Currently making his way through France and Belgium as part of his 2019 European live tour, French-Israeli singer-songwriter, Amir, is accompanied by FOH engineer Ivan Herceg and monitor engineer David Chancereul – both using SSL Live mixing consoles.

Supplied by Dushow, the set-up includes an SSL L500 handling monitors, with Herceg opting for the smaller SSL L200, as it has performed well for him on previous outings. ‘I love these 36 faders, and have found the L200 very good for me overall,’ Herceg says. ‘So I can tour with the L200 easily, and it sounds fantastic.’

Herceg says it’s not only the overall smoothness of sound and presence of the instruments in the mix, but also the ‘in-your-face’ feel that he is to be able to achieve: ‘What I mean by that is, if you move something a little bit, it really moves; and if you push it a little bit on the EQ, it actually comes closer,’ he explains. ‘These kind of sensations we have never felt with other brands in a live application’ he insists. ‘Also, it goes from very low to very high in every octave; it’s really clean and it doesn’t mask anything. The desk is amazingly transparent and the headroom is huge. There is just way more depth and detail, sonically.’

A couple of years ago, Herceg was working with French band, Lilly Wood and The Prick, when he first took out an SSL L300 console. It was a combination of the low end, the overall image, and the fact that it was a musical sounding desk, that quickly attracted him to it: ‘I realised quickly that I could apply a huge amount of EQ, and it would still sound really good,’ he recalls. ‘Even, for example, if I was doing a shelf boosting of 15dB, it would still be ok – and that was amazing to me.

‘I must admit, I had got used to the channel strip on the L300, and the L200 doesn’t have that – but it does have the 36 faders in line; and it only took me one day to change my way of working on the main screen,’ he adds. ‘So I actually kept the L200 out on tour, and I have been very happy with it. Also, my monitor guy, David Chancereul, is on an L500 again, which is also working fantastically well.’

More: www.solidstatelogic.com

Solid State Logic has announced the release of v3.2 software and a new TabletControl Application for its SSL Live L500 and L300 consoles.

Live v3.2 software release includes more than 20 feature additions and improvements drawn from the SSL Live console professional user community. Significant feature highlights include: integrated Dante I/O Module sample rate conversion (SRC) allowing connection to a network running at a different rate or in a different clock domain; Dante 48kHz, 96kHz and 192kHz sample rate support and compatibility with AES67; and streamlining of control workflow with Quick Control assignment options and Channel Control Tile screen layout.

There are updated automation features and a new ‘look-ahead’ optimised automation screen layout. Effects Rack configuration has been improved and a new Multiband EQ & Dynamics per band solo mode added. And there are enhancements to the Layer Manager & Console Configuration pages and VCA’s are now excluded in Super-Q in Faders mode. V3.2 software is a free release to all SSL Live console owners and is available to download from the SSL website now (min v2.5 existing installation required).

The SSL Live TaCo (Tablet Control) iOS mix app provides wireless tablet control of SSL Live consoles. Designed for both monitor engineers and artists, the app can be limited to control an individual aux mix or unlocked to quickly and easily control all mixes from a single screen. Up to ten tablets can be connected simultaneously to provide personal mix capabilities to each performer on stage. A clear graphical interface with long throw faders provides optimum touch screen mixing in critical live environments. The Menu and Bank buttons can be positioned on the left or right side of the screen, allowing for left- or right-handed use.

TaCo uses SSL’s Query technology to enable only the channels contributing to a selected Aux to be displayed. This provides a highly focused view of the active mix without the need to navigate through banks of unrelated channels. Using the Live console’s stem groups, input channels can be combined into logical sub groups to provide the performer with a simplified set of faders. This allows, for example, a dozen drum channels to be hidden and combined into a single ‘drum’ stem fader in the artist’s TaCo mix app, while the engineer maintains full control of the individual channels at the console.

TaCo is an iOS only application and is available for free from the App Store. It an L300, L500 or L500 Plus Live console running v3.2 software or higher, and a wireless router or access point is required for wireless connectivity.

More: www.solidstatelogic.com

Russian PA company, Stage Art Sound has added an Allen & Heath dLive C Class digital mixing system to a hire stock that already includes the Qu-24, Qu-16 and Qu-Pac from Allen & Heath’s line of compact digital mixing systems.

