The Avlex Corporation has released two Mipro 7 Series wireless transmitters – the ACT-71Ta bodypack transmitter and the ACT-71Ha handheld transmitter – targetting applications, including field production, presentations, theatre and live performance.

The ACT-71Ta Miniature Wideband UHF Bodypack Transmitter features a small form factor for concealing the unit in wardrobe for theatrical, TV or film production. With a durable, lightweight, miniature magnesium alloy body, the transmitter is designed to withstand the abuse such equipment typically encounters. A backlit LCD display shows channel and battery status, while a selectable impedance and a sensitivity gain adjustment Add flexibility.

The ACT-71Ta provides a silent on/off switch with separate mute button and provision for the optional MJ-70 remote mute switch control – enabling the wearer to mute/unmute the transmitter even when it is underneath clothing. It also offers an end-user lockout function, programmable RF power and audio gain levels, mini-XLR connectivity with a threaded bayonet attachment, a detachable belt clip and support for Mipro’s ACT function.

The ACT-71Ha Wideband UHF Handheld Microphone Transmitter features a lightweight magnesium alloy housing that is rugged and comfortable to hold. The unit’s true condenser cardioid capsule provides high SPL, wide dynamic range,and fast transient response for spoken word and other vocal applications. Other features include high off axis rejection andhigh gain before feedback, while a multi-layered steel grille protects against impact and minimises plosives.

Like the ACT-71Ta, the ACT-71Ha features a silent on/off switch with a separate mute button for control over the unit during operation. Additional attributes include a backlit LCD for channel and battery status, an end-user lockout, programmable gain and RF output power, plus Mipro’s ACT function for rapid and precise transmitter frequency set-up.

‘The ACT-71Ta bodypack and ACT-71Ha handheld transmitter offer audio professionals exceptional performance and a wealth of features that enable these systems to be used in a wide range of applications,’ says Fred Canning, National Sales Manager. ‘They are the perfect complement to the Mipro ACT 7 Series wideband true diversity receiver systems. With their support for the full 72MHz frequency bandwidth of the 7 Series receivers, not only do these transmitters deliver maximum frequency flexibility and full feature sets with world-class audio quality, they provide the range and dropout-free performance that inspires confidence.’

The Mipro 7 Series wireless transmitters are shipping now, at ACT-71Ta bodypack transmitter US$549 and ACT-71Ha handheld transmitter: US$579.

Roland Systems Group has released an iPad app for its M-300 digital mixing console, providing parameter control, as well as additional practical features such as the ability to store scenes and edit the Channel Strip (EQ), GEQ and Sends on Fader.

Connecting the Roland Wireless Connect USB adaptor to the M-300 USB port links the M-300 to a wireless network, allowing the iPad can connect to and control the desk from different locations within a venue. As well as ease of use and mobility, this dual screen set-up can also be used by a radio mic tech to check and monitor each microphone as they are handed out during a live performance.

‘The success of the iPad as a tool in live audio applications is clear,’ says Simon Kenning, Sales Manager for RSG UK. ‘This dedicated M-300 app builds on the success of the M-480 app released last year, and is an important addition to our range of remote control applications.’

Alongside the iPad app, Roland has also announced v1.5 Firmware for the M-300. This free update brings features such as a 31-band mono GEQ, new effects for the effects library, audio crossfade for scene changes and a detailed Recall Filter function. A Channel Display screen has been added for DCA groups, as well as the ability to disable more user settings and a default guest start-up mode feature.

Enhancements to the monitoring function include a dimmer function and a lock-out feature that disables the Level knobs to prevent any accidental monitor volume changes. The v1.5 upgrade also provides additional RS232C commands, improving the control parameters and ensuring that system installers, integrators and users have access to more remote control functionality from touch panels, video devices, and software.

Concurrent with this update is the announcement that all V-Mixers now include the ability to do multichannel recording by simply connecting a Cat5e/6 cable from any REAC port to a network port on a PC to enable 40 channels of WAV capture.

More: www.rolandsystemsgroup.com

DPA Microphones has announced the d:dicate Recording Microphone range, which includes the 4018 supercardioid capsule (the counterpart to the 4018V capsule in the d:facto Vocal Microphone) and the established 4007 omnidirectional capsule, which can handle extremely high sound pressure levels. Both capsules can be used in a modular format and are entirely compatible with other d:dicate capsules and preamplifiers. Completing the d:dicate line-up are microphones from the DPA Reference Standard series, which has been absorbed into the d:dicate range with all former Reference Standard products now carrying d:dicate branding.

