Danley Solund Labs has introduced the SM-80, the latest in its SM-series of lightweight, cost-effective molded-horn loudspeakers.

The SM-80’s frequency response extends from 110Hz to 20kHz with 102dB SPL sensitivity. Its continuous power rating is 400W in and 128dB SPL output, peaking at 1.6W and 134dB SPL, respectively. Giving 80° x 80° coverage, it is loaded with a single 12-inch coaxial driver and paired horn offering 8Ω impedance. Constructed out of 13-ply Baltic birch, the SM-80 measures 25.5 inches high by 24 inches wide by 12.75 inches deep. The cabinet weighs 65lbs and can be pole mounted.

Together with Danley TH-series subwoofers, a pair of pole-mounted SM-80s is suited to use in small to mid-sized live sound and installed sound applications.

The SM-80 carries an MSRP of US$2,999.

More: www.danleysoundlabs.com

Grammy winner Imogen Heap recently staged a live show that was as close to completely ‘green’ as possible.

Timed to coincide with Earth Day – an annual event intended to raise environmental awareness – the performance took place in the garden of Heap’s home in the UK, in front of 80 specially invited guests – plus an audience of 500,000 who watched a live relay via Facebook and the artist’s website.

Previewed in at the Frankfurt ProLight & Sound 2012, Nexo is readying to ship its STM flagship system, along with the S118 sub-bass cabinet first shown at London’s Plasa Show. The STM Series is Nexo’s take on modern touring and rental requirements, and combines Nexo Alpha functionality with Geo waveguide designs.

The STM (Scale Through Modularity) system is supplied road-ready, paired with the NUAR to will feed up to 12 STM modules in any combination in groups of three.

The Nexo Universal Amp Rack (NUAR) contains two NXAmp4x4 amplifiers, a new Digital Patch Unit (DPU), an intelligent output patch panel, a new Digital Meter Unit (DMU), an intelligent input patch panel providing digital communication with the NXAmp, and an optional network card, Dante or EtherSound by request. The NXAmp digital processors and amplifiers are now available in a dual-voltage version for touring applications.

An STM system can be configured from discrete loudspeaker elements – the M46 main, B112 bass and S118 sub-bass. System configurations might comprise arrays of main cabinets only, or main/bass, or bass/main/bass. According to Nexo, the ability to add extra bass cabinets to the system in order to increase power and headroom without introducing phase anomalies makes STM the first system to offer scalable LF. Using dedicated STM sub-bass cabinets, either in the arrays or as ground-stacks, increases options.

‘The modularity of STM makes it truly all-purpose,’ says Nexo Concert Sound Specialist, Stuart Kerrison. ‘A rental provider can scale up his system from just six cabinets per side for a small event, to whatever is needed to handle an arena or stadium application. Even large flown arrays of main/bass/sub are so low-profile that they comply with sightline restrictions for broadcast concerts and events.’

A first for Nexo, the main and bass cabinets are injection-moulded for maximum durability and weather-resistance. Technical Director Francois Deffarges is proud of the system’s bass and sub bass provision, this being one of Nexo’s traditional strengths. ‘Our extremely powerful Bass cabinet has a frequency response which overlaps that of the Sub and Main modules, providing a valuable increase in LF headroom. With the Sub, we can achieve a similar SPL output to our CD18 unit, using just one 18-inch driver. And there are advantages in use; two subs can be used back-to-back in cardioid mode, or side-by-side in omnidirectional mode.’

Specified by real-world users, the STM system has been designed for the warehouse, the truck, the roadie and the venue. It is as much about how it packs together for transport as it is about how it sounds; using a range of dolly and bumper accessories, the system can be prepped in the warehouse, loaded onto dollies for transport, and simply wheeled into a venue. All aspects of a sound system’s use have been re-engineered, and its PistonRig and REDLock rigging technology will allow a single technician to fly an arena system.

More: www.nexo.fr

Waves Audio has released the first eMotion mixers for SoundGrid systems, with the eMotion LV1 for live sound front-of-house and monitor applications, and eMotion Studio, for recording, mixing and postproduction facilities.

Designed to integrate seamlessly with Waves SoundGrid-compatible I/Os, the eMotion Mixer engine is powered by low-latency Intel-based Waves SoundGrid DSP Servers. Features include low-latency Waves plug-in processing on every channel. support for multiple mixers, I/O boxes and SoundGrid DSP servers over a single network. hardware scalability using standard network components. compatibility with standard control surfaces. Multi-Touch support; Windows and Mac compatibility, and preset sharing across consoles and platforms.

The LV1, the first product in the eMotion series, includes two new integrated plug-ins – the EMO-D5 Dynamics Processor and EMO-Q4 Equalizer.

