Waves Audio’s SoundGrid Rack for Venue enables live sound engineers to run Waves plug-ins directly within Avid’s Venue S6L mixing console with control from the console’s surface knobs and integration in the Venue software.

Eliminating the need for a computer host or an external network switch, SoundGrid Rack can load up to eight SoundGrid-compatible Waves plug-ins per instance. All standard Venue plug-in features apply, including Config and Show modes, delay compensation, snapshot automation and tactile control of plug-in parameters.

Up to 128 mono or 64 stereo SoundGrid Racks can be run within the S6L, each containing up to eight plug-ins. The included SoundGrid Inventory component (also available as a separate download from Waves Central) manages the SoundGrid network and allows monitoring of its status.

The system comprises the WSG-HD Waves SoundGrid Option Card (purchased separately from Avid), Venue software v5.7 or later, a Waves SoundGrid Extreme Server or SoundGrid Server One to process the plug-ins, and Waves plug-in licences.

With the WSG-HD card installed in the console’s engine, up to two Waves SoundGrid servers (primary and redundant) can be connected directly to the S6L system, with no additional interface, network switch or computer host necessary.

‘We are delighted to offer Waves SoundGrid technology to Avid, for integrated SoundGrid control and the use of Waves plug-ins on Avid’s Venue S6L live console, thus boosting its mixing capabilities and offering live sound engineers a significantly enhanced and creative workflow,’ says Mick Olesh, Waves EVP of Sales & Marketing.

‘We’ve worked with Waves to deliver a completely integrated experience for our live sound customer community,’ adds Al McKinna, Director of Live System Product Management at Avid. ‘With Waves SoundGrid set-up and plug-in control now fully incorporated into the Venue software, S6L customers will enjoy the intuitive, lightning-quick workflows they need to mix the most demanding of live shows with ease.’

Key features:

• Run Waves plug-ins directly within Avid Venue S6L.
• 128 audio paths at 96kHz.
• Follows standard operation of all plug-ins in the Venue plug-in rack.
• Tactile control surface mapping for all Waves plug-ins.
• Snapshot automation for plug-in parameters.
• Legacy Venue show file compatibility.
• Server redundancy with automatic failover .
• No external computer host or network switch necessary.

More: www.waves.com/mixers-racks/soundgrid-rack-for-venue

Waves Audio has released the X-FDBK feedback eliminator plug-in for live performance applications.

One of the most important soundcheck processes is ‘ringing out’ the wedges and PA – pushing them to produce feedback, identifying the feedback frequencies and cutting them using a graphic equaliser. Doing this by ear is slow and imprecise, and not completely effective. Moreover, in order to avoid feedback, the monitors are often ‘tamed’ – as a result, the performers can’t hear themselves loudly enough.

Waves X-FDBK is the first plug-in to provide an automatic and fully effective feedback elimination solution. X-FDBK identifies the precise frequencies that cause feedback and cuts them, dramatically shortening the set-up time of monitors and PA speakers. This plug-in improves the ringing out process and shortens it to a matter of seconds. It identifies the feedback frequencies quickly and precisely and cuts them with a narrow notch, preserving the fidelity of the wedge or PA and enabling maxim gain without feedback.

More: www.waves.com

Waves Audio has released the X-WSG I/O card and the Waves Impact Combo for X32 and M32 Consoles as the most cost-effective means of running SoundGrid-compatible plug-ins on the consoles.

The X-WSG I/O card and a SoundGrid DSP server support mixing with SoundGrid audio plug-ins from Waves and compatible plug-ins from other companies. Soundcheck and multitrack recording are also supported with plug-ins – all with extremely low latency. 

The Waves X-WSG card enables connection of a digital console to any Waves SoundGrid audio processing server via a single Ethernet cable. It also features clock Sync-over-Ethernet for syncing multiple mixers and performing digital splits.

The X-WSG I/O card and the Impact Combo for X32 and M32 Consoles are now available for pre-order. Both ship in Q2 2017.

More: www.waves.com

Waves Audio has released the Tune Real-Time plug-in.

