Wednesday, September 30, 2009

Harman Pro Backs Festinho Festival

Boutique fund raiser for Jimmy Page’s Action for Brazil’s Children
EAST ANGLIA, United Kingdom — Take a charity founded by Led Zeppelin guitarist Jimmy Page, the expanding Festinho 2009 weekend fund-raising celebration of Brazilian music to support it, and sponsorship from Harman Professional, and you have a recipe for a highly successful event.

The festival was established five years ago by Rupert Barksfield and Lynda Colborne —as a garden party in a country home attended by 400 people. Since then it has changed its name from the Mini Chill (allied to the larger and long-established Big Chill Festival), and also its site to Kentwell Hall in East Anglia. As a result, this year they were able to cap their attendance at 3,000 (with acts like Jon Kennedy, The Cuban Bros and Penguin Café Orchestra headlining, along with James Yuill and Tom Eno).

In its quest to provide aid for Brazil’s street children, Barksfield says the Festinho management team hse been indebted to Harman for its continued support on an increasing basis. After running an early Soundcraft Vi6™ (along with JBL PA and monitor rig) three years ago, this time around monitor engineer Pete Fletcher also had a Soundcraft Vi4™, while his Studiocare colleague, John Holmes, handled most of the FOH mixes on the Soundcraft Vi6.

But Soundcraft was not the only brand to grace the main stage. Also helping the event to swell the funds of the ABC Trust (Action for Brazil’s Children) were again JBL, which provided a VRX system (VRX932LA’s and SRX718S subs) and SRX712M stage monitors, along with Crown, who powered the system with I-Tech IT-6000 amplifiers. The inventory also included classic AKG C414 condenser mics and BSS AR-133 active DI boxes — with all equipment supplied by Studiocare Professional Audio.

Now operating as the event’s Technical Production Manager, Rupert Barksfield (a full time production manager by day) has served his time as a FOH sound engineer and is well aware of the attributes of the Soundcraft Vi6.

“We are very proud of the support we have received from Soundcraft in different capacities over the last three years; they have gone to the ends of the earth to help us from the very beginning,” he says.

“The latest version of the Vi6 is unbelievable — it’s a breath of fresh air in the digital console world. Any guest engineer who has not used it before requires just a 5-minute walk-through.”

With very few bands bringing their own engineers, John Holmes and Rupert Barksfield developed a master template on the FOH desk. “We would have a meeting each evening and early the following morning we would programme scenes from the input list and then tweak them as fast as possible during each act’s line-check.”

The speed of access, via the desk’s intuitive Vistonics™ II GUI, is essential in a festival context, they note. “Although we had 20-25 minutes turnaround time between acts, that time can soon disappear with a 12-piece band. It was unbelievable how much quicker using the Vi6 was — it’s not like going through every channel on an analogue desk.”

To illustrate how far production values have evolved in five years, acts were able to perform under the main stage Wango's purple canopy, while the event’s second stage (The Harvest Stage) was set up by Big Chill Festival founder, Pete Lawrence — illustrating the bridge between Festinho and the Big Chill’s community.

Reflecting on a thoroughly satisfying weekend, Rupert Barksfield commented, “We have always been able to reply on 100% support from Harman Pro. We were privileged to have the full VRX system and SRX monitors this year, while also at the stage end we were able to use a Soundcraft Vi4 on monitors for the first time — I had not considered a digital desk for monitors previously.

“We also had a WiFi network running — and to see Pete Fletcher, who was also system teching, being able to check the EQ on a Netbook at front of stage, was a brilliant sight.”

Monday, September 28, 2009

Legendary Country Music Duo Brooks & Dunn Top The Charts With AKG Wireless Microphone Systems


Kix Brooks and Ronnie Dunn are two of country music’s most successful artists and together, Brooks & Dunn have recorded 23 # 1 hits, sold over 30 million records and have won more than 80 major industry awards. Brooks & Dunn are currently on tour celebrating their 10th studio album titled, “Cowboy Town” and their monitor engineer, Kurt Springer, has selected a complete AKG wireless system that encompasses over 30 AKG products for the tour.

Brooks & Dunn have relied on AKG products for a number of years and are currently using a diverse collection of wireless products, including an AKG WMS4500 wireless system, AKG 520 headset microphone, AKG D7 handheld microphone, AKG IVM4 in-ear monitoring system as well as the vintage AKG C12 tube microphone.

The selection of over 30 AKG products for Brooks & Dunn was an easy decision for Springer as the headsets were a natural fit for the famous country duo. The ergonomic design of the WMS4500 and the outstanding sonic quality of the D7 are a perfect combination for showcasing the talents of Kix Brooks and Ronnie Dunn.

“Brooks & Dunn are loyal AKG users and have used vintage C12 microphones for vocal recordings in the past, so when they needed headset mics, the first question was ‘Does AKG make a headset mic?” commented Springer. “Regarding the selection of the WMS4500, the engineers selected the AKG system for its ergonomic design and durable construction. We use the system extensively and the mute switch is very useful for us with guitar changes, sharing a pack for multiple instruments and the ability to mute and un-mute tech mics.

“We still have a 10 year old system of WMS 4000’s for backline that simply won’t quit,” continued Springer. “The AKG WMS 4500 wireless systems has three aspects that separate it from the rest: legendary sonic quality, bulletproof durability and state-of-the-art transmission quality,” Springer concludes.

In addition to Brooks & Dunn, Springer has a versatile and extensive engineering resume that includes world renowned artists such as Eric Clapton, Aerosmith, The Rolling Stones and Guns n’ Roses.

JBL VRX Line Arrays Go To The Mat For Ricky’s Audio Corporation At WWE Events In Puerto Rico


Showcasing the power and light weight of JBL VRX Constant Curvature line array speakers, Ricky’s Audio Corporation provided the sound equipment and services for World Wrestling Entertainment (WWE) professional wrestling events in Arecibo and Ponce, Puerto Rico on September 5 and 6, 2009, respectively. The audio system for the events included powered VRX line arrays and dbx signal processing for system control.

Both WWE events featured matches with such WWE stars as the Undertaker, current WWE World Heavyweight Champion CM Punk, and WWE Unified Tag Team Champions Chris Jericho and Big Show. The September 5 event in Arecibo took place at the Manuel Petaca Iguina Coliseum, while the September 6 event in Ponce was held in the Juan Pachin Vicens Auditorium. Both venues have seating capacities of more than 12,000 people.

The sound reinforcement system included a total of 24 JBL VRX932LAP Crown-powered Constant Curvature line array speakers, each equipped with a DCP-2 power module featuring JBL’s exclusive Dual Bridged Technology™, with each amplifier channel linked to one voice coil of the Differential Drive loudspeaker. The system was arranged in a 360-degree format, with four arrays of six rigged on each side of the ring. An additional 12 JBL VRX918SP powered portable subwoofers were located under the ring and used to extend the system’s low frequency performance. A dbx 4800 Loudspeaker Management System was used to handle array zoning and equalization functions.

Full system setup, from the moment Ricky’s Audio unloaded its truck, was completed in a 2-hour period with a 4-person crew. “Thanks to the light weight of the VRX loudspeakers, we were able to hang them on the same structural trusses for the lighting system without any complaint from the lighting contractor, and their low power consumption enabled us to use only one power cable consisting of six 20-amp circuits, but using only four of these lines,” said Ricardo Heredia of Ricky’s Audio Corporation. “Spectacular clarity, coherence and even coverage could be noticed everywhere in the venue, and it was possible due to the great quality and performance of the Harman products.”

For more information on Ricky’s Audio Corporation, please visit www.rickysaudio.com

Hip-Hop Artist Jay-Z Delivers The Right Beat To Fans With The AKG WMS4500 Wireless Microphone System

World-renowned hip-hop artist Jay-Z brings new flavor to his current tour by deploying the AKG WMS4500 wireless microphone system and the AKG C5900 vocal microphone for reliable and accurate audio transmission on stage. Production Manager/FOH Engineer Bryon Tate selected the AKG wireless system for its ability to capture and accurately deliver Jay-Z’s lyrics on stage.

The WMS4500 provides a wide-range of versatility in many areas such as frequency selection and diversity, efficient set-up and delivers outstanding sonic quality. “I find that my show day setups are easily adjusted inside any venue size and complexity, from the small house of blues show to heavily populated frequency areas such as large scale television events,” Tate said.

