UK-based automation specialist Kinesys has released LibraWatch, a free multi-platform load-monitoring software app which works with Windows, Mac, iOS and Android operating systems. The application integrates with the company’s LibraCell, LibraPro and LibraWIFI.

LibraWatch offers a flexible and fully mobile solution designed so load information can be viewed quickly and clearly via a wired network or through a LibraWIFI wireless connection on multiple portable and hand-held devices. Once installed on a computer, tablet or smartphone, LibraWatch enables the load data of a rigged installation – using compatible Kinesys products – to be seen in tabular, graphical or plan formats.

Users have the freedom to move freely around the venue or working space and still have direct access to load data on a flown rig.

Overload, underload and custom alarms and warnings can be viewed simultaneously on multiple devices, giving complete control over the integrity and safety of a rigged system in real time. Key parameters can also be edited remotely – access permitting - and two levels of password protection can be set to regulate viewing/editing access and permissions.

A LibraPro power supply is connected to LibraCell shackles via daisy-chained XLR4 cables. The information gathered by the LibraPro is then passed to the LibraWIFI unit via an Ethernet connection, enabling data to then be retrieved wirelessly.

LibraWIFI’s inbuilt Firewall ensures that only Kinesys applications can access the Libra network, so the load data and measurements displayed by LibraWatch are accurate, safe and reliable.

LibraWatch can be downloaded from the Apple Store for iPhone and iPad, from Google Play for Android devices and from the Kinesys website.

More: www.kinesys.co.uk

PreSonus has released the StudioLive AI-series Active Integration Loudspeakers, claiming them to be ‘the first active loudspeakers that deliver studio-monitor accuracy onstage’.

All StudioLive AI-series speakers incorporate Fulcrum Acoustic's TQ Temporal Equalization algorithms, which use FIR filters to eliminate horn reflections and correct linear time and amplitude anomalies. Another key component of the design is its use of Active Integration technology, which combines wireless and wired networking and communications with the aforementioned powerful DSP to create a unified working environment.

All StudioLive AI-series loudspeakers include a USB Wi-Fi module to connect to SL Room Control software over a wireless network. SL Room Control is a system-configuration application for Mac OS-X, Windows and iPad that provides both individual and grouped speaker control and includes a 31-band graphic EQ and an eight-band parametric EQ, mute, solo and level control, in addition to performance monitoring (over temperature, click detection, and excursions). A network-setup wizard is also included to connect each speaker to a wireless network. An Ethernet port on each speaker can be replaced with an AVB option card (available late 2013).

Full-range AI-series loudspeakers are available in three configurations. Each powered, three-way loudspeaker uses a custom-designed, 8-inch coaxial speaker with a 1.75-inch titanium compression driver to reproduce the mid and high frequencies. The triamplified, Class D power amplifiers in each model (quad-amped in the 328AI) deliver a combined 2kW of power.

The StudioLive 312AI has a 12-inch ferrite speaker to handle low-frequency reproduction. Featuring dual 8-inch ferrite speakers for low-frequency reproduction, the StudioLive 328AI delivers full-range, high-powered performance, yet is streamlined and compact. For the large venue that needs a bigger low-end, the StudioLive 315AI provides three-way operation with a 15-inch speaker for the lows.

Each full-range system has a combo XLR/TRS line input and an XLR microphone input with an XMax class-A mic preamplifier and 12V phantom power, as well as an XLR audio throughput. The full-range speaker systems are pole-mountable and have two side handles, interlocking stacking and M10 fly points. All enclosures are of lightweight plywood construction.

Three operation modes allow a choice of DSP presets for differing applications, such as MP3 playback, live performance, or stage monitoring. Users can also create a custom preset using SL Room Control and store it onboard for use later.

In addition to the full-range, three-way systems, PreSonus has released the StudioLive 18sAI, a powered, 18-inch, ferrite subwoofer designed to complement the full-range StudioLive AI speakers while still being flexible enough to work with other powered loudspeakers. A 1kW amplifier powers the subwoofer. The StudioLive 18sAI offers stereo line inputs (XLR/quarter-inch combo) and full-range stereo line outputs (XLR) that can be summed to mono. An alignment delay can be set to 0, 2, or 4 feet, allowing the subwoofer to combine with a full-range system.

Each full-range, three-way speaker system includes a switch that engages an External Subwoofer mode. In this mode, a custom low-cut filter ensures that the bottom frequency range of the woofer and the top range of the StudioLive 18sAI subwoofer overlap, and an alignment delay and phase correction are enabled, creating a true time- and phase-aligned, four-way system.

The StudioLive 18sAI subwoofer offers an additional alignment delay that can be set to 0, 2, or 4 feet, allowing the full-range system to be placed on the subwoofer pole (the 0 setting) or with the subwoofer in front, or with the full-range system onstage and the subwoofer on the floor.

Custom accessories for the AI-series speakers include a mountable Sub Dolly to make hauling the 18sAI subwoofer easy and a pull-tested Sub Pole to mount a full-range system on the 18sAI. An M10 Kit, which contains four M10 eyebolts, lets you fly any full-range model in a permanent installation. Protective covers for the 312AI, 328AI, 315AI, and 18sAI are also available.

