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Friday, January 27, 2012
New “Dangerous Source” Portable Desktop Monitor Controller
At the NAMM 2012 Show, Dangerous Music announced its newest monitor controller, the “Dangerous Source” - a portable and desktop unit designed for portable applications or to fit a limited space on the desktop, a complement to any DAW for its centralized control of loudspeakers, headphones, and more.
Dangerous Source fits beneath a 13-inch laptop computer, and it can also sit unobtrusively on the desktop within arms reach to provide easy control of volume, input selection, loudspeaker switching, and headphone control. An input for USB audio simplifies a traveling mix rig even further.
“With the explosion of professional recording and mixing being done on today’s powerful laptop computers, we wanted to bring our standard of audio path quality and functionality to portable monitor control,” says Bob Muller, president of Dangerous Music. “We’ve been making monitor controllers since before the product category existed in the mainstream, so the Dangerous Source seemed like the logical next step in the lineage of Monitor, Monitor ST and D-Box.
“We’ve also added a first for our products in that the Source connects directly to the computer via USB, saving even more cable hassles for the traveling engineer.”
The Dangerous Source monitor controller sports many of the key professional features of the company’s Dangerous D-Box, such as loudspeaker switching for two sets of loudspeakers, loudspeaker volume, AES/SPDIF digital IN, 2 Stereo Analog IN, and dual headphone out with a separate level control.
In addition, it can connect directly to a computer for monitoring of digital audio over USB. Dangerous Source is capable of up to 24-bit 192kHz on both digital inputs.
Although the Dangerous Source is the company’s first non-rack mount product, an optional 1RU user-installable front panel option will be available.
Highlights:
• Designed for portability
• Desktop form factor sits comfortably under a 13-inch laptop
• Optional 1RU front panel available
• Speaker volume control
• Two 1/4-inch headphone outs
• Supports 2 pairs of loudspeakers
• Alternatively select both loudspeaker outputs simultaneously for speakers and subwoofer combination
• Layering of multiple inputs in both the loudspeaker and headphone outputs
• 2 Analog IN: unbalanced 1/8-inch mini stereo at -10 dBv, balanced XLR/1/4-inch combo jack at +4 dBu
• AES/SPDIF digital IN, up to 24-bit/192 kHz
• USB IN, up to 24-bit/192kHz for Windows and Mac
• Line-level pass-thru for Control Room output
• Buffered digital thru output for AES/SPDIF input
The Dangerous Source is set for release in early Q2, 2012, the price is to be announced.
Crestron announced that its new Core 3 UI platform, the next generation of graphical user interface design, is now available on select Crestron touch screen models.
Core 3 UI gives Crestron programmers the ability to design dynamic touch screen interfaces to control theaters, lighting, thermostats, multi-room audio, digital music, video content, security cameras and other connected devices in almost half the time.
The unique Core 3 UI platform supports multiple Adobe Flash objects, HTML5, digital HD video, H.264 streaming video and Web browsing all at the same time. State-of-the-art technology such as SmartObjects and SmartScaling make it easy for programmers to deliver extremely dynamic, graphically rich and intuitive user experiences.
“Our industry has never seen anything like Core 3 UI,” said Sean Goldstein, Crestron VP of Marketing. “Custom installers and programmers can now leverage the latest graphic technologies and video formats to create ultra-cool GUIs for their clients, and reduce programming time by up to 30%.”
With Core 3 UI, customers can easily select their favorite movie in any room of the house by simply dragging and dropping the Blu-ray Disc® player icon into the preferred room on the touch screen. Programmers can even personalize the display by utilizing a wide selection of pre-installed Core 3 UI objects - from animated gauges and liquid sliders, to a gesture based canvas, the options are virtually endless.
Core 3 UI’s SmartObjects technology enables programmers to instantly add controls, user presets, and metadata interfaces for everything from simple keypads to complex media devices and environmental systems. Adding complex pre-configured objects such as ADMS, iPod, SiriusXM, or Pandora interfaces to a project is as simple as adding a button using the drag-and-drop operation, cutting days of programming time to hours or even minutes.
Core 3 UI’s SmartScaling technology takes the pain out of resizing multi-layered objects, such as virtual keypads. Rather than multiple objects (buttons, text, borders, etc.), each requiring resizing or other graphical editing, Core 3 UI treats a complex object as a single item.
Resizing a keypad, for example, is as simple as clicking on the object and dragging a handle to the desired size. Every element in the keypad is scaled perfectly, even text, providing users with a consistent look and feel. The end result is a single project can be deployed across multiple touch screens of varying sizes without any additional effort, reducing programming time by days.
“The popularity of the Apple iPhone and iPad, has raised consumer expectations when it comes to the user experience,” said Fred Bargetzi, Crestron VP of Technology. “Core 3 UI gives Crestron dealers and programmers the tools to meet or exceed those expectations while dramatically reducing programming time and costs.”
To see Core 3 UI technology in action, watch the Core 3 UI video. Learn more about creating astonishing touch screen interfaces with Core 3 UI.
Vatican Television Center Chooses Clear-Com For HD Outside Broadcast Van
Clear-Com is pleased to announce that Vatican Television Center (CTV), the official broadcaster of Vatican City, has selected Clear-Com Eclipse-Median digital matrix and Tempest2400 digital wireless intercoms to help cover the official activities of Pope Benedict XVI as well as the ongoing religious events and services held at the Vatican.
The extensive communication capabilities offered by the four connected Eclipse-Median, six I-Series intercom panels, two Tempest BaseStations and four Tempest BeltStations assure that CTV broadcasts have fast access to reliable, high-quality communications.
CTV has no production studios as a majority of the broadcaster’s work is ENG. The Clear-Com gear resides in a new outside broadcast (OB) van, which has full HD capability, and is the central hub for critical operations at the network. Its four operating areas include the audio room, equipment room, primary and secondary production control with VTR and camera control.
“The combination of the Eclipse digital matrix with V-Series panels and Tempest2400 gives CTV a tremendous amount of communications flexibility, making it much less stressful to manage the broadcasting of the Pope’s ministry,” says Karlie Miles, Director of EMEA Sales, Clear-Com. “Our system has certainly proven to function flawlessly during critical situations.”
She continues, “The signal transmitted from the Tempest2400 wireless intercom system easily penetrates the thick walls of the church and can travel far distances to the van. We are thrilled that CTV has entrusted Clear-Com to help deliver the Pontiff’s and Vatican’s message to worshippers around the world.”
