solution, XD-V bodypack systems offer selectable EQ filter models, tailored for a wide range of vocal and instrumental applications.
XD-V55 bodypack systems have three selectable vocal EQ filter models.
XD-V series digital wireless systems are incredibly easy to operate. Simply choose a channel on the transmitter and receiver and they lock together automatically. There is no need for RF tuning or intermodulation calculators.
XD-V55 family features: 12 channels, 300-foot range; 1/2U desktop receiver with externally mounted antennas; heavy-duty metal chassis.
Lectrosonics has expanded the ASPEN digital matrix processor family with the new SPNDNT network processor, a full-featured DSP that can address both the ASPEN and Dante matrices and add mixing, gain, and delay functions to the digital audio signals.
Any of the 48 final mixes in the ASPEN matrix can be assigned to any one or more of the Dante channels for transport to other endpoints in the network.
Dante signals can also be imported into the ASPEN matrix in a local processor sub-system for mixing with other local and network signals, and then routed onward to other local or network devices.
Dante products deliver a no-hassle, self-configuring, true plug-and-play digital audio network that uses standard Internet Protocols.
This combination offers a market leading solution today, while providing a migration path to upgrade to new standards such as the IEEE Audio Video Bridging (AVB).
Gordon Moore, vice president of sales at Lectrosonics, states, “Dante has proven to be robust, reliable and incredibly easy to configure. Our customers have long asked for a low latency, easy to use, audio transport over Ethernet system.
“Dante delivers all that is promised,” he continues. “To say that we are excited about the potential is an understatement.”
The ASPEN Dante network processor offers a solution in system designs for telepresence, room combining, courtroom complex, distance learning and multi-endpoint conference systems. Available now, it carries a MSRP of $3,325.
Point Source Audio Launches “Unsinkable” Earworn Microphone
Point Source Audio has introduced the CO-5w, a new “unsinkable” waterproof earworn microphone outfitted with a special water-protected mic element.
The CO-5w offers omnidirectional polar pattern that allows a 360-degree pick-up of sound, providing a natural blend of voice and ambience.
The design of the CO-5w also lends itself to reduced speech produced “popping sounds” and voice overloads in close mic applications.
“We’re super excited about our ‘unsinkable’ feature,” says Yvonne Ho, vice president of marketing at Point Source Audio. “Of course, we don’t recommend users drowning their wireless packs in water, but now they have a microphone shielded against humidity and water so it can be used almost anywhere.”
The CO-5w waterproof earworn microphone is shipping now, available at pro sound resellers and system integration contractors.
The single-ear version retails for $335 MSRP, and the dual-ear version retails for $425. It is offered in a variety of terminations designed to work with all the most common wireless systems. Standard offerings are immediately available and special orders for custom wiring are welcomed as well.
Popular Standard Offerings:
CO-5w-AK - Single-ear microphone wired for AKG, available in beige
CO-5w-AT - Single-ear microphone wired for Audio-Technica, available in beige
CO-5w-SE - Single-ear microphone wired for Sennheiser evolution, available in beige
CO-5w-SH - Single-ear microphone wired for Shure, available in beige
CO-5w-TX - Single-ear microphone wired for Telex, available in beige
CO-5w-KIT-AK - Dual-ear microphone kit wired for AKG, available in beige
CO-5w-KIT-AT - Dual-ear microphone kit wired for Audio-Technica, available in beige
CO-5w-KIT-SE - Dual-ear microphone kit wired for Sennheiser evolution, available in beige
CO-5w-KIT-SH - Dual-ear microphone kit wired for Shure, available in beige
CO-5w-KIT-TX - Dual-ear microphone kit wired for Telex, available in beige
As engineers, we all have particular strengths and weaknesses. Some are musically gifted and play multiple instruments, while others naturally take to composition.
However, what about the most basic of skills - our hearing? Unless you have absolute pitch or synesthesia, we’re all playing with the hand dealt to us a birth. The only thing we can do is hone our auditory perception.
That’s why so many forms of ear training for musicians and eventually engineers have evolved over the years. Because, according to Quesnel & Woszczyk, “there is substantial evidence…that auditory perceptual skills can be improved by controlled practice and training.”[1]
Auditory perception is one of the most basic skills required of audio engineers as we go about our daily tasks of balancing, treating, and mixing audio. Therefore, providing new ways for engineers (especially students) to develop auditory skills is critical. Thankfully, Audiofile Engineering has created a Mac and iOS based ear training program for audio engineers, Quiztones, which does a fantastic job at helping the listener develop more acute listening and frequency recognition skills.