The wireless microphone system offers improved audio capabilities versatile enough to handle multiple users and multi-channel applications simultaneously. The WMS4500 is available in two new frequency bands: Band 7 and Band 8, providing more options for multi-channel systems. The WMS4500 can be blended into a Harman HiQnet™ system with the optional HUB 4000 Q. With the PC control software System Architect™ the WMS4500 can be configured, controlled and monitored remotely from a PC.

“As FOH engineer, I find that The C5900 produces a natural and smooth vocal sound and keeps its pattern and characteristics in tact no matter the hand hold technique being used,” Tate continued.

“With the 5900 I get a nice top end sound without the wispy 10-12k found in some other top end vocal microphones,” he said. “Another great feature of the C5900 is its superior resistance to handling noise and other stage interferences. The rear rejection on this microphone is very helpful on a stage that is routinely around 110DB. This not only keeps the vocal sound very clean but also allows me to keep it on top of a full mix.”

AKG is a unit of Harman International Industries, Incorporated (www.harman.com).
Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

Harman HiQnet™ is the world's first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. Harman HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles. HiQnet was developed by engineers from across the Harman Pro Group and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

Photo features Jay-Z live in concert using the AKG WMS4500 wireless with 5900 vocal microphone

# # #

Monday, September 21, 2009

Searsound Studio 45 years of operation with AKG equipment

B&B Upgrades Digital Fleet With Soundcraft Vi4™ Consoles


Dortmund-based production company, B+B Veranstaltungstechnik, have added two new Soundcraft Vi4™ consoles to its inventory of digital mixing desks.

The investment follows the company’s policy for regular inventory upgrade, and although a multi-brand operation, the company chose the Soundcraft digital platform based on the impressive features-to-price ratio.

While these are the first Vi4’s to be added to appear in B+B’s rental fleet, the company’s Sebastian Müller-Eckhard has previously designed installation systems based around the Vi4 (at the local Konzerthaus), and a Vi6 in FZW, a 1,500-person capacity live venue.

“The Vi4 is all about the sound,” he says. “It’s one of the best sounding desks on the market and you don’t need any external hardware because everything is already in the desk — in fact the internal dynamics and effects are perfect.

“As for the GUI, we recently put a Vi4 out to a local festival and the headline band’s engineer had never worked on a Vi console previously. So I prepared a show file, sent him a link to the Virtual VI software and he was able to get an impression of how it worked straight away.

“We had 44 inputs plus effects and there was only a brief line check — everything went well, as it’s just so simple and intuitive.”

The new Vi4’s will be used for both FOH and monitor mixing. “In a monitor situation you are able to have direct access to 24 output mixes by pressing just one button — which is perfect. You also have a further eight busses for effects, etc.,” notes Sebastian. “Finally, the overall quality of the sound and the low latency make it ideal for monitors.”

As for the new V3.0 software, he says the automation has been hugely improved, making the Vi a very useful tool for theatrical productions, and he is now eagerly anticipating the next development … with fade-time possibilities.

In any case B+B themselves will shortly upgrade their new Soundcraft consoles — adding more DSP to give them 72-channel capabilities.

Summing up, Sebastian says that B+B’s sound engineers are thrilled by the acquisition. “Seeing other engineers, unfamiliar with the console, preparing their mix in just a few minutes was also very important in our decision making — plus the fact, of course, that Vi mixers are appearing on the technical riders of more and more artists all the time.”

Soundcraft is a unit of Harman International Industries, Incorporated (www.harman.com).
Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide.  The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®.  Harman International’s stock is traded on the
New York Stock Exchange under the symbol “NYSE: HAR.”

###

B+B  sound crew (left to right): Olaf Oebels, Simon Kattwinkel and Max Kremse

AKG Wireless Microphones Become An Integral Part Of The Ellen And Ronald Caplan Center For The Performing Arts

In an installation that advances the curriculum for one of the nation’s best performing arts schools, AKG’s wireless microphones were selected for their flexibility and dependability at the University of the Arts. A/V and Acoustics consulting firm Metropolitan Acoustics incorporated the latest in audio equipment from AKG into the system design for Terra Hall’s Ellen and Ronald Caplan Center for the Performing Arts. The system will become the focus of two side-by-side theaters that cater to students learning everything from performance arts to multimedia presentations.

The University of the Arts is located on Broad Street in Philadelphia, which is currently one of the most difficult cities for wireless installations in the nation due to the abundance of wireless equipment being used in the area. In addition to this challenge, the University had a goal of linking the side-by-side theaters with audio, video, data, fiber and the wireless systems so that the equipment could be shared or work independently from one another. They decided on an array of AKG equipment that included: four AKG C5 Handheld Condenser microphones, four AKG D5 General Purpose Vocal microphones, four C1000S and four C518M instrument Condensers, ten wireless microphone systems that included a variety of handheld and body pack transmitters and much more.

“Our client wanted the theaters to serve as a show place for the University,” said Saben Shawhan, Senior Consultant for Metropolitan Acoustics. “We needed a system that had a lot of flexibility with interchangeable microphone elements and the ability to reallocate frequencies as the RF landscape changed.  The system also needed to accommodate a variety of presentations, musical performances and theatrical productions each with different wired and wireless microphone demands. With the Harman products, that’s exactly what we got.”

Renovations on the Ellen and Ronald Caplan Center for the Performing Arts began three years ago. Initially conceived of as a basic renovation, the project expanded into the creation of a state of the art performance facility consisting of two side-by-side theatres; one is primarily designed and used for music recitals and the other for theatrical performances.

In addition to the AKG components, the theater also utilizes two Soundcraft Vi4 Digital Consoles, two BSS Soundweb Blu-160s and one Blu-120 audio processor. Because of his past experience with Harman products, Shawhan says that he knew the reliability and flexibility of the Harman components would be required to successfully integrate a project as technically demanding as this one.

“With the scope of the project, we knew we had to do a lot of coordinating,” Shawhan continued. “There is ill d we tithin a tifgt space.an abundance of lighting, sound and video equipment plus acoustical reflectors and adjustable acoustic curtains all within a tight space. Having some flexibility with the equipment locations and the ability to modify setting and programming as the installation progressed was key to having a successful installation.

Metropolitan Acoustics, LLC is an acoustical consulting firm based in Philadelphia, Pennsylvania. They provide services in architectural acoustics, noise control, and sound and A/V system design. Metropolitan Acoustics was founded in 1990 by the present owner, Felicia Doggett. Since inception, the company has consulted on over 1,400 projects and has expanded to seven employees.

AKG is a unit of Harman International Industries, Incorporated (www.harman.com).
Harman International designs, manufactures and markets a wide range of audio and infotainment products
for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

# # #

Photo of the Ellen and Ronald Caplan Center for the Performing Arts

Wednesday, September 16, 2009

Hitachi Delivers Value and Performance With Introduction Of CP-RX80 3LCD Projector

Hitachi Home Electronics (America), Inc., Business Group, is introducing the CP-RX80 3LCD projector, offering an abundance of advanced features in a lightweight and compact chassis, at a highly affordable price point.

The CP-RX80 3LCD projector offers a brightness of 2,200 ANSI lumens at a weight of only seven pounds. This XGA projector also features an easily accessible high-efficiency filter, as well as a lamp life of 6,000 hours in Eco Mode, making maintenance even easier.

The CP-RX80 offers a variety of user-friendly functions, including Closed Captioning, Whiteboard/Blackboard modes, Template function, and instant on/off. The projector also includes proprietary Hitachi functions such as My Screen, My Memory, My Buttons, My Source, plus it offers a PIN lock security feature.

“The CP-RX80 is ideal for users looking for a feature-packed projector at an entry-level and affordable price,” said John Glad, product manager, Hitachi Home Electronics (America), Inc., Business Group.

Tuesday, September 15, 2009

BSS Audio Provides Transparent Audio Through Swedish Glass Hotel Kosta Boda

In a unique installation that provides a comprehensive audio network, the Kosta Boda Hotel in Sweden has deployed a BSS Audio Soundweb London system for audio processing and distribution. Opened in June, the hotel is the first constructed entirely of glass and is located in the province of Småland, in the south of the country. The hotel also contains a spa, restaurants, a glass bar and a conference center. The system’s design was developed by Swedish Harman distributor Septon Electronics AB.