• 64 input channels (mono/stereo)
• 32 stereo buses + return channels
• LR, centre, mono main buses + master channels
• Eight DCA faders, eight mute groups, eight user-assignable function controls
• Cue/SIP and talkback
• EMO-Q4 Equalizer: four-band EQ with HP and LP per channel
• EMO-D5 Dynamics Processor: Comp/Gate/Expander/DeEsser/Limiter/Leveler per channel
• Up to six plug-ins per channel
• Connect to multiple DAWs for recording and playback
• Save and transmit sessions and snapshots from any DAW to eMotion
• Connect and share SoundGrid I/O devices, drivers and applications
• Up to 1000 Scenes/Snapshots
• Up to 96kHz sample rate
• Automatic plugin delay compensation
• Mackie HUI control surface support, including iPad HUI emulators

More: www.waves.com

Claiming ‘a radical new concept in stage sound’, Nexo used the London Plasa show to unveil its 45N-12 and introduce ‘line monitoring’.

Calling on Nexo’s proprietary Hyperbolic Reflective Wavesource (which is used throughout the Geo range), the 45°N-12 wedge monitor takes line-array technology to stage monitoring. The system creates virtual acoustic sources behind the enclosure itself and below the stage, using reflection rather than coercion to determine the shape of the wavefront. Unlike a conventional high-frequency waveguide in which the exit is rectangular, the Nexo monitor’s waveguide forms a ‘smile’, enabling cabinets to be linked together to form arrays without interference between wavefronts.

The design claims a very sharply defined dispersion pattern and a ‘huge improvement’ in level before feedback, and its low-profile design is well suited to live TV production.

The focused coverage also results in lower acoustic power on stage, with SPL and frequency response consistent up to 2.5m. A magnetic locking system joins multiple monitors together, allowing scalability for both coverage and SPL.

‘This is actually the first purpose-designed wedge that Nexo has ever made, although our best-selling PS15 cabinet is used for stage monitoring applications all over the world,’ says Technical Director François Deffarges. ‘We believe our design philosophy of line control will offer real benefits to engineers, performers and audiences.’

More: www.nexo-sa.com

Extending its touring and theatre portfolio, Martin Audio is to launch the high-output XD Series of fixed-dispersion, two-way loudspeaker at the coming Plasa show.

The XD12 and XD15 models claim higher output levels and an extended frequency range over similarly-sized systems and are ‘designed to represent new benchmarks for the compact two-way format’.

Designed principally for live sound, theatre/fixed install and high-power stage monitoring, the XD12 and XD15 combine a full, rich sound and an accurate 80° x 50° dispersion pattern in a compact, multi-angle enclosure suited to a wide range of uses – from distributed sound reinforcement and portable A/V events, to dancefloor and stage monitors.

XD12 features

The XD12 features a high-specification 12-inch (300mm) LF drive unit and a 1-inch (25mm) exit compression driver on a user-rotatable 80° x 50° constant directivity horn. It can be bi-amped as the internal crossover is switchable between passive and bi-amp operation using an external switch.

The LF driver has a lightweight 3-inch (75mm) voice coil and uses a high gap flux neodymium magnet assembly for maximum sensitivity, while the cone is made of a new pulp formulation plus an epoxy treatment to ensure smooth mechanical breakup and a high strength to weight ratio. Flux demodulating rings reduce distortion at high excursions, and advanced cooling reduces power compression to negligible levels. The 1-inch (25mm) exit compression driver has a 1.7-inch (44mm) polyimide dome and ultra-high flux neodymium motor system for maximum efficiency, plus a copper cap to extend the HF response.

The XD12’s grille is a spring-fit into the sides of the enclosure and requires no retention screws, allowing easy removal to access the HF horn. The grille arrangement also means that the baffle and long sides of the enclosure form a continuous surface into which the LF driver and HF horn are flush-mounted to reduce diffraction effects.

The tour-grade plywood enclosure is coated in hardwearing polyurethane and its Declon backed steel grille is pre-curved to resist deformation in the field.

When used in bi-amp mode, or with a subwoofer such as the Wavefront WS18X or WS218X, it is recommended that the XD12 be used with Martin Audio’s DX1.5 or DX2 controller. When operated as a passive system, it may be used without a controller, but will benefit from the DX1.5 or DX2 EQ and limiter functions.

A universal bracket offers a versatile solution for mounting the cabinet, giving quick and easy vertical angle adjustment with a spring loaded locking pin, while the bracket offers other flexible mounting options.

XD15 features

The XD15 offers many of the same design and cosmetic features. It is capable of producing 132dB peak SPL at 1m and has a usable LF response down to 45Hz. Its two-way format combines a 15-inch (380mm)/4-inch (100mm) voice LF drive unit with a 1.4-inch (35mm) exit compression driver on a user-rotatable 80° x 50° horn.

The LF driver uses a high gap flux neodymium magnet assembly to achieve a sensitivity of 100dB @ 1m for 1W input. Advanced cooling and flux demodulating rings combine to reduce power compression and reduce distortion at extreme excursions. In the HF section, the 1.4-inch (35mm) exit compression driver has a 3-inch (75mm) pure titanium diaphragm and ultra-high flux neodymium magnet structure with a copper cap that extends the HF response.

The DX1.5 or DX2 controllers are again recommended when used in bi-amplified mode, or with a subwoofer.

