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Wednesday, April 25, 2012

Church Sound: Choosing The “Best” Microphones

It may have better specs, but that doesn’t mean it’s the best choice

 
I received an e-mail inquiring about microphones; specifically what constitutes a good microphone.

The reader had seen my post on rechargeable batteries and noticed that I was using Shure SM58 capsules on the mics under test.

That made him wonder about the report he had just received from a consultant who had reviewed their church’s A/V systems.

From the report, to wit:

“Good quality microphones give the biggest performance increase for the money invested. If the right sound is not captured by the microphone, then no amount of technical gadgets is going to be able to get a good sound. Avoid vocal microphones with high proximity effect (increase in bass response) (e.g. Shure PG58, Shure SM58).”

I’ll start by stating that I disagree with most of that paragraph. Yes, good quality microphones are important.

However, when you rank them on the “benefit for dollars spent” scale, you only get big gain for dollars if you’re upgrading from those 3 for $19 deals you see in the Kingdom Electronics ads.

Once you get into mics that cost $100 or more, the differences are often subtle and in some cases, academic. Case in point; Bono quite often sings into an SM58. Should he be avoiding that microphone? I wonder if he’s ever tried the Shure PG58?

So why do I think microphones do not provide the greatest improvement for dollars invested? Simple: What we do is sound reinforcement in a live setting and as such, I think speakers better fit that description. I’ll unpack this more in a later post; let’s get back to microphones.

Now, don’t get me wrong; I’m a big fan of good mics. In fact, I’ve spent a fair amount of money recently improving the depth and breadth of our mic locker. A good mic can make a big difference. And right now, I’m buying new mics because I don’t have enough money to buy a new PA.

So even though my other sound engineers and I notice that the Heil Sound PR22 sounds a lot better on the snare than the SM57 it replaced, I’ve yet to have anyone come up to me and tell me that the snare sounds better. That’s because it’s a subtle difference and we’re listening for it (and we note how much less EQ is required to make it sound good).

Conversely, if we hung a new PA that had vastly better coverage, evenness, phase response, lower comb filtering and overall better fidelity, I think people would notice.

To be sure, it’s going to cost some coin to make that happen, and for the same amount of money, I could have bought a truckload of mics.

But I’m quite sure I could replace the e609 on our guitar amp with a U87 (roughly 30 times the price of a 609) and no one would notice.

So my recommendation to the reader was not to replace the drawer full of SM58s just yet, rather, investigate a new speaker system.

Once the system can faithfully reproduce what you send it, then start looking at better mics.

Now let’s get on to another part of the report that I mostly agree with.

“Microphones should be selected from a trial use after the rest of the sound system is brought up to standard. The more expensive microphones have a flatter frequency response (more natural sound, higher volume before feedback occurs), better off axis rejection (more volume before feedback, less pick-up of adjacent instruments or voices), lower proximity effect (tone changes at varying distance from mic), lower handling noise, better ‘pop’ filters.”

Generally all of this is true. What I take issue with is the notion of “more expensive” microphones are inherently better choices.

Case in point: When we bought our new wireless system, I specified one Shure KSM9 capsule that I planned on using that for our worship leader. Turns out, it doesn’t work for him. And as we’ve tried it on many of our vocalists, it doesn’t work for most of them either. In fact, some of them really don’t like it.

So here we have a capsule that’s over $500, and for the most part, we and most of our singers prefer capsules that sell for less than half that. Quite honestly, I’d be really ticked if I had ordered ten KSM9s instead of ten SM58s based on the notion that more expensive = better. In fact, I’m going back and ordering a few more Shure Beta 87s because in our PA, with our singers, they are a superior choice.

Does this make the KSM9 a bad mic? No! On paper, it is be head and shoulders above the Beta 87 or SM58. However, the less-flat frequency response, proximity effect and wider pattern make the latter two better choices for our vocalists.

And that brings me to the one part of the consultant’s report that I thoroughly agree with:

“Microphones should be selected from a trial use after the rest of the sound system is brought up to standard.”

Before you go out and commit big dollars on new mics, try them out. If you can get demos, do it. If not, buy from a dealer who will let you return them if you don’t like them. Try a large cross-section of mics if you can. The best choice might surprise you.

In our case, we much prefer a Heil Sound RC35 on our worship leader over the KSM9, even though the Heil is half the price. And our student worship leader sounds fantastic on a RC22. I’ve always been a big fan of the Neumann KMS105; we had a KMS104 on our worship leader and I thought it made him sound muddy with no clarity at all.

