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Road Tests

The 24-input MGP24X

Yamaha MGP24X and MGP32X Consoles

Yamaha’s had a long history of building solid analog consoles, going back to 1974’s PM1000, which brought balanced I/O’s, 3-band channel EQ, matrix mixing and tough, roadworthy construction into 16/24/32-channel packages and began a legacy of pro-quality live gear that continues to this day. As the years progressed, Yamaha evolved digital consoles, which like its analog boards, have become world standards. There’s no doubt that the future lies in digital technology, but our old pal analog still survives and thrives, particularly in certain market segments.

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Cymatic Audio LR-16 Live Recorder

Cymatic Audio LR-16 Live Recorder

Once upon a time, live recording was a real pain. In the old days, it involved dragging a recorder or rack of ADATs/DA-88s to the FOH position and connecting them via console direct outs. I can even recall shows where large reel-to-reel digital machines (typically a Sony PCM-24 or PCM-48) would be lugged up to sit next to the house console. The alternative was to call a remote recording truck/van, determine the pecking order of analog splitting and then let that crew handle the details.

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Australian manufacturer Que Audio’s DA12 is a single-ear boom mount headworn mic featuring a compact (2.5mm) vocal capsule. Formerly marketed under the Da-Cappo brand, these mics delivered smooth, natural reproduction and good feedback resistance at an affordable price.

Que Audio DA04 and DA12

To prepare for this review, I visited Que Audio’s website and found out some interesting facts about the company and its products. First, Que Audio is owned by the Syncrotech Group, which is an Australian-owned group of professional audio companies that has been operating down under for more 30 years. When I read this info on the Que Audio site, I was quite impressed. Maybe because I happen to love Australia (and not for the shrimp), but also because 30 years is a long time to do anything in Australia, or anywhere else for that matter.

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Shure SM91 mounted inside a kick drum using the SHU Flatz mount, which in addition to holding the mic, can also keep a dampening pillow in place, if desired.

Kelly SHU Microphone Mounts

It’s not often that anything exciting comes along in the realm of bass drum mic mounts, so when I heard about the Kelly SHU™ Microphone Mounting System, I was extremely curious. The Kelly SHU is a semi-permanent suspension mount designed specifically for kick drum mics. It comes in three flavors: the SHU Pro, the SHU Composite and the SHU Flatz. The Pro and Composite will hold just about any kick drum microphone; the Flatz is designed for use with the Shure Beta 91/91A, SM91 or Sennheiser E901 (you must specify which mic when ordering).

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Mackie DLM8

Mackie DLM Speakers

Last year, when Mackie first showed its DLM series with three powered, DSP-driven speakers. I was intrigued. Here were two extremely compact two-way systems with a 12-inch or 8-inch LF driver paired with a coaxial 1-inch exit compression driver, 1,000 watts RMS of biamplification (2,000W peak), a built-in, two-input digital mixer with line/mic inputs, 3-band EQ, 16 DSP effects, multiband feedback destroyer and memory presets for storing mix configurations. Also in the line is the matching DLM12S, a powered single-12 subwoofer.

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DPA d:facto II Vocal Mic

DPA d:facto II Vocal Mic

It seems like only yesterday (well about a year ago) that DPA launched its d:facto handheld vocal microphone, with the intent of putting a studio-quality mic into a live stage package. And now, less than a year later, DPA debuts its second-generation d:facto design — the d:facto II. Clearly, there wasn’t anything inherently wrong with the original design — in fact, the mic was starting to pick up an increasing roster of users, including performers such as Sting, who seemed quite satisfied with the original design. However, the engineering team members at DPA tend to be extremely fussy about even the smallest details, and the new and improved d:facto II was born.

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» The a-Class family, (L-R): a-8, a-10, a-12 and a-15.

VUE Audiotechnik a-Class Loudspeakers

Less than a year old, VUE Audiotechnik was founded and developed by two industry pioneers (Ken Berger and Jim Sides) who are noted for developing highly respected speakers for other manufacturers. And from what we’ve seen and heard so far, VUE may very well be on its way to becoming a standard in audio excellence.

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Mackie DL1608 Digital Mixer

Mackie DL1608 Digital Mixer

I’m not really sure if this is a review of a product or a phenomenon. Since it was unveiled at the 2012 Winter NAMM Show, the industry has been talking about Mackie’s DL1608, an iPad-enabled digital live mixer, to a level that hasn’t been experienced since the Alesis ADAT hit the streets some two decades ago. Part of this stems from the mixer’s impressive price/performance ratio and part comes from simply offering a cool — and convenient — way of working in the live environment.

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Countryman H6 Headset Microphone

Countryman H6 Headset Microphone

Earlier this year, when Countryman Associates introduced its latest product, the H6 headset microphone, I wasn’t the only one eager to check it out. After a few months, production ramped up with the demand, and I was finally able to get an evaluation sample.

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