For anyone who’s never attended, the Musikmesse / Prolight + Sound exposition, held in Frankfurt, Germany from April 15 to 18, 2015, is a huge affair — sort of like a combined NAMM / AES / InfoComm / LDI, with ten exhibition halls of pro audio and music instruments spread out across the ginormous Messe Frankfurt expo complex and attracting 108,000 visitors. Product launches in pro audio tend run in cycles and right now, new sound reinforcement consoles and loudspeakers grabbed the headlines at the show, reflecting the overall health and continuing strength of the live market over studio products and other segments of the biz.
The trend continues with this year’s Prolight + Sound presenting a wealth of new sound reinforcement mixers (for any budget) as well as speakers — including launches of major new line arrays — as well as other audio essentials and FOH was there to report on the details. Let’s look at some of the highlights that caught our attention at PL+S (presented alphabetically within each section).
DIGITAL CONSOLES REIGN SUPREME!
In all, Prolight + Sound was a feast for the senses, particularly if your eyes and ears were on the 12 new digital live audio consoles that debuted, as well as announced updates for another half dozen (or so) additional models. If you were looking for late-breaking new sound reinforcement technologies, Frankfurt was the place to be.
Allen & Heath (allen-heath.com) is shipping the new Chrome Edition models of its class-leading GLD series mixers, with extensive new features and FX. The Chrome Edition GLD-80 ($4,999) and GLD-112 ($6,499) mixers have been redesigned with a new metallic livery, while the AR84 and AR2412 AudioRacks have received a sleek black finish. Under the hood, GLD Chrome firmware adds Auto Mic Mixing capability and an expanded DSP suite.
Chrome’s unique new DEEP plug-in architecture lets users select from a number of different processing units on every input and mix channel. Two new RMS-VCA inspired compressor models, the 16T and 16VU operate without burning valuable FX slots or adding latency. The onboard FX suite has added a new stereo tap delay, a bucket brigade delay emulating the non-linearity of solid state delay units and a faithful emulation of the classic tape echo system popular in the 1970’s, which models tape non-linearity and filtering characteristics.
Avid’s VENUE | S6L (avid.com) is a large-format live console with a touch-based interface Ethernet AVB, Dante, MADI and Thunderbolt support, industry-standard plug-ins, over 300 total processing channels and a new Stage 64 I/O rack with high performance preamps. This modular, scalable system can handle huge channel and plug-in counts at the lowest possible latency, while high-res, daylight-visible touch screens, OLED displays and intuitive ergonomics provide intuitive control, along with Pro Tools recording/playback and Virtual Soundcheck integration.
A complete system includes a control surface, engine and I/O components, the VENUE | S6L control surface, VENUE | E6L engine and Stage 64 I/O rack. The control surface is offered in three frame sizes — S6L-32D (32 + 2 faders, 96 assignable knobs, Master Touch Screen and three Channel Touch Modules) and the S6L-24D / S6L-24 — both with 24 + 2 faders, 64 assignable knobs, Master Touchscreen and two Channel Touch Modules
Robert Scovill offers this Avid S6L tour for FOH-TV
The VENUE | E6L engine comes in two variations: the E6L-192, with 192 input processing channels, 96 mix buses + LCR; and the E6L-144, with 144 input processing channels, 64 mix buses + LCR. Shipping is to begin in Q3 2015.
X32 showed 8/16/32-channel digital stageboxes for its popular X32 digital console. The top-end S32 provides 32 -designed remote-controllable mic preamps, plus 16 balanced analog XLR returns — all connected via a single Cat-5e cable.
CADAC (cadac-sound.com) launched its CDC six digital live sound production console that features ultra-high audio performance combined with advanced gesture-based operation for a fast workflow. Less menu-dependent than other digital consoles, the CDC six’s traditional physical controls have been replaced by an intuitive “high agility” user interface, accessed via a 23.5-inch, 16×9 touch screen without the compromises dictated by hardware-centric designs
The faders follow the swipe of the screen or scrolling of the channels, ensuring full control of any combination of inputs, outputs or VCAs displayed on the screen. First-time users face a minimal learning curve navigating the features by gesture — it’s similar to navigating a tablet or smart phone, so there’s no need for intensive formal training. Next to each of its 20 100mm motorized faders is stereo metering and a color OLED display, along with an assignable 6.5-inch secondary touch screen.
