Currently on the road with Big League Productions, the hit musical Dreamgirls’ 21-week show schedule will take it from the US to Tokyo and Osaka in Japan. With sound design by Matt Geasey and Mike Tracey, Orbital is responsible for the supply and support of its sound system.

Dreamgirls’ big sound is delivered by the d&b audiotechnik V-Series speaker system, chosen for its compact yet powerful design, complemented by a Yamaha CL5 mixing console. The touring system comprises 14 V8 cabinets, four V12s and four V-Subs, which can be flown or ground-stacked to accommodate an individual theatre’s requirements. The main system is driven by d&b D12 dual-channel amplifiers and complemented by d&b E6 fills.

AKG has expanded its Perception Series of headphones series extends the Perception line with the K44 Perception, K77 Perception and K99 Perception models.

Aimed at musicians and engineers, over-ear, semi-closed design of the K44 Perception and K77 Perception is an over-ear, semi-closed headphone is well suited to home or project studios. Both models include leatherette ear pads and a self-adjusting headband for extended wear, and a 3m fixed, straight cable and convertible jack.

The K99’s high-performance, over-ear, semi-open headphones use 40mm speakers for studiouse. K99 Perception is lightweight and self-adjusting for a pleasant fit for long sessions.

‘It is AKG’s continued mission to offer the greatest in professional audio to industry professionals and the Perception line completes our range of affordable, high-quality headphones and microphones,’ says Thomas Stubics, Product Marketing Manager for Recording and Broadcast.

‘The Perception Headphones Series offers musicians a vast range of opportunities when choosing the perfect head piece for their respective needs. All three over-ear models provide powerful, clear sound for accurate listening in the studio or in live settings.’

More: www.akg.com

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

Aviom has released the A360 Personal Mixer, introducing features for both stage and studio.

‘The number one feature we’ve been asked for over the years is more channels,’ says Chandler Collison, Aviom’s Director of Marketing. ‘The key was to provide more content and control for the mix without just throwing more channels and complexity at musicians who are trying to focus on music not mixing.’

The A360 features a 36-channel mix engine which can be used to mix up to 17 mono or stereo channels, plus mono or stereo ambience and volume, tone and reverb control on standard mix channels. The A360 also includes a revolutionary Stereo Placement pan-spread control that allows the width of a stereo channel’s image to be controlled independent of its left-right placement in the stereo field – intended for IEM and headphone users, where it improves spatial perception as well as clarity of the mix.

The seventeenth channel on the A360, the Dual Profile Channel, allows access to two independent combinations of channel volume, tone, reverb and stereo placement for a ‘favourite’ channel. This may be set to mirror one of the 16 standard mix channels or for additional mix content. Ambience can be added to the mix either using the onboard ambient mic or by using network channels. Ambience can add or removed with the single touch of a button.

‘Musicians aren’t engineers and a mixer designed for musicians needs to respect that,’ explains Aviom Product R&D Manager, Ray Legnini. ‘Features like the Dual Profile Channel, One-Touch Ambience, and Instant Mix Recalls allow musicians to adjust their mix during a performance without diverting their attention from their music.’

The A360’s master output section includes standard bass and treble tone controls, and adds an Enhance control to provide more sonic presence for performers using in-ear monitors. It also offers the ability to easily connect a subwoofer, shaker or mono wedge monitor using the Mono Mix Out via a rear-panel XLR. In addition, there are standard quarter-inch and 3.5mm TRS stereo outputs.

The A360 can be integrated into existing Aviom personal mixing system. Based on an enhanced version of Aviom’s Pro16 A-Net protocol, Pro16e, the technology driving the A360 Personal Mixer allows multiple 16-channel banks of monitoring content to be delivered over a single Cat5 cable. Each A360 in a system 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.

More: www.aviom.com

The Neumann KH 310 loudspeaker monitor is designed for use as a close-field monitor, as a front loudspeaker in mid-sized multichannel systems, or as a rear loudspeaker in a larger multichannel system.

With a Mathematically Modelled Dispersion (MMD) waveguide, flexible acoustic controls, analogue class-AB amplifiers, a variety of input formats and an extensive range of mounting hardware, the speaker is suited to use in a wide range of acoustic conditions, souce equipment and physical spaces.

Among its intended applications, the KH 310 can be used in project, music, broadcast centres, OB vans and postproduction suites for tracking, mixing and mastering.

More: www.neumann.com

{jcomments on}‘Almost from the beginning, there were students who were interested in learning in the studio, so an apprenticeship programme developed. Music technology courses developed and we added – to our knowledge – the only Master of Music Jazz Studies Degree with a Major in Music Production in the US.’

From the outset, Jazz Lab Recording Studio Director Brian Gorrell was central to the action and to recent developments...

Solid State Logic’s Sigma is an analogue mix engine, presented in a 2U-high rack unit for control from a DAW or an iDevice software interface using Midi via Ethernet.

Using proprietary MDAC control technology (used in the Duality and AWS studio consoles), Sigma’s analogue summing engine can be driven by automation data created in a DAW. Sigma features 16 flexible input channels, which can be individually switched between being mono or stereo for up to 32 channels at mixdown. There are two stereo mix buses with dedicated outputs for convenient printing of stems back to the DAW and individual stereo insert points to facilitate implementation of parallel compression. Each input channel also features an individual direct output. Mix Bus B can also be injected into Mix Bus A for final mixdown. There is also accurate front panel LED metering for all channels.

An Artist and Studio monitoring section provides monitor and headphone outputs – the main monitor output has Main and Alternative connections to accommodate two sets of monitors. A switching matrix enables selection of monitor source, while a large front-panel rotary control uses a push-select mechanism to determine whether it adjusts Mix A, Mix B, main monitor or headphone levels. There is also a talkback input with adjustable Dim level.

Control and switching of a wide range of functions including; monitor level and source, inserts, talkback, sum B>A and mono check, can be achieved using any standard Midi hardware control surface, supported by a Midi learn feature. A pair of user-assignable dual action push/hold buttons on the front panel or a foot-switch can also be assigned to the same collection of switching functions.

Sigma uses Midi over Ethernet for control and to connect to a cross platform software interface, which provides additional control and set-up capability. The software interface enables Sigma to be remote controlled using an iDevice software compatible interface.

 Sigma is due to ship in August 2013, costing £2799/US$4499/€3359 (exc VAT or Sales Tax).

More: www.solidstatelogic.com

Rupert Neve Designs has released the 5060 Centerpiece 24x2 Desktop Mixer, bringing the centre section features of the company’s flagship 5088 console to the desktop. The class-A analogue design aims to ‘cement outboard equipment together with serious custom transformers, flexible monitoring, DAW transport controls and the raw power of a Rupert Neve-designed 24x2 mix-bus’.

The 5060 Centerpiece takes the 5088 into a compact, modular format with extensive interconnectivity. In a modular, hybrid analogue/digital mix system built around the Centerpiece, gear can be integrated with this mix-bus. Using modern DAW control technologies, the 5060 integrates stem outputs from the DAW with the rest of the control room, sums the final mix, and provides two-track outputs, source selection, and multiple speaker feeds from the monitor section.

Custom transformers, a class-A mix bus and variable Silk control, the 5060 can provide a wide range of tonal options. The mix bus can be driven hard and Silk/Texture used in either of two different transformer saturation modes, or Silk can be disengaged. Used in conjunction with 5059 mixers and Portico modules, the 5060 forms the centre of a completely scalable analogue system. In this arrangement, the 5059s provide individual channel control, aux routing, and expandable channel counts, the Portico modules provide preamplification, EQ and dynamics, around the 5060.

More: www.rupertneve.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