Most importantly, don’t let anyone sell you a microphone because it’s more expensive and therefore “better.” It may have better specs, but that doesn’t mean it’s the best choice.

Try it out and hear for yourself.

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.

 

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Heil Sound Releases Updated PR 35 Microphone

Heil Sound has released an upgraded version of its PR 35 handheld dynamic microphone.

Changes include a new chassis, resulting in cosmetic differences with the old model.

In addition, rear rejection has been increased to -42 dB with the upgrade.

A concealed two-position roll off switch replaces the former thumb switch.

The PR 35 ships with three interchangeable colored trim collars that can be mixed and matched.

The new PR 35 will be priced the same as the current model and is available now.

The PR 35 was first introduced in 2008 and has since been used by artists such as Joe Walsh, Charlie Daniels, Stevie Wonder and others.

Heil Sound

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Wednesday, April 18, 2012

Apogee Release v4.2 Now Available; Two New Symphony I/O Modules Introduced

Apogee has made Release 4.2 available for download on the Apogee website.

Release 4.2 provides X-Series and Rosetta Series converters compatibility with OS X Lion, Maestro 2 and Symphony I/O.

It also offers the following features for Symphony I/O:

—Support for X-Symphony equipped legacy interfaces (AD-16X, DA-16X, Rosetta 800, Rosetta 200) on OS X Lion and Maestro 2.

—Support for Avid HDX PCIe card

—In Pro Tools HD audio interface mode, Symphony I/O now emulates an Avid HD I/O. Pro Tools v8.1 or greater is required.

—Support for the new Apogee 16x16 Analog I/O Module

—In Symphony audio interface mode, Loop sync may be disabled (for “star” clock configurations, essential when using Symphony I/O with legacy Apogee interfaces).

Before updating, please carefully review the Release Notes for both Legacy Interfaces (AD-16X, DA-16X, Rosetta 800, Rosetta 200) as well as Symphony I/O.

In addition, Apogee has introducedthe new 8x8 Analog I/O + 8x8 AES/Optical I/O and the 16x16 Analog I/O modules for Symphony I/O, Apogee’s flagship audio interface.

The two new modules join the current line up which includes the 8 Mic Preamp, 16 Analog IN + 16 Optical OUT, and the 16 Analog OUT + 16 Optical IN modules.

Collectively these five modules represent 25 years of Apogee research and development, delivering the companies best sounding audio conversion and microphone preamp technology ever available.

The introduction of the 8x8 Analog I/O + 8x8 AES/Optical I/O module will mark the end of both the 8 Analog I/O + 8 AES I/O and 8 Analog I/O + 8 Optical I/O modules.

In addition to 8 channels of Apogee’s AD/DA conversion, the new module introduces both AES and Optical connections on a single module with the ability to select one digital format at a time and toggle between them using a hardware switch, a feature that had not been possible with the first generation of Symphony I/O Modules. 

Symphony I/O’s modular design allows for any two I/O modules to be installed at one time, giving audio engineers multiple I/O configurations to choose from.

With two 16x16 Analog I/O modules installed into a single Symphony I/O chassis, 32 channels of analog recording and monitoring is possible, a feature not available in any other converter on the market.

Availability: End of April 2012/ Price: $1,995 (USD).

Apogee

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Tuesday, April 17, 2012

PreSonus Releases Studio One Free Version

PreSonus is now shipping Studio One Free, a new entry-level version of its DAW for Mac and Windows that is intended for beginners who don’t yet need the advanced features in Studio One Artist, Producer, and Professional.

Studio One Free provides all of the recording and editing features needed for basic music production—and as its name implies, it’s free.

To get Studio One Free, download the Studio One installer from the Studio One website, install it, and then choose to run it as “Free” when the activation dialog comes up.

Once the application is downloaded, it can be used immediately. No Internet connection or user account is required, no product key is involved, and Studio One Free will not time out.

This new version of Studio One has some of the features originally found in Studio One Artist, including the single-window work environment, the content browser with Search, drag-and-drop functions, Control Link MIDI mapping, sidechain routing, automatic delay compensation, real-time audio timestretching and resampling, unlimited audio and Instrument (MIDI) tracks, unlimited effects channels, and unlimited channel inserts and sends.

Native key commands can be utilized, or users can choose key-command sets from Pro Tools, Cubase, or Logic. The included editor also allows users to create their own key commands.