This 64 input channel, 48 assignable bus design, features the classic CADAC mic preamps, 24-bit / 96 kHz Delta Sigma AD/DA converters, sub-0.4 millisecond latency from analog inputs to analog outputs on stage. Also standard is 4-band parametric EQ; 16 stereo onboard effects; extensive dynamics; input/output delays; snapshot automation; 16 VCA groups; compressor/limiter, 4-band parametric and 31-band graphic EQ on all outputs. The CDC six (as now the CDC eight) also come with an integrated Waves card for Waves MultiRack SoundGrid server.
DiGiCo (digico.biz) previewed the low-cost (under $7,000) S21 console which features 40 Flexi channels, 46 buses, analog and digital I/O support, 24 onboard preamps and two large multi-touch screens. Other standard amenities include user-definable macros, snapshot automation, a 10 x 8 matrix, 16 assignable 32-band EQs, eight FX engines (reverbs, delays, modulation and enhancer), four assignable DigiTubes, four assignable multiband comps, gating and compressor on every input and bus, The 96 kHz S21 FPGA shares the same algorithms as DiGiCo’s SD7, while its mic presmp designs are taken from the 192 kHz SD-Rack.
Check out this tour of the DiGiCo S21 on FOH-TV.
Two S21 rear-panel DMI slots accommodate a wide range of input/output configurations or platforms for up to 64 I/O’s. The DMI card format is shared by DiGiCo’s new Orange Box — an “anything to anything” audio format converter in a 2U chassis with two slots that accommodate any of the ten current interfaces available (Dante, Hydra2, BNC, Cat-5, Optocore, Aviom, ADC, AES, DAC and SoundGrid), with more planned as future needs arise. With this feature set and pricing, the S21 could be the DiGiCo for the rest of us. For more info, see the video tour on fohonline.com/foh-tv.
Lawo (lawo.com) came on strong with a number of innovations and advancements for its MC-Series digital consoles. First off was a demonstrations of the mirroring of two of its mc2 56 consoles. Especially useful in theater applications, this allows an mc2 console to be located in the auditorium to prepare and fine-tune the mix during rehearsals., with the auditorium console settings mirrored to a console in the control room where the show mix is normally handled without disturbing the audience. Once the rehearsals are completed and the mix perfected, the auditorium console can be removed, freeing the seats in the auditorium to be taken by paying customers.
Lawo is also now shipping the Compact I/O stagebox for its mc2 console family (including the new mc236 live sound mixer) This rugged, 5U unit connects via Cat-5 or optional fiber, offering 32 Lawo-grade mic/line inputs, 32 line outputs, eight digital AES3 inputs, eight digital AES3 outputs, eight GPIOs, eight Ravenna ports and a MADI (SFP) port.
Mackie (mackie.com) is now shipping the DL Dante Expansion Card for its DL32R, bringing networked audio performance to this 32-channel, iPad-controlled digital mixer. The card provides 32×32 channels of network audio I/O, allowing the DL32R to be connected to any Dante-powered AV network. Flexible IO patching in the DL32R lets the user route Dante signals to any channel input, and send any of the mixer’s outputs to the Dante network. The card includes a Dante Virtual Soundcard software license, allowing direct recording/playback of up to 64 channels of audio from any Dante network to a PC or Mac computer.
PreSonus (presonus.com) unveiled the StudioLive CS18AI mix controller, a versatile, scalable, modular control surface for its StudioLive RM-series rack-mount, Active Integration digital mixers and PreSonus’ Studio One DAW. Networking with StudioLive RM32AI and RM16AI mixers via AVB Ethernet and PreSonus UCNET technology, the StudioLive CS18AI offers touch-sensitive motorized faders and enables complete hardware control of all mixer features, managing up to 64 channels. With a StudioLive RM as the mix core, users can choose to work with 18 physical motorized faders, portable wireless iPad, a large Windows 8 touch screen or a combination of all three.
The rack-mountable StudioLive CS18AI has the same footprint as a StudioLive 16.4.2AI console and can control up to 64 input channels (with two cascaded StudioLive RM-series mixers) and the mixer’s Fat Channel processing section. A 32-channel StudioLive CS18AI/RM32AI mixer system will be $4,999, while a 64-channel rig with one StudioLive CS18AI and two RM32AI’s will be $7,499.