The 112-port Eclipse-Medians, which interface with the I-Series intercom panels, provide the CTV team with fast audio routing, many communication paths and sophisticated features for ample flexibility and exhaustive functionality.
Operating in the 2.4 GHz frequency band, the Tempest2400 utilizes patented Frequency Hopping Spread Spectrum radio technology, which withstands frequency interference and maintains high quality audio for reliable communications.
The two- or four-channel version Tempest2400 enables the employees in the CTV OB van to effectively coordinate between the OB’s production area and camera operators.
Roland Now Shipping New R-26 Six-Channel Audio Recorder
Includes two types of onboard stereo mics
The new Roland R-26 portable recorder, a handheld device that provides up to six simultaneous channels of pro-quality audio recording to SD/SDHC media, is now shipping.
With two types of built-in stereo mics, XLR/TRS combo inputs, USB audio interface functionality, and much more, the compact R-26 is well-suited for applications such as solo and ensemble music recording, environmental sound capture, broadcasting, and audio/video production.
Two stereo mic types are omnidirectional and X/Y, and they’re both integrated into the R-26 chassis. In addition, there are two XLR/TRS combo inputs with phantom power for connecting external mics or line-level devices, plus a stereo mini-jack for a plug-in powered mic. The preamps for all mic channels are derived from the hi-res preamps found in Roland’s R-44 commercial field recorder.
Audio from the onboard mics and external inputs can be mixed internally in the R-26 and captured to a single stereo file, or can be recorded as three separate stereo files (six channels total) for mixing together later.
Resolutions up to 24-bit/96 kHz are supported, and available file types include WAV and BWF. MP3 is supported as well, and the unit can record both WAV/BWF and MP3 formats simultaneously.
The large touch screen provides detailed level metering and convenient fingertip control over most functions, and is equipped with a high-luminance backlight for good visibility in any situation.
Hardware controls are ergonomically organized and clearly labeled, with large input level knobs for precise adjustments and dedicated buttons for often-used functions. The R-26 also features AUTO-SENS for setting input levels automatically, as well as onboard waveform editing.
USB 2.0 allows for both data transfer and audio interface functionality with Windows and Mac-based computers. Users can connect the R-26 and use its built-in mics and external inputs as a high-quality input device for their favorite audio recording software.
Loop-back recording is also supported, allowing multimedia users to combine audio from the R-26’s mics with streaming audio from the PC. The R-26 comes with Cakewalk’s SONAR X1 LE, a professional Windows-based DAW for general audio production in addition to mixing and processing R-26 recordings.
The R-26 can be powered either with the included AC adaptor, four internal AA batteries, or an external battery. With its rear-panel mount, it can be easily installed on any standard camera tripod stand, or on a mic stand with an optional adapter.
An extensive line of accessories is available to compliment the R-26, including the OP-R26CW cover/windscreen and the CS-10EM binaural microphones/earphones, and more. MSRP is $599.
Available for free download at the Apple and Android stores or via links on the Audio Engineering Society website
In an effort to provide 131st AES Convention attendees with up-to-the-minute details on convention events, AES webmaster Steve Johnson has coordinated the development of a mobile app that will work on iOS devices, such as the iPhone and iPad, plus most Android devices.
Available for free download at the Apple and Android stores or via links on the Audio Engineering Society website (here), the app is loaded with extensive information about the 131st AES Convention, set for Oct. 20-23 at the Javits Convention Center in New York City.
Additionally, it will be updated frequently to provide ongoing news and videos to keep it a year-round AES information source.
The AES “News” tab includes convention news and a full list of exhibitors, plus maps of the technical sessions and the exhibition floor can be found in the “Photos” tab.
The “Events” tab features the entire Convention Technical Program Calendar to enable attendees to add each session to their mobile device calendar.
Each day’s events are grouped together, and each session includes a descriptive abstract and participant list.
In addition to information about the 131st Convention, the app’s “Video” tab features previews of “AES Oral Histories” interviews, the “Podcasts” tab has audio summaries of recent AES Journal issues, and a Twitter feed contains updates on late-breaking developments.
“A huge percentage of our members rely on smartphones to stay organized and get the latest AES news,” Johnson says. “These iPhone and Android apps are the next logical step in keeping them connected to the AES while on the go.”
The building of one of the most significant entities in modern touring sound reinforcement, and still going strong
The story of Clair Brothers starts in 1954, when a grocer decided to purchase a PA system as a Christmas gift for his two sons, Gene and Roy Clair.
“He had no knowledge of electronics or anything!” exclaimed Roy Clair of the extremely unusual present.
“I like to think my father was ‘Clair’-voyent in choosing this as a gift.”
The two brothers enjoyed using their PA to provide sound reinforcement for local dances, Easter egg hunts, etc.“The PA bug had bitten us!”
In 1963, Gene and Roy had purchased a loudspeaker re-coning business from a local music store.
This allowed them to acquire loudspeakers at the dealer level, granting the opportunity to build them for a local music store in Lancaster.
When musicians would visit from out of town to purchase loudspeakers, such as Baltimore’s Billy Joel Royal, it allowed Roy and Gene to go hear their products in use at local clubs.
“It was extremely gratifying, and I believe it was then that we realized that working with musicians would somehow be a fun career.
It was the same time we realized that having fun while making money was possible.”
F&M, a local liberal arts college in Lancaster, PA soon requested the brothers’ services to support headlining acts.
Now working in a 4,000-seat facility, one of the largest in the area, the duo would see their first brush with fame in 1966 when Dionne Warwick performed at the college.
Roy and Gene Clair their Audio Precision test gear.
“At the time, we had a Bogen MX-60, a few Shure microphones, and two column loudspeakers containing six 8-inch full-range loudspeakers each.
The concert went well, but looking back, we were lucky to start with an easy listening performer or things may have gone entirely different!
Roy and Gene with their 1967 Four Seasons audio rig.
Timing and luck is something that has stayed with us our entire careers.”
Not long after working with Warwick, the brothers’ path would cross with Frankie Valli and the Four Seasons at the F&M venue.
Valli showed a vested interest in the duo’s Voice of the Theater A7-500 loudspeakers, particularly since the group had just performed in Miami, FL, and were denied the use of another artists’ sound reinforcement system.
“They were second on the bill to Herb Alpert and the Tijuana Brass at the Fontainebleau Hotel.
