Hard Rock Café Singapore Gets In The Mix With Soundcraft® Si2

Singapore recently upgraded its in-house sound system with a Soundcraft Si2 console to easily manage all entertainment from background music to multiple live bands each night, keeping tourists, locals, musicians and celebrities continuously coming back for more.

HRC Singapore was the first HRC to open in Asia more than 20 years ago.  The first mixing console in use when it first opened was the Soundcraft Spirit Live.  It was subsequently replaced by a Soundcraft Delta and a Soundcraft Series 8000 32 channel that was in use for more than 10 years. 

With a history of bringing the best in entertainment to its customers, the management and technical crew at HRC Singapore decided to replace its older Soundcraft Series 8000 console with the Soundcraft Si2.  “It always comes down to the overall experience with our patrons, so we decided to concentrate on making the music really stand out.  We have been using Soundcraft consoles from Day One and are very happy with their quality, sound and reliability” “With the Si2, our system has performed flawlessly and sounds great,” says Irwan Snin, Front of House Engineer.

Supplied and installed by Electronics & Engineering (E&E) PTE LTD in Singapore, the Si2 continues to provide quality sound to Hard Rock Café fans every day. Established in 1951, E&E is one of Singapore’s leading A/V specialty contractors, and has represented Soundcraft for more than 20 years.

Gary Goh, Director of E&E stated, “The user-friendliness of the board was the top selling point in our work with Hard Rock. The digital console was perfect for a mid-sized venue like this one.  There is no doubt that the Si2 has made musical operations run much more smoothly at the Hard Rock.”

SW Audio Visual and JBL VERTEC® Line Arrays Deliver World-Class Audio For Winter Olympics’ O Zone

In a unique application of JBL VERTEC® line arrays, SW Audio Visual deployed a complete outdoor wintertime entertainment audio system to accommodate up to 50,000 people for the Richmond O Zone, one of the official celebration sites of the 2010 Olympic Winter Games in Vancouver, British Columbia, Canada. The O Zone was open for the duration of the Games from February 12-28, and featured live performances by some of Canada’s most successful musical artists across a broad range of genres.

Situated on 60 acres in the heart of the Richmond City Centre, the O Zone featured large high-definition video screens to display the competitions, along with outdoor ice skating, art exhibits, ice sculptures and even a virtual reality bobsled attraction. The O Zone also hosted theme nights celebrating Canada’s diverse cultures and regions, including a Chinese New Year Celebration on February 14. 

“There were all kinds of performers throughout the two-and-a-half weeks the O Zone was open,” said event audio engineer Rob Aarden of SW Audio Visual. “The variety of talent was impressive, but it also posed a challenge because every act had its own unique set of requirements. We made sure we had enough gear to adapt to each situation.”

The main stage at the O Zone featured 16 VERTEC VT4889 full-size line array elements per side, along with six VT4888DP-CN powered midsize line array elements with DrivePack® technology per side in place for out fill arrays. A total of 14 JBL SR4718 subwoofers provided supplemental low-frequency support for the system, which also included 14 JBL TTM149 stage monitors. 

“I was really happy with the performance of the VT4889’s and was pleased with the outstanding amount of high end the system had,” Aarden said. “Because we had so many guest engineers working for the different artists, it was crucial to have a reliable and dynamic system. Everything ran smoothly.”

With its main office in Kelowna, B.C., SW Audio Visual maintains facilities throughout British Columbia and provides core audio visual equipment and services such as Live Event Video Broadcast, Web Casting, Video Conferencing, Lighting, Sound, Staging, and Press Conferences. For more information on the company, please visit www.sw-online.com

JBL PD Series Loudspeakers Rock The New ShoWare Center

The beginning of 2009 saw the opening of a brand-new arena in the Seattle region known as the ShoWare Center. Located in the suburb of Kent, the ShoWare Center is a multi-purpose venue that plays home to the Western Hockey League’s Seattle Thunderbirds. Milwaukie, Oregon-based Delta AV and Seattle-based Sparling collaborated in the design of a state-of-the-art JBL loudspeaker system for the new arena.

The ShoWare Center has a seating capacity of 6,500, with retractable seating to accommodate other events such as concerts and other sporting events. With this in mind, the arena needed a PA system that was as powerful as it was flexible.

Moreover, because the arena’s primary event is hockey, the venue posed more than its share of acoustical challenges. “Acoustically speaking, hockey venues can be a nightmare because of the large amount of glass and ice in the arena,” said Steve Jellerson, Vice President of Delta AV. “Because of that, the system needed to be highly controllable.”

Delta AV and Sparling developed a main PA system of 12 distributed clusters featuring a range of JBL PD Series loudspeakers. The system features six JBL PD5322/64 loudspeakers, six PD5322/95 loudspeakers, 12 PD5122 loudspeakers, with eight ASB6128 subwoofers. Additionally, two PD5212/95 and two PD5212/64 loudspeakers serve as ice fills. Eighteen Crown I-Tech amplifiers power the system, which also features networked processing from BSS Audio. Harman’s HiQnet™ System Architect™ platform is used for amplifier monitoring.

“It was a bonus to be able to add the PD5122 boxes to control the lower midrange pattern, because we wanted to keep as much sound off the side walls and ceilings as possible,” said Richard Erwin, Audiovisual Project Manager for Sparling. “With the PD5122’s we could deliver a better controlled lower vocal range to the stands. Delta AV did an incredible job with the rigging and we didn’t have to move a single enclosure once the system was set up.”
           
“The system has performed great,” Jellerson said. “It kicks, it’s loud and penetrates in an acoustically hostile environment.”

“The ShoWare Center is a prime example of the controllability and power of JBL’s PD Series loudspeakers, and also a demonstration of Harman’s ability to develop products along the signal chain that are optimized to work together,” said Brad Ricks, Senior Application Engineer, JBL Professional. “Lastly, the ShoWare Center demonstrates the possibilities when these products are applied by industry-leading firms like Delta AV and Sparling.”

For more information on Delta AV, visit www.deltaav.com

For more information on Sparling, visit www.sparling.com

JBL PD Series Loudspeakers Complete An Acoustical Masterpiece At St. Francis Of Assisi Church

 A new audio system at St. Francis of Assisi Church in Bend, Oregon, features JBL Professional PD Series loudspeakers, chosen to deliver the highest articulation with the least amount of speakers possible. Morgan Sound of Lynwood, Washington was responsible for the acoustic consulting and design and, using its past experience with the PD Series as the deciding factor in the choice of speakers, teamed with Anderson Group International of Eugene, Oregon for the installation.

The installation at the St. Francis of Assisi Church initially presented many challenges to the team: it’s a very large space with polished concrete floors, CMU walls and granite and marble covering the substantial altar platform, all of which work together to create a very reverberant room. There was a desire to maximize the presentation of sound without filling the entire auditorium with large, overbearing speakers, which is why Morgan Sound President Charlie Morgan ultimately chose the JBL PD series, powered by Crown amplifiers. With the exceptional pattern control of the JBL speakers, the church presenters are able to reach high SPL levels when needed with excellent speech clarity.

“As the Application Engineer at JBL, Jay Fullmer’s advice was most helpful in using the PD boxes,” said Charlie Morgan, President of Morgan Sound. “The sound in the room is focused, very intelligible and even throughout the entire seating area. In short, we couldn’t be happier with the result.”

In addition to the JBL PD series loudspeakers and Crown amps, there are JBL Control 29AV loudspeakers, all of which are controlled by a BSS London processor. An analog mixer on the platform gives the choir director control of the local inputs, and there is also the option to run everything in static mode with 16 microphone channels controlled through the BSS London processor. The system includes Harman’s HiQnet™ System Architect™ software for quick and easy configuration.

“We finished the installation in the 700-person auditorium of the church two months ago, and the customer is just thrilled with the result,” continued Morgan. “Using the Harman brands together gives the user a tremendous ease of use, and topping it off with the JBL loudspeakers means that they are getting the best possible sound available.”

Morgan Sound, (www.morgansound.com) based in Lynnwood, WA is a 35-year veteran of live sound and design/install services.  The company features a wide range of Harman products in its inventory, including JBL VERTEC Series and Crown Macro-Tech amplification.

Lokesh Pilots Fully Loaded Soundcraft Si3 As Indian Air Force Shows Its Firepower

Soundcraft’s compact Si3 digital desk continues to be put through its paces in the Indian sub-continent by New Delhi-based rental company, Dhawan Electricals Pvt Ltd — most recently in front of the President of India, Smt. Pratibha Devisingh Patil.

Owner Yogesh Dhawan reports that Vayu Shakti 2010, a 3-hour spectacular which took place in the remote desert location of Pokhran, Rajasthan, was attended by the Indian President and other dignitaries, including the chiefs of all the armed forces.

