SSL Live at Chess
Requiring the largest use of SSL Live mixing systems to date, the recent World Chess Olympiad was accompanied by a full concert version of the musical, Chess, in Tromsø, Norway The production called on the Norwegian Arctic Philharmonic Orchestra, a choir and an ensemble of leading Norwegian musical performers, with three SSL Live consoles for the sound mixes.

Supplied by Bary Sales in Oslo, the FOH and monitor consoles shared 64 inputs from the band and soloists, while the third was used to submix 86 orchestra channels down to six stereo stems.

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QLX-D Digital Wireless SystemShure’s QLX-D Digital Wireless System features 24-bit audio, networked control and compatibility with the company’s intelligent rechargeable battery technology.

Targetting live sound, corporate and government installations, academic institutions, houses of worship and hotels, the system uses automatic channel scanning and IR sync to find and assign an open frequency. AES-256 encryption comes standard and can be enabled for secure wireless transmission. The system’s intelligent lithium-ion rechargeable power options can provide up to ten hours of continuous use and report remaining runtime in hours and minutes. QLX-D transmitters can also run on standard AA batteries for up to nine hours. QLX-D supports networking tools including Shure Wireless Workbench 6 control software, third-party control systems (AMX/Crestron), and iOS devices for control and monitoring with the ShurePlus Channels mobile app.

‘This system packs in a lot of sophistication and delivers incredible wireless audio performance. It has outstanding spectrum efficiency and frequency bands covering up to 72 MHz, allowing QLX-D users to operate more channels on-air than with any other wireless system in its class,’ says Shure Wireless Category Director, Erik Vaveris. ‘QLX-D uses the same technology as our high end digital wireless systems in a more affordable package with a streamlined feature set.’

The QLX-D line will be available in August 2014 in various bodypack and handheld configurations.

More: www.shure.com


A&H Qu v1.5Allen & Heath has announced new firmware for its Qu Series of compact digital mixers, adding support for the newly launched Qu-32 mixer and AB168 Audio Rack, and introducing DCA Groups, custom channel naming, flexible dSnake output patching, improved routing for studio recording applications, and additional Midi control soft keys.

Version 1.5 brings four DCA groups, which can be assigned to fader strips in the custom layer on Qu-16 and Qu-24, while the Qu-32 has four dedicated DCA master strips in the upper layer. All input channels, FX returns, mixes, DCA and mute groups now have custom naming functionality, which can be shared with the QuPad remote app and with any connected ME-1 personal mixers. Also, dSnake outputs to remote Audio Racks and monitor sends to ME-1 mixers have full user configurability, providing flexibility on output routing.

There is also improved functionality for studio recording applications. The input channel source point for Qu-Drive and USB can be set to either Insert Send or Direct Out to facilitate both live and studio workflows. Also, the Midi screen now has Midi Machine Control (MMC) transport buttons for control of DAW software or remote equipment. Additionally, the MMC controls and new DAW Bank controls can be assigned to Soft Keys for use in conjunction with the DAW Control driver.

Qu v1.5 is compatible with all Qu mixer models, and can be downloaded now from the A&H website.

See also:
Allen & Heath Qu-32 

More: www.allen-heath.com


{jcomments on}CDC EightRichard Ferriday and James Godbehear are in agreement – while their recent move from Midas to Cadac took the industry by surprise, it also presented them with something of a culture shock.

‘We’re now in a place where our contribution can make a difference to what goes on,’ Ferriday says. ‘It’s nice to be back in a position where you can make decisions and live or die by them.’

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The Allen & Heath Qu-32 is a 32-fader, 38 input/28 output digital mixer, joining the rackmount Qu-16 and compact Qu-24 in company’s Qu line-up.

Allen & Heath Qu-32Qu-32 shares Qu series key features – including total recall of settings (including faders and digitally controlled preamps), Qu-Drive integrated multitrack recorder, dSnake for remote I/O and personal monitoring, multichannel USB streaming, Qu-Pad control app, and the iLive FX Library – and adds a larger, 7-inch touchscreen and 33 motorised faders.