That is to say, learners would read the text and then take auditory quizzes, which then required manual grading. However, educators across all content areas today recognize the value of learning technology within the classroom, which includes a broad range of communication and related technologies used to support learning, teaching, and assessment.[2] So, why not bring this into audio education? A wonderful parallel example of this comes to us from music education in the use of MacGamut, which allows for mastery-based drill and practice in Aural Skills of Intervals, Scales, Chords, and much more.[3]
As is illustrated by the success of MacGamut in music curricula, auditory training too must consist of truly interactive learning technology for learners to benefit the most, and this is precisely what Quiztones has accomplished.
The Solution: Quiztones
Quiztones has overcome the shortcomings of previous auditory training resources because it is a truly interactive training resource, presenting learners with auditory examples, multiple answers, and real-time feedback in the form of weighted grading. Interestingly, the product was born out of an undergraduate music production program internship and is the product of someone who understands exactly the needs of undergraduate music students. Both the iOS and Mac OS X versions contain the following trainers, which are truly impressive:
EQ Quizzes:
—Easy Frequency Boost (+10 dB) —Hard Frequency Boost (+5 dB) —Hard Frequency Cut (-10 dB) —Expert Frequency Boost (+5 dB) – 1/3 Octave*
(click to enlarge)
Tone Quizzes:
—Easy —Hard
Gain Quizzes:
—Easy* —Hard*
* Included in Mac App/In-App Purchase in iOS App
Over the course of using Quiztones, I was positively blown away. Initially, I didn’t perform as well as expected on some quizzes, however with consistent practice I’m pleased to say I’m now performing at the level I’d anticipated. This only further supports the already sound evidence that consistent practice at auditory drills will yield a dramatic improvement. And really, isn’t that what we’re all after?
However, what’s most impressive is the road ahead for Quiztones. In speaking with the apps’ creator, Dan Comerchero, it’s clear he intends this app to benefit engineers of all ages; whether they’re a seasoned pro looking to brush up their skills or a student just beginning ear training. This is evidenced by the development road-map which includes the addition of a practice mode to both apps, as well as content additions like reverb, delay, and compression trainers which will truly make the tool “feature complete” even when compared to the current industry standard of ear training, Golden Ears.
The most interesting thing Dan revealed to me, however, is the current development of a product called “Quiztones Author”. This is a utility which will give educators the ability to customize quizzes based upon the needs of their students and curricula. Currently in beta, this will be a separate utility that educational institutions can purchase as an additional tool for their faculty.
The creation of this utility is significant because it will provide university faculty the ability to utilize Quiztones directly as a part of their curricula; allowing the design, distribution and retrieval of scores for quizzes instead of simply recommending the tool as a supplement to classroom instruction. If you are an educator interested in beta testing Quiztones Author, contact dan via e-mail .(JavaScript must be enabled to view this email address).
Final Thoughts
You might be asking yourself what can “Quiztones really offer me? It’s seems too educational” or even “Why do we need to improve the old systems that were working so well”. To be honest, those sentiments and many more are perfectly understandable. We’re a legacy industry that doesn’t often accept change easily.
However, the reason is quite simple; everyone benefits from having better training tools, and the fact that Quiztones is built upon solid educational theory is only one of a dozen reasons to adopt it within your training regimen. Every engineer knows that better frequency recognition helps him or her in the development and discussion of sonic ideas, so why not train and improve aural skills with a system that provides immediate feedback?
(click to enlarge)
And, fundamentally, fast frequency recognition helps engineers decide how to react if, for example, they hear X problem in the Y frequency band. So, using a system that helps engineers improve their accuracy over time with varied scenarios in a controlled environment is a tremendous asset.
Can I say that Quiztones is the absolute perfect aural training solution for you? Perhaps not quite yet, as I’d love to see more options in the quiz answers, and I think a “Match the Sound” style trainer would be incredible. Audiofile Engineering tells me this is the direction Quiztones is headed: hearing a modified audio loop and letting users utilize on-screen controls to try and match the modified sound while receiving feedback on accuracy. However, I can say without reservation that Quiztones is by far the best aural training solution currently available, and I urge you to give it a try in your studio or classroom curricula. I’m certain you find the tool worthwhile.
References 1. René Quesnel and Wieslaw R. Woszczyk, ‘A Computer-Aided System for Timbral Ear Training’, Audio Engineering Society Convention 96, 1994. (link)
2. What is Learning Technology? The Association for Learning Technology. (link)
3. What is MacGAMUT? MacGAMUT - Music Software International. (link) Kyle P. Snyder is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology, and audio education. Find out more about Kyle on his website or follow him on twitter.
