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Wireless
Tuesday, February 07, 2012
Revolabs Enhances HD Control Panel For Entire HD Line Of Wireless Microphone Systems
Revolabs has announced that the company’s Windows-based HD Control Panel software has been enhanced to support the entire HD line of wireless microphone systems, bringing the monitoring and configuration tools found on the Executive HD to the HD Single/Dual Channel and the HD Venue systems.
In addition, based upon customer feedback, Revolabs has created several new features for the HD line, including a DIP switch display, mute groups for Executive HD systems, and an expanded control system API.
With the HD Control Panel, users can monitor and control networked HD wireless microphone systems from a single PC software program with an intuitive graphical user interface.
The HD Control Panel allows users to control the mute status and gain of each microphone, and to lock out presenters from using the mute button.
The software also provides the ability to monitor each microphone closely for its real-time status, such as battery level.
The monitor tab of the HD Control Panel has been enhanced to provide the DIP switch status for each system, eliminating the need to look on the back of the system to see which switches are active.
Revolabs has also added several commands to the HD systems’ API, allowing A/V control systems to send global commands, turn off microphones, and even initiate pairing, all from the convenience of a room’s touch panel.
Finally, Revolabs has bolstered the Executive HD with the ability to assign systems to mute groups. This allows all systems in a building to be bussed together without muting each other, unless they are assigned to the same group.
“We are pleased to bring the capabilities of the HD Control Panel to users of our HD Single/Dual Channel and HD Venue systems, in addition to offering powerful new features across our entire HD line,” says JP Carney, CEO of Revolabs. “We take pride in listening to our customers as we continually strive to meet their evolving needs. New features, such as those released today, are a direct result of customer feedback.”
The enhanced HD Control Panel and new features are available through a firmware update (version 2.6.1) to both the base station and microphones. The update is available now at www.revolabs.com/downloads.
New feature enhancements require a Gold unlock code provided as part of a Revolabs service plan. Any system that has previously been unlocked will automatically receive the new features upon completion of the firmware upgrade..
RFvenue Releases New Long-Range UHF Antenna For Wireless Mic & IEM Systems
RFvenue has introduced the new high-gain, foldable, circularly polarized CP Beam antenna for use with wireless microphone and in-ear monitoring systems used in applications such as concert touring, location sound, audio/visual, and broadcast.
The CP Beam antenna is optimized for long-distance applications in the 470-698 MHz UHF range.
“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” states RFvenue CEO Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs.
“It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”
Robert J Crowley, inventor of Crowley and Tripp microphone technology and chief of Soundwave Research, which operates RFvenue, adds, “The new RFvenue antennas all incorporate ergonomic and human factors that have been ignored in the past. RFvenue’s products make wireless systems easier to use, more dependable, and eliminate guesswork in an increasingly complex RF spectrum.
“The CP Beam is a high-gain, broad bandwidth, directional antenna that is excellent for long-range wireless mics or IEMs, as well as point-to-point RF links.”
The new CP Beam has a $499 list price. The company’s products are shipping worldwide through distributors, dealers, and a nationwide manufacturer’s rep force in the US.
Lectrosonics Digital Hybrid Wireless Benefits Live Production Of “Gypsy”
The use of wireless technology from Lectrosonics provided benefits for the recent production of the musical “Gypsy” by the University of Evansville Department of Theatre.
“‘Gypsy’ is a story about vaudeville performers turning to burlesque to make a living,” explains Richard Ingraham, a Cleveland, OH-based free-lance sound designer operating under the name RBI Computers and Audio who was brought in to work with the production. “There’s a strip routine in the show and the main character—Gypsy—had the most revealing part. To make this work, we outfitted the actress with a Lectrosonics SM super-miniature transmitter, which was placed inside her bustier, or bra.
“Fortunately, Lectrosonics offers the RM remote for this transmitter. With its ability to remotely adjust audio input gain, the RF operating frequency, lock/unlock the transmitter’s controls, and sleep mode on/off status, we had a high degree of ‘hands-free’ control, which was essential for this project.
“The RM remote and the SM transmitter’s small size enabled the wireless system to go unnoticed while simultaneously facilitating a considerable amount of adjustment from a distance.”
