Equipment News Headlines
Electro-Voice EVID-S commercial loudspeakers for indoor and outdoor use with time-saving wall-mount system
DPA Microphones Amplifies its ‘CORE’
With solutions that provide clear, natural sound, DPA Microphones is known throughout the pro audio, recording and broadcast industries as the best miking option for any application. Complementing its already great sound, DPA is excited to announce the launch of CORE, a new amplifier technology that lives within its line of miniature lavalier and headset microphones.
Looking to minimise distortion as well as increase the dynamic range, or workable area, of its d:screet and d:fine lines of microphones, DPA developed this new amplifier to create an even clearer sound from the ‘highest of the highs’ to the ‘lowest of the lows.’ The dynamic range has been expanded in all ‘CORE’ miniature capsules. For example, the dynamic range of the d:screet 4061 and the d:fine 4066 has been increased by 14 dB at 1% THD. ‘CORE’ technology gives the microphones a more clear and open sound in the whole level range, from a whisper to a scream.
“DPA is renowned for its high-quality, clear and natural sounding microphone solutions,” says René Mørch, product manager, DPA Microphones. “The new ‘CORE’ technology does not replace our existing beloved mics, but rather offers another choice to our worldwide customer base. We want to give our users every option imaginable to capture the sound that they require during any type of production; live sound, theater, film recording, etc. DPA is excited to provide this new, leading-edge solution that while unseen to the eye, can be heard very clearly by ear.”
Located in the capsule of its miniature mics, ‘CORE’ is currently available in the d:screet 4060, d:screet 4061, d:fine 4066 and d:fine 4088 mics. Microphones purchased with the new technology will come in ‘CORE’ packaging and will have a blue label near the serial number on the cable to differentiate between these and the original versions. A very discreet laser engraving stating ‘core’ has been incorporated at the microphone capsule as well. The remaining d:screet and d:fine microphones and full range of color options will be available with ‘CORE’ technology in early 2018.
The new ‘CORE’ omnidirectional microphones will also provide water and moisture resistance through nano coating and hermetic sealing of the sensitive electronics.
“As a company, we always want to maintain our ‘core’ values through the solutions that we present,” continues Mørch. “With the announcement of this new technology, we are staying true to our company roots by providing our customers with an enhancement to the absolute finest microphone solutions on the market today.”
19th October 2017
Safety and Comfort for Both Sides of the Barrier
The wide range of high quality aluminium (EN AW-6082 T6) crowd barriers from LITEC provides safety and comfort for both sides of the dividing line. They allow firmly secure boundaries and restrict access for all types of public events, while providing complete safety and comfort for visitors and staff alike.
Their folding design, modularity and lightweight construction make them easy to move, store, transport, install and disassemble. An extended, inclined footstep with non-slip surface ensures stability and prevention of accidental tripping. Their all-aluminium construction contributes to extreme durability during all seasons, as well resistance to ageing and corrosion.
A range of accessories are available for increasing their usefulness and practicality. Safety is enhanced due to certification in accordance with UNI EN 13200-3.
19th October 2017
Acclaimed Neumann Monitor in a New White version
USA – At the 143rd AES Convention, studio specialist Neumann showcases a new white version of its compact KH 80 DSP monitor loudspeaker. “This white version has been designed for stylish project or home studios that prefer white monitors, for installations where the loudspeakers should not detract from the look of the room, and for home audiophiles,” said Wolfgang Fraissinet, president of Neumann.Berlin.
Since its launch earlier this year, the KH 80 DSP two-way active monitor has met with huge acclaim from users worldwide as it provides highly accurate, professional monitoring with a small footprint. Representing the latest in acoustic and electronic simulation and measurement technologies, the KH 80 DSP features the same distortion-minimising features as the bigger Neumann models and the same innovative Mathematically Modelled Dispersion (MMD) waveguide, which ensures wide horizontal and narrow vertical dispersion, thus making the monitor more forgiving of diverse acoustical environments and ensuring a smoother off-axis response, less reflections, and freedom of movement.
The KH 80 DSP’s cabinet is made from a special polycarbonate composite that eliminates standing waves and ensures an ultra-fast transient response for the bass. It also reduces intermodulation distortion, particularly in the midrange. The front panel is made from one piece, which minimises diffraction and ensures a smoother frequency response overall. Two large ports reduce the bass compression and are helpful when the monitor needs to be mounted in tight spaces.
Robust metal grilles protect the drivers from damage. The powerful alloy fabric tweeter dome guarantees low-distortion reproduction of high frequencies, while the bass driver cone is designed such as to provide extremely low distortion even at high sound levels.
Powerful amplifiers with a large headroom improve the transient response of the KH 80 DSP considerably and keep the heat dissipation low. To protect the power amplifiers and voice coils, both woofer and tweeter are fitted with independent thermo limiters, allowing the user to extract the maximum performance from the system. The woofer is additionally provided with a peak and excursion limiter. When a limiter engages, the dimmable Neumann logo at the front will turn red.
A universal switched-mode power supply (100 to 240 volts) ensures that the KH 80 DSP works in any country and is immune to fluctuations in the mains supply. The internal signal chain of the KH 80 DSP is completely symmetrical, which minimises any noise caused by external electromagnetic interference. Also, the electrical design is double-insulated so that ground loops are impossible. When the monitor is not in use, an auto standby mode saves energy.
At its back panel, the KH 80 DSP features a wide-range input gain control and an output level control. For mobile use, a four-position acoustical control helps to quickly adapt the monitor to the application at hand.
The KH 80 DSP is Neumann’s first monitor loudspeaker with a DSP engine, this not only contributes to the small size of the monitor but also opens up further possibilities with the Neumann. Control software, which will become available early in 2018. Via this software, it will be possible to precisely align the monitor to any acoustical environment, either in a fully automated or a guided way, or manually if desired.
Before it leaves the factory, every KH 80 DSP is individually aligned to the stipulated linear frequency response curve, meaning that any one unit is pair-matched to any other KH 80 DSP.
