Frankfurt, Germany became the capital of the pro audio, lighting and music technology world as Prolight + Sound (5 to 8 April) and Musikmesse (7 to 10 April) came to town. It definitely sparked some controversy, as this year’s fair launched a new concept where PL+S would begin two days before Musikmesse. Previously run concurrently, the two 4-day shows would only overlap for two days, leaving some manufacturers scurrying to decide whether they would have to run two separate exhibits or pick one show and hope for the best.
Beforehand, there was little enthusiasm for the plan, and even now, the jury is mostly out. Many exhibitors we spoke to were not pleased with the changes, particularly crossover pro audio companies that sell products for pro and M.I. markets, such as microphone companies. This also seems to have affected the attendance, as the first day of PL+S seemed very slow, but seemed to pick up as the week went on. Whether this new format will continue next year seems undecided, as dates for PL+S (April 4 to 7, 2017) are set, yet the Musikmesse 2017 dates were still unannounced as this issue went to press.
That aside, the overall vibe was great — the show drew fairly well as tens of thousands of attendees from around the world, and for Prolight + Sound, at least, there was a gain in both the number of exhibitors (from 920 to 940) and total area (up 16 percent). For the combined PL+S/Musikmesse in 2016, meanwhile, there were a total of 2,043 exhibitors from 60 countries. Best of all, there was plenty to see — and hear — for sound reinforcement professionals. Here are just a few of the highlights.
MICROPHONE MANIA!
Evidently, you can never have enough mics.
AKG (www.akg.com) showed its new C7, a handheld supercardioid condenser model that has a built-in mechano-pneumatic shock absorption system with a unique rubber layer surrounding the capsule for low handling noise.
Audio-Technica (www.audio-technica.com) previewed its ATM350a cardioid condenser instrument mic, which comes in six specially designed systems offering discreet, rock-solid mounting solutions for a host of instruments, including woodwinds, strings, brass, percussion, drums and the clever magnetic piano mount shown here. Everyone at the show wanted to take home a pair, but shipping doesn’t begin until July.
Beyerdynamic’s (www.beyerdynamic.com) TG D71c condenser boundary mic withstands up to 148 dB SPL and provides excellent pickup of sound sources ranging from cajons to pianos. The half-cardioid TG D71c is also suited for use inside kick drums, with its non-slip rubber base keeping it safely in place.
DPA (www.dpamicrophones.com) debuted an extremely linear version of its d:facto handheld mic. This Linear Vocal Microphone has a new capsule with an isolation-optimized supercardioid polar pattern. Capsules in all the modular d:facto range can be removed and replaced with any other d:facto capsule to suit different needs. Also, DPA’s flexible adapter system can transform the mic from a wired version to an interchangeable wireless head for use with Sennheiser, Shure, Sony, Wisycom, Lectrosonics and Line6 transmitters.
iSEMcon (www.isemcon.com) launched the Data-Integrated EMX-7150/D measurement mic, which has internal memory that stores its datasheet, calibration data and its freefield response inside the microphone. Readable via an included 1-wire adapter/interface.
Lectrosonics (www.lectrosonics.com) announced the latest version of its Wireless Designer Software for PC and Mac, which allows importing of frequency lists and the creation of custom frequencies. The software can now include other wireless systems in the overall frequency coordination. HTML files from Professional Wireless Systems’ Intermod Analysis System software, with detailed frequency coordination information, can now be imported directly imported.
Milab (www.milabmic.com) kicked off its 75th anniversary with the LSR-3000a, a new flagship handheld condenser mic in a nickel finish. The LSR-3000 had previously only been available in black. MSRP is $820.
Point Source Audio’s (www.point-sourceaudio.com) EMBRACE earworn microphone replaces the laborious task of creating makeshift customized ear rigs. The pliable EMBRACE earmounts can be trimmed and shaped so each microphone can be quickly fitted to the actors or performer, without the need for expensive tools plastic sleeves or trips to the hobby store. Each EMBRACE employs PSA’s SERIES8 mic technology and includes a left and right earmount in beige, brown or black for matching hair/skin tone.
Sennheiser (www.sennheiser.com) unveiled a free app for its evolution D1 wireless mic systems. The iPad/iPhone WSR app becomes a remote control for digital D1 systems, assisting in the configuration, management and monitoring of radio links. The app also automatically recognizes whether D1 mic systems have up-to-date firmware and can update via the Internet if required. And during a show, the WSR app lets users track battery status, sound levels and signal strength.
