The old song might say “It never rains in Southern California,” but this time it did — but only sporadically and hardly enough to dampen the spirits of the 100,000 or so attendees at the Winter NAMM show from January 24 to 28. In fact, the mood at this year’s expo carried a decidedly good vibe. With the memories of 2008’s near-depression and 2012’s year-end “fiscal cliff” thankfully becoming a distant memory, the M.I. and pro industries seemed ready to get back to business. And there seemed to be plenty of business, with a feeling of optimism in the air and from the strong turnout of interested buyers and serious attendees, a sense that good times lie ahead.
NAMM itself turned up the heat, with packed seminars in the H.O.T. Zone (Hands-On Training for entertainment industry pros) and “retail 101” sessions at NAMM University. Improvements in badging/registration were well received, with fewer checkpoints within the convention center, and the inauguration of a new park-like pedestrian zone connecting the show and the large Marriott and Hilton hotels into a campus-style atmosphere, hosting “gourmet” food trucks by day and free concerts by bands such as Tower of Power by night.
Recorded before the show, NAMM CEO Joe Lamond talked about the changing state of the music and sound industries and about the major changes for NAMM 2013.
Some 2,000 brands of instruments, accessories and both pro and M.I. gear were represented within the cavernous walls of the Anaheim Convention Center for NAMM 2013, so there was a lot to see — and hear — in the span of a few days. Here are a few of the new product highlights and trends that caught our eye. (NOTE: CLICK ON ANY PHOTO FOR A LARGER VIEW.) So let’s get started!
Speakers — Up Front and Loud
It seems appropriate that any sound reinforcement show report would begin with speakers, but there were plenty f new models at NAMM and appropriately, perhaps, many were small-to-medium systems.
The most talked about debut in this category was the new StudioLive AI-series from PreSonus (presonus.com), launched at a packed event featuring a live performance by Grammy-winning blues singer Keb’ Mo’. As profiled in last month’s Front of House, these powered 2,000W 3-way speakers employ Active Integration control/networking, an overabundance of DSP control and combine an 8-inch coaxial MF/HF driver with 8/12/15-inch woofers and a companion sub — all created in conjunction with noted designer Dave Gunness of Fulcrum Acoustics. Besides iPad control of the rig, the AI speakers can actively communicate with PreSonus’ new StudioLive 32.4.2AI 32-channel mixer. Shipping is slated to begin late-first quarter 2013.
Not to be outdone, Behringer’s new iQ-Series (behringer.com) loudspeaker line offers system networking/control and DSP from Klark Teknik, acoustic design by Turbosound and Behringer’s iNuke Class-D amplifiers. Models include four full range cabinets — iQ15, iQ12, iQ10 and iQ8 — that share a common set of features but differ only in low-frequency driver size. All are powered, 2-ways with 1.75-inch titanium-diaphragm compression drivers, 8/10/12/15-inch woofers and optional 15/18-inch powered subs using Turbosound long-excursion transducers.
Speaking of Turbosound (turbosound.com), the company relaunched its Milan series, including the M10, M12 and M15 two-way, 1,000W full-range speaker-on a-stick systems and two powered subs. All feature onboard Class-D amps and advanced Klark Teknik DSP. The top boxes have versatile built-in mic/line inputs for plug and go applications and can double as stage wedges. Pricing is squarely aimed at the musician/DJ market, but would find many pro audio applications as well.
Stepping it up, D.A.S. (dasaudio.com) unveiled its AERO 40A that employs its ALAS (Advanced Line Array System). It’s a powered, mid-sized 3-way line array with a rear-loaded 12-inch driver in a bass-horn, 8-inch cone midrange/horn assembly and two D.A.S. M-75N compression drivers. Some 2,000 Watts of Class-D amplification and onboard DSP with FIR filters, premium AD/DA converters and DASnetTM remote monitoring/control software complete the package. The birch ply enclosure is faced with an injection-molded aluminum horn, HF waveguide and woofer baffle, along with stainless steel grill and captive rigging system with quick release pins for fast, precise aiming.
FOH-TV video of the OPALine Line Array from On Point Audio
On Point Audio (onpointaudio.com) demoed its new OPALine, a powered 3-way system, consisting of the 18-inch OPALine Sub paired with the OPALine vertical array loudspeaker featuring four 8-inch Narrow-Profile woofers and two powerful compression drivers driving its 90° by 40° (H x W) line array waveguides. The sub houses the system’s European-designed 2,000W amplifier that powers both speakers.