The wireless system count for the show consisted of six Lectrosonics SM transmitters, six SMD transmitters, and twelve LMa transmitters. On the receiving side of the equation, four Lectrosonics Venue VRMWB receiver mainframes—each fully stocked with six VRS receiver modules (for a 24-channel count)—were deployed.
In addition to the RM remote control, a Lectrosonics ALP650 LPDA (Log Periodic Dipole Array) shark fin antenna was used to ensure optimum signal strength. Countryman B6 lavalier microphones were mated with the Lectrosonics systems. All equipment was rented through Page Daniel Wireless Sound of Little Rock, AR.
“In addition to the RM remote and the diminutive size of the SM and SMD transmitters, Lectrosonics sound quality is exceptional,” says Ingraham. “The company’s Digital Hybrid Wireless technology eliminates use of a compandor, which is common to competing wireless systems. The result is higher dynamic range and freedom from sonic artifacts. Similarly, the build quality is terrific. I’m also very fond of the Venue receiver’s battery monitor function that enables you to check how long the transmitter has been on. This handy feature enables you to monitor battery life, and this helped us immensely in terms of dealing with the logistics of ensuring battery longevity throughout the shows.”
Line 6 Launches New XD-V Series Digital Wireless Microphone Systems
Line 6 has introduced the XD-V75, XD-V55, and XD-V35 series digital wireless microphone systems.
Featuring microphone modeling technology, XD-V systems offer 24-bit, 10 Hz–20 kHz, compander-free performance. The new flagship XD-V75 line includes handheld, lavalier, headset and bodypack digital wireless systems.
The family offers a full complement of professional features including signal encryption, dynamic filters, gain control, channel scanning and more.
Utilizing the same 4th-generation digital wireless platform as the XD-V75, the XD-V55 family offers handheld, lavalier and headset systems and the compact, portable XD-V35 family includes handheld and lavalier systems.
“For performers who want wired mic audio performance and wireless freedom, the combination of Line 6 modeling and our class-leading digital wireless platform makes the latest XD-V systems the only choice,” says Steve Devino, live sound product manager at Line 6.
Ensuring faithful reproduction and stunning full-range audio clarity, XD-V systems all provide 10 Hz - 20 kHz frequency response and wide dynamic range (up to >120 dB). They do not use companders or compress the audio signal in any way, and audio quality does not degrade with distance.
XD-V systems operate in the 2.4GHz band, which is free from interference due to TV broadcast, public safety announcements, cell phone towers and other transmitting devices. Encoded DC (Digital Channel Lock) technology prevents reception of any audio interference from other 2.4 GHz devices.
XD-V handheld systems feature a selection of up to 10 models of popular vocal microphones. Using this incredibly diverse sonic palette, vocalists can choose the perfect microphone sound to match their voice and style of performance.
For active spoken-word performers, instrumentalists or singers who require a hands-free solution, XD-V bodypack systems offer selectable EQ filter models, tailored for a wide range of vocal and instrumental applications.
XD-V75 systems feature nine EQ filter models, six tailored for vocal applications and three specifically for instrument use.
XD-V55 bodypack systems have three selectable vocal EQ filter models, while the XD-V35 systems offer a single voice-optimized model.
XD-V series digital wireless systems are incredibly easy to operate. Simply choose a channel on the transmitter and receiver and they lock together automatically. There is no need for RF tuning or intermodulation calculators.
XD-V75 family features: 14 channels; 300-foot range, 1/2U rack receiver with built-in antenna distribution system; heavy-duty metal chassis; rackmount kit.
XD-V55 family features: 12 channels, 300-foot range; 1/2U desktop receiver with externally mounted antennas; heavy-duty metal chassis.
XD-V35 family features: 6 channels; 275-foot range (Note: actual range will depend on RF interference sources nearby including, line-of-site obstacles); desktop receiver with internally mounted antennas; metal and polycarbonate chassis.
XD-V digital wireless microphone systems are available now.
AKG Launches New IVM4500 IEM In-Ear Monitoring System
At the NAMM 2012 Show, AKG launched the new IVM4500 IEM in-ear monitoring system, including high-end radio electronic and a manual radio signal attenuator for more RF dynamic, enhanced frequency setup to show the number of free channels and supported TV channels, and quick frequency change functions to support monitors.
Battery life for the IVM receivers has been tested up to 10 hours.
