Soundcraft Si Series Gains Offline Editing, Graphic EQ’s And MADI Interface

Following last month’s launch of the compact Soundcraft Si2, sister to the acclaimed Soundcraft Si3 last month, Soundcraft has announced a new software revision to include Graphic equalizers on the desk and the availability of an offline editor, Virtual Si, for the platform.

Si software version 2.0 adds the capabilities to display composite EQ curves on the touch screen for any channel or output, but perhaps more importantly provides a BSS Audio 30-band graphic equalizer on every output (groups, auxes and matrices), which is controlled by the faders in the same way as on the larger Soundcraft Vi Series platforms.

When switched to Graphic EQ mode, the Soundcraft FaderGlow™ system lights the first 15 faders on the desk in red to indicate EQ mode, and the OLED display above each channel shows both the ISO frequency of the filter and the gain or cut. A really nice feature is the pseudo centre-detent provided in the motorized fader at the 0db point. Simple scrolling allows the faders to control all 30 bands in three sections of the low, mid and higher frequencies.

The Si Series now has a full complement of gates, compressors, graphic EQs and Lexicon effects engines inside the single box analogue-replacement solution.

Completing the new software functionality is the ability to integrate with a Harman HiQnet system and send Venue Recall messages to equipment in the network. Existing Soundcraft Si2 and Si3 owners can upgrade software via the website, www.soundcraft.com.

Channel direct outputs on the Si Series will shortly be provided through an optional MADI interface card, which fits into one of the option slots on the rear of the Si Series chassis. The card, based on the Studer D21m I/O system card and a version of which is also used on the Vi Series, provides up to 64 direct outputs from the channel down a MADI stream, which can be fed to a MADI-based audio multitrack recorder to record live shows, or even used as a stage splitter to feed the inputs to another console which has a MADI interface to its inputs. The card is expected to ship by the end of April.

The new Virtual Si software allows an engineer to completely setup a show, with channel labels, aux/group assignments, EQ settings and cues etc, offline on a PC or laptop, save the show to a USB memory stick and load it directly into the console, saving valuable set-up time at a gig. The software GUI is an exact replica of the desk, so can be used also as a learning or tutorial aid.

A free download of Virtual Si is available at www.soundcraft.com

Studer RELINK Makes Broadcast Studio Interconnection More Powerful Than Ever Before

Studer has announced the availability of the new STUDER RELINK (Resource Linking) I/O Sharing system, which can link numerous Studer consoles in various locations of a Broadcast facility to allow audio source and control data sharing across a wide network.

One of the benefits of the STUDER RELINK system in comparison to others is that it is based totally on Studer’s existing SCore system which is an integral part of a Studer console architecture, so no additional hardware or breakout boxes are required to complete the network. Any combination of Studer Vista (5, 6, 7, 8), the OnAir 2500 and 3000 consoles, as well as Route 6000 can link with each other via RELINK, communicating over TCP/IP. Other console-based networking systems on the market are often restricted to a single type of console.

RELINK is seamless, scaleable, flexible, and can start with a simple link between two Studer consoles, and scale up to multi-console systems using a two-step topology where all signals are matrixed through a central device, for example the Studer Route 6000 system. To use RELINK, Studer consoles must be updated to the newest software versions – 4.1 for Vista, 3.1 for OnAir systems and 2.0 for Route 6000 systems.

Studer’s D21m I/O system forms the heart of all the input/output connections, and network audio is not restricted to a single transport type - audio interconnects may be made through conventional MADI, AES, ADAT, regular copper analogue lines or even HDLink. Each D21m frame can be configured to accept up to 384 inputs and 384 outputs, with numerous options for audio interface types including analog, AES, SDI, Dolby E and MADI, all available in cost-effective modules which maximize channel usage and hardware capacity. These inputs and outputs can be shared with any or all of the mixing consoles.

Source selection is transparent, and signal labels are automatically transferred to the consuming locations, so the operator always knows which source is connected. Signal takeover between studios is seamless, so RELINK is well-suited for live transmission switchover. A resilient mic take-over mechanism ensures that mic control parameters such as analogue gain, phantom power, etc. are not changed unintentionally but require a conscious confirmation of remote take-over. With OnAir consoles, local monitoring at the point of use is turned off automatically to prevent feedback, indicated with red light signaling and automatically following the source wherever it is used.