Waves Tune Real-Time applies vocal pitch correction instantly and automatically, in live performances and pre-production, tracking and mixing in the studio. The plug-in’s pitch detection and correction technologies ensure that the tuned vocal retains the vocalist’s natural vocal sound, offering both subtle pitch correction and also creative pitch quantisation.

Operation is via a simple layout of intuitive controls and touchscreen. Waves Tune Real-Time can be easily programmed per song and customised to the singer’s articulation – controlling range, choosing a scale, and marking specific notes to fix or avoid. Control of the plug-in’s sensitivity, and tuning a singer’s vibrato while preserving its natural movement are possible.

Waves Tune Real-Time is compatible with all Waves SoundGrid applications and emotion mixers, and can work with any live console via Waves MultiRack without the need for complex set-ups.

More: www.waves.com

It is with immense excitement that I welcome you to Fast-and-Wide.com, a new blog/website with an agenda that reflects its name.

Although 'Fast-and-Wide' is taken from the generic description of high-performance digital bus, it also neatly fits the need for information exchange if we are to make the most of unprecedentedly rapid technological advance and the fallout from global recession.

Work Pro Audio – the A/V brand of the Equipson Group – has announced the WNS-8P, an eight-port Ethernet switch for live, installation and integration A/V applications.

‘Network technology is a fundamental component of the modern A/V industry, but for some time, our A/V customers have been making us aware what a headache it can be to configure Ethernet switches designed for use in standard data networks, not A/V applications,’ says Equipson CSO, Juan Jose Vila, ‘We realised there was a requirement for a switch designed specifically for A/V installation professionals, and so the WNS-8P was born.’

Housed in a standard 19-inch rack, the WNS-8P offers Power Over Ethernet (PoE) on each of its standard Ethernet connectors, is compatible with RJ45 and etherCon connectors, and can be configured using a simple web-based interface. Compatible with Work Pro Ethernet-based A/V solutions, including the BlueLine range (all of which can now be powered via the switch’s PoE connectors), ArtNet/sACN nodes and the recently launched LightShark range of lighting consoles and associated expanders, the WNS-8P is intended to have industry-wide appeal, bringing together Ethernet-based AV hardware from many manufacturers and forming the basis of (for example) Dante or DMX streaming networks.

More: www.workproaudio.com

Held in the former Polish capital city of Kraków, World Youth Day attracted 2.5m pilgrims from around the globe to a 1,200-acre site at Brzegi’s Campus Misericordiae. Clarity and intelligibly were essential consideration for the sound company serving the event – Poznan-based Gigant Sound Letus.

Under the guidance of company owner Jerzy Taborowski, the Gigant team constructed 66 delay towers (with equipment on two towers and altar doubled, to create 70 towers), spread over huge distances, all of which comprised Outline premium GTO, C-12 and Mantas line arrays powered by Powersoft K Series and X Series amplifiers. It is one of the most extensive deployments of the two Italian manufacturers’ inventories to date.

WorxAudio Technologies has announced the PDA-1000R power amplifier with integrated DSP and Dante audio networking.

The new PDA-1000R provides PreSonus’ Active Integration technology to create networkable Dante-enabled loudspeaker systems with powerful DSP that can be controlled by a computer running WorxControl (a loudspeaker management and remote control/monitoring application for AI-enhanced WorxAudio loudspeakers) over a standard LAN. With its versatile design, the new PDA-1000R offers the flexibility of being mounted directly into a standard equipment rack.

As a two-channel, class-D power amplifier providing 500W/channel, the PDA-1000R offers a comprehensive feature set that includes two presets, as well as a high-pass filter, temperature, signal, -3dB, limit and clip indications, XLR input, XLR pass-thru, and Dante connectivity. Central to the PDA-1000R’s capabilities is WorxControl, which provides a suite of advanced editing controls for customising the system to compensate for room anomalies, create delay systems and eliminate feedback.

