Havana-based audio rental and production company OKeventos is using value Audinate’s Dante Audio-over-IP networking for projects ranging from live multitrack recording to television production.

‘We mainly provide services for live concerts, but also support corporate, theater, dance and sporting events across Cuba,’ says cmpany owner and President, Mauricio Blanco. ‘As a live sound engineer, digitisation brings comfort with reduced set-up times, simpler and more secure connections, lower noise levels, low latency and higher capacity. I underwent an exhaustive study of all digital audio networking solutions, and in my estimation no one beats Dante.’

The recently released Live in Cuba album by Wynton Marsalis (Blue Engine Records) made Blanco the first sound engineer to use Dante in Cuba. When it was recorded in 2010, Blanco sought a simple way to multitrack both the recording and a live TV broadcast with the digital audio networking solutions available at the time – including CobraNet. He found that Dante would further streamline the installation process, using single-wire connections to move 40 channels of audio between his Yamaha M7CL console (fitted with Dante MYAUD16 modules) and an off-the-shelf switch.

From there, the team used Dante Controller software to enable signal flow to Cubase DAW software for live multitracking – again, for both recording and TV broadcast.

In the years following the Live in Cuba project, OKeventos has extended its Dante architecture by adding two Yamaha CL consoles, Yamaha RIO stageboxes, and an Allen and Heath iLive digital mixing system. The expansion of the Dante systems has brought further flexibility and versatility to various production projects that keep the company busy around Cuba.

On the live sound side, they used a Dante network to link several mixers used to produce the 2016 Diplo and Major Lazer concert in Havana, which was attended by more than 450,000 fans. Blanco was also the first to use Dante for reality TV in production for Sonando en Cuba, which he calls a ‘tremendous success’.

‘We are regularly moving signals over long distances – typically more than 100m – without any interference from electric traffic, radio signals and dmx wires that are in close proximity,’ he says. ‘The Dante audio is clean, and to date we have not had one failure using Dante. Its ability to support redundant signals adds further comfort for protecting our content and productions.’

Blanco expects to continue expanding his Dante Audio-over-IP networking architecture. He is now evaluating the many available Dante-enabled products for routing audio directly to PA systems.

‘We are already saving hours at a time in set-up with Dante, and extending that network to the PA systems will further reduce that labour and save money,’ said Blanco. ‘Current market conditions put a major emphasis on reducing set-up time, storage volumes and transport weights. Dante is superior in all these aspects, and brings great value to these essential requirements.’

More: www.audinate.com

Italian pro audio loudspeaker systems manufacturer Outline has added Singapore-based OneCircle LLP to its international distribution network as sole distributor for Singapore and Brunei.

Although a newly formed company, OneCircle’s founder and Managing Partner Hikam Ali is familiar with Outline’s product range, having worked for Outline’s previous distributor in Singapore. ‘OneCircle has decided to concentrate solely on Outline Audio, without compromising its standards handling other brands, and is therefore fully committed to solely promoting Outline,’ he says.

‘By demonstrating portable, live sound and fixed install systems in schools, places of worship and other venues, we’re making sure the systems are being heard, and we believe that potential clients will be convinced that Outline offers the best of its class in all fields once they have heard its products properly.’

In July 2016, OneCircle supported a pro audio workshop held at the Malaysian Mega Chinese Methodist Church. ‘The 17 churches that attended during the week for the demonstrations in Petaling Jaya were really impressed,’ OneCircle Director/Partner Miqael Das reports. ‘We are committed to education and helping users in the audio community enhance their technical skills and know-how.’

‘When I was approached by OneCircle, I was happy to use their Outline range of loudspeakers, power amplifiers and processors as demonstration equipment and teaching aids in my workshop, as I have used Outline systems in several projects and was satisfied with their performance and quality,’ says consultant and trainer, Robert Soo. ‘However, we are equally happy demonstrating the speaker systems to individuals on a one-to-one basis,’ Das adds. ‘The products all have four-year warranties and we ensure round-the-clock technical and software support from Singapore. Very shortly, we’ll be promoting the GTO and GTO C-12 systems, as soon as we have inventory.’

Outline has a number patents to its credit and has received various awards for product innovation and design excellence. ‘Hikam, Miqael and the team are fully committed to promoting and supporting Outline in Singapore and Brunei,’ says company CEO Giorgio Biffi. ‘We’re looking forward to working with OneCircle, as it is showing drive and initiative.’

‘Here in Ottawa we’re sandwiched between Toronto and Montreal, which means we face stiff competition from large regional providers on the major events,’ says Neil Collier, Senior Project Manager at Wall Sound & Lighting.

The company’s answer lies with the Meyer Sound Leo family loudspeakers to serve the region’s high-end event rental market.

‘Our recent investment not only has helped us maintain our major share of the local market but also helped us grow our business in new directions by securing larger and more & Lighting supplies sound, lighting and staging services for a broad range of arts/entertainment, corporate and government events throughout the Ottawa region. A longstanding client is the RBC Royal Bank Bluesfest, a somewhat misleadingly titled event as it now features a broad range of genres. The new system made its main-stage debut in 2016, for Billy Idol, Duran Duran, The Lumineers, Brad Paisley and The Red Hot Chili Peppers.

