Event Electronics has released its first three-way, close-field applications studio monitoring system, the 2030.

The Australian manufacturer is calling the 2030 a ‘category defining’ three-way studio monitoring system. ‘Both the 20/20BAS and the Opal are truly legendary speakers,’ says Event Global Sales & Marketing Manager, Damien Wilson. ‘Now we are able to offer an accurate, detailed three-way system at a price that makes the 2030 the clear leader in its category’.

Rather than simply adding a mid-range driver to the 20/20BAS configuration, Event has devised a new waveguide assembly to house the speaker’s mid-range and high-frequency drivers, as well as to optimise audio dispersion and power response characteristics.

For the critical mid-range a 3.5-inch cone transducer uses a pressed pulp and polypropylene cone, combined with an optimised magnetic circuit. The driver is loaded onto a shallow wave guide that results in increased sensitivity and output while generating very low distortion artefacts. Combined with an aluminum alloy dome tweeter, the mid-high wave guide assembly employs a set of electronic acoustic filters that are derived from Event’s flagship Opal studio monitor, to maximise phase, time correction and frequency response characteristics. The resulting signal processing achieves controlled audio reproduction and smooth frequency response performance extending above 20kHz.

A key design feature of the 2030 amplifier is use of a proprietary, soft clipping power amplifier design topology that prevents the amplifier’s output waveform from become jagged or harsh.

Event says the resultant monitor has ‘a precisely engineered acoustic design, signal processing and amplifier technology, providing an incredibly detailed and wide soundstage with a bass response that far exceeds what most would expect from a box this size.’

More: www.eventelectronics.com/2030

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

Community Professional Loudspeakers has added two high-performance monitors to its M-Class Series – the MX8 and MX10 are aimed at houses of worship, corporate presentations, musical theatre, education facilities, television, studio and live music performance.

Handling 300W and 500W programme respectively, the 8-inch MX8 and 10-inch MX10 use Community’s proprietary co-axial driver units. Their co-axial design gives same point source performance and the Tru-Phase conical high-frequency waveguide eliminates the transition anomalies that occur in most square and rectangular horns. This results in ‘exceptionally smooth phase and frequency response performance with reduced feedback, improved intelligibility and uniform coverage where it’s needed’.

The M-Class monitors have very high sensitivity, permitting the use of smaller power amplifiers to obtain high output levels. Precision engineered internal crossovers eliminate the need for bi-amplification, further reducing the overall system cost. They also incorporate two further innovations – Carbon Ring Cone Technology increases the effective cone area for greater performance and reliability, while Dyna-Tech multi-stage limiter circuits protect against damage from over-driving.

Compact and lightweight with a curved design, the MX8 and MX10 are available in black or white paint finishes. A single rear Ergo-Grip handle offers convenience for portable applications. Optional yoke mounting brackets for flush mounting the monitors tightly against a wall or ceiling are sold separately.

More: www.communitypro.com

Dynaudio Professional has released the DBM50 desktop monitor.

Featuring a 7.1-inch woofer and 1.1-inch soft dome tweeter, the loudspeaker uses hand-built components from the company’s home in Denmark. It offers a 46Hz to 21kHz frequency response.

DBM50 comes with the option of adding a controller that puts the user at the helm of volume control in any situation. Levels can be set and manipulated with completely independent of the computer or workstation in use.

Key Features:

Available 
in Q2 2012 in the EU and 
summer 2012 in the US, the DBM50 is priced at 

US$499 MAP each,
 €499 SSP each or
 £415 SSP each. The optional

 Volume Controller is priced at US$69 MAP,
 €69 SSP or £59 SSP.

More: www.dynaudioprofessional.com

Dynaudio Professional has released the M3XE monitor.

An anniversary edition of the Dynaudio Acoustics M3A three-way studio reference monitor, the M3XE is powered by two Lab.gruppen PLM10000Q amplifiers, offering a 20Hz to 22kHz frequency response and beyond 133dB SPL.

Key Features:

Available Summer 2012.

More: www.dynaudioprofessional.com

The latest addition to its range of Madi products, 4HM’s MADI-MON is a comprehensively featured 2U monitoring device with integral Madi to AES format conversion.

The MADI-MON is purpose designed for broadcast and production, providing auditioning of embedded channels without external routers or audio consoles. It is the first available device to provide studio engineers with the tools to view the status of embedded channels in a Madi stream.

Providing bargraph metering for up to 32 stereo pairs (64 channels), the MADI-MON provides ‘at-a-glance’ assurance of signal presence across the complete Madi stream. Selection of the stereo-pair to be audibly monitored is simple and intuitive, and once selected is also metered on a dedicated high-resolution stereo bargraph meter. It also makes 32 pairs of balanced AES/EBU and unbalanced AES3-id available simultaneously for interconnection to broadcast routers, audio consoles or any other AES equipped devices.