Roland (proAV.roland.com/OHRCA) is finally shipping its much-anticipated OHRCA (Open High Resolution Configurable Architecture) M-5000 digital console — with 128 freely assignable audio paths and up to 460 inputs/456 outs at 48k Hz. Roland also announced that seven expansion/interface cards — XI-REAC (REAC), XI-DANTE (Dante), XI-MADI (MADI), XI-WSG (Waves SoundGrid) XI-SDI (SDI), XI-SFP (SFP) and XI-DVI (DVI) — are also available. Slots on the rear of the console accommodate the cards, enabling the user to easily configure the M-5000 for any application.
Soundcraft (soundcraft.com) unveiled the new flagship mixers in its Vi Series: the Vi5000 and Vi7000, which offer optional 96kHz processing, upgraded channel counts and solid, reliable hardware. Replacing the popular Vi4 and Vi6 consoles, the Vi5000 and Vi7000 include significant improvements while retaining and building on the series familiar GUI and sound quality characteristics.
Both new Vi models provide a choice of compact control surfaces with new local rack and active breakout box hardware, for up to 128 inputs and 32 mono/stereo buses with up to 384 inputs/outputs in the I/O system. Ultra-low noise mic amplifiers and enhanced 96 kHz 40-bit floating point digital audio processing are standard, as is implementation of the classic BSS DPR901ii Dynamic EQ, along with eight Lexicon multi-FX units, and a BSS graphic EQ on every bus output. Both consoles also feature an additional dedicated 64-ch MADI interface for Realtime Rack; a collaboration with Universal Audio that gives users access to industry-standard UA studio plug-ins.
Solid State Logic (solidstatelogic.com) debuted new V3 software that introduces more than 40 new software and hardware features and updates for its SSL Live console range. The L500 becomes the L500 Plus to mark the significance of this new release, with the the L500 rising from 192 mix paths to 256 with a doubling of effects processing power (depending on the effects selected). The L300 also enjoys a power increase from 128 to 192 mix paths, as well as an optional Dante interface card, remote control software, user interface changes, new effects, enhancements to the solo system and more. SSL Live V3 is due for release this month and will be standard on all new consoles. Upgrades will be available to bring existing consoles to V3 specification.
Studiomaster (studiomaster.com) launched digiLiVE 16, an all-new ultra-compact digital audio mixer with a hybrid concept combining hardware and touch-screen control surface with remote tablet operation. This 16-input (12 mic presmps) console features a 7-inch Android-driven high-res touch screen and eight motorized 100mm faders, 24-bit/192 kHz converters up to eight internal effects buses, eight assignable XLR analog outputs, AES/EBU and S/PDIF outputs and two USB ports supporting playback and recording.
Yamaha (yamahaca.com) turned more than a few heads with its new, affordable TF Series of digital consoles, which offer fast, accurate gain setup, single-step compression and EQ, and mic-specific presets created in cooperation and consultation with leading manufacturers such as Shure, Sennheiser and Audio-Technica, as well as leading FOH engineers.
The TF series (which stands for TouchFlow operation) comprises three compact, digital mixing consoles, the TF5, TF3 and TF1, which feature 33, 25, or 17 motor faders, along with 32, 24, or 16 rear-panel analog inputs and recallable Yamaha D-PRE preamps. There are a total of 48 inputs on the TF5 and TF3, with 40 on the TF1, including dual stereo analog/USB digital inputs and dual returns. Advanced live recording features include up to 34 x 34 channel recording and playback via USB 2.0 and 2 x 2 with a USB storage device. It also includes seamless operation with high-performance I/O racks.
All TF models include a slot for an optional NY64-D I/O expansion card allowing transmission/reception of up to 128 channels (64 in/64 out) via Dante. The TF5 (MSRP: $4,200), TF3 ($3,500) and TF1 ($2,950) are scheduled to ship this month.
Click on the video for a tour of the Yamaha TF console.