Alpert was not only a musician, but also a sound fanatic. It was no surprise that they were carrying their own sound system.
Unfortunately only Alpert would be allowed to use his system, while opening acts would have to settle for using the house PA system – even the Four Seasons’ wives and girlfriends noticed how much better Alpert sounded.
Timing and luck would strike again as our A7’s helped to make their F&M show incredible.
Valli felt they needed their own system if they were going to be successful on the road, and these two young lads were available – and cheap too!”
The brothers were working for $100 per show, including transportation, per-diem and hotels. They obviously weren’t doing it to make money at that point.
“If I remember correctly, after our first tour, in Ohio, we ended up with approximately $40 profit.”
The Clair family circa 2005.
Hardly a profitable tour, even for those days. The brothers weren’t aware of other sound companies touring like they were, but they assumed that they were one of the first to do so.
Touring with the Four Seasons and their continuing work at F&M necessitated a second sound system.
“In the beginning, I think we did a lot of begging and borrowing to do both accounts. Eventually we saved up enough and bought more A7’s.
However, with musical tastes changing as bands got progressively louder, we realized that our A7’s weren’t adequate enough anymore.
We used some of our A7-825 cabinets, and added more power by inserting two loudspeakers in the same-sized box. That seems pretty straightforward by today’s standards, but back then, it was innovation.
We had a slight advantage because we had a double-woofer, horn-loaded cabinet which was portable.
Live Aid in 1985.
We added power with the first 300 watts per channel Crown DC300 directcoupled amplifier, purchased at the AES Show in 1968 from Clive Moore. It made us unique at the time.”
In 1968, a Cream concert at the Spectrum in Philadelphia, PA, was the now named Clair Brothers’ first large concert with 18,000 people in attendance. “Cream was big luck for us!” states Clair. “Luck and timing rides again!
Bob Kirnan, a sound and lighting technician from New York City who we met while touring with the Four Seasons, was contracted to do the show but was too busy. He recommended Clair Brothers to the show’s promoter.”
With their new Crown amplifiers, Altec Lansing cells with 288-C drivers, paired with Clair Brothers’ bass bottoms containing dual Altec woofers, they seemed to be the perfect fit for the in-the-round performance.
“Coming from Lititz, PA, we were extremely low-profile up to this point. That show in Philadelphia would soon change that…”
The Philadelphia promoter, the Electric Factory, soon started hiring Clair Brothers for shows, in addition to introducing them to many of the San Francisco bands that were successful at the time.
They also worked for the Belkin Brothers in Cleveland, OH, doing one-off shows.
“Their particular sound was instrumental in our company’s next step.
We started appearing on riders as one of the qualified sound companies for concerts, including Hanley from Boston, Kirnan from New York, McCune from San Francisco, and Swanson from Oakland.
The Clair Brothers S4 rig.
Needless to say, Clair Brothers from Lititz didn’t get a lot of attention.”
As business started to increase, the brothers quit their day jobs and focused on building Clair Brothers full-time. They hired their first fulltime employees.
“We were lucky to have incredibly talented people from a rural area that wouldn’t normally be associated with the sound industry in larger cities.
Donald Gehman was our first employee, who did amazing things with Clair Brothers and went on to be one of the recording industry’s best engineers (R.E.M., Still, Mellancamp).
Ron Borthwick, with an EE degree from PENN State, is one of the best engineers in the industry, is still working for Clair Brothers to this day.
Roy Clair with an Electro-Voice mic used by Elvis.
Dave Hendel, EE from Lehigh University, who moved on to a computer company. These were some of the few that gave Clair Brothers its start.”
The next four years, from 1968 to 1972, would see product development expand within the company.
Many “firsts” were built by Clair Brothers, including slant monitors, four-way sound systems, electronic crossovers (built by SAE), and the Elvis aluminum hanging system.
“The fourway systems contained W boxes for low end, a double-12 cone for the mid-range – built by Clair Brothers, JBL radials for the high frequency, and JBL for the super-high frequencies. Somewhere in between 1969 and 1970, Clair Brothers switched from Altec Lansing to JBL.”
The year 1970 also saw Bruce Jackson join the company, who would bring new design ideas to the company.
“We also added a lot of accounts at this time, both American and English. Blood, Sweat and Tears was a full-time account that gave us some financial stability.
We then later added Elton John, Moody Blues, Yes, Billy Joel, Bruce Springsteen, the Jacksons, etc., as accounts.”
In 1974, a large leap forward was made by the company with the creation of its S4, single-box loudspeaker system (the first all-in-one four-way box), with its hanging grid system.
Previewed on Rod Stewart’s tour that year, the S4 created industry buzz, to the point that when Mick Jagger came to Stewart’s show, Clair Brothers was hired for the Rolling Stones 1975 tour after he heard the system.
The S4 included high frequency drivers from JBL (2 x 18-inch, 4 x 10-inch, 2 x 2-inch, and 2 x 2405). Truck dimensions played an important role in the sizing of the S4, to allow them to fit two across in a standard trailer.
The S4 has lasted over 36 years, with updates as needed, allowing it to continually serve the touring industry.
The loudspeakers were even used in 2008 for the closing of the NY Mets stadium in New York City.
Clair Brothers’ patented i4 system along with its engineering digital processing continued to drive the company to the forefront of the audio industry. The Lake I/O originally designed by Clair Brothers, which was sold to Lake was a very important part of this next step in the history of innovation.
U2’s Vertigo tour.
The dream that Gene and Roy started when they formed Clair Brothers is being kept alive with the second generation, namely Troy and Barry Clair.
The company has formed two divisions, with one son handling each one: Troy handles the touring side, while Barry has run the systems installation side since 1989.
Nearby Manheim, PA, is the site of the new facility has been constructed to house the systems division of the company, Clair Brothers Audio Systems, as the company has outgrown its headquarters.
The freed up space will allow the touring division to continue its own expansion.
Clair Brothers is proud of its rich history, from supporting just one show per night with the Four Seasons in 1966, to now delivering high quality sound systems to a multitude of world class acts, night after night, the world over. The story continues.
Roland Systems Group Now Shipping The R-1000 Multi-Channel Recorder/Player
Captures up to 48 channels of discrete audio all as separate broadcast wave files ready to open in a DAW of choice
Roland Systems Group has announced the shipping of R-1000 48-track recorder/player through the company’s network of authorized resellers.
