Like clockwork, the sunny skies of the Winter NAMM show in Anaheim, CA always coincide with the horrible weather, heavy snowfall and ice storms that seem to grip the East Coast and central states around the third week of the New Year. And the situation was no different from Jan. 22-25 for Winter NAMM 2015 as a record 99,342 attendees (including 13,208 international registrants) made the annual pilgrimage to enjoy short-sleeve weather, check out the latest in music and audio products — and maybe even do some business.
Speaking of the latter, there was plenty of opportunity for that, with a record-setting 1,621 exhibiting companies, making the 2015 event the largest exhibitor line-up in the National Association of Music Merchants’ 114-year history.
“In an unpredictable and chaotic marketplace, the NAMM Show has become the reliable and predictable platform where our members can come for business, education and inspiration,” said NAMM president/CEO Joe Lamond. “From fledgling entrepreneurs to the most established brands, everyone here has an equal shot. The industry showed up with unparalleled energy and we hope they are leaving better prepared for success in the new year.”
On the pro audio side, much of what drives the industry is new technologies, and with a huge array of companies (both large and small) showing off their wares, Winter NAMM 2015 offered was plenty to see — and hear. Walking the six show halls, plus dozens of demo rooms and gear displays spilling over into nearby hotels, there was clearly a lot going on; the overall mood of the industry seemed both optimistic and upbeat; and there was no shortage of cool new gear to check out. What follows here is merely a sampling of some innovative examples that caught our attention.
CONSOLES REIGN SUPREME!
Audio consoles were big news at NAMM, but this time it wasn’t the big boards, but smaller mixers that took center stage. Once upon a time, the notion of a faderless board was quite the new notion, but at this show I counted a dozen new and existing iPad/tablet control mixer designs from Mackie, Allen & Heath, Soundcraft and PreSonus.
Mackie (mackie.com) kicked off the iPad-controlled console concept three years ago, back at NAMM 2012, with their DL1608 and D806 mixers. For 2015, the company was demoing its 32-channel DL32R mixer (which has been shipping for several months now and was reviewed in the Nov. 2014 issue of FRONT of HOUSE). This time around, Mackie was showing off the optional DL Dante Expansion Card, which provides 32×32 channels of network audio I/O, allowing the DL32R to be connected to any Dante-powered AV network. The card also ships with a license for Dante Virtual Soundcard software, allowing direct recording/playback of up to 64 channels of audio from any Dante network to a PC or Mac computer.
Soundcraft (soundcraft.com) dove into iPad-enabled (or any Wi-Fi connected device) market with two new remote-controlled digital mixers in its new Ui series. The Ui12 (12-channel/eight mic preamp) and Ui16 (16-channel/12 mic preamp) mixers each feature an integrated, onboard Wi-Fi router and can be controlled via a tablet, PC or smartphone. Both are built into a rack-mount chassis and feature onboard dbx, DigiTech and Lexicon signal processing, plus real-time frequency analyzer (RTA) on inputs and outputs and the ability for stereo record/play to USB media.
Click on image for FOH-TV demo of the Soundcraft Ui Series
Allen & Heath (allen-heath.com) adds wireless personal mixing to its Qu-16, Qu-24 and Qu-32 mixers with the free Qu-You app. Qu-You allows up to seven performers to control monitor mixes using an iPhone, iPad or iPod Touch. The screen has level controls for four groups of sources, master mute and output level. Groups can be named for instant recognition and channels can easily be assigned to groups for a custom mix.
Allen & Heath also extended its Qu range with the Qu-Pac, a compact digital mixer with both a built-in touchscreen and iPad control. Qu-Pac offers 16 mono and three stereo inputs, but can be expanded up to 38-in/28-out by connecting to Allen & Heath’s remote AudioRacks over Cat-5. Unlike digital mixers relying entirely on tablet control, Qu-Pac’s 5-inch touch screen provides access to all functions, for both interfacing day-to-day operations as well a backup in the event of Wi-Fi connection problems or “Mom, I dropped the iPad” scenarios. Qu-Pac features 18-channel recording to USB via Qu-Drive, multi-channel USB streaming and full automation. Personal monitoring is supported via the Qu-You iPhone app or A&H’s ME-1 personal mixers, which connect via the dSNAKE port. Shipping starts in March 2015.