Shure (www.shure.com) has worked with Yamaha to provide its CL and QL mixers with the direct remote control and monitoring of Shure’s Dante-enabled ULXD4D dual-channel and ULXD4Q quad-channel digital wireless receivers directly from the console. Adjustable parameters include the monitoring of battery, RF reception strength, antenna status, frequency and audio level; and full control of gain, mute and channel name assignment.
BIG NEWS ON THE CONSOLE FRONT!
Allen & Heath’s (www.allen-heath.com) Qu-SB compact intelligent mixer / interface, is a Stage Box solution with all the features offered in the Qu series but is designed for iOS tablet control, letting the user mix from anywhere in the venue. Offered as freestanding or surfaceless rack mixer, Qu-SB has 16 XLR mic inputs, two line ins and 14 outs but can be expanded up to 32 mic inputs and 24 outs, connecting via Cat-5 to the optional remote audio racks. Windows and Mac streaming and recording of up to 18 channels onto USB is also standard.
Avid’s (www.avid.com/s6l) VENUE S6L console steps up a notch with a new 5.1 software update. New enhancements include support for two AVB-192 Ethernet AVB Network Cards, which allow up to 192 remote mic-pre’s and 96 outputs using three fully loaded Stage 64 I/O racks; a mode to spill any Aux, Group or VCA members onto the surface faders for immediate access; and enhanced visual OLED parameter feedback. David Morgan checks out v5.1 in his “On The Digital Edge” (click to read) column this month. Check it out!
Cadac (www.cadac-sound.com) debuted CDC software V3.01. This adds new features for its CDC six and CDC eight consoles, such as user-definable custom fader layers of any mix of inputs, buses, VCAs, etc.; the option to create a personal library for EQ, effects and dynamics settings; router GUI and network gain compensation, input/output patching enhancements; and more.
DiGiCo (www.digico.biz) previewed Quantum 7, a 7th-generation FPGA platform that offers massive amounts of additional DSP and flexibility to its consoles. Nodal Processing allows applying DSP to any node on the aux section of the console, for sending unique processing on each send from single or multiple channels. Quantum 7 expands an SD7 to more than 600 channels of processing at 96kHz, connecting to nearly 3,000 potential I/Os. Shipments begin in 2017.
This year, DiGiCo has also recently announced Stealth Core 2 upgrades for the company’s SD5/SD5cs, SD9, SD10 and SD11 and SD11i consoles. The boost in power and functionality is significant. For the compact SD11 and SD11i mixers, for example, the output bus count doubles from 12 to 24 (+ Master + 8 x 8 Matrix). The upgrade also It also includes more channel strips (32 to 48 for the SD11; 40 to 80 for the SD11i), a twentyfold in crease in the dynamic EQs and multiband dynamic options and more digital FX.
Lawo’s (www.lawo.com) mc36 Ravenna/AES67-based all-in-one mixing desk takes a step up with Compact I/O, a cost-efficient, compact stagebox solution that expands the connectivity of the mc2 console family. Connected via Cat-5 or fiber (optional), the ruggedized 5RU stagebox provides 32 Lawo-grade mic/line ins, 32 line outs, eight AES3 inputs, eight AES3 outs, eight GPIO’s, three Ravenna ports and a MADI port.
Soundcraft (www.soundcraft.com) launched the Vi2000 live consoles in a cost-effective, single-box package. The Vi2000 combines the unique Vistonics-based control surface of the highly successful Vi3000, Vi5000 and Vi7000 consoles with Soundcraft SpiderCore 40-bit integrated DSP and I/O engine. The Vi2000 is configurable up to 48 inputs and 16 outputs, using combinations of 16-channel XLR modules in four rear-mounted slots. The console’s total I/O count is 246 in and 246 out, yet only 44 inches wide.
Stage Tec’s (www.stagetec.com) new Platinum DSP package for its AURUS and CRESCENDO consoles offers up to 700 audio channels at up to 96k Hz. Platinum DSP’s processing unit is fully backwards compatible and is capable of increasing the number of channels even in existing consoles.