Studio One Free offers some of the new Studio One 2.0 features, notably multitrack MIDI editing, single and multitrack comping, and Track Transform (advanced track freezing). And it also includes the same 32-bit sound engine found in Studio One Artist and Producer.

Eight Native Effects plug-ins come with Studio One Free - Beat Delay, Channel Strip (which includes dynamics processing and EQ), Chorus, Flanger, MixVerb (a mono/stereo reverb), Red Light Distortion, Tuner, and Phaser - plus the Presence virtual instrument with more than 100 presets.

Like Studio One Artist, Studio One Free does not support ReWire and third-party (VST, AU, etc.) effects plug-ins and virtual instruments.

Studio One Free does have limitations compared to Studio One Artist. For instance, a number of Studio One 2 features are not available in the Free version, including Folder Tracks, Transient detection and editing, groove extraction, and PreSonus Exchange integration.

Studio One Free presents a very easy to upgrade to from Free to one of the advanced versions. At any time, even after the demo times out, it can be converted into Studio One Free with a single click.

Studio One Free is available now from the PreSonus Studio One website.

PreSonus

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Monday, April 16, 2012

Harman Offering Regional HiQnet System Architect & JBL HiQnet Performance Manager Training Courses

In association with rep firm Robert Louis Associates, Harman’s System Development and Integration Group (SDIG) has announced in-person training sessions for HiQnet System Architect and JBL HiQnet Performance Manager software in Pennsylvania and Ohio.

The training will be lead by Harman product application specialist Emilian Wojtowycz, an expert in the implementation of System Architect and Performance Manger for installed and live sound applications.

The training sessions will take place at the following dates and locations:

April 30 – May 1: HiQnet System Architect, Pittsburgh, PA

May 2: JBL HiQnet Performance Manager, Columbus, OH

May 3 – May 4: HiQnet System Architect, Columbus, OH

HiQnet is a communications protocol that enables all the compatible devices in the audio signal path, from mixing consoles to loudspeakers, to seamlessly communicate with each other. 

System Architect 3 is the software used to set up and configure a HiQnet system, by means of a series of control panels that are displayed on a PC and can be customized by the user.

System Architect enables designers to configure and control an installed sound system, using the HiQnet communications protocol that enables all the compatible devices in the audio signal path, from mixing consoles to loudspeakers, to communicate with each other seamlessly. 

System Architect 3 features a system design philosophy centered on workflow and the use of a diagrammatic representation of the installed or live sound venue. Devices are arranged by both their physical and logical placement allowing the designer to ‘educate’ System Architect about how they are to be used. In return the software is able to provide automation of many of the laborious system design tasks for free.

Attendees of the System Architect courses will learn:

·    Design workflow modes

·    Overview of Ethernet AVB technology and AVB routing

·    Comprehensive design workflow and system tools

·    Custom and master panel creation

·    Going online and networking

·    Day-to-day operation

Both System Architect courses award attendees with 5.5 InfoComm CTS RU credits.

JBL HiQnet Performance Manager is a software application derived from the System Architect core code but tailored for live sound operation. It is designed to configure networked audio systems within performance venues such as theatre, house of worship, and corporate and other performance sound events.

Attendees of the Performance Manager course will learn the way in which Performance Manager guides the configuration of system design workflow:

·    Working with array templates and the JBL Line Array Calculator II tool

·    Adding passive or powered speakers automatically

·    Adding and associating amplifier racks automatically

·    Simplified drag-and-drop networking

·    Using the built-in test, tuning and calibration control interfaces

·    Running and monitoring the system with the dedicated show mode

“System Architect and Performance Manager are two powerful tools that make the design, setup, and tuning of audio systems faster and more efficient than ever before. These training courses will provide attendees with the knowledge to harness these resources for their everyday use,” stated Adam Holladay, market manager, Harman SDIG.

To apply for a course, go here on the Robert Louis Associates website. 

Harman HiQnet
Harman

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New Version 4.7 Software For Studer Vista Consoles Brings Graphic EQ To All Channels

The latest release of software for Studer Vista digital consoles brings 30-band graphic EQ functionality to all channels on the desk, whether they are inputs, buses or outputs, in addition to the existing full 4-band parametric equalisation.

Assignment and selection of the graphic EQ is via the Vistonics touch screen, and the control of the frequency bands is then placed on the channel faders, or via the rotary controls in the Vistonics section.