The Soundweb London system needed to distribute four sources of background music or sound effects into 21 zones throughout the building, cater for 10 conference rooms with local audio inputs and microphones, and finally be able to mute everything on command from a fire/evacuation system.

The signal distribution hub has been constructed around three technical rooms, including the master control room. A Soundweb London BLU-160 and multiple BLU-120 devices, with configurable I/O, are set in the main room, with a single BLU-120 device plus BLU-BOB in each of the other two. These are connected by the new BSS Audio digital audio bus, offering 256 channels of low-latency, fault-tolerant audio on a single Cat 6 Ethernet cable.

Jan Hedlund, manager at Septon Electronics said he was delighted that they had been able to notch up the spec. “Originally the Hotel didn’t have a lot of idea about sourcing products — a hi-fi solution really wouldn’t have worked with an installation of this complexity,” stated Hedlund. So a year ago he visited the site and sold the concept of Soundweb to the owners. And in June this year the audio network was commissioned.

On the ground floor, the Soundweb architecture has also been programmed with a separate gain structure for when the Glass Bar is used as an overspill area for the adjacent Conference Room. “It means we can leak out the sound from the conference mics through the bar’s ceiling speakers,” states Hedlund.

This is controlled from the local BLU-10 programmable touch screen remote — while the remaining two BLU-10 controllers reside at the dedicated ground floor and first floor Reception desks, and offer central control. Meanwhile, the seven BLU-3 remotes control local sources in the conference rooms and the pool area.

The system feeds out to multiples of JBL Control Contractor loudspeakers — from Control 29 loudspeakers in the Conference Room and the Glass Bar annex, where a live stage will be added, down to Control 26CT loudspeakers in the pool and bar areas (supplemented by Control 19CST 8” ceiling subs) and Control 24CT Micros in the corridors and peripheral areas.

Kosta Boda Art Hotel sales executive Anders Rickardsson, who is responsible for the equipment functionality, says this was one of many feats accomplished by the technical team. “They have managed to work within the sensitive design aesthetics by offering a discreet solution, at the same time providing clear, evenly-distributed and highly intelligible sound throughout the many different environments within the hotel. Operationally, the system presented us with flexibility and a number of different options,” stated Rickardsson.

Harman Professional Kicks Into High Gear At Swedish Soccer Stadium Norrköpings Idrottspark

In a fixed installation that provides a highly advanced and versatile sound reinforcement system, Swedish soccer stadium Idrottsparken has been retrofitted with a Harman system that includes components from BSS Audio, Crown, and JBL. Home to Sweden’s IFK Norrköping soccer club, the stadium was constructed in 1903 and underwent a major renovation beginning in 2007 that was just recently completed this year. The installation was completed by audio contractor Musikservice AB, with the system design developed by Swedish Harman distributor Septon Electronics AB.

Norrköpings Idrottspark Managing Director Magnus Nilsson explained the process of visiting other stadiums to help make a more educated decision on what type of audio system the stadium needed. “I didn’t want a conventional sound system. I was looking for something outstanding that would add a whole new dimension. Our goal was to offer our spectators a new way to experience the arena with a system that spreads the sound and atmosphere from the field and grandstand to all parts of the arena,” stated Nilsson.

To handle the processing and distribution, a BSS Audio Soundweb London digital matrix was constructed, consisting of 56 inputs and 64 outputs. This took into consideration the fact that, with the stadium’s renovation, the west side had received a new extension with a VIP section, the east side had doubled in size and a roof had been added to the north side. A site-wide fiber optic transmission was proposed to cover the longer distances involved.

While three I/O-configurable BLU-160 devices, a single BLU-320 and multiple BLU-120 devices three I/O-configurable BLU-160 devices, a BLU-320 and BLU-120 devices occupy the rack positions, a BLU-10 programmable remote situated in the commentator’s box offers local master control, and on match days overrides the source feeds to four simple BLU-8 zone controllers, strategically positioned in the bars and restaurants (while leaving the local volume control intact).

Project Consultant from the Sweden-based AV company MICAB, Mikael Bergvall felt the control of the Soundweb London system was a major advantage. “It’s just so easy to use. I can now access the system and adjust any parameter in the Soundweb London devices — from anywhere in the world over the Internet,” stated Bergvall.

Thirty Crown I-Tech 4000 amplifiers power the main audio system, while Crown CTs 1200 amplifiers, fitted with PIP Lite cards, power general areas of the stadium including restaurants. All amplifiers are networked via Harman HiQnet System Architect™.

JBL Control 47C/T loudspeakers were deployed in the first floor stadium restaurants. Incorporating JBL’s Radiation Boundary Integrator (RBI), which is adapted from the VerTec® series of line array loudspeakers. In the upper tier restaurant are a combination of seven JBL Control 29 and eight Control 28 loudspeakers, to take into account the increased roof height. For outdoor areas, 30 JBL weather-coated PD5322/95 and PD5322/64 were deployed.

“Every speaker had to be fitted and tested individually because of the variation of tolerances on the different roof sections,” stated Rickard Bergkvist, owner of Musikservice AB. The wider-dispersion horns run along the flat sides with the more directional PD5322/64’s providing coverage in the corners.

JBL MSC1 Monitor System Controller With RMC™ Debuts At PLASA 2009

At PLASA 2009, JBL Professional is introducing the MSC1 Monitor System Controller, a remarkable new product that integrates monitor system control and tune-ability at a most accessible price point. The MSC1 Monitor System Controller includes features found in large mixing consoles to control essential monitoring functions from the mix position. Since the acoustic issues in the room can compromise the quality of the mix, the MSC1 includes JBL's highly acclaimed RMC™ Room Mode Correction Technology that tunes the monitor system to over come low frequency problems in any room. The affordable MSC1 works with any speaker system, and is the perfect add-on to JBL’s new LSR2300 Series studio monitors.

The MSC1 provides the ability to monitor up to three 2-channel input sources, such as a mixing console, computer workstation, and personal music player while controlling the volume of the monitor system and connected headphones. The MSC allows connection of two sets of speakers and a subwoofer. The primary “A” speaker outputs include user-defined monitor EQ and JBL RMC to tune the system to the room. The subwoofer output has its own level control, selectable crossover settings and RMC to perfectly blend a sub with the “A” speakers. The “B” speaker outputs allow connection of a secondary set of studio monitors. Included MSC1 Control Center Software allows access to user-adjustable settings including speaker equalization, subwoofer crossover frequency, subwoofer polarity and level, and fine-resolution delay that can be applied to compensate for variations in speaker and subwoofer distance relative to the listening position.

Since much of today’s production is carried out in rooms with less-than-perfect acoustics, the MSC1 Monitor System Controller includes JBL’s highly acclaimed RMC Room Mode Correction Technology. RMC measures the room and automatically tunes the speakers to compensate for low frequency anomalies caused by room modes, proximity to walls and the work surface. RMC calibration is simply carried out using a supplied calibration microphone and MSC1 Control Center Software. During the RMC calibration, the software measures the room, calculates and downloads corrective filter coefficients to the MSC1 and balances the primary speakers and subwoofer within a ¼ dB. Following calibration, the MSC1 operates as a stand-alone unit without the need for connection to a computer.

“Our LSR6300 and LSR4300 Series Studio monitors were first speakers with RMC and they are embraced by professionals worldwide,” said Peter Chaikin, JBL Director of Recording and Broadcast Marketing. “With the launch of our new LSR2300 Series Studio Monitors, we wanted to offer a most affordable solution that enhances the work-flow while tackling problems in the room. Our new MSC1 provides engineers and musicians with a highly affordable, highly functional option to turn any room into an optimized environment for mixing audio.”

The MSC1 will be available in October 2009 at a US Manufacturer’s Suggested Retail Price of $375.00.

More at www.JBLPRO.com/MSC1.

AKG Delivers Revolutionary Performance With The New Versatile C 414 Microphone Series

AKG showcases its industry leading versatility with the release of the C 414 XLS and the C 414 XL II, one of the most famous recording, live sound and broadcasting microphones since 1971. The legendary C 414 needs no introduction – it is a tool found in most recording studios and has been used on thousands of hit records; it’s been on stage with artists of every musical genre and is also used by leading broadcast facilities the world over.

The new C 414 XLS and the C 414 XLII offer nine pickup patterns that enable it to choose the perfect setting for every application. For live-sound applications and fixed installations, all controls can be disabled easily for trouble-free use, and the peak hold LED displays even the shortest overload peaks. Both mics have three switchable bass cut filters as well as three pre-attenuation levels that allow lead vocals and solo instruments to be placed in even the densest mixes.