The R-1000 is a stand-alone, dedicated recorder/player designed to work with the V-Mixing System for live events and productions. Setup and control parameters of the R-1000 can be done directly from any V-Mixer or through the PC/Mac control utility (R-1000 RCS).
In addition, the R-1000 can be connected and used with any digital console that has MADI output capabilities by using the Roland S-MADI REAC MADI Bridge.
The R-1000 captures up to 48 channels of discrete audio all as separate broadcast wave files ready to open in a DAW of choice. As a playback device it can be used in live events to play back selected channels to augment a live performance or as a multi-channel playback deck in a theater or amusement park application.
Two units can be synched for a 96-channel recorder/player, or synched to video with SMPTE (LTC), or via black burst. All files are stored on the included 500GB removable hard disk drive (HDD. Material can also be transferred via USB to a connected drive.
The R-1000 also fosters virtual rehearsals when integrated with a Roland V-Mixer console. Not only does it become a powerful training tool, it greatly reduces sound check time for bands/productions.
Using a song previously recorded on the R-1000, switch to playback mode and all the sources play back through the appropriate channels on the console. Adjust the preamp gains on the console as you would if the band was live and the R-1000 takes care of the gain compensation. Then set compression, EQ, monitors, and effects. When the band takes the stage you can be confident it will sound the way it did during the virtual rehearsal.
Setup and configuration can be done using the color LCD touch panel on the front panel or with the PC/Mac Remote Control software via a USB connection.
The R-1000 is based on REAC (Roland Ethernet Audio Communication) and eliminates the bulk and noise susceptibility typically associated with analog snakes and replaces it with Cat-5/6 (Ethernet/LAN) cable.
The R-1000 records superior audio by capturing the converted sound connected to the Roland digital snake systems. Analog inputs and high-quality mic preamps are located close to the source where audio is immediately converted to 24-bit digital streams and sent over Ethernet.
Using REAC, the pristine digital audio signal is transferred throughout the complete system path en route to the R-1000 hard drive and then back to any outputs and on to limitless split positions.
Clear-Com Taps Simon Browne As Director Of Product Management
Will oversee the product analysis, planning and life-cycle management activities for all of Clear-Com
Clear-Com has announced the promotion of Simon Browne to director of worldwide product management.
Browne will oversee the product analysis, planning and life-cycle management activities for all of Clear-Com, while further developing the company’s strong portfolio of intercom products in order to meet the ever-expanding needs of the voice communication market.
“With more than 22 years of experience in our company, Simon brings us not only deep knowledge of our products and customers, but also a very personal commitment and passion to help customers succeed at whatever project they are working on,” says Matt Danilowicz, president and managing director at Clear-Com. “Simon shares our management’s vision of fostering a collaboration among Sales, Engineering and Product Management to deliver a bold, strategic vision for future products.”
Browne has an extensive background in the pro audio market as both a user and manufacturer. He joined Drake Electronics in 1989 as a project manager for the company’s audio console development.
Browne continued on as a project manager in other areas of Drake, overseeing diverse communication systems for European broadcasters, including the large BBC Radio 5 installation, communications for the “Star Wars” test defense program in the U.S. and various defense and simulation communication systems in the U.K.
With the merging of Clear-Com and Drake in 2004, Browne distinguished himself in his previous role as Product Manager for Clear-Com’s digital matrix intercom products in the company’s U.K. office.
“The market landscape for intercoms is rapidly changing, in both traditional and new markets. Customers are demanding even more capabilities, flexibility and yet simpler operation,” says Browne. “Clear-Com, with its broad range of wired and wireless solutions, continues to meet the need for a variety of communication applications. In my new role, I am committed to strengthening Clear-Com as the first choice in intercom solutions by developing products based on customers’ needs and feedback.”
Before joining Clear-Com, Browne held the position of regional sales manager audio & design for Calrec Audio, working with London recording and broadcast studios. Calrec through its association with AMS/Neve, moved to non-linear digital audio editing, which proved useful to Browne’s next venture into digital communications with Drake.
Prior to Calrec, Browne worked at the BBC, where he designed multi-track stereo radio drama studios, cultivating relationships with audio console manufacturers.
As part of his new position, Browne will be relocating to Clear-Com’s Poway, CA offices in the next few months.
Real World Gear: Remote Control Microphone Preamps
Extending live digital networks
In the not-too-distant past, professional touring systems consisted of two or three remotely located consoles, tied to a combination of low-level passive or dynamic input sources (along with some active or phantom-powered inputs), connected by long lengths of multicore snakes, through a system of transformer-isolated or (yikes) passive hard-wired splitters.
The effect on low-level signals with multiple consoles and long lengths of multi-core is a reduction in signal level, higher noise floor and less bandwidth.
The most vulnerable points for distortion to enter a sound system are its electronic stages with the highest gain – microphone preamps and power amps. The character of a sound system is largely determined by the quality of these two largest gain stages.
The ultimate solution is embraced by today’s digital audio distribution and mixing systems which place their inputs close to the source, eliminating loading effects by providing quality mic-pres and digital conversion near the source, controlled from the mix position.
All the best digital consoles provide remotely controlled mic-pres, some of them beginning as digital snakes with mix engines added later.
There are numerous straight multi-channel mic-pres on the market. FireWire interfaces that are easily be attached to computer- based recording systems, but can’t provide remote control from live consoles.
Additionally there are many with ADAT I/O which can even be used with some digital snakes, like the Aphex Anaconda.
Ultimately though, control from a mix position remotely located from the microphone preamps is a requirement for live sound. Actually, any digital console’s remote stage box is a multichannel remotely-controlled microphone pre-amp.
Options for inter-operability between these systems and third-party equipment include MADI, CobraNet, EtherSound and Dante.
We expect to see more of the latter in the near future.
Eight Is Enough?
The number of inputs in multi-channel remote microphone preamps is generally eight or a multiple of that number. Not only is eight a musical number, but it is building block modularity for all consoles.
Several console manufacturers provide mix capacity in excess of the number of mic preamps that come with the console. Most Yamaha digital consoles provide a wide variety of input (and output) expansion through the use of their MY card slots.
Analog outputs provide local monitoring of a pre-amp’s signals and can save the expense of a mic splitter for a monitor desk, recording feeds or broadcast tie lines. Additional connectors in parallel with the main XLRs can be used as a low-cost passive split or provide contractors with easier terminations for installations.
