From June 9-16, 34,268 AV professionals from 90 countries came to Las Vegas for InfoComm 2012, the annual conference and exhibition for the audiovisual and information communications industries. The week-long event offered dozens of seminars, training sessions, technical tours and educational programs, as well as the tradeshow floor, which featured 933 exhibitors displaying the latest AV technology in 487,000 square feet of exhibit and special events space.
Unfortunately, all of that floor space wasn’t entirely audio. As in past years, the majority of the exhibit hall space was devoted to display technologies. Even so, there was a strong showing by pro audio companies, with more than 200 manufacturers represented. In all, there was a lot to see — and hear — and so we’d like to present a selection of just some of the hot new product debuts for audio professionals that caught our attention.
Mixers Take Center Stage
For whatever reason, product introductions seem to run in cycles. Sometimes it’s plug-ins or microphones that gush forth. This time it was speakers and new mixers — and plenty of them.
The night before the show, The Music Group — the parent company of familiar company names such as Midas, Behringer and Klark Teknik — held a press conference at its new Midas North America facility in Las Vegas and announced it had acquired Turbosound. This was followed up by unveiling its Midas PRO1 (midas consoles.com) digital mixer. The company’s first standalone digital console, the PRO1 puts 24 mic/line inputs into a compact footprint with 48 simultaneous input processing channels, 24 analog outputs, eight VCA groups, six POPulation groups, six multichannel FX engines, up to 28 KT DN370 31-band graphic EQs and a large full-color 15-inch, daylight-viewable display screen.
Shipping this month is the Behringer X32 (behringer.com) digital live mixer, which has 32 Midas-designed mic preamps, 40 processing channels, 25 mix buses and 32-channel USB/FireWire recording capability. For more info, see the review on page 36.
Continuing to expand the capabilities of the 16- and 24-channel PreSonus StudioLive (presonus.com) sound reinforcement mixers, the PreSonus Universal Control 1.6 is free Mac/PC bidirectional control/editor/librarian app that incorporates acclaimed Smaart Measurement Technology for sound-system analysis and optimization, including the Smaart Spectra™ advanced spectragraph.
Allen & Heath (allen-heath.com) is now shipping its GLD 80 mixers. Based on its successful digital iLive series, a standard GLD model has 28 mic inputs with I/O expansion to up to 48 inputs. All have 20 channel strips on four layers for up to 80 control channels, 48 input processing channels, eight stereo FX returns with onboard effects, 30 configurable buses, 20 mix processing channels, 16 DCA/mute groups and a central 8.4-inch touchscreen. I/O option cards support Dante, MADI, EtherSound and Allen & Heath’s ACE protocols, with remote-controllable preamps connected via up to 120 meters of Cat-5 cable.
Cadac’s (cadac-sound.com) flagship CDC Eight digital mixer series now includes the mini-sized, 16-fader/single-touchscreen CDC8-16. All CDC Eight models have the same 128-channel I/O configuration, functionality and processing power, but if you need more hand-on surface, the CDC8-16S expander adds 16 more faders and another touchscreen that can dedicate I/O resources to submixing, shared FOH/monitor mixing or other applications.
DiGiCo’s SD5 (digico.biz) finally made its U.S. tradeshow debut. The SD5 has 124 input channels, 56 configurable buses (plus up to 5.1 master), a 24×24 matrix, 24 assignable dynamic EQs, 24 multiband compressors, 24 stereo effects; 32 graphic EQs and the ability to add a Waves upgrade. The included 2 Gb fiber optic system can run up to 448 channels of I/O at 96 kHz, plus 56 console-to-console tie lines—allowing connection to up to 14 of the SD-Series racks.