Brackets and yokes

Multi-purpose yokes are available for both the XD12 and XD15, allowing mounting of the enclosures on ceilings, walls, trusses or poles. In vertical (portrait) orientation, the yoke can be fixed directly to a wall or attached to a scaffold clamp for suspension from a truss. When suspended in this way, the enclosure has a natural down-tilt of 20°. In horizontal (landscape) orientation, the yoke can be fixed directly to ceilings or attached to a scaffold clamp.

Purpose-designed Universal brackets – one for the XD12 and one for the XD15 — facilitate a wide range of down-tilt and up-tilt angles in both portrait and landscape orientation. The universal bracket fixes to the top, bottom or side of the enclosure and can be mounting directly onto the pole of a speaker stand or attached to a scaffold clamp for truss mounting. The up/down tilt angle is easily adjustable and lockable in place. Normally the clamp is attached to the centre of the bracket, giving a ±15° range of adjustment. To increase the down-tilt angle, the clamp can be fixed to one end of the bracket for a down-tilt of up to 30°.

For the XD12, a simple rear-mount wall bracket is also available, while the XD15 bracket may be mounted on either the top or bottom of the enclosure to give quick and easy vertical angle adjustments with a spring loaded locking pin.

More: www.martin-audio.com

Radial Engineering is calling its StageDirect ‘a unique direct box that combines all of the standard features one would find in a DI with the added convenience of being able to mute the signal using a footswitch for silent on-stage tuning or to quietly switch instruments without having to turn down the PA system or put the stage amp on standby’.

Connections on the StageDirect unit include a quarter-inch input for the instrument, a quarter-inch output for the stage amp, and a standard XLR male output to feed the PA system. A separately buffered quarter-inch tuner output is always on. When the footswitch is depressed, all outputs other than the tuner are muted to enable quiet on-stage tuning. The mute feature also allows switching of instruments on stage without having to turn down a PA channel or stage amp.

Top panel switches include a -15dB pad to handle extra high output instruments, a high-pass filter to eliminate excessive bass and resonance, and a 180° polarity reverse to help tame acoustic hot spots on stage that can cause feedback.

‘As a gigging bassist, I was immediately struck with the StageDirect and how I could see it solving a number of problems on stage,’ says Radial Eastern Regional Sales Manager, Phil Coelho. ‘The obvious one is being able to quietly tune without having your signal feed into the PA system.  As an audience member, hearing the band tune up can be really annoying. But for me, the real biggie is being able to switch from my four-string passive bass to my five-string active without having to put my amp on standby and frantically wave to the FOH engineer to let him know I am about to switch basses. All too often, he forgets to turn me down and then you get a huge pop in the PA. The StageDirect solves the problem as it gives me the freedom to decide when I want to change instruments."

As with all Radial direct boxes, the StageDirect is made from 14 gauge steel and finished in baked enamel for maximum durability.

More: www.radialeng.com

Riedel Communications is expanding its international profile with new offices in Hilversum (Netherlands) and Sydney (Australia).

‘Over the past few years, we have observed significant growth in the Benelux broadcast and event market,’ says Riedel Benelux General Manager, Wilbert Kooij. ‘The next logical step was to expand with a dedicated office here in the Netherlands. The office gives us the opportunity to offer very direct rental and sales support, along with even more thorough customer service.’

Kooij has been responsible for Riedel operations in the Dutch market for more than two years. The Benelux team also includes David Bouma, who will be responsible for the entertainment and event markets, as well as Christiaan Haasdijk as rental operations manager. Recent projects in that area involve the Dutch broadcast provider Dutchview and the Hilversum-based video service provider, Parkpost. The Hilversum office will cover all sales, rental and service operations.

Riedel’s South Sydney office includes a 440-sq-m warehouse and two-story office, and provides a convenient location close to other production rental companies and broadcast/OB facilities just 10 minutes from Sydney Airport. Riedel Australia has provided solutions to Channel 9 Australia, The Canberra 100, Australia’s Opera on Sydney Harbour, The Maj theatre in Perth, and the Arts Centre, Melbourne.

‘Australia is home to Riedel’s second-largest rental division, which has staged events all over Australia, New Zealand, India, and the UAE,’ says Cameron O’Neill, Riedel Solutions Manager for Australia. ‘This office will allow Riedel Australia to grow with our existing and new clients. Now we will be able to serve their needs not only in the field, but also with appropriate training and pre-preparation facilities. The bigger premises will allow us to stock more of the equipment that our clients want, including wireless HD camera systems and fiber-optic systems, as well as more of the communications and two-way radio equipment that we currently supply.’

More: www.riedel.net

L-Acoustics' LA amplified controllers provide libraries of presets that combine control of speaker parameters and the application targets of the speaker. A preset allows the loudspeaker to match a given application when arranged in a given configuration, with configurations supporting single distributed to line source array systems

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My first look at audio’s use of tablet computers was derailed by news of Steve Jobs’ death. My second has been derailed by word that the subject is to be ably addressed by Pro Sound News Europe… no point covering the same ground.

But there’s plenty to talk about beyond apps that make an iPad an essential piece of kit for live sound or broadcast. The combined ability of the internet and tablets is causing problems…