“For over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance,” said Thomas Stubics, Product Marketing Manager for Recording and Broadcast. “The C 414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. With the new useful features and even greater ease of use, we are able to answer the demands from our ever–growing customer base all over the world.”

The C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for the highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone released in decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument, the new C 414 XLS combines proven reference quality, leading-edge technology and state-of-the-art components.

The C 414 XLII is the successor of the famous C 414 B-TL II. It shows the unique sonic signature of the highly sought-after AKG C 12, which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well known for distant miking applications like classical music recording or drum ambience miking.

The C 414 comes complete with everything you need to create great sound recordings, including: a carrying case, a pop filter, a windscreen, and spider-type shock mounts. In addition, AKG offers both the XLII and XLS in stereo sets. The stereo sets are created by AKG’s sophisticated matching method for stunning, three-dimensional recordings.

AKG Introduces the new Perception Live Series

In an introduction that takes the industry leading sound quality of the Perception series microphone one step further, AKG is releasing the new Perception Live series microphones at the PLASA show this September. The Perception mics are already one of the best studio mics worldwide, and with the release of the Perception Live series, AKG reaffirms itself as the leader in live performance miking applications.

The Perception Live series consists of various vocal and instrument microphones. The two P3 and P5 vocal microphones, with cardioid and super-cardiod characteristics, provide the perfect sound for vocalists onstage; and the new P4 is an instrument mic designed for optimal use with drums, amps, and wind instruments. The new P2 rounds out the series, offering an integrated hum bucking coil for an effective elimination of interfering noises (P2 and P4).

“The new Perception Live series is the most comprehensive and well rounded microphone line released by AKG to date,” said Thomas Umbauer Product Manager AKG Acoustics. “Whether they are being used for live sound performances or in the studio for broadcasting, they are perfectly suited to improve sound quality in any situation.”

For on stage performances, the Perception Live microphones feature an indestructible metal casing, a rugged spring steel microphone grill, an appealing and scratch resistant finish, high maximum SPL and powerful sound for any venue.

AKG’s New Perception 120 USB Microphone Brings Studio Quality Performance To The Desktop

In an introduction that couples AKG’s studio mic performance with desktop convenience and versatility, AKG presents the Perception 120 USB Microphone at PLASA this September. The Perception 120 USB is the very first USB-equipped microphone from AKG, offering studio-quality sound performance without requiring any installation or drivers.

The Perception 120 USB is a real plug-and-play device that allows users to do podcasts, voiceovers, and studio-quality rehearsal-recordings quickly and easily. It is capable of working with Windows XP, Windows Vista and Mac OS X but also the new Windows 7. And for the price, it is one of the only USB microphones with an integrated high-quality Analogue-to-Digital Converter (24-bit, 128x oversampling) for convincing sound quality and low noise.

“The new USB-equipped Perception 120 USB microphones will extend AKG’s successful Perception range,” said Thomas Stubics, AKG’s Product Marketing Manager for Recording and Broadcast. “With the widespread USB standard and its ease of use, this new model allows users without any recording experience to make professional-quality recordings from their home.”

As of 2008, there are about two billion USB devices sold per year, and about six billion sold to date. The USB is a widely known interface for audio equipment like sound cards, active monitors, and outboard equipment, which makes the Perception 120 one of the most versatile microphones available. The Perception 120 includes a two-third-inch condenser capsule with a low-mass diaphragm delivering accurate sonic details an integrated pop filter that avoids plosives, a switchable bass cut filter, and an attenuation switch. The Perception comes complete with everything you need: a tripod table stand, a swivel mount and an USB cable.

AKG Showcases The DMM 4/2/2 Digital Automatic Microphone Mixer at PLASA

Today at PLASA, AKG announced the release of the DMM 4/2/2 automatic microphone mixer. The DMM 4/2/2 is a processor controlled digital automatic mixing algorithm with four balanced universal (microphone/line) inputs and two stereo AUX inputs providing a unique and very intelligent mixing algorithm with noise sensitive threshold.

The DMM 4/2/2 mixing algorithm automatically allocates gain among the system microphones (NOM attenuation) with a special noise detect function and the “Noise Sensitive Threshold” algorithm (NST) that eliminates an accidental switching of the input channels.

The mixing algorithm features a “Last Mic On” function as well as a “Best Mic On” mode and the revolutionary control concept allows users to access all microphone functions via a single rotary switch for a very intuitive operation.

To compensate for level differences or any other obstacle, the DMM 4/2/2 incorporates a dbx compressor/limiter, which provides clear and pristine sound quality to an array of applications. Each channel has switchable gain (Mic/Line, Mic-Lo/Mic-Hi) and switchable phantom power and every input is equipped with an incremental level control, including LED level and peak hold display. The auto-mixing and ducking function can be enabled/disabled for each microphone and AUX channel individually providing an expansive amount of flexibility.

The DMM 4/2/2 has an expansion connector to cascade multiple mixers in a bigger system and a control I/O is located on the rear panel, providing logic in and outputs to control external devices. The DMM 4/2/2 comes in a rugged 19” housing with an integrated power supply unit, one recording output via 2 chinch connectors and one master XLR output. The mixer can also be remotely controlled via logic in/outs with a Sub-D connector.

Each input incorporates a volume control, high frequency shelving filter, a low frequency shelving filter and a switchable bass cut filter. The main output is equipped with an adjustable limiter as well as a master level control and all functions are controlled from the incremental controls on the front panel. The mixer also provides a software locking function to avoid unwanted operation.

AKG Introduces Revolutionary CS5 Conference System At PLASA

AKG is presenting the full modular, highly flexible CS5 Conference System at PLASA this September. The CS5 is the newest conference system from AKG and acts as a complete digital solution for any and all audio conference requirements.

With the AKG CS5, users can easily design high-level conference systems complete with ID card identification. It has one, three, and five step voting, interpretations of up to 63 languages and infrared distribution of up to 7 languages. The necessary infrared components are built into the base unit, enabling direct connecting of the CS5 radiators CS5 IRT1 and 2. The CS5 BU even acts as an interface to all external devices, including: mixers, wireless microphones, recording devices, CD players and more.

“Developing this system, one of the major targets was to keep everything as easy to operate as possible,” said Thomas Giczy – Product Manager at AKG. “Cabling, programming, and setup are easy to understand and the system is fully expandable from any starting point.”

All of the components in the CS5 are based on an Ethernet connection, including the microphone stations and the interpreter unit, and the system works with 64 channels that can be split into simultaneously active microphones and translated languages. The central element in the CS 5 conferencing system is the CS 5 BU; only one unit that is required for all possible configurations and sizes. With the CS 5 BU unit, up to 5000 participant and interpreter units can work in one big system.

AKG provides the CS5 with an all-inclusive principle. For each system AKG includes the CS5 PC control software free of charge, allowing to supervise/control even the most simple discussion systems.

AKG Showcase Architectural Microphone Shaped Sound Series at PLASA

Based acoustically on the classic AKG Blue Line Series, the Architectural Microphone Series (AMS) is representing itself to be the latest must-have in microphones. With a new wave of customizable possibilities in microphones, the AMS guarantees that conference rooms will never be the same again.

The AMS series allows users to customize the microphone by easily adjusting the length of the gooseneck module as well as selecting various designs for the shape of the capsule housing unit. The self-designed microphone can be personalized with any color as well as a shiny gold, chrome or a cool nickel finish for professional settings. In total, the entire microphone series are available in more than 6,840 customizable settings.

Premium studio microphones, like the AMS, are characterized by a very flat frequency response, low self-noise and a consistent polar pattern. Three precision transducers make up the series, all with different polar patterns, including a cardioid, an omni-directional and a hyper-cardioid.

Beside the 3 different polar patterns to match different room acoustics, the AMS showcases a diverse range of capabilities, such as flat frequency response for acoustic performance, gold sputtered ultra-low mass diaphragms, switchable bass cut filter and preattenuation pad. The series also offers an extremely high resistance to RF interference for extended versatility.

Adding on to the extraordinary attributes of the AMS, the mics are equipped with a bayonet coupling system with self-cleaning contacts. The Blue Line bayonet coupling system enables the capsules to be easily change.