“AKG’s IVM 4500 IEM in-ear monitoring hardware raises the bar for audio quality, as the user becomes more in-tune with their own sound,” states Wolfgang Fritz, product marketing manager – tour sound, AKG. “AKG continues to set the standard of high-quality, reliable performance, while IVM4500 IEM adds another groundbreaking, performance-enhancing technology to the industry.”
IVM4500 IEM features antenna diversity, with two matched antennae and a new reference radio electronic design, all of which provide stable signals for the receiver.
Audio quality is enhanced with a high-end and powerful headphone amplifier, ultra linear frequency response and dual mode for individual mix. The quick frequency change functions support monitor engineers throughout performances to make their projects easily adjustable.
“The in-ear monitoring market has become far more mature over the years,” continues Fritz. “Artists demand, and rightfully so, an in-ear monitor that combines reliability, performance, power, comfort and quality audio – traits we’ve worked tirelessly on to ensure the IVM4500 IEM meets the standards of the performer.”
Included in the IVM4500 IEM system: —SPR4500 IEM diversity receiver, which automatically shows the number of free channels and supports TV channels with pre-programmed preset frequencies;
—SST4500 IEM transmitter, which is adjustable to 10, 20, 50 and 100 mW depending on country laws; and the IP 2 ear-channel headphones, providing excellent acoustics and low impedance;
—SPC4500 antenna combiner, the SRA2 W directional antenna and the RA4000 W omni-directional antenna complete the package.
Prospect Theater’s “Iron Curtain” Takes Advantage Of Lectrosonics Wireless
Prospect Theater Company in New York frequently re-interprets classic plays and musicals when creating new works, and such is the case of The Iron Curtain, a new musical comedy set in New York City, Moscow, and Berlin in 1954 about two struggling songwriters kidnapped by the KGB to fix a clunker propaganda musical.
Performances of The Iron Curtain late last year took place in The Rose Nagelberg Theatre at the Baruch College Performing Arts Center, with Andy Leviss, a New York-based freelance audio engineer, serving as the show’s sound designer.
Leviss deployed a 16-channel Lectrosonics wireless microphone system consisting of three Venue Series receiver mainframes, four SMQV dual battery beltpack transmitters, eight LMa beltpack transmitters, and four UM400a beltpack transmitters. All equipment utilizes Lectrosonics proprietary Digital Hybrid Wireless technology.
“Prospect Theater Company is just transitioning into the large scale use of wireless microphones,” Leviss explains. “They previously relied on performers’ voices to project or overhead miking. They’re relatively new to this level of reinforcement, so the ability to maintain natural sound quality was vitally important. I’ve used Lectrosonics equipment on a number or previous projects, and I find the equipment’s sound quality is far more natural than other competing wireless systems.
“The company’s Digital Hybrid Wireless technology doesn’t employ companding, so you don’t experience the sonic artifacts common in other wireless equipment. Sound quality is right on par with cabled microphones. Knowing this, I felt the Lectrosonics system would be ideal for this show.”
Leviss selected the SMQV, LMa, and UM400a transmitters and the Venue receiver system because size was yet another important consideration on this project.
“Most of the transmitters were placed in the small of the performers’ backs,” Leviss reports. “The SMQV’s are particularly compact, so they were a great choice. Similarly, both the LMa and UM400a transmitters are relatively small and easy to conceal in wardrobe. The combination of these transmitters with the Countryman B3 Omni Round lavaliere mics—placed in the mid center of the performers’ forehead among the hair or over the ear— resulted in a wireless setup that was essentially unnoticeable.”
“Backstage space—where we positioned the wireless receivers—was at an absolute premium on this project,” he continues, “so the ability of the Lectrosonics Venue receiver system to house sixteen wireless channels in three rack spaces was a tremendous help. For this show, we had two fully stocked Venue mainframes—each with six VRS receiver modules—while the third unit had four modules. The ability to have that many wireless channels occupying so little space is really impressive.”
Alto Professional Unveils TRUESONIC Wireless, Powered Loudspeakers
At the NAMM 2012 Show, Alto Professional unveiled two new powered, wireless loudspeakers, the TRUESONIC Wireless TS112W and TS115W.
Both models provide clean, transparent sound from wired or wireless sources. .
The TS112W and TS115W are two-way, 12-inch and 15-inch models, respectively. They are outfitted with 800 watts of Class D power and are specified to provide SPL of 125 dB for the TS112W and 126 dB for the TS115W.
