FRANKFURT, Germany — Every year, the arrival of spring brings the Musikmesse and companion Prolight + Sound music/pro audio tradeshows to Frankfurt, Germany. For anyone who’s never attended, it’s a huge affair — sort of like a combined NAMM / AES / InfoComm / LDI / DJ Expo, with 10 exhibition halls (plus outdoor displays) spread out across the city’s expansive Messe fairgrounds.
Yet despite some initial concerns about the financial health of the European Union — particularly given the difficult economic conditions in Greece and Portugal — Musikmesse / Prolight + Sound (which took place from April 10 to 13) was a huge success. In fact, the 2013 event set a new record of 113,000 visitors from 142 countries — up three percent from last year’s attendance of 109,481 from 120 countries.
“This veritable flood of visitors exceeded by a wide margin not only our expectations but also those of the exhibitors,” said Messe Frankfurt’s executive board member Detlef Braun. “This is a fantastic result.”
Other than a few light rain sprinkles, the main complaint about this year’s event was that the first few days overlapped the NAB show in Las Vegas, making for some “creative” travel plans as some exhibitors and visitors scrambled all-night connections to attend (at least part) of both shows. No problem with that next year, although the same overlap will return again for the 2015 events, so be warned.
But aside from these minor glitches, there was plenty to see — and hear — at Musikmesse / Prolight + Sound 2013.
For some reason, products launches tend run in cycles and this year the emphasis in round reinforcement seemed to be consoles and speaker systems. And among the 2,285 exhibiting companies from 54 countries, here are a few new product highlights and trends that caught our eye. So let’s get started!
The Big Buzz
Avid (www.avid.com) kicked off the show with the announcement of the Pro Tools 11 platform. While not specifically a live sound product, there are plenty of users who integrate PT into their systems — either as show tracks, virtual sound checking or live recording/archiving — and will be interested in this major DAW that provides users with new, high-powered audio engines, 64-bit architecture, expanded metering and more. Shipping is slated to begin in Q2 2013, and despite rumors to the contrary, both Avid and third-party ASIO interfaces are supported.
In perhaps a more surprising move, studio console manufacturer Solid State Logic (www.solidstatelogic.com) launched “Live,” its first mixer for live sound production. Based on SSL’s new Tempest DSP platform, Live offers 192 user-configurable, full-processing audio paths at 96 kHz, and features both local I/O as well as a full range of MADI-connected stageboxes as well as fiber support for up to 256 channels of bi-directional audio and control. Extensive automation, onboard effects and high-grade preamps round out the package. Pricing ranges from $84,000 and $130,000, depending upon configuration and it’s due out in September. For more details, go to fohonline.com/news/8562-ssl-launches-live-console.html.
Consoles
Not all new mixer debuts were in the megabuck class. Allen & Heath (www.allen-heath.com) turned a few heads with its QU-16 rack-mountable digital mixer, a self-contained design with 16 mono onboard XLR /TRS analog inputs, three stereo inputs, four stereo FX return, four FX engines, moving fader automation, four mute groups, 16 buses and a 800 x 480 color touch screen. But one slick trick it adds is a Cat-5 dSNAKE port for connecting to optional AR2412 or AR84 stageboxes. Tne Qu-16 is also iPad controllable via the free Qu-Pad app and is fully compatible with Allen & Heath’s ME Personal Mixing System for individual monitor mix control.
Speaking of iPads, Behringer (www.behringer.com) bowed its iX16, a compact 16-Input, 8-bus digital mixer with 16 programmable Midas preamps and USB audio interface. The iX16 can be wirelessly controlled from anywhere in the venue using iPad/iPad mini, tablet PC, laptop or Mac computer. Other features include six TRS aux sends; two XLR main outs; 18 x 18 channel USB 2.0 audio interface; eight buses with inserts, six-band parametric EQ’s, full dynamics processing and onboard Virtual FX rack.
DiGiCo (www.digico.biz) unveiled SD Convert, a standalone file interchange software tool that lets engineers transfer their session files from one console in the company’s SD range to any other SD series console. This makes it possible to move freely up and down the console range depending on space, budget and system requirements.
The latest update to Mackie‘s (www.mackie.com) Master Fader control app for its DL1608 and new DL806 digital live sound mixers is now available. Master Fader v1.4 launches for iPad with a host of new features, including new channel plug-ins, vintage-style EQ/dynamics and improved snapshot operation.