Based in Saratov in the Volga region, the company’s new dLive C Class system comprises a С2500 Surface and CDM48 MixRack. ‘Engineers will definitely appreciate C Class’s rich functionality and compact format,’ says Stage Art Sound head, Pavel Barsukov. ‘I was impressed by its capability, including the Touchscreen, preamp emulations, and multiband compressors. In fact, there are so many new and interesting features I could carry on this list forever.’

Stage Art Sound used the dLive system for the first time at the opening of Nashe Radio station’s Saratov office, where dLive was employed as the FOH system, with 22 channels and nine buses of the system used to manage monitor sound.

‘Folk band Mgzavrebi from Georgia was invited to perform at the event,’ Barsukov says. ‘They have a very authentic sound and it was very important to preserve and highlight the nuances of the music. dLive’s FX library was more than up to the job.’

More: www.allen-heath.com

When Kevin Mobberley set up his West Midlands-based rental company Stage Audio Services at the beginning of the 1980s, the mainstay of his PA inventory consisted of Martin Audio’s B1, B2 and MH212 ‘Philishave’ components. Now, 35 years on, the company has made the first of several tranches of investment, in the manufacturer’s new MLA platform.

Stage Audio Services at has acquired a substantial MLA Compact rig (including MLX subs) promising that this will be the start of a steady upgrade path into both Martin Audio Multicellular Loudspeaker Array and Differential Dispersion technology (with the DD12).

‘With the outdoor season approaching, we were getting asked increasingly by our clients to investigate MLA,’ Mobberley  explains. ‘The system is coming up on riders and frequently being specified by festival organisers, promoters and production managers, as much for its site containment ability as its sheer power.’

One of these was South West Audio, who wanted the system for the John Peel Stage at this year’s Glastonbury Festival, having experienced the system on the main Pyramid Stage over the past few years.

Mobberley also credits Martin Audio dealer, LMC Audio – and, in particular, Tim Bamber – for heavy promotion of the system in the early stages: ‘Martin Audio was a company with a technical support team that I felt I could work with and form a great relationship with,’ he says. ‘One of the real beauties of MLA is that it is a complete turnkey system – you don’t have to worry about packaging and therefore it is easy for a rental company to manage. It’s good to be back in the Martin Audio family after so many years.’

Stage Audio Works technicians have already attended the three-day MLA certification training course in advance of the season ahead.

When the Stereophonics added a second acoustic stage to their latest tour performances – accessed via a long thrust from the main performance area – it presented a conundrum to the band’s long-time technical crew: FOH engineer Dave Roden, and rental/production company, Capital Sound Hire.

With lead singer/guitarist Kelly Jones – exclusively on in-ears for the first time – preferring to be as far away from the sub energy as possible, Capital Project Manager Robin Conway set about reworking the traditional broadside cardioid array of Martin Audio MLX subwoofers into something that accommodated these new considerations. The solution was a central cardioid dual-loudspeaker cluster.

Sterling Audio announced a line of professional headphone amplifiers, with three models addressing a variety of studio and live sound applications.

Combining high-quality audio with simplicity of operation, the amplifiers feature gold-plated inputs and outputs, power-on status LEDs, and low-noise operation. Designed primarily for personal recording studios and applications where space is at a premium, the four-channel S104HA offers one rear-panel TRS line input and four front-panel stereo headphone outputs, each with a ten-increment level slider. The S104HA uses a sturdy and lightweight aluminium chassis with non-slip rubber feet, and is powered by an external 12V DC supply for low-noise operation.

Recording studios and broadcast facilities that require more flexible inputs and a more robust chassis are targeted by the four-channel S204HA, which is housed in a rugged aluminium chassis enclosed with a rubberized casing. The unit’s front panel sports an unbalanced stereo line input and four rotary level knobs for the headphone outputs. The rear panel offers four stereo headphone outputs and balanced TRS left and right line inputs on the rear panel. Like the S104HA, the S204HA is powered by an external 12V DC supply.

For more demanding professional applications, the flagship S418HA features two stereo main line inputs, eight direct line-level inputs for individual monitor mixes, and eight discrete, stereo headphone amplifiers, each with two headphone outputs-all packaged in a steel, 1U-high rack chassis. The S418HA can operate in stereo or mono, and provides an output level control and clip LED for each channel. Its low-noise, 15V torroidal transformer delivers the superior output power and headroom required for professional use. A faceplate with backlighting enables easy operation in low light environments. Parallel, balanced quarter-inch outputs enable additional S418HAs to be cascaded for more extensive situations.

The S104HA will carry a street price of US$49.99, while the S204HA will sell for YS$79.99 – both are available now. The  will be priced at US$149.99, and will be available in Q3 2016.

