Archive of the Mixers and Routing Category

Premieres for Nova73 compact from Lawo at NAB Show and Prolight+Sound

Toronto, Ontario, Canada, April 5, 2013… First appearances in Las Vegas and Frankfurt: Lawo is presenting at the NAB and Prolight+Sound shows a new, compact and at the same time powerful router: the Nova73 compact. Only seven rack units in height, the system boasts an outstanding routing capacity and DSP power. The router can be used as a stand-alone device or as a core for the mc² series – in combination with the new mc²56 mixing console in particular, it forms an extremely powerful yet compact package that corresponds perfectly to the demands placed on broadcast mixing consoles today. more

Sound Devices 664 Field Production Mixer Earns Cinema Audio Society’s Prestigious Technical Achievement Award

REEDSBURG, WI, FEBRUARY 25, 2013 — Sound Devices, experts in portable audio and video products for field production, is pleased to announce that its 664 Production Mixer has earned the prestigious Cinema Audio Society (CAS) Technical Achievement Award in the production category. The CAS Technical Achievement Awards recognize innovations in recording technologies, including hardware and software products that are used by sound mixing professionals.

“We are thrilled to once again be the recipient of the CAS Technical Award,” says Matt Anderson, President of Sound Devices. “We strive to bring innovative, field-proven products to market and being given this prominent award for the 664, our newest production mixer, confirms our dedication to developing award-winning products.”

Sound Devices has now been recipient of the CAS Technical Achievement Award three times. The 744T and 788T Production Recorders are past winners. The 664 Field Production Mixer is the new flagship in Sound Devices’ line of portable audio mixers. The intuitive 664 has six input channels and four output buses. All inputs and outputs are recordable to both CompactFlash and SD cards. This unprecedented amount of I/O connectivity and recording capability makes the 664 perfect for any portable production application.

The 664 has six ultra-low noise, high-dynamic-range analog inputs. These transformer-less preamps accept mic- or line-level signals, and include analog peak limiters, high-pass filters, input trim controls and direct outputs. Input connectors 1 and 6 can be selected to accept AES42 or AES3 digital signals

In complex multi-camera productions, output flexibility is essential. The 664 can send its main left/right outputs to three cameras simultaneously. Two additional output buses, X1 and X2, appear on balanced TA3 connectors. AES3 digital outputs are individually selected to appear on the main XLR and multi-pin output connectors.

The 664 can record each of its inputs and four output buses for 10 record tracks. Recordings are saved to CompactFlash and SD cards. Recordings are either 16- or 24-bit broadcast WAV files, with extensive metadata. All popular production sampling rates are supported. When used with a CL-6 Input Expander, the 664 records 16 tracks, 12 inputs and four output buses.

The mixer’s built-in, rock-steady Ambient time-code generator allows multiple devices to operate in synchronization. The 664 can operate as a time code master clock, or its clock can be jammed from an external time code. A helpful time-code comparison utility displays the difference between internal and external time codes.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Harris Demonstrates New PR&E Studio Enhancements for Networked Audio Environments at The Radio Show

DALLAS, September 19, 2012 (The Radio Show, Hilton Anatole, Booth 604)Harris Broadcast Communications today introduces a series of user-friendly features for analog and digital studio environments at The Radio Show, giving broadcasters more tools to empower on-air, production and networking capabilities in distributed and consolidated studio architectures.

Harris introduces programmable button panels that enhance routing capabilities and protect signal destinations, as well as standard metering designs across all Harris® PR&E® studio consoles to improve ease of use. New quad-meter enhancements for its largest console line also increase confidence metering for operators monitoring several on- and off-air sources at once.

Programmable Button Panels
The new “smart,” dynamic LCD button panels give operators and producers five programmable buttons to initiate audio routes or commands to and from any location. Foremost, the panels shield the air chain and other destinations from accepting undesired audio, maximizing protection in networked studio environments. This means that an on-air operator would need to approve a “request” from another studio to introduce that audio to the program. The buttons similarly protect for remote signal contributions, allowing operators to cleanly initiate mix-minus feeds on-air.

Operators benefit further from clarity on the actual “owner” of the audio source, with rich text and unique color screens offering clear visual information about where each signal originates. This is a key differentiator from competing systems that don’t identify the origination point.