The KH 80 DSP is ideal for use as a near-field monitor, as a front loudspeaker in small multi-channel systems, or as a rear loudspeaker in compact multi-channel systems. It can be used in project and music studios, broadcast centres, OB vans, and post production studios for tracking, mixing, and mastering, and is also well suited for use in domestic environments. Extensive mounting hardware is available too.
19th October 2017
Maintenance-free band hoist from Movecat for professional use
Movecat's first band hoist, the VMB-S 250-0.8-24, is designed for problem-free professional use. It allows precise positioning with very smooth movements.
During both slow and fast runs, the nominal operating noise is a very low 50dBA/1 m. The Movecat band hoist with TÜV-certified transmission breakage protection is designed for loads of up to 250kg, which it moves at speeds ranging from 0 to 0.8 metres per second over lifting distances of up to 24 metres using a maintenance-free precision steel band.
Thanks to its compact design, the band hoist assures the balanced departure of the suspension element. In closed loop mode, reversal of the run direction is possible without incursion of the brakes, as is hovering. The temperature control for the gear unit and motor is implemented by means of a closed active cooling system, which is monitored redundantly. All important function parameters and test functions can also be invoked from the integrated status board.
"With the new band hoist, we are enabling our customers to meet their full requirements in terms of networked kinetic systems exclusively with equipment from our company," emphasises Movecat CEO Andrew Abele. The advantage of this is clear: it means the effective elimination not only of compatibility problems but also of time-consuming and costly system configuration headaches as well as the kind of flaws in the security concept that can can result from the use of devices from different manufacturers.
The maintenance-free, precision steel band of the Movecat VMB-S 250-0.8-24 can be drawn in at an angle of +/- 45° by means of a flexible, radial band feed. Specially rounded edges effectively minimise the risk of injury.
The integration of the band hoist into an I-Motion network from Movecat is carried out via V-Motion 40E or 55E following a user-friendly "plug and lift" procedure.
18th October 2017
BlackTrax unveils version 2.2
BlackTrax brings a sharp new version of its award-winning BlackTrax real-time motion tracking system now offering centralised control of third-party systems and multiple GUI and system enhancements.
In speaking about BlackTrax version 2.2, Istvan Fazekas, BlackTrax programmer at Cirque du Soleil said: “I like all the new features especially the fixture selection in chapters and the auto douse option. Also, I LOVE how easy it is to update the WYG file in BlackTrax.”
Version 2.2 refines and builds on a customer feedback on v2.1, and is initiating long-requested features. These include:
Centralised output widget manages all output connections to third-party systems, including RTTrPL, RTTrPM and Art-Net protocols.
In addition to the above, output tracking data can be smoothed per trackable as well as easy sharing of outputs as they can be exported into a separate file.
Auto Douse will automatically douse a light according to motion. Smooth pick-ups activate at the beginning of a chapter to create a seamless transition between scenes.
Up to 24 positions can be calibrated and re-called for each chapter. Fixtures can have different trim heights and still maintain tracking accuracy.
When tracking a combination of multiple tracking points (LEDs), the centroid will gradually fade into the remaining visible LEDs (and fade back once the hidden LED re-appears). This also applies to third party devices, which have been written into the centroid module using BlackTrax RTTrPM protocol.
It’s now possible to view LEDs and centroids directly in BTWYG's shaded view and easily select LEDs and centroids, with a focus on either the LEDs themselves, or how they are used within a trackable. BTWYG is now based on the popular wysiwyg R39 lighting design and previsualisation software encapsulating all its innovative features, including alpha beam shadowing enabling even more creativity.
Using predefined spatial Zones with Beam Collision and Beam Sizing, a calibrated position of the fixture is used instead of the BTWYG draw position.
images: CAST BlackTrax
17th October 2017
PR Lighting Adds 350 Beam to New Aqua Waterproof Range
PR Lighting has announced a new addition to its successful IP65-rated AQUA range, which has enjoyed a spectacular launch at key trade shows around the globe this year.
The waterproof and dustproof Aqua 350 Beam moving head features a 350W lamp (6800K colour temperature), and thanks to its advanced optical system delivers a precise, tight and powerful 2.1° parallel beam. This makes it ideal for all outdoor situations, particularly where an outdoor searchlight and big air looks are required.
The fixture is fully-featured as would be expected, and includes 12 dichroic colours (including CTO and White), two gobo wheels (one fixed and one rotating) and three prisms. The fixed wheel contains 16 gobos plus open and the rotating wheel 12 interchangeable gobos plus open. The three prisms offer eight-facet, 16-facet and linear, with bi-directional rotation plus CTO, frost and open.
Also featured are an individual frost filter and double shutter blades (0.3-20fps) while movement consists of 540° (pan) and 270° (tilt), with auto position correction.
The product is now in full production and already shipping.
16th October 2017
Milos multicubes go heavy-duty
The new heavy-duty Multicube from MILOS has no strength limitations when used in horizontal grids. It’s just as strong as the truss. Additional bracing and reinforced corner connections make the Multicube HD more than twice as strong as its light duty multicube.
- Bolted corners with steel reinforced inserts
- High tensile bolts
- 32mm diagonal bracing
12th October 2017
I-MOTION BASIC-C II Road Pack
I-MOTION BASIC-C II Road Pack contains an inner case to accommodate the Basic-C II controller and is equipped with an integrated 22" high resolution display/PCAP touch panel combination.
A pull-out keyboard drawer with an integrated track ball is also included. The Road Pack comes with a choice of English or German keyboards.
The inner case is protected by a flight case suitable for touring with truck-optimised exterior dimensions, four robust hinged handles and four 100mm swivelling castors.
The Basic-C II controller is perfectly suited to systems with up to 24 fixed- or variable-speed drives. Furthermore, it can be used to control and monitor mixed groups of D8, D8 Plus and C1 drives.
The show controller is specially recommended in combination with the V-Motion and MPC I-Series controllers as an answer to the BGV C1 and SIL 3 requirements of small to medium sized kinetic productions in which it is desired to control shows involving vario drives using a dynamic control lever.