‘The response among our clients has been extremely positive,’ Collier reports. ‘Promoters and mix engineers have noticed the improvement, and the sound quality has even been praised in newspaper and web reviews – which usually only mention sound when it’s bad. And of course it’s accepted on riders by major touring artists.

‘The fast set-up and take-down makes a huge difference in tight time frames, and the extremely long throw capability means we don’t need delays in most situations,’ he observes.

Wall Sound & Lighting’s most recent acquisition includes Leo-M and Lyon-W line array loudspeakers plus additional 1100-LFC low frequency control elements to supplement an existing stock of the sub-bass units. The company also offers an extensive inventory of Milo and Mica line array loudspeakers and 700-HP subwoofers which are available either as separate rental systems or for deployment to augment Leo Family arrays in large outdoor applications.

‘With the Leo Family, we are continuing our 25 years of success with Meyer Sound systems,’ Collier says. ‘Meyer Sound always has been an exceptional supplier in terms of sales and technical support. And astonishing longevity makes Meyer a safe long-term investment. Our MSL-4s, for example, are still earning income long after other loudspeakers of the era have become obsolete.’

Established in 1979 by owner Terry Wall, Wall Sound & Lighting is a full service provider of production technology, including sales, rental and installation of audio, lighting and staging equipment. The company services events of all types and sizes, from corporate meetings in hotel ballrooms to major concerts in arenas and stadia.

Now among Italy’s best established electronic and visual arts festivals, Nextech has hosted international EDM acts since 2006. For the past four years, the event has been held in the Cavaniglia Hall at Florence’s Renaissance Fortezza da Basso. With Germany’s Chris Liebing in the top slot, Emporio On Stage handled the sound.

To ensure the huge number of fans who flocked to the Florence heard why Liebing’s name has become a byword on the international EDM and Techno scenario, Emporio On Stage – the first Italian rental firm to purchase Outline’s GTO system – the Scandicci-based audio contractor called on its recently expanded its Outline stock of 12 Mantas 28 line array systems.

‘The main system comprised two stacked arrays of six Outline GTO per side and two more arrays, each with three GTO per side on in-fill duty,’ explains company owner Angelo Catoni. ‘We installed eight Outline DBS 18-2 subs and 4+4 Outline LAB 21 HS infra-subs for the bottom end at the stage and, half-way down the room, we added more punch with 4+4 DBS 18-2 subs.

‘The organisers immediately realised the GTO rig had a great throw and at the far end of the 100m-long room everything was in phase, with coherent well-defined sound in both high and low frequency ranges,’ he reports.

Liebing was also very impressed with the system: Half-way through his soundcheck, he left one of his tracks playing and we walked round the large room,’ Catoni says, ‘He said it was the first time he’d heard such uniform sound so far from the stage.’


Regarding the Outline Vegas 15 CX monitors used by the artist, Catoni concludes: ‘We suggested an A/B face-off between the Vegas and the model on his technical rider – by a top manufacturer - here again he was knocked out by the sonic definition and power provided by the Vegas 15, matched with an Outline DBS 18-2 sub, and asked us to put in another pair to complete his monitor set-up.’

More: www.outline.it

The first and largest EDM event in South China, the Electric Jungle Music Festival was staged at the huge Shenzhen Universiade Center for its 2106 edition.

The festival, which featured sets by jungle artists such as R3HAB, Knife Party and Adventure Club, was presented by Jungle Events and organised by MNET Media. The venue was inaugurated five years ago, and designed to host international sports, as well as large-scale events and concerts. For the second consecutive year, Guangzhou Haona Audio Equipment Co was the audio supplier.

As well as running for two days instead of the previous one, the festival also added a second stage – where Haona, Italian audio manufacturer Outline’s distributor for China, fitted it out with 12 of the company’s GTO loudspeakers and six GTO-Subs. The rig was powered by a pair of Outline X8 and 12 Outline T11 amplifiers. 

The main stage was served by an L-Acoustics K1 and K1SB rig, with Kudo cabinets, KS28, SB28 and SB18s in support. The mix used a DiGiCo SD9 console. Outline loudspeaker systems were also used in the event’s VIP area, where six  GTO C-12 line source arrays were set up.

‘The event’s general lighting and sound contractor, Music Trick Lighting, asked us to take on the project because our equipment was ideal for the show and we provide strong technical support,’ Haona President Kong Qinghua explains. ‘Music Trick has an in-depth training programme for dealers and distributors, which provides consistent standardised technical support in each country, which is a great benefit in guaranteeing show’s results.’

The large venue offered challenges for the Haona team: ‘There were small hills with trees and the fact that the organisers added a VIP zone meant we had to calculate coverage precisely before the show, taking all these factors into consideration,’ Kong explains. ‘Some adjustments were made onsite and we had just two days for setup and alignment.’

Careful planning was required to ensure that the best possible solution was implemented and communication was key: ‘It’s very important to communicate with customers before shows and plan accordingly,’ saysHaona MD, Huang Zhenan. ‘Manpower can be arranged and equipment checked at the warehouse, but if last-minute changes have to be made, these can pose another big challenge.

‘Whereas concerts or touring shows last two to three hours and clubs operate four to five hours nightly, the festival’s sound reinforcement needed to be able to run for eight consecutive hours, with full power energy and at a very high SPL, which was very demanding for the products. We ensured plenty of headroom when we designed the system and were confident that we didn’t need back-up.’