Along with new capsules and accessories, the d:dicate range includes the modular 4000 and 2000 series, which are manufactured to perform within very narrow tolerances and offer ’exceptional’ linear frequency response, high SPL and superior gain before feedback. Within the 4000 series there is a wide variety of capsules including the two new capsules, 4017 shotgun, 4015 wide cardioid, 4011 cardioid and 4006 omnidirectional. The 2000 series consists of two twin diaphragm capsules – the 2011 cardioid and the 2006 omni versions that draw on DPA’s miniature capsules. All capsules can be combined with an ’A’ preamp, ’B’ preamp with low-cut and high-boost filters, or ’C’ preamp, which is a compact version for discreet miking.

‘Our d:dicate range gives customers the ultimate in flexibility as any microphone in the range can easily be transformed into a new variant simply by choosing a different capsule or preamplifier,’ says DPA Microphones CEO, Christian Poulsen. ‘Customers will also find that owning several capsules is more cost effective than purchasing a completely new microphone. By gathering these microphones into a specific group, d:dicate now joins our other established product groups: d:fine™ Headset Microphones, d:vote 4099 Instrument Microphones and d:facto Vocal Microphones.’

New accessories have also been developed for the d:dicate range, including modular active cables and modular active booms that are compatible with all the d:dicate capsules. These can be used in applications such as podium microphone, suspended for or on stage stands. The active booms come in several lengths and configurations with flexible gooseneck and XLR termination, while the active cable only adds only 10mm to the C preamp and capsule combination.

‘It was difficult to split the preamplifier construction and make an ultra-compact head without sacrificing the sound quality,’ Poulsen explains. ‘However, we succeeded and now customers can have DPA’s renowned sound quality across many applications where we have not been widely used before, for example installation, concert halls, on stage and so on.’

The new capsules and new accessories in DPA’s d:dicate Recording Microphones range will be available from August 2013. Former Reference Standard capsules and preamplifiers now included in the d:dicate range are available now.

More: www.dpamicrophones.com

Ashly Audio’s new nX family of class-D amplifiers is aimed at fixed installation and live sound applications.

The new line includes three series of nX amps – base models are available with four or two channels, rated at 3kW or 1.5kW per channel (2Ω) and feature a defeatable automatic sleep mode. nXe series amps add Ethernet control, serial data control, aux preamp outputs, programmable standby mode, preset recall, fault condition logic outputs, event scheduling, and optional network audio and digital audio capability (CobraNet or AES3). nXp series amplifiers feature extend the nXe feature set with onboard 32-bit SHARC Protea DSP processing (48kHz or 96kHz sampling rate) and precision swept load-impedance monitoring.

Additional features include multiple independent power supplies for increased channel separation and reliability; front panel power switch and level controls (defeatable in nXe and nXp models); front panel LEDs for temperature, current, signal, clip, mute, bridge mode, protect, sleep, and more; Neutrik Combo XLR/TRS jack plus Euroblock input connectors; Neutrik speakn twist locking loudspeaker connectors for security, safety, and reliability; rear panel DIP switches per channel for selection of high-pass filter, limiter, input gain, and high-Z or how-Z speaker output configuration; remote DC level control on each input channel; switch mode power supply automatically detects 120V or 240V AC operation; and extensive protection circuitry, including continuously variable cooling fans.

‘nX amplifiers are lightweight and efficient, yet pack a tremendous amount of power and flexibility into a 2U-high chassis,’ says Ashly Director of Communications, Anthony Errigo. ‘We have designed them to meet the demanding requirements of stadiums, arenas, performance venues, worship spaces, and convention centers – anywhere big sound and modern performance requirements are needed. nX amplifiers are especially appealing for value-engineered installs because they offer features, performance, and reliability that Ashly is known to deliver.’

More: www.ashly.com

Amadeus has relaunched its UDX Series passive speakers, 30 years after its introduction. The line now included four models for sound reinforcement applications in concert halls, auditoria, conference rooms and theatres. While designed for fixed or long-terminstallation, UDX systems can also be used in touring applications as a stage monitor when fitted with optional accessories.

‘The idea behind the UDX Series is to keep the focus that has given Amadeus its reference-quality status throughout the years, allowing transparency between the installation space and the speaker,’ says Amadeus Marketing Manager, Gaetan Byk. ‘We wanted to concentrate on the essentials and go back to our roots, in terms of both sound transparency and finishes. Allowing designers to combine several standard colours of cabinet and acoustical fabric coverings on the front grille, they can put the most efficient and elegant product into a space, matching its cultural, visual and architectural context. This new product direction brings the Amadeus quality to a new customer base.’