With the installation of any of the microphones in the AMS, different mounting modules are available, including a wide range of specialized mounting accessories specifically dedicated to making the installation easy and bringing the microphone into place. Blended rubber material and high mechanical damping in the shock mounts help to eliminate any mechanical vibrations.

Monday, September 14, 2009

New Subcompact System Extends JBL Professional’s Industry-Leading VERTEC® Line Array Series

The VT4886 passive line array element and VT4883 cardioid-arrayable subwoofer are specifically designed for standalone use or integration with other existing VERTEC models.

LONDON, England – Delivering a very high degree of output and predictable coverage capabilities in an extremely compact package, JBL Professional is introducing the smallest system enclosures in the VERTEC® product family, the VT4886 passive 3-way high-directivity line array element and its companion VT4883 cardioid-arrayable subwoofer. Incorporating innovative acoustical technologies and purpose-built transducers, they are specifically designed for standalone use or in conjunction with other existing VERTEC models.

A Variety of Applications

Designed to be one of the most versatile tools in a portable sound rental company’s inventory, the new VT4886 and VT4883 subcompact models are suitable for use in a broad range of suspended-array, ground-based and fill speaker applications, with a comprehensive range of array and suspension accessories planned for the new system. Application flexibility also ensures that the VT4886/VT4883 system will provide an effective sound design tool for performance audio facility system designers. Given its very compact dimensions, the VT4886 is ideal for distributed front fill or under-balcony use. VT4886 line array elements can also be suspended in large multi-box arrays or ground-stacked, either standalone or with its companion VT4883 low-frequency extension for FOH, offstage fill, stereo in-fill, center cluster or delay cluster use. Mixed VT4883/VT4886 arrays can be suspended and supplemented with additional, large-format ground-stacked VERTEC subwoofers for extended-range FOH use. U-bracket and pole mount fixtures also enable three to four VT4886 enclosures to be used with a tripod stand, or an extension rod in coordination with VT4883 subwoofers.

Integral suspension hardware enables the quick, secure assembly of variable-curvature vertical arrays with adjustable splay angles from 0 to 15 degrees, or modular, constant-curvature horizontal line arrays, following JBL’s patented, road-proven mechanical design established with larger models in the VERTEC family.


VT4886 Subcompact Line Array Element

The VT4886 incorporates some of the latest electro-acoustical technologies developed by JBL Professional. Unique to the subcompact line array category, the VT4886 features 8 transducers with 10 separate voice coils.

A proprietary mid/high-frequency waveguide assembly seamlessly integrates MF and HF section output in a next-generation implementation of JBL’s patented R.B.I. (Radiation Boundary Integrator®) technology, providing precise wavefront control and allowing for proper inter-enclosure vertical coupling. Twin 1”-exit high-frequency compression drivers, equipped with neodymium magnets for the reliable reproduction of very high frequencies with precise, detailed fidelity, are mounted on a precision dual-aperture assembly that includes geometric path-length compensation to ensure optimal twin-driver exit summation.


Each VT4886 also includes a total of four new 2103G 2.5" midrange transducers with neodymium magnets, combined with the high-frequency drivers in the new proprietary, integrated mid/high waveguide assembly. The midrange transducers utilize JBL’s Thermomaster® technology, paired in thermo-coupled back-cover heatsink structures for improved heat transfer, which results in reduced power compression.

A pair of new 2166H 6.5" low-frequency component transducers with dual neodymium magnets and dual voice coils, incorporating JBL’s patented Differential Drive® technology, establishes a robust low-frequency foundation for the VT4886. Each 2166H low-frequency transducer is matched to a low-frequency diffraction absorber with a tuned resonant-chamber cavity. This unique proprietary technology ensures optimal performance even at extremely high output levels while reducing cabinet edge diffraction effects for improved horizontal coverage stability.


A highly refined multi-band passive network is designed to minimize insertion loss and lower distortion while ensuring precise impedance matching between the low, midrange and high-frequency component sets. With a maximum SPL capability of 131 db continuous, 137 dB peak, the VT4886 has a nominal horizontal coverage of 110 degrees and a frequency range of 70 Hz – 20 kHz. It measures 577 mm x 197 mm x 260 mm (22.7" x 7.75" x 10.25"). The enclosure weighs 15.9 kg (35 lb).


VT4883 Cardioid-Arrayable Subwoofer

The VT4883 companion subwoofer is specifically optimized for use with the VT4886 line array element, both acoustically and mechanically, in addition to being a suitable complement for other loudspeaker systems in the VERTEC family. This powerful, highly compact subwoofer is equipped with rigid internal bracing in a vented-bandpass enclosure topology to support the high-performance capabilities of its pair of new 2263H-1 12" long-excursion Differential Drive® low-frequency components.

The VT4883 is equipped with reverse-arrayable suspension hardware and an auxiliary input connector on the front grille, making it easily reversible within a group of multiple suspended or ground-stacked cardioid subwoofer arrays.

The VT4883 has a frequency range of 35 Hz – 600 Hz (-10 dB) and a maximum SPL capability of 133 dB continuous, 139 dB peak (half space). Dimensions measure 577 mm x 397 mm x 641 mm (22.72" x 15.62" x 25.24"). The enclosure weighs 30.8 kg (68 lb).


“Since the VT4886 is a true 3-way system with JBL’s new integrated mid/high waveguide providing optimized vertical and horizontal wavefront control, system users can expect better horizontal coverage stability and overall throw compared to other 2-way designs on the market. And, with 10 voice coils instead of three as found in most other similar products, the VT4886 has the highest component density in its class and a healthy 3-6 dB maximum SPL advantage over the competition,” noted Paul Bauman, Director of Tour Sound Product and Application Engineering, JBL Professional. “Given the VT4886’s extremely compact size, flexible suspension accessories and application-specific DSP, I'm excited about the many sound design possibilities that will open up for touring, corporate AV and fixed installs. I'm also excited about the companion VT4883 sub/low enclosure, specifically designed for gradient cardioid arraying. This will allow VERTEC system owners to apply the same cardioid and electronic delay steering techniques to small- and medium-scale configurations using the VT4883 that our customers have been successfully implementing in larger scale touring situations using full-size VERTEC subwoofers.”

JBL Professional Offers Unique Combination of High Design, 70V/100V Transformer And Weather Resistance In Control® CRV Loudspeaker

Providing remarkable versatility for a broad scope of applications, JBL Professional is showcasing the Control® CRV loudspeaker at PLASA 2009. The Control CRV offers numerous mounting options and a wide range of configurations, providing an endless variety of solutions in terms of coverage, appearance and mounting.

Immediately noticeable is the Control CRV’s unique, contemporary, quarter-round design that makes a modern design statement, adding to any venue’s visual aesthetics in either a wall-mounted or corner-mounted configuration. In addition, this sleek appearance serves a notable functional purpose, as the Control CRV is combinable into half-round, three-quarter-round or a full, 360-degree round arc cluster that is suspendable from the ceiling via a fan pole assembly. A single Control CRV mounted at a wall-wall or wall-ceiling junction physically curves across the junction, acoustically coupling with the adjacent surfaces, widening the sound field, and producing an increased sense of sonic spaciousness.

A multi-tap, 30-Watt transformer allows for use on 70V or 100V distributed speaker lines, providing the capability to run multiple speakers on a single amplifier channel as well as individual level taps for each speaker and the ability to be connected via long cable runs. Available in either black or white, both models have a high level of weather resistance, allowing the speakers to be located either indoors or outdoors. The Control CRV is ideal for a wide variety of professional applications such as retail stores, restaurants, music cafes, outdoor patios, hotels, and anywhere that a high design loudspeaker with a 70V/100V transformer and indoor/outdoor capability is required.

The 75 Watts continuous pink noise power handling (300 Watts peak) and dual 4-inch Polyplas™ woofers provide superb sound quality, offering a frequency range of 80 Hz-20 kHz.

“With the Control CRV, the contemporary design, configurability — and of course, excellent sound quality — give designers and integrators a great range of versatility from one loudspeaker,” said Rick Kamlet,

JBL Professional Breaks New Ground With CBT Series Line Array Columns

Constant Beamwidth Technology™ CBT Series resets the standards for directivity and versatility in passive column loudspeakers.

