Latest in the the Radial Engineering StageBug line of miniature DI boxes is the SB-5 Sidewinder Laptop direct box, for FOH engineers, A/V system techs and ‘laptop-generation’ musicians.

‘With so many productions now using computers, we felt that the time had come to bring out an additional solution to our range,’ says Radial President, Peter Janis.

Connection from the source device uses a headphone output, which feeds transformers for stereo operation. The transformers perform the balancing while assisting in reducing noise by isolating the input from the output to eliminate hum and buzz caused by ground loops.

A ground lift switch at the output offers noise suppression, while a-15dB input pad accommodates devices with an extra high output. Two quarter-inch TRS output connections provide a choice of balanced or unbalanced stereo connections to a PA or recording system. An additional XLR output sums the LR signals to mono, reducing channel count requirements where full stereo is not required.

Connection from the source device uses a headphone output, which feeds transformers for stereo operation. The transformers perform the balancing while assisting in reducing noise by isolating the input from the output to eliminate hum and buzz caused by ground loops.

A ground lift switch at the output offers noise suppression, while a-15dB input pad accommodates devices with an extra high output. Two quarter-inch TRS output connections provide a choice of balanced or unbalanced stereo connections to a PA or recording system. An additional XLR output sums the LR signals to mono, reducing channel count requirements where full stereo is not required.

The unit features an integral 1.5m (5-ft) cable terminated in a 3.5mm connection for laptops, tablets and personal music players. Secured with a compression fitting, this can be neatly wrapped and safely stored using the sidewinder cable cleat.

‘There’s nothing more painful than trying to find a 3.5mm interface cable when you are in the heat of the action,’ Janis says. ‘I also think that the super compact design will be of particular benefit to the audiovideo tech. These guys travel with their own service kits and having a ready solution in the work case will certainly be welcomed.’

Housed in heavy steel and finished in baked enamel, the SB-5 is intended to be solid and roadworthy. The full bottom no-slip pad provides mechanical isolation and electrical insulation from electrically charged devices.

More: www.radialeng.com

Announced at the ProLight & Sound show, the launch of the Live console brings SSL into the sound for the stage market for the first time.

‘Many people have been asking us to make a console for live for so long and the time has come,’ says SSL MD, Antony David. ‘It has been a couple of years in the making because we like to get things right at SSL, and we are very confident that we have created a console engineers will fall in love with. It is very exciting to be entering a completely new area of the industry, with a new technology platform and a fresh approach to how a live console should sound and how to give engineers a control surface that helps them deliver exceptional performances. We are really looking forward to how the professional live sound community reacts.’

Based on SSL’s new Tempest processing platform, Live supports 976 inputs and outputs, and 192 full processing audio paths at 96kHz. Audio paths configuration is extremely flexible, being allocated to Channels, Auxes, Stem Groups and Masters as determined by the needs of a particular event. All processing is built into the console surface, as is I/O connectivity. A full range of Stagebox I/O connects to the console via Madi with the potential for larger systems to make use of SSL’s Blacklight technology, which carries up to 256 channels of bi-directional audio and control via a single fibre-optic connection.

Console control uses multiple tablet style multi-gesture touchscreens intended to allow engineers to work as they wish – with touchscreen or classic hardware technology, or to combine them both. Live uses SSL’s ‘studio grade’ SuperAnalogue mic preamps, with 96kHz/24-bit AD/DA conversion, and 64bit internal processing. There are also 30 effects and audio analysis tools onboard.

The console is designed to meet the demands of all aspects of live sound production in touring and installation, and at FOH and monitors. It is aimed at applications ranging from arenas and concert halls to houses of worship.

Live is due to ship in September 2013, with pdices depending upon configuration(ranging between: £48,000 and £75,000/€57,500 and €90,000/US$84,000 and US$130,000)

More: www.solidstatelogic.com

Powersoft has announced a new distribution partnership with Vietnam Pro AVL Co.

Vietnam Pro AVL is the youngest company in the Pro AVL Group, based in Hanoi. Powersoft joins DTS Lighting, Loud Professional, Amadeus Audio and Midas/Klark Teknik in its growing product portfolio.

‘We have been pursuing the distribution right of Powersoft for a long time,’ says Pro AVL Group Chairman, Le Manh Thang. ‘We got to know Powersoft through many big events around the world, including the greatest tour in history made by Clair Global – U2-360 – where Powersoft was selected to handle the show’s loudspeaker system. The goal of Powersoft in Vietnam is not only to provide superior amplifiers for the loudspeaker systems distributed by Pro AVL Group but also to creates a reliable product for every brands of speaker in Vietnam.’

