InfoComm has always been more about video displays and digital signage and that kind of stuff than about live event gear. But given the lack of other outlets, it has really become the de facto live event audio trade show for the year.
While those of us in the audio tribe knew why we were there and there were some important business announcements and some cool new stuff to see, there was no doubt that we were separated from the rest of the show. I mean the color of the freaking carpet changed when you went from the audio ghetto into the main show floor. I guess they wanted to be sure we stayed “in our place.”
For yours truly, the big new thing was actually writing about the show as it was happening and posting videos of a couple of things on ProAudioSpace. Expect more of that as we figure out ways to do it quicker. (Great excuse to buy a new iPhone—it does video and I can edit and upload right from the show floor. Maybe by AES…)
But we are here to talk gear so enough of the delays, let’s start with speakers (ok, bad pun…).
I have only had the pleasure of using their stuff a few times but I have never failed to be impressed with anything from Sound-Bridge. Their XYON 7208XY Compact Line Array is a replacement for mid- to large-format arrays in a nine inch tall, 93lb enclosure. Because of its fidelity and output (117dB 1W/1M — 147dB peak) it can replace boxes three times its weight and size. (Sightline issues, anyone?) Modules are 10° vertical by 120° horizontal with captive rigging adjustable in 1° increments. It features patent-pending Quad-One focusing process whereby modules are rigged in mirrored pairs, allowing for two boxes to form one shared low-mid aperture resulting in control of low-mid polar behavior and increased output. Trouping six modules per dolly, a 24-box system capable of an arena size venue can be nested in only four feet of truck space with only four pushes and no lifting.
As long as we are talking about impressive stuff, everyone I know feels that way about the d&b rigs and I got to see the new T-Series for the first time. The design basically offers two different loudspeaker technologies in one package. It serves both as d&b’s smallest line array and transforms into a stand-alone point source system providing remarkable economy of scale.
The T10 is a passive 2-way design that houses two 6.5” neodymium LF drivers positioned in a dipolar arrangement and a 1.4” exit HF compression driver that is fitted to a waveguide horn. This produces vertical line source directivity with a 90° horizontal pattern that is maintained down to approximately 600 Hz. An acoustic lens placed in front of the horn widens horizontal dispersion to 105°; rotation of the horn by 90° relative to this produces a point source dispersion transforming a vertically oriented T10 into a stand-alone full range loudspeaker with 90° horizontal and 35° vertical directivity pattern. The horn can easily be rotated from the outside of the loudspeaker without tools or removing the front grill. This is achieved through apertures in the cabinet sides allowing rotation to both the line and point source positions. The T-SUB shares the same width and integrated rigging fittings as the T10 for deployment either flown at the top of a T10 array, in a separate column or it can also be ground stacked.
The MicroSub stage subwoofer, the latest offering in EAW’s MicroWedge Series of stage monitor products, is a single 15” enclosure stage and small venue subwoofer, designed to address onstage low frequency demands—in other words, it for drummers. The MicroSub can be configured and interlocked in a huge range of different combinations — by itself, with other MicroSubs or with other MicroWedge units.
Remember though, this is an install show, and getting the benefits of a line array without the size, price and tech hassles appears to be becoming a trend. Electro-Voice introduced the EVA (Expandable Vertical Array) series for installs. EVA is a modular system, with four two-way models available to provide a range of directivities from 90° x 6° to 120° x 20°. The units may be assembled in various configurations to provide the required coverage.
The two vertical coverage angles (6° and 20°) can be combined to create line arrays optimized for spaces ranging from 40 feet to more than 200 feet deep. Each module contains two EVS2008 8” woofers and four DH2005 1.25” high-frequency compression drivers on Hydra plane wave generators. The loudspeakers are arranged in two sets, with a slight inclination angle between sets. This angle is engineered to provide optimum vertical wavefront shape for EVA arrays.
Each module passive crossover network (no DSP required) and six EVA modules can be operated in parallel from a single amplifier channel capable of driving 2.7 Ohm nominal.
JBL showed a new series of line-array columns called the CBT series. The coverage pattern of the CBT models can be adjusted—with a simple switch—between Broad Mode (designed for mid-throw situations) and Narrow Mode (for long-throw applications). The CBT 50LA is a very compact 50 cm high column that utilizes a straight line of eight 2” drivers, while the taller CBT 100 LA is a straight 100 cm high column utilizing 16 2” drivers and handles 325W continuous pink. Combined with Constant Beamwidth Technology circuitry, both provide constant directivity coverage. Both also contain low-saturation transformers, so they can be used on 70V/100V distributed speaker lines or as low impedance speakers.
The J-shaped CBT 70J is a 2-way coaxial line array utilizing 16 soft dome tweeters and four high power 5” woofers at a 70 cm height. The J-shape of the array works in conjunction with the Constant Beamwidth Technology circuitry to provide asymmetrical coverage similar to that of expensive line arrays commonly used in concert systems. The column’s top half projects highly concentrated sound toward the back of the venue, while the bottom half down-fills a broader, less concentrated sound to the front of the venue.
Geez we have only covered speakers and we are almost out of space. Okay, some quick high points. Yamaha has announced the availability of a card for it’s digital mixers that allow users to employ Audinate’s Dante digital transport technology. Instead of trying to pick a winner this early in the game, Yamaha’s strategy of doing a card for whatever format you want to use makes a lot of sense.
Audio-Technica introduced the BP892 MicroSet Subminiature Omnidirectional Condenser Headworn Microphone, the first of their sub-minis to be capable of handling high SPLs and delivering accurate sound in a tiny package. The new MicroSet utilizes a condenser capsule with a diameter of a mere 2.6mm, making it ideal for applications requiring minimum visibility. And now you can yell into it. Cool.
Sennheiser introduced their G3 wireless systems in three flavors covering a very wide range of frequency needs ad price points. Handhelds and body packs are out now with IEM units expected to ship soon.
And Astatic showed a very cool overhead choir mic with a variable polar pattern that can be switched remotely and on the fly. Trés cool. There is a video of the demo on my blog at ProAudioSpace.