When used in the two-step topology with the Studer Route 6000, inputs and outputs may be processed by various DSP algorithms such as delay or limiter, removing the need for further external processing hardware. Unlike some other routers, no inputs or outputs are lost when DSP resource is consumed – the I/O count is always true.

The Route 6000 can be controlled via the VSM (Virtual Studio Manager) software for tightly integrated control of routing, processing and monitoring assignments through customizable hardware and software panels. SNMP is used for system health monitoring and local/remote surveillance and messages can be sent to control terminals highlighting problems.

Additional functionality in the new software release for Studer Vista consoles includes DAW control. This allows Vista consoles to interface to a wide number of the available DAW systems on the market and control key functions such as track-arming, mute, solo and fader control. Connections are simply made through Cat5 rather than the cumbersome multiple MIDI cables found with some systems. As well as labeling and auto-labeling of DAW channels via the console GUI, it is also possible to write DAW automation from the consoles fader
For total peace of mind, RELINK incorporates extensive redundancy capabilities based on proven Studer hardware solutions.

Overall, RELINK represents probably the most flexible, scaleable and integrated audio resource sharing system for broadcast currently offered.

Previewed at the IBC in 2008, RELINK immediately received a STAR award from Broadcast Engineering magazine, demonstrating its appeal to this marketplace.

For further information on Studer RELINK and the Studer Vista and OnAir consoles, visit www.studer.ch or contact your local Studer Distributor.

More Option Cards For Soundcraft Vi Series Add Broadcast Appeal And Bring Recording Opportunities

More option interface cards for the Soundcraft Vi Series Digital Live Sound consoles have been released, expanding the applications of the highly popular digital mixer into Broadcast, and adding easy capabilities for direct recording from the desk.

Using the ADAT card, it is possible to connect 2 ports of 8 channels (inputs and outputs) to an ADAT-equipped hard disk or software-based recorder, so 2 cards would enable 32 channels of audio to be recorded and played back almost instantaneously.

The SDI and Dolby® E cards will be welcomed by broadcasters, as it means the desk can handle the de-embedding of audio channels from within SDI video streams (and re-embedding for onward transmission), and the decoding of up to 8 channels of audio from a Dolby Digital or Dolby E stream. All individual audio channels are then available within the Vi Series’ digital patchbay for mixing.

The Dolby E card holds 2 complete decoder sections and saves both space and weight in critical applications such as OB vehicles.

For more information, visit www.soundcraft.com

Camp Digital Mobile Production Company Hits The Road With Soundcraft Vi4™ Digital Mixing Console

Nashville based television production company, Camp Digital, has included as the centerpiece of its audio capabilities a Soundcraft Vi4 digital console into its new JOURNEY HD mobile production truck. Providing state-of-the-art High Definition production around North America, JOURNEY HD has recently provided video and audio support for a wide range of productions, including the television special ‘Feel That Fire’ for Great American Country starring Dierks Bentley, the 35th anniversary DVD of the band Kansas and a DVD featuring Christian comedian Chonda Pierce.

JOURNEY HD is the first in a fleet of vehicles operated by Camp Digital, who is developing mobile production solutions to fit an ever-growing production market in need of high quality production resources at an affordable price.

Commenting on the Soundcraft Vi4 installation into the JOURNEY HD is VP of Business Development Tom Gregory. “The 72 channel Vi4 has tremendously expanded our audio capabilities and is the perfect solution for JOURNEY HD as the footprint of the board fits comfortably into our truck.” Gregory continues, “As we work in a mobile environment, it is essential for all aspects of production to be as fast and efficient as possible. The Vi4 is accountable for streamlining our production from start to finish, and we have seen an incredible increase in productivity since we installed the Vi4.”

Tom Davis is one of the production mixers for JOURNEY HD as well as a consultant for the design of the audio side of the truck and he discusses the advantages of mixing on a Soundcraft Vi4 console. “The sound quality of the Vi4 is outstanding and the routing capabilities are extensive and straightforward. The Vistonics™ II interface is highly functional and extremely easy to use and the entire desk can be controlled at my fingertips without the hassle of digging through several menus,” Davis concludes.

Camp Digital is a partnership formed nearly two years ago by a group of Nashville video production professionals with the mission to create for themselves and others a sensible solution to the acquisition and production of music and entertainment events for television, home video, and non traditional media through the internet and other handheld/wireless devices. Camp Digital has nearly 100 years combined experience in the field of television and video production, and already has an additional vehicle, Passage HD, which will soon become part of their fleet.