Harris now offers its new programmable button panels on PR&E® RMXdigital® consoles, the VMReact™ logic processing engine and other PR&E® VistaMax™ audio networking systems. VMReact, introduced last year at The Radio Show, is a virtual toolbox that allows studio operators and engineers to customize and automate multiple processes in networked studio environments. This includes everything from switching audio routes to creating contact closures for various events.

Uniformity and Ease of Use
Harris enhances the look and feel of its metering applications at The Radio Show, introducing a standard design for meters, clocks and timers across its RMXdigital, NetWave® and Oasis™ on-air/production consoles. Harris also introduces quad-meters for most RMXdigital consoles, allowing operators to monitor additional sources. This improves metering confidence by ensuring signal integrity for program and off-air sources, such as web streaming and network routing.

Harris is also demonstrating its recently-introduced RMXengine™, offering an on-demand mix-minus and IFB for every RMXdigital fader. The auxiliary device also enables advanced dual-console operation for sophisticated dual-anchor studio operations — bridging two consoles together in a single studio. The aforementioned new programmable button panels also bring benefits to these applications, allowing for negotiated and protected air chain control between two consoles.

About Harris Broadcast Communications
Harris Broadcast Communications offers products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-of-home networks. The Harris ONE™ solution brings together highly integrated and cost-effective products that enable advanced media workflows for emerging content delivery business models. Additional information about Harris Broadcast Communications is available at www.broadcast.harris.com.

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Solid State Logic Launches ‘ScreenSound ADR’ at IBC 2012

The World’s First Dedicated End-to-End Solution for ADR has Arrived

AMSTERDAM – Solid State Logic (IBC, Stand 8.D83), the world’s leading manufacturer of analogue and digital audio consoles, is proud to announce another ground breaking product release with the launch of ScreenSound ADR. Designed to optimize and standardize Automatic Dialogue Replacement for film, foley recording and local language replacement for film and television, ScreenSound ADR is the world’s first end-to-end solution designed to deliver faster and more efficient ADR workflow.

ScreenSound ADR is a turnkey system that combines a suite of integrated software applications providing dialogue spotting and session preparation, session control and management and streamlined audio recording, with an industrial-strength hardware platform including host computer, I/O and Nucleus hardware control surface. At each stage of the ADR process, ScreenSound ADR provides dedicated solutions to streamline preparation, management and production.

ScreenSound ADR is all about efficient workflow. The session preparation stage of the process is handled by SpotShot, a comprehensive take logging, dialogue spotting and session preparation tool. Imported scripts are automatically turned into take lists, and a dedicated interface streamlines the dialogue spotting process with an integrated HD capable video player with full script and annotation text overlay. Take lists can be filtered to show appearances by individual cast members or groups and to calculate word/line count to help plan studio and talent time. SpotShot is a standalone application enabling dialogue spotting to be done away from the ADR studio.

At the heart of ScreenSound ADR is SpotFire, which presents a dedicated session management and automated ADR interface that provides complete control of studio session workflow. SpotFire offers a unique interface that combines a ‘rehearse – record – review’ based transport control panel with a

versatile and customizable Take List that makes viewing, navigating and controlling the recording process simple and efficient. SpotFire relies on SSL’s Soundscape DAW as the underlying platform for recording, editing and mixing with all track arming, transport and recording functions controlled entirely by SpotFire’s dedicated ADR interface. Audio workflow with ScreenSound ADR integrates with how the industry works today. The system imports native .ptf format sessions from Pro Tools and can export finished sessions in native .ptf Pro Tools format.

SpotFire also feeds and controls VisionCue, Screensound ADR’s powerful artist cue system. VisionCue is a fully integrated multi-screen HD video player with a completely customizable scrolling script, annotation, graphic timeline cue and count in overlay. VisionCue can natively play a huge range of video formats all the way up to Pro Res and Avid dnxhd without the need for transcoding and the system supports BlackMagic Design video interfaces.