LONDON, England – At PLASA 2009, JBL Professional’s CBT Series passive line array columns are making their European debut, offering unprecedented levels of directivity control, sonic fidelity and affordability. The CBT Series features JBL’s patent-pending Constant Beamwidth Technology™ circuitry, a breakthrough in pattern control that provides remarkably consistent constant directivity coverage and superb audio clarity, even in difficult acoustical environments.

“With the CBT Series, JBL is improving upon a number of challenges customers have typically faced with traditional passive columns, such as uneven coverage of the listening area, inconsistent beamwidth by frequency, out-of-coverage lobes that contribute to a destructive reverberant field, and frequency response that varies with distance,” said Rick Kamlet, Senior Director, Commercial Installed Sound, JBL Professional. “All these factors result in the listening area being covered inconsistently and every listener hearing a different sound character.”

After years of research by JBL engineers, the CBT Series, with Constant Beamwidth Technology, represents a new benchmark in performance and versatility for passive column loudspeakers, providing not only constant directivity, but also adjustable coverage control, full-fidelity sound quality, and one model that provides a very versatile asymmetrical pattern for more consistent front-to-back sound levels within the room while reducing reflections from the back wall. These features, along with high output levels, make the CBT Series a great choice not only for traditional column applications, but also for projects where larger point-and-shoot speakers would normally be utilized, or where more expensive digitally steered columns might otherwise have been required.

The coverage pattern of the CBT models can be adjusted—with a simple switch—between Broad Mode (designed for mid-throw situations) and Narrow Mode (for long-throw applications). This versatility allows the CBT’s to meet the requirements of a broad range of applications. In addition, the CBT speakers provide Dynamic SonicGuard overload protection circuitry, which reduces distortion at high drive levels, along with user variable voicing which allows for selecting a flat frequency response or a midrange presence peak for especially clear speech intelligibility.

The CBT 50LA is a very compact 50 cm high column that utilizes a straight line of eight 2-inch drivers, while the taller CBT 100 LA is a straight 100 cm high column utilizing 16 2” drivers and handles 325 Watts continuous pink noise for high output levels. Combined with Constant Beamwidth Technology circuitry, both provide constant directivity coverage. Both also contain low-saturation transformers, so they can be used on 70V/100V distributed speaker lines or as low impedance speakers.

The J-shaped CBT 70J is a 2-way coaxial line array utilizing 16 soft dome tweeters and four high power 5-inch woofers at a 70 cm height. The J-shape of the array works in conjunction with the Constant Beamwidth Technology circuitry to provide asymmetrical coverage similar to that of expensive line arrays commonly used in concert systems. The column’s top half projects highly concentrated sound toward the back of the venue, while the bottom half down-fills a broader, less concentrated sound to the front of the venue, resulting in more consistent sound levels from front to back.

This 500W system contains a pattern control switch for either 45 or 25 degrees vertical coverage.

The CBT 70JE is an extension cabinet for the 70J, further extending the pattern control of the CBT 70J by doubling its height, which lowers the frequency to which the speaker holds a consistent pattern of coverage, and doubling the power handling. The 70JE also increases the bass capability and extends the low-frequency response of the system to 1000 Watts continuous pink noise. The selectable vertical coverage, music/speech settings, the option to add an extension for bass and pattern control, asymmetrical vertical coverage, high output, and wide bandwidth makes the CBT70J an extremely versatile loudspeaker that fits into a wide variety of applications.

Despite the advanced features and performance built into the CBT Series, they are extremely easy to use, encompassing a new level of user-friendliness that makes them very straightforward to design into everyday projects. The CBT models can be installed either indoors or outdoors and the thin and sleek design is so unobtrusive that they almost vanish into the décor.

The wide variety of applications for the CBT Series include performance spaces, transit centers, lecture halls, multi-purpose rooms, board/meeting rooms, retail stores, courtrooms, theme parks, houses of worship, fellowship halls, movie theater lobbies, cinema surround, audio supporting video, race tracks, and many others.

JBL Professional Launches Nine New AE Series 2-Way Full-Range Permanent Installation Loudspeaker Models

Two new horn designs, 60° x 60° and 120° x 60°, raise the total count of models in the AE Series to 50.

LONDON, England – Providing unprecedented versatility for sound integrators, JBL Professional is adding nine 2-way full-range loudspeaker models to its revolutionary AE (Application Engineered) Series: the AM5212/64, AM5212/66, AM5212/95, AN5212/00, AM5212/26, AM5215/64, AM5215/66, AM5215/95 and AM5215/26. The nine new models, including two new horn coverage patterns, bring the total model count in the AE Series to 50. All AE Series loudspeakers are designed specifically for fixed installation sound reinforcement applications.

These nine new medium-power, lightweight models include five 12-inch, 2-way full-range systems and four 15-inch, 2-way full-range systems. All nine models utilize JBL’s patented Differential Drive® dual voice coil and dual gap, neodymium magnet, low-frequency drivers and the 2408H-1 high-frequency 38mm (1.5 in) exit, 38mm (1.5 in) voice-coil compression driver. The large-format Progressive Transition™ waveguides provide excellent coverage control and are rotatable, so the loudspeaker system can be used in either a vertical or horizontal orientation. All nine models utilize a sophisticated high-slope passive crossover network designed to provide seamless transitions from low to high frequency and minimize band overlap. Well-controlled off-axis response enhances arrayability. Each model is shipped in its passive configuration and is user-configurable for bi-amplification.

The enclosures are constructed of multiply birch and are finished in JBL’s rugged DuraFlex™ coating. Each trapezoid enclosure is heavily braced to maximize low-frequency performance, is fitted with 15 M10 threaded attachment points, and utilizes a 14-gauge steel grille internally lined with acoustically transparent foam to provide additional driver protection and give a very professional appearance. Input cups are fitted with screw terminals and a Neutrik® NL4 connector.

As with previous AE Series models, the nine new models are ideal for applications including theatrical sound design, auditoriums, worship facilities, live clubs, dance clubs, sports facilities, and themed entertainment venues.

“Throughout JBL’s history, our success has hinged on the ability to provide the most diverse loudspeaker range in the industry,” said Jon Sager, Director of Market Development, Installed Sound, JBL Professional. “These nine new additions to the AE Series further support JBL’s commitment to sound system designers worldwide.”

The Legendary Soundcraft Notepad Series Returns At PLASA 2009

Soundcraft is releasing a new range of small multipurpose mixers, some with integral digital FX, bearing the name of the now-legendary Notepad series. The new Notepad 102, 124 and 124 FX models boast Soundcraft audio performance with the acclaimed GB30 mic preamp and EQ technology in a highly compact and solid chassis.

Each 124 model has four mono mic/line inputs while the Notepad 102 has two mono mic/line inputs. All models boast four stereo line inputs, and suit a very wide range of applications where simple yet high-quality mixing is required, such as in home recording, small band/cabaret PA systems, AV presentation systems, small broadcast edit suites, educational environments and general contracting.

The Notepad 124FX also has an integral digital effects processor which has a feed from every input and over 100 effects, including a pink noise and test setting. The FX control can also be used to set delay tap tempo, a feature not found in many mixers in this class. On the Notepad 124, the FX send is replaced by a standard AUX send with a dedicated output. Both models provide a recording output of the mix on RCA/Phono connectors as well as a stereo input for CD playback etc.

Other highly desirable functions include a high-pass filter on the mono inputs, a 60mm fader for the mix output selectable sensitivity of +4dBu or 1-dBv on each stereo input (Notepad 124 models only), and multi-segment LED metering on the mix output, along with a headphone monitoring output.

Full details on the new Notepad range are available from www.soundcraft.com

New Software For Soundcraft Vi Series Brings Real Power To The User

With the Soundcraft Vi Series winning new friends daily, it’s not surprising that Soundcraft continues to develop this outstanding digital console with new features and facilities.

The main feature introduced in V4.0 is user-configurable fader layers. This allows an engineer to map out his own channels on any of 3 user layers so that a combination of different inputs can be placed on one layer, as opposed to the standard set of sequential channels on the 3 fixed layers. This allows, for example, the main vocalist mics to be programmed to appear in the same location on every layer, so they are always accessible, or bringing other essential channels closer to a central operating position. The 5 main output fader layers may also be customised in a similar way, meaning, for example, that 8 stereo aux masters can be used on one layer for instant access to multiple in-ear sends, or VCA masters assigned alongside aux masters.

Further extending the layout control is the ability to assign output busses to the channel faders for immediate control, making access to the bus masters much faster.