‘Vietnam Pro AVL Co is a young company but, between Mr Thang and Mr Noi, they have a lot of experience in the pro audio,’ says Powersoft Asia Region Sales Manager, Arthur Soh. ‘We are sure that with their enthusiasm and drive, Powersoft can be successful in the Vietnam market.’.

Celestion has announced new full-range drivers designed primarily for use in compact line arrays.

The three high performance, small-format professional audio drive units comprise all-new range of compact and lightweight loudspeakers that are particularly suited to discreet, low-profile sound reinforcement applications. Each model uses an efficient neodymium magnet assembly, and features a stiff and light aluminium cone that remains rigid to higher frequencies in order to deliver a smoother response. All drivers have been built using a lightweight glass-reinforced ABS chassis, designed for maximum free-air movement, with a square mounting frame to facilitate close coupling of multiple units.

The line comprises:

AN3510 is a 3.5-inch/88mm driver delivering 35W power handling and 86dB sensitivity, with a bandwidth of 125Hz to 20kHz.
AN2775 is a 2.75-inch/70mm driver delivering 20W power handling and 82.5dB sensitivity, with a bandwidth of 190Hz to 20kHz.
AN2075 is a 2-inch/50mm driver delivering 20W power handling and 81dB sensitivity with a bandwidth of 200Hz to 20kHz.

In addition, each of driver has been optimised using Finite Element Analysis (FEA) techniques to give a wider dispersion characteristic than conventional loudspeakers of this size.

Using Celestion’s Compact Array Drivers, sound reinforcement systems designers are now able to build into their products some of the principal advantages offered by line array designs: a more even distribution of the acoustic signal and the ability to project sound over greater distances.

More: www.celestion.com

Alcons Audio has introduced the QR24, a modular two-way column loudspeaker to be used as vertical array system for permanent and (limited) portable applications.

Due to its modularity, throw and low-frequency directivity (close-field) can be increased by extending the array length, while multiple individual mid-high frequency lobes can be made, by using QM low/mid fill columns.

The QR24 measures 66cm/26-inch tall in length, and is fitted with four 6.5-inch woofers and two purpose-built 12-inch pro-ribbon drivers. The RBN03 pro-ribbon platform was developed for this system, accommodating a co-axial driver arrangement with the LMF transducers, which are, at the same time, actively cooling the RBN drivers for further power compression reduction. Each purpose-designed 12-inch RBN driver has a peak power handling of 2kW (200ms), creating a virtually infinite system headroom of 4kW from 1kHz up.

By using only two RBN drivers, the system’s active frontal radiation is close to 90 per cent; The resulting sharply-controlled vertical dispersion offers SPL-independent, intelligibility over distance, without the necessity of DSP-based beam-shaping.

The symmetrical acoustic design, in combination with patented horizontal dispersion of the RBN HF drivers, offers a coherent horizontal pattern control with seamless coverage – this widens the stereo sweet spot for off-axis audience. The projection pattern in the horizontal/non-coupling plane is 80° (-6dB) and in the vertical/coupling plane, it is 6° (single column).

The system frequency response is flat (-3dB ) from 74Hz to 20kHz, to easily match a accompanying subwoofer system, catering for a relatively simple bi-amplified, three-way system. The flat frequency response and the fast transient response of the RBN mid-high frequency transducers, in combination with the sharply controlled dispersion, brings a maximum gain-before-feedback up to directly in front on/under the system. Passive filtering allows up to three QR24 modules to be combined on one amplifier channel, with an array length of 2m/7ft.

The QR24 is powered and controlled by the Sentinel amplified loudspeaker controller. Through the integrated processing and feedback, the Sentinel offers QR24-specific drive processing with optimal response and reliability, and user-friendliness.

The Signal Integrity Sensing pre-wiring ensures complete cable/connector compensation between the QR24 and ALC. This offers a 1:1, undistorted natural sound reproduction, regardless of cable length and amplifier impedance load (system damping factor >10.000 down to 2Ω).

Aimed at applications ranging from live performance to public speech, Cerwin-Vega!’s P-Series professional PA line comprises two active loudspeakers – the P1500X and the P1800SX.

The heart of the P-Series is the P1500X, a two-way, bi-amped, full-range bass-reflex cabinet loaded with a 15-inch woofer and high-frequency compression driver, and powered by a 1.5kW custom class-D amplifier. A proprietary hemi-conical horn provides even distribution over a wide coverage area. A built-in mixer with I/O connections allows simple and quick set-up, while EQ, Vega Bass boost and high-pass filters enables system tuning.

The P1500X can be used as a single speaker for a small venue, set in pairs for a larger venue needing more coverage and SPL, or side mounted as a floor monitor.