Sold from 1980 to 1992, the first UDX speakers used the best technologies and innovations of the Atelier 33 Company and its electro-acoustical department, 33 Audio. The heart of the UDX Series system is a coaxial neodymium transducer, designed to give uniform angular coverage and high acoustical load, and to reduce all forms of distortion and colouration at all input levels.

The UDX 8 and UDX 10 systems use a coaxial 8-inch, or 10-inch woofer respectively and 1-inch tweeter with compression driver. The UDX 12 and UDX 15 systems use a 12-inch or 15-inch woofer and 2-inch compression driver. Each of the UDX Series speakers integrates with the Amadeus ML 15 and ML 18 subwoofer systems.

With a standard black (water-soluble) paint finish, the UDX systems are also available in several different standard colours. They can also be ordered in a custom finish based on registered or non-registered colours and/or materials. The acoustical fabric covering the front grille can also be customised.

Each speaker system is equipped with two threaded inserts (M8), allowing stand mounting using optional screw-on adapters from Konig & Meyer. Alternatively, they can be pole mounted on a subwoofer such as the Amadeus ML 15 or ML 18 subwoofer systems, which are equipped with a threaded insert (M20) on its top side.

The sides and the upper, lower and rear panels of the UDX Series systems are all equipped with M8-threaded inserts, compatible with Amadeus U-Brackets and Konig & Meyer wall mounts, allowing the speakers to be fixed to a wall or ceiling.

Designed to compensate for the influence of  free field conditions when the systems are used in a standalone mode, or to compensate for the effects of floor loading, Amadeus offers standard presets that are compatible with all well-known digital crossovers, including XTA, Xilica, Lake and BSS processors.

The newly redesigned UDX Series are now available from licensed Amadeus distributors and dealers throughout Europe and Asia, priced from €1,090 to €1,990 (VAT excluded).

More: www.amadeusaudio.fr

US sound reinforcement company Rat Sound used the Gobi tent at the 2013 Coachella Valley Music and Arts Festival to put EAW’s new Anya loudspeaker system through its paces – the first use of the system for a public event.

‘Dave and Jon worked with the final prototypes and asked if they could use the first 16-module build at Coachella,’ says EAW President, Jeff Rocha. ‘We were thrilled to showcase our new product at one of our industry’s most demanding events.’

Aviom has released the AN-16/i v.2 Input Module to support its A360 Personal Mixer.

Based on an enhanced version of Aviom’s Pro16 A-Net protocol, Pro16e, the technology behind the A360 Personal Mixer allows multiple 16-channel banks of monitoring content to be delivered over a single Cat5 cable. The AN-16/i v.2 includes an A-Net Input jack for connecting up to three additional input modules. Its analogue inputs are merged with this incoming A-Net stream to create the expanded Pro16e digital audio stream used by the A360.

The new mixer is claimed to ‘bring new levels of control and customisation to the personal monitoring experience’ offers the ability to choose which channels are mixed on each unit in the system. Each A360 may use the default channels, or audio channels can be selected and organised individually for each personal mixer, drawing from a network pool of up to 64 channels.

‘One of the most frequent requests from users is more channels in the personal mixing system,’ says Aviom Director of Marketing, Chandler Collison. ‘The new version of the input module gets more channels into the system for the A360 and is a simple and cost-effective way for existing Aviom users to expand and upgrade their systems.’

The AN-16/i v.2 features eight four-position input level/gain sensitivity switches, stereo channel link switches for every channel pair, and per-channel signal present and clip LEDs on the front panel. On the rear panel, the unit has 16 analog audio inputs with balanced quarter-inch TRS jacks. The audio Thru jack for each input allows the AN-16/i v.2 to be inserted seamlessly into an existing audio signal path. Also on the rear panel are one A-Net In jack and one A-Net Out jack, along with a slide switch for assigning the channel bank. The AN-16/i v.2 can be used with any line-level analog audio signal such as console direct outs, inserts, or aux sends.

The module works with Aviom’s A360 as well as the current A-16II Personal Mixers, and the two can be combined in the same system. In addition, the AN-16/i v.2 can be used as part of a Pro16 digital snake or audio distribution system. These systems support a range of flexible configurations, including 16x0, 32x0,48x0, 64x0, 16x16, 32x16, 32x32, and 48x16, with an unlimited number of digital splits and no loss in audio quality.

See also:
A360 Personal Mixer

More: www.aviom.com

Premiered at the recent Pro Light & Sound show, Martin Audio’s MLA Mini line array brings the company’s MLA technology to smaller-scale portable and installed sound applications.