On Vista 9 consoles, the FaderGlow illuminates red when the faders are used for graphic EQ, with the channel name screens indicating the band’s frequency. The start band can be placed at any suitable fader position on the console for convenient user location.

A combined EQ curve is also displayed in the Vistonics section.

The software is available as an upgrade for all Studer Vista consoles which utilise the SCore Live DSP core, and is dependant on DSP configuration.

Studer
Harman

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RTS Presents BTR-240 Wireless Intercom System At NAB

New from RTS , the BTR-240 is a digital multi-channel wireless intercom system offering extremely reliable and secure full-duplex communication with up to eight wireless TR-240 beltpacks and an almost unlimited number of half-duplex beltpacks.

Operating in the 2.4 GHz frequency band, the BTR-240 system uses the widely adopted IEEE 802.11 technology and is approved for license-free use in most countries. The system also incorporates unique ClearScan™ technology, allowing users to select the optimal radio frequency (RF) channel for communication at the touch of a button.

The BTR-240 has the ability to configure multi-level 802.11 wireless security features, including data encryption, MAC address filtering, and 64-bit audio encryption, to provide a highly secure wireless intercom system. The system allows users to select between two individual audio channels of communication, and to talk and listen or listen only to any individual audio channel or both channels simultaneously.

The BTR-240 system is perfectly suited for stand-alone operation and can also interface with two-wire systems, including RTS, Telex Audiocom, and Clear-Com®, as well as four-wire intercom systems such as the RTS matrix systems. In addition to the external intercom system interfaces, the system provides connectivity for auxiliary balanced audio input and output and speaker output.

The TR-240 beltpacks may be configured in one of three operating modes: wireless, wired, or master wireless. In wireless (normal) mode, beltpacks communicate to each other using the base station as a relay. In wired mode, beltpacks turn off their wireless ability and communicate via Ethernet cable or through a building’s existing Ethernet infrastructure. In master wireless mode, a beltpack acts as a mobile access point to provide wireless coverage for other beltpacks to communicate without an actual BTR-240 base station. The TR-240 beltpack has a removable Li-Ion battery pack that provides up to eight hours of uninterrupted operation. The battery pack can be charged directly in the case by plugging a power adapter into the beltpack or by placing the battery in the CHG-240 four-bay charger.

Key features:
• License-free 2.4 GHz IEEE 802.11b WLAN technology
• Multi-level security and audio encryption
• ClearScan™ channel selection
• Choice of two independent or simultaneous audio channels
• Operation with eight full-duplex beltpacks or a virtually unlimited number of half-duplex beltpacks
• Multiple antenna options and accessories
• Easy-to-read LCD indicates system status
• Expanded coverage using BTR-24 access points
• Two-wire and four-wire wired intercom interface
• XLR in/out for interfacing with general audio systems
• Auto-select condenser or dynamic microphone
• TR-240 beltpacks operate wired or wireless and can operate as access point
• Durable ABS construction
• Removable Li-Ion batteries with wide temperature range and up to eight hours operation

RTS

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First Yamaha CL Console Field Demo Attracts Crowd At ACIR Professional

With more than 60 audio professionals in attendance, sponsor and Yamaha dealer ACIR Professional in New Jersey deemed the first field demo of the new Yamaha CL Console series a success.

Yamaha systems application engineer Kevin Kimmel presented the new CL Series Digital Console along with the Portico RND 5045 Primary Source Enhancer and Dugan-MY16 card.

Audio professionals present were from the touring, house of worship and performance venue markets and hailed from the Atlantic City area, and areas such as central New Jersey, New York City, and Maryland.

“We are quite pleased with the success of this event,” states Bobby Harper, vice president of sales at ACIR Professional. “The CL console will fill a price point void, provide a new audio transmission platform, and also solve the problems of sharing digital head amps. We know that both Yamaha and ACIR Professional will do quite well in the sales and marketing efforts of the new console.”

Yamaha

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Hosa Technology Introduces Second-Generation Elite Series Microphone Cables

Hosa Technology has introduced a significant upgrade of the company’s popular Elite Series microphone cables, which are now available with Neutrik XX-Series connectors plus a new nylon webbing over the cable’s PVC jacket.

Available in both Lo-Z (XLR3F to XLR3M) and Hi-Z (XLR3F to 1/4-inch TS) configurations, the cables use 20 AWG Oxygen-Free Copper (OFC) conductors that reduce resistance in order to facilitate maximum signal transfer.