For more information on Camp Digital, please visit http://campdigital.net

Soundcraft, Studer And Optocore Partner For Control Of Optocore Mic Preamps Over Network

Initially announced at last year’s Pro Light & Sound, the partnership between Soundcraft, Studer and Optocore is bearing rich fruit as the companies develop further features for the interface between Soundcraft and Studer consoles and the Optocore fiber network. Last year, Optocore and Soundcraft Studer co-developed the DD2FE network MADI interface that allowed Studer Vista and Soundcraft Vi Series consoles to transmit up to 128 input and 128 output channels of audio over an Optocore network.

The teams have now announced that using the Optocore DD2FE, Soundcraft Vi Series consoles and Studer Vista consoles are now able to remotely control the microphone preamplifiers in the Optocore LX4AP stagebox, which features 48 mic inputs. This has been enabled through Optocore’s integration of the Studer D21m I/O system control protocol into their topology. Vi Series and Vista consoles can already remotely control the preamps in their own stageboxes over the network, allowing multiple consoles and stageboxes to be interconnected with full redundancy.

The ability to remotely control stagebox gains over the Optocore fiber network is a major advantage for users, giving that extra degree of flexibility and gain control over the relevant parts of an installed system, particularly in Theatres.

For more information, contact Soundcraft (www.soundcraft.com), Studer, (www.studer.ch) or Optocore (www.optocore.com)

Czech Television Broadcasts FIS Nordic World Ski Championships in HD with Studer Vista 8

Czech Television’s HD OB Van was in operation during the entire FIS Nordic World Ski Championships in Liberec, Czech Republic, between February 18th and March 1st, to the great satisfaction of the sound engineers. The only threat to the event was the possibility of no snow, which would have been a nightmare for the organizing committee, but finally 120 cm of snowfall over the period of the event meant that all the connecting cables from the truck to the remote stageboxes almost became a fixed installation until the early summer!

Higher temperatures and a thaw over the last 2 days finally allowed the crew of the HD Van to leave Liberec. "Over 50 hours of live broadcast was made on the Vista 8, an integral part of Czech Television’s first HD OB Van. All the standard features of this digital system, in particular the user-friendly intuitive operation, very good sound quality and overall system robustness passed the demanding test of this sports event under severe weather conditions.” The events were watched by nearly 200,000 spectators over the 2 week period.

“This comprehensive live application confirmed that the Studer Vista is able to meet our demanding expectations," reported Mr. Milan Gazdik, Senior Engineer of Audioengineering, Czech TV Prague and a member of the EBU Production Management Committee.

AKG Introduces Redesigned C 3000 Condenser Microphone For both Studio and Onstage Applications

AKG announced the release of the redesigned C 3000 condenser microphone, suitable for every recording or live application. The cost-effective and aesthetically pleasing C 3000 microphone from AKG has been proven as a trusty and reliable workhorse for more that 15 years. The new C 3000 maintains the popular characteristics of the C 3000, however a new sleek and classy finish showcases AKG’s new Corporate Design. It is a great selection for both recording and live sound applications, where maximum sound quality and robustness are a must, and the competitive price makes the C 3000 a must-have.

Commenting on the redesigned C 3000 is Product Marketing Manager for Recording and Broadcast at AKG, Thomas Stubics. “Since 1993, the C 3000 has become a standard for a wide range of applications.” Stubics continues, “The only thing our customer wanted us to change was the appearance so we included AKG’s new Corporate Design, which has also been included on recently launched products like the proven D 5 hand-held vocal mic and the brand-new K 702 Reference Class headphones.”

The C 3000 features a 20Hz to 20kHz frequency response, low noise electronics, high SPL capability and an internal shock mount, which drastically reduces handling noise from mic stands or cables. The switchable 10dB preattenuation increase in SPL capability by 10 dB and accommodates loud instruments and amplifiers with ease. The switchable first-order 500Hz low frequency filter eliminates the proximity effect for close-miking. The standard accessories are a metal carrying case and a spider-type shock mount.

Proven for more than 15 years and affordably priced, the C 3000 is an excellent choice for every high quality recording or demanding live sound application.

AKG Reincarnates A Legend With The Introduction Of The C 747 V11 Microphone

Bringing new life to the classic C 747 microphone, AKG has redesigned the “pencil microphone” to better cope with specific installed sound issues, AKG announced. The updated C 747 V11 brings a new form of premium microphone quality to conference applications and maintains its predecessor’s reputation as one of the most versatile microphones in the AKG product range.