Most digital consoles and snakes operate at 48 kHz, usually good enough for live sound, though there are a few notable 96 kHz products.
The ability of equipment to operate at higher sample rates helps make them future-proof or more acceptable in a recording chain. While most are able to accept external digital word clocks, better products often have superior onboard clocking, providing a benefit to the sound quality of digital consoles they’re connected to beyond the improvement from the performance of the mic-pre itself.
The console of yesterday was a unified enclosed analog system, to which various outboard electronics were added or inserted.
The console of tomorrow is control surface for a mix engine, with distributed inputs and outputs.
Not all manufacturers will have to excel at all of these products. In fact, some winners likely will specialize in one of the disciplines.
Many digital mixing systems can even benefit from additional specialized microphone preamps.
Lectrosonics Prevails Through Harsh Desert Environment
Heat, sand, and range present unique challenges for location sound work
Bordering only Saudi Arabia to the south, Qatar is a peninsula country surrounded by the waters of the Persian Gulf. The harsh desert terrain where the heat can reach as much as 120 degrees Fahrenheit can take a steep toll on all who venture outside unprepared. But as the saying, “the show must go on” implies, TV and film work doesn’t wait for ‘better days.’
Such is the business of Birmingham, UK –based location sound mixer Baldev Rayat and his arsenal of Lectrosonics wireless equipment.
Known throughout the British pro audio community simply as Bal, Rayat’s credits include location sound work for the BBC’s Countryfile, a look at the people, places, and stories making news in the British countryside, as well as Gears and Tears, which is a look at the world of stock car racing.
He has also worked with legends such as Robert Plant and Tom Waits. Bal recently found himself battling the desert heat in Qatar while on location for the production of two Qatari television shows: Desert Heroes and Serious Hobbies.
Equipped with four Lectrosonics UCR411a compact receivers, five SRa slot mount diversity receivers, five SMQ super miniature beltpack transmitters, two SMQV super miniature beltpack transmitters, a UH400A plug-on transmitter, and an RM remote, Bal’s equipment was seriously put to the test on these projects.
“I was working these shows during May and June,” Bal says. “While there were several cameramen on these projects, I was the only sound guy, which only made matters more challenging.”
“The heat in Qatar proved to be very difficult for both the crew and the equipment. Temperatures were hitting anywhere from 113 degrees to 120 degrees Fahrenheit. Considering the desert sand gets into everything, I was really impressed with the fact that my Lectrosonics equipment kept operating without any issues. At the end of each day, I simply gave the gear a quick vacuum and that kept everything in check.”
Bal was equally impressed with the range he experienced out in the desert. “For Serious Hobbies, I had to shoot a guy paragliding,” Bal explained. “He was flying above our heads at a height of about 328 feet… maybe more. I had no problem hearing every word he said. There are no reflections in the desert, so the RF range was really important.”
“The SMQ transmitters gave me range I believe no other radio mic could possibly achieve and the sound quality was fantastic. Because I was the only person who could hear the paraglider, I ended up relaying everything to the director!”
In addition to the ability of his Lectrosonics equipment to deliver consistently under extreme weather conditions, Bal was equally impressed with the flexibility provided by his RM remote, an accessory that facilitates adjustment of audio input gain, RF operating frequency, front panel lock / unlock, and sleep mode on / off. “Qatari men—like most Arab men—wear thobes,” Bal notes.
“This is an ankle-length garment, usually with long sleeves, akin to a robe. It’s a traditional garment and is considered formal attire. For cultural reasons, it can be very tricky miking a person wearing a thobe. Once miked, you cannot change things, as the men do not like the fuss involved. As a result, if I needed to change the gain or frequencies on the transmitters, I simply used the RM remote. It was a tremendous help on these two projects.”
Reflecting on some of the toughest location sound projects he’s ever encountered, Bal offered these closing thoughts. “My Lectrosonics gear delivers terrific sound quality, great range, and every last piece is built like a tank, which provides tremendous confidence in the equipment,” he said. “The company’s support is first rate and when it all gets factored together, it boils down to one conclusion: I can’t imagine doing this type of work without my Lectrosonics gear.”
Biamp Systems Dialer Application For iOS Devices Now Available In Apple App Store
App allows users to quickly and efficiently manage conference calls via iOS mobile devices
Biamp Systems has announced that the Biamp Dialer App has been approved for sale in the Apple App Store and is now available.
Designed to integrate with both analog and VoIP telephone systems, the Biamp Dialer App allows end users to operate an Audia- or Nexia-integrated phone system from an Apple iPad, iPhone or iPod Touch, and conveniently carry their conference settings with them anywhere.
The application provides an intuitive interface with a number of phone features, including a numeric dialpad, send and receive level adjusters, a number of common telephone controls and even the ability to dial directly from the contact list stored on the device.
“System controls no longer need to reside permanently in a boardroom,” says Graeme Harrison, vice president, International Sales, Biamp Systems. “Personal electronics now allow us to customize them for our needs and integrate them in to our lives (address book, email, contacts, schedule, etc.) and be truly connected no matter where we are.”
“With the Biamp Dialer App, we’re very excited to deliver the next evolution of convenient control to those who regularly interface with our products,” adds Ron Camden, vice president, North American Sales, Biamp Systems. “We introduced daVinci control when every room had a computer, and now, as the iPad becomes ubiquitous, we are happy to provide a iOS tool that makes it even easier for the end-user to start a conference.”
The Biamp Dialer App is available for purchase in the Apple iTunes Store for $4.99. For more information go here.
Last week I was able to finally deploy the new EZ Mode (our term) for our student/community room PA.
The room is our most-used room every week, supporting everything from Jr. & Sr. High to men’s and women’s ministry to MOPS. There is something happening in that room every day of the week.
The system is relatively simple, but I’ve received more than one call at home on a Tuesday night from someone trying to make a mic work, or get sound out of the iMac.
I began looking for a solution and found it in the Symetrix Jupiter 8 processor and a set of associated wall controls, the ARC2 and the ARC-SWK. I’ll write up a review of the Jupiter in a separate post. For this one, I’ll focus on how I used the wall controls to create an EZ Mode.
It All Starts With Planning
My first step in the process was to sketch out what I wanted to accomplish. Based on the way the room is used, we really needed two major modes of operation, with two subsets each.