The Yamaha (yamahaca.com) booth was packed with attendees checking out its new Dante-enabled CL series digital boards, all of which feature 24 mix buses, eight matrix buses, 16 DCAs and an assignable Centralogic (CL) center section. The CL5 has 72 mono and eight stereo inputs (64 channels through Dante and eight local), with 34 faders. The 64 mono-input CL3 has eight stereo inputs and 26 faders. The 16-fader CL1 console has 48 mono and eight stereo inputs. Also standard are 16 31-band GEQs, an 8U effects rack and a new 8U Premium Rack with Rupert Neve Designs Portico Compressor and EQ. Up to eight external Rio (Remote I/O) stage boxes offer a total of 256 channels (including remote controlled mic/line inputs) via Dante. CL mixers will also ship with Steinberg Nuendo Live recording software and free StageMix for iPad will be available for the series.
It seemed like every console manufacturer had iPad control software, such as the ViSi Remote iPad app for Soundcraft’s (soundcraft.com) Si Compact digital mixers. A single ViSi Remote app can control a network of mixed consoles from the Vi and Si Compact series. The app uses Harman’s HiQnet architecture to connect the network of consoles to a wireless router, which communicates with the iPad.
Get Your Own Mix!
Personal cue mixer systems definitely seem to be on everyone’s radar, whether as iPad apps for individually controlling console monitor mixes to new hardware-based systems. And there was plenty of news on this front.
Behringer showed its Powerplay 16 P16-M 16-channel digital stereo personal monitor mixer, which operates with its Powerplay Distribution System and can daisy-chain up to 48 units via Cat-5 cable.
dbx (dbxpro.com) made a huge splash with 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).
MyMix (mymixaudio.com) has taken its popular personal mix system to the next level with the debut of its MyMix Plug, which brings the entire system and all of its controllers under convenient network control. Check out our review of this in next month’s issue.
Pivitec (pivitec.com) made its InfoComm debut with its e32 Personal Mixer, a 32-channel Ethernet endpoint that builds a stereo mix from up to 32 channels of networked audio sources. Onboard DSP offers 3-band EQ and output limiting. And the V2Mix app puts mix control into V2Mix, an iOS app for your iPhone/iPad.
Speakers: Loud & Clear
If you’re looking for ceiling speakers, InfoComm definitely delivers. We were looking for something with a little more “oomph,” and between the demo rooms and the show floor, we found plenty of action and some seriously good-sounding new speaker systems.
Adamson (adamsonsystems.com) rolled out the first phase of Energia E-15, its new flagship loudspeaker system a year ago. The series is now augmented by the Beta II phase, which adds two proprietary Class-D amp modules flanking Energia’s E-Capsule central MF/HF section and using its entire metal frame as a heat sink. Also part of the upgrade is a master Ground Control unit with advanced diagnostics/control, including energy metering and angular data of each enclosure and access to individual bands in each E15 array.
Some interesting new ideas have been coming from Alto Pro Audio (altoproaudio.com) lately, including its new Black Series, which consists of the Black 10/Black 12/Black 15 (all 2-way systems pairing 10/12/15-inch woofers with 1.75-inch HF units on a 90×60° horn) and the Black 15s and Black 18s subwoofers — with the usual speaker-on-stick arrangement. But under the hood, each carries 2,400W (peak) Class-D amplification, DSP control and built-in wireless connectivity for streaming audio, remote setup and sound-shaping control (i.e., level-matching, EQ, time alignment, compression) via an iPhone/iPad app. It’s a slick little package and the 18mm hardwood plywood enclosures and M10 rigging points add some definite pro appeal.
RoomMatch array module loudspeakers from Bose Professional Systems (pro.bose.com) are now offered in a total of 20 dispersion patterns, with the new offerings being 120°x5°, 120°x10°, 90°x5°, 55°x40° and 55°x60° (HxV). All are fully compatible with the complete line of RoomMatch installation accessories, and Bose Modeler and ControlSpace Designer software have been updated to include directivity and EQ settings for the new modules.