(.com) showed four models (X18, XR18, XR16 and XR12) in its X AIR mixer series, which build on the platform of the X32, but in a wireless, remote-controllable form factor. All feature an integrated Wi-Fi router and four X32 FX processors, with select models incorporating multichannel, bidirectional USB and the UltraNet network for P-16 personal monitoring. MAP ranges from $299 to $799.
QSC (qsc.com) announced a firmware upgrade for its TouchMix line of compact digital mixers, offering for password-protected multi-level security access, expanded Wi-Fi options (including wired connection to an infrastructure router) and programmability of User Buttons. Also new is an update to the TouchMix iOS app now with a personal monitor mix application, as well as the news that the smaller TouchMix-8 mixer is now shipping.
PreSonus (presonus.com) celebrated its 20th anniversary and marked the NAMM debut of its rack mount RM16 AI and RM32 AI iPad/tablet mixers (reviewed in FRONT of HOUSE, Jan. 2015, page 53). But the big news was the launch of new StudioLive™ AI Mix Systems that deliver large-format channel counts, recording and powerful DSP — for under $7,000. Available in 48- and 64-channel frame sizes, StudioLive AI Mix Systems consist of two cascaded StudioLive AI consoles, a joining bracket that locks the two mixers together, a PreSonus PRM1 Precision Reference Microphone and a custom dust cover.
DON’T FORGET ANALOG!
With all the headlines about the latest digital doo-dads, it’s too easy to overlook analog mixers, which often are an ideal choice for bands, smaller venues, schools, rental companies, hotels and conference applications where a 96-channel board might not be the best choice.
Alto Professional (altoproaudio.com) is shipping its LIVE range analog mixers. Offered in 16/24-channel 4-bus and 8/12-channel 2-bus versions, all feature a low-profile design, low-noise, high-headroom DNA™ preamps, extensive EQ (3-band on channels, plus 9-band graphics on the main/monitor mix), onboard compression, 100 Alesis DSP effects and USB audio connectivity.
Allen & Heath (allen-heath.com) extended its ZED series with the ZED Power 1000, a compact 2x500W powered mixer with 16 onboard FX, 9-band graphic EQ and USB recording/playback. The unit has eight mic/line inputs offering 3-band sweep mid EQ, plus two stereo inputs and weighs just 24 pounds. Shipping is in March.
Peavey (peavey.com) celebrated its 50th anniversary and debuted a number of new products, including compact PV series unpowered mixers with up to eight preamp channels, up to eight direct outputs for recording, stereo channels, media channel with Bluetooth wireless input, onboard digital effects, streaming USB out and MP3 playback via USB input. Also included is Peavey’s KOSMOS bass audio enhancement, four channels of compression, and MP3 playback via USB. Also new are Peavey’s PV 14 AT and PV 10 AT — two new analog mixers with a similar feature set, but adding built-in Antares Autotune capability, along with Bluetooth connectivity, USB streaming, direct outs, KOSMOS processing and onboard compression.
SPEAKERS… LOUD SPEAKERS!
A NAMM show just wouldn’t be a NAMM show without a chance to check out some interesting new loudspeaker designs. New speakers seemed to be
everywhere. Here are a few that caught our attention.
D.A.S. Audio (dasaudio.com) came out strong with its new latest generation of DASnet™-capable networkable powered line arrays. The Aero 20A incorporates a new D.A.S. 12-inch woofer matched to a 3-inch titanium diaphragm, neodymium M-75N compression driver and a new waveguide assembly. Under the hood, dual (800 + 400 watt) Class-D amplifier and precision DSP with FIR filtering, remote control/monitoring and a new captive rigging mechanism complete the package.
RCF (rcf.it) expanded its D-Series with the HDL-10 active line array, which borrows technology from the larger HDL-20A, such as the same waveguide and Class-D 1,400W amplification, but in a lighter weight, smaller footprint unit. The HDL-10 features two 8-inch woofers paired to a 2.5-inch voice coil compression driver to deliver vocal clarity and high definition at up to 133 dB SPL over a 100 x 15 degree coverage pattern.