The status of the Madi stream can be interrogated using the Madi Data display. From here, it is possible to view useful information such as sample frequency, frame data and status bits of each embedded stereo-pair. Additionally, general configuration menus are also available such as selection of sync source (including wordclock, video, AES and Madi).

As MADI-MON can be used ‘in-line’, it offers both coaxial and optical Madi loop-through outputs.

More: www.4hmbroadcast.com

UK-based manufacturer MC² Audio has introduced the S Series Signature Reference Power Amplifiers. Aimed at studio applications, the amplifiers are designed for use in the most demanding monitoring environments, but to be equally at home in any application where transparency and ‘no compromise’ performance are required.

The S Series is the culmination of years of work undertaken by MC2 Audio Technical Director and co-owner Terry Clarke: ‘Our first amplifier range came very close to being the best and we won many plaudits from different market sectors, however the new S Series has taken the audio quality to another level,’ he says.

The S Series uses MC2 Audio’s complimentary AB bipolar output stages, combined with the unique MC2 Audio current driven floating drive stage. Remaining true to its roots, analogue level controls are provided for ease of use and minimal signal degradation. Sophisticated sidechain limiters prevent speaker damage and distortion. These stay out-of-circuit until the onset of clipping so do not compromise the signal path under normal working conditions.

The S Series comprises two models – the S800 and S1400, both of which feature bespoke high fidelity shielded toroidal power supplies and intelligently controlled, low noise fans.

Weighing in at 20.5kg (42.5lbs), the S800 packs plenty of punch, running 8Ω loads at 475W and 4Ω at 950W. The big brother S1400 weighs 23.3kg (51.4lbs), producing 775W at 8Ω and 1.5kW at 4Ω.

‘The S Series is a very welcome addition to our range,’ says Group Sales and Marketing Director, Bill Woods. ‘Our unique position held in live, installed and the more challenging recording studio market is testimony to MC² Audio’s belief that superb audio quality remains as important to our customers as it does to us.’

All S Series are covered by MC2 Audio’s real world five-year warranty.

More: www.xta.co.uk

The release of LSR4300 Control Center Software extends control of JBL’s LSR4300 Studio Monitors to the Apple Macintosh OS-X Lion platform.

Aimed at computer-based project studios, postproduction and broadcast facilities, the speakers’ functions can be controlled from computer-based digital audio workstations.

The LSR4326P (powered 6-inch two-way system) and the LSR4328P (powered 8-inch two-way system) include Harman HiQnet network protocol that enables system-wide intelligence and allows speaker features to be centrally controlled from the mix position by computer or supplied wireless remote control. Control Center software provides control of volume, analogue or digital input source selection, solo, mute and EQ, for all networked speakers, removing the need to purchase an outboard speaker controller. Additionally, the software allows the user to create custom EQ presets, store and recall system configurations and view settings of the RMC system.

‘We engineered the LSR4300 Series to address the needs of today’s computer recording customer,’ said Peter Chaikin, Director of Marketing, Recording & Broadcast at JBL Professional. ‘With exceptional accuracy, RMC Room Mode Correction and software control, the LSR4300 Series studio monitors deliver outstanding performance in any room.’

JBL LSR4328P and LSR4326P Series Studio Monitors are available in pair packs that include an accessory kit containing LSR4300 Control Center Software, a calibration microphone, remote control, USB and network cables. Existing users can dowload the new software from the JBL web site.

Download: www.jblpro.com/LSR

Bel is to launch a 2U-high audio/video monitor and de-embedder at IBC 2012.

Called the BM-AV2-E16SHD, the unit is latest addition to Bel’s monitor range, and offers Dolby decoding with 16 individual bargraph meters mounted alongside a high-quality, 5-inch display.

BM-AV2-E16SHD features a pair of auto-detecting 3G/HD/SD SDI inputs (with loopthrough) and ten analogue audio inputs (Channels 1 & 2 are provided with two summing inputs each) and eight AES-3id pairs. The detected audio inputs are displayed via the 16 high-resolution multi-coloured LED bargraphs on the front panel. Selected audio channels are also provided as AES-3id and analogue outputs on the rear panel.

Two versions of the unit will be available – one with Dolby decoding and a second without. Complete specifications will be released at IBC and will appear on Fast-and-Wide as soon as they are available.

More: www.beldigital.com

Designed for use as a close-field monitor or as a rear loudspeaker in larger multichannel systems, the Neumann KH 120 is intended for use in tracking, mixing and mastering in music, broadcast, project and postproduction studio applications.

The model features a Mathematically Modelled Dispersion (MMD) waveguide, flexible acoustic controls, analogue class-AB amplifiers, various input formats and an extensive mounting hardware range.

A subwoofer, such as the Neumann KH 810 can be added to extend the low-frequency response down to 18Hz and to increase the overall maximum output level of a system.

More: www.neumann-kh-line.com