Big picture, it looks like this:
—Mix Mode, Delays On —Mix Mode, Delays Off —EZ Mode, Delays On —EZ Mode, Delays Off
The room is a classic “two rooms in one with an air wall” layout; meaning sometimes we need the whole room, other times, just half. The main PA (hung over the stage) is the Electro-Voice LiveX 15s and subs I’ve written about before. We also hung some EAW JF80s (because we had them lying around) as delay loudspeakers to fill in the back half of the room on the other side of the air wall.
Student ministries runs a full band for their events, so they need to be able to mix a full compliment of inputs on the Yamaha MG32 we have in there. Most of the other ministries/events however, require one or two mics, audio for video (either DVD or the iMac) and an iPod input.
Since the Jupiter 8 has 8 inputs and 8 outputs, and the inputs can be either mic or line, I set about making up a plan.
The input side looks like this:
—1&2 Stereo In from the MG32 —3&4 Wireless Mics 1&2 (also double patched into the MG32) —5&6 Audio from Video (will eventually be the audio output of an Extron IN1508, for now, it’s a double-patched ProAV2) —7&8 A dedicated “EZ” iPod cable.
Outputs 1-4 feed the main speakers (L&R plus L&R Subs), while Output 5 feeds the delays. Output 6 feeds nothing, Output 7 feeds a CD recorder, while Output 8 is used to control the logic output that turns on and off the delay speaker’s amp. More on that later.
Basic Programming
The first thing we did was to get a baseline layout in all the DSP.
Inputs and Outputs were labeled, patched routed and gained.
We set up our crossovers for the main speakers and dialed in system EQ. We set up the delays and got their EQ where we wanted it.
That formed the basis of our programming.
The next step was to build presets that turn inputs and outputs on and off.
Preset 1 is Mix, Delay Off, so we muted inputs 3-8, the delay output and turned off the delay amp. Preset 2 (Mix, Delay On) was created by un-muting the delay output and turning the amp on.
Preset 3 is EZ, Delays Off. To create this preset, inputs 1&2 are muted, meaning the output of the MG32 is completely ignored by the Jupiter.
We unmute inputs 3-8, which enable the two mics, video and the iPod cable. As with Preset 1, the delays are off. Preset 4 is like Preset 3, only with the delays on.
Once that was all set up, tested and found to be working, we hooked up the two controllers.
Controlling
Each menu in the ARC2 can control volumes, a mute button or change presets.
The ARC2 is a menu driven controller. It’s extremely powerful and enables you to control quite a few parameters inside the Jupiter. I could have done everything I needed with this box, but figured the addition of an ARC-SWK would make the system easier to use.
In my setup, the ARC2 does one thing - enable users to switch between the four operating modes.
Anything that the user sees can be edited easily.
This is accomplished in the Jupiter software; simply add a controller, create a menu, and load the presets. You can edit the labels to make it easy to navigate.
Once it’s all assigned, you can simulate the controller to visually ensure it’s all working the way it’s supposed to.
You can quickly and easily create menus to control just about every volume and mute parameter in the Jupiter. Not to mention switch presets.
The next step is to add in the ARC-SWK controller. The SWK is a 4-button, single encoder remote with an A and B side. This means you can control up to 8 parameters very easily.
Here is how ours is set up:
—Button 1A: Wireless Mic 1 —Button 2A: Wireless Mic 2 —Button 3A: Stereo Audio for Video —Button 4A: Stereo Audio for EZ iPod Cable
The ARC-SWK in software simulation mode.
The software makes it easy to control inputs and outputs as mono or stereo channels. At the moment, I don’t have any need to control anything else, though I have the capability to control four more parameters if need be.
When controlling volume, you can specify minimum and maximum values - initial values are stored in the preset. It’s all very easy to do, and took less than 5 minutes to assign everything.
The ARC series of remotes connect daisy-chain style to the Jupiter over Cat5. You can also send audio through certain wall panels, either in or out, depending on the model.
Final Programming
What sold me on the Jupiter is the calendar feature. Once all the presets are built, you can create events (single or repeating) that will automatically switch modes.
So in our case, on Tuesday morning, the system goes into EZ, Delays On at 8:45 AM for the Women’s Bible Study. At 3:00 PM on Wednesday, it switches to Mix, Delay Off for Jr. High. On Thursday at 8:30, it switches back to EZ, Delay On for MOPS.
Eventually, I will add the Jupiter to the network so I can access it from anywhere and create custom events (like next Friday when the Boy Scouts use the room).
After all that, I dove into the logic outputs.
The Jupiter has 4 dual-mode logic outputs. Each logic output can deliver 5 VDC for connecting an LED indicator, or act as a simple contact closure (alternately, you can just use the +5VDC to close an externally powered relay).
The logic outputs are assigned to parameters anywhere in the system.
In our case, to make programming easy, I assigned the control to Output 7, which we weren’t using anyway.
When Out 7 is muted, the delay amp turns on (using a Furman Relay). When it’s unmuted, the amp turns off. The two mute states get saved into presets, and just like that, the amp turns on and off as if by magic.
The Cost
Doing something like this used to require a Crestron or AMX system, and programming could easily run into the thousands of dollars, not to mention the additional costs every time you wanted to make a change or the equipment cost. In this case, the whole system ran a little over $1,500, including controllers.
It took me about an hour to set up all the programming (and another few hours to tune the system).
It’s easy enough to use that any TD will be able to get the system doing whatever they want in no time. I was able to train our entire staff on the EZ Mode of operation in about 10 minutes, and the documentation takes just two pages (and half of each page is a large picture of each controller).
Best of all, I won’t have to take any more calls like this one…
Caller: Mike, the mics aren’t working.
Me: OK, so go to the fader labeled RF-A. Make sure the button above that fader is turned on and lit up.
Caller: [Long pause, obviously frustrated] I…I…don’t even know what a fader is.
Mike Sessler is the technical director at Coast Hills Community Church in Aliso Viejo, CA and serves as the Church Sound Editor for Live Sound International. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts. Mike also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
Aviom Kept The Sound Pumping For Peter Gabriel’s New Blood Orchestra Tour
Forty-four musicians relied on the company's Pro16 Personal Monitor Mixers during the North American Tour
Aviom Personal Mixers pumped the sound to 44 musicians during Peter Gabriel’s recent New Blood Orchestra Tour, which featured music from the singer’s 2010 Scratch My Back album as well as music that will appear on his soon-to-be-released New Blood album. In addition to providing monitoring capabilities to such a large group of musicians, Real World Tours Ltd depended on the personal mixers to offer an ease of configuration for the crew members.