Key features of WorxControl include an 800ms alignment delay adjustable in 0.1ms increments for aligning delay systems and center fills. There’s also a limiter with variable threshold that enables one to control dynamics without a mixer or an output processor as well as a Compressor with fully variable attack, release, threshold, ratio, and make-up gain. Additional functionality includes an eight-band parametric EQ, or selectable low/high shelving filters for each loudspeaker in the system, eight notch filters for removal of unwanted frequencies (to eliminate feedback), a low-pass filter with selectable filter types, plus input level and gain reduction metering.

WorxControl also provides group management for management of multiple loudspeaker system groups from a single Venue preset. WorxControl includes loudspeaker mapping, which creates a custom map after any loudspeaker is added to a speaker group. Each loudspeaker’s settings are stored in its position within the speaker group map. Any changes to a loudspeaker’s settings are also stored in this map. There’s also a User Layer that keeps track of every setting created.

With Dante audio networking, all of the PDA-1000R’s capabilities come with the added benefit of streamlined system cabling. Danto operation also provides automatic device and channel discovery as well as easy-to-use signal routing, as well as control over audio feeds from remote locations and enables users to build sophisticated SR systems.

The WorxAudio PDA-1000R is available now at an MSRP of US$1,780.

More: www.worxaudio.com

The Polish city of Wroclaw is the 2016 European Capital of Culture, celebrating this status with events including the Flow Quartet – four large-scale performances based around the city’s River Odra. These reached a climax with Yamaha and Nexo equipment working together to deliver the audio for a remarkable production.

The highlight of the celebrations was The Flow II, which took place around the River Odra  where 300 performers from several orchestras and musical academies, based in Poland, Germany, Israel and the Czech Republic, performed to an audience of more than 100,000. The show featured specially-commissioned work from five composers and a spectacular son et lumière.

Audio production was provided by leading Polish rental company PogoArt, who added 60 Nexo STM M28 omnipurpose line array modules to a Nexo inventory that has been built up over 15 years specifically for the event. With PS Series, RS Series, Geo-D and Geo-S8 in its hire stock, PogoArt was able to design and install a system to service the riverside audience area stretching over 800m. The company worked in close collaboration with STM rental partners in Germany to cross-hire rigging elements, and Nexo’s Engineering Support team, which supplied some additional STM M28 cabinets and system design advice.

The full system featured 14 PA towers of STM M28 with CD18 subs located next to the main hangs. Other, single RS15/CD18 cabinets were spread across the site to provide smooth LF coverage. Including PS Series speakers for local fill and those used for monitoring, more than 250 Nexo cabinets were deployed on the show. The system’s NXAmp4x4 amplifiers were all fitted with Dante cards, allowing the entire audio production to be networked. This featured 34 separate feeds, which were managed by a Yamaha MRX7-D matrix processor. This was a vital tool, with its 64x64 channel open-architecture, and some of the processing channels requiring delays of more than 1.5s.

‘Sławek Pogorzała from PogoArt shared the designs that he had done on NS-1 (Nexo’s proprietary modelling software),’ explains Val Gilbert from the ES team, who also worked closely with Yamaha applications engineer Pawel Zachanowicz. ‘We had the opportunity to optimise speaker locations and design before arriving on-site. This gave us plenty of time for system time-alignment and tuning, using a rolling Smaart system, tying into power and local network switches at each PA tower location.’ Running long XLR cables was impossible as the riverside park was open to the public during the set-up days.

The show was mixed at levels up to 100dBa, to ensure the music was heard against the sound of fireworks and pyrotechnics. The sheer scale of the show and number of performers meant that no less than five Yamaha digital consoles were needed to mix it. Six Rio3224-D I/O units routed audio to a CL5, used to mix of all the strings, brass and woodwind, and a CL3 mixing the orchestral percussion and choir. These submixes were routed as groups to a master CL5, which managed the overall front of house mix.

The audio groups were also routed to a QL5 for stage monitors, while a QL1 was used for communications between the stage and mix positions, as well as announcements and routing audio to additional systems used with video relays outside the main audience area. Several Ro8 audio output units were also used with Nexo PS series in fill close to the main PA towers.

‘The biggest challenges of the audio production were having such a vast area to cover and the distance between the stage and FOH mix position,’ Zachanowicz says. ‘Having the whole system on a Dante network meant that we could manage the control and audio routing, while using Nexo speakers on towers meant that the sound would be consistent throughout.