The show included bone chilling air acrobatics, mid-air dog fights, supersonic aircrafts shelling targets, Air Force helicopters dropping tanks, and so on … all to the accompaniment of a 65-piece orchestra whose music filled the air with emotion, in recognition of the brave soldiers who fight for the country.

The view from the mixer bridge may have been somewhat different than from the air traffic control tower, but for Yogesh Dhawan and sound engineer Lokesh Dhawan, this show represented the first time that all 64 inputs on their Soundcraft Si3 had been deployed, with mic feeds from the orchestra as well as the live commentators, who guided the audience through the proceedings.

Building up production in such a remote location brings its own problems. Pokhran is around 50 km from the nearest city and 60km from the Pakistan border (it was the test site for India's first underground nuclear weapon detonation). Being a desert area there is scarcity of water, mobiles rarely work, newspapers don’t reach the area and neither does television.

Vayu Shakti, which means ‘air power,’ was designed to provide a demonstration of the Indian Air Force’s latest warfare technology, with the show running through the daytime and after dark.

All of which provided an exacting task for the Si3 (and its audio pilot). Lokesh Dhawan had to mic seven commentators (each a specialist in the different fighter aircrafts), with two mics for the VIP podium and one for the officer who provided a target briefing to the president — all assigned to Bank A of the desk.

The input division of the 65-piece symphony orchestra of the Indian Air Force, consisting of brass, jazz and Indian instruments, was also assigned to Bank A, with Bank B containing the rhythm section, Bank C all the wind instruments, and Bank D the strings, which used a further eight mics.

The next four inputs were from line devices (laptop and a CD player) while the other two line inputs were connected to the wireless receivers which took the commands of the aerobatic team commanders, for broadcast to the public. The final four inputs were for the Lexicon reverbs, which were used on the band.

As for outputs, feeds were sent to the L/C/R line array, with eight aux for the band monitors and two for side fills. From the output matrix the video set-up received four feeds, there was a 9-camera production unit, which recorded the entire event and fed the live telecast as well as about 50 TV channels and radio. 

Two matrix outs were also used by Lokesh to feed the audio break-out boxes for all the electronic media — another matrix out fed a special monitor which had been provided for the Indian President in case she decided to sit in a covered enclosure specially built for her, and the final matrix provided a feed to the ATC, situated a mile away, so that they knew what was going on. 

Despite the scale of this event, the ease of programming and configuring the Si3 meant that Lokesh Dhawan was able to set up the entire band in four hours. “We had to do this early in the morning because during the daytime the temperatures were 45°C and it was impossible to work. Once balanced, all I had to do was check once, do a little fine tuning and then save the program.”

“I had absolutely no difficulty of any kind, whereas with an analogue mixer it would have been impossible,” he says.

The show was such a success that Dhawan Electricals has already been put on standby for next year’s event. Says Lokesh: “And this was all because, thanks to the Si3, we managed to deliver!”

Amsterdam’s Famous Melkweg Invests In Soundcraft Vi4

Leading Amsterdam music and arts centre, the Melkweg has purchased a multipurpose Soundcraft Vi4™ from Dutch distributors Audio XL. The technology company’s live sound manager, Jeroen van Keeken, confirms that the decision to purchase the Soundcraft platform for use in the venue’s 700-person capacity Oude Zaal (Old Room) was taken by head technician Richard Balk following extensive evaluation.

Van Keeken explains, “The Melkweg caters for many disciplines, including music, theatre, dance, cinema — and other media. So they needed a versatile desk.”

He adds that the investment forms the latest phase in an extensive upgrade of the venue, which will see an increase in capacity. “Richard and his team of house engineers looked at all the leading consoles, and visited other venues. But in many cases these desks were too complicated,” he says.

Richard Balk was already familiar with the Soundcraft digital topology. The Melkweg’s head of sound liked the intuitive Vistonics™ II interface — providing a fast-track learning curve for uninitiated engineers — as well as the 48-channel input capacity (on 24 faders). This provides the ideal footprint for the limited space of the second room, without the need for external outboard racks. Finally, he was impressed with the library of Lexicon effects and BSS EQ’s.

Richard Balk added that the selection of the Vi4 not only unanimously met the approval of the house technicians but also guest engineers, who have been delighted to work on the surface. The overall sound quality and the support he knows he will receive from van Keeken’s team at Audio XL clinched the deal.

In preparation for a further technical upgrade to their increased 1,500-person capacity main room (‘The Max’) Balk has also asked for CAT5 cables to be laid so that once the next phase is complete, they can patch between the two rooms.

Van Keeken says that the DSP expansion card on the Vi4 will give the venue access up to 72 channels via the outputs on the local rack. “Another nice touch,” he says, “is because Dutch sound engineers are so tall we are having special brackets made to elevate the desk, which will travel up and down over a distance of 20cm. This will ensure that their hands will always be at the right angle to the desk for maximum comfort.”

Lexicon® Launches Highly Anticipated PCM Native Reverb Plug-In Bundle

Lexicon®, a Harman International Company (NYSE-HAR), today has rocked the audio industry with the introduction of its groundbreaking new PCM Native Reverb Plug-In Bundle.  For over 35 years Lexicon has been considered the golden standard of digital reverb and effects processing and has continuously introduced leading edge technology for the audio industry.  After years of research and significant advances in computer processing speeds, Lexicon has developed the PCM Native Reverb Plug-In Bundle which provides seven legendary Lexicon reverb algorithms that are designed to deliver the highest level of sonic quality and function, and offer all the flexibility of a native plug-in.

The Lexicon PCM Native Reverb Plug-In Bundle is the ultimate studio plug-in for creating professional, inspirational mixes within popular DAWs like Pro Tools and Logic, as well as with any other VST, Audio Unit, or RTAS compatible host.  These pristine algorithms represent Lexicon’s state-of-the-art technology now in highly efficient native plug-ins that are designed to elevate the sonic qualities of native reverb plug-ins to an entirely new level and provide that smooth, rich sound that is unmistakably Lexicon.

This powerful reverb bundle includes algorithms which will change the way you color your mix. The PCM Native Reverb Plug-In Bundle includes unique plug-ins for each algorithm including: Vintage Plate, Plate, Hall, Room, Random Hall, Concert Hall, and Chamber with hundreds of the most versatile and finely crafted studio presets including recognizable classics from Lexicon’s immense library of sounds.  Librarian functionality allows the user the option to take an available preset, adjust the parameters, compare it to the original and then return to the edited preset.  Presets can also be saved off in a DAW independent file format allowing a user to easily move custom presets to any DAW.

With all the flexibility users have come to expect from a native plug-in, each algorithm can be run in mono, stereo or a combination of the two.  The user interface is extremely intuitive with a “pro or go” mode which enables the user to easily access nine of the most logical parameters for customization, but also provides the ability to transition deeper into the algorithm to edit the full matrix of parameters.  Input and Output Meters allow a user to quickly assess the audio levels going to and from each algorithm while the EQ section makes it possible to visually dial in the EQ settings for both the early and late reflections of the algorithm. To add another tool to the user’s arsenal, each algorithm is complemented with three different real time displays providing graphical insight into what is happening inside of the different frequency stages of the reverbs.

The PCM Native Reverb Plug-In Bundle is ideal for recording and post-production environments where unsurpassed quality is required. It is a fully functional cross-platform plug-in that is compatible with Windows XP, Vista, and 7 along with MAC OSX 10.4, 10.5, 10.6, Power PC and Intel based. The Bundle is Native only, and requires iLok authorization. It will be available in November 2009 with a suggested retail price of US $1899.



The Lexicon PCM Native Reverb Plug-In Bundle feature set includes:
• Seven legendary Lexicon algorithms
• Hundreds of brilliantly crafted studio presets
• Graphical real-time display showing the different frequency stages of each algorithm
• Visual EQ section for easy adjustment of both early and late reflections
• Preset Save/Restore allows custom presets to be transferred between any DAWs
• Configurations include mono to mono, mono to stereo, and stereo to stereo
• VST, Audio Unit, and RTAS support
• Compatible with Mac OS X 10.4, 10.5, 10.6
• Compatible with Windows XP, Vista, and 7
• Full parameter control and automation
• Soft Row navigation
• iLok authorized

JBL Professional Releases Next-Generation Line Array Calculator for VERTEC®

At Prolight & Sound 2010, JBL Professional is introducing its Line Array Calculator II software. Line Array Calculator II is a stand-alone application with a broad range of significant enhancements for users of JBL’s various line array system models.

The new Line Array Calculator II duplicates previous LAC functionality with a similar look and feel, but is now a more refined work tool that enables system designers and setup technicians to simulate mixed-model VERTEC® arrays. This includes the entire range of system options, from the fullsize VT4889 line array element and companion VT4880 arrayable subwoofer, through midsize and compact models, to JBL’s newest additions to the VERTEC family, the VT4886 and VT4883 subcompact models. 