Warsaw-based Phono Media has been appointed as Martin Audio’s new distributor in Poland.

Set up in January 2010 to serve fixed installations, the company represents a number of leading pro audio brands as well as control and signal management equipment through a network of 40 authorised partners and 150 resellers. The company first approached Martin Audio when looking for premium-quality systems for club installations.

‘We had a gap in our portfolio for a top quality brand which offered high-powered cabinets,’ says Phono Media Director, Jacek Stanislawski. ‘The major advantage with Martin Audio is that you can see their products used on the biggest of shows with top headline acts, while in the installation sector they offer a wide range – from AM series for stadia and arenas to CDD Weatherised. This will also open new markets for us.’

Stanislawski notes that, while Martin Audio has a strong profile in Poland, his aim will be to provide a strong after-sales service and technical support: ‘There is never any discussion about the quality of the products,’ he says, ‘but it is in service back-up that we can make a difference.’

In addition to the AM and CDD lines , Phono Media sees potential for the BlacklineX in music clubs: ‘This is the perfect tool, with a great price/quality ratio,’ Stanislawski  says. ‘We also see MLA Mini, as a perfect door-opener for small and medium size rental companies.’

Phono Media has wasted no time in opening its account with an installation ShowCase music club in the centre of Warsaw, where four Blackline F12+ boxes and two S218+ subs aremanaged by a dedicated DX0.5 controller. In the rental sector, Poland’s oldest company, Musnicki Sound System, operates a full MLA system.

‘To be working with a partner that carries such a broad product portfolio opens up a number of opportunities in the markets in which, until now, we had less presence – such as rental and installations in theatres, cultural centres and sport arenas,’ Stanislawski says. ‘At the same time, cooperation with such an experienced partner as Martin Audio will strengthens our position in established areas such as music clubs, hotels and restaurants.’

‘Phono Media sees this as the next logical step to build its brand and that of Martin Audio in Poland,’ says Martin Audio EMEA Sales Manager, Bradley Watson. ‘The company has an established network of system integrators, venues and links to rental companies, and have the expertise and drive to push and develop Martin Audio into 2017 and beyond.’

More: www.martin-audio.com

The decision to return the Plasa to London’s Olympia has been declared a great move by its organiser. ‘There was an amazing atmosphere in Olympia during the three days of the show,’ says Plasa Director of Events, Christopher Toulmin. ‘The vibe was right, the quality of visitors was high and business was being done… the very definition of a great show.’

Attendance was repoted to be strong across all three days of the event, with 60 per cent registering as final decision makers and specifiers. Exhibitors also reported an increase in international visitors, further validating the decision to move the event back to West London. ‘We were delighted to welcome new brands to the show floor including Adamson, DAS Audio, EM Acoustics, Audio Technica, SFL, Shermann Audio, Roland UK, plus XTA, d&b audiotechnik, SSL, Focusrite and Bel Digital who took part in our first one-day Dante Training Workshop,’ Toulmin  says. ‘We also saw the return of Clay Paky, Chauvet, Elation, Leisuretec, GLP, Robe, Area 4 Industries, Robert Juliat, SSE and we were especially pleased to welcome back Philips to the show floor.’

Plasa saw an increase in representation from audio manufacturers, either exhibiting in their own right, or in partnership with their dealers and distributors. The seminar programme included audio sessions such as Pin the Mic on the Actor, A/V Installation Strategy for Venue Owners and Beyond Surround – immersive sound techniques; and educational events included Audinate’s Dante Training Programme and
Merlijn Van Veen’s Low Frequency Control primer, 

‘Plasa needs people from the audio industry to get behind it,’ says SFL MD Tom Jeffery, a first-time exhibitor at the show following the company’s appointment as a d&b audiotechnik sales partner. ‘We’re going through a change in our industry. Plasa needed to adapt and I think that process has started. We’ve known Plasa’s new managing director Peter Heath for a long time through Roland and it’s great to have that fresh blood coming in. 

For loudspeaker manufacturer Adamson to, presence at the show was prompted by the appointment of a UK distributor. ‘Historically, we didn’t have a distributor in the UK,’ says Adamson European sales manager, Jasper Ravesteijn. ‘Recently we found a very good one in The Warehouse Sound, who are exclusively selling our products in the UK. Our growth is very natural, but very fast, particularly within Europe so it’s a logical thing to be here and support our new distributor and to maximise the support we want to offer in the UK.’

‘We’re here to support our dealers,’ says d&b audiotechnik’s Gianni Abruzzese. ‘It’s ideal for us to partner with them here and means that our customers don’t need to search out the companies that they can buy from, or who can work with them on their projects once they’ve seen us.’

‘It’s probably the area in the UK where we see the most opportunity for us to increase our market share,’ says SSE’s Alex Penn. ‘From a customer perspective, it’s much better to be speaking to service companies such as SSE Audio Group/Wigwam. That way they’re liaising directly with the people that will be supplying them with both products and services. As we represent a range of different manufacturers, we’re perfectly placed to do that.’

‘As the UK is a key market for us, it’s important for us to be present at Plasa and we’re very pleased to be a part of the SSE stand again,’ says L-Acoustics’ Mary Beth Henson. ‘The new location in the heart of London seems to have energised the show and we are especially heartened that Plasa is working to expand the audio content.’