Almost weekly, I receive an e-mail asking for advice on which mixer to buy.
The answer, of course, is always the same; it depends. No seriously, that’s the answer. Because there is no “one” right mixer for every church.
There are quite a few that hit a sweet spot in terms of a performance/value ratio, but even those are not right for every situation. So what I thought I’d do is walk through a process that I use when spec’ing out a new mixer for a church.
Keep in mind that every single gear purchase is a compromise. What we try to achieve is the best compromise for the situation, with some room to grow.
So with that in mind, here we go.
Primary Objective Of Upgrade
It may seem obvious, but a lot of churches are “convinced” they need a new mixer, but can’t articulate why. “Ours is old and it’s not doing the job,” is not sufficient. What part of the job is it not doing? Does it lack inputs? Is it noisy? Do some of the faders not work? Too few outputs? Too big? Don’t like the color scheme?
Seriously, we need to consider what we are trying to fix before we can find a suitable replacement. And sometimes it really makes more sense to replace a few faders than it does to buy a new desk. Keep that in mind. But once we know what we don’t like about the old one, we can decide what features and what kind of performance we need from the new one.
Input Count
You might think that the digital/analog question might be first, but I prefer to save that for later. First we need to determine how many inputs are currently used, what the short term (ie. 2-3 years) growth plans are and then figure in some cushion. I like to start with this question because if a church only uses 3 microphones and a CD player each week, a (Yamaha) PM5D is probably not the best choice, even if they can afford it. Nor is an M7.
It’s important to note the number of mic inputs and line inputs. You also want to consider how many inputs you would like to be able use if you had them available. For example, if your current 16 channel mixer is full, consider what you would like to be able to do right now before you run out and buy a 24 channel. You may find that one full sooner than you expected.
I always advise churches to count up their maximum ideal channels for weekly services (once or twice a year events are another matter), then add 8 channels to that. Start looking at consoles with that channel count at a minimum. If you end up with 30 as your ideal number (current use, planned upgrades plus 8 spares), you may find that going for a 40 channel board isn’t that much more, and might make sense. On the other hand, 32 might well be sufficient. Think it through.
Output Count
Again, this might seem obvious, but outputs get used up in a hurry.
Obviously you have the mains, which usually means 1-2.
Then you have monitors, 4-6 is common on smaller boards, but think about how many you’d like.
If you’re still using wedges (I’ll pray for you), remember that for each monitor mix you need another channel of amplification.
If you’re using ears, it’s beneficial to get everyone on their own mix, and even small bands will max out the Aux sends of smaller boards.
Don’t forget the “forgotten” outputs—cry rooms, record sends, lobby, DVD record, green room, overflow rooms—this list can get long as well. Think about how you are going to use those sends, and what makes the most sense to get them there.
Sometimes, you need an Aux send, other times a matrix works better, still other times a group out makes sense. How many do you need now, what might you need, then add a few extra.
For example, if you determine that you’d like to do 7 monitor mixes, a main left and right, a record send, a cry room, lobby and DVD record feed, don’t bother looking at a Mackie Onyx 32.4, even if you don’t need 32 inputs—you’re out of outputs on day 1.
Feature Set
What types of new features are you looking for? More groups, VCAs, a bigger Matrix, better EQ, better metering, direct outputs, mute groups, and/or automation are all found on boards at various price points.
These are all great features…if you need them. If you don’t, it’s extra confusion for the people who run the board.
On the other hand, don’t skip over this step. Really think through if you would be better served with groups for VCAs, and buy accordingly.
Performance
It’s a fact that some boards sound and work better than others. If you can, get a loaner or rental board to try out in your room to see how it sounds, and how it works. Sometimes seemingly insignificant details can make the job a lot easier or a lot harder. It’s good to know that up front. Sometimes the new “upgraded” board doesn’t sound as good as the old one. If that’s the case, keep looking.
Also consider the warranty, local and manufacturer support. One thing I really appreciate about Yamaha’s higher-end consoles is their 24/7 support. If something goes haywire with the M7 at 9 pm on Saturday, someone will answer the phone and try to talk me through a fix. If necessary, they’ll put someone on a plane to deal with the problem ASAP. Depending on your application, that might be necessary.
I once had a console power supply go bad at 7 pm on a Friday night. Thankfully the local shop was open on Saturday and we got the board in for repair. It took a week and I had to borrow the board out of the youth room to make church happen, but we were back up and running the next weekend, and the services went on. That’s important. Find out if your local dealer is also an authorized repair center, or if they have to send it out.