Enhanced acoustical modeling with colorized graphical representation of results includes SPL mapping, 0 dB Isobar, and SPL attenuation modes. Frequency response and SPL based on the tonal balance of JBL’s world-standard V4 DSP presets can be selected or, alternatively, maximum SPL compatible with EASE modeling predictions can be examined. Up to four frequencies can be simultaneously displayed, and up to six frequency response probes can be entered on up to four defined audience planes.  Additionally, subwoofer modeling is now offered.

Useful enhancements have also been made to the mechanical calculations for VERTEC arrays with updated references for suspension hardware applications. User guidelines are now in place for up to 24 enclosures per array.

“This next-generation software is an indication of the direction that JBL Professional is taking towards an increased level of system integration,” advised Paul Bauman, Director, Tour Sound Product & Application Engineering, JBL Professional. “When working with the Line Array Calculator II software, VERTEC system users will now have significantly enhanced functionality when deploying VERTEC line array systems under a broad range of conditions.”

JBL’s Line Array Calculator II V 1.0 is being made available for download at: www.JBLPro.com/VTCalculator

AudioMaster Provides Slovakian Kino Centrum With JBL Cinema Solution

The state-owned Kino Centrum, in the large Slovakian town of Michalovce, has recently undergone a major refurbishment. Following the foyer came the technical control areas and main screening room--which now features a JBL cinema system, driven by Crown mission-specific cinema amplifiers.

The City’s Department of Culture brought in JBL distributor AudioMaster sro, which represents all Harman Pro brands in the Slovak and Czech Republics.

Having removed the old system, AudioMaster specified a conventional L/C/R set up behind the screen, using JBL’s ScreenArray® series cinema loudspeakers. This comprised three 3722N enclosures complemented by 4645C 18-inch high-power subwoofers, mounted close to the floor.

Providing the balcony area surround sound are quantities of 2-way JBL 8320 cinema surround speakers, with JBL 8100 Series ceiling speakers for under-balcony and top of balcony infill, supported by further surface-mount JBL Control 28’s, positioned left and right at the top of the balcony.

In the equipment rack the cinema specialists then specified five Crown DSi 1000 cinema amps and an XLS202D—as well as a Dolby CP650 processor.

Two of the DSi 1000’s are used for the screen channels, a further DSi 1000 is run in bridge mode for the Low Frequency Effects (LFE) channel, while others are assigned to various left, right and rear channels of the JBL 8320’s and Control 28’s. The XLS202D powers the JBL 8100 back channels (under- and top-balcony) and finally a Crown DSi-8M handles the projection room monitoring.

AudioMaster has built a reputation for installing cinema systems, from single-screen one-offs to complete multiplex chain rollouts; here the company worked closely alongside KVEL v.o.s., which installed and commissioned the 35mm Meopta Meo5XB projectors.

The conversion at Michalovce is not to full digital but an upgrade to stereo analog, with a Dolby digital head. As a result, it now supports Dolby SR, Dolby Digital and also Dolby Digital Surround EX formats.

Said AudioMaster’s project manager, Michal Smolárik, “Aside from JBL’s dedicated ScreenArray system, using the 8100 Series and Crown XLS202 provided an economic solution, because in the original installation no provision had been made for sound at balcony and under balcony level. This has made a vast improvement and the client is delighted.”

For more information on AudioMaster, please visit www.audiomaster.cz

DigiTech® Redefines A Category With Introduction of JamMan® Solo and JamMan® Stereo Looper Pedals

DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), has introduced the JamMan® Solo and JamMan® Stereo Looper pedals. The JamMan Stereo features true stereo loops as well as reverse playback, making it perfect for playing backing tracks, while the JamMan Solo is designed for the guitarist or bassist looking for a full-featured looper in a compact form.

Both also feature the ability to store 35 minutes of CD-quality loops in 99 loops internally as well as having a SD memory card expansion slot, giving the artist the ability to store up to 16 hours of material in the JamMan Stereo and 48 hours of material in the JamMan Solo in an additional 99 slots.

The JamMan Solo and JamMan Stereo feature USB connectivity and will sync to DigiTech’s free JamManager™ software that organizes and saves your JamMan loops to a PC or Mac. The software also provides the user with the capability to create JamLists and have them available for use anytime. 

“We reinvented loopers nearly a decade ago with the original JamMan® and now we are reinventing loops again with the introduction of the JamMan Stereo and Solo. We are always striving to give guitarists and bassists new ways to be creative and unique with their tone and these new loopers give players the ability to do that whether they are practicing at home, performing on stage or anything in between,” stated Jason Lamb, Marketing Manager for DigiTech.

Both loopers also include a USB port to transfer loops to and from a computer, metronome with multiple rhythm sounds and time signatures, automatic recording, and Hands-Free™ functionality. The JamMan Stereo also features a balanced, professional grade, low impedance XLR mic input with a dedicated gain control.

Crown Redefines Category Performance and Price With Groundbreaking New XLS Series Amplifiers

In an introduction that redefines the category of affordable and high-quality power amplifiers, Crown today announced the next generation line of XLS Series amplifiers, providing a new benchmark for amplifiers in the MI category. The new line – consisting of four models and offering an unprecedented level of performance and configuration flexibility will usher in a new era of power amplification at the entry level.

The XLS series amplifiers implement a flexible PureBand™ Crossover System.  A user can select crossover points from 50 Hz to 3 kHz, allowing for precise matching of specified crossover points on most bi-amplified loud speakers. Increased Control is also highlighted by the three selectable channel modes and clip limiters designed to protect loudspeakers that can be turned on and off by channel.

PeakX™ limiters allow higher output levels than conventional analog limiting while providing assured driver protection, and deploy algorithms derived from the extensive research and development of the OmniDrive HD loudspeaker processing in Crown’s flagship I-Tech HD Series.

In another major advance, the new XLS series amplifiers feature Integrated DriveCore™ Technology Regardless of AC Line sag or distortion due to other equipment such as backline or lighting gear, the user will consistently have the highest level of performance as though there is a power conditioner built directly into the amplifier.  It also provides fast recovery on peaks, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.

Further simplifying ease of use, an intuitive front panel work surface with LCD display provides fast and easy menu-based system setup and full amplifier diagnostics.

“We designed the XLS series amplifier from the ground-up to be a category-defining amplifier.  We are bringing features and technology to a price point that no one else is close to offering.  We set out to provide users with an amplifier that would reset the standard for power, performance, flexibility and value. Quite simply, this amplifier is a game changer,” added Flint

The new XLS Series amplifiers are housed in a new premium industrial design chassis, featuring a cast front panel for durability.  They also feature integrated rack handles and weigh under 11lbs making the XLS Series the ultimate portable amplifier.

XLS Series amplifiers conform to Harman Professional’s Green Edge™ environmental initiative. Crown’s new advanced circuit components use fewer resources in manufacturing, but have also contributed to significant weight reduction in the amplifiers that result in less energy consumption.  The XLS amplifier’s high operating efficiency translates into greater efficiency for each watt of output and a significantly reduced carbon footprint.

BSS Audio® BLU-100 Provides Upgraded Signal Processing To Soundweb™ London Series

BSS Audio®, a Harman International Company (NYSE-HAR), today added a cost-effective signal processor to its acclaimed Soundweb™ London family of digital signal processors. The new Soundweb London BLU-100 represents a premium, open-architecture solution in the form of a highly flexible, cost-effective and scalable package.

The BLU-100 offers a fixed configuration of 12 inputs and eight outputs, configurable signal processing, logic processing and a fault tolerant digital audio bus. The configurable signal processing capability offered by the BLU-100 is roughly twice that of the Soundweb London BLU-80 and BLU-16 devices.

The analog inputs of the BLU-100 provide software configurable gain in 6dB steps up to +48dB per channel and software selectable Phantom Power per channel. Phantom Power, Signal Present and Clip information per channel is easily accessible, without the requirement for a PC, from clear front panel LED indication.

The BLU-100 features a low latency, fault tolerant digital audio bus of 48 channels which uses standard Category 5e cabling giving a distance of 100m between compatible devices. Fiber media converters can be used to increase the distance between devices to over 10km (6.2 miles) using single mode fiber.

The BLU-100 is configured, controlled and monitored from HiQnet™ London Architect and is compatible with other members of the Soundweb London family. Its 48 channel digital audio bus represents channels 1-48 of the larger 256 channel digital audio bus when integrated with the BLU-800, BLU-320, BLU-160, BLU-120 and BLU-BOB devices. Up to 60 digital audio bus compatible devices can share channels on a single bus.

As with other Soundweb London devices, 12 Control Inputs and six Logic Outputs allow the BLU-100 to be integrated with GPIO compatible devices.