The TRUESONIC Wireless line simplifies the connection to multiple devices with the ability to play audio from any Bluetooth audio-equipped device such as an iPad, iPod touch, iPhone or other smart phone.
In addition, both TS112W and TS115W include two Mic/Line Female XLR - 1/4-inch combo inputs with independent gain controls so it’s easy to get up and running with just about any audio source.
“TRUESONIC speakers are already established as the most powerful in their class,” said Jay Schlabs, executive director of Alto Professional. “With wireless capability, the TRUESONIC series is now one of the most versatile speaker lines on the planet.”
The TRUESONIC TS112W and TS115W are expected to arrive at pro audio and live sound retailers in Q2-2012 with an MSRP of $549 (TS115W) and $499 (TS112W) and estimated street prices of $449 (TS115W) and $399 (TS112W).
AKG Launches WMS 40 MINI 2 Dual Wireless Microphone System
The latest addition to the successful line of AKG WMS 40 MINI series now features a dual channel receiver. The AKG WMS 40 MINI 2 Dual wireless system, launched at Winter NAMM, offers high-definition audio performance, with efficient body pack and cardioid mic transmitters, ensuring advanced, reliable and quality sound for performances.
The WMS 40 MINI 2 Dual Package is available in three sets – the Vocal, Instrumental and Mix sets. The Vocal set features two HT 40 MINI dynamic cardioid microphones and the SR 40 MINI DUAL receiver. AKG’s Instrumental set includes two PT 40 MINI body packs - the smallest transmitters in its class that lasts up to 30 hours on one AA battery –the SR 40 MINI 2 and two guitar cables, while the Mix set offers one HT 40 MINI, a PT 40 MINI and the SR 40 MINI 2.
With swivelling antennae, easy-to-read LED meterings, volume control and the on-off switch on the front of the receiver, connecting and calibrating the plug-and-play system ensures engineers and musicians spend more time playing than worrying about the wireless technology itself.
“AKG’s WMS Series has proven to be very popular in the live sound industry and we are happy to continue offering reliable equipment to better serve musicians and engineers looking for their ultimate sound with minimal equipment,” stated Thomas Umbauer, product marketing manager – PPA, AKG. “Expanding the capabilities of WMS 40 in the new Dual system exceeds the industry standards for smaller, quality wireless systems. Our engineers continuously work to ensure our products offer the best in signal transmission and sound and WMS 40 MINI 2 Dual follows AKG tradition in every sense.”
The WMS 40 MINI 2 Dual system is available at an MSRP of $249.
Sennheiser Launches “No Worries” RF Wireless Systems
Sennheiser launched its brand new XS Wireless Series at the 2012 NAMM Show. Designed for users who want to easily go wireless, this entry-level series offers complete sets with sturdy units, simple operation and high quality sound.
The transmitters have a battery life of up to 10 hours, while a switching bandwidth of up to 24 MHz allows for flexibility in the choice of frequencies. The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.
“With the XS Wireless Series, Sennheiser offers reliability and quality sound at an entry-level price,” explained Martin Fischer, Product Manager for Sennheiser’s wireless systems. “It offers good value for money and will benefit small event and conference venues, houses of worship as well as bands, vocalists and musicians.”
The designers have focused on ease of use: the systems are operated via intuitive menus, they automatically search for free frequencies, and transmitters are synchronized with their receivers via a wireless link. “We wanted to make sure that users can fully concentrate on their performance, their speech, etc. without having to worry too much about the set-up and technology,” Fischer said.
XS Wireless includes two systems for vocalists and one instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. “The XSW 35 system takes the assertive sound of the cardioid e 835 to new user groups,” Fischer added.
For installed sound applications and presentations, users can choose between systems with a handheld transmitter or a bodypack transmitter with either a head-worn mic or an unobtrusive clip-on microphone. Mute buttons on the handheld and the bodypack ensure that speakers are in control of the transmission.
To withstand the rigors of daily use, the true-diversity receiver is housed in a sturdy metal case. In the transmitters, one set of batteries will last for up to 10 hours—not only good for energetic stage shows, but also for long events and conferences. The systems feature freely tunable frequencies within a switching bandwidth of 24 MHz (13 MHz for the E frequency range). This allows up to 12 wireless links to be operated simultaneously, ensuring trouble-free operation even at somewhat larger events.
