Power amps have come a long way since the days of the backbreaking 200-watt/50-pound behemoths of old. New Class-D technology, onboard DSP and multichannel capability results in lighter-weight amps with more power and functionality than ever before.
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“Innovative live sound solutions” and “World’s first smart mixing system,” they say. While a newcomer to the speaker/mixer market, Line 6 has a long history in technology, from its POD-enabled guitar processing to its respected family of XD digital wireless units. And with that in mind, I wanted to investigate these new speakers and mixer.
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It’s been some two and a half years since Movek’s myMix burst upon the scene, introducing thousands of satisfied users to this personal cue mixing system. And now with the new myMix CONTROL remote control/configuration software, the systems just keeps getting better and more flexible. Created via Linux, myMix CONTROL is a non-platform-specific, browser-based tool for mix engineers working with performers, and integrators who want to quickly create customized setups for myMix systems in commercial or complex installations.
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For the past decade, KV2 Audio has built a reputation for creating rugged, great-sounding pro audio gear. Founder George “Jiri” Krampera always made products with novel, innovative approaches. So when KV2 announced its JK series direct boxes, I was anxious to check these out.
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A potential game-changer for the industry, Behringer’s X32 digital console features 32 input channels (32 mic/line preamps), 16 XLR output buses (plus stereo XLR/TRS outs), multichannel digital I/O (AES50 Cat-5, FireWire, USB), 4-band parametric EQ and six aux sends on all inputs and eight onboard stereo multi-effects processors. Street price is $2,899. I tip my hat to the Behringer group for creating the board’s clean, feature-packed physical layout and intuitive onboard GUI.
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Audio-Technica’s ATM510 cardioid dynamic handheld microphone is a rugged, full metal shaft mic fitted with a rare-earth Hi-Energy® neodymium magnet structure that is holstered in an internal shock mount to reduce handling and stage noise. The multi-layered grill provides a great first line of defense against the pesky “plosives” and assists in controlling distortion that may be caused from sibilant sounds and wind noise. MSRP is $169, with street pricing around $99.
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For some years now, the Roland Systems Group has enjoyed a great deal of success with its M-series digital mixers. That said, I have never had the pleasure of mixing on one. Which is why editor George Petersen felt I was the perfect choice to review the Roland M-480 V-Mixer digital console. So, what you are about to read are my first impressions of this piece of technology.
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Radial Engineering has earned an enviable reputation for the performance of its high quality direct boxes, Now from Radial comes the JDX Reactor™, a guitar amplifier direct box that takes a new slant to capturing guitar tones onstage.
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For the last two decades, I’ve been mixing at churches and installing house of worship sound systems (among other audio adventures). During this time, I’ve seen — and heard — a continuous evolution in the microphones that ministers prefer and use. For years, I would typically be asked to set up a stationary wired mic at a podium or — if the pastor/preacher went wireless — they might use a lavalier model.
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The Sennheiser XS Wireless comes in five application-specific sets. Two are vocal sets — one with the SKM 35 handheld transmitter featuring Sennheiser’s standard e835 dynamic cardioid capsule; the second, XSW 65, comes with an electret super-cardioid condenser capsule.
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Every once in a while, a product comes along that seems so obvious it makes you wonder why someone didn’t invent it a long time before. David Lichterman actually introduced me to the original D3 Optogate at the 1999 Winter NAMM Show. I would like to show you the PB-05.
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A continued resurgence in the popularity of passive loudspeaker columns has encouraged manufacturers to improve the art by providing more than just a straight column of closely spaced mid-range drivers. The ability of columns to project sound with wide horizontal and narrow vertical coverage can outperform traditional point-source enclosures, especially in large, reverberant spaces. At the same time, their tall, slim profile helps them blend into the architecture and virtually disappear.
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