Polyethylene dielectrics reduce capacitance for enhanced high-frequency transmission, while conductive PVC reduces handling noise.

Further, a 95 percent OFC braided shield is employed for noise-free signal transmission. The PVC jacket is cut- and abrasion-resistant for added durability.

The Neutrik XX-Series connectors employ gold-plated contacts for corrosion resistance and superior signal transfer, and they also utilize a zinc die-cast housing for rock-solid reliability. Polyurethane “glands” prevent cable kinking for longer cable life and chuck-type strain enhances cable retention.

“These second generation Elite Series cables offer exceptional audio performance and have been field tested for maximum reliability,” says Jonathan Pusey, Hosa Technology vice president of sales and marketing. “With a rich feature set and a highly competitive price, we are extremely optimistic that this product line will find favor with a wide range of customers.

“The Elite Series has always been an exceptional product and now, with the addition of Neutrik connectors and abrasion-resistant nylon webbing for a lifetime of dynamic, noise-free sound quality, I’m confident these mic cables offer the best possible combination of performance and value.”

The Hosa Elite Series microphone cables are available in lengths from 3 to 100 feet and carry MSRP pricing that ranges from $42.75 – $203.55. The Elite Series is slated to become available late Q2, 2012.

Hosa Technology

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Friday, April 13, 2012

Sennheiser Offers Headphones Or Lav Mic With Purchase Of evolution Wireless Portable & ENG Systems

Sennheiser USA has just announced a mail-in rebate on evolution wireless G3 portable and ENG systems, with customers offered the opportunity to get an ME 2 lavalier ($139.95 value) or HD 429 headphones ($79.95 value) free by mail with the purchase of an ew 112-p G3, ew 122-p G3, ew 135-p G3 or ew 100 ENG G3 system.

To qualify, products must be purchased from an authorized U.S. Sennheiser dealer between April 15, 2012 and May 30, 2012.

Each evolution wireless portable and ENG system includes a diversity camera receiver with shoe mount adapter and both 1/8-inch and XLR style connecting cables.

In addition, the ew 112-p G3 includes a bodypack transmitter and ME 2 omni-directional lavalier, the ew 122-p G3 includes a bodypack transmitter and ME 4 cardioid lavalier.

Meanwhile, the ew 135-p G3 includes a handheld dynamic cardioid transmitter and microphone clip, and the ew 100 ENG G3 includes a bodypack transmitter, ME 2 omni-directional lavalier and a plug-on transmitter for use with dynamic or battery-powered microphones.

Eligible rebate participants can choose to receive either the ME 2 lavalier or HD 429 headphone.

The ME 2 is an omni-directional lavalier mic, designed for use with evolution wireless systems, which highlights voices while keeping cable noise at a minimum.

The HD 429 is a closed-back headphone that blocks out distracting noise, allowing you to monitor sound with ease. The single-sided cable stays tangle-free, making it easy to use and store.

To participate, complete rebate details are available here.

Sennheiser USA

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PreSonus Adds New Features To Studio One 2

PreSonus is now shipping Studio One 2.0.5, a free update to all versions of the company’s DAW software for Mac and Windows that adds several important new features and fixes a variety of issues.

Among the new features:

—Any Studio One command can now be assigned to any MIDI CC message. Use any MIDI control surface with Studio One, even if it isn’t natively supported.

—Ampire XT amp models have been reworked to sound significantly better.

—Markers can now have a Stop flag that stops playback at the marker.

The new Macro Toolbar is an extension that allows powerful customized workflow within Studio One. With this feature, users can create macros that string together multiple commands to form a single action.

Groups and buttons can be freely added to the Macro Toolbar for existing commands, making it possible to bring what is important to your personal workflow to the surface.

Users also can map buttons on a MIDI controller to trigger macros, even when using control surfaces that are not natively supported.

In addition, the Studio One manual is now available in German, Japanese, Spanish, and French.

The free Studio One 2.0.5 update includes more than a dozen additional enhancements and fixes a variety of issues—for a complete list go here.

PreSonus

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Road Test: Roland Systems Group M-480

Checking out key components of the V-Mixing System

The M-480 digital console is a primary component in the steadily expanding V-Mixing system family from Roland Systems Group that also includes other console models, as well as digital snakes, personal mixers, protocol interfaces and the new R-1000 multi-track digital recorder.