More: http://sterlingaudio.net

Berlin-based Complete Audio recently provided sound reinforcement for a concert by Sting at the 24,000-seat Waldbühne Berlin in the Olympic Park – the first time the company has worked with the former Policeman.

As this was not a full production tour, PA and lights were sourced on a local basis with the Martin Audio premier rental partner was on hand to provide the MLA Multi-cellular Loudspeaker Array: ‘We offered MLA and they were happy to take it,’ reports Complete Audio MD, André Rauhut.

While the system was delivered ‘flat’ as requested – enabling Sting’s FOH tech to handle fine-tuning and final EQ – the challenges for the PA related to the contouring of the venue, which was extremely steep and high. ‘We had to work with lots of throw to get to the top of the seats,’ Rauhut says.

To mitigate this, Complete Audio designed the main system hangs with 13 MLA elements and an MLD Downfill per side. Out fill consisted of four MLA Compact, and front fill was composed of eight MLA Compacts, distributed alongside the stage in stacks of two. Subs consisted of 24 MLX set in LR stacks, to get a better coverage of the sides, with a further seven packs of two MLX along the stage. Complete Audio also took advantage of the in-house delays, which were set around 80m from the stage.

‘[Howard Page] did a great job with the tuning and he mentioned to the crew many times how impressed he was with the sound of the MLA rig,’ says Rauhut. ‘I have to say that I was there to see the show and the sound was amazing. This was partly because the band’s performance was top notch and partly because of the proficiency of the tech.’

The Complete Audio tech team itself comprised Benny Franke, Martin Eckert, Niko Fuchs and Nils Uhthoff.

More: www.martin-audio.com

The Stone Mountain Arts Center is a 200-seat, timber frame music hall nestled in the scenic foothills of the White Mountains in Brownfield, Maine. A labour of love and dream fulfilled for owner/musician Carol Noonan, the centre provides a unique venue for artists to connect with small audiences. Among other notables, Lyle Lovett, Robert Cray and Marty Stuart to Ani DeFranco, Taj Mahal and Mary Chapin Carpenter have all graced the centre’s stage to provide performances that have helped make it a popular destination for musicians and audiences alike.

The centre called on Klondike Sound’s Jason Raboin to design a new sound system to serve its eclectic roster of artists. The project presented a number of interesting acoustical and aesthetic challenges, including managing the centre’s highly reflective wooden surfaces and designing a visually unobtrusive sound system to blend in with its timber frame architecture.

Raboin selected Fulcrum speakers for their clarity, directional control and minimal visual impact. The simple yet powerful system he designed comprises two Fulcrum DX1277 dual 12-inch coaxial loudspeakers whose 75° x 75° dispersion keeps sound off the physical structure. Two Sub118 18 inch direct-radiating subwoofers extend low-frequency support, and eight compact FX1295 12 inch coaxial vocal monitors are used on the stage.

‘With their tailored coverage pattern and musical quality, Fulcrum’s speakers provide the fidelity and punch we need,’ says Production Manager, Patrick O’Donnell. ‘Whether it’s a loud rock show or a nuanced acoustic performance, the system is really transparent.’ Carol Noonan adds, ‘As our arts centre is all about people and connections, we needed a sound system that wouldn’t detract from its warm, welcoming and intimate feel. Fulcrum speakers were a perfect fit.’

‘We recently had Robert Cray – who has played here many times,’ adds Carol Noonan. ‘His band brought a lot of their own gear but as usual, used our house speakers and subwoofers. It was definitely the best sounding show we’ve ever had with him. Nothing was different than before – the same crew and players as always – so it’s gotta be the speakers.’

A series of sold-out concerts in Las Vegas saw ‘King of Country’ George Strait play in the round on a diamond-shaped stage. As he moves from corner to corner to connect with his audience, monitor engineer Josh Kaylor provides a consistent monitoring environment with separate mixes for Strait, members of his band and any guests using an Allen & Heath dLive S5000 surface and DM64 MixRack.

‘Speed and workflow are critical when I do monitors,’ Kaylor explains. ‘I need to move in and out of each instrument and each person and get to everything quickly and I’m able to do that with the dLive – it’s probably the fastest console I’ve been on and the latency is very low so it sounds really good. When I spoke into it for a mic check, it was very transparent. I didn’t feel like I was going through a bunch of processors.’