Designed for installations requiring high SPLs and stylish enclosures, QSC’s (qsc.com) AcousticPerformance line of two-way, full-range loudspeakers can be used in passive or bi-amp mode and QSC Intrinsic Correction techniques are available for Q-Sys and future QSC products. Standard are M10 mounting points for deployment via eye-bolts as well as mount points for an optional yoke bracket. The AP-5122m multi-purpose enclosure can double as a floor monitor and has a pole cup for stand mounting.
FOH-TV’s video of the al-4 Line Array from VUE Audiotechnik
VUE Audiotechnik (vueaudio.com) showed its al-4 subcompact line array and companion V4 Systems Engine. Each al-4 measures 18.9 x 5.5 x 10.3 inches (WxHxD), with two 4-inch Kevlar cone neodymium woofers flanking a beryllium diaphragm, 1-inch-exit neodymium compression driver on a 90° horizontal waveguide. Arrays can be configured with up to 16 al-4 systems per fly bar. The V4 Systems Engline will power eight individual al-4s. A variety of companion VUE subwoofers are available.
The P-Series pro loudspeakers from Cerwin-Vega (cerwin-vega.com) has two active models. The P1500X is a 2-way, bi-amped, full-range system with a 15-inch woofer and compression driver on a hemi-conical horn, powered by a 1,500W Class-D amp in a polymer enclosure with 2-position pole cup mount and built-in rigging points. The P1800SX is an 18-inch powered subwoofer with a 2,000W Class-D amplifier.
Proving its popularity and staying power, the JBL EON (jblpro.com) was inducted into the TECnology Hall of Fame at a ceremony during the show. Unveiled at NAMM exactly 18 years ago, EON began a revolution in molded powered speakers that continues to this day, with nearly a million units sold during the three generations of its evolution and production.
Founded in 1963, Yorkville Sound (yorkvillesound.com) kicked off its 50th Anniversary celebration with the official unveiling of its ParaSource active loudspeaker series, The Canadian-built line consists of 10/12/15-inch powered 2-way systems using the same ABS cabinet construction as the company’s successful Paraline series, with large conical MF/HF horns, high power woofers and onboard Class-D powering. Optional powered subs and flyable (and paintable) enclosures that can double as stage monitors round out the feature set.
German company HK Audio (hkaudio.com) was on hand to announce its new Elements Plus modules, designed for fixed installs or portable use. This vertical (70° H) line array system features an E-Connect integrated signal routing system, for quick setups with minimal cabling. Modular and scalable, any number of E835 eight-speaker MF/HF units which can be powered from the dual-10-inch E210 SUB A powered subwoofer module with its twin onboard 1,200W amplifiers. A variety of hardware is available for portable of permanent installs.
At long last, Eminence (eminence.com) is close to shipping D-fend™, the industry’s first all-digital, programmable loudspeaker protection circuit designed to solve the age-old problems associated with shielding loudspeakers from excessive power conditions. DSP-based, with on-board digital filtering, customizable microprocessor and MOSFET construction, the D-fend circuit lets a designer to use this technology prior to passive filtration and allows different sensitivity settings in specific frequency bands, such as woofer over-excursion bands or high frequency peak damage regions. No aux power is required; D-Fend operates from a standard speaker-level signal and will be offered in OEM and end-user versions.
Mics, Mics, Mics!
The industry seems to have an insatiable appetite for new microphones and NAMM did not disappoint. The big talk was centered around DPA Microphones’ (dpamicrophones.com) launch of its second-generation d:facto II vocal mic. In addition to the wired handheld version, DPA showed a state-of-the-art adapter system, which allows for seamless integration of the capsule with many pro wireless systems. To check out the review of the DPA d:facto II, CLICK HERE.
Known for its multi-channel surround mics, Holophone (holophone.com) announced the new Super C handheld supercardioid condenser handheld mic. Each mic’s casing, windscreen, and grille can be instantly changed to any of a wide range of custom colors, offering visual versatility, and a whole new level of hygienic appeal. MSRP is $499.
Austrian-based Lewitt Audio (lewitt-audio.com) unfurled two new MTP Live Series handheld flagship models: the MTP 940 CM condenser microphone and the dynamic MTP 840 DM. The MTP 940 boasts three switchable polar patterns: cardioid/supercardioid/wide cardioid, a three-position high-pass filter and an ultra-low 9 dB self-noise level. The MTP 840 DM dynamic model is a bit unusual with its three-step high-pass filter and an onboard (phantom-powered) three-position amplifier.
