Road Tests

When I first discovered beyerdynamic microphones in the late 1990s I had no idea that the German company founded by Eugen Beyer has been around since 1924.  I was also clueless to the fact that, by 1937, the beyerdynamic company had been designing and manufacturing microphones, headsets and other audio products. All I can say is that learning this information certainly sharpened my interest in the new Touring Gear mics I received and was about to field test. It just fascinates me that a company can survive and thrive for such a long time. They must be doing something right. That said, let’s take a look at the microphones themselves.

Kaltman Creations has been selling German handheld RF (and EMC) spectrum analyzers from Aaronia for several years now, as well a previous version of Invisible Waves, a Windows-based RF spectrum scanner. The new version, Invisibles Waves X is again comprised of hardware and Windows-based software components, but now the software’s user interface has been improved to provide a better RF command center.

Both the XP and XD have an industry-standard choice of Bessel, Butterworth or Linkewitz-Riley crossovers with slopes from 6 to 48 dB-per-octave. Under General Settings, the EQ and crossover settings can be made in either 1 Hz increments or 36 steps per octave.

If the RE320 from Electro-Voice looks familiar, there's good reason: the RE320 derives its body style and incorporates technology used in E-V's popular RE20 and RE27N/D microphones. The RE320 features the humbucking coil used in the RE20 for reduced susceptibility to RF. It also uses the high-output Neodymium-magnet capsule used in the RE27N/D – but with a new low-mass diaphragm for improved transient and high-frequency response.

When I first got the email to review the new Sanken COS-11D microphone, I was pretty excited. I use a couple of different headset mics in my business, and was very interested in trying out this Sanken mic. In general, headset mics are very handy. The user has both of their hands free to play an instrument, give a presentation, draw on a whiteboard or just use two-hand gestures (if they are Italian). Plus, they have the freedom to move about the stage or audience. The downside of these mics is that they don't really sound very natural, and they can be prone to feedback.

In the last few years, Milford, NH-based Earthworks Inc. has produced several products that have resulted in a transformation of the company's image within the audio engineering community. Earthworks originally built its reputation on its impeccable omnidirectional measurement microphones, and subsequently ventured into the studio recording market with their high definition omni and cardioid small diaphragm music microphones.

My first Countryman DIs were the ones I loaded into the workbox for my first tour in 1985 with Crystal Gayle: brand new black anodized Countryman Type 85 direct boxes, which have since become a ubiquitous staple in live sound and asked for by brand – the ‘Scotch Tape' of DIs. I'm sure most of you have used them.

Capture, Studio One and Virtual StudioLive

Each of the three mixers in the current StudioLive family – the original 16.4.2, the flagship 24.4.2 and the new compact 16.0.2 – share the ability to be a full FireWire-enabled digital audio recording interface. All three come with Virtual StudioLive control software, Capture for basic digital recording and Studio One for the more advanced work. The included software makes StudioLive consoles veritable Swiss Army knives. This review covers some highlights of each and how they can be implemented in a live setting.

Yamaha introduced their popular StageMix iPad application for their M7CL at PLASA last fall, and there's been strong interest in an LS9 version since. Released at Frankfurt's Prolight + Sound in April, it's a free download on Apple's iTunes store. I got the call from IATSE steward Susan Phillips to work at Florida State College's Wilson Center with the school's nationally recognized jazz band. Because they have an LS9-32 in a typical performing arts center control booth, I knew this was a great test for the LS9 app.

As I sit here contemplating this review, it occurred to me that I have been writing about Yamaha gear for over 15 years now. Not that this really matters for my DSR review, but, just as a reference point, I have seen a lot of innovation come out of Yamaha over the last decade and a half.

This is the first of a two-part review. Next month: A closer look at some of the things you can do with the software bundle that comes with this product. Far from a throw-in, the software is really an integral part of what this product is all about. -ed.

One of the quirks about this business is that the older and supposedly more knowledgeable you get, the faster the transition is from cool, new "toy" to necessary "tool!"

The first thing that caught my eye when I looked at the Peavey Impulse 12D is that the enclosure sports a ribbon driver rather than the typical high compression driver. The ribbon driver is an exclusive Peavey design based on the ribbons used in the Peavey Versarray line arrays. Even if you don't know what a ribbon driver is, you can't help but notice that the horn section of this injection-molded enclosure is very different from what would be considered the norm.