Road Tests

Where was this product 10 years ago? The answer is never satisfactory, but a lot of time is needed before clubs and other public venues can upgrade to current legal standards for power distribution. Peavey is the first broadline pro audio manufacturer to address this missing link in setting up sizable sound reinforcement systems.

When it comes to Lexicon, I have been hanging back in the weeds, waiting for a reverb/effects offering that would appeal nicely with live sound applications. There wasn’t a lot of hoopla about the Lexicon MX300 Effects Processor when I spotted it at the winter NAMM show, but it looked perfect for what a mid-priced effects unit for live sound applications should be.

We have said it often enough that it is likely sounding like a broken record (remember those? They sound a lot different than a skipping CD), but the world is getting increasingly digital, and live event audio is no exception. First, digital processing moved from the studio to the stage. Then it was consoles. The only reason someone is not hawking a digital loudspeaker is ‘cuz until we all have direct-inject jacks that go straight into the cerebral cortex,  the laws of physics dictate that you have to actually move air to create sound. The latest part of the signal chain to get the ol’ ones-and-zeroes treatment is the venerable snake.

The sixth version of System Measurement Audio Analysis Real-Time (SMAART) is the charm for EAW, a division of Loud Technologies. Having enjoyed SMAART Live 5.0 for a while, bringing in version 6 begs the question, “Why upgrade?” Well the answer is that SMAART v.6 is a complete house cleaning of the SMAART software, with patches and expansions shaken out and put together correctly and efficiently. The kludging is gone — the new SMAART looks clean, familiar and professional looking, as it means business to those who use it. 

Back when I reviewed the TC Electronic M300 Dual Effects Processor, I made it clear that the M300 spelled the end of Yamaha SPX90’s reign as the utility effects processor for instrument effects. Now, TC Electronic has upped the ante with the M350. The latest processor includes 15 new re-verb algorithms and multi-effects. An AU/VST compatible software editor to fully automate parameters and presets for Digital Audio Workstation (DAW) use seals the deal. Having fallen in love with the simplicity and sound quality of the M300 — from my perspective — the M350 has unexpectedly promised and delivered on its goodness. 

If you asked me what I thought was the most important piece of outboard gear in a soundman’s arsenal, I would say, without hesitation, a good graphic EQ. Whether you agree with me or not, you can’t deny the importance of this type of gear. Well, Mackie has pulled out all the stops with its new digital Graphic QuadEQ. I don’t know the backstory on the research and development of the EQ, but this new device can do just about everything that you would want a graphic to do and more. 

What’s the biggest problem doing live sound for a monster truck rally or a motorcycle supercross event? Well, lemme ask you this: What’s the best day of the week for a monster truck or supercross show? If you didn’t say “SUNDAY! SUNDAY! SUNDAY!” in your loudest and deepest TV an-nouncer voice — well, you just haven’t been watching enough late-night TV. When the commercial for your event delivers teeth-rattling SPL, your rig better be able to bring it. And when Yamaha recently gave us a call to check out the Supercross finals at Sam Boyd stadium, we got a chance to see if NEXO could do just that.

X5 HANDHELD CONDENSER VOCAL MIC
By Bill Evans

Any of you who have been reading FOH for a while have probably heard me openly refer to myself as a condenser slut when it comes to mics for vocals. I own a bunch of mics and am probably unusual in that I actually own more vocal condensers than dynamics. A condenser just has that “air” and open feel that it is tough to get from a dynamic, and I generally find that the audio quality of the vocals goes up substantially just by replacing dynamics with condensers.

Ask questions about the Vi6 at the end of this article!

This is the first time for FOH (and, indeed, for any audio magazine that I can think of) to do an actual in-the-field Road Test on a piece of gear with a $90K price tag. Because we have worked at making and maintaining good relations with regional sound companies, we were able to hook up with a company that was demo-ing the eagerly awaited Vi6 digital console from Soundcraft. This is not something we could have pulled off on our own so we need to start off by thanking the crew at H.A.S. Productions in Las Vegas for making it possible. It took some doing and some coordination — including an overnight trip to the bustling metropolis of Parker, Ariz. — but it was worthwhile. (BTW, to you other manufacturers reading this, we are open to other Road Tests following this method. You have my number, give me a call.)

L-ACOUSTICS P Series Powered Speakers
Jamie Rio

I have written many times in the past about the joys of a small sound system — especially one that sounds great and can reach a lot of people. Of course, the whole concept of “small” is very relative. However, if your mains are the size of your grade school lunch box and your subs are the size of a milk crate, we would definitely call that small.

Put yourself into Crown Audio’s product managers’ shoes: You have the renowned touring audio power amplifier line called the I-Tech, and you have the task to create a smaller mass music market version that sells for a competitive price but still has the features and power ratings this market wants. In this pursuit, I believe Crown has succeeded very well with the XTi line of amplifiers.