Digital Or Analog
This is the first question most people ask, and it should probably be the last.
Without figuring out the previous list (and I haven’t been all-inclusive in the list, there are dozens of smaller questions), you really can’t make a good decision about this.
Going digital just because it’s the latest thing and all the mega churches in town are digital are not good reasons to do so.
Digital has a lot of advantages, but it also carries some baggage. It’s important to know if the trade-off is worth it.
First, consider your existing complement of equipment; your snake, outboard gear, patchbays and the like. What kind of shape are they in, do you have enough, how easy is it to pull a new snake? How many stage inputs do you have now, and are they enough? Will a new snake be more cost-effective than a digital cable? Sometimes it is, believe it or not.
Think about who will be operating the board. Anyone with a reasonable amount of skill and time behind an analog board can learn a digital one—at least the lower end ones. However, who else uses it, and how easily will it be for them to make the transition? Most digital boards have permission setting ability that makes it easy to keep inexperienced operators out of trouble. But is there someone at your church who can figure out how to program the keys?
Digital boards have a lot of advantages, but they tend to be more complex to use and set up. On an analog board, it’s easy to teach someone how to use the Aux sends or EQ. It’s right there in front of you and it’s easy to visualize. A digital board has a bunch of multi-purpose encoders and it’s easy to get lost if you’re not paying attention.
I’ve done a lot of mixing in my career, and once in a while I still adjust the wrong monitor mix on the M7 or select the wrong channel. Mastery of digital is by no means impossible, but it does take time. Are all the stakeholders (volunteers, leadership, board, etc.) prepared for that?
If you already have a significant investment in quality outboard gear (compressors, gates, FX, etc) and you have a decent snake installed, going digital may not make a lot of sense if all you really need are more inputs. On the other hand, if the snake is old and failing, you’re always short gates and comps and you really could use another 16 stage inputs, a digital upgrade can fit the bill perfectly.
Even with digital you have some choices. Some boards, like the Yamaha M7 and LS9 are hybrid boards; that is they are designed to be dropped into an existing analog infrastructure. You can get digital snakes for them, but they add significantly to the cost. The work great if you have an existing snake that does the job. Others, like the RSS M-400 at the low end and the Digidesign Venue and Profile at the high end, are based around a digital snake concept. Those are perfect if you need the advantages of digital and you either don’t have a snake, it’s not big enough or the one you have is failing.
Decisions, Decisions
Clearly, there are lot of questions to ask when buying a new board. I haven’t even tried to be exhaustive, but this structure will get you thinking. You really need to think it through. Then ask some people to help you think it through. Then go play with the board. Whether you’re spending $2,000, $20,000 or $50,000, it’s a big deal. That’s money that could be going to a dozen other areas of ministry, and it needs to be spent wisely.
We also need to invest for the long-term. Asking for a new board every 3 years because you chose poorly is not a way to win friends and influence people. So think it through…everyone will be better off!
Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
Powersoft Releases New Armonía Pro Audio Suite Version 2.3.0.
Powersoft Armonía Pro Audio Suite software is designed for remote control and monitoring of Powersoft amplifiers, providing the ability to do on-line or off-line system setup and tuning, real-time management and monitoring of all vital functions from a remote PC via a single intuitive graphical user interface.
The new Armonía 2.3.0. improves both usability and increases integration with the Powersoft product portfolio.
LivingWorkspace is a component that allows a quick overview of the whole system status on the workspace obtaining information about signal presence, muting, gain reduction and clipping instantaneously.
Link state and alarms state are also visible looking at the amplifiers’ icons (border and background respectively).
It’s also now possible to identify the amplifiers at a glance directly from the “Remote Entities” window. Using the same window it is easy to check the firmware version and to receive notifications in order to keep the amplifiers always updated.
Armonía 2.3.0. offers complete integration of the Powersoft rack amplifiers product portfolio with the M Series and the Ottocanali in DSP version.
Powersoft power modules have also been integrated allowing control and monitoring of a mixed system consisting of passive and active speakers with the company’s Class-D technology.
The Network Manager allows quick and easy handling of a multi-network interface through functions of device start, stop and discover.
“We consider this release a milestone in the development of Armonía,” states Claudio Lastrucci, R&D director of Powersoft, “a further challenge in creating software which allows system engineers to efficiently maximize interaction between amplifiers and loudspeakers.”
Armonía 2.3.0. Pro Audio Suite is now available for download here.
New SysTune V1.2 Real-Time Audio Measurement Software Now Available
AFMG, the Germany-based pro-audio software developer, is releasing the new version of SysTune – Version 1.2—on Tuesday, May 1. The update is free for the community of existing SysTune users.
