Road Tests

If the RE320 from Electro-Voice looks familiar, there's good reason: the RE320 derives its body style and incorporates technology used in E-V's popular RE20 and RE27N/D microphones. The RE320 features the humbucking coil used in the RE20 for reduced susceptibility to RF. It also uses the high-output Neodymium-magnet capsule used in the RE27N/D – but with a new low-mass diaphragm for improved transient and high-frequency response.

When I first got the email to review the new Sanken COS-11D microphone, I was pretty excited. I use a couple of different headset mics in my business, and was very interested in trying out this Sanken mic. In general, headset mics are very handy. The user has both of their hands free to play an instrument, give a presentation, draw on a whiteboard or just use two-hand gestures (if they are Italian). Plus, they have the freedom to move about the stage or audience. The downside of these mics is that they don't really sound very natural, and they can be prone to feedback.

In the last few years, Milford, NH-based Earthworks Inc. has produced several products that have resulted in a transformation of the company's image within the audio engineering community. Earthworks originally built its reputation on its impeccable omnidirectional measurement microphones, and subsequently ventured into the studio recording market with their high definition omni and cardioid small diaphragm music microphones.

My first Countryman DIs were the ones I loaded into the workbox for my first tour in 1985 with Crystal Gayle: brand new black anodized Countryman Type 85 direct boxes, which have since become a ubiquitous staple in live sound and asked for by brand – the ‘Scotch Tape' of DIs. I'm sure most of you have used them.

Capture, Studio One and Virtual StudioLive

Each of the three mixers in the current StudioLive family – the original 16.4.2, the flagship 24.4.2 and the new compact 16.0.2 – share the ability to be a full FireWire-enabled digital audio recording interface. All three come with Virtual StudioLive control software, Capture for basic digital recording and Studio One for the more advanced work. The included software makes StudioLive consoles veritable Swiss Army knives. This review covers some highlights of each and how they can be implemented in a live setting.

Yamaha introduced their popular StageMix iPad application for their M7CL at PLASA last fall, and there's been strong interest in an LS9 version since. Released at Frankfurt's Prolight + Sound in April, it's a free download on Apple's iTunes store. I got the call from IATSE steward Susan Phillips to work at Florida State College's Wilson Center with the school's nationally recognized jazz band. Because they have an LS9-32 in a typical performing arts center control booth, I knew this was a great test for the LS9 app.

As I sit here contemplating this review, it occurred to me that I have been writing about Yamaha gear for over 15 years now. Not that this really matters for my DSR review, but, just as a reference point, I have seen a lot of innovation come out of Yamaha over the last decade and a half.

This is the first of a two-part review. Next month: A closer look at some of the things you can do with the software bundle that comes with this product. Far from a throw-in, the software is really an integral part of what this product is all about. -ed.

One of the quirks about this business is that the older and supposedly more knowledgeable you get, the faster the transition is from cool, new "toy" to necessary "tool!"

The first thing that caught my eye when I looked at the Peavey Impulse 12D is that the enclosure sports a ribbon driver rather than the typical high compression driver. The ribbon driver is an exclusive Peavey design based on the ribbons used in the Peavey Versarray line arrays. Even if you don't know what a ribbon driver is, you can't help but notice that the horn section of this injection-molded enclosure is very different from what would be considered the norm.

In the studio world, everyone faces the same challenge of referencing. All of us have spent God-knows how many hours tweaking and EQing to get our mix to sound the best it possibly can. Then you finally burn the masterpiece to a CD and put it in the car to hear it and, lo and behold, your face is melted with 4k. Or you have a wonderful 120Hz roar. What happened? Your wonderful studio monitors, that's what.

This is kind of like reviewing a tailor-made suit – I may love it but it may not fit you at all. Or vice-versa. But there has been a lot of talk and interest out there, so I am going to give this a go.

In this day and age, we all want more for less. Whether it's your car, phone, computer, TV, or even a Smart Amplifier. We all want it to do more, weigh less, and have the cost cut in half. I say good luck. Every time something new comes out, it cost more for that one feature that I can't live without. But, dammit, I'm not going to sleep tonight until I've stood in a line that nearly traverses the earth and purchased my new whatchamacallit.