It is fully system- and software-compatible with the I-MOTION Expert-T controllers and can also be used as a backup system.
12th October 2017
New From Rupert Neve Designs: The 535 500-Series Diode Bridge Compressor
Rupert Neve Designs has announced the 535 500-Series Diode Bridge Compressor. Based on the dynamics circuit of the company's acclaimed Shelford Channel, the punchy and versatile 535 captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. The 535 is also outfitted with custom transformers and class-A output amplifiers, all tailor-made for the 500-Series format.
According to Rupert Neve Designs: “By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce its unique tone while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself.”
“Almost 50 years after Mr. Rupert Neve created the first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability.”
11th October 2017
Allen & Heath Extends ME Personal Mixing System with ME-500 Mixer
Allen & Heath has added the 16 channel ME-500 personal mixer to its ME personal mixing system. ME-500 is designed as an accessible personal monitoring solution for houses of worship, rental companies and orchestras, allowing musicians to quickly and independently build and control their own monitor mixes from 16 stereo or mono sources. The new mixer inherits the same compact format as its sibling, the 40 channel ME-1, but with simplified setup and controls. The ME system is plug & play compatible with Allen & Heath’s digital mixer range and can be used with third party digital consoles via the ME-U hub.
ME-500 features a crisp, dimmable display, 16 backlit select keys, mute and solo buttons, master level with limiter and EQ, plus a single rotary encoder for all main navigation and control. Each ME-500 can store and recall eight user presets for different mixes, users and shows, all of which can be saved to USB. Outputs include minijack and ¼” headphones and a TRS mono out for wedge monitors.
There is no limit to the number of ME-500 and ME-1 personal mixers that can be added to a system. Secure EtherCon connectors allow ME-500s to be daisy-chained, or deployed in a star topology using the ME-U or an off-the-shelf PoE switch.
Allen & Heath’s live sound product manager, Ben Morgan commented: “We’re seeing a big rise in personal mixing as venues and tours battle to keep sounds levels on stage under control and try to make the most effective use of precious sound check time. Our established ME-1 personal mixers are superb for environments where there’s the time and expertise to craft the perfect mix of up to 40 sources for each performer, but many customers have been asking for a more accessible alternative that volunteers and first-time users can get great results with quickly and easily. That’s exactly what we set out to create with ME-500.”
11th October 2017
Atlona Ships Ground-breaking Velocity Platform for IP-Based AV Control
Atlona has announced that Velocity, its network-based AV control innovation introduced earlier this year, is now shipping and available through Atlona partners and dealers worldwide.
Velocity was introduced as a networked AV control platform for Atlona and third-party products in commercial AV environments ranging from individual meeting rooms up to an entire campus or enterprise. Key benefits include very fast, configuration-based, highly intuitive AV control systems, with centralised management for multiple clients and site installations, and full redundancy capability that avoids downtime anywhere in a client’s AV control installation. Its innovative network-based system architecture supports unprecedented scalability limited only by the capacity of the facility’s IT backbone.
Velocity is comprised of three distinct elements that work together as a single, unified platform:
Velocity Control Gateway is a software and IP-based control processor designed for several AV systems over a network. Atlona offers the Velocity Control Gateway as a server appliance that can interface with up to 250 devices, or as software for hosting on IT server infrastructure to serve up to 5,000 devices. This expandability, unmatched by traditional AV control processors, is unprecedented in scale and value. An IP-based system architecture with automatic failover allows full redundancy in facilities with two Gateways in operation. All control system set-up and management are available by accessing the Gateway through a web browser.
Velocity Touch Panels, available in 5.5” and 8” screen sizes that include hardware for wall or surface mounting, and support for standard PoE, enable seamless user operation and interaction with AV systems. Additionally, the Velocity Control System allows easy BYOD integration with tablets, smartphones, and laptops, as well as PC desktops and touch displays. The web-based graphical user interfaces are automatically generated by the Velocity Control Gateway during system configuration, and then are easily accessible to the touch panels or BYOD user devices. Velocity includes prebuilt and customizable GUI themes with intuitive static and dynamic visual elements.
Velocity Cloud is a centralised online resource for AV integrators, AV/IT administrators, tech managers, and technicians to remotely configure, monitor, and service Velocity Control Systems for their clients. Velocity Cloud enables access to a client’s Velocity installation from anywhere worldwide through a web browser. It empowers integrators with a host features to deliver premium technical support through system setup and troubleshooting, continuous system monitoring, event notifications, instant alerts, system backup and restoration, software and security updates, usage reporting, analytics, and much more. Velocity Cloud provides an essential foundation for offering managed services to clients.
“Velocity’s architecture and design concepts provide immediate value to systems integrators through intuitive configuration and accelerated deployment times, while providing long-term benefits through a scalable platform that can open larger integration opportunities and broader support services with their end customers,” said David Shamir, director of product management, Atlona. “Velocity’s innovative platform for streamlined integration into new and existing IT infrastructure also makes it a perfect complement for use with emerging AV over IP applications, minimising clutter and complexity in multi-room and facility-wide scenarios.”
Velocity includes Atlona’s award-winning ten-year limited product warranty and customer support services so that commercial AV integrators can specify, purchase, and install with confidence.
11th October 2017
ChainMaster expands the CM-820 controller series with a 12-channel controller
Due to high demand, ChainMaster Bühnentechnik GmbH is extending the proven CM-820 control series with a 12-channel controller for direct-controlled chain hoists compliant with BGV-D8 / DGUV V54 and D8plus.
The linkable control unit for 12 chain hoists consists of a compact and robust 19" steel housing with 6U. On the front side are clear directional pre-selectors with LED directional pre-selection display, on the rear are three multicore outputs for four drives of up to 1kW motor power and two grounding sockets for external loads.
In addition to integrated phase and rotary field control, further product features include a main contactor for the GO signal and a monitored emergency stop contactor. LEDs on the front panel indicate all operating states. The accessories required for link operation are included.
"With the CM-820 control series, even growing companies can realise projects with higher demands and more drives. These controllers can be used on their own for smaller projects, in collaboration with partner companies, or can be rented as additional controllers."