SysTunev1.2 is highlighted by a new plug-in called Delay Analysis. From a set of captured individual measurements, SysTune automatically calculates optimal delay times between mains and subs or between main and delay loudspeakers, giving precise information on polarity and predicted overall system performance.
“Never before has it been easier to solve the polarity question and find the correct delay time for your system,” states Stefan Feistel, physicist and managing director of AFMG. “You can save about 70 percent of time on measurements by one quick calculation using our new Delay Analysis plug-in.”
SysTune v1.2 also offers a web interface for mobile devices for viewing and control of live measurements from anywhere within reach of a WiFi access point.
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Sound technicians, system integrators and loudspeaker developers will also benefit from the full integration of SysTune v1.2 and the recently released AUBION X.8, in particular the gain compensation feature allows the user to make gain adjustments without losing calibration.\
Screen shot of SysTune Delay Analysis. (click to enlarge)
AFMG will be celebrating the release of SysTune 1.2 on Facebook. The company invites users to visit http://www.facebook.com/SysTune and become a “fan” and enter in a lottery drawing. Users can also share information and post photos of their gigs, setups and so on.
In the past, SysTune has been sold in so-called dual licenses. Technicians have frequently inquired about the possibility to acquire only a single license at a reduced price. The release of SysTune 1.2, AFMG complies with this wish. Existing users will retain the full number of licenses they own.
Another look at SysTune Delay Analysis. (click to enlarge)
In addition to the reduced entry level prices, AFMG grants a 10 percent discount on any two licenses even of different programs purchased simultaneously.
Pricing:
SysTune 1.2, Single License—400 EUR (approx. $525 USD)
SysTune Pro 1.2, Single License —650 EUR (approx. $850 USD)
Upgrade SysTune to SysTune Pro—300 EUR (approx. $395 USD)
(Prices do not include VAT. Discounts cannot be accumulated.)
Maryland Sound First Company In U.S. To Purchase New JBL VTX Line Array Series
Maryland Sound International recently became the first company in the United States to add the new JBL VTX Line Array Series loudspeakers to its inventory.
Maryland Sound was founded in 1966 to serve Frankie Valli and The Four Seasons on a national tour, growing over the decades to become one of the industry’s foremost sound contractors, with a resumé spanning presidential inaugurations to Times Square New Year’s Eve broadcasts to major concert tours.
“We built our business on offering our clients the very best, and we are purchasing more than 300 of the new JBL VTX V25 line array loudspeakers,” states Bob Goldstein, president of Maryland Sound. “We will be using them for large-scale events, smaller productions and everything in between.”
The company first deployed its VTX system at the annual White House Easter Egg Roll on April 9.
The JBL VTX Series is the next generation of JBL line array loudspeaker design. “VTX represents an evolution of JBL’s industry-standard VERTEC that heralds a new era in performance, system integration and user-friendliness,” says Paul Bauman, senior manager, Tour Sound, JBL Professional. “The VTX Series features JBL’s legendary sound quality coupled with the most advanced sound reinforcement technology and support available.”
“When you start with outstanding components and put them into a well-designed enclosure, you can’t help but end up with outstanding results,” Goldstein continues. “I have to say that the technology behind the V25 is amazing. I’m a guy who likes to experience high-frequency reproduction all the way out to 20kHz. The D2 drivers handle a ton of power with no breakup modes and no measurable distortion. Having the D2 drivers in the V25 makes a huge difference and I wanted to have that kind of sound quality in our inventory.”
The JBL VTX Series V25 full-size, 3-way high-directivity line array element features two 2,000W, 15-inch Differential Drive woofers mounted in die-cast aluminum baffles, with four 8-inch Differential Drive midrange transducers and three D2 dual-diaphragm dual-voice-coil compression drivers mounted on a third-generation waveguide and patented Radiation Boundary Integrator assembly.
“The new JBL D2 high-frequency driver is fantastic,” Goldstein adds. “There is virtually no distortion, and designer Paul Bauman and his team came up with a new waveguide that takes full advantage of its performance to distribute extremely smooth frequency response with even coverage.”
In addition, Maryland Sound will continue to use its existing VERTEC VT4889 inventory. “I think the VT4889’s with the V5 software tunings are world-class and we will not stop using them anytime soon,” Goldstein notes. “That said, the VTX V25 is simply a step up in its ability to resolve musical detail.”