Yamaha (www.yamahaca.com) showed a V4.0 firmware update for its CL and QL consoles. Enhancements include new EQ algorithms, a Premium Rack device and other features that provide live sound support at an even higher level. The iPad StageMix app and related software is now at V6.0, which expands the range of both consoles for enhanced creative freedom and operability. Meanwhile the new 2.5 software for the TF series adds matrix outputs with output delay and a simple output delay on insert FX.
And as a bonus, Steinberg Nuendo Live is now bundled with Yamaha QL and TF Consoles, providing users with advanced multitrack recording and virtual soundcheck capabilities.
LOUDSPEAKERS!
Probably the largest area of activity at PL+S was loudspeakers — and there were plenty of ‘em!
Adamson (www.adamsonsystems.com) highlighted its flagship E-Series and the new E-119 subwoofer that combines a lightweight, long-excursion, 19-inch SD19 Kevlar neodymium driver with an ultra-efficient front-loaded enclosure. Integrated rigging allows for either 0° or 3° splay between adjacent cabinets.
Clair Brothers (www.clairbrothers.com) launched its One Series monitors, which follow in the footsteps of the legendary 12AM stage monitor. The new, single-12-inch 1AM monitor is a coaxial design. It can also double as a multipurpose speaker, with its integral pole mount and rigging points) and a powered 1AM+ version is also offered. The new 1.5AM is similar, but with a coaxial 15 driver. Also new are the compact 8CX and the 5CX coaxials, designed for diverse applications.
d&b audiotechnik (www.dbaudio.com) debuted the new B22-SUB, which improves on its classic B2 model, with two 18-inch neodymium woofers in an efficient bandpass horn design producing high SPLs. Intended for ground stacked applications, it can also be used in a cardioid mode when combined in multiples of three d&b subwoofers.
D.A.S. Audio (www.dasaudio.com) launched the UX-30A, a monster sub using M-Force moving magnet linear motor technology, with 15,000 watts of power driving a 30-inch high-density polyethylene for peaks up to 145 dB. It is sized similarly to a standard double-18 woofer.
FBT (www.fbt.it) showed its new Ventis range of passive and powered 2-way speakers for portable or fixed install applications, offered with six to 15-inch woofers as the VENTIS 115, 112, 110 and 206. All have fly points, pole sockets and 45-degree rear sloped cabinets to double as stage monitors. Active versions have Class-D powering and onboard DSP.
HK Audio (www.hkaudio.com) bolstered its flagship PREMIUM PR:O range of modular speakers with five new active full range cabinets featuring advanced DSP. The new models share the features that enabled the series to sell more than 150,000 units in the past decade, with roadworthy wood enclosures, state-of-the-art digital technology and intuitive plug-and-play operation.
JBL Professional (www.jblpro.com) unveiled the EON ONE all-in-one linear-array P.A. system. It features Bluetooth audio, a six-channel mixer and a unique design that can be carried with one hand. Components include a 10-inch woofer and six two-inch HF drivers for wide, even dispersion.
K-Array (www.k-array.com) was showing its popular Firenze line of ultra-thin, flat-panel speakers along with some new additions including the KU210 ultra thin, high-power passive subwoofer and the passive, slim KX12 coaxial line array element that offers rotatable 100° x 30° dispersion.
L-Acoustics (www.l-acoustics.com) launched the KS28, a new reference subwoofer for performance down to 25 Hz, 3 dB more SPL than the SB28, and it’s exclusively driven by the new LA12X amplified controller. The LA12X provides 12,000 watts of power, thanks to its smart DSP-controlled Switch Mode Power Supply (SMPS) with Power Factor Correction.
Martin Audio (www.martin-audio.com) kicked off its CDD LIVE! series (profiled on page 44), which puts the Coaxial Differential Dispersion technology from the CDD Install series into powered systems for portable applications.
Meyer Sound (www.meyersound.com) debuted its self-powered, MJF-208 compact stage monitor, which incorporates the reliability of its MJF-212A and MJF-210 into a smaller, lightweight package. Each MJF-208 measures less than 13 inches high and weighs 45 pounds. The monitor delivers impressive power-to-size ratio and low distortion in a small-footprint, lightweight option for applications that do not demand extreme output levels. Meyer also shows a new LYON-WXT extended vertical option for its Lyon series of line array systems.