Keeping with the active dynamic theme, Telefunken Elektroakustik’s (telefunken-elektroakustik.com) new M82 kick drum mic is a cardioid dynamic model with internal (phantom-powered) filters that provide equalization for a choice of four settings for recreating a vintage kick mic sound or a modern, more aggressive sound. It’s also suited for other applications as well including vocals, percussion, guitar and bass amplifiers, organ and brass instruments. MSRP is $399.
Long a favorite mic of mine on live overheads —as well as pianos and acoustic instruments, AKG (akg.com) has relaunched its C1000 S condenser mic, featuring two gain settings, three selectable EQ curves and switchable cardioid/hypercardioid polar patterns. Also new is a changeover to dual AA batteries (instead of a single 9V) for powering when phantom is not available.
And while not a show-buster, PreSonus is now shipping its affordable ($79) PRM1 measurement microphone, which is ideal for general room analysis duties, as well as interfacing with the onboard Virtual StudioLive (VSL) mixer-control software with Smaart® Measurement Technology, built into its StudioLive console series.
Wireless World
Beyerdynamic (north-america.beyerdynamic.com) expanded its RF offerings with the TG-1000 series digital wireless, offering 24-bit converters and 128 dB dynamic range. The system features one-button navigation, a large, high-contrast OLED display and Wi-Fi system control using smartphones or tablets. The handheld offers numerous interchangeable capsule options including the TG V90r ribbon mic element.
Shure’s (shure.com) new GLX-D wireless systems combine LINKFREQ Automatic Frequency Management, intelligent lithium-ion batteries and 2.4GHz band operation. In the presence of RF interference, the GLX-D receiver and transmitter seamlessly move to clean frequencies with no audio interruption. Besides bodypack and handheld (with SM58, SM86, Beta 58A and Beta 87A option) versions, GLDX-D is also offered in a slick, stompbox-sized pedal-mounted guitar option that features an integrated tuner and easily integrates into any pedal board with no-show internal antennas. Yeah!
Consoles
PreSonus (presonus.com) finally unveiled its long-rumored 32-channel StudioLive 32.4.2AI. Beyond its 32 channels with XMAX mic preamps, the new mixer’s Active Integration dual-core computing engine adds 64 times the processing power and 10,000 times more RAM than the previous StudioLive 24.4.2. Also new are four internal effects buses, six mute groups and six user-assignable Quick Scene Recall buttons and an Alt EQ/Dyn button that lets users create two sets of EQ/dynamics settings for a channel and make quick A/B comparisons. A USB 2.0 port hosts the included USB Wi-Fi LAN adapter. Just connect a wireless router and control the mixer wirelessly from a laptop, iPad or iPhone. A card slot accepts the default dual-FireWire S800 and S/PDIF stereo out card or optional Thunderbolt/AVB-Ethernet/dual-FireWire S800 I/O cards. Slated shipping is April, 2013; street is $3,999.
Behringer (behringer.com) added four models to its hugely successful X32 product line: the X32 Compact, X32 Producer, X32 Rack and X32 Core. All can be controlled via PC/Mac/Linux/iPad/iPhone/iPod Touch and offer digital connectivity, virtual FX, Midas-designed mic preamps, a variety of inputs/outputs and AES50 ports that can be connected to Behringer S16 Digital Snakes for expanded I/O regardless of mainframe size.
The small-footprint X32 Compact is a 40-input channel, 25-bus console with 16 programmable Midas preamps, 17 moving faders and all of the features and functionality of the original X32. The X32 Compact is designed for applications where space is limited or the application only requires 16 local mic inputs. Connected to an S16 Digital Snake, I/O is expanded to full X32 capacity. The X32 Producer shares the same I/O structure, but has a 5-inch TFT screen, is iPad or laptop controllable and is rack-mountable.
Also in a similar form-factor, Behringer’s X32 Rack Mixer delivers the same mixing and FX power for applications where PC/MAC/Linux computers, iPad or iPhone/iPod Touch control is desired. The X32 Core packs all of the mixing/routing/FX power of the flagship X32 into a single-rackspace chassis. I/O connectivity requires the addition of S16 Digital Snake boxes and accommodates up to 96 remote inputs, or X32 Core can be connected to a DAW with a full 32 x 32 channels, massive FX and ultra-low latency via USB 2.0 or FireWire.