“Our clients want to know that we’re always on the leading edge of the technological state of the art,” he concludes. “Having the best technology like the JBL VTX V25 means we can provide the best service AND the best sound. Our clients don’t have to ask us to upgrade—we do it on our own because we want to stay on the cutting edge.”
FiberPlex Technologies Introduces WDM16 Active Wave Division Multiplexer
FiberPlex Technologies has released the WDM16, a 16-channel active wave division multiplexer that does not require optical wavelength matching, which allows users to use standard off the shelf equipment without worrying about having to have equipment operating at specific wavelengths.
The WDM16 provides (16) Small Form Factor Pluggable (SFP) ports that can be loaded with any sort of optical laser of any speed or mode.
The WDM16 allocates the individual wavelengths for the CWDM by taking each input in (from 155MB to 2.5GB), regardless of wavelength, internally translating that wavelength to the assigned wavelength internally in the WDM16 for that channel, and multiplexing up to (16) of these channels for a maximum of 40GB on a single fiber.
The WDM16 is designed for use with the FiberPlex FOM series modules, FiberPlex Shadow enabled devices, or virtually any third party fiber optic equipment.
Is is equally at home as a stand-alone system allowing the user a quick, easy and economical way to increase the bandwidth of existing fiber optic infrastructure, or to limit the amount of fiber infrastructure necessary in any new construction where adding more fiber is cost prohibitive.
Available fully redundant, hot swappable power supplies insure reliability. Redundancy is carried even further to the channel level, where any single channel can fail without taking down the whole unit.
Additionally, the default failure mode of the communications microprocessor is to have all channels operate and fans run full. The WDM16 is ready for any mission critical application.
Wave division multiplexing can free up coveted fiber pairs, when dark fiber is scarce, and in new or retrofit installations it can provide considerable savings compared to the labor costs to pull new or extra fiber runs. The WDM16 is the ultimate solution for expansion of your fiber infrastructure.
Grundorf Announces New Utility Transport Dolly Plates
Grundorf has announced the addition of three new utility transport dollies to help musicians and audio pros move their equipment easier.
Each of the three available models is manufactured from 13-ply Baltic birch wood, which supports considerable weight without flexing. To prevent abrasions to the dolly’s edges, the wood has been finished with rounded edges for protection against damage and splintering.
A convenient carry handle is an integral part of the dolly’s wood platform. Being carved directly from the dolly’s wood base, the handle has no protrusions to catch on clothing or other items. The handle is rounded and very comfortable.
In addition, the dollies are designed to stand on their side when not in use, occupying little space in the vertical position.
The surface side of dolly plate is carpeted, ensuring a scratch-free environment that won’t harm the equipment’s exterior.
The dollies are equipped with two brakes that enable them to remain stationary on an incline, keeping a heavy trunk from moving when attempting to open a door.
The new Grundorf utility transport dollies are available in two plate sizes: small (20.75 x 20.75 inches), and large (29.75 x 20.75 inches). The small model is outfitted with a choice of heavy-duty 3-inch or 4-inch casters while the large dolly employs heavy-duty 4-inch casters.
“While a lot of road cases come with casters, there are plenty of trunks and other heavy items that do not—forcing musicians to struggle whenever they have to move their equipment,” says
Frank Grund, president of Grundorf Corporation. “Our new utility transport dollies are specifically designed to address this very common situation. With robust construction, three sizes, and smart design that enables them to occupy a minimum amount of space when not in use, I’m confident these dollies will make the process of moving heavy equipment far easier for many people.”
The new Grundorf utility transport dollies are in stock and available now. MSRP is as follows:
• Small model with 3-inch casters (73-011)——$129.95
• Small model with 4-inch casters (73-010)——$155.95
• Large Model with 4-inch casters (73-012)——$159.95
Peavey MediaMatrix NION Training Seminar Scheduled For May
Peavey Commercial Audio will host a two-day MediaMatrix NION Certification training course in New Orleans during May, where AV designers, consultants, contractors and end users can learn best practices for designing, deploying and implementing MediaMatrix audio distribution, processing and control systems.
The MediaMatrix NION Certification training course instructs AV professionals on the fundamentals of MediaMatrix, the most flexible and scalable audio networking system on the market, as well as how to design and program projects in nWare; how to set up a NION processor; how to create end-user GUIs for nTouch 60 and nTouch 180 touch screens and PC kiosks; and how to integrate the XControl into a MediaMatrix installation.
The MediaMatrix NION Certification training seminar will be held in New Orleans on May 10-11, from 8:30 a.m. to 5 p.m. each day.
Each successful student will receive a completion certificate that can be submitted to InfoComm for receipt of 7.5 renewal credit hours for InfoComm CTS, CTS-I and CTS-D. For full class descriptions and registration, go here.