Yamaha also unveiled the RSio64-D I/O, a Dante/Mini-YGDAI format converting audio interface that can handle up to 64 inputs and 64 outputs while providing router functionality. It allows a wide range of input/output formats to be connected to a Dante network via four card slots that accept the comprehensive range of Mini-YGDAI cards available, making it an ideal choice for a wide range of applications. The Rsio64-D has card slots for the customer to choose what “flavor” of format they require, and can also be remotely controlled from Yamaha CL and QL Series digital consoles. MSRP is targeted as $3,000, with Summer 2015 deliveries.
LOUDSPEAKERS: LOUD, LOUDER, LOUDEST!
One of the real surprises at Prolight + Sound was the sheer number of new speaker designs and technologies that were unveiled for live sound reinforcement applications. And if there’s a trend here, it’s definitely higher power drivers under DSP control to optimize performance, yet all the time from smaller, more compact enclosures. Here are just a few of our picks in the “best transducers” category.
Adamson’s (adamsonsystems.com) new S Series compact line array consists of the S10 2-way boxes, S119 subwoofer, Blueprint AV and the new E-rack powering. The S10 has two 10-inch neodymium woofers and a 1.5-inch exit DF driver on a wave shaping sound chamber for 110 x 10 degree (H x V) dispersion. The 20 x 10.4 x 20.7-inch S10 weighs just 60 pounds and offers 141.3 dB peak SPLs. The S119 sub has a neodymium 19-inch driver. The E-Rack adds amps, versatile I/O and a 20-port managed Ethernet switch to route dual-redundant Dante and control signals.
Alcons Audio (alconsaudio.com) launched its LR28 large-format line-array, which is loaded with the proprietary RBN1404rsr 14-inch pro-ribbon driver, quad 6.5-inch cone mids and dual 14-inch woofers. Alcons also announced its first LR28 sale, with 32 LR28s, BC543 triple-18 cardioid subs and Sentinel 10 amplified controllers to Norwegian rental company Trondheim Lyd. Also new is the smaller-format LR16.2 line array, a bi-amped 3-way configuration with 90 x 10 degree dispersion from the RBN602rs 6-inch ribbon driver and 8-inch woofers.
Coda Audio (codaaudio.com) was demoing its LINUS Live 1.0.2 software control for Coda’s LINUS products via Ethernet. The program offers fast, system configuration, tuning/control and an intuitive system design. It also operates, controls and monitors LINUS Racks and is applicable for touring and installation applications from 1 to 99 modules. The software bundle includes the complete preset library for the full Coda Audio product range and can be used in offline mode for future event preparation.
D.A.S. Audio (dasaudio.com) was showing DASnet v1.5 control and monitoring software which has been expanded with full control of all Aero series speakers, including the new Aero 20A line arrays. D.A.S. also expanded its Action line with Action 118A single-18 active sub with 3,200 Watts of onboard Class-D power.
d&b audiotechnik (dbaudio.com) unveiled the new MAX2 wedge, a passive unit that can be can be pole mounted on a d&b subwoofer and used as a small full-range system or perform stage monitoring duties as originally intended. It features a marine ply enclosure, 15-inch neodymium woofer and the coaxially-mounted 1.4-inch exit HF driver that share the same magnet structure for a compact and unobtrusive cabinet design.
dB Technologies‘ (dbtechnologies.com) DVA Mini is composed of dual line array modules, each outfitted with two 6-inch mid-bass drivers and two 1-inch exit neodymium HF drivers. One module includes the amplifier, providing 200-watts RMS to each module. Two modules weigh just 19 pounds, and include self-contained mounting hardware. A DVA MS-12 subwoofer is also offered and units can be flown, pole mounted or ground stacked.
EAW (eaw.com) showed two powered, two-way speakers its new Redline family designed for rental, staging and installation customers — the RL12 12-inch, RL15 15-inch and the RL18S 18-inch powered subwoofer. The RL12 and RL15 offer consistent directivity via Beamwidth-Matched crossovers on 90 x 60 degree user-rotatable horns. Four-aperture ports provide additional bass support with no turbulence while maximizing transducer-cooling air flow.
The self-powered speakers feature 1,250 watts of fanless Class-D, Power Factor Corrected amplification. EAW Focusing™ sonic processing delivers the fast impulse response, while DynO™ processing optimizes the power transfer from amplifiers to transducers to maximize hedroom. Three user-defined voicing options match a variety of uses without a computer or external processor. The RL18S subwoofer is cardioid-ready via simple rear-panel controls, allowing end-users to achieve high levels of low-frequency control without need for complex processing or calculations.