‘When we first pioneered the MLA technology back in 2009, we hoped that one day we would be able to make it available to mass market on a reduced footprint and without compromise,’ says Director of Sales, Simon Bull. ‘Due to some inspired invention from our engineering team it’s a case of mission accomplished.’

The key to MLA Mini is the MSX mini-sub power plant, which complements the main system and houses the amplification, networking and DSP necessary to power and control itself and four MLA Mini enclosures.

Each MLA Mini enclosure houses two 6.5-inch (165mm)/2-inch (50mm) voice coil LF drivers and a vertical column of three 1.4-inch (35mm) aluminium dome HF drivers on a 100° horizontal dispersion horn. The 15-inch (380mm) reflex loaded MSX can be integrated into flown arrays or ground-stacked separately.

The system can be flown, groundstacked or pole mounted. In its simplest configuration, four MLA Minis can be pole-mounted above the MSX with precisely adjustable tilt angle, and function as a plug-and-play system, with the user recalling onboard presets instead of using computer control. At the other end of the scale, up to 16 MLA Minis can be flown in an array and powered by four ground-stacked MSXs. MSX contains nine channels of class-D amplification to provide cellular drive while the onboard DSP interacts with proprietary Display2.1 intelligent software for accurate array optimisation.

With each individual cell under software control, ‘hard-avoid’ areas can also be programmed in to reduce sound spill, and vertical coverage can be fine-tuned electronically in-situ without the need to re-rig the array. Arrays and MSXs can be remotely controlled from a laptop or wireless tablet running VU-Net control software thus eliminating trial and error tuning.

Applications include small-to-medium scale theatre and live music venues; corporate A/V events; fixed installations in concert halls, ballrooms and houses of worship; side fill for MLA Compact systems. In use, a 12-box MLA Mini array will throw 35m (115ft), and deliver live music in venues of 750 to 1,000 people.

‘In addition to the physical advantages, MLA’s revolutionary technology now becomes accessible to most budgets for the first time,’ says company MD, Anthony Taylor. ‘In theory, every installed venue or touring show can now achieve the controlled delivery and speed of set up that cellular technology allows, no matter how big or small the space is.’

The MLA Mini system is expected to ship at the end of May 2013.

More: www.martin-audio.com

DPA Microphones has released two microphones for A/V installation and conference applications.

At the top end of the range, DPA has incorporate modular capsules from its d:dicate Recording Microphones (formerly Reference Standard) into a line of podium microphones. These use newly introduced modular active booms and offer different capsules for differing requirements. Alongside, DPA has developed a cost-effective, directional podium microphone based on its 4060/d:vote 4099 miniature microphones.

This directional gooseneck microphone was originally devised for the 2012 Nobel Peace Prize presentation – the Nobel Prize organisation had requested a mic for the presentation in Oslo City Hall’s challenging acoustics. DPA adapted its miniature capsule to give an off-axis frequency response that cancelled room reverberation while preserving on-axis sensitivity for voice level. It also positioned the capsule on a delicate gooseneck stand, which encompasses all that is best in sleek Scandinavian design.

’Given the flexibility of our d:dicate range, creating a microphone for the installation and conference markets was an obvious step,’ says DPA Microphones CEO, Christian Poulsen. ’We already had the high-end capsule and preamplifier technology needed to fulfil the brief, so all we had to do was employ some ingenious mechanical solutions. By doing this, we have been able to adapt our boom and cable technology so that we can deliver high-end installation solutions for a wide variety of applications.’

Both ranges will be available from August 2013.

More: www.dpamicophones.com

Allen & Heath has released an interim firmware update for its iLive range of digital mixing systems – v1.91 offers a series of presets created by sound engineer and iLive user, Ben Booker.

Booker has toured as a monitor and FOH engineer with many artists, including the Scissor Sisters, Spiritualized and PJ Harvey; and has also produced, mixed and mastered recording projects; and mixed on-stage sound and broadcast mixes on TV and Radio shows, including the MTV Awards and BBC Live Lounge.

He has extensive operating experience of iLive and has written presets for dynamic EQ and multiband compressors based on years of touring with the system. iLive now have access to his Off Mic Boost to deal with bad mic techniques, IEM Help to gently compress in-ear mixes, and Bass Fix to smooth out bass guitars.

‘The Dyn EQ and Multi BD compressor are both creative and controlling in use,’ he says. ‘They are the swiss knife off the audio world as virtually any sound can be fixed or enhanced with them. They are very powerful and worth taking the time to learn in depth.’

More: www.allen-heath.com