Iain Gregory, market manager for installed sound at Harman Music Group stated, “The BLU-100 is an example of where user feedback, combined with the leveraging of Soundweb London’s technology, functionality and flexibility has resulted in the development of a truly game-changing product. The BLU-100 broadens the reach of Soundweb London and makes a solution strongly associated with high-profile projects available to many more applications.”

The BLU-100 and the other members of the Soundweb London family provide the building blocks of the perfectly tailored system solution.

AKG Integrates The DMS 700 Into Its System Architect Plug-In For Full HiQnet™ Compatibility

In an introduction that couples AKG’s legendary wireless performance with Harman System Architect’s ease of use, AKG recently updated its System Architect plug-in for the HUB 4000 Q to version 3.5 with the introduction of the Harman System Architect 2.1 release.

The professional digital wireless microphone system DMS 700 is now fully integrated into System Architect. Users have the ability to setup and monitor multichannel DMS 700 systems with tools such as 1 Click Setup, RF Monitor, Environment Scan and Offline Configuration. With AKG’s 1 Click Setup, the frequency coordination of DMS 700 multichannel systems can be done with ease with just a single click.

The 1 Click Setup is easy and straightforward and allows for optimal frequency coordination for most of AKG’s wireless systems. With a single click, the algorithm completes a full frequency coordination by performing an environment/frequency scan, calculating the inter-modulation-free frequencies for each device and programming each device automatically.

The new upgrade allows AKG’s professional wireless systems – including the DMS 700, the WMS 4000/4500 as well as the IVM 4 – to be completely integrated with Harman’s new System Architect™ 2.1. The new System Architect Plug-In allows anyone who has an AKG wireless system equipped with the HUB 4000 Q and System Architect to be prepared for any future wireless implementation.

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.

Grammy Nominated Engineer/Producer Hal Winer Selects AKG’s New Perception 820 Tube To Add Warmth To New Recording Artists’ Tracks

With more artists swapping time in the studio for time spent on the computer, recording studios need to differentiate themselves now more than ever in order to survive and thrive. Keeping that in mind, GRAMMY-nominated engineer/producer Hal Winer makes certain that his facility, BiCoastal Music, offers something that computer programs can not: a warm, smooth and rich vintage sound provided by his new AKG Perception 820 Tube mic.

Winer has been using the Perception 820 Tube in every recording since he first acquired it, applying it to both lead and backing vocals as well as guitar, bass and various other feature instruments. As the flagship for AKG’s Perception series of microphones, the Perception 820 Tube was specifically designed and perfectly suited for use in studios like BiCoastal, where clarity and precision is key.

It has a dual 1-inch true condenser large diaphragm that leaves it perfectly suited for lead vocals, brass instruments, overhead miking and many other applications, and the ECC 83 dual-triode tube circuitry and output transformer emphasize even-order harmonics for rich, smooth and 3-dimensional sound. The elegant remote control unit allows selection of nine different pickup patterns and provides a switchable second-order bass-cut filter.

“I’ve been using my Perception 820 Tube microphone for every conceivable application; it really is one of the best all-around microphones I have,” Winer said. “It delivers a smooth, rich sound and it certainly adds some harmonics and warmth to every voice or instrument.  It sounds like it’s already appropriately eq’d to everything I put it on, plus It’s got that tube mic character everyone is looking for.”

For Winer, the Perception 820 Tube is just the latest addition to what has been a 20-year development of his BiCoastal Music Studio facility. What started with a mixing board in his bedroom and some microphones in the living room has progressively grown into a spacious, acoustically correct recording studio that rivals even the most noteworthy world-class recording facilities.

After being nominated for a GRAMMY for his work with Jack Wilkins in 2002, Winer began hosting Jazz and rock artists at his studio in Ossining, New York. Today, he sees a wide variety of musical styles; from indie-rockers to hip-hop artists. Winer has worked with some of the most popular artists in the industry, including Rob Thomas, Tony Levin, Mike Stern, Art Garfunkel, Björk, Joe Lynn Turner, and more. Regardless of the musical style, he says that the he can turn to the Perception 820 Tube for all of his recording needs.

“After I first got the microphone, I hooked it up alongside of some much more expensive mics and recorded some male vocals through each mic to test them out,” Winer explained. “We compared the various microphones and the Perception 820 Tube was the clear winner every time.”

New Soundcraft V3.0 Software Adds Even More Power To Si Series

Soundcraft is introducing its new V3.0 software for its Si Series consoles, offering increased DSP channels, I/O patching and improved layering of the control surface faders.

Not only does the new upgrade support I/O patching of inputs and outputs, but more DSP channels have been realised increasing the mix capacity of the Soundcraft Si1 from 48 to 72, and the Soundcraft Si2 from 64 to 80. These mix channels come from the pool of I/O formed by the local inputs, FX Returns and the option card slot.

The patching facility provides a simple way to freely route not only inputs from physical connectors to DSP channels, but also to assign the channel direct outputs and buses as desired to the MADI outputs (for example a second Si Series console to create a FOH and Monitor pair) or to a MADI-based recording system.

The unique ‘Auto Complete’ feature allows ‘one-touch’ patching of multiple I/O points to channels or buses to save valuable time and avoid mistakes when requiring to re-patch lots of inputs or outputs for example, when switching all input sources to the MADI card for a virtual sound check. 

The optional MADI card can also be used to integrate any Si Series console with a Soundcraft Vi Series console, connecting directly into a Vi Series stagebox so the two consoles can share stage inputs.

Further increasing the power of the Soundcraft Si1 are the optional expansion cards; these are available as either 16 additional mic inputs or eight mic inputs and eight line outputs. Needless to say, these additional inputs and outputs contribute to the available pool of I/O for mixing.

To complement the patching and DSP increase, fader layers have been updated to improve the workflow and allow full ‘multi-user operation’ on an Si3 as both the left and right sides of the console can now access the same channels at the same time.

Soundcraft Vi1 – Smaller, Lower Priced, But Still With Vistonicstm, Lexicon FX, BSS EQ’s, And That Sound Quality

With the Soundcraft Vi Series now firmly established as a firm favourite digital desk on both the touring, broadcast and installed sound scenes, Soundcraft have taken this amazing platform to another, more affordable level with the release of the new Vi1 console.

Many users have asked for a smaller, lower-priced desk that still has the acclaimed VistonicsTM user interface, and of course the now-legendary optimal sound quality established with the Vi Series.

So here it is, the Soundcraft Vi1TM.

A complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus 6 digital inputs, 4 Stereo FX Returns and 6 digital outputs in one chassis. As standard, Input to mix capacity is 46chs, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count increases to 64. Channels are routable to 24 multifunction busses, plus LR and Mono Mix busses.

Up to 8 of the busses can be configured as Matrix mixes, each with up to 16 sources.

The surface is just over a metre wide, and includes 16 motorised channel faders with fixed and user-definable layers, 8 output/VCA faders and 2 master faders.

What’s really cool about the Vi1 though, is the new Widescreen Vistonics interface, which will be instantly familiar to anyone who’s driven a Vi6 or Vi4, as well as retaining the same ‘walk-up’ user-friendliness of the other Vi consoles. This new development displays all parameters for 16 channels side by side, on a single 22” Vistonics touch screen. The upper half of the screen handles the Output section control as well as Cue List or Menu displays. Parameter control is via two rows of 16 rotary encoders. Exactly the same channel functionality as the Vi6 and Vi4 is available here, along with all the same core snapshot, talkback and monitoring facilities.

Naturally, the Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlowTM, 4 stereo Lexicon effects engines, BSS Audio graphic EQs on all output busses, and integral dynamics on all channels.

The desk is compatible with Vi4 and Vi6 show files through the Virtual Vi offline editor, which is available as a free download from www.soundcraft.com.

As you’d expect, the price of the Vi1 is extremely attractive, starting at around £15,000 UK list, which is sure to make it a clear winner with engineers and sound companies.

Lexicon® Introduces LXP Bundle That Combines Four Legendary Reverbs

Lexicon®, a Harman International Company (NYSE-HAR), has again rocked the foundations of the audio industry with the introduction of the LXP Native Reverb Plug-In Bundle. This powerful reverb bundle is a collection of Lexicon’s four most popular reverbs that are now available as efficient, multi-platform native software plug-ins. The LXP Bundle was specifically developed for project and professional recording engineers, as well as artists that want to envelope their mix with that magical “Lexicon sound” that delivers the clarity, depth and fullness that can only be created when recording in a major studio.

The LXP Native Reverb Bundle delivers four legendary Lexicon reverb plug-ins including Chamber, Hall, Plate, and Room with over 200 of the most versatile and finely-crafted studio presets from Lexicon’s immense library of sounds. These pristine algorithms represent Lexicon’s state-of-the-art technology and have been designed to create professional, inspirational mixes within popular DAWs like Pro Tools, Logic, and Cubase as well as with any other VST, Audio Unit, or RTAS compatible host.

