FRANKFURT, Germany — Frankfurt’s 2014 Prolight+Sound exhibition drew 897 exhibitors from 42 countries from March 12-15. Combined with Musikmesse, there were a total of 2,242 exhibitors, with 110,000 visitors from 142 countries attending. New product launches tend run in cycles, and right now, live sound consoles are hot, hot, hot. Along with an ample assortment of new sound reinforcement consoles (for any budget), there were plenty of upgrades and updates for existing models.
CONSOLEMANIA!
Midas (midasconsoles.com) announced its new flagship PRO X touring console, which builds on the legacy of its PRO3, PRO6 and PRO9 digital mixers. Its powerful Neutron DSP engine is capable of up to 800 audio channels, which can be routed on a point-to-point basis and automated with scene changes.
On its own, the PRO X provides 168 inputs and 99 mix or 103 output channels simultaneously on a control surface that’s less than 60 inches wide. AES50 digital audio connectivity allows scalability for up to a total of 288 network inputs and 294 network outputs. Seamless integration comes via IP-compliant third-party networks, such as Dante and CobraNet, using the Klark Teknik DN9650 Network Bridge.
The powerhouse behind the PRO X system is the new rackmount Neutron Audio System Engine. Advanced FPGA and MIMD (Multiple Instruction, Multiple Data) architecture delivers more than 100 gigaflops of real-time audio processing performance, translating into 271 simultaneous processing channels at 96 kHz and 40-bit floating point operation. Also, existing PRO 3, 6 and 9 owners will be able to upgrade their systems to the new PRO X. This requires only replacing certain sections of their control surface, upgrading to the new Neutron DSP engine and using existing remote I/O.
PRO X MAP pricing is expected to be $41,999 when it ships in late 2014.
Click on link for the FOH-TV video: MIDAS PRO X VIDEO.
Soundcraft (soundcraft.com) launched its next-gen Vi3000 live digital console. Features include the company’s groundbreaking Soundcraft SpiderCore internal DSP (based on the Vista 1 engine), a new industrial design, 96 channels to mix, Dante compatibility, upgraded microphone preamps and 40-bit floating point processing. The surface operation and layout is similar to other Vi Series consoles, providing a familiar feel.
The Vi3000 control surface has 36 faders, 24 mono/stereo buses and a black screen panel with four Vistonics II touch screen interfaces with sleek, updated 3D graphics. In addition to a full complement of analog and digital inputs and outputs, the console provides MIDI, USB, Ethernet, DVI out, Dante/MADI record feed outputs, redundant power supply and other connections. Two expansion bays that support MADI Stagebox cards, to connect multiple Soundcraft Stagebox input expander modules.
The Vi3000 accommodates the new Soundcraft Realtime Rack, a hardware / software unit with access to 74 industry-standard UAD plug-ins. Also standard are FaderGlow multicolor illuminated faders, iPad control and built-in Lexicon reverb/delays, dbx compression, effects and more.
Click on link for the FOH-TV video: SOUNDCRAFT Vi3000 VIDEO.
Yamaha (yamahaca.com), following the success and worldwide acceptance of its CL series of live consoles, debuted its QL series, which inherits CL features such as all-in-one mixing, processing, and routing capability for small to medium scale live tour sound and installations — but in more affordable packages.
Built-in internal processors include Yamaha VCM technology, the Portico 5033/5043 created with Rupert Neve Designs and Dan Dugan automatic mixing. Other features include direct file compatibility between the QL and CL Series consoles, large touch-panel displays, onboard Dante audio networking, Yamaha StageMix iPad control, online/offline Mac/PC QL Editor Software and compatibility with Yamaha’s Stagebox remote I/O’s. The QL1 and QL5 offer feature 16 or 32 built-in mic/line inputs, 18 or 34 faders, 8 or 16 analog outs, 32 or 64 (plus eight stereo inputs) mix capability and eight matrix outs.
QL consoles are compatible with Nuendo Live (sold separately) and offer Nuendo Live Control, MIDI/GPI control ports, and two-track direct to USB and multi-track recording playback capabilities. The QL1 also can be rack mounted. Shipping begins this month at an MSRP of $8,499 (QL1) and $16,499 for the QL5.
Click on link for the FOH-TV video: YAMAHA QL VIDEO.
CADAC (cadac-sound.com) launched its CDC four:m, a new version of its CDC four compact digital console, offering up to 56 channels in a rackmount chassis. Features include 16 motorized channel faders, a high-res TFT color display and fully recallable scene memory, analog-sounding compressors, 96 kHz 24-bit Delta Sigma AD/DA converters and fourth generation 32/40-bit floating point SHARC processors. The four:m’s 6 x 4 matrix also has 31-band graphic EQ, compressor/limiter and delay on all four channels, and 31-band EQ on all aux sends.
In other CADAC news, V2 software for its CDC eight console boasts many new features and expanded functionality, specifically in the FX processing and console automation areas. CDC eight now features 16 stereo FX processors, running 32/40-bit proprietary algorithms at 96kHz sample rate. Each processor has delay, reverb and modulation elements, all of which can be used simultaneously, and which can be configured in a number of serial/parallel modes.