FBT (fbt.it) debuted a number of flyable subwoofer solutions. The Mitus 118FSA and FSCA each have an 18-inch neodymium driver and are designed to be suspended either facing forward (118FSA) or rearward (118FSCA). These hybrid band-pass units are suited for cardioid-arrayable designs and with one sub rear-firing and two subs front-firing, more than 15 dB of rejection can be obtained behind the array. Both feature a 33 Hz to 100 Hz response, onboard 1,200 Watt Class-D amplification and built in DSP. Unpowered versions are also available. Similar models (active and passive) are also offered in the Muse line as the 118FSCA/FSA and unpowered 118FSC/FS.
FBT’s Vertus CLA 406A and CLA 118SA pair active column array and powered subwoofer models. The triamplified system (600W LF / 300W HF) has a combined frequency response of 33 Hz to 20 kHz, and the CLA’s cylindrical wavefront projects sound forwards in a controlled and coherent fashion without the reverberant performance that is typical of conventional speakers. Optional hardware provides for coupling two CLA 406A’s with angles of 0/10/20°, with the adjacent waveguides for long range or with a cabinet above the other for short-to-medium distance.
Fohhn (fohhn.com) showed AIREA, its intelligent audio distribution system, developed to provide powerful active loudspeaker systems. This fully digital, networkable and remotely controllable system includes a master input/output module and compact active loudspeakers that are connected to a master module via one single Cat-5/Cat-7 cable. Different zones can be controlled individually because every speaker includes DSP and a corresponding amplifier.
JBL Professional (jblpro.com) announced the VTX V25-II, the successor to its successful V25 line array loudspeaker, now with a new waveguide for better long-throw performance, improved wavefront control and power matching with the companion Crown I-Tech 4x3500HD 4-channel amplifier. The waveguide design provides optimal acoustic loading conditions for JBL’s D2 dual-diaphragm compression drivers, for more than 10 dB higher sensitivity above 10 kHz. And to support current customers, an optional kit, lets existing V25 owners upgrade their enclosures to the V25-II standard.
K-array (k-array.com) expanded its Slim Array Technology touring speaker line, which has been used in real-world, large-concert tests with excellent results. The latest model is the self-powered, digitally steerable KH7. Part of the Firenze Series, it has four 12-inch neodymium coaxial drivers, can be used horizontally or vertically and — with 4,000W of onboard powering — can reach peaks of 141 dB. Its 60 Hz to 18 kHz response can be extended with the KS8 4,500W dual-21 subwoofer.
Taking a completely different approach is K-Array’s KW8 Owl, a self-powered, moving-head speaker with a coaxial 8-inch transducer and a built-in camera. The Owl’s unique features include the ability to direct sound flexibly from a single point, providing up to 500W of power and the possibility to store various scene and recall them at any given time. Applications include stage monitoring, theme parks, airport and theater installations.
Kling & Freitag (kling-freitag.de), opened a North American division and launched VIDA — the “Versatile Intelligent Digital Array.” The VIDA L-model is a scalable, controllable and full-range-compatible line array system. Up to eight of these modules can be connected via integrated hardware. Each has 48 DSP channels and 48 Class-D power amps. Here, six 6.5-inch drivers, twelve 3.5-inch mids and 32 individually controlled 1-inch dome tweeters are arranged coaxially on a Waveguide in a slim aluminium body. The high number of HF drivers allows flexible wave steering and system response can be extended with the cardioid VIDA C subwoofer module.
KV2 Audio (KV2audio.com) showed its new flagship large-format system, the VHD5.0 Constant Power Point Source Array, intended for crowds of 50,000 or more. Heart of the system is the VHD5.0 mid-high module, a three-way enclosure handling low mids, mids and highs over a frequency range from 50 Hz through to 20 kHz. It incorporates eight front-loaded 10-inch low-mid drivers, six horn loaded 8-inch MF drivers and two beryllium compression drivers on a custom designed dual horn with summing waveguide. Complementary VHD4.21 Sub Bass Modules can be added for LF extension.