6th October 2017
Blumano Launches Stage DB
UK-based international entertainment industry engineering design and safety specialist and consultant, Blumano Ltd, launches Stage DB, a unique new multi-lingual software tool for co-ordinating and collating all the necessary machinery and equipment documentation to meet production health and safety requirements.
Stage DB has been developed for Blumano by Lluis Diaz-Guerra also one of three directors of the company which launched in 2014. Since then Blumano has led the way in establishing important health and safety related working practices for the world of concert touring, special events and large spectaculars.
Any tour or event needs to produce a fully organised bundle of documentation including all the mandatory certificates and reports mandated by the Health and Safety at Work Regulations. This is often required in different languages, all of which also have to be available for inspection by local authorities.
This veritable minefield of administration takes serious time and resources, so Stage DB is designed to make the job infinitely quicker, logical, more cost-effective and easier once the raw data is entered into the system.
Says Blumano’s Cristiano Giavedoni: “This is the first system of its kind that has been conceived and developed specifically to work within the short and often highly pressured time frames of the concert, show and event industry.”
The project manager can create the project with start/end dates, the person overseeing the kit being loaded onto the truck can go online and drag & drop the relevant equipment serial numbers into the project file.
From there, all the requisite documentation – the ‘project bundle’ – is pulled from the information for the countries they are visiting and compiled in a series of easily manageable PDF files.
Stage DB is packed with useful and practical features to assist the process, making it straightforward and user-friendly using a series of user-definable and selectable templates.
There is the convenience of grouping items together by technical common specifications, and group values can be chosen and applied across each group of machinery.
Built-in templates will allow dates for ‘last’ and ‘next’ test examinations to be inserted and Stage DB will flag upcoming expiry dates, and not allow these pieces of kit to be allocated to a project if they are due to expire within the stipulated project time frame.
Currently, the software can produce the documentation in four languages: English, French, Spanish and Italian, with German and Dutch available soon, and other languages will be added.
The programme outputs the completed ‘project bundles’ as PDFs and also generates a series of links that can be sent to the client, who can also access the relevant documentation directly from cloud storage as and when needed.
This is a helpful alternative to sending large PDFs over email for the on-the-road community.
Documentation can be individually personalised with company logos and there are many more flexible and adaptable flourishes that can be added to the overall presentation of the data.
Stage DB is available on licence from Blumano; for more details please check www.blumano.com/stageDB
Assistance with inputting and setting up the initial company’s machinery data is also available as a service from Blumano.
Stage DB has already been beta tested by a number of very active international staging, rigging and engineering companies to ensure it is rock solid, reliable and fine-tuned for commercial release.
It has been used on Take That’s “Wonderland” UK tour, for Coldplay in Milan and for Vasco Rossi’s monster gig in Modena Park in July, attended by 250,000 people and on the Scorpions recent German tour. In each instance, the productions and the local authorities were all very happy with the results. It will also be used again on aspects of the upcoming Rolling Stones tour.
Stage DB has been available to purchase from 14th September.
5th October 2017
Green Hippo Launches Montane+, its Latest Hippotizer Media Server
Green Hippo has launched Hippotizer Montane+, its newest Hippotizer media server. As the latest addition, Hippotizer Montane+ is a formidable force in the live production world. Featuring Notch, the real-time graphics workhorse, a favourite among content creators, Montane+ seamlessly enables users to create, simulate, render, composite, edit, and play. Always in real-time. It’s a smooth experience, too, with Hippotizer V4’s pin system letting you control content from the lighting desk, or other controller. Simply export and playback directly within Hippotizer – it's easy!
Montane+ features two DP 1.2 outputs, and offers the very latest graphics card technology, enabling over 25,000 Notchmarks. Even the most demanding of 3D and generative projects are handled with ease and control. The media server also comes with 10 free Notch FX as standard, plus a playback licence.
“We’re really excited to launch the Hippotizer Montane+. It pushes the creative boundaries of AV professionals, with a familiar workflow that works in all stages of live production,” said
Ryan Brown, product manager, Green Hippo.
Hippotizer Montane+ will be available from November 2017 worldwide.
5th October 2017
Antelope Audio announces Discrete 8
Antelope Audio’s Discrete 8 Thunderbolt and USB Interface with eight discrete mic preamps comes complete with eight console-grade, six-transistor, fully-discrete design preamps, 121dB dynamic range conversion and rock-solid clocking. It includes all Antelope Audio’s premier real-time FPGA FX, including authentic models of iconic gear from BAE, Gyraf Audio, Lang and many more besides. Being based on Antelope Audio’s AFX platform – a rapidly expanding hardware modelling engine – enables Discrete 8 to add Accusonic microphone and preamp models (maintaining the advantages of digital control and repeatability of gain levels), guitar amps, transformer and tube effects alongside a huge selection of classic vintage gear to its recording roster. Thanks to Antelope Audio’s all-new ConnectAFX plug-in, all are accessible via any DAW (Digital Audio Workstation) with workflow that just … well, works!
When working, Discrete 8 users can create custom presets to easily and speedily set up various tracking scenarios. The front panel features a large monitor volume knob and dedicated HP knobs for each output. On top of that, the talkback microphone is also built into the front panel right above the TBK (talkback) button. Better still, talkback can be engaged via the assignable footswitch on the rear, in the EasyPanel software, or via the iOS/Android app. Meanwhile, metering is viewable on the front panel display, inside the EasyPanel, and also via the remote app.
As a 26-input/32-output audio interface with eight analogue inputs (A1 through to A8), eight analogue outputs (on a standard 25-pin D-SUB connector), a pair of monitor outputs, two reamp outputs, and a pair of headphone outputs, with additional digital connectivity courtesy of S/PDIF in and out alongside dual ADAT I/O, Discrete 8 was developed after extensive research of legendary microphone preamp circuitry. Console-grade, fully-discrete preamps were hand-designed to offer world-class sound, and Antelope Audio’s powerful FPGA (Field Programmable Gate Array) engine can transform those already expensive-sounding Accusonic preamps into several classic units via tube-, transformer-, and FET-based circuitry… and all in real time!