There are three wedge monitors and a drum sub on Strait’s stage, with nine of the 12 musicians (including Strait) using stereo, in-ear monitors. Kaylor says that Strait wants his ears to sound like a studio recording. To meet this goal, Kaylor mixes Strait like a FOH engineer pushing up solos or instruments and adjusting the mix for the house.

Despite being an old-school engineer, he makes good use of the dLive’s digital features, with dLive layers helping him to keep track of the 12 separate mixes and nearly 50 mics and direct feeds. He uses dLive compressors on Strait’s vocal mic and on bass. As the system is rented in for each of Strait’s Las Vegas shows, Kaylor backs up the dLive configuration to a USB thumb drive after each show.

Kaylor reports dLive as giving ‘vast improvements to quality and workflow’

‘When I first got the dLive, it was easy to understand and I figured out most of it by myself. It’s fast, it sounds good and it just made sense.’

More: www.allen-heath.com

Having supplied sound for each edition of San Francisco’s Hardly Strictly Bluegrass since its debut in 2001, Bay-Area-based Sound On Stage (SOS) deployed L-Acoustics PA systems for all seven of the festival’s 2016 stages.

Hardly Strictly Bluegrass (HSB) is a free, non-commercial festival staged in the Hellman Hollow area of Golden Gate Park – named after the investment magnate that conceived, founded and funded the three-day event, and whose family has continued to financially support it since his death in 2011.

‘Golden Gate Park is an amazing location,’ says SOS General Manager, Wes Norwood. ‘It doesn’t feel like you are in the middle of the city, but you are. It’s always a great vibe out there.’

Managing the audio for the event begins just three days prior to the show, with two of the stages going up on Wednesday, the other five stages going up on Thursday, and the event starting on Friday. This year, for the first time, in addition to the live music, a ‘silent disco’ was added featuring some of the area’s top DJs.

Although L-Acoustics has been a part of the mix since the beginning, this year marked the first time that the entire rig for each of the seven stages was fully L-Acoustics. ‘We had K2 rigs on Banjo Stage and Swan Stage, and all of the other stages were V-Dosc with 115XT HiQ wedges, plus our newest addition, a bunch of X15 wedges. Those were on Swan Stage with hosted acts ranging from Kris Kristofferson to Chris Isaak to a bluegrass version of The Who’s Tommy.’ Beyond the mains and monitors, the systems were complemented with 8XT front fills, dV-DOSC and ARCS delays, and everything was run by an army of LA8-equipped LA-RAK amplified controller racks.

‘The music really covers a wide range,’ adds Norwood, who has been with Sound On Stage for two decades and a part of every version of HSB since its inception. While the fare leans heavily on acoustic music, the artists this year included classic rockers such as Cyndi Lauper and Jackson Browne side-by-side with San Francisco musical heroes like Hot Tuna and Boz Scaggs, plus many more Americana, folk, roots and indie rock artists.

The addition of the K2 has made providing the best possible audio experience to the crowd – as many as 750,000 people attend over the course of three days – a more ‘do-able’ task, says Norwood. Being outdoors and on temporary stages in a geographic location famed for weather that can change in an instant, load limits are a major consideration.

‘K2 is the perfect box for HSB,’ he notes. ‘It’s smaller and lighter than other boxes in its class but still has tons of output. And the lower weight allows us to hang more boxes and cover a larger area more consistently than other options will allow us to do. Plus, the X15 wedge was a big hit – both the artists and our techs loved it. It’s lighter than the previous version and it has that little kickstand that actually comes in really handy,’ he says, referring to its built-in riser allowing it to be angled at 35° or 55° onstage.

The festival leans heavily on traditional musical but is all about tech when it comes to audio: ‘The LA8s let us run AES format out of the consoles and straight to the rack, so it’s analog going into the mic and analogue again coming out of the speaker, but the rest of the chain is digital.’

With more than 100 bands of widely differing genres performing over the festival’s three days, the need for a single audio solution to best accommodate them all was paramount.

‘While the K2 is certainly more than capable of delivering major output, this is a festival where both that nature of the music and our choice of PA is really about delivering the best possible audio quality for this really special event,’ Norwood says. ‘In our opinion, L-Acoustics clearly delivers the most natural reproduction of what the artists are wanting to communicate, regardless of what their style is. What is being performed on stage is precisely what is being heard by the audience, whether it’s in a small venue or on huge festival like this where the sound was fantastic. All that being said, my personal mantra is “I need eight more of everything”, so I’m going to want more boxes for next year.’