ScreenSound ADR is a turnkey hardware based system: The multi-award winning SSL Nucleus hardware control surface delivers uniquely customizable hands-on control for accelerated operation (Nucleus also provides 2 x SSL SuperAnalogue™ mic pre’s). SSL’s Alpha-Link audio converters offer versatile and scalable I/O options to cater for recording and monitoring with the SSL MX4 software mixer environment providing a standard mixer templates and open architecture routing flexibility. The assurance of a fully tested SSL certified PC system completes a truly unique end-to-end solution to speed up your production workflow.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

SSL Demonstrates Riedel RockNet and MediorNet Compatibility at IBC 2012

New Compatibility Further Enhances Integration Options for SSL Digital Broadcast Consoles

AMSTERDAM – Solid State Logic, the world’s leading manufacturer of analogue and digital audio consoles is proud to demonstrate compatibility with Riedel RockNet and MediorNet systems at IBC 2012 (Stand 8.D83). Collaborative development between Riedel and SSL has delivered functionality, which aide customers worldwide in specifying and configuring integrated systems that deploy technology from two of the most respected names in broadcast.

SSL C100 HDS and C10 HD digital broadcast consoles can now connect to Riedel RockNet low latency audio distribution network and MediorNet fibre-optic transport, routing and conversion network. Via Riedel’s RN334.MD MADI interface, SSL consoles can then remotely control mic Gain, Phantom Power and Pad settings for Riedel RN series audio interfaces connected anywhere on a RockNet network. In addition SSL’s own MORSE Stagebox and Alpha-Link I/O units can also be connected via MADI to Riedel’s MediorNet networks with full remote control capability maintained for SSL consoles. Redundancy is a key feature for both SSL and Riedel customers and the new implementation ensures that Riedel and SSL remote I/O continue to behave as expected within SSL’s redundancy topology.

“SSL and Riedel share a significant customer base across the world, and these developments make it possible for our users to employ our consoles and distribution technology in truly integrated systems,” says Niall Feldman, director of new products for SSL. “Riedel is a highly respected, professional and innovative manufacturer, and there is considerable synergy between our technologies, so it is a great pleasure to continue to bring the relationship between our two companies ever closer together.”

“We’re proud to welcome Solid Stage Logic to the family of RockNet and MediorNet compatible console systems,” adds Henning Kaltheuner, head of product management at Riedel Communications. “This way, SSL will be able to network their consoles and stage boxes via MediorNet and also combine both with consoles and stage boxes from other RockNet compatible brands. As a result, SSL’s clients realize a streamlined infrastructure and maximum flexibility.”

Riedel Communications designs, manufactures and distributes the most pioneering real-time networks for video, audio and communications for broadcast, pro-audio, event, sports, theatre and security applications worldwide. The products reflect today’s leading-edge technologies that translate tomorrow’s demands into today’s solutions. The company also provides rental services for radio and intercom systems, event IT solutions as well as fibre-based and wireless audio & video transmission systems for large-scale events such as Olympic Games or FIFA World Cups. The Company was founded in 1987 and today employs over 350 people located within 11 locations in Europe, Australia, Asia and the Americas. For more information please visit www.riedel.net.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

SOUND DEVICES INTRODUCES NEW 664 PRODUCTION MIXER AT IBC 2012

New Flagship Mixer Features an Unprecedented Amount of I/O Connectivity and Recording Flexibility

AMSTERDAM, SEPTEMBER 6, 2012 – Sound Devices, experts in audio and video products for field production, unveils the 664 Production Mixer, the newest addition to its best-selling line of field and production mixers, at IBC 2012 (Stand 8.D74). The new flagship in Sound Devices’ line of portable production mixers, the 664 builds upon the powerful features of the 552 Production Mixer and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. Its six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

Sound Devices’ 664 contains six ultra-low noise, high-dynamic range transformer-less preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 are unique in that they can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin, TA-3M connectors, or unbalanced on TA-3M or 3.5mm connectors. Auxiliary output buses X1 and X2 are available on balanced TA-3M connectors. Inputs and buses can be routed to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

The 664 can record up to 10 tracks, 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All six inputs and its four outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign individual tracks to each memory card.

Sound Devices also introduces a companion accessory, the CL-6 Expander. The CL-6 is specifically designed to add six analog line-level inputs to the 664 Production Mixer. With the CL-6 attached, the direct output connectors are available as recordable inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Expander, users can now record up to 12 input channels and four outputs, for a total of 16 tracks.

The 664 features an abundance of connectivity options in addition to the main audio I/O, catering to the complex productions that are becoming more common today. It has expanded return-monitoring capabilities, with three separate camera returns as well as a dedicated private line communications connection. The 664, like the 552, has a built-in slate microphone and tone oscillator, and includes a dedicated input for an external slate mike. The internal or external slate mike can be routed to either outputs or to the dedicated comm output. The 664 can easily build a private line communication with a comm return input, separate from camera returns.