Mackie (mackie.com) put the iPad control concept of its DL1608 digital mixer into the DL806, an 8-channel package priced at $399. The DL806 has eight Onyx preamps, onboard effects and four aux buses, plus wireless mix capability. Shipping is Q2 2013. Mackie also showed MyFader, a free control app for the DL1608 and DL806, but designed for Wi-Fi control from an iPhone or iPod touch. MyFader also includes an access control function (so the drummer adjusting IEM mix can’t tweak the FOH parameters), making it ideal for performer personal mixing, but the app also provides an ideal backup controller in case you drop/destroy/lose your iPad during the show.
Keeping on the iPad trend, the new GLD Remote from Allen & Heath (HYPERLINK “http://www.allen-heath.com/”allen-heath.com) offers a comprehensive suite of GLD-80 mixing controls for remote wireless applications using the iPad or the iPad Mini. And beyond simple channel processing, GLD Remote gives control of high pass filters, gates, parametric and graphic EQ, compressors and input/output delays, along with a real time analyzer (RTA) to ring out monitors/EQ the PA and more.
Available in three frame sizes, the new Soundcraft (soundcraft.com) Si Expression 1/2/3 digital mixers offer 16, 24 and 32 fader and mic inputs. All can handle up to 66 inputs to mix by connecting any Soundcraft stagebox including the two new Mini Stagebox 16 and 32 (16 x 8 and 32 x 16) models also launched at NAMM or by connecting additional inputs over MADI or AES/EBU. Other features include a color touchscreen, iPad ViSi Remote control and FaderGlow, adopted from Soundcraft’s Vi Series large-format flagship consoles, along with a powerful DSP engine providing 4-band parametric EQ, delays, gates and compressors on every input, parametric and 30-band graphic EQ, compressors and delays on all outputs and four Lexicon stereo effects devices.
Soundcraft also announced new ViSi Connect option cards its Vi Series, Si Compact, Si Performer and Si Expression mixers. These include a multi-digital interface with 16-in/16-out channels of Firewire or USB plus eight optical ADAT channels; and upcoming Dante and BSS BLU link cards. The new cards supplement the existing MADI (fiber and Cat-5 options), AES, CobraNet and Aviom A-NET cards.
Avid (avid.com) showed expandable I/O flexibility for VENUE Mix Rack systems through the new Stage 48 Ethernet AVB remote box via the Avid Ethernet Snake Card option. Stage 48 features fully redundant, auto-switching Ethernet AVB connectivity, delivering a highly reliable, all-digital connection through dual-standard 350 MHz Cat-5e cables, at distances up to 100 meters away.
In an impressive show of cooperative technology development, Waves (waves.com) and DiGiCo (digico.biz) joined forces to create DiGiGrid™ (digigrid.net) a series of hardware and software processing solutions that enable users of Native DAWs, Pro Tools and MADI-enabled live mixing consoles access to Waves SoundGrid audio networking and real-time processing. DiGiGrid offers a full line of SoundGrid I/Os, Pro Tools-to-SoundGrid interfaces and MADI-to-SoundGrid interfaces.
In related news, Waves (waveslive.com) also expanded its catalog of plug-ins designed for sound reinforcement. The eMotion LV1, an eMotion™ mixer for SoundGrid systems, is powered by low-latency Intel-based (Mac/PC compatible) Waves SoundGrid DSP servers and offers 64 input channels and 32 assignable stereo buses and two integrated plug-ins: EMO-D5 Dynamics Processor and the EMO-Q4 Equalizer. Also new for Waves’ MultiRack Native and SoundGrid platforms are IR-Live, a convolution reverb optimized for live use (including models of venues such as Wembley Stadium, CBGB’s and the Grand Ole Opry) and GEW, a cut/boost, third-octave graphic EQ. Waves also opened its SoundGrid platform to support from third-party plug-in developers, beginning with those from the plug-in alliance.
Sonnet (sonnettech.com) was busy showing its Echo Express Pro PCIe expansion chassis (detailed by mixer Joel Lonky running Waves plug-ins on a Midas PRO9 in the January issue of FOH). But during NAMM, Sonnet took its technology one step further, running Universal Audio UAD-2 cards and plug-ins and Pro Tools|HDX cards from a Midas board, opening an entire world of signal processing options to nearly every sound reinforcement user. .
Monitor World
FOH-TV video of the Allen & Heath ME-1 Personal Monitor Mixer
Allen & Heath (allenheath.com) demoed its ME Personal Mixing System that’s universally compatible with Allen & Heath and other pro digital mixers. Based around an easy to use ME-1 personal mixer, powered and connected via Cat-5 and capable of managing up to 42 sources. The accompanying ME-U hub enables star connection of multiple ME-1 mixers and interconnection to other professional digital mixers via a standard input card to interface with GLD, iLive ACE or Aviom A-Net, which can be replaced with a MADI, Dante or EtherSound card to take a digital feed of up to 40 sources from third party systems.