The M-480 is the largest console in the series (other models include the 400, 380 and 300), offering 48 mixing channels plus 6 stereo returns (for a total of 60 channels), left/center/right outputs, 16 aux buses and 8 matrices.

Using proprietary REAC (Roland Ethernet Audio Communication) digital protocol, the system is configurable up to 90 inputs and 90 outputs.

A compressor and gate is provided on all mixing channels, with 6 stereo multi-effects processors and 12 graphic EQs available for patching.

For this Road Test, Roland also provided two of the three available models of snake boxes, as well as some CAT cabling on reels. (More about these facets later.)

Feature Set

The first thing I noticed is how lightweight and compact the console is, even in the flight case that it shipped with. It’s very easy for one person to manage the console in the case, as well as pick up or move the console by itself.

Dimensions are 29.6 x 24.3 x 9.1 inches (w x d x h), and weight is 44 pounds. The desk is well built and seems like it can easily handle the “rigors of the road.”

Setting up the console without a snake connected is easy because the rear panel offers 8 patchable inputs and 8 patchable outputs. There is also a stereo pair of RCA input jacks and an XLR input for talkback microphone.

Rounding out the connectors on the rear are an optical and coaxial digital output, USB, MIDI and RS232 jacks, and of course the RJ45 etherCON REAC digital snake ports. A recessed headphone jack and volume control are provided on the front. 

 
Getting around on the console is very intuitive, and I found that I didn’t even crack open the manual until I tried to map layers and assign effects. Speaking of the manual, it was very easy to use. The sections are logically laid out, and the text is clear and concise on how to accomplish routing, patching, and tweaking. (I wish more product manuals were as clear!) 

During testing, I plugged in a mic and then went to plug in my computer to playback some tracks while I familiarized myself with the controls. That’s when I discovered that the M-480 does not include a digital input on the rear.

What I thought were SPDIF connectors were actually stereo RCA analog line inputs – certainly not a deal breaker for me, but some audio folks want/need a digital input on their console. And, note that digital I/O can be found in the S-4000S snake configuration with AES/EBU I/O.

After an hour or so, I had the hang of the console, and let an audio buddy who had stopped by my shop check it out. He also liked the layout of the control surface,  and the large screen made it easy to see what was going on as he made adjustments.

I guess I’m getting spoiled by my iPad, iPhone, and almost every other newer gadget, because I kept thinking the M-480 sported a touchscreen.

However, while that would be nice and perhaps a bit faster in terms of making adjustments, the console’s jog/shuttle wheel and enter buttons were plenty fast for the type of gigs that I usually do. Once I got the hang of the wheel, I had no trouble easily accessing the various parameters and making adjustments quickly.

Snakes & Cables

It was time to set up the digital snake systems and see how they all fit together.

I started with the smaller S-1608 box, which is well built and can be rack-mounted or used as a stand-alone floor box. A large handle at one end makes it easy to move around.

The S-1608 offers 16 XLR inputs and 8 XLR outputs.

Each input comes with an amber LED showing phantom power status, a green LED for signal, and a red LED for clip.

A master power LED and REAC LED let you know the status of the box at a glance.

Controls include a REAC mode switch to configure the system, and a “mute all inputs” switch that I thought was a handy feature until it was accidentally pressed when plugging in a cable at a gig.

I had forgotten the button was there, and spent a few minutes trying to figure out why I could not get signal from the box to the console.

Next up was the larger S-4000S rack-mountable digital snake head, which arrived in the typical configuration of 32 XLR inputs and 8 XLR outputs. It offers remote controllable mic preamps and redundant Ethernet ports as well as the same features as the S-1608. It’s 6RU and weights 37.8 pounds, and it’s modular package lets you configure the system exactly the way you need it.

Roland also provided some W100S-R reels, each with 100 meters (328 feet) of Cat-5e cable outfitted with etherCON connectors while weighing just over 11 pounds. I’m a big fan of cable reels and have a bunch of various sized reel systems in my inventory, so I don’t say lightly that the W100S-R is a very good reel, and the cable is rugged yet flexible.

Note that the third available stage box, the S-0816, wasn’t supplied for this evaluation. It’s essentially a handy “front of house” box that could be used with the S-1608 to make a simple 16 input x 8 output point to point snake system.

In The Field

The first gig I deployed the package was a small meeting with a few podium mics and some wireless systems, as well as music playback from my laptop. I plugged the laptop into the stereo RCA jacks on the console and used the console inputs for the wireless units.