The P1500X’s lightweight, robust polymer enclosure includes a two position pole cup with an adjustable mounting point, as well as ergonomic handles M10 rigging points and remote volume port allow for suspended installation.

The P1800SX is a powered subwoofer employing an 18-inch woofer with a custom 2kW class-D amplifier all enclosed in a hardwood cabinet. Like the P1500X, the P1800SX has frequency-shaping controls, a Vega Bass boost and high-pass filter switch (as a built-in crossover). designed for use with the P1500X, the P1800SX can be used for low-end extension with competitive products. Additionally, the Thru and MIix output options allow system expandability and daisy-chain connection between components.

The P-Series suggested list price for the P1500X is US$1199, and the P1800SX is US$1499.

More: www.cerwin-vega.com

Deep Blue had been going for about five years at the time I arrived.

It was set up by two friends who felt that there was a lack of professional music technology education in Plymouth. There were courses available, but the music technology side was poorly serviced – there was an absence of kit and there was an absence of people able to deliver an education. So they set up a studio with some small mixers and teaching areas to cover what is called the BTEC National now.

This follows the criteria set up by [UK education body] Edexcel. They probably have 1,000 modules covering the whole gamut of education at different levels. Out of those – some of which will be for building and hairdressing – there are probably 20 that are music technology based. These were put together by Edexcel in consultation with Plasa and one of the theatre steering groups. The problem was that they were a little bit old fashioned by this time, and they had very little to do with live sound.

When Simon [Honywill] started work on the course, he knew what he wanted to do but we had to find Edexcel modules that allowed us to deliver. By reinterpreting certain things, we shoe-horned the live sound aspect into the established framework. We ran like that for a couple of years.

Deep Blue Sound was set up as a further education (aged 16-18) school but we were now talking about the next level of higher education (18-plus) – university level for HNC or HND. While this was going on, higher education courses were being developed for music technology and studio engineering.

We could have developed this by working further with Edexcel, but that was proving a little bit restrictive so we chose to create our own foundation degree in conjunction with the University of Plymouth. So the awarding body is now the University of Plymouth rather than Edexcel – they oversee it and maintain its quality. That involved creating the new course [with Honywill now touring] and going through the approval process with the University.

While that was going on, the studio and music technology courses were also converted. So now we have three, two-year foundation degree courses. The foundation degree emphasises very strongly real-world applications. These can offer a basis for further academic study but if students want to get a job, they should be reasonably employable. For instance, if something isn’t working at the live theatre we don’t call one of the school technicians, we get a student to sort it out. We do have technicians but they operate at a higher level. Day-to-day stuff is handled by the students, just as they would have to manage in the real world.

The current status is that there is an extensive further education – two-year BTEC operation – that feeds into three higher education courses covering music technology, studio recording and live sound. The further education tends to be local students but the higher education is advertised nationally and tends to draw students from further afield.

Reasons to teach

Why do you educate people? You don’t only educate to get them a job…

There are a number of reasons. You educate people to make them better members of society. I would say that an educated member of society – no matter what that education – is a better member of society.

In higher education, you are teaching decision-making skills, team-leading skills, transferrable skills that are valuable in a variety of situations. Someone trained as an officer in the army would probably make a very good stage manager or project manager for a building company.

Then there are industry-specific skills that break down into two areas. One is the understanding of basic concepts – the physics of sound, psychology of sound, electronics and so on. And there are specifics – learning how a particular desk or particular piece of software is operated. We do teach these, but I don’t regard it as the most important thing. There is no point in teaching someone all about a Yamaha desk only to have them stumped the first time they meet a DiGiCo desk. What we try to do is build concepts so that, wherever they end up in the world and whatever is thrown at them, they are able to cope.

You’re making people fit for life, and fit for employment. Some may not be certain what they actually want to do. Hopefully, by the end of two years, you have helped them gain a better idea of what they want to do with their life. And the people who do want to be part of the industry have a better idea of the reality of the situation they are going to faced with. And they’re then in a position to go out and find the job that suits them best.

My organisation needs to be able to navigate the needs of the industry. That is why we shy away from turning out people who are trained for one particular job – we need to make people employable. I think a raft of general skills, and the ability to handle people and situations, is more important than being very skilled on Pro Tools version whatever.

Learning to learn

The dBs Music model relies very heavily on the Moodle IT system. We don’t use any written submissions – students log into our network and can complete assignments, check their timetable and monitor their progress.

We’re not the only people to be doing this, but we have taken it to a very high level. I think it was developed in Canada, but it is an open-source system that suits our needs well.

Because of the nature of what we teach we deal with a lot of musicians, and that statistically means that we have a lot of left-handed people, people with dyslexia and people with learning difficulties. These things go along with talent in a musical direction, so a system using a computer interface rather than pen and paper helps people to deal with the academic aspects of the courses.