Peavey has educated thousands of AV system designers, integrators and end users from around the world since MediaMatrix revolutionized the professional audio industry in 1993.
MediaMatrix now offers the content of its renowned seminars as online courses here.
Completion of the online Peavey MediaMatrix Basic or Advanced course earns two hours of credit toward InfoComm’s CTS and CTS-D Certification Renewal.
Learn how MediaMatrix can be used to create virtually any audio system. For more information, go here.
Microfiles: Electro-Voice 664, The Legendary “Buchanan Hammer”
A single-element cardioid, dynamic type mic was the first model to incorporate the company’s patented Variable-D design
My Baltimore-area high school theater was outfitted with the first quality PA system I ever worked with.
It had JBL horns and cabinets in a center cluster, powered by Crown amplifiers, with a 6-channel TAPCO mixer in the sound booth and Electro-Voice 664 microphones on stage.
Initially, to my finely tuned 10th grade ears, the system didn’t sound very good – the performers could barely be heard, and there was a lot of feedback.
It wasn’t long before I figured out that the real problem was operator error, not the system.
I eventually got the hang of running it correctly, including learning the importance of proper mic placement.
And what mics they were! I fell in love with the EV 664 – far better sounding than my own Lafayette mics for my garage band, and built like a tank. Later, I wasn’t surprised to find out the 664 had the nickname “Buchanan Hammer” due to its rugged design.
Top port for mid cancellation, rear port in spine for low cancellation. (click to enlarge)
The story behind the nickname, as I know it, is that during his legendary microphone lectures, the late Lou Burroughs (one of the founders of EV) would beat a 664 against a 2 x 4, and/or use it to hammer nails into a board, and then plug it in and use it for the rest of his presentation. The Buchanan part of the moniker refers to the town in Michigan where the company was headquartered for decades.
Timeless Design
Introduced in the mid-1950s, the 664 sported a cool “Art Deco” design, with a sleek yet curvy chrome body that evoked the popular automobile tailfins of the period. Inside was some serious technology.
Left to right: The 664 in chrome and non-reflective gray finish, the Executone EXCC in brown and gold, and the newer model 664A. (click to enlarge)
The single-element cardioid, dynamic type mic was the first model to incorporate the company’s patented Variable-D design (U.S. patent number 3115207, awarded in 1963) still found in several EV mics to this day, including the broadcast-favorite RE20 and the recently introduced RE320.
Variable-D (“Variable Distance”) uses three ports to cancel sound from the rear, while the side ports (slots located on the sides) are coupled to the back of the diaphragm and help cancel high-frequency sounds.
The hole on the top (located toward the front of the body’s “raised spine”) works the same as the side ports, but has a longer path and added filters to affect mid frequencies. The single hole at the rear of the spine has a longer path and more filtering to address low frequencies.
The 664 base with 4-pin connector and stand socket. (click to enlarge)
This all combines to give the mic good pattern control over a wide frequency range and a reduced proximity effect. An ad from 1961 states “The 664 does not BOOM when performer crowds microphone.”
The 664 was available in three finishes: satin chrome, non-reflecting gray (664A) and a gold finish (664G). I also own one that is branded Executone EXCC, and it has a brown body with a gold windscreen, as well as a chrome model that is branded DuKane 7A160.
More Versions
There were actually two designs of the 664. The earlier one had a more classic base, three ports on each side, and the old script logo on the switch-plate. The later version had a more modern rounded base section, a single large port per side, and a larger switch-plate cover that featured the round, red EV logo. Both utilized a 4-pin EV screw-on connector that was popular on many of their models.
The newer single-port model (left) with the older 3-port model. (click to enlarge)
The 664 shipped with an 18-foot cable that was not terminated at the console end.
There was yet another version called the 664A, but it was supercardioid, a lot smaller, and had more modern styling. It still utilized the Variable-D design, but had a long plastic port along its spine instead of separate rear port entrances.
The 664 holds a special place in my collection. It was the first true professional caliber microphone I worked with, and the single port model shown here is the first mic I ever purchased just to collect and not use onstage.
Great mics and great memories!
Electro-Voice 664 Specs (original 3-port model)
Transducer Type: Dynamic, non-metallic Acoustalloy diaphragm
Polar Pattern: Cardioid
Frequency Response: 40 Hz – 15 kHz
Sensitivity: -55 dB at 150 ohms
Nominal Impedance: Switchable high impedance or 150 ohms
Size: 7 3/16 x 1 7/8 inches
Net Weight: 28 ounces
1961 Price: $49.98
Craig Leerman is senior contributing editor for Live Sound International and ProSoundWeb.