Midas (www.midasconsoles.com) was demoing Generation 2.1 software for its entire range of digital consoles. V2.1 adds a rack-full of new latency-compensated FX plug-ins and dynamics processing options to every console in the PRO series, as well as the flagship XL8. New FX plug-ins include a dual-channel Klark Teknik DN60 Real Time Analyzer, a Klark Teknik tape saturation effect, sub-harmonic generator, multi-channel input phase adjustment insert, a fifth input compressor option, ducker mode for noise gates, plus a new “transient accent” gate option and a variable presence control for all input channel compressors.
Roland Systems Group (www.rolandsystemsgroup.com) offered numerous upgrades for its entire digital console line, including now providing PC-based SONAR Essentials multi-channel REAC recording to all registered V-Mixer owners. Simply connect a Cat-5/6e cable from a V-Mixer console or split port to your PC’s network port to capture up to 40 audio channels. Roland Systems Group is also now shipping an iPad control app and V1.5 software update for its M-300 V-Mixer.
Available in three frame sizes, Soundcraft‘s (www.soundcraft.com) Si Expression 1, 2 and 3 digital consoles offer 16/24/32-faders and mic inputs respectively; all three are capable of up to a staggering 66 inputs to mix by connecting any Soundcraft stagebox including the two new Mini Stagebox 16 and 32 (16 x 8 and 32 x 16) models or by connecting additional inputs over MADI or AES/EBU. Other features include onboard BSS, dbx and Lexicon processing, central color touchscreen control, iPad ViSi remote control and FaderGlow, adopted from Soundcraft’s Vi Series large format flagship consoles.
Yamaha (www.yamahaca.com) expanded its groundbreaking MGP mixer series with the MGP32X and MGP24X, with not only provide more input channels but also add three new digital features: USB device recording and playback, graphic EQ and a multiband compressor. All combine a premium analog sound (with all-discrete Class-A preamps) with comprehensive digital control capabilities. In addition, the new MG large-format consoles offer onboard VCM (Virtual Circuit Modeling) and two separate studio-grade effects processors, new 31-band graphic EQ’s on the stereo bus, 14-band GEQ and Flex9GEQ modes, and single-band and multi-band compressors.
Yamaha also announced version 4 of its StageMix iPad app for its CL Series, M7CL and LS9 digital consoles. StageMix v4 includes new dynamics parameter editing, output port delay editing, output port level tweaking (gain/attenuation), PEQ copy/paste, phantom power switching, mix send pre/post switching, HPF slope parameter (CL V1.5 only), retina display support and other enhancements.
Loud-Speakers!
This year’s Musikmesse / Prolight + Sound expanded the opportunities to actually hear speaker systems with the addition of demo rooms in the “Forum” building, as well various outdoor stages set up in the courtyards adjacent to Halls 3/4/5 and Hall 8.0. And there was plenty of new product to suit every price, application and production requirement.
Adamson Systems (www.adamsonsystems.com) celebrated its 30th anniversary with an event at Frankfurt’s famed Villa Leonhardi restaurant that attracted a number of A-list attendees including Greg Brunclik from Clearwing Productions and Peter Hendrickson of Tour Tech East. On the show floor, the company unveiled two new additions to its flagship Energia line — the new e12 full-range line array module and e218 subwoofer. Like the e15, the new e12 is built around the e-capsule, a surrounding module constructed in aircraft grades of lightweight aluminum. With its 12-inch Kevlar driver, the e12 was designed as a standalone mid-size line array but can also be used as a downfill, or side fill in a larger e15 arena system. As the e12 and e15 share the mid and high components, they create a uniform and seamless ribbon of mid/high energy when the e12 is used in a downfill configuration.
Also new from Adamson is the A-218, a “workhorse” double-18 subwoofer and the Point Concentric Series of passive, co-axial loudspeakers. Ideal for under-balcony or stair fill, the new line is available in a double-5 inch (PC5), single-6 inch (PC6) and single-8/10/12 (PC8/PC10/PC12) versions.
Alcons (www.alconsaudio.com) showed a production version of its LR24 mid-sized pro-ribbon line array, which the company refers to as its response to market demands for linear sound systems. The LR24 is said to deliver the same SPL as equivalent products in the mid-size line array category, but with 15dB less distortion.
d&b Audiotechnik (www.dbaudio.com) showed “Vi” — essentially installation-specific versions of its popular V-Series medium-to-large line array systems, designed to offer smooth and even frequency response over distance with high dynamic bandwidth and headroom. The series includes the Vi8, Vi12, Vi-SUB and complementary D12 DSP controlled amplification.
ZLX is Electro-Voice‘s (www.electrovoice.com) new line of portable speakers in powered and passive versions, available as 12- and 15-inch two-way models that can be used for mains and monitors. A proprietary split-baffle design optimizes driver time alignment.