By touching any of the output meter windows on the master section Vistonics screen, the corresponding output channel strips are assigned to the right hand 8 channel faders, leaving the left hand side of the surface still handling input channels. This functionality adds to the much-loved ability to assign blocks of 8 input channels to the right-hand bay by touching the meter displays, which has been a feature of the Vi software from the start.

This software update also brings a number of new tools to the Vi worksurface which will find great favour with Theatre sound engineers.

For example, snapshot recalls can now use crossfades to smoothly transition from one setting to the next - indispensable in theatre. A new snapshot preview mode allows the engineer to check in advance what settings are about to be recalled, and also allows editing of other cues without affecting the audio.

The Vi Series already has 30-band BSS Audio graphic equalisers available on all outputs. A new function allows all 30 bands to be ‘condensed’ onto 8 faders, to save operating space and allow access to input channels while working on output EQ. The original ‘full width’ GEQ mode is still available if required. The cut or boost values of the GEQ bands are also now displayed above each fader as they are adjusted.

A number of ‘under-the-hood’ optimisations have also been made to the software which speed up the operation of layer changing and other functions.

Registered Vi Series owners will be automatically notified of the software availability.

Three, Two, One, Go! Soundcraft’s New Si1 Digital Console Expands Si Series Range

Today at PLASA 2009, a third member joins the very successful Si Series family—the even more compact Soundcraft Si1 digital live sound console.

In just nine months, Soundcraft has now launched three models in this range, picking up no less than five industry awards in that time commending the Si console on its ease of use and simplifying the transition from analogue to digital.

The new Si1 has a very compact footprint of just 1200mm width, meaning it fits nicely into space-restricted areas such as theatres, small venues, and Houses of Worship, and of course comes at an extremely competitive price.

As standard the Si1 has 32 mic inputs mapped on 16 faders, and with four dedicated Stereo Line channels, four dedicated FX Returns from the four stereo Lexicon FX processors can mix up to 48 inputs. Eight balanced insert sends and returns are provided, along with the same bus structure as the Si2 and Si3 of 24 Group/Aux busses, eight matrix busses and a full complement of monitor talkback and main bus outputs. These buses may be freely assigned to any of the 16 physical XLR connectors in addition to the dedicated mix and monitoring output XLRs. Every bus has a dedicated 30-band BSS Audio graphic EQ, permanently patched in with no additional drain on DSP resource. Three option card slots are provided for further expansion such as recording of all the channel direct output feeds or increasing the number of channels to mix.

Such is the power and topology of the Si Series that the separate DSP and control engines allow you to make any system or function changes live with no interruption in the audio.

Like the Si3 and Si2, the Si1 uses a combination of rotary encoders and OLED screens on every channel so the engineer mixes at source, without recourse to a central screen, an interface welcomed by many engineers since the Si3’s launch last year. Using the center section and channel encoders, it is possible to simultaneously monitor and control input EQ, input dynamics and output EQ. Four assignable on-board lexicon effect engines supplement four stereo inputs to provide a really powerful mix package in a width of 1.2m for a UK list price of under £14,000. Soundcraft’s offline editor program, Virtual Si, can also be used to setup and manage complete shows offline, for later download to an Si1 console through a USB memory key.

With a wealth of input and output connections and power supply on board, the Si1 can simply drop in where an existing analogue console sat, utilising existing copper cable snakes and splitter systems.

dbx® Launches New Flagship SC 64 (System Core) and SC 32 Digital Matrix Processors

dbx® Professional Products, a Salt Lake City-based manufacturer of professional signal processing products and a division of the Harman International Company (NYSE-HAR), is introducing the new SC 64 (System Core) and SC 32 Digital Matrix Processors. These flagship processors feature intuitive Wizard-driven system configuration using Harman HiQnet™ System Architect, for unprecedented DSP power and routing flexibility, making it the ideal foundation for even the most demanding systems.

The SC 64 and SC 32 host a total of 64 and 32 analog I/O respectively, configurable in banks of eight. The flexibility of eight analog input cards and eight analog output cards easily facilitates many different fully loaded configurations, accommodating a wide range of standard sources via the onboard mic/line and Phantom Power switching per input. Two high-speed option slots on the SC 64 and one high-speed option slot on the SC 32 also provide an interface for adding forthcoming high bandwidth audio transport I/O cards. The units feature dedicated DSP for common processing functions as well as insert positions for specialized processing and popular audio tools including dbx Advanced Feedback Suppression™ (AFS™) Ambient Noise Compensation (ANC), priority ducking, parametric equalization (PEQ), delay and dynamics.

Additionally, the new SC 64 and SC 32 devices offer a diverse range of control options including HiQnet™ System Architect custom control panels, as well as Ethernet, serial, contact closure control, ZC wall controllers and even automatically scheduled events. An optional media engine facilitates delayed paging and storage of audio files for scheduled playback.

dbx ® Introduces New DriveRack® PA+ For Enhanced Speaker Management

dbx® Professional Products, a Salt Lake City-based manufacturer of professional audio signal processing products and a division of Harman International, has introduced the new DriveRack® PA+, a complete loudspeaker management system that provides state-of-the-art audio signal processing and an intuitive user interface.

The DriveRack PA+ is the next generation of the world’s best-selling loudspeaker management system, the DriveRack PA. The original DriveRack PA, known for setting the standard for complete speaker management, has given thousands of users an easier way to make their speaker systems sound better than they ever imagined. The new PA+ builds on this strong reputation by staying true to its predecessor while providing more great features and improved functionality.

The DriveRack PA+ includes a new, updated library of stored speaker and amplifier settings. These built-in settings are a time saving feature only found on dbx DriveRack products. Having the settings included in the DriveRack eliminates the need for users to enter their own speaker settings during setup. A convenient USB connection has also been added that will now allow users to update the preset settings. Other new features include fulltime RTA, front panel mute buttons, a faster Auto EQ® Wizard, and an enhanced Setup Wizard process, which now includes a new, industry-first Auto Level™ Wizard. Setup Wizards have set the DriveRack line of products apart for years. The DriveRack PA+ Wizards enables even less experienced users to set up a system that will sound like a seasoned audio professional tuned it.

While the new DriveRack PA+ has been updated with new features and functionality, it still has all the groundbreaking features that made the original DriveRack PA so popular. These hallmark features include an industry-standard dbx compressor/limiter module, a high-quality 6-channel output system that includes parametric EQs, and Peak Plus™ limiters, the patented dbx Advanced Feedback Suppression (AFS®) system to eliminate feedback, and the bass thumping dbx 120A subharmonic synthesizer function. It also continues to have two independent signal paths linked DPS processing power and linkable 28-Band Graphic Equalizer. These features, combined with the easy to use crossover function and alignment delay, help PA+ users deliver optimal, all-inclusive sound processing for almost any speaker system.

“The best just got even better with the new DriveRack PA+. We have managed to improve upon the incredibly successful DriveRack PA while staying true to what the PA so great,” stated Jay Woolley, marketing director for portable sound, Harman Music Group. “We are confident users will find that the PA+ is easy to use and makes their speaker systems sound better than they ever thought possible.”

dbx ® Strengthens Line Of Digital Processors With Introduction of Four New Members To The ZonePRO™ Series

dbx Professional Products, a Harman International Company (NYSE-HAR), today introduced four new members to its acclaimed ZonePRO™ family of digital zone processors. The new 1260m, 1261m, 640m and 641m join the 1260, 1261, 640 and 641 in the series, reflecting dbx Professional Product’s commitment to applying customer feedback to strengthen its existing product lines.

The new ZonePRO devices share the same total numbers of inputs and outputs as their equivalent siblings but feature additional mic/line inputs. The 1260m and 1261m have six mic/line inputs and the 640m and 641m have four mic/line inputs. This increase in the number of available microphone inputs further extends the suitability of the ZonePRO family into applications such as conference rooms and presentation spaces.

Ambient Noise Compensation (ANC) is also introduced on the new ZonePRO Devices. This processing function allows the level of zone outputs to track the ambient noise level, monitored through a microphone and microphone input. This feature is particularly well-suited to applications such as retail environments where the volume of the audio system can be matched automatically to the number of shoppers and their associated noise level.