The versatility of the C 747 is apparent as the mic is capable of handling a range of instruments and positions, including overhead positioning for its brilliant sound reproduction and its unobtrusive optical appearance and is also included in numerous broadcast stations, recording studios, theaters, opera houses, churches, conference rooms and lecture halls.

The redesigned C 747 V11 eliminates unwanted interference by mobile phones and wireless mics with the addition of an integrated RFi shield and the frequency response has been fine-tuned in order to provide a clear, understanding sound without changing the ambience of the classic C 747 sound.

With an enhanced hyper-cardioid polar pattern, the V11 provides consistent off-axis rejection to control ambient noise and feedback in acoustically challenging environments. Another feature, not existent in the earlier C 747, is a switchable LF roll-off filter that works to suppress mechanical noise. The low impedance pre-amp operates on 9 to 52 V phantom power without a transformer.

The C747 V11 ships with an extensive accessory set, including a shock mount/adapter, mini gooseneck, stand adapter, mounting clamp, thread link and windscreen.

Lexicon® Releases PCM96 Surround Version of Reverb/Effects Processor

Lexicon Introduces Its Newest Professional Reverb and Effects Processor That Increases Inputs and Outputs, Configuration Options and Reverb/Effects Algorithms.

Lexicon®, a Harman International Company (NYSE-HAR), today introduced its PCM96 Surround Reverb/Effects Processor. The Surround version delivers 50 new and legendary Lexicon reverbs, delays and modulation effects, while at the same time offering more presets, configuration options and additional inputs and outputs. Designed for the modern studio, the PCM96 Surround can function as a control-only insert or FireWire streaming audio plug-in inside any Mac VST® or Audio Units software.

A new Pitch algorithm has been developed for the PCM96 Surround in addition to the Room, Hall, and many additional algorithms for music and post production. The Pitch algorithm was released as a software update for the original PCM96 on Nov 1st,.

Lexicon’s new Room algorithm provides a more flexible alternative to convolution type reverbs. Reflection patterns can now be easily selected, scaled and equalized – all while simultaneously passing audio. They can be instantly reversed or combined with a traditional reverb to extend the delay or bring a stronger sense of “liveness” to the space.

The PCM96 Surround uses multimode filters at several spots in the audio flow to provide more exact shaping of the reverb while still maintaining the distinctive Lexicon sound. All reverbs have an ‘infinite’ switch that allows the reverb to run forever, a feature used for creating unusual backgrounds and sound effects. With decades of legacy products to leverage, the PCM96 Surround includes over 2200 of the finest collection of factory presets available.

The PCM96 Surround can be divided into four virtual machines, each of which can run its own algorithm. This allows the signal from each input to be routed through a variety of algorithm combinations. Following in the tradition of the PCM60, PCM70 and PCM96 signal processors, the PCM96 Surround delivers the versatility and rich sound that is unmistakably Lexicon.

Two models are available: a digital only version with six XLR Stereo AES inputs and outputs; and a version with both digital and analog which includes two DB25 connectors with 6-channel analog I/O and one DB25 with 6-channel digital I/O. Both versions feature MIDI, Wordclock, Ethernet, and FireWire®.

The Lexicon PCM96 Stereo Reverb/Effects feature set includes:
• New Parallel Stereo and Surround configurations
• Lexicon’s new Surround Room algorithm, used to generate a vast array of room-related effects for music and post
• New pitch algorithms
• 50 legendary Lexicon® reverbs, modulation, and delay effects
• Two models available:
• 6 XLR Stereo AES inputs and outputs
• Two DB25 6-channel analog I/O and one DB25 6-channel digital I/O
• “Hardware Plug-In” feature with Mac VST® or Audio Units software
• Seamless automation and control via Ethernet or FireWire
• Over 2200 factory presets, including recognizable classics from Lexicon’s immense library of sounds
• External BNC Wordclock input
• Multiple sample rates: 44.1, 48, 88.2, and 96 kHz
• 32-bit floating point processing
• MIDI in, out, and thru
• 768 user presets
• Large front panel OLED display
• Compact Flash preset storage
• HiQnet™ compatible

The Broadcast Standard Returns With New JBL LSR2300 Series Studio Monitors

At NAB 2009, JBL Professional is introducing the new LSR2300 Series Studio Monitors, delivering professional performance at price points within reach of any broadcast facility. Now shipping, the LSR2300 Series builds on JBL’s 60-year heritage serving the broadcast market .