‘The show sounded fantastic and was a fitting centrepiece to the 2016 European Capital of Culture celebrations.’

Yamaha has extended the DXS Series of powered subwoofers with the release of the DXS15MkII and DXS12MkII, offering improved performance over the DXS15 and DXS12 with higher maximum SPL from a more powerful amplifier, as well as an extended low frequency response.

The DXS Series was developed to complement the DSR, DXR, and DBR Series full-range powered speakers, particularly for bass-heavy musical performances or playback applications that put a premium on very powerful, yet well-defined low frequencies. The DXS15MkII and DXS12MkII are upgraded models of the current DXS15 and DXS12 subwoofers, which feature technologies developed for the DXS18. The DX18 has proved a very popular choice in live venues and clubs, as well as applications such as outdoor music events or parties.

Both models feature an upgraded 1,020W class-D amplifier and a powerful 15-inch or 12-inch woofer, now housed in a sturdier bandpass type plywood enclosure. Able to deliver 3dB higher SPL and 5Hz lower LF than their predecessors, the DXS15MkII can deliver an impressive 135dB maximum SPL and an extended LF response down to 40Hz, while the DXS12MkII can produce 134dB SPL, with a frequency response down to 42Hz, both with exceptional clarity and minimal distortion.

Both models employ Yamaha’s proprietary D-XSub DSP technology for additional control of the low frequency range, via two selectable modes – Boost and Xtended LF – as well as a selectable crossover with three different options (80/100/120Hz). For larger applications using two or more subwoofers, the DXSMkII offers a Cardioid Mode setting, which effectively reduces the SPL of bass reaching the stage, while increasing the bass levels directed at the intended audience.

Developed with extensive road use and transport in mind, the DXS15MkII and DXS12MkII feature advanced protection circuits in the speaker unit, amplifier unit and power supply that ensure optimum reliability and extended component life. The durable plywood enclosure is coated with an extremely tough Polyurea finish, used extensively in disaster protection applications. This gives the speaker’s exterior added protection during transport and performance.

The new models are more compact and weigh less than their predecessors, for even greater portability and versatility – the DXS15MkII weighing 2kg less and the DXS12MkII 3kg less. Both come equipped with M20 and 35mm pole sockets, allowing for more flexible set up options, as well as an optional wheel kit for more efficient portability and set-up.

Yamaha also offers optional speaker covers, with a functional design that provides added protection from unfavourable weather conditions during outdoor performances, warehouse storage and the rigors of road travel.

‘Live sound reinforcement can present a broad range of challenges for live sound beginners and professionals alike, so we are always paying strict attention to the needs of our customers and how to improve their live audio experiences,’ says Yamaha Pro Audio Division General Manager, Yoshi Tsugawa. ‘Working with our sister company Nexo, these new additions to the DXS Series add performance, flexibility and reliability, enabling them to exceed the demands of a wider range of environments that require high-quality bass performance and versatility in compact packages.’

More: www.yamahaproaudio.com

Yamaha has added two models to its EMX series of integrated mixers, the EMX5 and EMX7.

Following the launch of the EMX2, the EMX5 and EMX7 offer greater power and additional features. Designed for musicians, DJs and public speakers, the mixers are aimed at small to mid-sized music and cooperate events, fixed installs in bars and restaurants, houses of worship and rehearsal studios.

Both models feature high-efficiency power amplifiers, which respectively deliver 630W and 710W output into each channel, and have overload protection.

The are housed in a highly portable, rugged enclosure with powder-coated, impact-resistant metal chassis and integrated handles, with the panel easily adapting to horizontal or vertical placement in a variety of configurations.

Both the EMX5 and EMX7 are equipped with four mono and four mono/stereo input channels, which allow up to eight microphones and line-level input sources to be connected. Channel 4 can be used with Hi-Z inputs, allowing direct input from instruments such as electric guitars and basses. Both are equipped with two Aux Send connections for a monitoring system or external effect devices; stereo TRS phone jacks to output the mixed stereo signal, speaker jacks which can be used with both TS phone and speakON plugs and Rec Out unbalanced RCA-pin output jacks for connecting an external recorder.