The S-1608 was positioned near the stage, used it to run the podium mics back to the console and the console’s main outputs to my amplifier rack for the loudspeakers. Running the Cat-5 snake was way easier and quicker as compared to my analog audio snakes, and Steve, the A2 at the event, had never even seen the console before but within minutes had all of the basics figured out without looking at the manual.

The next gig was a larger corporate event that included a lot of video and computer playback. During a run through I noticed that the audio track in one feed from video world was not in sync with the video portion shown on the screens. I carry a small digital delay I can patch in just for situations like these, but with a digital delay on every input and output in the console, it was easy to add the required amount of delay and line up the words with the lips on screen. 

A week later I did a luncheon award banquet in a ballroom that I’m all too familiar with.

The best place for front of house is usually in the rear right corner of the room where’s there’s power and a house audio tie-in panel available, as well as house lighting controls.

Unfortunately, this requires a 250-foot snake run through the back service hallway, with lots of ladder work running the cable up and over the many doorways between the kitchen areas and the ballroom.

Normally it takes two people about an hour to run an analog snake, but in running Cat-5 from the reel, I did the job myself in less than 20 minutes.

Final Analysis

The final show included a 5-piece dance band performing after a corporate presentation. The load-in schedule was tight, and when the band showed up late, we were really crunched for time. The pre-set libraries of the M-480 provided a great starting place for getting a sound quickly.

Then it was just a matter of tweaking the sound to taste, instead of starting from scratch for every channel. The effects units sound great, and it was simple to adjust any parameter.

Mixing on the M-480 is easy. Unlike some consoles that require you to go through menu after menu to get to certain parameters, on the M-480 the most often used features are available directly via dedicated buttons and knobs on the surface itself. Then if you need to adjust a parameter, it’s usually only one click to bring up that screen and all of the controls are clearly displayed. 

The M-480 also offers some features I didn’t really get a chance to explore including 2-track recording direct to a drive via USB, remote access and offline editing, and the ability to cascade two consoles together to make a much larger desk.

Overall, I’m impressed with the console as well as the entire V-Mixing system. It offers tons of features in a compact package, and at a good price point. MSRP for the system tested: M-480 is $11,795; S-4000S is $6,495; S-1608 is $2,095.

Also note that a new version of the M-480, available as a free update, was announced at the recent Prolight + Sound show last month.

To read Craig’s full review of the M-480, and check out other comments from the community as well as to ask questions, go to the Road Test Forum here on PSW.

Craig Leerman is senior contributing editor for Live Sound International and ProSoundWeb, and is the owner of Tech Works, a production company based in Las Vegas.

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Cerwin-Vega! Announces New Line Of Mixers

Cerwin-Vega!  is introducing a line of professional audio mixers that are designed for live performance and recording applications. Available in 10, 12 or 16 channel versions, the new mixer range offers extensive features such as digital sound effects processing and USB input/output for laptop computer playback and recording. Built using premium-grade components that deliver precision audio performance, the mixers feature a commercial-grade metal housing for reliability and longevity. The mixers’ clear markings and color-coordinated knobs also allow for intuitive operation, including fast adjustment and easy operation in low-light situations.

With professional studio quality microphone inputs, dedicated gain controls and switchable phantom power, the new CV Mixers accommodate virtually any microphone. The INSERT, AUX and EFX sends allow connection to external dynamics, equalization and effects units giving a high level of customization. The peak LED indicator allows a user to check on the signal input of each channel. The mixers also feature TAPE IN and REC OUT RCA jacks, which enable users to directly connect to a CD/MP3 player or an audio recorder.

All three models of the CV Mixers feature four stereo line inputs and a MAIN L/R quarter-inch balanced TRS jack output. The 10-channel version also includes two mono line inputs and four XLR microphone inputs; the 12-channel model has four mono line inputs and six XLR inputs and the 16-channel mixer features eight mono line and 10 XLR microphone inputs. The 12- and 16-channel mixers also include a balanced XLR output and balanced sub group with alternate quarter-inch TRS output.

Cerwin-Vega!

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Thursday, April 12, 2012

Audio-Technica Introduces New System 8 Wireless Systems

Audio-Technica has introduced new System 8 VHF wireless systems, available in handheld, headworn, guitar, lavalier and bodypack configurations. The single-channel, fixed-frequency systems are available in three traveling VHF frequencies (169.505, 170.245 and 171.905).