The RF-118, and RF-218 subwoofers from D.A.S. Audio (dasaudio.com) are passive systems in birch ply enclosures with black Iso-Flex finish. The RF-118 has a single 18-inch woofer in a rear-loaded bass horn, with 1,000W RMS rating and a 45 Hz to 160 Hz response. The new RF-218 employs two 18-inch drivers in a bass reflex configuration, with 2,000W RMS handling. Both can be used in either fixed install or portable systems.
The V-Series from d&b Audiotechnik (dbaudio.com) is a mid-sized line array offering the same horizontal dispersion as the company’s popular J-Series. The new V8 and V12 are 3-way passive designs with two 10-inch neodymium LF drivers, a horn-loaded 8-inch MF driver and two 1.4-inch exit HF compression drivers mounted on a wave shaping device. A passive cardioid model V subwoofer is also available.
The L-Acoustics (l-acoustics.com) ARCS Wide and ARCS Focus constant curvature designs for medium-throw use are two-way designs, combining a 3-inch compression driver/DOSC waveguide and a 12-inch woofer. The Wide and Focus models differ mainly in their horizontal/vertical dispersion — 30×90° in the Wide, 15×90° in the Focus model and can be used in horizontal or vertical arrays.
Martin Audio (martinaudio.com) provided an impressive listening demonstration of its MLA Compact, which takes the cellular technology of its acclaimed big brother MLA system and puts it into a compact 11x31x20 inches (HxWxD) enclosure. Inside the 109-pound box are two 10-inch woofers feeding a hybrid slot-loaded horn, two 5-inch cone mids and four 0.7-inch exit HF drivers on individual waveguides, with everything powered by a onboard 5-channel Class-D amplifier. Optional are the DSX and (flyable) DSX-F dual-18 subwoofers.
The 1100-LFC from Meyer Sound (meyersound.com) is a powered subwoofer designed to deliver linear, high-SPL audio at extremely low distortion. A tuned, vented enclosure houses the two long-excursion 18-inch woofers’ the amplifier, control electronics and power supply are integrated into a rear-mounted, field-replaceable module. The 1100-LFC integrates seamlessly in MICA or MILO line arrays or a JM-1P arrayable loudspeaker system. RMS remote monitoring system software provides comprehensive system parameter monitoring.
Shipping later this year, Nexo’s (nexo-sa.com) Scale Through Modularity (STM) system is comprised of four loudspeaker elements: M46 main, B112 bass, S118 subbass and M28 Omni modules. LF is scalable: add extra bass cabinets without introducing phase anomalies. The main cabinet’s four 6.5-inch flat membrane LF/MF drivers and four HF compression drivers can reach 145 dB SPLs. The B112 has a high-excursion 12-inch woofer. The single-18 S118 subbass can be flown or ground stacked. With two 8-inch woofers, four 4-inch mids and a compression driver, the Omni is designed for downfill or can be used separately. Various network card solutions (EtherSound/Dante/AVB/etc.) and an iPhone/iPad app for remote system control will be offered.
Outline’s (outline.it) GTO-Sub subwoofer puts dual 18-inch drivers in a lightweight alloy enclosure that allows up to 16 modules to be flown in a vertical array. Peak power handling is said to be 9,600W AES. Also new, the FlySub 15 iMode is a single-15 sub box with 1,000W onboard Class-D powering for use with Outline’s Mini-COM.P.A.S.S. vertical line array.
Renkus-Heinz (renkus-heinz.com) turned more than a few heads with its new RH Signature Series, designed by company senior VP Ralph Heinz. Offered in powered and passive versions, the range includes 6/8/10-inch 2-way models and 3-way 12-/15-inch models. All feature a dual-angle design (for use as wedge monitors), a multi-angle pole socket and multiple rigging and mounting options. Also new is the Renkus-Heinz Varia series, a modular design that’s configurable as a vertical line array, point-source horizontal array or ground stacked for use in permanent installs or touring applications.