L-Acoustics (l-acoustics.com) kicked off its X Series, a new line of coaxial short-throw speakers for the installation and rental markets. The X8, X12 and X15 feature high-excursion neodymium drivers, ellipsoid directivity, laminar vented ports and up to 30 percent weight reduction. Used as a stage monitor, the X Series offers low latency monitor presets and low profile. In installation applications, models include flexible rigging accessories and a RAL custom color program. The X8 has a conical directivity; the 90 x 60 degree X12 is a multipurpose speaker also suited for FOH applications; and the X15 has a narrow 40 x 60 degree directivity and has integrated risers for adjusting the monitor angle from 35 to 55 degrees. Already is the series is the ultra-compact 5XT fill that launched in 2013. The new models ship in Q4 of 2015.
Martin Audio‘s (martin-audio.com) new CDD™ Series — from the micro CDD5 to the powerful CDD15— combine distinctive curved enclosures with Coaxial Differential Dispersion technology to deliver high performance and consistent audience coverage to the installation market. The enclosures for these passive coaxial systems are molded in rigid UPM Formi — a composite material which combines stiffness with excellent internal damping properties. Front baffles (except the CDD5) are machined from birch ply, while internal rib structures reduce weight and increase rigidity. Black and white finishes are standard, or in any RAL color by special order. A variety of complementary subwoofers are offered.
Martin Audio also launched new Display software (v2.1.10) for the deployment of MLA arrays. It provides a virtual environment within which arrays can be configured and optimized offering an accurate prediction of the direct sound produced and, in the case of outdoor festivals, over surrounding areas and taking the guesswork out of array design and deployment. In a live, bi-directional link, the program interacts with MLA’s onboard DSP to deliver consistent sound, calculating the filter parameters for each enclosure and downloading them to the enclosure.
Meyer Sound (meyersound.com) announced LEOPARD and the 900-LFC, which — designed to handle applications from rental to install and rock ‘n’ roll to classical — join the flagship LEO family as its smallest and most versatile members. Boasting a high power-to-size ratio with ultra-low distortion, the patent-pending LEOPARD line array and the 900-LFC low-frequency control element offer excellent levels of clarity, power and ease of use.
LEOPARD can anchor a main system in a medium-sized venue or integrate seamlessly with LYON in down- and out-fill systems and six LEOPARD and two 900-LFC can be flown using a half-ton motor. A complete system solution is created with MAPP XT for acoustic prediction, Compass RMS for real-time system performance monitoring, Galileo Callisto loudspeaker management system and the new MDM-5000 distribution module for routing AC power, audio and RMS signals. The LEOPARD and 900-LFC will begin shipping in summer 2015.
Outline (outline.it) featured its new EIDOS 218 S, a powerful double-18 subwoofer having an exceptional size-to-power ratio (148.5 dB SPL peaks) and extended LF reproduction (down to 28 Hz). The 218 S incorporates E.R.P. (Energy Retentive Porting), a proprietary design that assists airflow and enhances transducer efficiency, for increased punch. This approach is said to maximize efficiency, while enabling more amplifier power to be converted into acoustic energy.
Also new from Outline was the STADIA100 LA range, which combines principles of line-source theory with proprietary Outline technologies to produce a range of install products for large spaces such as stadia, arenas, sports facilities and large houses of worship. The range has three elements of similar dimensions and horizontal directivity (100°) but offer a choice of 10°, 20° or 30° dispersion on the vertical plane. Capable of delivering up to 149 dB with 8 kW peak power handling, coupled with accurate directional control over long distances, the STADIA100 LA is intended to provide intelligible full-range audio throughout the largest locations.
Renkus-Heinz (renkus-heinz) had a busy show, launching its RHAON II speaker manager software, which incorporates BeamWare III, the latest iteration of its beam steering calculation and simulation program as well as a number of interesting new technologies. A decade after debuting the first Iconyx columns, R-H unveils Iconyx Gen5, with more accurate steering, robust networking, TCPIP control from third party devices and more. The amplifier modules were redesigned for greater performance, yet still retain the 8-channel design and FIR engine.