Tim Shaxson from digital mixing console manufacturer, DiGiCo, adds: ‘We were represented by the SSE Audio Group and Autograph, who both has the new DiGiCo S31 on their stands and are showing our Stealth Core 2 software on the SD Series consoles. As the manufacturer, it’s good to be supporting our UK dealers. Both SSE and Autograph have done a great job in representing us here.’

‘In these three days at the show, I get to see around 60 percent of my clients,’ says Autograph’s Peppe Mallozzi. ‘It would take me a year to go round and see all those people otherwise. We’re very pro Plasa.’

Plasa’s free-to-attend seminar programme remains a key element of the show, and featured presentations by Durham Marenghi on lighting the Olympic ceremonies in Rio as well as a Production Masterclass from Ola Melzig and Fredrik Jönsson on Eurovision 2016. This year’s show also featured the seventh edition of the Rigging Conference and hands-on console training opportunities.

A new feature alongside The Innovation Gallery was The Eploratorium, an experiential maze curated and produced by Darryn De La Soul of Soulsound. This featured experiments created by manufacturers and leading educational establishments – loudspeaker manufacturers d&b audiotechnik and Funktion-One among them – culminating in an interactive art installation by Iris Musel that explored the notion of visual and sound perception in relation to dementia. It attacted more than 1,400 people.

‘Well, it seems like the Plasa Show has got its mojo back,’ says Jonathan Walters from AC-ET. ‘It was an excellent show for us. Very, very busy, a lot more international leads than expected, a lot of key players visiting and a real buzz throughout the hall.’

‘We were constantly busy and had great interest from the theatre community and we were particularly pleased to see so many of the up and coming engineers involved,’ reports EM Acoustics’ Dave Kelland. ‘Plasa 2016 is one of the best trade shows we’ve ever done. In fact, it was so good I didn’t want to leave.’

‘I was very pleased with this year’s edition of the Plasa show,’ adds Ola Melzig from M&M Production Management, who co-hosted the Eurovision 2016 seminar. ‘Moving it back to central London was a great decision and it feels like the heart and soul of the show is back. I’m already looking forward to 2017. Congratulations to the whole Plasa team for a job well done.’

The 2017 show will be held in Olympia, 17-19 September.

More: www.plasashow.com

Turkish PA company Playback Music has invested in three Allen & Heath dLive digital mixing systems, each comprising the flagship dLive S7000 surface with DM64 MixRack fitted with Dante networking cards.

The systems have already been put to work at Ata TV studios for the popular O Ses Turkiye programme, a local version of the reality talent search, The Voice.

For the TV show, the monitor DM64 MixRack manages 60 channels of analogue inputs from the live studio band, plus the commentator and competitor mics, which are shared via Dante to the FOH and broadcast dLive consoles. The systems also manage multichannel recording with a Mac DVS.

‘All of the sound engineers and musicians involved in the show are very happy with dLive’s transparent preamps and sonic quality,’ reports Playback Music owner, Cenk Yıldız. ‘The engineers particularly like the interface and flexible workspace of the dLive Surface, and the excellent EQ and dynamics.’

More: www.allen-heath.com

The current Post Traumaticsolo tour by Linkin Park’s Mike Shinoda set out with mix engineers Mike Fanuele and Kevin ‘Tater’ McCarthy sharing a single DiGiCo SD12. After the first show, the SD12 moved on for  tour legs in Asia and Europe, and McCarthy – associated with Shinoda for more than a decade – spec’d twof DiGiCo ultra portable SD11i desks for the promo tour that preceded the Asia dates.

‘A lot of people have asked me why I choose the SD11i,’ he reports. ‘Originally, it was just Mike Shinoda and no other band members. The band and additional crew where added after the gear had shipped to Hong Kong. After a few shows, I was comfortable with the all the new inputs and with the 12-fader format, so I decided to keep it. It never came off that table rack. I just popped the lid every day and was ready to go.’

Understanding power amplifier technology and terminology (John Meyer)

London-based event company Capital Sound has made its first investment in Powersoft amplification technology, pairing 24 X8 amplifiers with its new Outline GTO line array system.

The new amplifiers will be housed in eight specially configured amp racks, containing three X8s, with custom 4U power distro and speaker patch, with the flightcases designed for in-the-field efficiency. The X Series offers eight 5.2kW/2Ω channels in a 2U-high rackmount chassis.

Both the Outline GTO C-12 line array and the Powersoft amplifiers were supplied by UK distributor CUK Audio: ‘We have friends in the industry who have long promoted Powersoft and when we set up a demo at O2, and CUK Audio showed us the X Series, it became a no-brainer,’ says Capital Sound Project Manager, Robin Conway. ‘These new amplifiers are just so powerful, compact and clever, with a ridiculous amount of features.

‘At O2, we were able to drive the majority of the demo rig off just three amplifiers,’ he adds. ‘We have 192 channels of X8 amplification, and as our biggest PA rig will only comprise 104 amplifier channels there is flexibility to extend the Outline rig at a later stage. And since we have recently implemented a Dante returns system, having the Dante integration is brilliant as it will fall seamlessly into the new infrastructure, with our Lake LM44 processors and Cisco SG300 ten-port switches. There will be little in the way of XLR connections now in the signal flow – it will all be done with Dante and Data.’