All models are expected to ship late in the first quarter of 2013.

More: www.presonus.com

Genelec’s M Series bi-amplified active monitors are the first models released as part of the company’s ongoing sustainable initiatives known as GES (Genelec Embedded Sustainability). The goal in their development ‘was to proceed with a sustainable mindset without sacrificing the accuracy and reliability for which Genelec has been known for the past 35 years – while also offering something new and innovative for project studio customers’.

The first M Series models to be introduced are the M030 and the M040, which use a Natural Composite Enclosure (NCE) manufactured for Genelec in Finland from wood fibre and recyclable material. The loudspeakers feature rounded edges and gently curved front and sides to minimise cabinet edge diffraction and optimise imaging. Both models also use a Laminar Integrated Port (LIP) for accurate low-frequency response and minimised enclosure vibration, and an integrated advanced Directivity Control Waveguide (DCW).

The M Series models feature new class-D amplifiers developed by Genelec’s R&D/engineering team. The amplifiers are highly efficient, low distortion amplifiers that run cooler and are lighter than class-A/B amplifiers. They also feature Intelligent Signal Sensing (ISS) power management with auto power-off/auto power-on and with the standby power consumption of less than 0.5W. Automatic voltage selection allows the monitors to operate throughout the world. Additionally, the M Series has high-performance drivers, intuitive room response controls and system calibration with XLR/TRS and unbalanced RCA inputs.

The M030 uses a 5-inch woofer and 0.75-inch metal dome tweeter, powered by 50W and 30W amplifiers respectively. The free-field frequency response is 58Hz to 20kHz (±3dB), while low distortion peak SPL is 103dB at 1m. The M040 uses a 6.5-inch woofer with a 1-inch metal dome tweeter, powered by 80W and 50W amplifiers respectively. The free-field frequency response is 48Hz-20kHz (±3dB), while low distortion peak SPL is 107dB at 1m.weighs 15.4 lbs (7.4kg).

The Genelec M030 and the M040 Bi-amplified Active Monitors will ship in June 2013, with US MSRPs of M030 $695.00 (each) and M040 $995.00 (each).

More: www.genelec.com

The recent London Palladium production of Elvis – the Ultimate Performance saw Allen & Heath’s GLD digital mixing system prividing both FOH and monitor support to this tribute to The King.

The show stars the world’s leading Elvis performer, Chris Connor, accompanied by a comprehensive band comprising drums, bass, rhythm and lead guitar and keyboards, along wth a dedicated wind band, brass section containing sax, flute, trumpet and trombone, and four backing vocalists.

Using AR2412 and AR84 input expander units, the system provided 28 inputs on stage and three inputs into the GLD-80 mixer for playback and talkback. The desk was also fitted with a Dante card, enabling a previous multitrack recording of the show to be used for virtual soundchecking, to assist the system set up and EQ.

‘It’s a great advantage when going to a new venue to be able to hear the PA as if the band were playing on stage,’ says the show’s sound designer, Tom Cox. ‘GLD also makes it easy to switch between Dante and the stagebox inputs.

Cox also made use of the new GLD iPad app, GLD Remote: ‘The Palladium’s FOH position mainly receives sound from the delay speakers, so the iPad allowed me to move around the auditorium during set-up, and hear what the show would sound like in different seats,’ he says. ‘It also improved monitor set up, as I could EQ monitors on stage and set mixes with the musicians as they heard it too.’

Elvis – the Ultimate Performance recreates two landmark performances from Elvis’ career – the ’68 Comeback Special and the Aloha from Hawaii – and features a selection of signature songs, including ‘Suspicious Minds’, ‘Heartbreak Hotel’, ‘Blues Suede Shoes’, ‘Jailhouse Rock’’ and Love Me Tender’.

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

Yamaha has announced the HS Series of active studio loudspeaker monitors.

The new line comprises the 5-inch HS5, 6.5-inch HS7, 8-inch HS8 and HS8S subwoofer. All models are full-range. bi-amplified, two-way bass-reflex loudspeakers, and feature a new high-resolution 1-inch dome tweeter designed for extended high-frequency response to 30kHz with very low distortion. They are also equipped with a newly designed, high-power woofer.

HS Series enclosures are constructed from a dense and resilient MDF, with a traditional three-way mitered-joint technique to improve durability and eliminate unwanted resonance. Through in-depth analysis, Yamaha claims to ‘have arrived at the ideal port design, resulting in a reduction of audible noise up to 6dB’.

HS Series full-range models feature two frequency response controls. High trim and room control allow them to be adapted to the acoustics of rooms of varying shape and size. The full-range speakers feature XLR and TRS phone jacks that can accommodate a balanced and unbalanced input sources.

The HS8S subwoofer has a high-cut control, pahse reverse switch, low-cut control and low-cut switch, adding flexibility for system optimisation. The subwoofers also feature XLR and TRS phone jack inputs and for outputs XLR for LR and external subwoofer out.