The new VARIAi Modular Installation Array Systems have a modular approach with a wide selection of horizontal coverage — 60/90/120-degrees or using unique transitional waveguides, progressing from 60 to 90, or 90 to 120 degrees within a single enclosure. All are available self-powered or externally amped. Matching VA/VAX15Si single-15 subs can be flown alongside, behind or at the top of the array, depending on the requirements and universal hardware allows for easily creating cardioid arrays as and when the need arises.
AMP IT UP!
Any live sound show wouldn’t be complete with some new amplifiers and Prolight + Sound delivered in that category.
Crown Audio (crownaudio.com) announced the XLS DriveCore 2 Series of two-channel power amplifiers, offering a host of upgraded features including more flexible DSP band pass filtering, selectable input sensitivity, remote sleep mode trigger and sleek new styling. Four new XLS DriveCore 2 models are available including the XLS 2502, XLS 2002, XLS 1502 and XLS 1002, with power ratings from 350 to 775 watts/channel at 4 ohms and 1,100 to 2,400 watts at 4 ohms bridged. All are 2U designs and weigh under 11 pounds. Prices range from $299 to $599 when they ship in June 2015.
FBT‘s (fbt.it) AX series power amplifier line has four 2U models, from 800 to 3,000 watts, all offering with Stereo-Parallel-Bridge operation mode, limiter, ground lift and Speakon/binding post outputs.
d&b audiotechnik (dbaudio.com) showed the D20, a 4-channel, 2U model with fast, responsive remote control and monitoring via Ethernet through the Open Control Architecture (OCA) protocol on Mac or Windows computers. The D20 has four independent 1,600-watt channels, each having two 16-band EQ’s (with feature parametric, notch, shelving and asymmetric filters) and up to 10 seconds of delay.
Kling & Freitag (kling-freitag.de) presented new power amps based on the PLM+ and D series from . The K&F D80:4, K&F D120:4 and K&F D200:4 are intended for installs, while the K&F PLM 12k44 and K&F PLM20k44 are designed for touring. Based on the newly developed core modules, all feature RPM (rational power management) for assigning assign different power to each of the four output channels, along with PFC (power factor correction), universal power adapters and various inputs — Dante (primary and secondary), AES and analog.
MC2 Audio (mc2-audio.co.uk) expanded its E-Series range with the E60 two-rackspace amplifier with four 1,500-watt channels, which at 21.5 pounds, is the lightest amplifier the company has ever produced. MC2 also previewed an iPhone app to control its Ti1048 amplifier directly from a smart phone.
Voice-Acoustic‘s (voice-acoustic.de) HDSP series multichannel Class-D amplifiers are available from 1,600 up to 16,000 total watts into 4 ohms. The onboard loudspeaker management system is 64-bit/96 kHz DSP with up to 320 internal presets. Operations and status monitoring can be done from the front panel or via the included software software over the VAW-LAN remote network.
MICS, MICS, MICS!
While not a main push at PL+S this time around, the show definitely did offer some interesting microphone technologies for the live sound user.
AKG (akg.com/pro) intro’d the second generation of its D112 MkII kick drum microphone, successor to the company’s D112. The D112 MKII improves upon its predecessor with a new integrated flexible mount, while retaining all the sonic strengths that have made it an industry-standard. This cardioid dynamic mic can handle more than 160 dB SPL’s without distortion, with solid response below 100Hzand a narrow-band presence boost at 4 kHz that can punch through even dense mixes.
AKG also showed the new D5 C dynamic cardioid handheld microphone. It can withstand pressure levels up to 160 dB, with low handling noise. A model with an on/off switch is also available. .
Audio-Technica (audio-technica.com) unveiled its BP40 large-diaphragm dynamic vocal mic. This end-address hypercardioid mic was intended for broadcast applications, but during the beta test period, the BP40 was revealed to be — like a number of other broadcast vocal models — very well suited to kick drum applications. It ships with a mounting clip and the AT8484 shock mount is available separately.
Check out this tour of the Audio-Technica BP-40 on FOH-TV.
Blue Microphones‘ (bluemic.com) new Hummingbird is a small-diaphragm cardioid condenser mic with extended frequency response, discrete (no-IC) Class-A electronics and high-SPl handling, that make it suitable for drum overheads, acoustic guitar, strings, harp, piano or any other instrument with fast transients and rich overtones. Best of all, Hummingbird features an adjustable pivoting head that allows for 180 degrees of rotation so users can set the mic at any angle for optimum placement. MSRP is $299.