Key to the design was the inclusion of a dedicated fader-per-mic input channel, while retaining a compact footprint, Qu series styling, and extensive I/O, comprising 32 mic/line inputs, three stereo inputs, 24 mix outputs including two Stereo Matrix Mix Outputs and four Stereo Groups with full processing, patchable AES digital output with a further two-channel ALT output, dedicated Talkback mic pre input, and 2-Track output.

Qu-32 is equipped with a high-resolution, full colour 7-inch Touchscreen, featuring Touch Channel access to channel processing, the FX racks and all the set-up and system management controls. The SuperStrip provides control knobs for a selected channel’s key processing parameters, such as gain, HPF, parametric EQ, gate threshold, compressor threshold and pan. Qu-Drive, the mixer’s integrated 18-channel USB recorder, can record and playback multitrack and stereo audio .wav files to a USB drive. The USB interface can also be used to store scene and library data for archiving and later recall.

Qu-32 doubles up as a studio mixer, thanks to its 32x32 audio interface for streaming to/from a Mac or PC, and Midi strips dedicated to control of DAW track levels, selection, mutes and solos.

A&H’s proprietary dSnake low-latency audio connection enables the mixer to connect over a single 120m Cat5 digital snake to remote audio racks, such as the AR84, AR2412, or upcoming AB168 stagebox. It is also compatible with the ME personal mixing system.

Motorised faders provide total recall of mix levels make optimum use of the scene recall system and ensure that the fader is always in the right position even when swapping between layers, which allows instant access to all channels and masters or the Graphic EQs. To customise the fader layout to suit certain applications, a third user definable layer is also available. There are also four DCA groups for applications where multiple sources need a single level control. The free QuPad iPad app gives wireless control of key parameters and settings.

The 32 mic/line inputs feature AnaLogiq recallable pad-less preamps, optimised for transparency and low harmonic distortion. In keeping with the audio quality, the Qu-32 is equipped with a selection of the iLive pro touring series’ FX emulations, used by many engineers in place of top-end plug-ins and external FX units, including classic reverbs, gated reverbs, delays and modulators.

Finally, Qu’s software also caters for different Users, with levels of user access, which can be customised and protected by password to easily cope with multiple users wanting different set-ups at different times.

‘Retaining a dedicated fader per mic channel, the larger Qu-32 complements the rest of the Qu family’ says Allen & Heath MD, Glenn Rogers. ‘The comprehensive array of features – such as copy and paste, softkeys, RTA and PFL options – make using and setting up the Qu console easy and flexible,.  The Qu-16 and Qu-24 have been welcomed with great enthusiasm by customers from PA companies to churches, and we look forward to more success with the new addition.’

Qu-32 will ship in July 2014 at a SRP of £2599 (ex VAT).

More: www.allen-heath.com


Nagra LinoNagra has released the Lino, a high-quality compact hand-held digital recorder designed to offer ‘a lower cost recorder’ for professional radio journalism and music recording applications.

Intended for recording and documenting interviews, conferences and live music, the Lino records to a removable SD memory card in the same way as the Nagra SD. It will record linear PCM files at up to 96kHz resolution and MP3 files in both 16-bit and 24-bit word lengths.

Key features:
· Built-in microphones
· Removable SD/SDHC media
· >10 hours running time (two AA cells)
· Automatic gain control
· PCM and MP3 recording formats
· Internal low-cut filter
· USB 2.0

The Lino has the same physical size and shape as the Nagra SD, but is built in a plastic outer housing rather than brushed aluminum It also uses the same software structure for all the internal settings as the SD, and is equally easy to use. It offers high-quality preamplifiers, built-in microphones and a long running time.

More: www.nagraaudio.com


AKG DMSTetradAKG’s DMSTetrad licence-free digital wireless microphone system is aimed at applications ranging from concerts and clubs, to conferences.

The system features an integrated four-channel mixer and 24-bit, 48kHz audio. The DMSTetrad’s 128-bit AES standard encryption prevents tapping of the audio signal, for high-security conferences.