JBL Professional’s (jblpro.com) SRX800 Series portable powered loudspeakers incorporate Crown DriveCore amplifiers and user-configurable DSP. Models include the 12-inch 2-way SRX812P, 15-inch 2-way SRX812P, dual 15-inch 3-way SRX835P and the 18-inch SRX818SP and the dual-18 SRX828SP powered subs. Onboard DSP includes 20 parametric EQs, 96 kHz FIR filters, speaker-delay adjustment and a signal generator. All are HiQnet compatible for control via Audio Architect or JBL SRX Connect — the new iOS/Android system control app. M10 suspension points and 35mm pole cups are standard, as are rear-panel LCD screens to facilitate setup on dark stages.
dB Technologies (dbtechnologies.com) demoed its DVX-DM12 TH and DVX-DM15 TH active two-way stage monitors. Each 136 dB max SPL speaker pairs 12- or 15-inch neodymium woofers with 1.4-inch exit neo compression drivers. The low-profile birch cabinets feature rotatable HF driver (for left or right configuration), EQ presets and input/output panels on either side. Digipro G2 amplifiers deliver 750W RMS to the LF and 375W to the HF section.
Click on image for FOH-TV demo of the dB Technologies Theatre Monitors Series
Driven by Class-D bi-amplification, the new RBN series from Peavey (peavey.com) consists of the RBN 110 and RBN 112 speakers and the RBN 215 and RBN 118 powered subs. The 2-way RBN 110 and RBN 112 full-range cabinets combine Peavey’s ribbon driver with either 10- or 12-inch neodymium Scorpion woofers. Matching 15- and 18-inch subs offer 2,000 watts of onboard powering and response down to 36 Hz. An onboard mixer on the 2-way cabinets has two XLR/1/4-inch combo inputs and a 3.5mm input. Each input has a 9-band graphic EQ and delay. Each output has a compressor/limiter, high-pass/low-pass filters for crossover function and external subwoofer incorporation. Birch ply construction and integrated fly points round out the feature set.
Electro-Voice (electrovoice.com) unveiled the latest in its portable loudspeaker family, the EKX series, with eight models (four powered/four passive), including 12-inch and 15-inch two-ways and 15/18-inch subwoofers. To keep this all straight, the EKX line is positioned above the ZLX and ELX series; and below the ETX series. Shipping is slated for Spring 2015.
Yamaha (usa.yamaha.com) is now shipping both its DBR (powered) and CBR (unpowered) Series loudspeakers. The DBR models harness the Yamaha DSP and amplifier and speaker technologies developed for the professional DSR Series and DXR Series lineups. Comprised of 10/12/15-inch models, each DBR loudspeaker has a durable, lightweight cabinet optimized for FOH sound, floor monitoring and even flown applications. The DBR12 and DBR15 have 1,000 watts of onboard bi-amplification (the DBR10 has 700W).
Lighter than their DBR counterparts, Yamaha’s passive CBR10, CBR12 and CBR15 do not require power cables, allowing them to adapt to both portable and rigged applications. The CBR’s include the same enclosure designs as the DBR series and have Speakon and 1/4-inch jacks for easy connectivity.
Perfect for subway busking, corporate meetings, beach parties or anywhere an ultra-portable, high fidelity stereo sound system is needed is the FreePlay Personal P.A from Mackie (mackie.com). The battery- or AC-powered system combines Bluetooth music streaming, a powerful iOS control app and a 4-channel digital mixer with two mic preamps, 300-watts of onboard power, an 8-inch woofer and two compression drivers. A unique kickstand/pole mount accessory connects directly to FreePlay and allows it to be mounted on a standard speaker pole for increased coverage. It also allows the user to tilt FreePlay back to a 45-degree angle for better monitoring when FreePlay is on the ground. An optional rechargeable lithium-ion battery pack delivers up to 10 hours of playback. Weight is only 11 pounds; MSRP is $499 with March shipments.
Click on image for FOH-TV demo of the Mackie FreePlay
A shoo-in for NAMM’s most innovative speaker design award is Yorkville Sound’s (yorkville.com) NX10C, a compact powered 300-watt 12-inch coaxial system that features an innovative “through hole” pole mount design. Using the latter, up to three NX10C’s can be stacked on a single speaker stand (with or without with a T-bar for lighting on top), thus saving space in cramped setups or pointing each of the speakers in a different direction to handle wide dispersion coverage up to 360-degrees. Among its other tricks are mounting an NX10C under the FOH speaker pole to provide phase-coherent side wash monitoring or edge fills. An innovative custom rear mount handle also functions as a tilt stand, allowing the NX10C to be used as a compact, wide-coverage floor monitor or center fill. Retail is $689.
MICS, MICS, MICS!
If you’re a mic addict like me, there is no such thing as too many mics. And the 2015 Winter NAMM show had plenty to offer in this department.