Taking just 20 days to make 12 stops at various venues across North America, Real World Tours needed a quick and easy way to supply a large number of players with a monitor mix that allowed for individual control but didn’t clutter an already busy stage setup. Requiring only a single Cat-5 cable, the Aviom A-16II Personal Mixers fulfilled the needs of the tour by allowing for a simple setup with personal mixers that are straightforward enough for anyone to use.
“The Aviom system, in general, was a great performer,” says Dan Ungaretti, orchestra monitor engineer for the tour. “The solid and very fast connecting 16-channel digital audio network was particularly impressive. The multi-channel feature also afforded us the ability to place AC power in just three locations instead of multiple spots throughout the stage.”
Ungaretti utilized a Yamaha PM5D-RH as his monitor console and outfitted it with an Aviom16/o-Y1 A-Net Card. A single Cat-5 runs from the Y1 card to an A-16D A-Net Distributor, positioned under the woodwind riser. The A-16D splits the signal to two additional A-16D Pro A-Net Distributors, located behind the conductor’s podium. The A-16D Pros provide both power and 16 channels of audio from the PM5D to the 22 A-16II Personal Mixers positioned at the base of each music stand throughout the orchestra. This setup allowed Ungaretti to set up quickly, keep the stage clean and control certain aspects of the monitor feeds from the console, while also letting orchestra members customize what they hear.
“The Aviom network kept me in overall control by allowing me to interface and supply the controllers with the exact audio that was necessary,” says Ungaretti. “The musicians were then able to work with the easy-to-use interface of the A-16IIs to have basic control over their headphone levels of the mix that I supplied.”
In addition to the Aviom mixers, the New Blood Tour musicians were equipped with Sennheiser headphones and in-ear monitoring systems as well as Shure vocal mics, supplied by Firehouse Productions. Real World Tours turns to Firehouse for all equipment rentals when Gabriel is on stage in the US. An entity of Judgeday Ltd, Real World Tours is the name used specifically for Peter Gabriel tours. The exclusive management company for Real World/Peter Gabriel since 1984, Judgeday is owned and operated in the UK by David “Dave T” Taraskevics. Judgeday has also worked on tours such as Robert Plant, Van Morrison, Prince, Wham, All Saints, the Thompson Twins, Mike Oldfield and Echobelly.
Avid VENUE & Pro Tools|HD Integration Serves Audio Needs of NBC’s “The Voice”
“Using the VENUE systems together with Pro Tools is really the whole point for us." - Randy Faustino, Creative Sound Solutions
Engineer Randy Faustino, CEO and president of Creative Sound Solutions, mixes all of the music for TV reality show The Voice, as well as for sister productions American Idol and Dancing with the Stars.
Faustino, along with partners J. Mark King and Tim Hatayama, hold court in three mobile production units outfitted with multiple Avid VENUE and Pro Tools|HD systems.
The Voice has aired on NBC since April and stars judges Christina Aguilera, Cee Lo Green, Blake Shelton, and Adam Levine, with auditioning singers intentionally hidden from the judges’ views to preclude any decisions based on their visual image.
“We mix live to air, using the same setup for all three shows,” says Faustino. The setup comprises three 96-channel VENUE systems, each with a VENUE D-Show console, an FOH Rack, and two Stage Racks. An additional VENUE Mix Rack System, featuring the VENUE Profile console, is available for smaller shows and mobile situations, such as recording the band off-site.
Each VENUE system, equipped with two VENUE HDx Option Cards, feeds a 96-input Pro Tools|HD system, used to record the shows, enabling Faustino to move between live and pre-recorded mixes of backing tracks.
“Using the VENUE systems together with Pro Tools is really the whole point for us,” says Faustino. “We record every show to Pro Tools|HD as a multitrack session. When we come in the next day, we flip the session into [VENUE] HDx mode, and you’re looking at the same show you had the night before. So it’s easy to set up scene snapshots for every number. Then when we’re ready to do the show, everything is already there and all you have to do is mix.”
In fact, Faustino points to the VENUE system’s snapshot recall as one of the main reasons for selecting VENUE. “Sure, it’s a great sounding console and we love all the plug-ins,” he observes. “But it’s the ability to quickly flip back and forth between Stage Racks and Pro Tools playback, so we can make adjustments after rehearsal or sound check, that makes it so perfect for our use. We’ve typically got around 180 scenes for each show, including different scenes for the audience mics when the performers talk, when they’re singing, when the announcers are talking—pretty much everything. It enables me to bring in both pre-recorded and live elements, and handle a live mix while tracking. It’s a truly integrated system with an amazing amount of flexibility.”
Onboard processing is, of course, also an important feature, with Faustino citing the TC Electronic 6000 and SSL Channel Strip among his favorites, as well as plug-ins from Avid, Waves, and API.
RE/P Files: Wally Heider Recording Sammy Davis, Jr. LIVE at the “NOW Grove” (1970)
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature is an amazing look back at a Los Angeles live recording with a legendary artist, circa September 1970. (Volume 1, Number 3). The text is presented unaltered, along with all original graphics. A pdf for a print-out of the original article is located on page 3.
10:30 PM . . . the ‘NOW GROVE’. . . the comedy team has slipped back behind the curtain . . . the room is hushed . . . expectant. . . apprehensively darkened . . . unaware that tonight’s performance is to be, too, a live taping of material for Sammy Davis’ new Motown album . . . SAMMY DAVIS JR LIVE AT THE GROVE.
Connected umbilically to the GROVE by some 400 yards of audio and coax cable, in a strangely unmarked, workman-like panel truck, a big man, in reputation for this sort of thing, as well as in physique, WALLY HEIDER easily swivels left, then right from his position full in front of the complete 16-track console, ‘punching-in’ both 16-track recorders.
For the next hour and thirty minutes, as the two-inch 3M 206 tape winds, Wally operates in his acknowledged specialty: CAPTURING THE LIVE PERFORMANCE
At odd times during that day, as time occurred during the set-up, we talked with WALLY HEIDER about Remote Recording, and particularly how he intended to work this date.
“This job started,” said he, “last night, (the opening night of Sam’s four-day engagement), when we saw the show completely and began to work out the basic planning and strategy.
We got a pretty good idea of the things Sam wanted to record; sound levels, and how the band was used.” The best ‘Remotes,’ we were to learn, happened when the performers were as nearly unaware of the recording process as that is possible.