The full DMSTetrad system features the DSRTetrad Digital Stationary Receiver, DPTTetrad Digital Pocket Transmitter and the DHTTetrad Digital Handheld Transmitter, available with AKG’s D5 acoustics or as DHTTetrad P5 with standard dynamic capsule. Two sets are available – the DMSTetrad Vocal Set including the DHTTetrad P5 and the DMSTetrad Performer Set including the DPTTetrad together with a C111 L earhook microphone and the MKG L instrument cable.

The DSRTetrad receiver can work with up to four channels of audio in parallel which can be mixed down directly to its balanced XLR sum output. The dynamic frequency selection (DFS) ensures that only the cleanest frequency bands are selected for the connection between receivers and transmitters automatically.

More: www.akg com

Tempest900 BeltstationExpanding its Tempest Digital Wireless Intercoms system further, Clear-Com has announced the PIFA-equipped Tempest900 BeltStation.

Increasingly popular in the mobile phone market, the low-profile PIFA has an omnidirectional signal pattern that can receive a connection from any direction. Backward compatible with Tempest900 firmware v3.0, the new BeltStations are fully compatible with both two- and four-channel versions of the Tempest900 BaseStations and BeltStations. The longer wavelengths and wider symbol width of this band allow the system’s signals to permeate dense walls and other structural objects more easily. This feature increases the range of the system and reduces any potential loss of audio.

See also:
Clear-Com Tempest900

More: www.clearcom.com


Sound Devices PIX-DockSound Devices PIX-Dock connects drives mounted in a Sound Devices PIX-Caddy 2 to computers equipped with Thunderbolt high-speed I/O over a single Thunderbolt cable.

The PIX-Caddy 2, which is used to connect SSD volumes to all PIX recorders, is an SSD mounting accessory that also operates as a multi-format interface to attach drives to a computer for file transfer and management. With PIX-Dock, Thunderbolt’s fast transfer between drives and computers – up to 10Gbps, making the file copying of large-capacity drives fast and easy. When using fast storage drives, its high throughput allows real-time playback of multiple streams of high-data-rate video.

The PIX-Dock provides both power and data over a single cable and is compatible with SATA drives. It includes a six-foot Thunderbolt cable that connects to the PIX-Caddy 2 using its eSATAp connection. It also offers a secure, latching connection to PIX-Caddy, and its weighted base prevents sliding on desktop surfaces.

‘After a successful launch at NAB, PIX-Dock is available,’ says Jon Tatooles, Sound Devices MD. ‘PIX-Dock simplifies and speeds the transfer and management of files when using our PIX recorders. By using Thunderbolt, we are able to provide blazing fast and reliable transfers.’

The PIX 220i, PIX 240i and PIX 260 record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in postproduction, making the workflow simple and fast. The PIX 240i and PIX 260 add even more flexibility, with their time code, sync-generator, and simultaneous SDI and HDMI outputs.

More: www.sounddevices.com


Sennheiser’s Digital 9000 digital wireless system addresses broadcast, theatre and live event applications.

Digital 9000 digital wireless systemThe SKM 9000 uses an 88MHz switching bandwidth, and is available in black and nickel. Command switch versions for easy communication between broadcast units or artists and their crews are also available. As the handheld transmits digitally, it does not employ a compander and is exempt from the associated noise. Digital 9000 includes the EM 9046 receiver, SKM 9000 handheld and SK 9000 bodypack transmitters, plus a suite of accessories.

‘This system is offers unprecedented sound quality and ease of use,’ says, Wireless Microphones Portfolio Manager, Kevin Jungk. ‘For example, users will no longer have to calculate and circumvent intermodulation frequencies but can conveniently place their transmission frequencies in an equidistant grid.’

The system supports two transmission modes –High Definition (HD) mode will transmit entirely uncompressed, artefact-free audio, ‘as if a high-quality cabled microphone were used’, while Long Range (LR) mode is designed for difficult transmission environments, offering maximum range with a proprietary Sennheiser digital audio codec.

In addition to IR synchronisation between receivers and transmitters and a antenna loop-through for creating larger receiving systems, Digital 9000 claims a number of unique features. The high linearity of the entire system eliminates intermodulation calculation, allowing transmission frequencies can simply be set in an equally spaced grid. The receiver also automatically measures RF cable loss between receiver and booster, and adjusts the gain accordingly.