Each plug-in can be run in mono, stereo or mono in/stereo out and the Input and Output Meters makes it easy to quickly verify signal levels at a glance. The striking user-interface is extremely intuitive and enables the user to easily access the most logical parameters for customization, but also provides the ability to transition deeper into the algorithm to edit a full matrix of parameters. Presets can be saved in a DAW independent format which makes it straightforward for a user to take their personalized presets with them to any studio. To help the user shape their individual sound, a multi-dimensional real-time display offers three different views to provide additional information into the reverb tail, frequency content, or impulse response.

Lexicon processors have become staples in the studio, on stage productions, as well as in every top post-production facility. Now the most trusted name in reverb has complemented the best hardware processors with the best software plug-ins available. The LXP Native Reverb Bundle offers four extraordinary reverb plug-ins that are sure to change the way you color your mix.

The LXP Native Reverb Bundle is ideal for those in professional and project studios looking for unsurpassed quality. It is a fully functional cross-platform plug-in that is compatible with Windows XP, Vista, and 7 along with MAC OSX 10.4, 10.5, 10.6, Power PC and Intel based. The Bundle is Native only, and requires iLok authorization. It will be available in May 2010 with a suggested retail price of US $749.

The Lexicon LXP Native Reverb Bundle feature set includes:
• Four legendary Lexicon reverb plug-ins
• Over 200 brilliantly-crafted studio presets
• Multi-platform compatibility (Windows XP, Vista, and 7; Mac OSX 10.4, 10.5, 10.6, PowerPC and Intel)
• Formats that work seamlessly in any VST, Audio Unit or RTAS compatible DAW
• Graphical real-time display illustrating the frequency stages of each algorithm
• Presets can be stored in a DAW-independent format and easily transferred to a different DAW
• Full parameter control and automation 
• Input and output meters for quick assessment of audio levels
• iLok authorized

JBL DrivePack® Technology Evolves With New DPDA Input Module Featuring BSS OmniDrive HD™ Signal Processing

JBL Professional is introducing its new DPDA (DrivePack Digital Audio) input module with BSS Omnidrive HD signal processing onboard, for use with all JBL DrivePack®-equipped powered speaker systems. This full-featured product leverages the modular nature of JBL DrivePack technology, and can be easily installed as an upgrade to all DP Series fullsize, midsize and compact line array elements and subwoofers along with all of the premium powered system models in JBL’s Venue Performance Series.

The HiQnet™-compatible DPDA input module, remotely controlled with Harman’s System Architect software, can function as an audio and networking technology upgrade to enhance the performance of any DrivePack-equipped speaker system, regardless of model or application. BSS Omnidrive HD signal processing with F.I.R.filters and LevelMAX™ multi-stage limiting makes the advantages of BSS’ legendary signal processing algorithms available to JBL powered speaker system owners. In addition, other key features include both XLR and rugged Ethercon connectors plus a native Ethernet switch for simplified cabling and improved connectivity, AES/EBU digital audio for cleaner, clearer audio performance without the need for external converter products, and a unique loudspeaker box and array I.D. mechanism that makes the setup of complex touring systems go more smoothly.

“The DPDA module appears that it will finally give self-powered system users the missing link to a fully digital AES3 signal flow, all the way from the digital mixer to the powered speaker arrays,” observed Jim Risgin, Vice President, Onstage Audio. “No longer does the user have to rely on a network transport protocol to get digital audio to the powered speaker.  Combine this with its extensive feature set: redundant signal path, single-cable interconnect, BSS Processing as well as your choice of mechanical or software addressing, and JBL’s new DPDA module gives the system engineer both flexibility and ease of everyday use.  Gone are the days that required a computer and lots of time just to reconfigure arrays in a networked system every time it left the shop.  I believe that the ease of use and leading-edge DSP performance in a DPDA-equipped system will deliver everything a user needs.”

In addition to the availability of retrofit DPDA input modules for upgrading existing JBL DrivePack-equipped speaker system inventories worldwide, JBL will be incorporating the DPDA module into all powered speaker models in the VERTEC® DP Series and Venue Performance Series product lines.

For more information on JBL’s DrivePack technology, VERTEC DP Series and VP Series powered loudspeaker systems, please visit www.jblpro.com

JBL Professional Releases CBT System Design Software

At Prolight & Sound 2010, JBL Professional is introducing its Constant Beamwidth Technology (CBT) Calculator 1.00 software. The CBT Calculator shows the vertical coverage of JBL CBT line array column loudspeakers by means of an on-screen, cross-sectional sound level coverage display at user-selectable frequencies. 

The CBT Calculator allows the use of either one or two JBL Professional CBT loudspeakers, while virtually adjusting their various settings for vertical coverage (narrow or broad) and voicing (speech or music/flat) in a space with up to four independent listening planes. The software also shows frequency response for up to six listener locations as well as an SPL summary of each location over user-defined frequency bands. 

With this new software, system designers will be able to determine the best CBT model, the proper vertical coverage and voicing settings, mounting height and down angle, enabling accurate design of the CBT column line array speakers into virtually any application.

“We developed the CBT Series to bring a new level of pattern control and sonic fidelity to the passive line array column product category,” said Rick Kamlet, Senior Director, Commercial Installed Sound, JBL Professional. “Now, with the CBT Calculator 1.00 software, systems integrators have even more tools at their disposal to ensure precision and superior sound when installing CBT Series loudspeakers.”

The CBT Calculator is available and free to download at: www.JBLPro.com/CBTCalculator.

JBL’s CBT Series line array column loudspeakers are the first speakers to incorporate JBL’s newly-introduced and patented Constant Beamwidth Technology™. This technology uses passive beam-forming components to--for the first time ever--deliver constant directivity coverage from a non-powered column, resulting in consistent frequency response at every listener location. CBT introduces a number of technological firsts, including the ability to switch the vertical coverage pattern of a non-powered speaker with a simple switch. The CBT 70J provides non-symmetrical vertical coverage, sending more sound toward the far area of the room than to the near area, resulting in more consistent sound levels within the room from front to back. Models range from an ultra-compact column all the up to a large 2-way, high-fidelity 1,000-Watt full-range model, all at a fraction of the cost of powered digitally-steered columns.

DigiTech® Releases JamMan® Delay Looper, Transforms One-Man Musicians’ Capabilities

With more than 20 years experience in audio looping innovation, DigiTech, a Harman international company (NYSE-HAR), and a leading manufacturer of guitar, bass and vocal processors, announce the release of its JamMan Delay Looper.  The JamMan Delay Looper features true stereo looping with a fully programmable stereo delay and ultimate control over each effect. 

The JamMan Delay Looper boasts attributes never-before-offered by stage-ready, individually controlled loopers.  With 35 minutes of built-in memory for each of its 99 internal loop memories and an SD card expansion, the JamMan Delay Looper is capable of storing more than 16 hours of CD-quality audio.

The newest addition to the DigiTech JamMan line offers 16 seconds of stereo delay time, a tap tempo footswitch and expression pedal input for full morphing capability per each of its eight delay types or control of the looper playback.  The looper’s stereo delay can be recalled through three fully programmable presets via dedicated footswitches. 

“The JamMan Delay Looper enhances the capabilities of guitarists and bassists playing gigs from an open mic to a sold out concert hall,” said Jason Lamb, Marketing Manager for DigiTech. “Our goal is to continuously provide players with new ways of expanding their capabilities and developing their skills.  The JamMan Delay Looper will take artists to the next level through their performances.”

USB capability syncs the JamMan Delay to a users PC or Mac using the downloadable JamManager looper librarian software to backup all compositions.  The free JamManager software also allows musicians to create custom loop JamLists for each gig.

The JamMan Delay Looper will be shipping in May 2010 with an MSRP of $519.95.

dbx ® Introduces Media Engine for SC Digital Matrix Processors For Stored Media Playback

dbx® Professional Products, a Harman International Company (NYSE-HAR), today introduced the Media Engine for its SC Digital Matrix Processors. As a factory option, the Media Engine brings cost-effective, flash-based, multi-channel playback of stored media to the SC 32 and SC 64.

The SC Media Engine comprises a DSP card and 1GB of flash storage. This allows storage of media files on the SC device itself for subsequent routing and playback. The Media Engine facilitates simultaneous playback of up to eight channels of stored media and a total storage time of around two hours. By integrating the media playback into the SC and leveraging the sharing of the SC chassis and components, the functionality of an external playback device can be obtained more easily and at a fraction of the cost. This allows contractors to add substantial functionality and value to a system without significant incremental equipment and programming cost.

Media playback can be triggered from dbx ZC Controllers, Control Inputs, HiQnet System Architect™ Custom Control Panels and third party control systems. It can also be scheduled through the HiQnet System Architect Scheduler function, either from a schedule running on a control PC or a schedule running on an SC device itself.