Features include an advanced dipole antenna system for extended operating range; Power, RF and AF Peak indicators; volume control, 1/4-inch output jack and user-adjustable squelch; rugged unidirectional dynamic element on handheld microphone/transmitter; variable microphone trim control and multi-color battery/power indicator (with AA operation on transmitters); and professional locking connector on the UniPak bodypack transmitter.

Audio-Technica’s seven System 8 configurations will be available April 2012 with pricing as follows:

ATW-801 basic system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter)
U.S. MSRP: $149.95

ATW-801/G guitar system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter with AT-GcW guitar/instrument input cable)
U.S. MSRP: $174.95

ATW-801/H headworn microphone system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter with PRO 8HEcW headworn microphone)
U.S. MSRP: $249.95

ATW-801/H92 headworn microphone system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter with PRO 92cW headworn microphone)
U.S. MSRP: $324.95

ATW-801/H92-TH headworn microphone system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter with PRO 92cW-TH headworn microphone [beige])
U.S. MSRP: $324.95

ATW-801/L lavalier microphone system (includes ATW-R800 receiver and ATW-T801 UniPak transmitter with omnidirectional lavalier microphone)
U.S. MSRP: $224.95

ATW-802 handheld microphone system (includes ATW-R800 receiver and ATW-T802 handheld dynamic unidirectional microphone/transmitter. Includes AT8456a Quiet-Flex stand clamp)
U.S. MSRP: $174.95

Audio-Technica

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Line 6 Now Shipping New StageSource L3t Loudspeaker

Line 6 has announced the availability of the new StageSource L3t loudspeaker, outfitted with Smart Speaker mode that optimizes output for a variety of performance scenarios: front-of-house PA, floor monitor, personal PA, keyboard and acoustic guitar backline.

The L3t can also be used with Line 6 POD multi-effect processors as a high-performance electric guitar speaker system.

Smart Speaker modes can be set manually or automatically via built-in orientation sensors that detect whether the loudspeaker has been pole-mounted or rotated and tilted for use as a monitor.

The compact, full-range StageSource L3t tri-amp design delivers 1,400 watts to dual 10-inch woofers and a horn-loaded, one-inch exit compression driver that combine to deliver 132 dB maximum SPL.

A precision-engineered, 100-degree x 50-degree constant directivity waveguide delivers consistent coverage throughout its entire frequency range and optimal dispersion throughout the audience area, wide enough for solo use yet controlled enough for arrayed pairs. The narrow vertical pattern ensures minimal energy is reflected off the ceilings and floors.

“Our new powered speakers were designed to meet the performance needs of all musicians and sound great in every scenario, from solo performances in a coffee shop through to full-on rock shows,” says Simon Jones, vice president of new market development at Line 6. “StageSource L3t goes way beyond the capabilities of a standard powered loudspeaker, offering advanced DSP, smart design and true scalability with L6 LINK digital networking.”

Used as a standalone PA system, performers can benefit from a feature set designed to cover all their needs, including a built-in mixer with two mic/instrument inputs, full three-band EQ with sweepable mid, Smart Effects (modulation and reverb),

Line 6 acoustic guitar modeling, which improves the output signal of an acoustic guitar outfitted with piezo pickups, and 12-band feedback suppression technology.

For larger bands, live sound events or houses of worship, StageSource L3t can be configured into full front-of-house and monitor systems. Connected via L6 LINK, the proprietary Line 6 networking protocol, StageSource L3t loudspeakers automatically detect each other and adjust their settings accordingly.

Used in a system with StageSource L3s subwoofers, crossovers and levels are automatically set for best performance.

When connected via L6 LINK, StageSource loudspeakers and the StageScape M20d digital mixer are capable of unparalleled power and flexibility. Together they redefine the typical mixer-speaker paradigm to introduce a smarter live sound experience in which the live rig is a complete, intelligent ecosystem rather than merely a linear combination of components.

The L3t has a plywood enclosure, durable fitments, a steel grille with a protective screen backing, four M10 suspension points, and a pull-back for install scenarios.

“Line 6 recognized that it’s a challenge for the performing musician to choose the perfect high-performance loudspeaker system. Over the course of their career, a musician may play many styles of music, using multiple instruments and play many different sized venues,” Jones adds. “The scalability, integrated feature set and sound quality of StageSource loudspeaker systems meet that challenge, delivering a high-performance speaker for every musician’s entire career.”

More about the Line 6 StageSource L3t here.

Line 6

 

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