Arion 10 from Equipson S.A. (www.equipson.es) is an ultra-compact line array system for small and medium size events and installations. Arion 10 combines a single 10-inch neodymium woofer with two 1.7-inch compression drivers on a flat fromt waveguide. A matching double-12 sub is also offered.
Fohhn Audio (www.fohhn.com) is shipping its new LX-220 hybrid line source system, the latest addition to its popular Linea Series. The 2.2-meter tall, 4-way loudspeaker is equipped with 18 long-excursion, 4-inch neodymium speakers arranged in a column, plus three 1-inch compression drivers (horn-loaded on the Fohhn Waveguide system).
The new JRX 200 series of portable passive P.A. speakers from JBL Professional (www.jblpro.com) includes the JRX212 12-inch 2-way loudspeaker/stage monitor, JRX215 15-inch 2-way speaker, JRX225 dual-15-inch 2-way speaker and JRX218S 18-inch compact subwoofer. Designed to provide pro-level performance at an entry-level price, the top cabinets feature JBL’s 2414H-C 1-inch compression driver mated to JBL’s Progressive Transition™ waveguide.
JBL also announced extended V5 preset support for additional models of its VTX Series and VerTec line array loudspeakers, which leverage the OmniDriveHD linear phase FIR processing capability of Crown’s I-Tech HD DSP power amplifiers, while adding improvements in horizontal coverage.
Kling & Freitag (www.kling-freitag.com) debuted Sequenza 5, a compact line array based on the larger Sequenza 10, but with four 5-inch mid drivers and three 1-inch neodymium HF drivers. A matching Sequenza 5B 12-inch flyable subwoofer extends LF performance and the speakers easily adapt for flying or ground stack applications.
Nicknamed the “cheese box,” the Redline KRM33 from K-Array (www.k-array.com) is an ultra-compact and low-profile powered wedge speaker with a controlled horizontal pattern and extended frequency response. Ideal for under-balcony and specialty installs, it has three 3.15-inch cone drivers and one 6-inch passive radiator for a 70 Hz to 18k Hz response. It also features an onboard DSP-driven, two-channel amplifier and a direct USB connection.
L-Acoustics (www.l-acoustics.com) is now shipping its 5XT ultra-compact coaxial speaker and SB15m compact single-15 subwoofer. The smallest member of the company’s XT coaxial series, the 5XT has a one-inch diaphragm compression driver coaxially loaded by a five-inch low-mid transducer mounted in a ported birch ply enclosure.
The LA122 compact line array system from Next Audio (www.next-proaudio.com) incorporates a 12-inch neodymium woofer with two 1.4-inch exit neodymium compression drivers on a wave converter that transforms the spherical waves into cylindrical isophasic waves coupling seamlessly with the others high frequency transducers of the array.
Outline (www.outline.it) celebrated its 40th anniversary with the unveiling of its new GTO C-12 line source array, which contains dual 12-inch woofers, four 6.5-inch cone midrange units and two 3-inch throat compression drivers. The C-12’s footprint is exactly the same as all the other modules in the GTO range, allowing full mechanical compatibility with GTO, GTO-SUB, GTO-LOW and GTO-DF in terms of rigging, flying hardware and wheel boards. The GTO C-12 cabinet is 21.6% smaller in the vertical plane than the GTO, and the overall cabinet weight is 30% less that its larger sibling.
PROEL‘s (www.proel.com) new Axiom AX2010A is a passive line array with two back-loaded 10-inch woofers paired to dual 1.4-inch exit compression drivers mounted on transmission line wave-forming waveguides.
RCF (www.rcf.it) was showing its new HDL 20-A, a two-way active line array module designed for portable sound reinforcement and installation applications. It features two 10-inch woofers, a 3-inch titanium-diaphragm compression driver, 700W of digital amplification and a DSP-controlled input section with selectable presets.
RCF also expanded its TTline with three two-way speakers that feature Class-D amps and 32-bit/96k Hz processing algorithms. The 800-watt TT1-A has a 10-inch LF driver; the 1,600W TT2-A and TT5-A have 12- or 15-inch woofers. All HF drivers are 2-inch exit titanium dome designs.
Westlab Audio (www.westlab-audio.com) was demoing a full line of speakers, from its LabRat Six (6-inch coaxial) to the LabTop TwelveThree (three-way 12-inch) to the LabLine TwoEight (three-way 6-inch line array). All are powered and DSP-driven with a combination of available IIR and FIR filters and a range of powered subs are offered.