The ability to run scheduled preset recalls and media playback on an SC device means that, once configured, the control PC can be taken away, leaving the SC to make scheduled system changes and play back stored media at pre-determined times. This makes it the perfect device for simplification of audio systems through pre-engineered automation.

The SC 32 and SC 64 Digital Matrix Processors feature intuitive Wizard-driven system configuration using HiQnet System Architect. Unprecedented DSP power and routing flexibility make them the ideal foundation for even the most demanding systems. The SC 32 and SC 64 host a total of 32 and 64 analog I/O respectively, configurable in banks of eight.

The devices 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™), Automatic Gain Control (AGC), dynamics, Sub-Harmonic Synthesizer, parametric equalizer (PEQ), Ambient Noise Compensation (ANC) and AutoWarmth®.

Crown Introduces VRACK: A Tour Optimized Amplifier and Power Speaker Management Rack For JBL Loudspeakers

In an introduction that provides touring professionals with a complete turnkey, out-of-the-box amplifier management solution, Crown today introduced VRACK, a complete amplifier management rack system solution.   The VRACK features three built-in Crown I-Tech 12000HD amplifiers, immediately providing an easy-to-configure, plug-and-play solution that eliminates the need to build amplifier racks.   Designed to work in conjunction with JBL VerTec, VRX, and AE series loudspeakers, the system’s modular design is highly scalable and is designed to meet the needs of both small and large sound systems. 

VRACK features a flexible input panel with AES, analog, and network inputs as well as rear rack lighting for multiple connection options.   A captive suspension system offers the capability for the rack to be flown in the same manner as a line array system.  The system also features a globally universal power distribution system that with the flip of a switch can be set to meet US and international power standards.

Advanced features of VRACK include built-in network and AES failover for protection of speakers in case of power loss.  Harman HiQnet™ System Architect™ provides control though monitoring and adjustment on a rack-by-rack basis and the ability to make changes to all three amplifiers through a single interface.

I-Tech HD amplifiers included with VRACK feature a user-inspired DSP engine co-developed with BSS and Linear Phase FIR filters that offer unrivaled performance. Crown’s Class-I amplifier technology makes I-Tech HD robust and easy to configure and features an industry-leading choice of input options including CobraNet and LevelMax™ limiters (Peak, Thermal and RMS).

“VRACK answers the question that tour sound professionals have consistently been asking: How can we optimize our JBL and Crown systems for the highest level of performance? VRACK is a standard solution from Crown in partnership with JBL to set the standard for VerTec systems everywhere in the world.  Given its versatility, it can be used on VerTec one day and then a monitor rack the next day,” stated Marc Kellom, Vice President of Marketing for Crown.

VRACK ships fully assembled, tested and ready to work right out of the box. The complete system weighs approximately 163 pounds. 

"V-Rack is an exciting step forward in the ongoing evolution of VerTec and the outcome of a close collaboration between Crown International and JBL Professional. V-Rack ensures an optimum power match for all VerTec models combined with uncompromised sound quality. V-Rack establishes a VerTec system standard to ensure consistent performance on a world-wide basis. On the software side, V-Rack offers a future-proof platform capable of implementing upcoming VerTec V5 presets and we are also working closely with the Harman Professional System Development and Integration Group on V-Rack control software that is fully-optimized for tour sound applications," stated Paul Bauman, Director, Tour Sound Product and Application Engineering for JBL Professional.

BSS Audio® Adds Telephone Hybrid Card Option To Soundweb™ London Conferencing Solution

BSS Audio®, a Harman International Company (NYSE-HAR), today added the Soundweb™ London Telephone Hybrid Card to its conferencing portfolio. The new Soundweb London Telephone Hybrid Card complements the highly-regarded Soundweb London AEC Input Card and the two cards represent a highly-integrated, premium solution for conferencing applications.

The Soundweb London Telephone Hybrid Cards are designed to populate any of the four card slots on Soundweb London BLU-800, BLU-320, BLU-160 and BLU-120 devices. These cards enable Soundweb London devices to interface with a standard POTS (aka PSTN or Analog PBX) telephone network and feature line and parallel set connections. The members of the Soundweb London family provide the building blocks of the perfectly tailored system solution.

The Soundweb London Telephone Hybrid Cards also have two analog inputs which allow each Telephone Hybrid Card to receive two microphone or line level signals. These analog inputs offer Phantom Power, configurable per channel and software controlled analog gain in 6dB steps from 0dB to 48dB.

HiQnet™ London Architect v2.08, which provides support for the Soundweb London Telephone Hybrid, offers a fully-featured integrated dialer, speed dial presets and Auto Answer control. All important buttons and feedback from the dialer are accessible from external control and third-party control systems, without the requirement of a PC on the network.

Iain Gregory, market manager for installed sound at Harman Music Group stated, “The Soundweb London Telephone Hybrid Card complements the superbly-performing and already highly-regarded Soundweb London AEC Input Card perfectly. With the reach of Soundweb London extended into conferencing applications, contractors and system integrators are able to leverage existing infrastructure, reduce implementation time and provide a powerful and truly integrated audio solution, using a single platform.”

AKG Brings Its Digital Automatic Microphone Mixer To The Studio With The New DMM 4/2/4 At Musikmesse

AKG is presenting the next addition to its long line of automatic microphone mixers with the DMM 4/2/4 at Musikmesse in March. Designed as a studio version of the DMM 4/2/2, the DMM 4/2/4 is designed with a unique and highly effective mixing algorithm that gives it the flexibility to handle nearly any mixing application, from boardrooms to broadcast studios and even houses of worship.

 The DMM 4/2/4 comes complete with four microphone and two stereo AUX inputs, intelligent mixing algorithms with a noise sensitive threshold to prevent accidental activation of input channels, and a digital signal processor with a dbx® compressor. Each channel on the processor offers switchable gain, switchable phantom power, and an incremental level control with peak hold display, and each system comes with an expansion connector that enables multiple mixers to be linked together for larger audio setups. All functions are run through incremental controls

AKG’s New iPhone App Delivers Freedom, Flexibility and Functionality For Mobile Monitoring Of Wireless Microphone and IEM Systems

Starting in March of 2010, in addition to great sound and reliable performance of AKG’s wireless systems, users will have a new tool to browse, monitor, and control their wireless microphone and IEM systems: their iPhone®. With the introduction of their new iPhone application - which will be available for free in Apple’s iTunes® store – AKG has effectively streamlined the workflow for wireless microphone monitoring and configuration by linking Harman’s HiQnet® protocol to the iPhone and iPod® Touch app via Wi-Fi® network.

The new application can be used to monitor wireless system parameters and radio frequency connections on stage for some of AKG’s most popular wireless microphone systems, including the DMS 700, the WMS 4000/4500, and the IVM 4 in ear monitoring system. The user can easily browse through the entire wireless system within the device list, monitor each device and it’s parameters separately within the stripe view, or use the RF monitor for checking the radio frequency connection of each wireless device.

“With the introduction of our new iPhone application, AKG has continued to build on the industry-leading versatility offered with our wireless microphone and IEM systems,” said Philipp Sonnleitner, product manager for HiQnet and system integration. “AKG users now have the ability to control and monitor every aspect of their wireless systems from the palm of their hands anywhere on the venue.”

The iPhone application is connected via Wi-Fi to a wireless router, which is connected to the AKG HUB 4000 Q. The application can be used side by side with Harman Pro System Architect® because the entire system is based on Harman’s advanced HiQnet® protocol.

Harman Professional Establishes EMEA Sales Office, Names Dave Karlsen As Senior Director of Sales, EMEA

Following the successful opening of international sales offices in Kuala Lumpur, Malaysia and San Juan, Puerto Rico and bringing Harman Professional an important step closer to the deployment of international field sales offices in all of its global territories, the company today announced the establishment of a dedicated sales office to serve the EMEA territory. Located in Potters Bar, England, the Harman EMEA Sales office will be led by professional audio sales veteran Dave Karlsen, who is promoted from his role as Director of International Sales for Harman Music Group to Senior Director of Sales, EMEA with responsibility for Harman Professional sales management and support for all brands in Europe, the Middle East and Africa.

Effective July 1, 2010, Karlsen will lead the team of sales professionals and application engineers and Harman Professional’s newly launched EMEA order entry team.  He will report to Scott Robbins, Harman Professional Vice President of Sales, who today noted Karlsen’s experience and leadership as key reasons why he will be an asset to Harman Professional distributors in the EMEA territory.

“Dave Karlsen is a proven entity at every level,” Robbins said today. “He has led a Harman distributorship in the UK; he has led the international sales organization for HMG and he has demonstrated his organizational, communication and leadership abilities in serving his customers and distribution partners.  I am very pleased that he has accepted this position and I am highly confident that his team will be a major contributor to our distributors’ success in EMEA in the years ahead.”

