Situated beneath London’s famous Shakespeare’s Globe Theatre, the Underglobe events space has hosted a long series of corporate functions – many served by London-based live production company ARC Sound. Opened to the public in 1997, the reconstruction of the original wooden Elizabethan playhouse, has never allowed, or indeed attempted, a full production set-up in the main theatre space itself.

The celebration of Shakespeare’s 449^th birthday, however, saw a concert audio production set-up allowed into the 1,500-capacity space for the first time...

It is widely believed that floating-point is a byword for good quality in digital audio systems...

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Outline released its iSM line of powered stage monitor speakers at InfoComm 2011.

As successor to Outline’s Hard self-powered floor monitors, the iSM 112, iSM 115 and iSM 212 claim higher quality and SPL, and offer remote control of speaker parameters through Outline’s integrated iMode Intelligent Digital Loudspeaker Control Platform.

The iSM Series is designed for the floor monitoring in both fixed and touring applications, including music performance, theatre presentation, house of worship installations and TV production situations where a low-profile cabinet design is essential

‘The iSM monitors are truly a game changing design for the industry,’ says Tom Bensen, Senior VP and MD of Outline North America. ‘The addition of Outline’s advanced iMode Technology brings iSM to a whole new level, by integrating a CPU with dedicated DSP chip, parameter control software and web server into the cabinet. Engineers can now precisely tune each cabinet and store the data for recall, eliminating the need for outboard EQs between the console and the amplifier.’

The iSM Series is powered by embedded advanced technology amplifiers, while each cabinet features Outline’s iMode technology for control via a web browser and has an LED array on both sides of each cabinet indicating the status of the main parameters or selected presets. All cabinets are fitted with eight mounting points for wheels or flying rings, plus two integrated recessed handles for management. All cabinets are sturdy, non-resonant designs constructed from high-quality, void-free Baltic birch that can withstand the rigors of the road. The series is suitable for all monitoring applications delivering a linear response of ±3dB between 76Hz and 15.5kHz, and a linear phase response of ±45° between 500Hz and 16kHz.

The iSM 112, a dual-angle, full frequency wedge monitor loudspeaker, features a 12-inch woofer and 1.4-inch high frequency driver to deliver up to 132dB SPL. The patented folded waveguide provides tight and consistent control of the high-frequency spectrum in both horizontal and vertical planes, maximizing gain before feedback. Designed primarily for stage monitoring applications, the internal amplifiers deliver 500W and 270W to the LF and HF sections respectively. The vertical height is 14-inches (35.5 cm), reducing the visual impact when the enclosure is positioned between performers and the audience.

The iSM 115, a self-powered, DSP-controlled, full-range loudspeaker designed primarily for stage monitoring applications, features internal amplifiers that deliver 750W and 400W to the LF and HF sections respectively to yield a maximum SPL of 137dB at 1m. Low frequencies are reproduced by a single 15-inch reflex-loaded, 4Ω transducer and the high frequencies are covered by a 1.4-inch throat compression driver fitted with a 2.5-inch titanium diaphragm. The patented integrated folded waveguide provides tight and consistent control of the high frequency spectrum in both the horizontal and vertical planes, achieving the defined pattern control that is necessary for professional floor monitors. The vertical height is 15.6in (39.5cm).

The iSM 212 is a sDSP-controlled, with 1,050W and 570W available to the LF and HF sections respectively, for a maximum SPL of 140dB at 1m. Low frequencies are reproduced by a pair of 12-inch reflex-loaded transducers, with the high frequencies handled by a 1.4-inch throat compression driver fitted with a three-inch titanium diaphragm. Its vertical height is 12.8-inches (32.5 cm).

More: www.outline.it

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

A series of screenings of famous movies accompanied by a live soundtrack is earning London’s Royal Albert Hall praise on many fronts – the choice of films, the musical performance and the sound system among them.

Performed to 10,000 paying guests, the production also provided the commercial premiere of EM Acoustics’ Halo Compact speaker system with sound mixed by renowned classical sound engineer Phil Wright on a DiGiCo SD5 console.

The Alcons Audio BC332 is a self-contained cardioid subwoofer system for permanent and portable ground-stacked applications. Following the larger BC543 model, the BC332 offers directivity control, high output, accurate sub-bass response, for low-frequency extension of any Alcons pro-ribbon system.