‘Outline has traditionally used Powersoft K Series [in its products] but this is the evolution of that series,’ says Rich Soper, CUK Audio Brand Manager (Live Sound). ‘Not only was it much more cost-effective for Capital to go with X Series but it has a more advanced DSP platform, based on a tried and tested base, and they will be saving on rack space as well. The Dante implementation is really nice, because Powersoft’s new Armonía v2.7.0 software allows you to stream eight processed or unprocessed Dante signals out of the amps – pre or post DSP.’

The sale will be fully supported by CUK Audio, and Soper will arrange technical training, both internally and externally, for Capital personnel and their freelance sound engineers. ‘Rich has been really hands on from the beginning,’ says Conway. ‘We have experienced the complexity of Powersoft integration in our Martin Audio MLA, and that reliability – coupled with Outline’s recommendation – gave us all the assurance we needed.

Powersoft has updated its Armonía Pro Audio Suite remote control and monitoring software, adding an innovative and interactive tuning feature that improves the process of measuring and aligning a sound system and also enables users to work without noise in the surrounding environment.

Armonía v2.10 is now fully integrated with Rational Acoustic Smaart v8, which can read real time, imported or shared location traces (smart, txt, csv, xml). The technology underpins the new tuning plug-in, bringing offline manipulation with EQ, Gain, Polarity, Delay, Sum, Average and Merge. The new workflow for quiet, offline tuning, requires a single set of starting measurements before the process is completed in virtual simulation.

‘The concept of measuring and tuning a sound system has been changed with Armonía,’ says Powersoft System Engineer Manager, Luigi Chelli. ‘Forget about tiring Pink Noise listening sessions and complex multi-microphone set-ups. ‘Measure once and tune quietly’ is the key concept.’

EAW Greyboxes have been integrated into Armonía. Once loaded as a path in Armonía options, the Greyboxes become available in the speaker configuration page complete with a comprehensive range of options is available to perfectly calibrate the sound of the speakers. Options include air-loss compensation and amplifier sizing.

Powersoft has included enhancements to the visualisation of EQ in this latest release. Alongside optimised graphics, automatic frequency-reordered filters keep the most-used filters always to hand.

The latest version of Armonía is also the first public release since the recent launch of the Quattrocanali 1204, 2404 and 4804, as well as the Duecanali 1604. As such, the software update fully supports the control and monitoring of the standard non-DSP versions of these models, giving access to control Gain, Mutes, MaxOutVoltage, as well as metering, faults and warnings,

Further additions include an expanded preset library including presets from Bose SM Series, DAS Aero Series, custom d&b audiotechnik Max12-15, and custom Nexo GeoT. Firmware for all supported devices will also be included in the installation package. Armonía will prompt the user to update device firmware to benefit from all the latest enhancements. Armonía v2.10 software also supports multiple serial ports at once in the Communication Manager and provides minor fixes on the X Series, DSP4 and other models.

The release is ready to download from the newly-launched Armonía website. The website offers users a quick overview of the main features of the software, as well as the latest Armonía tutorial videos. The download process has also been improved and registration is no longer required on the Powersoft website.

More: http://armonia.powersoft.it

Powersoft has appointed Audiobrains as its new Japanese distributor, following discussions with Audiobrains’ Sales & Marketing representative Shin Yamada and final agreement with CEO Fujii Shuzo.

Audiobrains’ distribution portfolio includes Martin Audio, Symetrix and beyerdynamic, and the company also enjoys dealer status for Avid consoles and d&b audiotechnik loudspeakers. Powersoft adds an important piece to the jigsaw. ‘Powersoft fits comfortably into several professional sectors, both for touring and installation,’ says Yamada. ‘This is a great opportunity and we are delighted to be representing the brand.’

Also key to brokering the deal was Powersoft Regional Sales Manager, Arthur Soh: ‘He opened door for us at Powersoft and talked at length both about opportunities in the Japanese market and the worldwide situation,’ confirms the Audiobrains man.

‘We believe that, with Audiobrains’ experience in the pro audio market, we will be able to build our brand image and awareness in the Japanese market,’ Soh adds. ‘The company’s strong contacts in the touring market will give us more exposure in the Japanese rental market.”

Although Powersoft already has good brand recognition in Japan, Shin Yamada believes there is scope for further exposure: ‘The K and M series are already popular in the touring sector but I believe X and Ottocanali series will open new doors in installation and build the company’s reputation much further.’

Established in 2007 Audiobrains will quickly embark on a series of roadshows, seminars and media initiatives to support its handling of Powersoft. The company has already received full training from Powersoft Applications Engineer Remo Orsoni, while Yamada himself will conduct domestic customer training. Meanwhile, a Technical Support/Application Engineer based in Singapore, will be supporting the APAC region with ongoing training and the company’s Sound School programme.

‘I strongly believe that Powersoft will drive our business forward to the next level, in terms of offering lightweight, high-powered solutions, with high-quality DSP and digital audio streaming,’ Yamada  says. ‘This will give both the touring and installation sectors an opportunity to invest in advanced power and technology.’