The modular EM 9046 receiver is a mainframe that accommodates up to eight receivers internally.

EM 9046 Receiver

A large display with clearly laid out controls is at the heart of the EM 9046 receiver. Three display modes ensure that the RF or sound engineer has an overview of important parameters in live situations and can change settings quickly via an intuitive, icon-based menu. Channels can be monitored via the headphone output, either individually or any number can be listened to combined.

The receiver system covers the UHF range from 470 to 798 MHz (328MHz bandwidth). To integrate the system into an existing infrastructure, users choose between transformer-balanced analogue or digital AES3 audio output modules, or a mix of both.

System set-up is facilitated by a built-in graphical spectrum analyser to scan the RF landscape, and an RF level recorder for checking reception and optimising antenna positions. The receiver will also suggest the best transmission mode for the environment being worked in, and will automatically set an appropriate gain to counteract RF cable losses. The antenna boosters can be controlled via the receiver, which is helpful for installations with remote antenna positions.

The multi-channel receiver and the transmitters can optionally use encrypted data transmission, with proprietary keys generated randomly. This will protect a radio link against hijacking and tapping.

The receiver stores up to ten complete system configurations so that set-ups can easily be recalled and repeated.

SKM 9000 Handheld Transmitter

The SKM 9000 handheld transmitter is compatible with all of Sennheiser’s evolution wireless G3 and 2000 Series microphone heads, including the Neumann KK 204 and KK 205 capsules. Besides these capsules, the handheld can be fitted with four dedicated 9000 Series capsules.

‘The 9000 Series would not have been complete without the sound of our most successful live capsule, and I am happy that the cardioid dynamic MD 9235 is part of our new digital system,’ Jungk says.

The MD 9235 is complemented by the transparency of three permanently polarised condenser mic heads, the ME 9002 (omni), ME 9004 (cardioid) and ME 9005 (super-cardioid). The condenser heads feature a low sensitivity to pops and have extremely low handling noise due to snowflake-shaped rubber suspensions above and below the actual capsules.

SK 9000 Bodypack Transmitter

The SK 9000 bodypack transmitter comes in a magnesium housing that combines robustness with low weight. It can be used with any clip-on or headset mic with a 3-pin Lemo connector and has a line input for guitars or other instruments. ‘As the system is able to deliver cable-like audio, we have added a three-step guitar cable emulation to round off the instrument sound,’ explains Jungk.

The SK 9000 is available in four different frequency ranges (88 MHz switching bandwidth); a command switch for communication between crews and artists/reporters is available as an accessory. To protect the system against interference, the AB 9000 antenna booster has been fitted with eight highly selective filters to allow just a specific frequency window to pass. Unwanted signals are thus blocked before the first active component, adding to the overall reliability of the system. The filter can be set manually on the booster or remotely via the antenna cable on the receiver.

The AB 9000 provides a maximum gain of 17dB and is available as a standalone booster or integrated into the A 9000 omnidirectional antenna and the AD 9000 directional antenna. Two booster versions (470-638MHz and 630-798MHz) cover the receiver’s UHF range.

The transmitters of the 9000 Series operate on environmentally friendly lithium-ion rechargeable battery packs, with a precise remaining operating time indicated on the handheld and the bodypack transmitter as well as on the receiver. The SKM 9000 is powered via the BA 60 rechargeable battery pack, which will power the transmitter for 5.5 hours. The SK 9000 bodypack is powered by the BA 61, which lasts for 6.5 hours. Operation on standard batteries is possible too.

The L 60 charger will recharge two BA 60 or BA 61 in any combination. It reaches 70 per cent of charge in an hour and full charge after three hours, with the charging status being indicated by three-colour LEDs. Up to four chargers can be daisy-chained and powered via a single power supply unit.

‘Spectrum is a scarce resource, therefore every part of the system has been designed for the highest frequency efficiency,’ Jungk says. ‘We have put much effort into allocating the largest possible data rate to the actual sound transmission, ensuring the unmatched audio performance of Digital 9000.

More: www.sennheiser.co.uk

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