A front-and-rear woofer configuration in combination with dedicated processing enables selectable cardioid low-frequency pattern control and high rear rejection (up to 18dB), without the need for additional cabinets.

A 18-inch long-excursion woofer with 4-inch voice-coil with double-spider and demodulation ring frame is mounted in a front-loaded configuration with X-Venting; This newly designed reflex port takes more than 20 per cent of the baffle surface and is designed to maximise the system’s breathing capacity, substantially increasing overall output while minimising port-compression. On the cabinet rear, a single 15-inch long-excursion woofer with 4-inch voice-coil with double-spider and demodulation ring frame is mounted in a front-loaded configuration with Flank-Venting port; This folded port design enables optimal reflex-breathing, under minimal baffle dimensions, reducing destructive interference between speaker and reflex vent.

The 2x 4Ω system impedance provides optimal amplifier loading, reducing the required amplifier power and specification for full system response and maximum output. The frequency response starts at 35Hz (-3dB) and offers a ‘colourless’ low-frequency enhancement of any Alcons pro-ribbon sound system.

The BC332 is powered and controlled by the ALC amplified loudspeaker controller; Through the integrated processor, the ALC optimally drives the BC332 with specific response optimisation, protection and hybrid filtering processing. The ALC preset library contains cardioid settings for maximum rear-/side attenuation.

As all Alcons loudspeaker systems, the BC332 is SIS pre-wired for a very high damping factor (>10.000 under all loads/conditions); Through the SIS (Signal Integrity Sensing) circuit, the cable-length and connector resistance between the BC332 and ALC is dynamically compensated for.

The combination of complex internal panel lay-out and extensive bracing brings a rigid structure with a high enclosure stiffness from a relatively low-weight package. It is finished in Durotect scratch-resistant coating and comes with a six-year limited warranty.

More: www.alconsaudio.com

WorxAudio Technologies has announced the TrueLine V5M (passive) and V5M-P (powered) ultra-compact fill/monitor systems, aimed at front fill, close fill, under-balcony and choir monitor applications.

The V5M and V5M-P incorporate a medium-format 1-inch exit compression driver coupled to a stabilised, proprietary FlatWave Former (wave shaping device), while dual 5-inch cone transducers coupled to an Acoustic Intergrading Module (AIM) minimise cone filtering throughout the entire operating range.

The powered V5M-P, uses the company’s all-new PSD-500 power amp module. Dedicating 350W to the V5M-P’s LF section and 150W to the HF section, this features four digital programmes and has both male/female (loop through) XLR isolated I/O as well as AC PowerCon I/O. The PSD-500 module resides on the rear of the enclosure.

Both the V5M and V5M-P have a 120° symmetrical horizontal coverage pattern and 30° vertical dispersion pattern for monitor and fill use.

The enclosure is constructed from multi-ply Baltic Birch and is heavily braced for cabinet rigidity, with the passive model weighing 30lb, and the active version weighting 32lb. Protecting the enclosure is a multi-layered, polyurea finish that is available in black or white. A 16-guage, perforated, cloth-backed, powder coated steel grill with a high transmission ratio protects the transducer complement.

Measuring 18 inches wide by 13 inches deep by 6.8 inches high, both the V5M and V5M-P feature one side that is flat with a 90° angle to the floor for use as front fill, providing coverage to audience areas close to the stage. The other side of the enclosure features a 5° slope for use as a floor monitor. With their broad 120° horizontal dispersion, a single V5M or V5M-P placed in the centre of the stage area can readily serve as the monitor for a choir or group of performers.

‘The V5M and V5M-P were designed to address the audio community’s desire for ultra-compact, high performance loudspeaker systems with the versatility to function as a front fill, under balcony fill, or as a monitor wedge – and that’s precisely what the flat and 5° angled sides of these enclosures accomplish,’ says Hugh Sarvis, WorxAudio Technologies’ CEO and Director of Engineering. ‘Combined with their industry-leading, 120° horizontal dispersion, the V5M and V5M-P fill/monitor systems provide unusually broad dispersion. With their unobtrusive appearance, these new loudspeaker systems represent exceptional value.’