The EMX5 features Yamaha’s 1-Knob Master EQ for applying Speech, Music, and Bass Boost settings, while the EMX7 features a flex-type graphic equaliser (Flex9GEQ) which allows users to select up to nine bands out of a total of 31 for fine tuning ±15dB. Both models include a 1-Knob compressor and a comprehensive DSP section, which features 24 of Yamaha SPX effects. Also included on the EMX7 is a speaker processor, featuring presets tuned to precisely match various models of Yamaha passive loudspeakers to ensure optimum performance. Both feature a Feedback Suppressor, which uses Yamaha’s digital, seven-band notch filter technology to instantly eliminate feedback at the press of a single button.

The EMX5 and EMX7 also feature a highly-efficient internal universal power supply for operation in any region around the globe.

‘Since the release of Yamaha’s first powered mixer in 1976, the EMX series has been a worldwide standard for four decades, acclaimed for its reliability and performance in a range of sound reinforcement environments,’ says Yamaha Pro Audio Business Unit Director, Yoshi Tsugawa. ‘With the new EMX5 and EMX7 models, the series expands on the power and performance capability of previous models with an even more portable and flexible design, allowing them to comfortably adapt to a broader range of applications.’

The EMX5 and EMX7 will be available in the summer/autumn of 2016.

More: www.yamahaproaudio.com

The Freilichtbühne open-air stage in Hamburg’s Stadtpark has been a regular venue for music fans since 1975. In charge of the event’s sound, production company Cobra Sound Light uses Yamaha digital mixers to serve the variety of pop, rock, hip-hop, soul and singer/songwriters performing.

Cobra Sound Light has been the season’s technical production supplier since 1981. Because of the variety of artists, production needs vary greatly. ‘All the different artists requirements can mean a lot of changes to the equipment used for each show,’ says Cobra Sound Light’s Trevor Wallace. ‘Luckily for us, Yamaha is at the top of most audio riders, a brand we have been using for many years.’

Wallace has been using Yamaha consoles since he began in the business in 2005, working for rental companies and as a touring engineer. For the Stadtpark summer season, international artists usually bring their own engineers and consoles, or specify a console (usually a Yamaha CL5 or QL5) from Cobra. However for the smaller acts – including most of the support performances – Wallace does the FOH and monitor mixes on a Yamaha QL1.

‘The stability and ease of use of Yamaha desks are big plus points for visiting engineers,’ he says. ‘I have yet to meet an engineer that doesn’t know their way around a Yamaha desk, while the Neve processing is also very popular. For me, it is great being able to use the StageMix app. I can take my iPad to the stage and quickly get monitors dialled in for the support act, in what is usually a very short soundcheck window.

‘With the festival season starting up once again, I look forward to my summer of Stadtpark concerts and the problem-free days that come with working with a Yamaha console. Whoever you are, there is always something to be enjoyed.’

More: www.yamahaproaudio.com

London-based Storm Events has celebrated its tenth anniversary by increasing its inventory of QL5, QL1 and TF1s to serve the diverse array of events that the company supports. Two of the most recent saw Yamaha consoles mixing the sounds of safari and sport.

Safari in the City was a charity gala dinner hosted by the Zoological Society of London at Regent’s Park Zoo. Held in a large, tepee-style tent to raise money for the fight against the poaching of rhinos, elephants, tigers and other wild animals, the key audio requirement was to provide enough coverage and volume for a gala evening, without any unnecessary spill. ‘We used a QL1 because of its comprehensive facilities in a very small footprint,’ says Storm director and head of sound production, Dave Warner. ‘A Rio1608-D I/O unit was positioned by the lectern to keep the XLR cable length to a minimum, while Ro8 boxes were deployed in different areas of the tent to feed local amps and help reduce cabling.