“Our customers are looking for more inputs, connectivity, flexibility and power in the field,” says Jon Tatooles, managing director, Sound Devices. “We have taken the strengths and knowledge gained from our existing mixer line and continue to evolve the technology to meet the growing needs of sound mixers. The 664 is how we see the future of high-performance field mixers; they need to have recording capabilities in order to be a fully functional tool in the field.”

Sound Devices’ 664 features an intuitive LCD menu that enables users to simply adjust input settings and offers the capability to see how an input is routed and connected when its settings are altered. The LCD display also enables users to quickly activate the individual tracks that are to be recorded. The Sound Devices 664 features dedicated front panel controls for gain, trim and faders, as well as full-size XLR connectors. The mixer is powered by five AA batteries or external DC power.

The 664 includes a high-precision Ambient-based time-code generator/reader for multi-camera and double-system sound applications. All common production time-code rates and modes are supported. The 664, like all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

Antelope Audio to Unveil Rubicon – World’s First Atomic AD-DA Preamp

Santa Monica, CA, April 19, 2012– Antelope Audio will introduce Rubicon, a groundbreaking 384 kHz digital audio preamplifier which integrates the world renowned 10M Rubidium atomic clock. Rubicon caters to the ever-increasing interest in high-resolution audio, addressing the specific needs of high-end consumer electronics enthusiasts for accurate audio representation and detailed soundstage of both analog and digital recordings. The new device will be presented to the public during the Munich High End Show, May 3rd – 6th.

Rubicon is the first DAC to integrate a Rubidium atomic clock, which is 100,000 times more stable than a traditional crystal oscillator. Coupled with Antelope’s 64-bit Acoustically Focused Clocking technology, the Rubidium achieves a breakthrough in jitter management, improving the sound quality in an unprecedented way. The same technology is implemented in the company’s flagship master clocks used for scoring blockbusters such as Avatar and available at the best recording and mastering studios around the Globe.

“I find the idea of an audio enthusiast being able to hear his/her favorite recordings clocked by the world’s most stable clock very exciting. I believe this will bring the music appreciation in the home environment to a completely new level compared only to the precision and sonic detail representation available at the finest professional listening rooms,” shared Igor Levin, CEO and founder of Antelope Audio.

Housed in a sturdy, machined-aluminum enclosure with a vintage Art Deco design, Rubicon incorporates a discrete phono preamp, ultra linear, dual stage headphone drivers and Antelope’s renowned gold-plated relay volume control.

The transformer-based, ultra-low noise, discrete JFET phono preamp is a complement that will be highly appreciated by many vinyl lovers. In addition to the 384 kHz DAC, Rubicon also includes ultra-high sample rate A/D conversion. These functionalities together with the high resolution USB recording capability provide the users with the sublime experience of digitizing their favorite tracks, still keeping the depth and the warmth of the original analog recordings.

In addition to the 384 kHz USB streaming, Rubicon offers extended flexibility and smooth user experience provided by the implemented DLNA capability. The DLNA streaming gives users the opportunity to wirelessly push audio files from their smart phone, PC or NAS (Network-attached storage) server and play the content through the high-sample rate DAC.

Rubicon inherits the D/A conversion technology from 384 kHz Zodiac Gold DAC – the 2012 winner of the Audio Excellence Award in Japan and often described by reviewers and prominent sound engineers as “future-proofed”, “clean”, “neutral” and “accurate”. The A/D circuit comes from the 2011 winner of the Audio Media Gear of the Year award, high-end professional mastering converter Eclipse 384.

Antelope Audio plans to present the Rubicon for the first time to the public and the media during the Munich High End Show, in hall 3, booth A 04, at 2 pm, on May 3rd.