Studio Technologies has updated its Model 5401A Dante Leader Clock and introduced the Model 5402 Dante Leader Clocks with GNSS Synchronization. Both products deliver precise timing signals for use in Dante Audio-over-IP applications.

‘With Dante ubiquitous in fixed and mobile facilities of all sizes and types, a dedicated Leader Clock can enhance system performance,’ says Studio Technologies President, Gordon Kapes. ‘The new Model 5402 and updated Model 5401A are designed to provide optimum performance, flexibility and system integrity. Utilizing a dedicated Leader Clock can help make system deployment and maintenance a much easier task.’

The synchronisation needs of Dante devices connected to a local area network (LAN) can be supported using the PTPv1 (IEEE 1588-2002) protocol. For Dante’s implementation of AES67 and ST2110, both the Model 5401A and Model 5402 provide support for the PTPv2 (1588-2008) protocol.

Both the Model 5401A and Model 5402 can serve as the Dante Leader Clock for hundreds of Dante devices that can be simultaneously active on a LAN. Additional resources, including the units’ ability to generate sine wave audio tones, adds to their range of benefits. Any required configuration can be easily performed using the webpage interface or by way of the graphics display and controls provided on the front panel. Ethernet connections are made using standard RJ45 jacks and redundant powering is supported by way of AC Mains and 12V DC inputs.

‘The Model 5401A builds on the strengths of the popular Model 5401 while offering significant improvements,’ says Kapes. ‘Specifically, we added a third GigE Ethernet port to allow independent redundant Dante audio and management networks. In addition, we implemented firmware updating by way of a standard USB flash drive. This is a change from the previous method that used file transfer protocol (FTP), something that contemporary network security practices often restricts.’

The Model 5402 offers all the capabilities of the Model 5401A with the additional timing precision provided by an integrated GNSS receiver. This allows the Leader Clock’s timing reference to be derived from the four major satellite constellations: GPS (US), Galileo (Europe), BeiDou (China) and GLONASS (Russia). In addition, GPS capability can be augmented with the unit’s support of the QZSS (Japan) constellation. With satellite-based timing capability, multiple Model 5402 units can be used at geographically diverse locations and provide a common synchronisation source for all associated Dante devices. A high-performance, weather-resistant GNSS antenna is included with each Model 5402, ensuring that full out-of-the-box functionality can be achieved.

More: www.studio-tech.com

Studiomaster’s new HX and QX digital power amplifier series exploit the compact form factor and weight-saving, and operational appeal of the latest class-D technology, claiming ‘new levels of power and performance, at highly competitive professional entry market (HX series) and premium market (QX series) price points’.

The ultra lightweight and compact 1U-high HX series meet a range of professional audio requirements, including commercial installation, conferencing, small- and medium-scale sound reinforcement, and rental applications. Features include high efficiency power factor correction (PFC)
, Thermal, Overload and DC protection, protection and Status indicators, output limiter, universal 90-250VAC power supply, multiple gain modes, variable speed fan cooling, balanced XLR inputs and professional speaker connectors.

Two-channel and 4-channel models with stereo/parallel/bridge mode operation, provide reliable and efficient operation at 2Ω loads, No less than eight models in the range include four 2-channel models, rated at 300W, 500W, 700W and 900W (at 8Ω), and four 4-channel models rated at 600W, 1kW, 1.4kW and 1.8kW (at 8Ω).

The QX series is intended for large to very large-scale, high-end sound reinforcement, installation and rental applications. Featuring advanced amplifier adjustment technology to provide over 95 per cent efficiency, and stable performance under high current, low impedance (2Ω) conditions. Features include active power factor correction (PFC) and a soft power switching power supply, which operates universally between 90-250V AC, as well as a 32A mains power input socket, Thermal, Overload and DC protection circuitry, Thermal, Overload, DC and Status indicators, multiple gain modes, balanced XLR inputs, output limiter and variable speed fan cooling.

The 1U-high lightweight design weighs-in at less than 12kg. Two-channel and 4-channel versions of the amplifiers, with stereo/parallel/bridge mode operation, offer power ratings ranging from 2.55kW/channel up to 5.1kW/channel at 4Ω. At 2Ω operation, the top-of-the range QX4-8000 will deliver up to 4 x 5.78kW. The QX series comprises three 2-channel models rated at 3kW, 4kW and 6kW and two 4-channel models rated at 6kW and 8kW (all at 8Ω).