Known for its high-quality, miniature mics, Countryman Associates (countryman.com) launched its I2 instrument microphone. The I2 has a 20 Hz to 20 kHz response and is available in omnidirectional, cardioid, hypercardioid, and figure-8 patterns. It can be configured for a hard-wire XLR connection or with terminations to work with dozens of models from leading wireless manufacturers, and it ships with 10 feet of black aramid-reinforced high-strength cable. The $349 MSRP includes the clip-on instrument mounting system. Specialized mounts are available for a variety of other applications, such as violin, cello, flute, guitar and a low-profile stage plate for boundary miking.
JZ Microphones (jzmic.com) showed the GTR1, a cardioid dynamic model designed specifically for miking guitar cabinets and featuring an extended 50-Hz to 18 kHz response and a high-output neodymium magnet structure.
Telefunken (t-funk.com) is now shipping its first non-vacuum tube condenser microphone, the M60 FET. This cardioid mic has interchangeable 15mm small-diaphragm capsules, with hypercardioid and omni heads also offered, all featuring low-noise, Class-A Field Effect Transistor electronics with fast transient response and high SPL handling that’s ideal for acoustic and percussive sources.
CAD Audio (cadaudio.com) expanded its CADLive line with new vocal and instrument mics. A supercardioid dynamic
model with a neodymium capsule, the CADLive D38 is sold individually and in three-mic packs. Designed for high-SPL instrument miking, the supercardioid dynamic CADLive D89 has a high-gauss neodymium magnet. Also equipped with a neodymium magnet, the CADLive D90 is a companion supercardioid dynamic model designed for vocals.
Shure (shure.com) was celebrating its 90th anniversary (see FRONT of HOUSE, Jan. 2015, page 46), and at NAMM that included a tribute to the famed 1939 Unidyne mic with their launch of a commemorative 5575LE Unidyne Limited Edition. It replicates the original design used by Elvis and Sinatra, but with modern Unidyne III capsule under the classic large outer grill. Retail is $399.
Shure also launched PG Alta, a comprehensive line of budget-friendly mics, with 14 new products — including vocal and instrument models. There a lot in the line, but I was particularly interested in the PGA181 (MAP $99), a rugged-looking, side-address condenser mic; and two gooseneck condenser models, the PGA98D designed for drum miking and the clip-on PGA98H for horns. The line also includes two live bundles (PGADrumkit5, $299; and PGADrumkit7, $499) for capturing drums, with five or seven mics, XLR cables and clip mounts for the three tom mics.
Speaking of drum mic bundles, this seemed to be a recurring theme at NAMM with Audix (audixusa.com) expamding its offers of pre-packaged drum microphones with its $499/retail DP4 Instrument Pack, with the popular Audix D6 and three i5 mics in a heavy-duty carrying case with three DFLEX mic mounts and three additional cutouts for vocal microphones. AKG (akg.com) debuted its Drum Set Session 1, with seven mics from its Perception Live series, all in a protective aluminum carrying case to keep your mics safe to/from the gig.
CUTTING THE CABLE: WIRELESS AT NAMM
Audio-Technica (audio-technica.com) introduced its System 10 PRO Rack-Mount digital wireless, which, as the name implies, put its successful 24-bit/2.4 GHz System 10 into a rack mountable enclosure, but adds some other tricks as well. Due to the high frequency operation, remoting 2.4 GHz antennas can be a complex issue, so A-T put the entire receiver section (about the size of a deck of cards) and made it removeable — antennas and all — allowing it to be remote-mounted on walls, ceilings, mic stands and virtually anywhere else. It connects via a standard Cat-5 Ethernet cable, up to 300 feet from the rack unit, so placing the antennas just about any place for improved reception is a breeze and without the expense of antenna couplers/amplifiers. It ships this month, and single channel units are priced from $599. The less-expensive original (non-rack) System 10 remains in production.
Click on image for FOH-TV demo of the Audio-Technica System 10 Pro
AKG (akg.com) showed its DMS800 reference digital wireless microphone system, which builds on the DMS700 V2, while adding new features such as both analog and Dante and AES/EBU digital outputs, interchangeable condenser and dynamic heads for the handheld transmitters and onboard dbx dynamics processing. Built-in network remote control/monitoring is possible from a PC via HiQnet Audio Architect software, Apple iPhone/iPad/iPod or Soundcraft Vi Series consoles.
Sennheiser (sennheiser.com) launched its evolution D1 2.4 GHz digital wireless, designed for ease of use for band members, where multiple D1 systems can automatically coordinate themselves. For multiple systems, receivers will synchronize themselves to accommodate up to 15 channels in an ideal RF environment.