‘From the age of 14, I had a keen interest in music equipment,’ says James Towler, FOH and studio engineer for Steve Winwood. ‘But after school I became a financial consultant and wound up doing offshore investments. Then I met some musicians in London, and one happened to be Steve Winwood’s music director. I fixed some things for him, and he asked if I had ever considered being a keyboard technician. I said, “no but I’ll do it…”’

Towler became Winwood’s keyboard tech in 1997, and in 2003 became his monitor engineer. He built, managed, and engineered in Winwood’s Cheltenham studio, and he mixes FOH for live shows. ‘I am 100 per cent Steve Winwood all the time,’ he says. Even so, he has found time to produce two albums for John Lydon and Public Image Ltd, and he works with a few bands in Gloucester.

For a 2016 tour with Steely Dan, Towler recommended mixing monitors with the PreSonus StudioLive RM32AI rack-mount digital mixer and recording with Studio One 3 Professional. ‘I’ve been a fan of PreSonus since 2003, when I bought the DigiMax,’ he says. ‘I ran monitors and did the recording feeds using 32 channels of DigiMax, with limiters, running to hard-disk recorders. So I know and like the sound of PreSonus preamps.’

Towler bought a RM32AI at launch and added the Dante option card when that came out. ‘For this tour, I have outboard mic preamps with Dante options, and I split the signal from there,’ he explains. ‘One split goes to the FOH desk and the other goes to the RM32AI, which consolidates the feeds for five monitor mixes onstage. At FOH, I have a Mac Mini and an interface with a Dante card, and I take the streams into Studio One for multitracking.’

Winwood mixes his own monitors but not while playing: ‘We tried mixing monitors with iPads onstage but Steve was trying to jab at the iPad while playing with both hands and feet and singing,’ Towler says. ‘Now, he sets up his monitor mix at soundcheck, and I’ve got a guy onstage with an iPad to assist the musicians from there. With UC Surface, I control the RM32AI from front-of-house. The whole band is on in-ears, and I tweak the feeds with the RM32AI’s Fat Channel EQ and compression. Steve has them in both ears, so I put a touch of RM32AI reverb on his mix to bring it out of his head a bit.

Although Towler uses the RM32AI for monitors, it also provides emergency backup preamps: ‘I had an outboard preamp go out because of a storm at an outdoor gig, and all we had to do was change to the inputs from the RM32AI and reassign the Dante feeds,’ he recalls.

‘Steve has remarked on how much better it sounds,’ he adds. ‘So has Paul Booth, the sax player. The drummer, Richard Bailey, said that for the first time when wearing in-ears, it feels like he’s playing his drum kit again.’

Towler records every set with Studio One 3 Professional. ‘I have not had one issue with it,’ he reports. ‘It has been completely stable; it works seamlessly. I started getting interested with version 3. The difference was the Smart tool. With that, I after just 30 minutes of messing around, I could edit at least as fast as I could in Pro Tools.

‘I found that the options within the Smart tool were better than in Pro Tools,’ he continues. ‘I’ve got macros set up so I can normalise a file and drop it down to 14dB at the click of a button and start applying plug-ins.’

Rather than use UC Surface’s Smaart audio analysis, Towler created a solution using Studio One: ‘I set up the solo at the FOH desk so that when I solo, I have the FFT up in Studio One on every channel,’ he explains. ‘I can click to any channel to see what frequencies are there. I’ve also got a reference mic, and when I solo that, its feed is up on the screen. It’s great for dealing with feedback issues or anything like that.

‘It takes a bit of thinking to figure out all the things you can do with Studio One, but once you’ve got it, there are many cooler ways that you can work than what you’re used to with other DAWs,’ Towler insists. ‘Add to that the way Melodyne integrates into Studio One, and why would you ever want to use another DAW?’

Focusrite on stage and studio

A common thread between Winwood’s studio and stage setups is a comprehensive system of Focusrite RedNet Dante-networked audio converters and interfaces.

‘The first time I saw RedNet was at a demo when the Slate Raven console was announced in London,’ Towler recalls. I was waiting in the queue, and there was an area with a RedNet rack directly opposite the console. I got a demo set up for me up at Wincraft studios, and we immediately started buying RedNet units.’ 

Towler’s set-up includes two RedNet 2 16-channel remote-controlled analogue interfaces; three RedNet D16 AES 16-channel AES3 I/O for Dante audio networks; two RedNet 5 32-channel Pro Tools HD/Dante Network Bridge; three RedNet MP8R eight-channel Mic Pre and A/D converters; and four RedNet PCIe Cards and a Rednet 3. He uses identical RedNet system configurations in the studio and on the road. However, for this tour, he made some slight modifications based on in his signal flow.

‘I changed the system a little for this tour because we don’t have a monitor engineer per se,’ he explains. ‘I control it all from front-of-house, so I built two racks with the mic preamps to go on stage behind the musicians –there are literally no stageboxes. Being able to use the RedNet units to control Steve’s vocals from front-of-house, I’m not even really pushing or driving the preamps and I am still able to get his vocal to sit above the mix without any effort. Before we went out on tour, we were in the studio testing the racks – I plugged into the MP8R and, I swear, I’ve never heard a 57 sound so good.

‘The musicians on the tour are having a better time now since I have moved to RedNet compared to our last system just because the clarity of the music and the mix that is coming through – there’s much less muddiness,’ Towler reports. ‘I also produced the last PiL album, What the World Needs Now…, which was 100 per cent RedNet,. I’m really enjoying the MP8Rs on this Winwood Tour – they sound great, are very detailed and perform well in the heat.’