The LSR2300 Series includes: the LSR2328P Bi-Amplified 203 mm (8-inch) Studio Monitor with 165 Watts of amplification; the LSR2325P Bi-Amplified 133 mm (5-inch) Studio Monitor with 90 Watts of amplification; and the LSR2310SP Powered 254 mm (10-inch) Studio Subwoofer with an integrated 180 Watt power amplifier.

In developing the LSR2300 Series, JBL applied the same stringent Linear Spatial Reference criteria used in the design of the acclaimed LSR6300 and the LSR4300 Series widely used in broadcast control rooms. While most manufacturers take only a single on-axis measurement of the speaker’s performance, JBL’s LSR criteria requires 70 measurements, yielding more than 1,200 times more data. The data enables JBL to engineer a system that produces greater accuracy at the mix position. LSR2300’s large waveguide and elliptical tweeter aperture work in conjunction with a 1” silk-substrate high-frequency transducer to deliver superior imaging and smoother frequency response in the control room.

Today’s broadcast applications including production of HD programs demand a monitor system capable of extended low frequency performance and high dynamic range. To address this, JBL engineered new long-excursion low-frequency transducers with high-flux motors and a custom tuned port that work in concert to produce deep accurate low frequency response, previously unavailable at this price point. The LSR2328P 8” model provides low frequency extension to 37Hz; the LSR2325P 5” model to 43Hz, and the LSR2310SP subwoofer provides deep low frequency performance below 28Hz. Each studio monitor in the LSR2300 line produces exceptional sound pressure level (SPL) achieved through the use of high-sensitivity transducers and careful attention paid to the thermal properties of the system.

Featured to integrate into professional systems, all models include balanced and unbalanced inputs that allow connection to a wide range of playback sources including professional mixing consoles, computer audio workstations and consumer playback equipment. The LSR2310SP Subwoofer includes a 2-channel bass management system with selectable crossover settings and balanced outputs for integration of the sub into any system. LSR2325P and LSR2328P enclosures include mounting points and are reinforced for safe wall mounting. Transducers in all models are self-shielded to allow use in close proximity to magnetically-sensitive equipment.

“For years, the JBL 4400 Series studio monitors were the top choice for broadcast installations,” said Peter Chaikin, Director of Recording and Broadcast Marketing, JBL Professional. “Recently, the LSR4300 Series has become the go-to choice for modern digitally-outfitted broadcast control rooms. With professional performance, integrated bi-amplification, wall mount capability and very affordable price points, we anticipate the LSR2300 Series will be welcomed by TV and radio broadcasters and facilities.”

Studer Introduces New Vista Software Version Specific For Theater Applications

Soundcraft Studer is now established as one of the world’s leading providers of digital consoles offering a full range of consoles to the theater market, from local and provincial theaters to Broadway/West End venues.

The Studer Vista range of consoles is rapidly growing in the theatrical community, with the Vista 5 recently used on large-scale productions in New York on the new productions of West Side Story and Road Show, The Musical.

In addition to the already extensive theater specific functionality, Studer has now introduced new Vista software version 4.2, which greatly enhances the sound design and production workflow for cue-based theater productions.

The new software provides extended cue list functions including time-based cue recall, MIDI MMC commands for sound FX playback triggers, as well as the introduction of some brand new cue events.

Library Events:
Characters in a musical or play can now be given any desired library entry (e.g. a special EQ setting) on a cue by cue basis. This allows easy adjustment, either temporary or permanent, of these library settings, as well as a very straightforward way to replace the settings of an actor with replacement-actor or understudy settings.

VCA/Mute Events:
VCA assigns and muting of channels can now also be entered on a cue by cue basis, without the use of snapshots, for a much easier and comprehensive way of building a show.

Virtual Vista:
Also announced with version 4.2 is the Virtual Vista PC-based online and offline editor, so the sound engineer can move around the theatre and make adjustments to level and EQ from all the key audience seating positions, live. This can also function as a console control back-up, working in parallel with the desk.

This is also a useful training and demonstration tool, and can be obtained by contacting Studer or a local sales representative.

Together with the Vista’s already extensive facilities, which suit theater sound, such as high input/output capacity, the acclaimed Vistonics™ user interface, distributable stagebox systems, control surface configurability, very compact footprint and outstanding sonic performance, the Studer Vista series of consoles are now the perfect choice for world class theaters.