‘Especially useful features were the QL1’s matrixes and the ability to easily push channels to different areas with different delays and EQ,’ he continues. ‘Additional delay on the Dante channels allowed for individual send controls without going to the amps. Premium Rack compression on the mix bus also allowed us to put a “safety net” on the overall volume, without it sounding compressed, to ensure the nearby zoo animals weren’t disturbed. The StageMix app control aided the set-up, especially with EQ and delays in each area.’

Two of Storm’s Yamaha consoles enjoyed another high-profile assignment when they provided pitch audio control and relay at the biennial Hockey Champions Trophy at the Lee Valley Hockey & Tennis Centre in London’s Queen Elizabeth Olympic Park.

Here, a QL5 was used for the broadcast mix and a TF1 for live commentary, announcements and background music for the spectators. A Rio1608-D and two Ro8 took care of the inputs and outputs around the venue: ‘Last year Lee Valley hosted the hockey European Championships and we provided a similar set-up – it’s a very neat solution,’ Warner says. ‘We trust Yamaha consoles because of the features, reliability, the simple, neat layout and their suitability for both live and broadcast sound. They are so easy to use that the vast majority of engineers can operate a Yamaha desk straight away, even if it’s their first time.

‘The QL’s Dan Dugan automix functionality works wonders on panel sessions with eight open radio mics. We have also been expanding our Dante capability with more Ro8 units for the amp racks and broadcast risers at press events. Meanwhile, the TF1 has proved the ideal console for smaller events where the audio infrastructure doesn’t need to be quite so complex. Our six are continually in use.

‘It is straightforward to set up systems for corporate meetings, press conferences and other events which might include multiple microphones, broadcast feeds and multitrack recording. We can quickly put in a compact system that is easily operated by one person, but which satisfies – and invariably surpasses – client expectations.’

With Yamaha’s flagship Rivage PM10 digital mixing console finding favour through the 2016 festival season, the Festival de Radio France used a PM10 to mix two weeks of wide-ranging jazz performances.

Taking place in Montpellier, Festival de Radio Francefeatures many different styles of music in venues throughout Montpellier. The 1,800-seat open air Amphithéâtre du Domaine d’O – managed by the city’s Department of Art and Culture – was the venue for the festival’s jazz programme, with all performances broadcast live on radio station France Musique.

The introduction of Yamaha’s TF series of mixing consoles brought intuitive operation and fast, flexible set-up. Joining the line, the new TF-Rack can be housed in spaces that might not be big enough for a full console, even one as compact as the TF1 mixing console. TF-Rack can be conveniently set up and operated in the most difficult areas using wireless apps including TF Editor, TF StageMix and MonitorMix, featuring user interfaces that extend the mixer’s own on any device.

Housed in a 3U-high, 19-inch rack casing TF-Rack is an all-in-one 16+1 stereo input/16 output digital mixer featuring the TF series’ ease of set-up and operation. It features the same touchscreen as the TF1, TF3 and TF5 consoles, allowing easy, efficient operation with TouchFlow Operation, which combines Yamaha’s Selected Channel and Centralogic interfaces. As with the TF series consoles, a hardware Touch & Turn control on the front panel allows for very precise parameter adjustment.

Using Yamaha’s 1-knob Comp, 1-knob EQ, QuickPro Presets for specific musical instruments and microphones have been designed to provide quick, easy access to effective settings, while set-ups for any situation can be instantly loaded via a simple scene recall. A number of preset scenes are provided to give new users a head start, with dual scene memory banks making it easy to organise scenes by music or event type.

The latest firmware for all TF series mixers is released concurrently with TF-Rack. As well as providing support for TF-Rack, firmware v3.0 also adds convenient features such as the ability to set up limited-access user accounts for each operator and additional QuickPro Presets developed in collaboration with Ultimate Ears.

The unit also features recallable Yamaha D-Pre microphone preamplifiers. Input and output channel processing, including EQ, gates and compressors, is complemented by eight processors featuring Yamaha’s SPX technology, providing a broad range of options for sonic manipulation. TF-Rack has a comprehensive range of I/O connections on its rear panel, including 16 analogue XLR/TRS combo mic/line inputs and plus stereo analogue RCA pin line inputs. Outputs include eight analogue XLR and eight analogue TRS outs. 34 x 34 digital record/playback channels can be accessed via USB 2.0 + 2 x 2 and a USB storage device.