Rubicon features

– 10M Rubidium Atomic Clock, providing 100,000 times more accurate reference;
– 64-bit Acoustically Focused Clocking jitter management technology;
– Ultra low noise phono inputs with custom audio transformers, discrete JFET preamp design;
– 384kHz A/D & D/A converters;
– Gold-plated stepped relay volume attenuator matched to 0.05dB for all volume levels;
– Ultra-linear, dual stage headphone amps;
– De-jittered audio S/PDIF output;
– Custom USB 2.0 chip streaming up to 480 Mbits/384kHz with recording option;
– DLNA streaming capabilities through an Ethernet interface

Specifiations:
Analog Inputs
1x PHONO Input on RCA
3x Inputs on RCA
1x HiZ Input on RCA
1x Combo Balanced Input on XLR/¼ TRS

Analog Outputs
1x Balanced Output on XLR
1x Unbalanced Output on RCA

Digital Inputs
2x S/PDIF
2x TOSLINK
1x AES/EBU
Word Clock Input
Ethernet port

Digital Outputs
2x S/PDIF De-jittered outputs

Antelope Audio Isochrone OCX Master Clock Helps Ensure System Clarity During Austin Music Festival

Austin, TX, March 27, 2012– Every spring, thousands of artists and tens of thousands of record industry professionals flock to Austin, TX for a jam-packed schedule of live music showcases featuring everyone from young, up-and-coming bands to seasoned veteran performers. For six days, live music can be heard at almost any time of day emerging from every conceivable venue in downtown Austin, from the city’s bars, clubs and concert halls to churches, parks and empty lots.

One such makeshift venue – an auto repair shop – this year served as the main stage at the BandPage HQ, where FOH engineer/system tech and production manager Patrick Mundy used an Antelope Audio Isochrone OCX master clock to ensure PA system clarity in the acoustically unfriendly environment. “This was my second year of working showcases at the festival and my second year bringing my Antelope clock,” says Mundy.

BandPage is a popular application developed by RootMusic of San Francisco that launched in 2010. It runs in Facebook and allows artists to create customized fan pages.

The OCX does a fantastic job of stabilizing a digital mixing console when running high channel counts, he continues. “When you build up that much information on a digital desk without having the stabilization of the clocking you can get unfavorable results. Clocking your digital console with an Antelope clock is like turbocharging your desk. The difference between clocked and non-clocked audio is extremely noticeable. I don’t like to work without it.”

Mundy was part of the crew from DBS Sound in Los Angeles who teamed up with Austin’s Miller Pro Audio to handle audio at the BandCamp HQ’s three venues, comprising Empire Automotive, Club 606 and an adjoining outdoor patio. “I mixed FOH for such artists as Porter Robinson, Thomas Wynn and the Believers, Daedelus, TNGHT (Hudson Mohawke & Lunice), Das Racist, Nico Vega, Imagine Dragons, Robert DeLong, Saint Motel, Toy, Escort, Henry Clay People and many more,” he reports. “We also had appearances from such artists as J. Cole and Chairlift, who carried their own FOH engineers.”

Jeffrey Ehrenberg at Vintage King Audio initially introduced Mundy to Antelope Audio’s master clocks in 2008. Mundy purchased an Isochrone 10M Rubidium atomic master clock and an OCX for his Pro Tools|HD3 recording rig, and in 2009 permanently racked the OCX into a two-space unit and began to use it on all of his live shows.

“The OCX is a staple on my gigs from small corporate events to large arena festivals and everything in between,” says Mundy. “I find the clock and its jitter reduction allows me to get to the core of the sound and bring a better mix to listeners. It makes my life easier and I’m able to have more fun just being a front of house engineer and bringing out the natural qualities of the music versus trying to fix artifacts.”

Antelope Audio Zodiac D-to-A converters also made an appearance in Austin this year in the 45-foot UniqueSquared Mobile Studio bus. The mobile recording studio, outfitted with Sennheiser products, featured a number of listening stations where Zodiac DACs were paired with Sennheiser’s flagship HD 800 plus HD 700 headphones.

TRUE Systems’ Precision 8 Helps Percussionist and International Grammy Winner Julio Figueroa Capture His Sound “Exactly as He Hears It”

OLD LYME, Conn. – March 27, 2012 –Born in Sao Paulo, Brazil, Julio Figueroa is a percussionist and multiple Grammy award winner whose unique style of drumming has been featured on performances by artists such as Michael Jackson, B.B. King, Patti LaBelle and others. Like many other musicians today, Figueroa has created a semi-professional recording environment in his own home and simply uploads his tracks to an FTP server, where they are accessed by various production teams all over the world. He considers the Sennheiser-distributed TRUE Systems Precision 8 preamplifier a fundamental component of his setup.

“For drums and percussion, the Precision 8 captures my sound exactly as I hear it and this is what I value the most,” he states. Figueroa started with one Precision 8 and then acquired a second one so he could accommodate a greater range of percussion and other instruments, as well as take them on the road. “Now if I want to do a live recording I have everything I need,” he observes.