In the fun department, Shure (shure.com) unveiled Shure Design Studio, an online platform that allows users of BLX and GLX-D wireless systems to customize their handheld microphones. Six standard color choices ($29) are offered, with the option to upload images and text for to create a $79 custom design. This lets users wrap their design around the entire mic and results in a durable image. Installation is easy — just unscrew the standard black cover and replace it with the new cover. The colored covers also help keep track of wireless mics onstage.
With a different take on wireless operations, Alto Professional (altoproaudio.com) expanded its stealth line with the new Stealth Wireless Pro, which adds wireless audio connectivity to any active loudspeaker, eliminating the need for long cable runs between console and speakers, simplifying setup/teardown and saving time — without compromising audio quality. The Stealth Wireless Pro system adds true diversity reception, stereo/mono operation, removable BNC antennas, rack-mountable metal chassis, a front-panel LCD status display and onboard delay processing for adjusting delay towers and general speaker alignment. Available in Spring 2015, the Stealth Wireless Pro system has a $599 MSRP; an expander pack with two extra receivers will be offered at $349.
Click on image for FOH-TV demo of the Alto Stealth Wireless Pro
IEM’s: SMALL TRANSDUCERS/BIG NEWS
Ultimate Ears (ultimateears.com) was demoing a new, non-invasive method that uses laser mapping to create custom ear impressions for in-ear monitors, without having to squirt goop into your ear canals. Once a digital representation of your ear canal is captured, a 3-D printer can make an exact-fitting custom earpiece — all in a matter of days. Along with the “Road Test” in this issue, page 36,
Click on image for FOH-TV demo of the UE All-Digital Production Process
Ultimate Ears also launched the UE Pro Sound Guard, a compact in-line device that connects between any sound source and your earpieces. It provides automated sound level management to limit unwanted noise from unanticipated high levels of sound, while enabling greater sound fidelity. With the UE Pro Sound Guard, artists receive protection from unexpected sound spikes that occur from microphone drops, audio feedback, incorrect volume settings and other sound hazards that may occur while performing. Retail is $199 and UE Pro Sound Guard is slated to ship this month.
Regarded for its custom in-ear designs, Jerry Harvey Audio (jhaudio.com) showed two new universal fit earpieces at NAMM — Layla ($2,599) and Angie ($1,299). Layla employs 12 custom balanced armatures per side for a 10 Hz to 23 kHz response and features a variable-bass output adjustable cable. Angie is an 8-driver/side design, also with a 10 Hz to 23 kHz bandwidth. Both are handmade in the USA.
1964 Ears (1964ears.com) has two new flagship custom in-ear monitors, which combine Adel & RealLoud technology for full-range sound. Both incorporate an adjustably compliant membrane vent that lets users adjust the amount of ambient sound entering the ear canal. The $1,799 (MSRP) A10 has 10 balanced armature drivers in a three-way design; the $1,999 A12 has 12 drivers.
Aurisonics (aurisonics.com) debuted the new ASG-B, an in-ear transducer that’s voiced with LF extension for the needs of bass players. The ASG-B features a 9.25mm proprietary dynamic driver and a universal earpiece that is said to fit 95% of users like a custom design. It’s $349 and ships next month.
Sensing a huge market opportunity, Sensaphonics (sensaphonics.com) announced the 3D-ME “Music Enhancement” earpieces that offer high fidelity listening for the hearing impaired. Based on the Active Ambient technology of the company’s patented 3D AARO in-ear monitor system, the 3D-ME can compensate for most common hearing deficits, bringing full-range music back into the lives of musicians and music-lovers alike.
“Customer reaction to the 3D-ME has been phenomenal,” notes company founder Michael Santucci. “It’s almost like they are hearing music for the first time. We’ve had nothing but thanks and compliments from everyone who has tried it.”
DIRECT BOXES SHINE AT NAMM
The JDX-48 from Radial Engineering (radialeng.com) updates the popular original JDX, now with the ability to remotely power the unit using standard 48 Volt phantom powering (or an external supply). The JDX-48 taps into a guitar/bass amp’s speaker signal and provide a cabinet simulation feed for direct recording/PA, while the amp’s speaker sound is unaffected. Other updates include a low frequency extension switch for increased bass when desired, and the ability to be used with amplifiers up to 300 watts. As with the original, the JDX 48 includes a phase reverse switch and ground lift for trouble-free setup.