Shure Incorporated is introducing the ULX-DTM Digital Wireless system, offering unmatched sound quality, improved spectral efficiency, robust encryption, and intelligent rechargeable batteries for professional sound reinforcement applications. The system is designed for use in corporate, education, worship, and live performance facilities.
“Until today, digital wireless microphone users have had to accept trade-offs,” said Erik Vaveris, Category Director for Wireless products at Shure. “No digital wireless system has come close to meeting the performance standard set by Shure’s industry leading analog wireless product line - until now.”
The ULX-D system’s unprecedented combination of audio quality, signal stability, and spectral efficiency is driven by a unique digital wireless audio technology developed by Shure. “The result is a tremendous breakthrough in wireless audio quality,” said Vaveris. “This is the purest reproduction of source material ever available in a wireless system.”
The ULX-D system also raises the bar for spectral efficiency and RF signal stability. “The intermodulation performance of ULX-D enables a dramatic increase in the number of simultaneous active systems in one TV channel, making the most of the available spectrum,” said Vaveris. Up to 14 ULX-D systems can operate in one six MHz TV channel, making it easy to use, even in highly congested urban areas where open TV channels can be scarce. For applications where secure transmission is required during confidential meetings, the ULX-D system includes Advanced Encryption Standard (AES) 256-bit encryption for privacy.
While audio and RF quality are always paramount, wireless users are often frustrated by something more mundane: battery management. Based on the technology used in Shure’s Axient wireless system, the SB900 Lithium-Ion rechargeable battery pack provides ULX-D transmitters with up to 12 hours of performance time. Transmitters and receivers display remaining battery life in hours and minutes, accurate to within 15 minutes. The battery can be recharged at any time with no memory effect, and a complete discharge is never necessary. The SBC200 Dual Docking Charger recharges batteries while in the transmitter or out, and up to four chargers can be linked together and powered by one power supply. An SBC800 Eight-Bay Battery Charger is also available, and both chargers fit in a standard-size rack drawer for easy storage and transport. ULX-D transmitters can also run on standard AA batteries for up to 11 hours.
The Shure ULX-D Digital Wireless system is now shipping and available through authorized Shure resellers in numerous configurations with a wide range of Shure microphone options.
Audio-Technica Marks “50 Years of Passionate Listening” (Includes Video)
Audio-Technica (at the NAMM 2012 Show in booth 6740) is marking “50 Years of Passionate Listening” with its yearlong 50th Anniversary Celebration in 2012, including several limited edition commemorative products, special events and promotions for customers, such as the chance to win Audio-Technica 50th Anniversary Limited Edition products.
From its early beginnings as a manufacturer of phonograph cartridges, Audio-Technica has expanded over the years to become a leading innovator in the design of microphones, wireless microphone systems, headphones, turntables, phono cartridges and more.
A-T continues to advance the art and technology of electro-acoustic design with the manufacture of products for the professional recording, M.I., live sound, broadcast, fixed installation and consumer audio markets.
On this historic occasion, Audio-Technica is taking the opportunity to look back, with a view toward the future.
Audio-Technica was founded in 1962 by Hideo Matsushita, who introduced the company’s first phono cartridge that year. A-T soon gained a reputation for producing a range of high-quality, award-winning phono cartridges for some of Japan’s leading electronics companies, and expanded its facilities in 1963 and again in 1965 to its current address in Naruse, Machida, Tokyo.
In 1969, Audio-Technica began distributing an expanded range of products internationally, and in 1972, Audio-Technica U.S., Inc. was established in Akron, Ohio, moving to its current location in Stow, Ohio, in 1980.
In the 1970s and 1980s, Audio-Technica broadened its lineup to include products such as its groundbreaking VM Series dual-magnet phono cartridges; its ATH Series high-fidelity headphones; its first professional microphones, the 800 Series; and other innovations.
Of particular note was the launch of A-T’s compact UniPoint microphones, which changed the landscape of business presentations and other installed communications with their sleek profiles and high-fidelity audio. Audio-Technica also established divisions in Europe and Asia during this period.
In the 1990s, Audio-Technica continued to refine and diversify its product range, and its wireless microphone systems, microphones and consumer and professional headphones became industry standards for their exceptional performance, reliability and value.