NEXO’s (www.yamahaca.com) ID24 is a low-profile/high-output speaker for theaters, auditoriums and fixed installs. The full-range ID24 has twin 4-inch drivers in a V formation combined with an HF compression driver on a rotatable horn; currently four horn patterns are available. Single-10 and dual-10 low-profile subs are optional.
Outline’s (www.outline.it) ultra-compact, high-power Vegas 24 lightweight high-power loudspeakers are optimized for vocal and instrument intelligibility and clarity. A dipole waveguide-loaded design provides and enhances desired precedence required for localization and other psychoacoustic effects specified by quality installs. Rounding out the line are the 8 CX, 12 CX and 15 CX full-range 2-way bass reflex models.
Proel (www.proel.com) launched its new two-way AX800A compact line array, featuring two 8-inch woofers and a 1.4-inch HF driver in a lightweight molded polypropylene enclosure. It has a 85 Hz to 16.8k Hz bandwidth over 110° of horizontal dispersion and is designed to partner with the matching dual 18-inch powered manifold bandpass SW1800A subwoofer.
RCF’s (www.rct.it) NX L44-A true two-way line source is now shipping. Features include three 10-inch neodymium woofers and a 1.4-inch exit HF driver on an asymmetrical waveguide with onboard DSP. Powering is via a 1,400-watt digital amp, delivering high SPLs for pro sound reinforcement.
VUE Audiotechnik’s (www.vueaudio.com) al-12 made its European debut. This line array has two 12-inch neodymium woofers, six 4-inch cone neodymium MF speakers and two 1.4-inch exit HF drivers with Pure Truextent® beryllium diaphragms. The al-12 can be integrated into systems with a variety of VUE subwoofers to provide extended bass performance.
PRODUCTION ESSENTIALS!
Mics, consoles and speakers are fine, but here are a few finishing touches to round out your rig.
Antelope Audio (www.antelopeaudio.com) debuted its LiveClock, a compact master clock based on the company’s groundbreaking fourth-generation Acoustically Focused Clocking (AFC) technology and designed for use in any live sound application. The first of its kind in the industry, the new clock fits perfectly into a doghouse on a FOH console and takes up just 1U space with additional rack ears. LiveClock supports up to 192 kHz sample rates, distributed via four word clock outputs on BNC and two pairs of AES/EBU and S/PDIF outputs. Price is $995 when it ships later this month. Your digital signal chain may never sound so good.
MC2 Audio (www.mc2-audio.co.uk) was showing its new E Series range of lightweight, high-power switch mode amplifiers developed for the touring market. The E Series retains the sonic integrity of the benchmark MC and T Series amplifiers, without the physical weight. The E15, E25, E45 and E4-75 feature MC2 Audio’s proprietary current-driven output stages, while the E90 and the E100 are Class-D designs.
Radial Engineering (www.radialeng.com) always seems to have some interesting new items and didn’t disappoint this time around. DiNET is a line of two Dante-enabled direct boxes. The DiNET DAN-RX includes a 24-bit/96k Hz digital to analog endpoint lets users output audio from a Dante network to stereo systems. The DiNET DAN-TX allows the user to connect instruments or line level sources directly to networked audio systems using the Dante protocol.
Radial Engineering’s Catapult is a four-channel audio snake that can send analog and AES digital audio signals over standard Cat-5 shielded twisted pair cable. This enables system contractors to take advantage of pre-wired networks to connect one room to another and lets stage techs take advantage of the relatively low cost of this readily available cable for return snakes or for transporting channels of balanced audio across a large stage.
Rational Acoustics (www.rationalacoustics.com) made a splash with version 8 of its popular acoustical tool. Smaart v8 breaks out of the single-window, fixed-GUI world, offering users significantly increased control over their software environment. Besides the multi-window capability, new features include a more intuitive measurement configuration, user-configurable (and touchscreen friendly) command buttons, broadband metering for all input devices, integrated Smaart I-O control and more.
Riedel Communications (www.riedel.net) was showing its Tango TNG-200, the company’s first fully networked platform based on the AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios.
MORE TO COME!
There were plenty of other cool products at Prolight+Sound and we will present these in upcoming issues of FRONT of HOUSE and online at fohonline.com. The next big show is InfoComm, this June in Las Vegas, everyone’s favorite city. But until then, Auf Wiedersehen!