‘With the HX /QX amplifiers, no installation or PA hire company, no matter how small or price competitive, need settle for inefficient, underpowered poor quality amplification,’ says General Manager Patrick Almond. ‘We have come relatively late to market with digital product offerings but we have spent considerable development time, both in configuring these products precisely for specific applications and market sectors, and in exploiting latest processing technologies when they become available at a price point that allows us to offer these extended specifications, features and operational capabilities, previously unavailable to more budget sensitive market sectors.’

More: www.studiomaster.com

Establishing a new festival at a relatively untested site in central London during crowded festival season was the challenge set for itself by the Sunfall Festival at Brockwell Park founder NVS. To load the equation in its favour, NVS called on the established expertise of RG Jones Sound Engineering, Martin Audio’s MLA Multi-cellular Loudspeaker PA system and production company, Whole Nine Yards.

For the past five years, this team has served the two other events in the NVS Promotions portfolio – the back-to-back Dimensions Festival and Outlook Festival in Pula, Croatia. Brockwell Park was to run until 9pm (the Sun element) and then the audience was to move into surrounding clubs (Fall) for a serious underground club vibe encompassing jazz, electronica, house, hip hop, dubstep, techno, soul, drum & bass and disco.

Having invested in a K-array KR102 loudspeaker system from pro audio equipment supplier LMC in late 2015, SXS Events put it to early use at the international dinner for Princess Yachts in the historic Ropery at Devonport Dockyard in Plymouth, UK. The long, narrow 17^th century building scored highly on atmosphere, but not acoustic friendliness – allowing the KR102 to prove its worth.

Princess Yachts specialises in building motor cruisers that claim to be the last word in luxury. The dinner for its international dealers, was divided into several areas, with the KR102 used in the area for the event’s reception. ‘You’ve got to apply the right system to the right application – get it wrong and the event just doesn’t work,’ says SXS founder and director Johnny Palmer. ‘I like the way the sound of the KR102 propagates, it’s immersive with a uniform frequency response. It’s also great for vocal throw. Aimed across the Ropery it delivered great sound quality and coverage from a very discreet system.

‘A primary benefit of the KR102 is that it is aesthetically very discreet, but it sounds great and is very versatile,’ he says. ‘It caters for a wide range of events without being visually distracting. In addition, the fact that it’s very quick to deploy and take down, it has a tiny footprint and takes up minimal transport space is great. The integration and onboard DSP is also very useful. We often use the internal mixing and phantom power at events when it’s impossible to deploy a lot of equipment, like an external mixer.’

The SXS team also used the KR102’s onboard processing to assist with the overall sound of the event. ‘It was a complex, multi zone system which we set up using 16 matrixes. There were speeches from multiple places, a DJ, background music… we time aligned everything to ensure uniform sound quality at all times in all areas of the event,’ Palmer says.

‘Most of our clients have been using us long-term and they trust us to always deliver a great sonic solution. I believe in using the right tools for the right job – whether it’s a big name on the box is irrelevant. We have used the KR102 on a number of events and it has been very successful.’

‘We are working closely with 2B Heard to raise the profile of K-array loudspeakers in the UK market. The technology within their portable systems really makes it possible to have virtually ‘invisible sound’,’ says LMC Audio’s  Louisa Woodford. ‘The KR102 is ideal for companies like SXS who work with very high-profile clients, where events demand high aesthetic and audio values, but prominent black boxes are unacceptable.’

Tascam has announced the DR-10SG microphone/digital audio recorder.

Designed for videographers using DSLR cameras as a primary capture device, the DR-10SG addresses the compromises imposed by traditional on-camera audio.

‘The ability to shoot hi-def video on DSLR has revolutionised all aspects of filmmaking, from corporate and indie productions through Hollywood blockbusters,’ says Tascam Executive VP, Jim Mack. ‘Our goal is to elevate the quality of the sound to match the visuals, and the DR-10SG enables us to achieve that goal.’

The DR-10SG combines a purpose-built shotgun microphone, a self-contained digital audio recorder and an integrated shockmount in a 110g housing, which includes the AAA battery (providing more than eight hours of continuous use). ‘When I’m on-site or on-set I need to move quickly and get it right the first time,’ says independent film and television producer, Aaron Ehlers. ‘With the DR-10SG I’m no longer forced to set up a secondary audio system for each and every shot. I can simply clip the DR-10SG to my camera and begin filming, confident that the quality and clarity of the audio will be great. Now I actually can run and gun.’