Reality dictates, therefore, that both engineers and performers alike can instantly hear the authentic blends of ten different mic preamps, without any latency or annoying comb filtering. Fortunately, the microphone source can be recorded with or without Accusonic modelling, allowing engineers to choose between preamp models during mixing. Moreover, the entire signal path was designed for optimal sound with any microphone, yet really shines when working with Antelope Audio’s new Edge and Verge modelling microphones, which were both specially designed for Discrete 8’s preamps, featuring matching discrete electronics.
Edge and Verge are both ideally suited, then, to Antelope Audio’s real time mic preamp modelling. Creatively combined with the company’s already-acclaimed FPGA vintage hardware-based effects encompassing ever-expanding compressors and EQs, these new modelling microphones usher in a new era for modern recording.
Rightly named, Edge features dual edge-terminated capsules for a smooth/natural sound, reproducing the expressiveness and character of costly classic microphones, albeit without excessive expense. Antelope Audio CEO Igor Levin designed groundbreaking fully-discrete electronics especially for the job at hand while hand-selected capsules are encased in a carefully-crafted enclosure with contours carefully shaped for optimal sonic performance. As a direct result, Edge is an exquisite large-diaphragm condenser modelling microphone with excellent transient response and capable of multiple polar patterns.
Verge visibly differs as a small-diaphragm condenser (back electret-type) modelling microphone suited to both nuanced accuracy and high SPL (Sound Pressure Level) recording. Also exhibiting excellent performance in its own right, it can capably take on the character and personality of the world’s best small-diaphragm condensers and electrets.
Entering the wonderful world of Discrete 8’s FPGA Accusonic 3D modelling engine enables users to transform both Edge and Verge into vintage replicas, realising complete control over proximity effect, off-axis response, and even allowing them to change polar patterns during or after recording! Try choosing from a collection of classic, costly microphones, then track the results while monitoring live to bring out the best possible performance from musicians. Bought bundled together, Antelope Audio’s all-new Discrete 8 Thunderbolt and USB Interface with 8 Discrete Mic Preamps plus accompanying Edge and Verge modelling microphones make for a winning team, bringing all-star performance and technology to a new audience. As an example, a Discrete 8 working with one Edge and six Verge modelling microphones can capably run two chains of FPGA effects inserts and all microphone emulations for one mic.
Musically speaking, the real time FPGA platform offers a complete professional studio experience: microphones, preamps, conversion, compressors, EQs, reverb and latency-free monitoring, all backed by Antelope Audio’s signature clocking combined into one unified system with instantly recallable presets. Put it this way, users can even load AFX Presets from VIP Masters with favourite combinations of FPGA effects regularly being pressed into play on award-winning mixes to transform their own productions! With Antelope Audio’s all-new Discrete 8 Thunderbolt and USB Interface with 8 Discrete Mic Preamps plus accompanying Edge and Verge modelling microphones, an entire signal path of customisable sonic excellence awaits any adoptee.
And if that’s not enough to convince, Discrete 8 can even save and load presets and exchange settings with Antelope Audio’s full line-up of FPGA equipped professional audio interfaces. This makes it a 'no-brainer' for both new users and existing owners using a second rig for touring or travel by allowing them to leave their current studio setup untouched when on the road or engaging in session work outside their own facility.
4th October 2017
In stores now – TC Electronic M100 Stereo Multi-Effects Processor for Stage and Studio Applications
The TC Electronic M100 can instantly turn anyone into a digital FX expert. An incredibly compact multi-effects processor, the M100 features 16 award-winning TC ELECTRONIC presets including studio-grade reverb, delay, chorus, flanger, phaser, rotary speaker, pitch shifter and a variety of stunning multi-effects.
The M100 has two modes of operation – mono or stereo. While the input connectors accept both balanced and unbalanced 1⁄4" cables, the output features impedance-balanced 1⁄4" TRS connectors. M100's stereo Input level control with LED level indication ensures precision adjustment for the optimal signal integrity. And if you're using the M100 live, the footswitch connector provides easy on/off switching (footswitch not included).
An intuitive FX selector allows users to choose from the 16 single or multi-effects that suit the music, while the versatile Parameter and Tap/Select functions give ultimate control over a wide range of parameters. Dedicated mix balance and output level controls make it so very easy to quickly dial-in the perfect sound.
2nd October 2017
Chorus Line: A Flexible Range of Multi-talented Performers by Elation
With Elation Professional’s new Chorus Line of flexible LED batten luminaires, strip lights have graduated from static, single-purpose wash lights to more manoeuvrable, adaptable lighting effects that can fulfil a number of purposes in a single show. This new range of multi-purpose LED batten wash luminaires features a wide motorised zoom, dynamic 220° tilt axis movement and the power to compete with LED video.
“With the continued improvements in LED technology, the possibilities to use linear LED battens for everything from dynamic visuals to more practical lighting solutions have increased,” states Elation sales director Eric Loader. “With the advent of pixel control used as direct eye candy and the ability to use it as a stage wash or foot light, the Chorus Line represents the latest in LED pixel bar effects. The added zoom optics on the LEDs allow it to be used to light objects, scenery, cycs and stages, and the tilt motor function allows it to position or move dynamically during a show, all adding to its capabilities.”
Chorus Line is available in two versions, the eight-pixel bar Chorus Line 8 and the 16-pixel bar Chorus Line 16. Both luminaires house 40W RGBW LEDs with full pixel control and are ideal for use as visual effects, foot lights, wash lights, cyc lights and more.
The new high-power OSRAM 40W RGBW LEDs allow the Chorus Line to perform on the largest stages and compete with the bright LED video screens used on most large productions today. Well-defined LED pixel spacing also allows for more impact and aerial effect on camera, ideal for television or concert applications.