M-S Decoder and Mic Placement
In addition to the transparent sound characteristics of the Precision 8, Figueroa also appreciates the unit’s powerful integrated M-S decoder, which provides greater versatility and enables him to control the stereo spread of his drum overheads via the front panel of the unit with minimal mic repositioning. “For jazz, that M-S capability is incredible if you want to get a great room sound. You set up a couple of mics (cardioid and figure-8 pattern) and it is just unbelievable,” he says. Figueroa frequently uses both the M-S technique and the “Recorderman” technique simultaneously, along with four additional mics on individual drums. This provides him with tremendous flexibility when it’s time to mix down.

Figueroa, who has over 60 snare drums to choose from and four full kits (Jazz, Classics, Collectors and Performance series) from drum manufacturer DW, wants to stay focused on the sounds he is getting out of his instrument rather than fiddling with knobs and settings. “The TRUE Systems Precision 8 is great for someone like me who is not overly technical,” he says. “The units are simple to use right out of the box and there is nothing complicated about it. This means I can get to work faster.”

By using his Precision 8 preamplifiers, Figueroa is confident that when his producers access his percussion tracks on an FTP site, they will like what they hear. “My engineer and producer colleagues get a pristine-sounding file and they can tweak it any way they want for the mix,” he explains. “This is very important when you are doing tracks from a remote location because there is no producer here to tell you how they’d like it to sound. Since the sonic signature is more transparent, this gives them more flexibility in the final stages of the production.”

Tried and TRUE quality
The TRUE Systems Precision 8 uses a high-voltage composite architecture with discrete devices plus integrated circuits, and offers very low noise and distortion as well as high headroom. The totally balanced dual-servo design eliminates nearly all capacitors in the audio path and is DC-coupled at the output. This results in a very detailed and transparent sound characteristic.

Features of the Precision 8 include:

• Eight highly transparent solid state microphone preamps in a 1 unit rack configuration
• Built-in M-S (Mid-Side) decoding for creative spatial image control
• Active, high-impedance instrument inputs (“DI’s”) selectable on two channels
• 5-segment level indicators with peak-hold feature and selectable peak reference
• Smooth continuous gain controls
• Easy integration with MDM’s, HDR’s, DAW’s, or consoles
• Dual DB25/TRS outputs for flexible interconnection

Sennheiser launches “no worries” RF wireless systems

Anaheim, Calif. – January 19, 2012 – Audio specialist Sennheiser is launching its brand new XS Wireless Series at the 2012 NAMM Show. Designed for users who want to easily go wireless, this entry-level series offers complete sets with sturdy units, simple operation and high quality sound. The transmitters have a battery life of up to 10 hours, while a switching bandwidth of up to 24 MHz allows for flexibility in the choice of frequencies. The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.

“With the XS Wireless Series, Sennheiser offers reliability and quality sound at an entry-level price,” explained Martin Fischer, Product Manager for Sennheiser’s wireless systems. “It offers good value for money and will benefit small event and conference venues, houses of worship as well as bands, vocalists and musicians.”

Wireless without fuss
The designers have focused on ease of use: the systems are operated via intuitive menus, they automatically search for free frequencies, and transmitters are synchronized with their receivers via a wireless link. “We wanted to make sure that users can fully concentrate on their performance, their speech, etc. without having to worry too much about the set-up and technology,” Fischer said.

Extras for bands…
XS Wireless includes two systems for vocalists and one instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. “The XSW 35 system takes the assertive sound of the cardioid e 835 to new user groups,” Fischer added.

… and speakers
For installed sound applications and presentations, users can choose between systems with a handheld transmitter or a bodypack transmitter with either a head-worn mic or an unobtrusive clip-on microphone. Mute buttons on the handheld and the bodypack ensure that speakers are in control of the transmission.

Ruggedness and flexibility
To withstand the rigors of daily use, the true-diversity receiver is housed in a sturdy metal case. In the transmitters, one set of batteries will last for up to 10 hours—not only good for energetic stage shows, but also for long events and conferences. The systems feature freely tunable frequencies within a switching bandwidth of 24 MHz (13 MHz for the E frequency range). This allows up to 12 wireless links to be operated simultaneously, ensuring trouble-free operation even at somewhat larger events.

Visit Sennheiser at NAMM, Hall A, Booth # 6579.

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The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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