Commenting on his new role, Karlsen said, “The vision behind Harman Professional’s international sales infrastructure is a constellation of well-organized sales, support and administrative centers located regionally and populated by well-trained, dedicated staff.  My responsibility is to bring the vision to reality, and to ensure that our stakeholders including distributors, dealers and end-users get the best possible technologies with the best possible support from Harman Professional. I look forward to this challenge, to working with Scott Robbins and the Northridge team and also to sharing ideas with David McKinney in Kuala Lumpur and Jamie Albors in San Juan.”

RedTX Uses Studer Vista 8 Digital Console To Drive The UK’s Most High Profile Concert Recording And Broadcast Events

From sold-out Rihanna concerts to the UK’s popular TV show The X-Factor, RedTX has been the driving force behind many of the UK’s live broadcast performances for years. Providing sound for such a wide array of performances and events, the company has needed an arsenal of equipment that’s reflective of its services, which include versatility, functionality, and usability. It is because of this that RedTX recently purchased a Studer Vista 8 digital console for all of its recording and broadcast needs.

According to Tim Summerhayes, Sound Engineer for RedTX, one of the most important features of the Studer Vista 8 is the snapshot recall that comes standard on every console. Because RedTX works at many events that feature multiple acts, it is often forced to change the sound parameters in a very short amount of time during many shows. With the Studer Vista 8, RedTX has the ability to pre-program EQ, gain, and every other component before the actual show and adjust for each song in live time at the touch of a button.

One of the events where the Studer Vista 8 played a pivotal role was during the broadcast of the UK’s hugely popular reality show, The X-Factor. The show pitted 12 contestants or bands against one another, with a panel of high profile judges eliminating one contestant each week. According to Summerhayes, each song required its own arrangement, but the engineers had very limited rehearsal time before the broadcast. With the Vista 8 console, RedTX was able to work out the requirements with the engineers and producers before the show, and adjust for each band at the touch of a button during the broadcast.

“With the Studer Vista 8, it was like each performer had their own console,” said Summerhayes. “With the snapshot recall, we were able to dial in the recall for each band in about 2 seconds and at the touch of a button. With other consoles, the changeover is choppy and harsh, but with the Studer Vista 8, it’s absolutely seamless and fadeless.” 

Another event where the console’s versatility, functionality, and usability were key was at Rihanna’s concert in December at London’s Brixton Academy There, RedTX worked with the performers sound team during two rehearsals to program the console before each show, where it was possible to set the EQs and effects before the show, and isolate certain channels on the console during the show for a flawless performance.

“Operationally, the Vista 8 is very intuitive and straightforward,” continued Summerhayes. “It’s like any computer when you know where all of the parameters are, and you can just go to it and change it. The headroom is good, the metering is excellent, and the fact that we can adjust with layers is amazing. It’s just a high-end board that we couldn’t do without.”

Hitachi Introduces CP-A200 3LCD Ultra-Short-Throw Projector

-- The CP-A200 Offers A Brightness Of 3,000 Lumens And Can Display A 60-inch Diagonal Image From A Distance Of 18.5 Inches --

Hitachi America, Ltd., Digital Media Division, Business Solutions Group, is introducing the CP-A200 3LCD projector, adding to its industry-leading collection of ultra-short-throw projectors. The CP-A200 offers a brightness of 3,000 lumens and can display a 60-inch diagonal image from a throw distance of 18.5 inches. This not only prevents image obstruction, but it also means that there are no shadows interfering with the image and the absence of light in the presenter’s face.

The CP-A200 features Perfect Fit 2, an update to Hitachi’s proprietary Perfect Fit function, which enables quick adjustment of the projected image by moving its four corners and four sides one at a time. With Perfect Fit 2, making adjustments is easy with the remote control and on-screen operating menu.

The CP-A200 also offers a Template Function, projecting lines, making it easier to write on a whiteboard or blackboard. Users can choose four types of different lines depending on the color of the background.

The CP-A200 addresses potential security issues with functions such as multilevel PIN locks, a security bar and a Kensington slot. Moreover, the CP-A200 is easy to use, featuring advanced connectivity and proprietary Hitachi functions including My Buttons, Input Source Naming and My Text.

Easy maintenance is another attractive function of the CP-A200, as its lamp door is on top of the model, and the projector’s 2,000-hour hybrid filter is located on the back, allowing for easy access. The CP-A200 offers additional versatility with its Whiteboard, Blackboard or Day Time Modes.

“Hitachi continues to lead the way in the ultra-short-throw category of projectors,” says John Glad, product manager, Hitachi America, Ltd., Digital Media Division, Business Solutions Group. “Our latest addition to the series, the CP-A200, offers the most brightness of any of our ultra-short-throw projectors and features improved Perfect Fit and a 2,000-hour hybrid filter.”

Soundcraft Vi1 – Smaller, Lower Priced, But Still With Vistonicstm, Lexicon FX, BSS EQ’s, And That Sound Quality

With the Soundcraft Vi Series now firmly established as a firm favourite digital desk on both the touring, broadcast and installed sound scenes, Soundcraft have taken this amazing platform to another, more affordable level with the release of the new Vi1 console.

Many users have asked for a smaller, lower-priced desk that still has the acclaimed VistonicsTM user interface, and of course the now-legendary optimal sound quality established with the Vi Series.

So here it is, the Soundcraft Vi1TM.

A complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus 6 digital inputs, 4 Stereo FX Returns and 6 digital outputs in one chassis. As standard, Input to mix capacity is 46chs, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count increases to 64. Channels are routable to 24 multifunction busses, plus LR and Mono Mix busses.

Up to 8 of the busses can be configured as Matrix mixes, each with up to 16 sources.

The surface is just over a metre wide, and includes 16 motorised channel faders with fixed and user-definable layers, 8 output/VCA faders and 2 master faders.

What’s really cool about the Vi1 though, is the new Widescreen Vistonics interface, which will be instantly familiar to anyone who’s driven a Vi6 or Vi4, as well as retaining the same ‘walk-up’ user-friendliness of the other Vi consoles. This new development displays all parameters for 16 channels side by side, on a single 22” Vistonics touch screen. The upper half of the screen handles the Output section control as well as Cue List or Menu displays. Parameter control is via two rows of 16 rotary encoders. Exactly the same channel functionality as the Vi6 and Vi4 is available here, along with all the same core snapshot, talkback and monitoring facilities.

Naturally, the Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlowTM, 4 stereo Lexicon effects engines, BSS Audio graphic EQs on all output busses, and integral dynamics on all channels.

The desk is compatible with Vi4 and Vi6 show files through the Virtual Vi offline editor, which is available as a free download from www.soundcraft.com.

As you’d expect, the price of the Vi1 is extremely attractive, starting at around £15,000 UK list, which is sure to make it a clear winner with engineers and sound companies.

Network Connectivity, Configuration And Control Take Center Stage At Pro Light & Sound: Harman Professional Leads Panels And Educational Sessions At Frankfurt Summit

As networked audio and video transform every element of systems integration for touring, fixed installation, studio design and MI, Harman Professional reaffirms its commitment to universal connectivity with leadership of the AVnu Alliance for A/V Standards-Based Networking, and also its determination to provide audio professionals with a highly intuitive yet powerful configuration and control protocol with HiQnet System Architect™.  Underscoring this dual commitment to make the network more useful and more usable, the company will sponsor or participate in two important events at Pro Light & Sound in Frankfurt next week:

HiQnet System Architect – Architecting The Next Generation In Audio System Design Software
Where: Room: Transparenz 2 at the Portalhaus
When: 9:45am, Wednesday March 24
Speakers: Adam Holladay, Iain Gregory

An overview of the new audio system design and workflow philosophies introduced in the next generation of HiQnet System Architect software, which together with the configuration of Ethernet AVB network dramatically impact the design process for the system designer.

The future of A/V Standards-Based Networking: IEEE 802.1 Audio/Video Bridging (AVB)
Where: Room: Frequenz 2 at the Portalhaus
When: 3:45pm, Friday March 26
Panel discussion with members of the AVnu Alliance: Adam Holladay for Harman + representatives from Avid, Meyer Sound, Broadcom and LabX

This panel discussion will explore the role of the IEEE 802.1 Audio/Video Bridging (AVB) Standards in the professional AV industry, as well as consumer electronics and automotive applications. An in-depth explanation of AVB and related IEEE standards will be presented, followed by a discussion of the advantages of an open non-proprietary technology, the role of silicon makers to ensure a cost-effective solution and the critical role that a compliance program will play to ensure interoperability of AVB devices.

Commenting on the sessions, Adam Holladay, Market Manager for Harman International’s System Development and Integration Group (SDIG), noted, “Like all technology businesses, the economic health of the professional audio and video industries has been driven by innovation. We firmly believe that there is massive potential for highly innovative, cost-effective, easy-to-use and efficiently deployed network technology to transform and grow our business and that of our customers!  Today, we’re advancing network functionality with HiQnet, the AVnu Alliance and AVB and we’re transforming design and usability with System Architect. These events at Pro Light & Sound will be valuable educational opportunities for the community of AV professionals to learn more about these important initiatives.”