Both the Chorus Line 8 and the Chorus Line 16 feature stepless RGBW colour mixing for a wide range of saturated colours and pastel shades. Colour presets and unique colour macros are included as is an electronic strobe, 16-bit dimming and variable dimming curves. In addition, gamma correction and PWM frequency can be adjusted variably and adapted to individual requirements. The Chorus Line is fully equipped for professional control and can be operated via DMX 512-A with full RDM and Art-Net support, as well as Kling-Net protocol.
The Chorus Line is already being used on events and tours like the current Tears for Fears outing, where 32 Chorus Line 16’s provide a bright curtain of light and compete well against a flown LED video wall.
27th September 2017
NEXT-proaudio introduces the new PXH95
The new NEXT PXH95 is the mid-high speaker that belongs to the PX system, a system that can offer high SPL, reliability, an aesthetic design and high sound fidelity throughout the venue. This system reveals to be an ideal solution for portable applications as well as small concerts. Side fill or DJ monitoring are also one of the many applications that PX System covers.
When used by itself, the new PXH95 can be used in a variety of installation projects, including sports facilities, performance spaces, auditoriums, or worship facilities.
This new element was engineered to be a powerful medium/longthrow mid/high-frequency cabinet in a coaxial configuration. The frequency response range varies from 150Hz to 19kHz, with a precise coverage pattern of 90°H x 50°V over a frequency range from 400Hz–17kHz, ensuring equal sound within the coverage area. As the PXH95 cabinet is square based, it can be rotated to achieve 50ºH x 90ºV coverage pattern.
To obtain the highest possible on-axis sound pressure levels over long distances, the PXH95 mid/high unit is entirely horn-loaded creating an additional sensitivity and improved pattern control.
The HF range, from 1.15kHz upwards, is reproduced by a Neodymium 1.4” driver with a 3” voice coil and a Constant Q horn, whilst the mid-range, from 150 Hz to 1.25 kHz, is provided by a low power compression 12” driver loaded by a mid-range horn.
Wider horizontal coverage can be achieved using multiple PXH95, laterally stacked or flown. The PXH95 cabinet must be rotated by 90º to avoid the comb-filter effects.
A tilt unit (available as an option) permits the cabinet to be angled in 5° increments up to a maximum of 15°, as a result, the upper cabinet can be aimed directly at the audience area even when the system is ground stacked. Optional flying hardware enables the cabinet to be flown. The cabinet is fitted with M8 threaded suspension points, supporting a wide variety of installation approaches.
26th September 2017
New Maverick MK Pyxis Creates Unlimited Array of Looks
The Maverick MK Pyxis derives its name from a constellation of stars in the galactic halo of the Milky Way. True to its celestial moniker, the newest member of Chauvet Professional’s Maverick family can produce an endless array of out of this world looks, thanks to a unique design that includes an outer ring of RGBW LEDs, a powerful zooming centre pixel, 360° continuous pan and tilt movement and a host of other performance features.
“The Pyxis blazes a new path in design possibilities by incorporating a variety of different design features in ways that have never been done before,” said Albert Chauvet, CEO of Chauvet. “Designers who we’ve shown Pyxis to have been shocked that one fixture can produce so many different looks.”
At the centre of the Pyxis is a single homogeneous 60W RGBW LED with a fixed 3° beam angle. Surrounding this pixel is an outer ring made up of nine 15W RGBW LEDs with a 7°-45° zoom angle. Working together, the centre pixel and outer ring are capable of creating a dizzying variety of captivating beam, wash, atmospheric and set piece effects.
A built-in virtual gobo wheel with background colours can be used to make the outer ring appear as if it is spinning. This effect combined with the retractable motion of the centre pixel and the 360° continuous pan and tilt movement can fill a stage of any size with dynamic high energy looks. Readily accessible built-in colour effects add to this pixel mappable fixture’s versatility.
In addition to creating moving looks, the Maverick MK Pyxis can also do double and triple duty as wash and beam light. With a combined centre pixel and outer ring illuminance of 27,560 lux at 5 meters, the fixture has the output needed for a wide variety of applications.
“We see the Pyxis as being a valuable addition to rigs of all sizes,” said Chauvet. “Its versatility and multi-functionality will help touring LDs create a wider variety of looks without increasing their budgets or taking up more space in the trailer. Thanks to its speed and variety of movements, this fixture can also be used to create some stunning wall and set piece displays at arena concerts. This versatility should make it a popular rental fixture.”
The Maverick MK Pyxis is versatile in terms of its control options as well, working with DMX, W-DMX, SACN, Art-Net, and Kling-Net. The user-friendly fixture is RDM enabled for remote addressing and trouble shooting. It also converts TCP/IP to DMX for shorter data cable runs, and it includes a battery backup touchscreen display with auto rotate depending on fixture orientation.
By incorporating these user-friendly features into the design of the Maverick MK Pyxis, the Chauvet team gives designers more time to focus on the creative possibilities opened by the new fixture. Given all that this celestially named light can do, those possibilities should extend very, very far.
22nd September 2017
Soundcraft by Harman debuts the Vi1000 digital mixing console
Soundcraft by Harman and UK distributor Sound Technology Ltd have introduced the Vi1000 digital mixing console. Representing the culmination of the ground-breaking achievements and rich feature sets offered by Soundcraft’s acclaimed Vi Series, the new Vi1000 is the most compact member of the Vi-000 family at just 86cm x 81cm (34” x 32”) in size, yet it retains all the mixing and processing power of its two larger siblings, the Vi2000 and 3000.
The Vi1000 is designed for live touring, music venue and corporate AV customer with applications where a compact and cost-effective, but powerful console is required. Employing Soundcraft’s unique and highly intuitive Vistonics II channel strip user interface, together with FaderGlowM, the console combines the operating principles and workflows from the highly successful Vi3000, 5000 and 7000 consoles with Soundcraft SpiderCore, a powerful built-in DSP and I/O engine based on Studer technology, offering 40-bit floating point processing for class-leading audio quality. The Vi1000 also comes into its own as an additional remote-control surface for any of the larger consoles in the range, using their mirroring feature.