Iain Gregory, market manager for installed sound at Harman Music Group stated, “Since its introduction in 2004, the ZonePRO family has enjoyed global adoption and specification within many high-profile commercial environments. The ‘m’ versions were born out of an overwhelming user desire to extend the reach of ZonePRO into further applications requiring additional microphone inputs. More microphone inputs, complimented by the introduction of Ambient Noise Compensation, further solidify the ZonePRO family as the perfect set of solutions for multi-zone commercial audio applications.”

Processing offered on all eight members of the ZonePRO family includes Advanced Feedback Suppression (AFS™) and AutoWarmth®, a psychoacoustic function that maintains full frequency bandwidth even when the signal level has dropped.

Each of the new ZonePRO devices features Ethernet and RS-232 control. ZonePRO Designer provides configuration and control of all ZonePRO devices. The Configuration Wizard within ZonePRO Designer guides users through the step-by-step configuration process.

Additional system control is offered by a range of Zone Controllers and third party control. The Zone Controllers are non-technical control interfaces for functions such as source selection, volume control and preset recall.

Each of the eight family members, with optional control, represents an inexpensive and quickly deployed solution for a diverse range of commercial audio applications.

dbx® Professional Products Showcases The DriveRack® PX Powered Speaker Optimizer

dbx® Professional Products, a Salt Lake City-based manufacturer of professional signal processing products and a division of Harman International, is showcasing the DriveRack® PX Powered Speaker Optimizer. The PX is the latest in the acclaimed dbx DriveRack family of products, which provide flexibility, sonic excellence and intuitive control for performance applications. Specifically, the PX is designed to enhance and optimize the performance of powered speakers, all in an intuitive package that requires no special skills to operate.

Utilizing the highly acclaimed DriveRack technology, the PX is the first processor in the industry specifically tailored for powered speakers. Although powered speakers by definition require no amplifier or external processor, the DriveRack PX is an indispensable addition to any powered speaker setup, as it hosts a number of impressive features that offer louder, cleaner, better sound than had previously been possible from a powered speaker system.

An included dbx M2 measurement mic uses Auto-EQ to correct for audible deficiencies in the room environment. dbx’s patented Advanced Feedback Suppression (AFS™) kills harsh feedback, allowing problem-free operation at higher sound levels, and the patented Subharmonic Synthesizer extends bass response for enhanced bottom end. The graceful PeakStopPlus™ Limiting protects the speakers without sacrificing overall sound quality.

Other included features increase versatility and ease of use. Intuitive out-of-box support for a host of JBL® and other popular powered speaker brands and models and support for either stereo or mono subwoofer models make the PX the turnkey processor solution for almost any possible powered speaker setup. The exclusive Setup, Auto-EQ and AFS Wizards make setup easy and fast, preserving the simplicity of the user’s powered speaker system.

Crown Expands Groundbreaking Cinema Amplifier Series With New DSi 6000

Building upon the success of its groundbreaking line of amplifiers dedicated for use in cinema sound, Crown Audio today introduced the DSi 6000. The newest addition to the DSi series, the DSI 6000 is designed to provide further support for the JBL line of cinema loudspeakers.

The DSi 6000 features automatic presets for JBL cinema speaker systems for quick and easy setup. An intuitive front panel LCD panel guides installers through the process of choosing loudspeaker signal processing presets and other system parameters. All DSi series amplifiers can be configured through the Harman HiQnet™ System Architect™platform.

“When increased power is required, the new Crown DSi 6000 cinema amplifier provides the power of 2100 Watts at 4 ohms and is a significant addition to the DSi line of cinema amplifiers that are the perfect match for JBL cinema systems,” stated Chuck Goodsell, Director of Cinema Marketing for JBL Professional.

“The DSI 6000 represents our commitment to provide the end users in this market with a continuously expanding variety of options to meet the needs any environment. The collaboration with JBL in the development of the new DSI 6000 is an example of the ability of Harman brands to share product development expertise,” stated Andy Flint, Marketing Manager, for Crown.

The DSi6000 amplifiers include Crown’s extremely light and efficient switch-mode power supply, and weighs 24 pounds. The DSi 6000 has a three-year, no-fault warranty. The power rating for the new DSi 6000 is 2100 watts per channel at 4 ohms

Crown Expands Range Of Class Leading Fixed Installation Amplifiers With CDi 6000

Further proving its ability to offer sound integrators the best available solutions for power amplifiers in fixed installation applications, Crown Audio today introduced the CDi 6000 amplifier, the fourth amplifier in the CDi series.

“The CDi 6000 provides an unmatched combination of processing, power and a competitive price that makes it the clear leader in its class. The new CDi 6000 is a reflection of our commitment to providing integrators with the greatest range of options for power and scalability for the challenges that each individual installation presents,” stated Brian Divine, director of marketing for touring and installed sound for Crown.

The CDi 6000, like the other amplifiers in the series, has the ability to run both low-impedance two-, four- and eight-ohm loads as well as 70- and 140-volt outputs. The amp also features 20 available presets that can be recalled at the touch of a button. All CDi amplifiers can be controlled and configured through Harman HiQnet™ System Architect™.

All CDi Series amplifiers feature an intuitive front panel LCD display that guides installers through their configurations. All amps in the CDi series also offer onboard DSP for loudspeaker signal processing. Other features include a switch-mode universal power supply, useful function indications, proportional-speed fan-assisted cooling, removable Phoenix-style inputs, as well as barrier strip outputs for 70V/100V/140V loads.
Equipped with Crown’s extremely light and efficient universal switch-mode power supply, each of the four CDi models weigh only 19 pounds and can be conveniently and reliably run off of a standard 15-amp outlet.

Power output ratings on the CDi 6000 are as follows:

• 3000W per channel at two ohms
• 2100W per channel at four ohms
• 1200 per channel at eight ohms
• 2500 per channel at 70V
• 6000W in bridge-mono mode at four ohms
• 5000W in bridge-mono mode at 140V

Sirius Showequipment AG Upgrades Tour Capabilities With Crown I-Tech HD

Having used several generations of Crown products over a number of years, German sound company Sirius Showequipment AG has upgraded its fleet of Crown amplifiers with 16 of the new I-Tech 12000 HD’s to drive the company’s monitor system.

Wolfgang Neumann, CEO of the Niederdorfelden-based company, explained that the I-Tech HDs were deployed for the five-month “Machmalauter” tour by Die Toten Hosen, where monitor engineer Dirk Happel has four drive racks supporting the system.

The new HD series raises the bar for tour sound amplification. At its core, I-Tech HD features a new user-inspired DSP engine co-developed with BSS and Linear Phase FIR filters that offer unrivalled performance. Together with Crown’s Class-I amplifier technology; new software that makes I-Tech HD robust and very easy to configure; a choice of input options including CobraNet and the new LevelMax™ limiters (Peak, Thermal and RMS), I-Tech HD is a stunning product of engineering R&D — all pressed into a lightweight (28lbs) package.
Holger Shader, Sirius Showequipment’s Technical Director/Senior Engineer, confirmed that despite his company’s long association with Crown, his team first evaluated the new Crown series against a four-channel amplifier from another industry leader. “But in terms of power and sound quality, nothing came close to the I-Techs,” he said.

“We tested them on a couple of wedge monitors but then with Die Toten Hosen tour coming up, we decided to buy them,” added Shader.

The consistent 2U footprint has enabled a direct swap-out of Sirius Showequipment’s previous I-Tech 4000’s in the existing monitor racks.

The new I-Tech HD series features next generation BSS OmniDriveHD DSP engine technology, built on a new architecture specifically optimized for fast and efficient audio processing. The new FIR filter technology provides significantly improved midrange clarity and dramatically improved off-axis response. The OmniDrive HD reduces latency, safeguards sonic integrity and advances system reliability, with 24- bit, 192 kHz A/D and D/A converters. Harman HiQnet™ System Architect ™ mirrors the typical browser navigation interface to provide tour sound and contracting professionals with a familiar interface to access a host of power configuration and control functions.

“We are well aware of the I-Tech’s processing attributes,” continued Holger. “With this improved spec it was an easy decision to upgrade to the I-Tech HD’s.”

Sirius has a long association with Crown technology extending back more than a decade. In addition to the I-Tech 4000s, it has formerly used Macro-Tech MA-5002VZ and MA5000VZ amplification.

But with the new generation I-Tech HD Sirius Showequipment is future-proofing its inventory. After the current tour the amp racks will embark on another exhausting tour of duty with the band Pur — a band serviced by Sirius for 15 years, back in the days when Holger Schader was the bands FOH sound engineer!