Some time ago (FRONT of HOUSE, June 2013) we checked out the Cymatic Audio LR-16, a 16-channel recording solution for capturing 16-tracks of live audio from analog boards. At $499, it was priced right, but besides having a 16-rack limit, it also was built in a non-rack configuration — issues when considering gear used in a live environment.
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In-ear monitors are becoming more and more ubiquitous every day and wireless hardware systems are coming down in price, opening the market to a wide range of users, some fairly sophisticated about audio and other not so knowledgeable. In the hands of a trained pro monitor mixer who understands the needs and limitations of IEM systems (and users) the need for an in-line brick wall protection limiter may not be so important.
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One of the most essential, yet often overlooked items in the toolkit of any live sound pro is a good set of headphones. And if truth be told, there are a lot of headphones on the market, ranging from less expensive options to some awful-sounding, yet very pricey models that come emblazoned with the name of some famous music celebrity. However, the headphone needs of a sound reinforcement mixer (FOH or monitors) are quite different from those of a typical consumer — or for that matter, a studio engineer.
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If you ever needed to use a communications headset in a loud environment, you know that any headset that provides isolation is usually rather bulky. These aviation-inspired headsets do a great job for followspot operators working a loud performance, but they can be heavy and cumbersome. Point Source Audio offers a lightweight alternative with its new CM-i3 intercom headset.
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Every once in a while, I encounter some product or technology that represents a major paradigm shift in defining the future, and I recently had just such an experience at the 2015 Winter NAMM show. While Ultimate Ears all-digital production system for measuring and creating custom in-ear monitors is not currently available to the general public, it’s definitely on the near horizon.
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During last summer’s InfoComm show, AKG introduced the DMSTetrad, a four-channel 2.4 GHz digital wireless microphone system for live sound, corporate events, church and industrial installations. It is designed to be set-up quickly and be simple to use. And from a first glance at the receiver, it is indeed very streamlined looking with a knob, a volume pot and three LEDs per channel. Pretty straightforward.
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About a year ago, I had a hands-on introduction to the wonders of PreSonus’ Active Integration technology when I reviewed the StudioLive 32.4.2AI digital console (FRONT of HOUSE, Nov. 2013). The system — with iPad control via the Universal Control-AI app — was one of the easiest digital console interfaces I had ever encountered. It was quite literally play and go, right from the start, quickly accessing the power of the system with hardly a need to consult the manual at all.
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Back at the NAMM show in 2012, Mackie kicked off a not-too-quiet revolution with its DL1608 iPad-enabled digital live mixer, which had 16 mic/line inputs and eight outputs (six aux sends plus L/R master outs) and a $999 street price. With its touch screen control; full-on snapshot automation/recall; onboard dynamics and 4-band parametric EQ’s; 31-band output graphic EQ’s; onboard reverb and tap delay; and wireless iPad control, the DL1608 was cool.
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Allen & Heath, the company, was founded in 1969, but first rocked the audio world when they built a custom quadraphonic mixing console for Pink Floyd. The MOD1 board was used by Alan Parsons to mix the band’s live shows. British-built Allen & Heath boards were also used by The Who and Genesis, not to mention countless other groups. Since then, the company has earned an enviable reputation for delivering great sounding, rock-solid analog consoles for both studio and live applications.
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The QLX-D is Shure’s latest addition to its growing line of digital wireless microphone systems and utilizes some of the technology developed for the company’s higher-end Axient products and ULX-D Series to good effect. Shure has successfully been able to package the QLX-D system in an economical version with user-friendly controls.
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Cerwin-Vega has introduced a new line of powered portable speakers for use in professional sound reinforcement. The P-Series consists of the full range P1000X, a bi-amped two-way speaker with a 10-inch woofer and a hemi-conical horn. The larger P1500X is a 15-inch version. The series also includes the P1800SX 18-inch subwoofer. All are covered by a three-year warranty — a nice touch.
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Headworn and lavalier mics continue to gain popularity in applications that go well beyond the typical — i.e., a CEO giving a welcome address at an industrial or corporate presentation or freeing a minister from the pulpit mic for invocations using a wireless system. With the rise of quality in modern miniature capsules, some of these transducers are capable of delivering performance specs that meet or exceed those of a hardwired handheld. At the same time, capsules have gotten smaller, offering near-invisibility from just a few feet away.
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