In addition to gating and compression on all 96 channel paths, audio processing functionality includes the acclaimed BSS DPR901ii dynamic EQ and Lexicon multi-effects via an insertable processing pool, plus the ability to insert up to 64 external devices. Studer vMIX automatic voice mixing is built-in and BSS 966 graphic EQs are available on all output busses.
The Vi1000 comes with rear panel local I/O featuring 16 HQ mic/line inputs, 16 line outputs, and two 64 channel expansion slots that allow up to two MADI-based stageboxes to be connected, or alternatively the slots provide access to an extensive range of D21m I/O option cards, that address all industry standard audio formats. Four channels of AES/EBU I/O plus USB and MIDI connections complete the back panel. The total I/O count of the console is 212 in x 212 out.
As is standard with all Vi000-series consoles, a built-in 64x64ch Dante/MADI interface provides direct recording/playback connection via Ethernet to any Windows or Mac-based recording software, or allows the Vi1000 to integrate into an existing Dante network. The associated optical MADI interface allows an alternate record feed to MADI-equipped storage devices or connection of the Soundcraft Realtime Rack Plug-in engine, adding the power of Universal Audio UAD-powered plug-ins to the console's expansive sonic palette.
The Vi1000’s built-in monitoring support for AKG, Shure and Sennheiser wireless microphone systems makes it easy to check battery power, RF levels and frequencies, plus audio level and clipping status of the attached wireless microphones – right on the channel strip that controls each mic.
Andy Brown, Soundcraft product manager, commented on the company’s new Vi1000, “The Vi1000 represents all that we’ve learned over the years with our Vi line and channels that knowledge and experience into a new desk that delivers superior audio performance and a world-class feature set, now delivered in the most compact form factor we’ve achieved so far.”
22nd September 2017
Electro-Voice EVID-S commercial loudspeakers for indoor and outdoor use with time-saving wall-mount system
The EVID-S series is the latest member of the EVID (EV Innovative Design) family of commercial loudspeakers for installed applications. Every aspect of the EVID-S series has been designed from the ground up to ensure efficient installation for the contractor and excellent results for the end-user. The series includes 4-inch, 5.25-inch and 8-inch two-way models with matching dual-10-inch and single 12-inch subwoofers, making it easy to select a suitable model a specific space – a new go-to solution for distributed sound systems.
All EVID-S models offer Electro-Voice-engineered components for superior sound quality, low-profile looks and robust reliability for a wide range of indoor and outdoor applications. These include retail environments, hospitality settings such as bars, lounges, patios, pool areas and restaurants; conference and meeting rooms, fitness clubs, performing arts and sports venues and houses of worship. The series offers true weatherproof construction for outdoor spaces, confirmed by extensive and rigorous testing above and beyond industry norms. All models are paintable and IP54 certified for weather resistance; an IP65 weatherproof version is available for the 5.25-inch loudspeaker cabinet and the 10-inch subwoofer models.
The innovative, new wall-mount system makes installation literally: “As easy as 1-2-3” – quicker and easier than ever before: Attach the wall-mount (a built-in bubble level saves time) and terminate the cables inside, apply the paint cover to protect the wall-mount until construction is completed (when the cover can be removed), and then simply slide the pre-wired speaker with adjustable arm onto the wall-mount and lock into place.
21st September 2017
Martin Audio Upgrades Display Software and Opens Accessibility
Martin Audio has announced a significant upgrade to its optimisation, control and monitoring software platforms. Display 2.3 integrates the recently announced Wavefront Precision series featuring scaleable optimisation, while Vu-Net 2.1 integrates control and monitoring for the new iKON amplifiers, Wavefront Precision Series and XE stage monitors.
For the first time, Display will be available to anyone that registers for the software. Dom Harter, managing director, explains: “MLA users for years have told us that it does things that no other competitor product can do and that we should make this easier for the industry to recognise. Part of this understanding is making Display 2.3 more readily available for the industry to familiarise itself with and to demystify the process. The launch of Wavefront Precision - which has seen unprecedented demand - also precipitated the need to democratise this software.”
Jason Baird, R&D director explains further: “Display 2.3 calculates both inter-cabinet splay angles and the DSP parameters for optimum system performance in any given space. Unlike competitor systems, which generally use a basic geometric calculation to aim their arrays, Display adopts a completely revolutionary and patented approach. Using an extremely accurate computer model of the array to analyse the system performance in a drawing of the venue it is possible to calculate precisely the parameters for the system, in order to get exactly the coverage that has been specified.
“As a system designer you get to determine exactly how you would like the system to perform in the space. This includes the SPL contour from the front to the back of your audience region, how much spill into non-audience areas is acceptable, and it will even specify designated "hard-avoid" areas that the system will actively process to reduce spill to a minimum; great for producing a quiet stage or for reducing noise pollution off-site at outdoor events.”
Summing up, Harter said: “With Display our current array product is now integrated into one optimisation platform, delivering benefits that no other system can achieve, while Vu-Net is allowing control and monitoring of our leading live sound portfolio solutions, making it easier for our users, and presenting a compelling case for Martin Audio to own the stage.”
Software can be downloaded from Martin Audio’s website: https://martin-audio.com/software
21st September 2017
Meyer Sound's New Bluehorn System a Critical Tool for Composer John Powell
Meyer Sound has announced availability of the Bluehorn System, a technology breakthrough that for the first time achieves flat amplitude and phase response from 25Hz to 20kHz in a large-format loudspeaker. The product of more than six years of intensive research, Bluehorn applies advanced proprietary algorithms to cancel out the non-linearities inherent in all mechanical transducers and loudspeaker cabinets, resulting in breathtakingly transparent aural neutrality.
Among the first cinema professionals to take delivery of a Bluehorn System was noted film composer John Powell, whose 60-plus feature film scoring credits include animated family classics from Chicken Run through Happy Feet, Rio and How to Train Your Dragon (and their sequels) plus all the Jason Bourne films. Powell has installed an LCR Bluehorn System in his private recording and mixing facility (dubbed "5 Cat Studio") in Pacific Palisades, California.
"We initially brought the Bluehorns in on a temporary basis for a specific project, but we wouldn't let them leave the building," says Powell. "With the Bluehorns it was blatantly obvious when something was wrong in the mix, and that is the most useful quality I can imagine from monitor loudspeakers."