Click on image for FOH-TV demo of the Radial Engineering JDX-48
You may not see a whole lot of Neve-designed gear on the road, but with the debut of the RNDI Active Transformer Direct Interface from Rupert Neve Designs (rupertneve.com), that might be changing in the future. This direct box uses a custom Rupert Neve-designed transformer and a Class-A biased discrete FET amplifier to balance an instrument signal — whether straight from a bass guitar or a screaming 1,000W amp — with sonics extending beyond 100 kHz. The RNDI is phantom powered, has a $299 retail and is shipping now.
And this year, one of the granddaddies of direct boxes — the VTDB-2B tube direct box from Demeter Amplification (www.demeteramps.com) celebrates its first third of a century since its inception in 1982. I got hooked on one of these about 25 years ago and haven’t let go since. The VTDB-2B also features a buffered loop-thru output that can be used as a line driver (at unity gain) for long cable runs or multiple stomp box layouts, a +15dB boost switch at the XLR out and a ground lift switch. Long a favorite in studios and onstage, it retails at $599.
PRODUCTION ESSENTIALS
Avid (avid.com) unveiled Pro Tools | First, a free version of the industry-standard Pro Tools DAW software. No it’s not the full-on Pro Tools software app, but it will be a free download and the version supports 16 mono/stereo audio tracks, 16 MIDI tracks and 16 instruments tracks for a maximum of 48 tracks — compared with hundreds of tracks for Pro Tools. Pro Tools | First also includes a core set of 21 Avid professional plug-ins, which are part of the Pro Tools | First install and do not require an iLok. Additional AAX Native 64 and AAX AudioSuite 64 plug-ins can be purchased purchased from within the in-app Marketplace. Downloads begin in Q1 2015.
SKB Cases (skbcases.com) showed a number of new designs, including custom molded road cases for the X-32 and Allen & Heath QU-32 and QU-16 digital mixing consoles, all with custom features such as removable doghouse lids and left/right side cable exits to suit any install or setup.
Click on image for FOH-TV demo of the digital console cases from SKB Cases
What got my attention more was SKB’s “The Tech Box,” (Model 3i-2011-7B-TR) — a rugged organizer case with space for connectors, adapters, parts, tools and supplies such as solder, gaffers tape, guitar strings, etc. Individual compartments in the four drawers can easily be customized to your needs. A carpet strip attached to the inside case lid allows tuners/tools/meter to attach via Velcro-style strips for fast access on site. The case has a pull-out handle and wheels for easy transport and even fits under airline seats for travel (assuming you can get a loaded toolbox through TSA checkpoints).
Click on image for FOH-TV demo of the “Tech Box” from SKB Cases
Waves Tracks Live, a multi-track recording software solution from Waves (waves.com), was designed to capture live performances of any kind, from the smallest gig to the largest production. The ASIO/Core Audio compatible software enables easy switching between recording and virtual sound checking with the click of a button. The automatic multichannel re-routing engine also adapts to any changes made on the fly, making it easier to set up big shows with hundreds of tracks. Other features include support for up to 192 kHz, compatibility with all major PC and Mac workstations and a system lock function to prevent accidental key presses that could interfere with recording or playbacks.
Crown Audio (crownaudio.com) announced Empower by Crown, a new embedded amplifier program to provide third-party loudspeaker manufacturers with special access to the Crown portfolio of amplifier technology. Built on Crown’s proprietary DriveCore™ platform, all Empowered by Crown Amplifiers are designed for integration into virtually any loudspeaker configuration and application. The first Empowered by Crown amplifiers offer power points from 75 watts to 2 x 750 watts continuous. The amplifiers feature an integrated power supply, plus aux DC supply for input cards and networking options.
ON THE HORIZON
There was plenty more from Winter NAMM, and watch future issues of FRONT of HOUSE and fohonline.com (and FOH-TV) for other NAMM product highlights.
What’s next? Summer NAMM returns to Music City Center in Nashille, July 9-11. And Winter NAMM returns to Anaheim Jan. 21-24, 2016. The biggest news on the horizon: a $180 million expansion project. By the time it’s done, in 2018, there will be 200,000 additional square feet of exhibition space in Anaheim and underground parking. It sounds like a much-needed improvement, and I’m sure NAMM could easily fill all that expo space. However, I can barely get through all of NAMM’s booths in four days. So could a five-day NAMM show be in our future? We’ll see…