Lectrosonics (lectrosonics.com) launched the smallest full-featured UHF bodypack microphone transmitter available today — the SSM (Super Slight Micro). Part of the company’s Digital Hybrid Wireless series, the SSM is fully compatible with all current Lectrosonics receivers including the UCR411A, SR Series, L Series, and Venue Series, along with several older models via compatibility modes. The SSM has a wide tuning bandwidth of three standard Lectrosonics blocks or up to about 76 MHz depending on the specific frequency range. RF power is selectable at 25 or 50 mW.
The SSM features an all-metal housing and uses the rugged, industry standard Lemo 3-pin mic connector common to other bodypack transmitters used extensively in theatrical applications. Dimensions are 2.52 x 1.48 x 0.57 inches and weight is only 2.3 ounces, including battery. MSRP is $1,998. Expected availability is Q3, 2015.
sE Electronics (seelectronics.com) announced the first Reflexion Filter created specifically for double-miking and capturing guitar amp cabinets. Aside from isolation and acoustic filtering, the new guitaRF incorporates a pass-through hole for a dynamic or small-capsule mic, as well as hardware to vertically mount a ribbon or large-diaphragm condenser. The hardware lets the user phase-align the two capsules, or space them apart to capture two sections of the speaker cone. MSRP is $249, with shipping in Q3 2015.
Shure (shure.com) demoed the next-gen Wireless Workbench 6.11. This latest version includes new features to help manage every facet of wireless system performance over the network, from pre-show planning to live performance monitoring. Inventory batch edits enable parameters to be modified for a group of devices or channels at the same time. The Coordination Workspace allows frequency calculations for subsets of wireless inventory before deployment. And an improved monitoring interface displays all channels with a common channel strip layout. Channel strips can be customized and multiple channel strip arrangements can be stored in views and used to monitor a customized group of channels.
Wireless Workbench 6.11 is compatible with the Shure Axient Wireless Management Network; UHF-R, ULX-D and QLX-D Digital systems; and PSM 1000 Personal Monitoring Systems. It’s available now for download at shure.com/software and is supported on Windows 7 and 8 as well as Mac OS 10.7, 10.8, 10.9, and 10.10.
Check out this tour of the Shure Wireless Workshop on FOH-TV.
NEW DIRECTIONS
Sometimes, certain items catch your attention with innovative new approaches that can change the way you work.
Eartec (eartec.com) expanded the capability of its ComStar full duplex wireless system, now for up to 16 users communicating simultaneously, hands-free, within an 800 yard range. The All-In-One headsets are completely wireless and there is no delay when transmitting. They also afford the user an open line talking pattern without push-to-talk buttons and do not require a beltpack, having all the wireless circuitry and antenna built into the earcup.
Klang Technologies (klang.com) wowed us with its KLANG:fabrik, a hardware monitor mixing engine that imports natural, 3-dimensional sound to IEM feeds. Up to eight musicians can receive individual 3D mixes with one KLANG:fabrik (additional units can be daisy chained for more feeds). And the system can be controlled remotely on most platforms — (iOS, Android, Windows Phone, PC and Mac) or via the integrated front-panel touch display.
MORE TO COME!
Next year’s Prolight + Sound and Musikmesse shows return to Frankfurt next April (thankfully not during the NAB show dates), but with a shift in scheduling that leaves only a two-day overlap. The show dates for PL+S are April 5-8, 2016 (Tuesday to Friday); Musikmesse will take place from April 7-10, 2016 (Thursday to Sunday). Next year’s PL+S exhibition will also get more elbow room, occupying Halls 1, 3, 4 and 5 plus the Congress Center and outdoor exhibition areas. Also, the public will be allowed into both show on all days.
To no surprise, these changes have not been welcomed by exhibitors, who fear an onrush of consumers that unfortunately may get in the way of companies trying to do wholesale and distributor business. Also, if exhibitors want to exhibit on all days of both shows, they will have to have two separate booths — again, not a popular arrangement.
On the plus side, there were plenty of other cool products from Musikmesse/Prolight + Sound 2015 and we will present these online and in future print versions of FRONT of HOUSE. Until then, auf Wiedershen!