Studer Vista 5 Console Gains AutoTouchPlus Dynamic Automation

AutoTouchPlus, the renowned dynamic automation system that is part of the Studer Vista 7 and Vista 8 consoles, is now also available on the Studer Vista 5.

The recent upgrade means that the Vista 5, which is primarily a live production console, can now also be used for post production work, for example between live sessions.

All parameters of the console can be automated against timecode, in the most simple and intuitive way, using touch sensitive faders and Vistonics™ encoders.

The Vistonics screens elegantly display the current mix pass values along with the previously written mix data from the last mix pass, providing an informative overview provided by no other console on the market.

The existing MIDI port is used to read MTC (MIDI Timecode) to which the automation is then slaved. For systems based on linear SMPTE timecode (LTC), an optional LTC to MTC converter is available.

The main control panel for AutoTouchPlus, the virtual ACU (automation control unit) is displayed as a window on the Graphical Controller, and in addition, the most important buttons from this panel are provided on the desk surface as well.

Existing Vista 5 installations can be upgraded to this functionality from software version 4.2 onwards.

For more information, visit www.studer.ch

AKG Showcases Revolutionary DMS 700 Digital Wireless System At NAB 2009

AKG is showcasing the DMS 700 digital wireless microphone system at NAB, offering users a state of the art feature set including digital audio encryption, ultra wide tuning range and high channel count in a simple to use 19” chassis. Ideal for live sound reinforcement, conference facilities, courtrooms and houses of worship, the DMS 700 is a revolutionary wireless solution designed for the future as it operates with two frequency bands with each band providing a tuning range of up to 155 MHz of receivers and transmitters giving the user extended flexibility in today’s crowded RF environment.

The clean digital audio transmission eliminates the distortion and significant noise levels at the higher audio frequencies that is typically produced by analog systems. The DMS 700 offers 155 MHz of bandwidth, which provides a robust and versatile operation. The encrypted digital audio transmission enables users to broadcast sensitive audio information and each channel can be secured with its own encryption key to keep the information absolutely confidential.

Featuring the ability to operate up to 100 channels simultaneously, the digital audio transmission system provides a better resistance to interference from other transmissions and an infrared link between receiver and transmitter offers a quick system setup for easy and user-friendly operation.

DSR 700 Digital Stationary Receiver

The 1U 19” rack mountable DSR 700 digital receiver features encryption and 155 MHz tuning range ensuring future operation. The internal digital signal processor provides an array of audio features such as a low cut, 3-Band Equalizer, dbx® compressor and dbx limiter. The built in spectrum analyzer displays the frequency range to enhance the operation and control of the radio spectrum. The DSR 700 features Harman HiQnet™ allowing it to be networked with Crown® amps and JBL® speakers and other Harman Products which also allows for easy software updates of all system components.

DHT 700 Digital Handheld Transmitter

The DHT700 Transmitter has a rugged metal housing, a built-in helical antenna and 50mW RF output power that provides for optimal and reliable transmission. The DHT 700 features AKG’s Top Selling D5 dynamic microphone capsule for lead and backing vocals. The patented Laminate Varimotion™ diaphragm accompanies the supercardiod polar pattern to provide users with higher gain before feedback than typical hand held vocal mics. AKG’s C5 condenser microphone capsule with a cardioid polar pattern is also available.

DPT 700 Digital Bodypack Transmitter

The DPT 700 Bodypack transmitter accepts both microphone and line-level input signals with no need to adjust the input sensitivity. This unique feature guarantees a failure-proof operation and the professional TB3M audio input supports a broad range of headsets, lavalieres and instrument microphones. AKG’s legendary battery life of eight hours of operation from two regular AA size batteries remains consistent in the DPT700 as with other AKG wireless systems.

CU 700 Charging Unit

AKG’s CU 700 is a fast charger that rapidly charges the rechargeable batteries inside the transmitter without damaging the cells' elements. The microprocessor-controlled charger determines the optimum charge current and has a cooling fan to help keep the temperature of the cells in a controlled environment. Charging is terminated when both batteries are fully charged. The CU 700 charger uses the DC Pulse Technology in which a pulse is fed to the battery with a strictly controlled rise time, pulse width, pulse repetition rate and amplitude. With pulse charging, high instantaneous voltages can be applied without overheating the battery.