An expansion slot for an optional NY64-D audio interface card is provided. This, along with a Tio1608-D I/O rack unit, are all that is needed for a basic Dante network with high audio quality and low latency.

With 40 input mixing channels, 20 aux buses and eight DCA groups with Roll-Out, TF-Rack is a highly flexible mixing solution. Small enough to be deployed in the most constructed area, it has enough capacity to satisfy a very wide range of applications and locations.

More: www.yamahaproaudio.com

Yamaha has launched its first dedicated game streaming audio mixer, the ZG01.

Released alongside the YH-G01 studio-quality headset, the ZG01 allows users to customise game audio, their voice and the voice of a chat partner within their gaming environment, while providing high-quality sound to both their chat partner and the streaming audience.

Introduced in 2015, Yamaha’s AG series live streaming mixers have become a staple of both the personal streaming and live gaming communities. The ZG01 features physical controls designed to intuitively manage the sound for gameplay, voice chat and streaming, plus HDMI ports for connecting consumer game consoles and for building a more extensive gaming sound environment, with a minimum of connectivity and set-up.

The unit’s ZG Sound Processing technology has three main features – ZG Surround, Focus Mode/EQ and 3D Chat Space. ZG Surround provides the full depth of a game’s multichannel surround sound via USB/HDMI input, when using a stereo headset or headphones. Authentic immersive reproduction is converted by Yamaha’s proprietary ViReal 3D audio technology, delivering a uniquely powerful gaming experience.

Focus Mode/EQ can suppress the sound of the player’s own character’s voice or emphasise the game’s environmental sounds. The settings can be configured to suit a variety of game titles, scenes and playing styles. 3D Chat Space, meanwhile, places the other party’s voice in a virtual 3D space, it also avoids overlap between game audio and voice chat, letting users clearly hear each source.

When players install the dedicated driver into a Windows or Macintosh computer, the ZG01 is recognised as two virtual devices, making it possible to send and receive two audio channels for different purposes. Users can even stream the same immersive audio experience to others tuning in with stereo headphones.

The YH-G01 headset combines a high-quality condenser microphone with a comfortable, lightweight design, letting players free up their hands, optimizing communication and the audio experience during long hours of gameplay.

‘The ZG01 represents Yamaha’s first fully-fledged entry into the gaming market,’ says Thomas Hemery, General Manager of Marketing & Sales of Yamaha’s Pro Audio Division. ‘The incorporation of Yamaha’s decades of experience developing immersive audio technologies like ViReal and Active Field Control (AFC) gives it a significant advantage in achieving a more realistic and authentic experience. It also marks the beginning of the new ZG series, our enhanced efforts to not only provide users with more exciting gaming experiences, but also to positively connect people in the global gaming population through sound and music.’

The ZG01 and YH-G01 will be available from July 2022.

More: www.yamahaproaudio.com

With more than 30 years in the industry, Gijs Schouten is one of the Netherlands most experienced professional sound engineers. Having worked with many developments in the world of pro audio, he is currently using the Yamaha Rivage PM10 digital mixing system.

Schouten got his start in audio at 14, initially wanting to become a DJ but soon getting involved at his brother-in-law’s home studio. In 1983 he started his career as a professional engineer, initially with Balance, a show orchestra that played many events and parties in and around the Netherlands. By the end of the 1990s, Schouten was employed full-time at Focus in Amsterdam, one of the Netherlands leading technical production companies, where he is now one of its most experienced sound engineers.

He is currently in the middle of a busy summer, working on shows ranging from a Christian convention with the band Casting Crowns at Rotterdam’s Ahoy arena to a number of festivals, including Douwpop, Ribs & Blues and more. His console of choice is the Yamaha Rivage PM10, supplied by rental company RentAll.

As well as mixing individual artists, on larger events Schouten uses Rivage PM10 as a master console for the combined outputs of individual band mixers, also acting as overall systems technician and assisting other engineers. ‘Rivage PM10 is a very high-quality mixing console and is very easy to use for any kind of production,’ he says.