Harman International Industries, Incorporated (www.harman.com), designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets. Harman International maintains a strong presence in the Americas, Europe and Asia, and employs 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.”

Hitachi Software Names Marjorie Fox National Sales And Marketing Manager

Hitachi Software Engineering America, Ltd. today announced the appointment of Marjorie Fox to National Sales and Marketing Manager. In her new role, Ms. Fox will work with Hitachi’s Education and Training Consultants to liaison with customers at various education and corporate institutions throughout the country as well as overseeing all marketing efforts for Hitachi Software.

Before joining Hitachi, Ms. Fox served as Vice President, National Sales for Knowledge Delivery Systems, an online company specializing in professional development for educators. Ms. Fox also previously was the Director, Strategic Partnerships for Kaplan K12 Learning Services, a supplemental curriculum and test preparation company.  Prior to embarking on a career in sales and marketing, Ms. Fox spent 11 years as teacher in the New York City school system.

“Marjorie brings a wealth of professional experience and provides a keen understanding of the markets we serve and how our technology can benefit them.  We are excited to have Marjorie join our team and begin to interact with our customers as well as create greater brand awareness of the benefits of our interactive presentation solutions,” said Ted Wakabayashi, president of Hitachi Software Engineering.

“I know from my experience in the education field that Hitachi produces outstanding presentation solutions, and its leadership in the interactive whiteboard technology is well known. Hitachi’s products have always been associated with a high level of innovation, reliability and outstanding customer service, and I look forward to joining the team and furthering Hitachi’s position in the education and corporate markets,” stated Ms. Fox.

Hitachi Software Upgrades StarBoard Software For Mac With Snow Leopard Compatibility

Hitachi Software Engineering America, Ltd. today announced that its StarBoard Software 9.0.1 for Mac will now support Apple’s Snow Leopard operating system. The upgrade will ensure that the greatest population of StarBoard users with Mac hardware are able to effectively and easily deploy the StarBoard software.

Featuring an easy to use interface, StarBoard Software 9.0.1 was designed with an eye on the industry-wide trend surrounding operating systems that are migrating towards utilizing touch capability.  The software’s icons are more intuitive and provide users with a natural sense of functionality.

Hitachi StarBoard Software 9.0.1 for Mac offers users similar functionality as its Windows version, including a top menu bar for easy accessibility, a side bar menu that can toggle to either side of the screen, drag-and-drop tools to create a shortcut button on a page and a customizable color palette.

“Hitachi is committed to providing Mac users with the capability to take full advantage of the StarBoard Software. We will continue to ensure our software is aligned with current operating systems and give Hitachi StarBoard customers the greatest ease of use with our products,” stated John Glad, Hitachi America, Ltd., Digital Media Division, Business Solutions Group. 

Aspen Custom Electronics Turns To AKG To Deliver An Unprecedented Level Of Clarity At The Payne County Courthouse

 Designing sound systems for courtroom applications presents a host of challenges: acoustical, electrical and application-specific requirements make courtroom systems the most mission critical audio installations in the marketplace. After four subpar audio installations at the Payne County Courthouse in Oklahoma, Judge Worthington and the courthouse administration approached Aspen Custom Electronics with a special request to upgrade the courthouse audio system for good. Using an arsenal of AKG equipment which includes the WMS450 Wireless body pack, a DMM 4/2/2 Audio Mixer and two GN30 Goosenecks, Aspen Custom Electronics was able to do what four companies before it could not: install a clear and powerful audio system that exceeds everyone’s expectations.

According to Matt Hall, project manager for Aspen Custom Electronics, the courthouse’s audio system required so many revisions because of its many acoustical anomalies. Built in 1917, it was designed to provide optimal voice projection without the use of a PA system, so even the smallest sounds reverberate throughout the room, and a good portion of the front is covered in marble.  What’s more, the witness is able to turn up to 180 degrees while on the stand, looking from judge to jury, and many of the times their voice is very low and withdrawn.

It was clear to Hall that the audio system needed to be clear and focused. After reviewing the layout of the courthouse, Aspen Custom Electronics decided on a GN15 Gooseneck at the judges desk, one GN30 Gooseneck at the attorney’s lectern and one at the witness stand, a WMS450 wireless body pack at the attorney’s lectern and a DMM 4/2/2 Audio Mixer for the whole courthouse. Each mic – for the judge, attorney and witness – uses a ST45 stand and a CK80 Mic Module.

“Unlike entertainment installs, people’s lives hang in the balance in a courtroom installation,” Hall said. “As a result, our systems need to be powerfully accurate and clear, and with AKG, we get everything we are looking for and more.”

The performance of the audio system has exceeded expectations of both Aspen Custom Electronics and members of the court. The witness stand microphone, which was the biggest problem before the installation, delivers clear, intelligible sound no matter which direction they are looking and the judge and court reporter can now hear everything without fail. In addition to the AKG components, the system features a dbx AFS224 processor and a Crown 180A amplifier.

“AKG has a wide range of products, and because of that, we were able to choose the right microphone for the right applications,” Hall continued. “Their products are very affordable as well, which made them easy to recommend to our customer. The pick-up patterns and the variety of shotgun capsules gave us a lot of microphone options, the DMM 4/2/2 is a perfect fit for the application we had in the courtroom, setup was easy and the product worked exactly as we had anticipated.”

Oregon State University Deploys Hitachi Software StarBoards For New Interactive Learning Environment

Immediately positioning itself as a leader in higher education classroom technology, Oregon State University has chosen Hitachi Software StarBoard interactive whiteboards for its new interactive learning environment in Physics classrooms. Purchased through Troxell Communications, the University is deploying the Hitachi FXDUO-77 model StarBoards along with the award-winning Hitachi CP-A100 3LCD ultra-short-throw projector as part of the Hitachi Ultra Short Throw Bundle solution.

Don DeMello, coordinator for classroom technology services at Oregon State University, explained the decision to choose Hitachi. “The shortcut buttons on both sides of the StarBoard, allowing a user to operate programmed functions from either side of the board, was a major feature.  Additionally, the StarBoard doesn’t require any pens to annotate on the surface and when our faculty evaluated the StarBoard versus other interactive whiteboards, the consensus was that Hitachi’s solution was more intuitive in the feature controls.”

In addition to the technology advantages, Mr. DeMello believed the training and support offered by Hitachi was also instrumental in the University effectively implementing the technology. “Molly Montoya, education and training consultant for Hitachi Software, provided our faculty with three hour-long introduction sessions in the fall and we had over 30 faculty members attend the training sessions,” stated Mr. DeMello.

Beginning in the Spring 2010 term, the Physics Department will have officially begun teaching its calculus-based Physics courses, while utilizing the new Hitachi interactive whiteboard technology.

“I strongly believe that if students are actively engaged in the learning environment, it allows them to use and practice skills and lessons they are being introduced to. Also, the ability to witness others work in a collaborative environment provides them with a better perspective,” added Mr. DeMello.

While Oregon State University is still in the beginning stages of working with the StarBoards, Mr. DeMello sees the potential to expand the technology into other areas of the college. “We look to this new Physics lab classroom as it introduces the ‘no front’ collaborative style of teaching to other departments on campus.  Our vision is that more classrooms with this style of interactive teaching will be requested, designed and installed.”

For more information on Troxell Communications visit www.trox.com.

College Hill Productions Has Big Day Out With Soundcraft Vi6™ Consoles

In one of the world’s most popular music festivals, College Hill Productions supplied the live sound services for the Auckland date of Big Day Out on January 15. The event featured performances by some of today’s biggest artists, including Lily Allen, The Mars Volta, Jet, Kasabian, The Decemberists and Fear Factory.

Big Day Out featured two main stages next to each other, enabling one act to perform on one stage immediately following the conclusion of another performance on the adjacent stage. At the front-of-house position at each stage, College Hill’s FOH system engineers Kevin Bennett and Leon Dalton used a 96-channel Soundcraft Vi6™ console with fiber multicores. Both systems utilized the onboard Lexicon effects packages built into the Vi6. In addition, the electronic group Groove Armada used a third Vi6 in the dance tent.

The day before the show, each band’s engineers visited the concert location and programmed their basic shows, including soft patches. “All comments from the band engineers were positive,” said Chris Tate, Director of College Hill Productions. “The day went 100 percent smoothly and the Vi6 consoles worked flawlessly.”

Part of Soundcraft’s Vi Series of consoles, the Vi6 features the patented Vistonics™ II interface, which offers the ease of use and intuitive operability of an analog surface, but with the speed and efficiency that is only possible with a digital console. The Vi6’s 64 mono inputs are expandable up to 96 (as was the case at Big Day Out) into 35 outputs.