Aviom (aviom.com) debuted its next generation A360 Personal Mixer, which features a 36-channel mix engine that can be used to mix up to 17 mono or stereo channels plus mono or stereo ambience. For each of the A360’s standard mix channels, users can adjust volume, tone, and reverb. The 17th channel — the Dual Profile Channel™ —offers users instant access to two independent combinations of channel volume, tone, reverb, and stereo placement for a favorite channel. Based on an enhanced version of Aviom’s Pro16 A-Net protocol, Pro16e, the technology driving the A360 Personal Mixer allows delivering multiple 16-channel banks over a single Cat-5 cable.
Movek (mymixaudio.com) was showing the latest update to its myMix Control plug, which adds network control of the myMix personal monitoring and multi-track recording system. Using an improved browser-based GUI (accessible via Wi-Fi to Mac/PC laptop, iPad, etc.), the Control option streamlines the configuration and support for larger systems used in concert sound and large commercial sound applications.
dbx (dbxpro.com) is now shipping its PMC Personal Monitor Controller, which lets users precisely dial in the levels of up to 16 channels of audio and tweak each channel with EQ, panning, Stereo Width control and effects including a choice of built-in Lexicon reverbs. The PMC uses a BLU link audio bus from either the dbx TR1616 or any BSS London system to control 16 channels of digital audio (expandable up to 256).
The monitor earpiece market is heating up. Aurisonics (aurisonics.com) launched its $499 ASG-2 universal fit IEMs with a 15mm driver and dual tweeters. The units feature replaceable cables and the users can later upgrade the ASG-2’s with custom earmolds, if desired. Logitech/Ultimate Ears was demoing the Ultimate Ears Vocal Reference Monitors (ultimateears.com), which are voiced with two different sound signatures to accommodate male or female voice frequencies. Price is $999.
Production Essentials
JoeCo (joeco.co.uk) showed the JoeCo BlackBox App for remotely controlling the BlackBox Recorder via iPad, as well as offering viewing/editing of BlackBox Player playlists. The app also provides an option for triggering playlists during shows, theatre performances and themed entertainment. Primarily developed to work wirelessly, the add-on interface now provides a physical cable interface for use in environments with Wi-Fi noise, such as exhibit halls, conference centers and performance spaces. And a software update for the BlackBox Recorder/Player (v.2.2.7x) now supports playback of polyphonic WAV files from multiple stereo files (up to 24- or even 64-channel PolyWAV files). Mono, stereo and multichannel files can now used together in the same song, enhancing the system’s flexibility.
Cymatic Audio’s LR-16 (trunorthmusicandsound.com) low-cost recording interface has 16 TRS inputs (+4/-10 dB) and two outs that captures multi-channel audio directly to an external USB drive. No computer is required, but the Fat-32 Wave tracks (up to 24-bit/48kHz) can easily be transferred to Mac or PC with Core Audio and ASIO support. Just plug your console line inserts into the inputs, hit the transport buttons and you’re capturing tracks.
FOH-TV video of Whirlwind’s Modular AC Power Distros
Whirlwind (whirlwindusa.com) showed its full line of AC power distros, including a new series of modular units that let users easily design a custom power distribution system. Customers can select from a huge variety of full line of rack mount input panels, main breaker panels, combo panels, breaker panels, output panels and power meter/accessories. HYPERLINK “http://blob.stardraw.com/downloads/whirlwind/Setup%20Whirlwind%20Design%20Pro.exe”DesignPRO 2.0, Whirlwind’s free drag/drop AC distro design software, simplifies the configuration process.
Sometimes you have to save the best for last. Radial Engineering (radialeng.com) announced StageDirect, an active direct box that combines all of the standard DI features — such as switches for -15 dB pad, high-pass filter and phase reverse — but with the added convenience of being able to mute the signal using a footswitch that instantly disconnects the 1/4-inch amp and XLR PA outputs for silent on-stage tuning or to quietly switch instruments without having to turn down the PA system or put the stage amp on standby. There are a million times I could have used one — or a couple — of these. And with a NAMM show filled with flashy digital doo-dads, sometimes a simple product like Stage Direct can shine above the rest. Yeah!
More to Come
There was a lot more at NAMM, so watch our regular product coverage online and in print for more cool product hits. Meanwhile, Winter NAMM returns to the Anaheim Convention Center next year from January 23 to 26, 2014. See you there!