PreSonus has announced the StudioLive 16.0.2 USB, a compact, portable and rack-mountable (optional), the 16-channel mixer designed for both studio recording and live sound.

Intended for small bands, personal studios, intimate clubs, small churches, community organisations and rehearsal spaces, the StudioLive 16.0.2 USB offers the same features as the original StudioLive 16.0.2, including 32-bit floating-point processing; Xmax class-A mic preamps and 24-bit, 48kHz Burr-Brown digital converters with 118 dB dynamic range. While its feature set and familiar, analogue-like mixing surface are virtually the same, the new mixer replaces the older unit’s FireWire 400 recording and control interface with an 18x16 USB 2.0 interface that works with any Mac or Windows audio software that supports Core Audio or ASIO.

It offers four aux sends, and adjacent channels and aux buses can be stereo linked. Stereo, 31-band graphic EQ serves the main bus.

Fat Channel processing section provides a full complement of processing that would normally require racks of outboard gear, including a, compressor, limiter, downward expander and three-band semi-parametric EQ available on every channel, every aux bus the two onboard effects outputs, and the main bus. The Fat Channel also offers extensive LED metering; mixer save/recall; and channel-strip save/recall/copy/paste. The mixer also sports a pair of programmable, stereo, 32-bit floating-point effects processors, loaded with reverb and delay presets and assigned to dedicated FX buses.

Standard Midi In and Out connection provides control over key mixer parameters. With the tap of a toe, recall overall volume settings, effects settings and assignments, and global mixer Scenes, including individual channel levels and all 130 Fat Channel signal processors. 

The new mixer comes with the latest PreSonus software suite, including Capture recording software, Studio One Artist DAW, and Studio Magic Plug-in Suite for Mac and Windows; UC Surface control software for Mac, Windows, Android, and iPad; and QMix-UC monitor (aux) control software for iOS and Android devices.

Expected to ship in late Q3 2017 with a street price of US$1,099.95.

More: www.presonus.com

Extending the third generation of the StudioLive Series III line, PreSonus has released the StudioLive 24 digital console/recorders.

StudioLive Series III mixers now support complete multitrack recording without the use of a computer using PreSonus Capture multitrack recording software with virtual soundcheck, enabling recording of up to 34 tracks to the onboard SD recorder. Capture sessions can then be opened in Studio One (for Mac and Windows, included), including fader levels and Fat Channel settings for mixing.

The consoles feature vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. There are also User layers for channel faders, allowing any channel, DCA master or bus fader to be placed anywhere. Scenes can also be extensively customised, including a Scene Safe feature that prevents a scene change from altering the settings on designated ‘safe’ channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments.

In addition to four fixed subgroups, StudioLive Series III consoles offer 16 FlexMixes that can be individually designated as aux, subgroup or matrix mixes, for a total of 20 mix buses, not counting the main mix, effects mixes, and solo buses. Twenty-four DCAs enable easy, flexible control of groups of channels.

An AVB Ethernet connection enables networking of compatible computers and streaming of up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stageboxes, personal monitor mixers, and increased third-party AVB interoperability, are due later in 2017.) A separate 1Gb Ethernet port can connect to a wireless router or directly to a computer for remote control of virtually all features via a wired or wireless connection. 

PreSonus StudioLive Series III mixers are integrated with a suite of software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, Android and iPad. A second – or third, or even fourth – screen can be added for fast workflow. Virtual soundchecks can be automated and shows recorded with Capture for Mac and Windows – or recorded with Studio One or any software that supports ASIO or Core Audio. Musicians can control their monitor mixes onstage with free QMix-UC for iPhone, iPod touch and Android devices.

The StudioLive 32 comes with Studio One Professional, while the StudioLive 16 and StudioLive 24 come with Studio One Artist. With either version of DAW, users can remote control any StudioLive Series III mixer’s recallable XMax preamps and Fat Channel processing for low-latency recording with effects. The Studio Magic Plug-in Suite for Mac and Windows is also included, which includes seven popular plug-ins in VST, AU and AAX formats.

All StudioLive Series III models are available immediately, with MAP prices of: StudioLive 32  US$2,999.95; StudioLive 24 US$2,499.95; and StudioLive 16 US$1,999.95.

More: www.presonus.com

PreSonus promises ‘the power of a large production console to small-format digital mixing’ with its StudioLive 64S – offering 76 mixing channels, 43 buses and 526 simultaneous effects using the all new quad-core Flex DSP engine.

Thirty-two individually configurable FlexMixes can be used to provide a combination of aux mixes, matrix mixes, and subgroups. StudioLive 64S mixers feature an independent main mono/centre bus; each channel has a dedicated level control and a centre divergence control to control the pan placement in an LCR mix.

The StudioLive 64S is the flagship mixer of the new StudioLive Series III S line of four new mixers for live sound production, touring, high-channel-count performances, installed sound, mobile and studio applications. Powered by the PreSonus Flex DSP Engine, they feature state-space modelled Fat Channel plug-in processing on every input and bus; up to 32 FlexMix buses that can be individually configured as aux, matrix, or subgroup buses; and flexible digital patching unparalleled in this price class. All models deliver 128-channel (64x64) USB recording, plus multitrack SD recording and extensive 128-channel AVB networking.