An optional interface card enables Waves Audio‘s Waves MultiRack SoundGrid plug-ins to be controlled directly from within the CDC eight’s operating system. Waves plug-ins can be used simultaneously with the consoles own DSP FX options. The Waves GUI is displayed on the CDC eight’s touchscreen for viewing and editing.
SM Pro Audio (smproaudio.com) showed uMiX, a new series of Wi-Fi remote controllable digital mixers, offered in uMiX mini (8-channel), uMiX 12 (12-ch), uMiX 16 (16-ch) and uMiX 24 (24-ch) configurations. All feature 56-bit double precision audio signal paths with detailed parametric EQ, dynamics and digital FX available on all channels, along with Waves MaxxBass and MaxxVolume.
Also standard are built-in Wi-Fi router; remote mic preamps; scalable (cascade two mixers via a Cat-5 cable); optional multi-track recording (uMix 16 and 24); stereo recording to USB storage; onboard media Player for background music or backing tracks; and a HDMI display output.
Deliveries are slated for Q3, 2014, with projected map pricing from $249 to $999.
RCF (RCF.it) announced its new console division, with the first entries being its L-PAD range of compact, high performance audio mixers. L-PAD models offer 3-band EQ, onboard dynamics/compression and internal DSP effects. The division will be headed by Umberto Zanghieri, founder of the design house ZP Engineering, which has now become part of the RCF Group. More models will be unveiled over the next year.
UPDATES AND UPGRADES
Not all mixers were new entries. ProLight+Sound provided a springboard for new upgrades and updates to existing mixers as well.
Shown just a year ago, Solid State Logic (solidstatelogic.com) launched Version 2.0 software for its popular SSL Live mixer, the company’s first-ever dedicated live sound console.
Within the Version 2 software — slated for April 2014 release and offered free to existing owners — there are more than 25 new feature additions to the SSL Live console, covering enhancements to the Output Matrix, Effects Rack, User Interface, Routing, Solo System, Focus Channel and the introduction of a comprehensive Offline Setup application.
Click on link for the FOH-TV video: SSL LIVE VIDEO.
Avid (avid.com) announced continued momentum in the live sound market with an expanded AAX live sound plug-in platform for the Avid S3L system. Avid S3L users can now choose from a wide range of plug-ins from Avid as well as some of the world’s most respected developers including Crane Song, McDSP, and Sonnox.
The release of the free VENUE 4.1.3 software update provides support for the latest qualified plug-ins, with Avid continually qualifying additional AAX live sound plug-ins. As part of the update, current and new S3L customers can also download additional free AAX plug-ins for their system through their Avid customer account. The Avid SL3 system is comprised of a HDX-powered mix engine running VENUE software and AAX DSP plug-ins, scalable remote I/O, a compact EUCON-enabled control surface, and Pro Tools software for integrated live sound mixing and recording.
Click on link for the FOH-TV video: AVID S3L VIDEO.
Along with an expanded feature set and workflow improvements with Version 2.0 Firmware, Behringer (behringer.com) announced a premium-quality library of “Artist’s Presets” for its popular X32 digital console.
The library was created by well-known sound engineers for use on the X32 for specific situations or instruments and includes presets from Los Angeles’ famous Whisky A Go Go nightclub, NYC’s Big Blue Meenie Studios and legendary engineers Peter Moshay (Live from Daryl’s House, Hall & Oates), Rick Camp (Jennifer Lopez) and Terry “TJ” Jackson (Earth Wind & Fire).
The “Artist’s Presets Library” comes with the v2.0 firmware download for X32, and is available free of charge at www.behringer.com.
Ideal for theatre applications, Lawo (lawo.com) presented mirror console functionality for its mc2-56 console. The update allows an mc2 console to be located in the auditorium to prepare and fine-tune the mix during rehearsals. in the mix position where the audience is sitting, and it enables the mix engineer to be in close contact with the actors. The console settings are mirrored to a console in the control room, where the show mix is handled without disturbing the audience – and with the first console removed, the seats in the auditorium can be taken by paying visitors.
And Innovason (innovason.com) Eclipse GT console users will be interested in the new M.A.R.S. SoundPad. This innovative plug-in with touchscreen operation brings new playback functionality to the Eclipse GT’s M.A.R.S. multitrack recorder. SoundPad enables the preparation and triggering of up to 64 audio files containing up to eight audio channels each. Audio files can be triggered in various ways, including via time code, MIDI, touchscreen operation, fader start, mute key, etc. Files can be imported into the M.A.R.S. removable SATA HDD or read-out in real time from any USB device connected to the Eclipse GT.
More to Come
There was a lot more new product action at Musikmesse/ProLight+Sound 2014, and we’ll provide complete coverage in the April edition of FRONT of HOUSE. Meanwhile, Musikmesse/PL+S returns next year from April 15 to 18, 2015, overlapping the 2015 NAB show exhibit dates (April 13 to 16), which may provide a interesting conundrum for audio industry jet setters. Perhaps someday organizations may get together and coordinate their exhibit dates — but don’t count on that happening anytime soon.