More: www.worxaudio.com

Coda Audio has unveiled its ViRay loudspeaker system for touring and fixed installation applications. With a maximum hang of 24 cabinets, ViRay can be used as single units as well as in multiple arrays, allowing use FOH or as a side/infill system.

ViRay incorporates Coda’s proprietary DDP Dual Diaphragm Planar-wave-driver Technology, a double diaphragm transducer claiming ‘dramatically improved’ dynamic response, clarity and transparency’. The design balances two 8-inch neodymium ultra low-distortion cone drivers for the LF section, featuring high flux linear motors with triple demodulation rings.

All ViRay drivers are loaded to a common ViCoupler, which combines the energy produced from all transducers to perform as a single source without phase destruction, thus achieving a coherent and uniform wavefront. ViCoupler determines the horizontal on-axis and off-axis frequency response.

The ViCoupler technology integrates three main functions – it serves as a waveguide for the mid/high planar wave driver, provides a large plane screen panel to avoid rearward reflections, and serves as a phase plug for the 8-inch drivers for optimised loading

ViRay also features a user-selectable horizontal dispersion pattern of 120°/80° or asymmetrical 100° (60°+ 40°) or (40°+ 60°). This allows accurate coverage and reduces unwanted reflections. Vertical coverage is array dependent from 0°-10° in 1° steps. The system design increased ground-stack configuration options, as well as flown arrays.

ViRay has a frequency response of 55Hz-22kHz and, for extended bass response, is complemented by the optional SCV-F, which uses Coda Audio’s Sensor Control technology to turn the two elements into a unified system. SCV-F may be used in omni or cardioid configurations, and can be flown in curved arrays. It can also be used with Coda Audio’s RC Power/DSP management racks, as a complete system, and can operate in passive or bi-amplified configurations, with six ViRay elements run from one amplifier channel in passive mode and maximum engineer control available in bi-amp mode.

The integrated rigging system allows quick and easy flying or ground stacking. Arrays may be built straight or curved to obtain the desired vertical coverage. Coda Ease Focus simulation software allows calculating the perfect curving setup for every application.

The ViRay multiplex enclosure is finished with a Polyurea coating for durability and water protection. Its accessory suite includes flybars and dollies (which allow cabinet angles to be set before use and transported without change), weather resistant protection covers and flightcases.

‘ViRay incorporates a complete suite of new components and creative designs that have been brought together to produce something very special,’ says Coda’s Mick Anderson. ‘It is the result of a perfect combination of technical innovation, excellence and real-world experience, which we believe have produced a system of such high quality and flexibility that it will be used in all kinds of venues, from the smallest clubs, through theatres and houses of worship, through to major arenas and concert halls.’

More: www.codaaudio.com

Waves Audio has released new version of its IR1 reverb plug-in, customised for live sound use - IR-Live Convolution Reverb.

Like the IR1, IR-Live is convolution-based, using ‘impulse responses’ sound samples (or IRs) for its modelling. Featuring a simple and intuitive interface, IR-Live is compatible with Waves MultiRack Native and SoundGrid platforms, as well as all of IR1’s impulse responses, including those of world-renowned venues such as Wembley Stadium, CBGB’s and the Grand Ole Opry.

In addition, IR-Live includes samples of the world’s classic hardware reverb units.

With IR-Live, FOH/live sound engineers now have virtual access to the magic of convolution-based reverb. Waves’ IR-Live Convolution Reverb is now available with an MSRP of US$250.00 and an introductory price of US$99.00.

More: www.waves.com

To be launched at the coming Frankfurt Pro Light & Sound show, the Funktion-One PSM12 is an extremely powerful yet compact floor monitor that promises ‘the qualities of the ground-breaking RM18 in a much smaller package’.

The PSM12 features a custom designed 4-inch voice coil 12-inch driver for maximum power at low frequencies, and a 1.4-inch compression driver for high frequencies. Funktion-One’s driver technology allows the compression driver crossover point to be nearly an octave higher than is typical, resulting in an extremely present but smooth sound, particularly under pressure. The 70° high-frequency conical waveguide is concentric with the 12-inch driver, giving a point-source arrangement for even coverage and minimum feedback.

The monitor can be switched between passive and active operation and is supplied with a 35mm integral stand mount.

More: www.funktion-one.com