One of the high points from InfoComm was seeing the new Sievers Flat Panel speakers from Sievers Audio (siev ersaudio.com). Created by Leon Sievers, the designer behind the classic TAD series drivers, the SFPs are 36-pound, 48×24-inch units (just two inches thick) that have a central Air Motion Transformer high-frequency driver, with two large Distributed Mode Loudspeaker rigid honeycomb midrange panels on either side, all held within a strong aluminum/carbon fiber frame with integrated rigging points. Unlike conventional systems, the SFPs have a wide diffuse output that’s less susceptible to feedback, yet a system with four Sievers panels per side is said to be able to handle a 5,000-seat venue with 100 dB at the FOG position. Another plus? The rear of the panel is fitted with a standard VESA mount, for more possibilities in terms of wall-mount and free standing applications. We’re keeping an eye (and ear) on this one for future developments.
Newcomer VUE Audiotechnik (vue audio.com), which was profiled in last month’s FOH, created quite a buzz with its intro of three complete lines of live sound speakers, including some innovative new subwoofers. And in addition to its team of EAW founder Ken Berger, Apogee co-founder Jim sides and ACE co-founder Mike Adams, VUE announced that veteran loudspeaker designer Mark Engebretson had also joined the VUE team. After a successful launch, it seems that VUE is on everyone’s “must watch” list.
Worx Audio (worxaudio.com) upgraded the powered version of its TrueLine X2 line array. The new X2-P now has the PXD8080 dual-channel (800+800W) Class-D amplifier and onboard DSP driving the four 8-inch woofers and dual 1.75-inch voice coil HF compression drivers in this controlled symmetrical pattern design line array.
Production Essentials
Although we were nearly overwhelmed by the number of clever new speaker and mixer designs at InfoComm, there were plenty of other innovations that grabbed our attention.
Shure (shure.com) took its UXL-D wireless system to the next step with the addition of a new High Density Mode that can pack 47 simultaneous wireless systems into the bandwidth of a single 6 MHz TV channel. For more details, see the Tech Preview on page 31.
Speaking of wireless, seemingly just as fast as the FCC continues to create problems for wireless users, Kaltman Creations (kaltmancreations.com) is providing solutions that help pro users navigate today’s crowded RF spectra. The latest additions to the company’s Invisible Waves line of wireless tools are the handheld RF-id Solo and self-contained RF-id Station, which help users identify the frequencies and status of wireless devices. The RF-id Station lets RF techs efficiently “stage” and manage up to eight wireless mics before and during a live event/performance. The RF-id Solo user can simultaneously and instantly confirm exact frequencies and transmission signal strength, avoiding the need to handle the transmitter.
Also on the solutions theme, Studio Six Digital (studiosixdigital.com) unveiled its iTestMic, a quality measurement microphone that attaches to your iPhone/iPad/iPod touch. It’s $199, handles up to 120 dB SPL and autocalibrates to +/-0.1 dB and is the perfect accessory for all those iOS audio test and measurement apps you have.
But not every item on the show was some digital whiz-bang, and sometimes simple and dependable is just the ticket. Whirlwind’s (whirlwindusa.com) pcDIQ is a four-channel version of its popular pcDI direct box in a single rackmount chassis. Each channel has stereo, unbalanced line level inputs that are converted to transformer-balanced mic level, left/right XLR outs. Input connections include stereo 3.5mm and RCA jacks. And with all the iOS, PC and portable devices that seem to show up at gigs (usually at the last minute), the pcDIQ is definitely on my shopping list.
More To Come!
That’s about all the space we have for now, but our coverage of the technology hits from InfoComm will continue with more products in future issues of FOH, as well as online at fohonline.com and on FOH-TV (fohonline.com/tv). In the meantime, mark your calendars now for InfoComm 2013 in Orlando, FL. The conference takes place June 8 to 14, with exhibits from June 12 to 14, 2013. See you there!