In addition to direct camera attachment with the built-in shock-absorbing shoe mount, the DR-10SG features four selectable EQ presets (natural/flat, standard, interview, field), a Camera Output connector for audio pass-through, a slate tone generator for easy audio sync during post production and a unique Dual Recording feature, which automatically records a safety track at a lower level to safeguard against accidental overload and distortion.

The DR-10SG is expected to ship in Q2 2016 with an MSRP of US$249.99, and will include a custom windscreen, noise isolation arm, attenuation cable, and cable clip.

More: http://tascam.com/product/dr-10sg

Tascam is expanding has added the TM-180 and TM-280 large-diaphragm cardioid condenser models, TM-60 small-diaphragm condenser, and TM-Drums drum microphone set to its TM-series of microphones.

The TM-180 and TM-280 condenser microphones feature a 1.33-inch (34mm) diaphragm and provide a switchable 80Hz high-pass filter to eliminate unwanted low frequencies. A 10dB pad enables use a high sound-pressure levels-great for use on guitar cabinets, horns and so on. Both mics are suited to recording voice and instruments, although premium components and an integrated pop filter make the TM-280 especially well suited to vocals. In addition, the TM-280 can handle hotter signals (up to 135dB SPL versus 130dB SPL for the TM-180). Both are housed in sturdy cases and come with a shock mount and the TM-180 includes a storage bag.

TM-Drums is a set of four microphones designed to capture a small acoustic drum kit and deliver a balanced, modern sound. The TM-50DB dynamic kick drum microphone offers a frequency response of 50Hz-15kHz, while the TM-50DS snare mic ranges from 50Hz-14kHz. Both have integrated stand mounts. The TM-50DB and TM-50DS are tuned to integrate with the pair of TM-50C small-diaphragm (16mm/0.63-inch) cardioid condenser microphones included for use on cymbals and hi-hat and as overheads. Each TM-50C can handle up to 135dB SPL and comes with a mic clip and foam windscreen. A set of thread adapters are included with the set.

Also new, the TM-60 is a small diaphragm condenser mic offering low noise and a wide frequency response.

Designed for project studios, the TM-AR1 Acoustic Control Filter eliminates reflections and other acoustic artefacts when recording vocals and other acoustic sources. Tascam is also offering the TM-AG1, a classic dual-layer pop filter that mounts to any mic stand.

The TM-series microphones are shipping at anticipated MAP prices of: TM-180 US$149.99; TM 280 US$249.99; TM-Drums US$199.99; TM-60 US$59.99; TM-AR1 US$149.99; and TM-AG1 US$19.99.

More: www.tascam.com

Telefunken Elektroakustik has announced four new DI boxes, including mono and dual models of both active FET and passive designs.

The Telefunken TDA-1 (mono) and TDA-2 (dual) are newly designed active FET direct injection (DI) boxes that employ discrete class-A FET circuitry coupled with a high-quality transformer to balance between clean, high headroom performance and ‘warm, saturated’ tone. The Telefunken TD-1 (mono) and TD-2 (dual) are passive transformer designs that combine premium-quality components with a rugged construction to create a reliable DI with character.

AT the heart of each new DI box design are custom-wound output transformers by OEP/Carnhill, made in the UK. The circuit boards feature gold-plated traces for conductivity and are hand-assembled exclusively with through-hole components providing a secure and reliable connection compared to common surface-mount technology.

The circuits are housed in an extremely durable extruded aluminium enclosure with recessed heavy-duty metal toggle switches to engage a -15dB pad and ground lift. The rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging.

More: www.telefunken-elektroakustik.com

The world of bootlegging music has come a long way since I bought my first illegal concert cassette from a Walsall market stall. Its lousy artwork, poor recording and incorrect song titles brought their own excitement to my record collection.

Back then, a bootleg of studio outtakes offered an insight into an artist or band that was beyond the control of a major record label, while a live recording was an open ticket to a unique live performance.

The annual Bardentreffen Festival in Nuremberg is reckoned to be Germany’s largest world music festival, attracting more than 200,000 visitors over its three days. For 2016, Bardentreffen focused on a variety of music from around the globe on the theme Sounds of the Islands.

For the second consecutive year, Barowski provided sound reinforcement for the main stage, situated on the Hauptmarkt in front of the city’s Town Hall. The main PA comprised an Electro-Voice X-Line loudspeaker system, with further EV Xi-series enclosures for out fill and close fill, as well as drum fills on stage. Monitor speakers included wedges from Rocksound and L-Acoustics. For amplification, Barowski again turned to Powersoft – the company first fielded X8 racks for the 2015 festival, and increased its inventory for this year. ‘We now have five X8 racks and an additional X4 touring set,’ says Board Chair, Michael Barowski. ‘Each amp in our rental stock occupies a single rack for maximum flexibility.’