A-T introduced the 40 Series microphones, making the pristine sound of studio microphones affordable for the first time ever. Today, the 40 Series represents a benchmark in studio microphones for leading producers and engineers, as well as high-profile artists in all genres of music, both in the studio and onstage.
Kazuo Matsushita
Additionally, in 1993, Hideo Matsushita took the position of chairman, and Kazuo Matsushita became president of Audio-Technica Corporation, a position he still holds today.
Since the dawn of the new millennium, Audio-Technica has continued to introduce breakthrough products and systems.
In 2008, the company’s noise-canceling in-ear and over-ear headphones set new standards in environmental noise reduction and sound quality.
In addition, the company developed the digital SpectraPulse ultra wideband wireless microphone system, part of A-T’s Engineered Sound line of contractor-exclusive offerings, another successful area of focus for the company.
Other popular A-T products include the Artist Elite series of performance microphones, its 2000 and 3000 Series Wireless Systems, and its Artist Elite Wireless Systems, the 4000 and 5000 Series.
Today, Audio-Technica is the first choice for a variety of major artists including Kenny Chesney, Gwen Stefani, Jason Aldean, Justin Timberlake, Metallica, Linkin Park, Evanescence, Newsboys, Selena Gomez and many more. Audio-Technica products are used worldwide in numerous consumer and professional applications including live concert tours, broadcast and recording studios, corporate, government and house-of-worship venues, and in high-profile events such as the presidential debates, the GRAMMY Awards, CMA Awards and the Summer and Winter Games, and many others.
Phil Cajka
“We are extremely proud to mark Audio-Technica’s 50th anniversary,” states Phil Cajka, Audio-Technica U.S. [resident and CEO. “Throughout our history, A-T’s growth has been fueled by our customer-focused philosophy. The bottom line is, we are committed to being in tune with our customers and providing them with innovative, compelling products and outstanding customer service. At Audio-Technica, ‘always listening’ is much more than just a slogan. It’s how we do business.”
Audio-Technica
Go here for the chance to win an Audio-Technica 50th Anniversary Limited Edition product.
Revolabs Announces Online Training Courses For Wireless Systems
The new Revolabs Academy is a series of online training seminars designed to provide in-depth knowledge of the company’s family of wireless audio systems for unified communications.
“Over the past 18 months, we have conducted more than 25 day-long, on-site training seminars and the demand has far exceeded our expectations. Therefore, we’re moving the seminars online to extend this knowledge to an even wider audience and to offer more flexibility to our busy customers and partners,” says Eric Spata, director of global technical services for Revolabs. “Now, students can fit training into their schedules at their convenience, and we will be able to offer many more training sessions on a range of topics tailored to specific groups of users.”
Revolabs Academy training courses are open to all current Revolabs customers and end users as well as resellers, distributors, integrators, and consultants.
Courses will cover product-focused topics ranging from how to position and sell Revolabs systems, to how to troubleshoot and manage the installations.
Each course will be geared toward preparing students with the information they need to specify, install, and troubleshoot specific products in the Revolabs line, and gives them access to resources of which they might be unaware.
Most online courses may be started and finished at the student’s discretion, but some will be delivered in the form of scheduled webinars.
Upon completion of a certification, students will receive InfoComm International CTS Program Renewal Units (RUs) for industry certification renewal.
Go here for more information about Revolabs Academy, including upcoming courses and enrollment.
Reamping For Live? A Method Of Improving Electric Guitar Performance
Focusing on making the guitar wireless system sound smoother and more natural
The majority of electric guitar players will tell you that they much prefer the sound of “hard-wired” guitars versus going wireless.
When you “radio” a signal, there is not only a sense of disconnect, but the tone never seems quite right.
I noticed this years ago when testing a guitar splitter. One of our engineers sent me a prototype, and after a few minutes of testing, I called him up and said that it worked well but was not quite right.
He said, “what do you mean? It is class-A, 100 percent discrete, and has Jensen transformers. It’s perfect!” I replied that while it might be technically perfect, there was still something wrong.
Eventually, we figured out that it had to do with how the pickup was loaded, as well as how tube amps differ from solid state inputs. (This problem is not only common with wireless systems but all types of guitar signal buffers.)
Applying The Load
To solve the problem, we added a control that would enable the guitar tech to adjust the load so that the guitar would sound right. For this to work, the load needs to be applied directly onto the pickup.