‘Following in the tradition of our very successful predecessors, the second generation of HS Series monitors was designed to provide stunning accuracy that is ideal for nearfield monitoring’ says Yamaha Pro Audio Division General Manager, Kazunori Kobayashi. ‘With an additional 6.5-inch full-range model and optimized performance throughout the series, we are pleased to accommodate an ever wider range of applications and meet the requirements of professional recording environments.’

More: www.yamahaproaudio.com

A commemorative concert held at the Royal Festival Hall held to celebrate the 30^th anniversary of the London Community Gospel Choir also provided the platform for an attempt on the world record for the largest gospel choir singing live in concert.

Previously held by a 1,138-strong German ensemble, 29 gospel choirs joined the London Community Gospel Choir (LCGC) along with special guests Jocelyn Brown, X Factor runner-up Jahmene Douglas and Magic FM DJ Angie Greaves, who was the MC.

Richard Nowell Sound Services – the preferred supplier of live sound equipment to the South Bank Centre – provided Shure UHF-R wireless microphone systems (comprising UR4D receivers and Beta 58 handhelds) and PSM1000 in-ear monitoring systems for the concert from its own inventory. ‘All of our radio mic systems are Shure, and have been for a while,’ says RNSS Projects Manager, Neil Herd. ‘Richard Nowell decided a couple of years ago that Shure seemed the most efficient wireless option overall, given the current background of the digital switchover and the likelihood that the RF spectrum available for radio mic use over the next few years is likely to be more limited. Once that decision was made, we got the UR4D systems and also some PSM1000 in-ear systems. We have been using in-ear monitors more and more for performers in recent years.’

Officiators from the Guinness World Record Global Records Management Team, led by their Director Marco Frigatti, circled the Royal Festival Hall as the 30-choir strong choir sang the gospel standard ‘Oh Happy Day’ and the LCGC’s own ‘Keep Moving’, and eventually concluded that although some of the people in the hall had to be disqualified as they were not singing, the record for largest number of people singing in a live gospel choir had nonetheless been broken, and now stands at 1,169.

Shure Distribution UK’s John Ellis, who sang in the massive choir, commented: ‘It was an amazing evening, and the radio mics did a great job of conveying some very crisp vocals from the key singers. The atmosphere in the hall when the Guinness team announced the record had been broken was unbelievable – we really raised the roof.’

More: www.shuredistribution.co.uk

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

Studiomaster has introduced the Starlight line of integrated sound and lighting speaker cabinets.

Claiming a world first, these integrate FOH and monitor sound and stage lighting, combining both duties within a pair of portable trapezoidal PA cabinets. Comprising two stand- or pole-mountable, two-way 12-inch or 15-inch cabinets, Starlight combines 250W FOH reinforcement and a 50W side-mounted monitor driver within each cabinet.

Each cabinet features a rear panel mounted two-channel mixer with three-band EQ, and an external source monitor input and level control. Each cabinet also incorporates a recessed side slot housing six high-power LEDs with wide dispersion lenses. The in-built lighting controller features 13 programs, including seven static colours, fade-to-colour change and sound-to-light. Brightness and speed of transitions are adjustable.

More: www.studiomaster.com

Bel Digital Audio has expanded its range of audio and HD video in-rack monitors with the introduction of the BM-A1-E16SHD – a 1U-high audio monitor capable of extracting and monitoring all 16 audio channels embedded in two 3G/HD or SD SDI video streams, plus provides the ability to monitor multiple analogue and digital sources.

Configuration of the BM-A1-E16SHD and signal status display is via the front panel. Selection of inputs to be monitored is via a rotary rather than screen driven menus. Selected inputs are displayed on eight high-resolution multi-coloured LED bargraphs (selectable in two banks for Channels 1-8 and 9-16 respectively). Channels 1-8 are also provided as AES-3id and analogue outputs on the rear panel.

Inputs consist of a pair of auto-detecting 3G/HD/SD SDI inputs plus eight analogue audio inputs and four AES-3id pairs. An SDI re-clocked loop-thru connector is provided enabling connection to downstream equipment whilst a redundant power supply reinforces the monitor’s high-end broadcast credentials.

The new monitor comes in two versions; one with the optional Dolby decoding facility fitted and the other without. With Dolby decoding enabled, the unit handles Dolby E, Dolby Digital and Dolby Digital Plus material from any of the AES inputs, or from any embedded audio pair within the SDI bitstreams. Comprehensive metadata reporting is also provided via the front panel display.

‘Both units are already in full production with units already shipping and we are finding that the monitors are gaining particular favour in installations where rack space is limited and ease of use is a key requirement sometimes as a direct result of that confined space,’ says Bel’s Barry Revels. ‘We have also been able to hit a really keen price point with these two units, while maintaining both quality and features –that has been reflected in the high levels of initial interest we have seen not just from our dealers but from outside broadcast providers and several systems integrators we work closely with.’

More: www.beldigital.com