In addition to the X4/X8 the production company used additional Powersoft amplifiers for other applications, such as driving delays and fills. The move to Powersoft had been carefully thought-out: ‘We spent a lot of time researching how to replace our stock of different amps and controllers in the most efficient manner,’ Barowski says. ‘We sold most of our recent amps in order to use our X4/X8 to power everything – from 5-inch fills to festival-size PA.’

Barowski also knows that additional headroom is available if necessary, via a further X8 rack and X4 patchbay from the demo stock of Powersoft’s German distributor Laauser & Vohl: ‘We have significantly reduced our variety of amp racks and therefore our time for set-up, checking controllers, false deliveries on site. In fact since using Powersoft, our rate for checking misapplication or false cabling within racks is at zero.

‘On top of that, we need less space in our warehouse as the racks are fully stackable, easy to handle and lightweight compared to our previous inventory. The ability to store several controller setups and configurations, even via smartphone, along with the wide library of supplied presets for different types of PA are a major step forward for our company.’

In terms of deployment at Bardentreffen, Barowski ran the sound system via Dante using Powersoft’s two redundant digital streams, connected to Yamaha CL5 digital mixer at FOH, PM5D for monitors, and two Rio 32-16 stageboxes. The festival was run via five-core Ethernet Multicore (one line adapted for analogue signals as Intercom/Talkback/Shoutbox via CatCore stage boxes).

Michael Barowski describes CatCore as, ‘the perfect fit for Powersoft X8 or similar eight-channel amps, as it meets their requirement for a compact patchbay solution.

‘We were looking for a scalable solution for transporting, renting and using our X8s’, he elaborates. ‘Our wish was to establish a standardised rack for dry hire, providing the user all necessary connections on the front and keeping the rear of the case closed. And so we decided to design a multifunction panel in cooperation with the CatCore guys.’

For the touring racks, these are modified CPA racks manufactured by Amptown, and have a footprint of 60cm x 80cm, measuring a third or quarter width of a standard truck. ‘A double stack is exactly 1.2m high, which matches most of our cases when tipped in the truck, therefore a real advantage compared to what we had previously. Now we can load our trucks faster and more effectively; being able to dispense with super-heavy amp racks is a real advantage especially for delivery to small locations with mini-trucks.’

Logistics within the warehouse have also improved: ‘just pick a rack, and select and configure your preset and away you go. Any amp fits to any speaker – which is perfect.’

Finally, Barowski regularly controls and configures its amps via the Powersoft Armonía software. ‘We also use it on events to keep an eye on everything and even have Armonía backgrounds for our CatCore patchbays.’

With its recent purchase of Martin Audio MLA, MLA Compact and MLX loudspeaker arrays, Production House (NI) Ltd has become the first rental company in Ireland to invest in Martin Audio’s MLA platform.

Company MD John Willis announced the purchase of 48 Martin Audio MLA, 24 MLA Compact and 24 MLX subs, citing several successful listening tests and a visit to the factory to meet the Martin Audio team as determining factors: ‘It was more to verify the products’ ability to meet the need for a high-quality, rider friendly system with a future ahead of it – giving us confidence in our investment,’ he says. ‘We looked back over the audio specs we had received from bands and noticed MLA becoming increasingly popular.’

Production House Senior Systems engineers John Hesketh and Steven Montgomery commented on the fast rig/derig times and the ability of the product ‘to capture every seat in the house whil’ sounding amazing’. They noted that the room plots were uncomplicated and that it was a very easy product to work with.

‘I chatted with John and Steven after the first listening test and immediately knew that we had the basis of a new system,’ Willis says. ‘We started discussions with Martin Audio and they made the negotiations very easy. Dealing with the team at Martin Audio has been effortless – they have a commitment not only to serve their products but also their partner companies; we have seen this commitment first hand recently in their ability to react at extremely short notice to a request for additional equipment for an event.’

The new system was showcased at Festival Republic’s high-profile Electric Picnic festival at Stradbally Hall, where ten MLA per side and eight MLX debuted on Stage 3. Providing technical support was Martin Audio’s R&D Director Jason Baird, and such was the sound quality that Willis reported an avalanche of texts from both sound professionals and members of the audience alike: ‘People remarked on the intensity of the system and how solid it sounded,’ he says

More: www.martin-audio.com