‘One of the many things I like is that it only takes guest engineers a few minutes to familiarise themselves with it. When I am showing them its many possibilities for the first time, they see that it is very natural and intuitive to use and can mix their productions very easily. ‘Of course Rivage PM10 also sounds very good. It is definitely my favourite console and I urge other engineers to experience it for themselves.’

More: www.yamahaproaudio.com

Rising synthpop trio Years & Years from have completed a series of sold-out UK theatres and arenas with Adlib providing an L-Acoustics ‘racks-and-stacks’ audio system, plus a full support package and crew.

Production manager Steve Down called in Adlib, with two of the company’s most experienced engineers – Sam Proctor and Hassane Es Siahi – ensuring that the band’s engineers Pablo Campanara (FOH) and Harry Bishop (monitors) received impeccable support. Due to the variety of venues that made up the extensive tour itinerary, Campanara requred a system with sufficient flexibility...

First, Australia gave us its own take on Pink Floyd. Now Led Zep Masters are filling large venues with their tribute to another pioneering British band. And with 35 musicians on stage and arguably the greatest back catalogue of classic rock to call on, it’s some show…

Unsurprisingly, Led Zep Masters live places great demands on a front-of-house audio set-up. To address those demands, the Liz Hobbs Group handles production using an Allen & Heath dLive S Class digital mixing system for the band’s recent run of UK theatre shows, which featured Australia’s Zep Boys backed by some of the best orchestral players in the country.

The Ozzie Zep have been honing their orchestral Led Zeppelin extravaganza since 1986. And having recently invested heavily in the dLive series, Liz Hobbs Group turned to Allen & Heath’s flagship dLive S7000 control surface and DM64 MixRack to serve up the band’s impressively bombastic performance in venues including the London Palladium and Birmingham’s Symphony Hall.

 Production manager and FOH engineer Paul Joyce also employed a Waves v3 card and M-Dante card for virtual soundcheck and audio networking duties during the tour. ‘The dLive is a brilliant system,’ he says. ‘It’s very intuitive and I can lay things across the S7000 surface however I like. With an orchestral show like this – we’re at 64 inputs – you need that control.

‘Things like the multiband compressor are perfect for helping to shape a mix, ensuring that the low strings and the electric guitar sit in their own sonic space, for example. In fact all of the onboard effects are staggering and really help to balance the band and vocals against the orchestra – and the stereo image the dLive delivers is incredible.

‘With two big screens in front of me I can have one with my scenes on all the time and one with effects – everything falls very easily to hand. It’s really helped me out with this show.’

More: www.allen-heath.com

APG has appointed Andalusian audio specialist Zero Dbs to support and promote its brand and products in Spain.

‘APG products offer features that I have not found with any other brands in the industry,’ says Zero Dbs Technical Director and owner, Juan Antonio Cuevas. ‘The Spanish market might not know the APG brand well yet, but I’m convinced regional companies and customers will soon be aware of its qualities. Whenever we have provided APG in the past, customers have been amazed. They are usually so satisfied with their equipment that they come back for more.’

In order to raise awareness of APG in the region, Zero Dbs has arranged a series of demo days in collaboration with the APG team, to be held at the Priego de Cordoba Victoria Theatre, which was equipped with a Uniline Compact system at the end of 2018. As well as demonstrating the systems, the sessions will familiarise end-users with the technology on offer and serve to educate the region on the corporate identity of the brand itself.

The Uniline Compact system at the theatre comprises four UC206N medium/long-throw speakers, a UC206W and two SB115-M2 subwoofers per side, as well as a DMS48 digital processor and a pair of Powersoft Quattrocanali amplifiers to drive the system.

‘The APG gear was easy to install and is versatile enough for any type of show, which was a requirement for the client,’ Cuevas says. ‘The intelligibility, sound pressure and coverage of the Uniline Compact is second to none, and its Dante-compatibility means the option for integration with a digital console is always there.

‘We have already received a number of requests for installations and technical meetings with theatres, concert venues, specifiers and rental stagers. We are looking forward to making APG a major player in the region.’

More: www.apg.audio