In other words, if you connect the guitar to a buffer and then try to adjust the load, it will not work. This also means that it has no effect on active pickups.
When using a wireless system, the guitar is connected directly to the wireless transmitter, which then buffers the signal and sends it to the receiver.
Then, that output is either routed to the guitar amp, or a fridge full of pedals, or to the front of the stage so that it can go to the pedalboard and then back to the amp (Figure 1).
Figure 1 – A simple and then more elaborate approach to wireless guitar.(click to enlarge)
Because the wireless system is a buffer, the load must be placed in between the guitar output and the transmitter.
My company makes a device to do this called the Dragster. It’s designed to be attached to the guitar strap and then simply wired in series.
Even though this approach works very well, the last thing a guitarist wants is another widget on his strap.
A number of artists have also been implementing an old recording trick known as Reamping on the live stage.
Taking the output from the wireless receiver output and sending it through a Reamper. (click to enlarge)
When doing this in the studio, you basically take a dry track from the recording system, send it out line level to a Reamp device (“Reamper”), which then convert the balanced signal to an unbalanced one that is better suited for a guitar amp.
This enables the studio engineer to capture the performance and worry about getting the “ultimate” guitar tone later.
It works much the same for live. You take the output from the wireless receiver and send it through the Reamper to get the same effect (Figure 2).
By converting the signal, the wireless system sounds smoother and more natural. And when artists are happy, they perform better.
In The Field
Mix engineer Brad Baisley recently talked to me about his work with Reamping and related facets for noted country artist Clint Black, and he provided me with this overview:
“I started formulating my approach after a show where Clint expressed concern that his guitar tone was dull.
“The guitar tech, Kenny Barnwell, and I were also tired of battling noise emanating from the wiring to and from the pedal board. I knew that the 100 feet (each way) run of 1/4-inch cable was primarily to blame for both problems - not the modern RF equipment he was using.
“We added a Radial Headbone amplifier switching device that allows two different guitar amp heads to be used with a single speaker cabinet, and then also decided to try a Radial ProRMP Reamp box as well as an SGI interface to boost the signal.
“We were immediately happy with the result, both in terms of sonic quality and noise level. Clint noted that his guitar sounds much more natural, with smoother, more extended highs and fuller low end.
“Another bonus is these devices have XLR interconnects. If the 100-foot cable loom we built is ever too short, I can dig into our audio spares and help the techs extend the wiring with no loss. And, locking XLR connectors add a considerable amount of security.
Mix engineer Brad Baisley. (click to enlarge)
“The output on the Shure UR4D wireless receiver we use is 200 ohms, while pedals and amps are designed to see much higher impedance. The level of the output is also far higher than that of a guitar. This leaves you having to turn down the output on the receiver compromising on gain structure and signal-to-noise ratio. The Reamp solves this elegantly.
“We also often find that some local PA providers run cross-stage feeder on the downstage lip of the stage, so running long lengths of 1/4-inch cable parallel to it is just asking for noise issues. But with an all-balanced signal flow, that is now barely a concern.
“When setting up Reamping, first we make sure the levels on the wireless receiver are correct. The UR4D has a digitally controlled level trim (we have it set it at unity), and a Mic or Line level switch on the back for the XLR output (we set it to Line to send as hot of a a signal possible to the Reamp box). The companion UR1 beltpack transmitter has coarse and fine gain controls, and we also set these both at unity.
“With the pedalboard connected to the amp through the SGI, we then plug directly into the pedalboard input using a short 1/4-inch cable. We do a sound check of the guitar, using our ears (and maybe an SPL meter or VU meter on the console), evaluating the loudness of the guitar.
“After that, we plug the guitar into the wireless beltpack, and connect the pedalboard to the wireless receiver through the Reamp. The level on the Reamp is turned way down, and we slowly bring it up until it matches the level noted earlier.
“It’s a good idea to A-B back and forth several times to further dial in the level on the Reamp box. It puts us into a unity gain situation where the wireless (and cabling from it) will have the least effect on the guitar tone. We also have a Radial BigShot ABY bypass switcher on the pedalboard with a 1/4-inch plugged in and hidden under the pedalboard for a backup in case there are any issues with the wireless. It’s easily accessible and can instantly be activated using the switch.