We watched as Wally and his set-up crew took every possible precaution so that Sammy and the 23-piece George Rhodes band, on the 30’ x 12’ stage would in no way be impeded. The essence of Wally’s secret, if it is a secret, is that the twenty-seven (27) mikes, many boxes, and yards and yards of cable in no way detracted from the flow of the performance.
Earlier on the day of the ‘taping,’ Wally prepared a sketch of the stage, as well as the instrument placement of the band, and the house Public Address systems. An inventory of the mikes he wanted to use followed. The set-up crew working from these plans wired the stage and hung the mikes accordingly.
Microphone and Stage Layout
RHYTHM SECTION MIKING
Although no special problems occurred, a good bit of time was spent at the heart of the band, the very tightly-grouped rhythm section at the center of the stand. So that the drums were not obscured, the piano lid had been completely removed.
The decision, thus, was to ‘close-mike’ the piano, top and bottom, with two Sony C-37’s multed together before they reached the console input. Normally, Wally would have preferred to mike the piano with a single mike a couple of feet above and away from the piano, to effect a better blend of highs and lows. A second alternative, if a woody, funky sound was desired, would have been to place a mike directly into one of the sound holes.
Having heard the repertoire the night before, Wally decided to go with the ‘above and below’ close-miking which, as it happened, gave remarkable tone. Separation was distinct even from the double bass drums located directly behind the piano.
Wally preferred to mike the drums very much the same as they would have been, had they been recorded in a studio. He used two Sony C-37’s over head. The snare was close-miked with a Shure 546, as well as two more 546’s close-miked on the bass drums.
Still in the rhythm section, the bass amp was close-miked with a Shure 546 multed with a ‘direct- box’ on the electric bass. The guitar amp, likewise, made use of the highly directional qualities of the 546.
The Leslie tone cabinet, directly to the drummer’s right, was miked, too, using the Shure 546 on both top and bottom, multed into one input. Suspended above the total percussion section was an overhead Sony C-37 for blend.
STRING SECTION MIKING
Especially in the Big’ Band context, miking the strings is always critical.
While strings easily hold their own during soft or moderate passages, they tend to lose their identity or are completely drowned out in passages which feature brass and woodwinds. This is so even when the sections are on opposite sides of the stage.
Wally’s decision was to mike the strings with Altec M-49’s. Characteristically the M-49’s have good ability to capture brilliance and lend themselves to “Riding” which Wally planned for the heavy parts.
The complement of-mikes used on the section was three M-49’s multed into one input on the six strings.
Two Sony C-37’s close-miked the two celli.
BRASS AND WOODWIND MIKING
The horns and woodwinds were seated in three tiers; the five saxophones down front, the four trombones behind and above, with the trumpets on the third tier. As he related, Wally is very high on the U-87 as one of the finest all-around condenser microphones.
He used three U-87’s to really absorb the tone and blend of the woodwinds. Two U-47’s easily handled the dynamic range of the strong four-piece trombone section.
RCA 77’s, two of them, captured the four trumpets to complete the miking of the band stand’s left side.
VOCALIST AND AUDIENCE MIKING
As has probably long been known, Sammy Davis possesses a ‘golden’ Shure SM 58, which he regularly uses for appearances. Wally had planned for Sam to use a standard SM-53 with a newly-developed, larger ‘pop-filter.’
The Artist, however, was reluctant to switch without some rehearsal with the new mike resulting in the decision to go with the golden ‘58 for the performance that night, and to switch to the ‘53 with the enlarged pop-filter for the following night after some rehearsal with it.
The audience mikes used were U-47’s because of their broad, flat response curves. They were placed at each side of the stage facing in, at an angle, toward the center of the room.
RECORDING
‘Levels’ were pretty much set during the two dance sets prior to show-time. The only unforeseen problem encountered was an A/C signal on a couple of the mikes attributable to the stage lights. This was easily taken care of.
Davis’ show opened with “Spinning Wheel.” The tune with its rich horn parts, solid rhythm, and good volume, was a good one with which to finally measure and establish settings and balance for peaks.
With everything running smoothly, and all instrument channels balanced, Heider was free to devote most of his attention to the ‘tracking’ of the vocal.
He did not, at this point, elect to use a Limiter. His feeling was that if he used a Limiter, it would have allowed a good bit of the band sound to get on to the vocal track over the limited signal.
By keeping the vocal level up, really watching for peaks, limiting later in the mix-down would provide all the control needed. If he had had a track to spare, Wally might have used an alternative method he likes very much for doing vocal remotes without using Limiters. This involves paralleling the vocal signal into two channels at once.
One of the channels is set-back, perhaps, 3-5 dB from ‘0.’ In his words, “it provides a safety in the event of sudden peaks and eliminates the need for limiting, while accomplishing the same objective.”
THE TRUCK
As diagrammed, the remote facility Wally has been using is built around the shell of an ALTEC console with Universal Audio equalizer and pre-amp. The eight buses are supplemented by eight auxiliary buses which are in reality the echo buses. Each of the 16 channels has its own mute control for easy monitoring. The first sixteen (16) input positions are switch- able to any of the first eight buses.
Positions 17-24 are permanently wired into the eight auxiliary buses. The monitor system consists of four (4) ALTEC 604 E’s in narrow cabinets. The monitor system is powered by MC 275 power amps. An essential part of his monitoring system is the closed circuit TV monitor located just to the left of the console.
As this issue of Re/p goes to press, let’s call it “WALLY ON WHEELS ‘II”’ is about to be christened. The new enlarged remote facility will be reported on in the next issue.
END
About the author:
With this, his first article, Chris Huston adds the title ‘Author’ to the many others which describe his current occupations as well as former activities: producer, engineer, mixer, session-man, studio-owner/ manager, graphic artist, etc., etc. Re/p is delighted to publish this story by Chris at about the same time that he is receiving more recognition for having just engineered the Eric Burdon/War —I single “SPILL THE WINE”. . . as well as the album. A Huston produced/engineered group “SWEETWATER” releases an album on Warner’s in October.
-ed
Take the PSW Photo Gallery Tour of audio equipment ads appearing in RE/P magazine, circa 1970.
Editor’s Note: This is the first in a series of articles from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day.
Our sincere thanks to Mark Gander of JBL Professional for his considerable support on this archive project.
Please send all questions and comments to ProSoundWeb Editor .(JavaScript must be enabled to view this email address).
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