Avid has announced the release of Sibelius First, combining the Sibelius Student and Sibelius First notation products into a single easy-to-use, powerful, and fun music composition tool.
The new Sibelius First takes advantage of the features introduced by Sibelius 7, including a task-oriented UI specifically designed to guide the user through the creative process, along with quality sound, 64-bit technology and support for the latest operating systems.
It also offers new video export functionality, online publishing, and direct sharing to YouTube, SoundCloud, and Facebook, and more.
Sibelius First’s standout features include:
• Sibelius First offers a refined, task-oriented user interface that makes it possible to get great results without prior experience.
• Choose from scanning, transcribing, or MIDI import to quickly get ideas into Sibelius First—now with full MusicXML interchange for transferring music into and out of other applications.
• Includes a premium sound library so compositions can be played back in detail on high-quality sampled instruments, and produce better quality exports.
• Unlock the full power of a 64-bit computer, and directly address more than 4GB of RAM.
• No engraving or notation expertise is required to get great results. Magnetic layout and dynamic parts make it easy to produce and tailor scores to suit musicians of all kinds.
• Sibelius First scores can be added to the score library on the Avid Scorch app (sold separately).
• Users can easily export compositions as videos and publish their work to social media websites (YouTube, SoundCloud, Facebook) along with traditional print, email, or audio exports.
Sibelius First software is available now for $119.99 USD and multi-seat 5 packs are available for $299.99. Current Sibelius First and Sibelius Student customers may take advantage of upgrade options for $39.99.
Clear-Com Launches HelixNet Networked Partyline Intercom System
Clear-Com has announced the worldwide release of the HelixNet Partyline, the industry’s first networked partyline intercom system with a set of unique capabilities for achieving greater efficiency, cost-savings and flexibility from set up to operation and maintenance.
HelixNet Partyline provides digitized Clear-Com sound and central administration of the entire system (firmware upgrades and maintenance) from the Main Station with a single cable and flexible cable options, with the ability to leverage an existing cable infrastructure.
The initial release of HelixNet Partyline consists of the HMS-4X Main Station, HBP-2X HelixNet beltpack, HLI-2W2 two-wire interface module and the HLI-4W2 four-wire interface module. The system begins shipping in June of 2012.
“For over 40 years, the Pro Audio community has been using the common, three-pin XLR microphone cable to carry audio for analog partyline systems,” says Chris Barry, product manager at Clear-Com. “In order to preserve our customers’ investments in intercom systems and cabling infrastructure, we had specifically designed HelixNet Partyline to transmit four channels of digital quality audio, plus program and power for beltpacks, over a single, shielded twisted-pair cable (ex. microphone cable, Cat-5 or Cat-6 cable). This capability alone is unprecedented in the history of intercom technology.”
The HelixNet Partyline system also offers many unique features to create a much higher audio quality, increase efficiency during the set up and maintenance processes and simplify operations.
HMS-4X HelixNet Main Station and Interface Module
• High channel density and high user capacity. The sleek 1RU HMS-4X HelixNet Main Station fits into any standard 19” rack and can provide power and four channels of audio to support up to 20 digital beltpacks.
• No hum. No buzz. Unlike standard analog systems, the all-digital HelixNet system is immune to electro-magnetic interference and ground loops.
• Highly flexible and offers intuitive user operations. System settings and menus are quickly accessible. Firmware maintenance and upgrades can be achieved easily via USB ports.
• Greater connectivity with existing analog intercom systems and audio devices. The expansion bay in the Main Station allows optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules to connect easily with existing analog intercom systems and audio devices, while preserving the high audio quality that is free of hum and noise.
HBP-2X HelixNet Beltpack
• High channel density and selectable channels to save resources. The rugged, ergonomically-designed HBP-2X HelixNet Beltpack is a two-channel beltpack that can access two of any four system channels and program audio over a single cable, along with individual level control. Networked audio is distributed over a single, shielded twisted pair, keeping the number of cables required, low.
• Easy to operate and read. Optimally positioned buttons and volume knobs are easy to locate, identify and control on the beltpack. Channel labels are simple to read on the high-contrast 10-character OLED displays. Beltpacks can be set up in daisy chain or star configurations with no need for active split boxes.
• Durable and flexible. HelixNet Beltpacks are highly durable, fabricated from lightweight cast aluminum, and come with a sturdy beltclip, rubber bumpons and an integrated strap guide to offer a variety of practical mounting options.
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