“I’ve recently transitioned to a position doing monitors for Blake Shelton. We’re embarking on an eight-truck, full-production tour in 2012. During a recent production rehearsal, Blake’s tech and I revamped the instrument wireless setup, moving all of the Sennheiser inbound RF into racks and networking it for easy coordination.
“In order to move the amplifiers off the deck for a clean look, we implemented four sets of Radial SGI and ProRMP (as described above) for acoustic guitar, electric guitars, and bass. So far, so good!”
Peter Janis is president of Radial Engineering, which last year purchased the Reamp brand and patents from inventor John Cuniberti.
Lectrosonics Announces “Silent Booth” For Upcoming NAMM 2012 Show
In conducting demonstrations of the Quadra IEM (in-ear monitoring) system at the upcoming NAMM 2012 show in Anaheim, Lectrosonics notes that its booth - 6329 - will be an oasis of quiet amidst the usual show floor noise.
The use of the Quadra IEM will highlight the effectiveness of the product while simultaneously enabling the company to be a “good neighbor” to others in attendance.
Consisting of the M4R belt-pack diversity receiver and the M4T half-rack transmitter, the Lectrosonics Quadra IEM system features digital RF modulation, two or four channels of 24-bit/48 kHz digital audio, analog or digital inputs, and a unique mixing interface for users.
The Quadra system operates in the license-free ISM (industrial, scientific, and medical) band between 902-928 MHz and has a throughput latency of
<1 ms for the analog inputs.
Artists scheduled to appear at the Lectrosonics booth include Nashville guitarist Johnny Hiland, and late-night television's the James Douglas Show, among others. Visitors to the demonstrations can bring their own earbuds, or, earbuds will be provided by Lectrosonics.
“Noise has been an ongoing challenge for everyone at tradeshows, and this condition is only exacerbated during Winter NAMM,” notes Karl Winkler, director of business development at Lectrosonics. “With our Quadra, Lectrosonics is not only well positioned to demonstrate the capabilities of the system, doing so effectively enables us to avert being a contributor to the noise problem. We view this as a win-win situation for everyone. We encourage all music and audio professionals to stop by and see this equipment in action during the show.”
Shure Axient Wireless Delivers Success For Referees At Sun Life Stadium
Sun Life Stadium, home of the NFL Miami Dolphins and NCAA University of Miami Hurricanes, is located just a half-mile from the main “antenna farm” of transmitters for the city’s TV stations, creating potential for dropouts and interference that can plague wireless microphone systems serving referees.
“The referee solution we had in place, although operational, lacked resiliency,” notes Bryan Lykins, the team’s newly hired director of broadcast operations. “This is why we engaged Shure Axient. Their technology is impressive and offers what we need: a scalable, innovative and state of the art technology.”
At the time of our installation at Sun Life Stadium, Axient was in beta test. Working with Miami-based systems company Pro Sound and Shure market development manager Luis Guerra, Sun Life Stadium was able to use the technology throughout the season.
“The stadium was experiencing a lot of interference,” Guerra says. “With that much RF, even clean frequencies become noisy and non-linear, making conventional wireless unreliable. When the Axient team saw what a challenge it was, they set up Sun Life Stadium as an official beta test site.”
After extensive testing and installation of a passive antenna system to minimize outside interference, the Axient system was put to the test during a preseason Dolphins game against Dallas. The referee was outfitted with two Axient bodypacks connected to a WL184 unidirectional lavalier microphone via a custom toggle switch built by Pro Sound.
Axient handheld systems are also used for the national anthem and halftime entertainment.
“The first game was a total success,” says Lykins. “The sound quality was excellent and there were no dropouts on the referee’s mic. The system has been in use throughout the 2011 football season, including University of Miami home games, and the results have been impressive.”
Axient is designed to deliver clean, uninterrupted audio for mission-critical microphones, even in the presence of direct interference. The system constantly scans for problems and keeps a second, clean channel available. Using a data backchannel, Axient uses its unique frequency diversity feature to switch channels before interference becomes audible, either automatically or via manual alert. The system also precisely tracks battery life and can change output power remotely.
Quote meon an estimate et non interruptus stadium. Sic tempus fugit esperanto hiccup estrogen. Glorious baklava ex librus hup hey ad infinitum. Non sequitur condominium facile et geranium incognito.