The StudioLive 32S, 32SX and 32SC each offer 40 mixing channels, 26 buses, and 286 processors in three form factors. The StudioLive 32S provides 32 local preamps in a 33-fader frame for one-to-one mix control. The 32SX delivers the same complement of local I/O as the 32S but in a 25-fader, low-profile, space-saving frame. The 32SC squeezes its 32-channel mixing and processing power into a rack-mountable, road-ready frame with 16 local preamps and 17 faders that can be easily expanded to a full 32 channels by adding a single NSB 16.8 stagebox.

Like earlier StudioLive Series III models, the new consoles provide AVB networking to connect with any of the PreSonus AVB ecosystem of products – NSB-series stageboxes for remote analogue inputs and outputs, and up to 32 EarMix 16M personal monitor mixers. Multiple StudioLive Series III mixers can be networked to share inputs and buses. Audio routing to and from the network is easy, thanks to the flexibility of digital patching available onboard the mixers and in UC Surface.

All StudioLive Series III S models provide 128 simultaneous channels (64x64) over USB and, with the Capture 3.0, offer 64 channels of live recording and playback. An onboard 34-track SD recorder provides flexible mobile and redundant recording options. And the integration with Studio One and Capture recording applications provides an automated Virtual Soundcheck before the gig to the final mastered studio mix of the performance.

StudioLive Series III S digital mixers introduce password-protected User Profiles that make the mixers ideal solutions for installed applications with user-specific permissions. Limit access to channel processing, GEQs and preamp settings. New Project and Scene management allows multiple mix scenes to be stored with the same global routing set-up in a single project. These features will also be available for original Series III mixers in the v2.0 firmware update.

StudioLive Series III S consoles are tightly integrated with a suite of software. In addition to recording with the included Capture and Studio One Artist, wireless mixing is possible using free UC Surface touch-control software for Mac, Windows, iOS and Android. Control monitor mixes with free QMix-UC software

StudioLive Series III S digital mixers are available now at your favorite PreSonus dealers at anticipated street prices of StudioLive 64S US$3,999.95; StudioLive 32S US$2,999.95; StudioLive 32SX US$2,599.95; and StudioLive 32SC US$1,999.95.

More: www.presonus.com

PreSonus has released the StudioLive AR USB-series of hybrid mixers for live performance and studio use. The series comprises the 18-channel StudioLive AR16 USB, 14-channel StudioLive AR12 USB and eight-channel StudioLive AR8 USB.

StudioLive AR USB mixers are equipped with a Mac- and Windows-compatible, 96kHz/24-bit, USB 2.0 audio interface and is bundled with Capture live-recording software and Studio One 3 Artist DAW production software.

Compact and road-ready, StudioLive AR USB mixers offer all connectivity and features needed to mix and record live, in the studio, and in rehearsal, including class-A mic preamps; instrument and line inputs; semi-parametric three-band EQ; and an internal stereo effects processor, providing an all-in-one solution for mixing and recording performances.

All models are equipped with an onboard stereo SD recorder that will record the main mix without a computer. The SD recorder will play up to 32GB of MP3 and WAV files without a computer.

StudioLive AR USB mixers also feature the PreSonus Super Channel, which allows audio to be played from four stereo sources simultaneously from unbalanced RCA inputs. Bluetooth 4.1 allows pairing of a smartphone with StudioLive AR USB mixers for wireless access to a music library or backing tracks.

All models are available immediately. MAP/street prices are: StudioLive AR16 USB US$599.95; StudioLive AR12 USB US$499.95; and StudioLive AR8 USUSB $399.95.

More: www.presonus.com

PreSonus has added to its StudioLive AR series of hybrid mixing consoles with the announcement of the 22-channel StudioLive AR22 USB for live performance and studio use.

StudioLive AR22 USB mixer is equipped with a Mac- and Windows-compatible, 96kHz, 24-bit USB 2.0 audio interface that can capture all input channels and the main mix. The mixer is also equipped with an onboard stereo SD recorder to record the main mix without a computer. The SD recorder can also be used to play up to 32GB of MP3 and WAV files for hours of programme music or backing tracks without a computer.

The console has a flexible array of inputs and outputs, and includes 16 class-A mic preamps and 26 analogue line inputs. In addition to a 60mm fader, each of the 12 mono channels and four stereo channels gives you a low-cut filter, mute, pan and solo with prefader listen. Phantom power can be enabled globally for use with condenser microphones.

All mono channels feature three-band, semi-parametric EQ with a sweepable mid band. There are four channel inserts (on Channels 1-4) to add external processors. Each of the four stereo channels provides a single mic input, plus balanced quarter-inch left and right line inputs and a basic three-band, semi-parametric EQ.

The mixer also features the unique PreSonus Super Channel, which allows audio to be played from four stereo sources simultaneously.

Onboard Bluetooth 4.1 allows a smartphone to be paired with the mixer for wireless access to a music library for break music, backing tracks or ear-training.

StudioLive AR22 USB is bundled with everything needed to record, mix and distribute music – PreSonus Capture live-recording software; Studio One 3 Artist DAW production software; and Studio Magic Plug-in Suite for Mac and Windows, which includes seven popular plug-ins in VST, AU and AAX formats.

The StudioLive AR22 USB mixer is expected to be available early in Q4 2017 at an MAP/street price of US$799.95.

More: www.presonus.com