Powell emphasises the importance of working with monitoring that reveals the input signal with unflinching accuracy, without masking any detail or introducing colouration that may misleadingly enhance the subjective quality of the music.
"For the work that I do, I need monitor loudspeakers that do not flatter the music at all," he says. "I need to hear exactly what is going on in an unbiased way. I have no time when working to enjoy what we did right; I need to hear when things are wrong so we can fix them, and I can hear those problems better with the Bluehorns. I need to be confident that everything is in its proper place, because then the music translates smoothly as we move through to the final mix."
Complete Bluehorn Systems are available in either stereo or LCR configurations, with each channel comprising a two-way mid-high loudspeaker, a separate low frequency element, and dedicated digital processing.
Bluehorn is designed for high-resolution monitoring applications in mid-sized rooms for music recording, cinema post-production, music mastering or other applications requiring the highest accuracy in sound reproduction. Externally, Bluehorn shares the same cabinet footprint, driver dimensions and waveguide configuration as Meyer Sound's Acheron Designer loudspeaker. On the inside, however, Bluehorn utilises an upgraded HF driver and new amplifiers with ultra-low noise and distortion.
Absolutely unique to Bluehorn is the dedicated processor that sits in front of both the mid-high loudspeaker and the companion low-frequency cabinet. The system-specific correction algorithms hosted by the processor were developed by meticulously analysing all physical and electrical non-linearities throughout the entire system, from 25Hz to 20kHz, in order to bring acoustic output at any level into absolute phase and frequency alignment with the input signal. Essentially, the processing nullifies the non-linearities of drivers and enclosures, resulting in a phase-coherent response previously achieved only by open-air electrostatic headphones with their extremely low mass diaphragms.
"This is a loudspeaker that is ideal for people doing music for film because it behaves in the room like a cinema loudspeaker," Powell continues. "It gives us projection like we would hear on the dub stage, yet it also has that extra layer of audiophile quality. Bluehorn lets us hear deeper into the music and resolve problems right away, knowing that even the dub stage might not offer that level of accuracy. It's the best of both worlds, really."
In his cinema work, Powell first used the Bluehorn Systems for mixing music for Jason Bourne, the latest in the Bourne series of spy thrillers, and is currently working on music for yet another animated family feature, Ferdinand. Other film composers and mixers have used the Bluehorn System for their own projects, while Powell has relied on it for tracking and mixing his own classical music recordings – the Prussian Requiem oratorio and The Prize Is Still Mine with orchestra and gospel chorus – as well as for mixing composer Eric Whitacre's score for a forthcoming IMAX presentation.
"That extra level of clarity in Bluehorn makes it easier to analyse your mix, but these are not necessarily loudspeakers you want to listen on to flatter yourself," he admits. "You hear what is right with your music, but you also hear what is wrong so you can fix it. And that's really the point of monitoring, isn't it?"
Bluehorn is named for the high frequency waveguides, painted blue during prototype testing to quickly distinguish the new Systems from Acheron Designer loudspeakers used in the same room for comparisons.
19th September 2017
Does More, Weighs Less
The ELX200 series is the latest member of the Electro-Voice portable loudspeaker family and the next generation of the popular ELX line. Designed to deliver superior Electro-Voice sound quality and best-in-class features in a super-portable format, the line-up includes 10-inch, 12-inch and 15-inch two-way models as well as 12-inch and 18-inch subwoofers. Powered and passive versions are available.
All aspects of each ELX200 model from Electro-Voice work together seamlessly to deliver heavyweight performance in a lightweight package. Integrated efficient Class-D power amplifiers provide distortion-free maximum sound pressure levels utilising high-sensitivity transducers, all designed and engineered by Electro-Voice. System reliability is verified via rigorous endurance testing of the custom internal components, amplifier/DSP module, and enclosures and hardware, all undertaken above and beyond industry norms.
Full-range ELX200 models feature low-profile form factors designed with durable composite enclosures to balance light weight, structural integrity, and ease of use. EV’s proven three-handle design allows for easy lifting and pole-mounting for mobile applications, suspension points make fixed installation simple and secure. ELX200 subwoofers pack powerful low-frequency output into a compact footprint, assembled in optimised wood enclosures with a protective polyurea finish.
The ELX200’s user-friendly versatility is further enhanced with the new Bluetooth QuickSmartMobile app, which allows the wireless configuration, control, and monitoring of up to six ELX200 systems simultaneously. The app makes it quick and easy to dial-in settings in real time from in front of the system, ensuring exceptional EV audio performance at all times for every application.
Additional EV-signature features include SST (Signal Synchronised Transducers) waveguide design, which combines a more compact footprint with exceptionally precise and consistent coverage, and QuickSmartDSP, providing easy system setup via an intuitive single-knob user interface with liquid crystal display.
19th September 2017
Get connected with the DiGiCo S-Series
The S-Series has already benefited from an increase from 40 to 48 flexi channels as part of a recent update, and the new DMI-MIC Pre-Amp Card adds an extra eight mic inputs, connected via a 25-way D-sub, using the same great pre-amps already found in the console. This allows for up to 40 mic inputs directly on the console surface.
DiGiCo consoles are used on many of the biggest live sound tours and events around the world and the launch of new, compact S-Series made this pedigree of audio performance available to every part of the industry, with Stealth Digital Processing introducing a new standard of audio quality, power and flexibility not seen before at its price point.
The S-Series multi-touch touch screens, breaking the mould for small format consoles, with up to 31 faders, 96kHz processing, Internal FX and bundles of I/O. With plug-in DMI cards the S-Series can operate in a wide variety of environments by adding extra I/O or connectivity options, including MADI, Dante or Waves SoundGrid.
“The new DMI-MIC Pre-Amp Card shows our continued commitment to our products,” says DiGiCo general manager, Austin Freshwater. “To take advantage of this and our other DMI card options, we are running a Get Connected programme, so contact your local dealer for full details of the programme and get connected soon!”