Industry needs

All I can do is talk to people and make sure that what we do is the best possible fit for what they need. That dialogue is the most important thing. My job as an administrator means that I have to try to keep us reactive to requirements and technologies, and that the syllabi are kept as relevant as possible.

One of the things I am working on at the moment is work placements. We are sending out feelers to a number of companies and we’ve had very positive responses from many of them. Basically, they know they need people but they don’t need people all of the time. And if they can cherry-pick from the people they see during a year, that’s got to be good for them.

Another thing we need to be doing is looking at other bodies that are operating within the educational area, and keeping links with them.

We also keep an eye on what is going on elsewhere in the world. In the UK there is nobody doing quite what we are doing. I’m not saying this is a good or bad thing, but it is a fact. We are probably less scientific than other courses, although some other courses do involve an element of live sound – they offer a foundation in science, where we offer a foundation in arts.

I’ve been in the industry 30 years and I’m still learning – new desks, new software, new microphones that require different techniques – and I love that. You have to have the ability to keep developing and looking at different ways of doing things.

Jim Parsons is a Course Leader at dBs Music.

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Lectrosonics has releasd Version 5.1 firmware for its Venue Wideband modular receiver system.

The v5.1 firmware provides an important enhancement for broadcast, location, and sound reinforcement in the shape of a TalkBack function compatible with the newly introduced HH handheld transmitter.

When the transmitter is set to TalkBack mode and the function is engaged (activated when the user presses the multi-function button on the HH transmitter), the audio will switch to a different, predetermined, XLR on the back panel of the receiver. This enables the transmitter to control audio routing, which can be useful for situations that require real-time communication between talent, director, monitor engineer or other band members. In order for the TalkBack to operate on the Venue receiver, at least one empty slot (and an associated unused XLR) is required in the mainframe.

If more than one receiver modules are installed upstream to the empty slot and set to TalkBack compatibility mode, they will share the next available empty slot as a TalkBack active output. In the event that multiple upstream receivers enter a TalkBack state at the same time, their audio will be mixed on the shared TalkBack output. Hence, it is possible to have multiple transmitters using a common TalkBack channel XLR.

‘We’ve received numerous requests over the years for this kind of talkback functionality on our handheld transmitter,’ explains Karl Winkler, Director of Business Development. ‘With the new HH handheld, we felt it was the perfect time to incorporate this feature along with the corresponding setup in the Venue receiver. So far, the response has been really great.’

The Turbosound Milan series of powered loudspeakers has been re-engineered to offer ‘improved performance with ultimate convenience for music, DJ and A/V presentation applications in a range of stylish portable powered loudspeakers with an unmistakable sound signature enhanced by the industry’s most sophisticated DSP’.

Comprising five loudspeakers including the 10-inch two-way M10, new 12-inch two-way M12, 15-inch two-way M15, a new compact 15-inch band-pass M15B subwoofer and the 18-inch band-pass M18B subwoofer, the Milan series has significantly uprated class-D amplifiers providing greater headroom and high dynamic range. In addition, while the three 1kW full-range cabinets feature sophisticated Klark Teknik digital signal processing, the two subwoofer models are powered by 1.5kW dual channel amplifiers allowing LR stereo systems to be built with only one subwoofer.

More: www.turbosound.com

Radial Engineering has added the StageBug SB-2 Passive to its line of compact DI boxes, offering an extremely portable means of feeding electric bass, acoustic guitar and keyboards into a recording or PA system.

‘We have noticed a trend whereby musicians are looking for ways to reduce the size of their payload when traveling from gig to gig,’ says Radial’s Mark Gummer. ‘This is happening both regionally when travelling on a tour bus and when traveling by air. In both cases, the attempt to downsize results in lower fuel costs, lower baggage handling costs and ultimately the reduction in size improves efficiencies all around. But as always, musicians want it all. They want smaller, but do not want to compromise on quality.’

Measuring less than 2-inch wide and 3.5-inch deep, the StageBug SB-2 has with a quarter-inch instrument input and ‘thruput’ to feed an amplifier. This connects to the custom Eclipse ET-DB3 transformer, which provides impedance matching and signal balancing. When using extra high output instruments, a -15dB pad can be inserted into the signal path – this enables the SB-2 to be used with active basses and digital pianos. A built-in auto-summing function enables stereo keyboards to be mixed mono in order to simplify setups and save channels on a mixing desk by connecting to the two quarter-inch jacks.

The StageBug SB-2 balanced output features an XLR wired to AES standard (Pin-2 hot) that enables it to drive cables 100m without noise.

 
More: www.radialeng.com