Amplifiers: Turning It Up
Crown Audio (www.crownaudio.com) is now shipping its DriveCore Install (DCi) Series, with 2/4/8-channel analog amplifiers ranging from 300 to 600 watts into 4 and 8 ohms and 70/100-volt systems. All are 2U designs and feature a proprietary DriveCore amplifier IC chip that replaces more than 500 parts from a typical amplifier design with one single IC.
L-Acoustics (www.l-acoustics.com) has added the LA4X amplified controller to its amplified controller series. The LA4X is based on a 4-input x 4-output architecture combining the benefits of self-powered loudspeaker packages with the flexibility of outboard DSP and amplification.
Lab.gruppen’s (www.labgruppen.com) Intelligent Power Drive amps offer advanced DSP features in an affordable, compact, single-rackspace package. Both the IPD 1200 (2 x 600 watts into 4-oms) and IPD 2400 (2 x 1,200W) incorporate integrated DSP, networked monitoring and control via computer or iPad, a 4-channel input matrix, configurable front panel controls, analog and AES3 inputs, Lab.gruppen limiters and rugged build quality.
Powersoft (www.powersoft-audio.com) adds three new 8-channel power amps for fixed installs. The Ottocanali 4K4/8K4/12K4 can operate at low or high impedance; down to 2 ohms and can power 70/100V distributed lines without external transformers. These Class-D amps provide up to 12,000 Watts over eight channels for the largest model. Smart Rails Management technology maximizes system efficiency to drastically reduce power consumption at any load/usage condition.
Production Essentials
And to keep your system from self-destructing, Eminence (www.d-fend.net) is now shipping the stand-alone version of D-fend™ SA30, designed to protect passive loudspeakers from excessive power conditions. D-fend allows maximum driver performance while ensuring damage-free operation and eliminates worries about blown speakers, HF drivers or crossovers. The user simply sets the thresholds and D-fend monitors/limits the amount of input power it passes through to the loudspeaker. It’s USB compatible, and can be programmed to your specs from a desktop or laptop computer. Operating from a standard speaker-level signal, the D-fend SA300 requires no auxiliary power unless being used in low-power applications.
The latest 6.1 version of the Lake Controller digital audio processing platform, features an improved implementation of Audinate Dante, support for SysTune 1.3 real-time audio analysis software and a number of other key developments aimed at both live sound and large-scale fixed installs. Comprising of both new software installer (Windows PC) and firmware update for Lab.gruppen PLM Series and LM Series products, Lake Controller v6.1 will be a free download from www.labgruppen.com.
Riedel‘s (www.riedel.net) RN.344.SI card provides RockNet integration for any Soundcraft Si Compact console via the console’s expansion slot. In its first firmware release, the card supports 32 inputs/32 outputs to the RockNet system. Word clock out is available at the front panel. The RN.344.SI lets the Soundcraft console become a part of the RockNet digital audio network and enables remote control of any RockNet mic preamp. The RN.344.SI also supports RockNet’s Independent Gain Feature.
Powersoft M-Force Technology
One of the best things about tradeshows is getting a glimpse into new technologies. At PL+S, Powersoft (powersoft.it) announced the culmination of a four-year research project that could forever change the future of woofer design. Here’s an early peek at Powersoft’s (www.powersoft-audio.com) M-Force:
Powered by proprietary switch-mode amplification, M-Force is an innovative motor design for moving a speaker cone. Rather than a conventional approach, where a voice coil moves within a magnet structure, M-Force employs moving magnets within a fixed-coil, push-pull linear motor driver under feedback loop control. The photo here shows a prototype attached to a cone on the show floor and an inset detail of the motor mechanism. Among other promising benefits, the system avoids the possibility of voice coil overheating — a common cause of speaker failure.
“The approach to converting a signal from electrical to acoustic has not fundamentally changed since the beginning of acoustic design,” says Powersoft’s R&D director Claudio Lastrucci. “With M-Force, we have created an alternative method of acoustic transduction, by combining the latest technologies in the domains of power amplification, magnetic materials and advanced real-time digital signal processing. The result considerably improves the electrical-to-acoustic conversion efficiency at a system level, allowing the true exploitation of the native qualities of switch mode amplification. This new approach brings many advantages that will set a new standard in low-frequency speaker design.”
More to Come
There was a lot more product action from Frankfurt and we’ll cover many of those on our web site at www.fohonline.com and in future print issues of FRONT of HOUSE. Meanwhile, Musikmesse and Prolight + Sound returns to Frankfurt next year from 12 to 15 March 2014. So mark those calendars now and until then, Auf Wiedersehen!
