New Sound Reinforcement Products

SHURE KSM9 WIRED CONDENSER MIC After months of field-testing on major tours, Shure ( unveils the KSM9; the hard-wired version of the KSM9

After months of field-testing on major tours, Shure ( unveils the KSM9; the hard-wired version of the KSM9 wireless debuted earlier this year. The condenser KSM9 has switchable cardioid or supercardioid patterns — a first for a handheld mic. Selectable via a switch under the pop screen, the KSM9's patterns bring flexibility, while the mic's dual gold-sputtered Mylar diaphragm design provides higher gain before feedback and minimizes proximity effect for accurate low-end response. Response is 50 to 20k Hz, sensitivity is -51 dBV/Pa and max SPL is 153 dB. A two-stage internal shock-mount stabilizes both horizontal and vertical movement. This 48VDC phantom-powered mic is available in champagne or charcoal-gray finishes, and features a hardened-steel mesh grille and gold-plated internal and external connectors.

The P-D18E-AD double-18 subwoofer from Bag End ( is now available in a powered version. Part of the company's popular INFRA Series, the P-D18E-AD is a high-output sub designed to provide extended LF reproduction from a relatively small and low-profile enclosure. Designed for permanent installation, the P-D18E-AD can fit under platforms and in tight vertical spaces, with dimensions of 15×38×30 inches (H×W×D); weight is 131 pounds. Its 18mm, 13-ply birch plywood enclosure has a flat black finish and a black-coated steel grille. Used with the INFRA Integrator, the P-D18E-AD provides flat response down to 8 Hz. Its onboard Minima One amplifier has a continuous output rating of 1,000 watts; max SPL (40 Hz @ 1 m) is 121 dB.

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Martin Audio's ( LE monitors feature smooth cabinets with rear curves of pressed/machined beech laminate and a hardwood front rail for a rigid, tough and acoustically neutral design, with left- and right-handed versions available for use in pairs. Optimized for use with Martin's DX1 controller, which provides crossover, limiting and EQ functions, the monitors can also be operated in passive mode without a controller. The top-end LE2100 is a three-way bi-amp — only, differential dispersion monitor, offering a low profile and high power from its dual 12-inch woofers, 6.5-inch midrange and a 1-inch compression driver mounted on a differential dispersion horn. The compact LE1500 is a high-output design, with a 15-inch LF driver and 1.4-inch compression driver. The ultracompact LE1200 has a 12-inch woofer and 1.4-inch compression driver.

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MC2 Audio (dist. by Group One, expands its lightweight switch-mode E Series with the new E475 power amp. Ideal for stage monitoring use, this 4-channel amp produces 750W RMS per channel into 4 or 8 ohms. Inputs are via four XLRs, which are linkable to the next channel via a rear panel switch for greater flexibility in supplying speakers with the same input signal. Each channel has a separate Speakon output, but channels C and D are also routed through the second set of Speakon pins on channels A and B. This gives the user the option of running two separate bi-amped wedges from one amp. The E475 also fits front-of-house applications running small, distributed systems or mid/high sections of larger-scale systems. All E Series amps are two-rackspace designs and carry a five-year warranty.

The APS 25b battery-powered speakers from Azden ( use a rechargeable battery to operate up to eight hours before recharging. The speakers include four separate audio inputs, two of which are for plug-in, user-installable, wireless microphone receiver modules: VHF (30 channels), UHF (63-channel switchable) and Infrared (two user-selectable channels). The speaker's two other inputs are for a wired mic and a line output device such as a CD player. Each of the four inputs has a volume control for mixing. Speakers include wall-mount brackets and can also be stand-mounted vertically or horizontally.

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The LightViper VIS-1832 fiber-optic system from FiberPlex ( combines a traditional-looking 32×8 audio stage box and a single-rackspace VIM-1832 at FOH. The two connect via a rugged, lightweight, mil-spec, fiber-optic cable that weighs less than two pounds per 100 feet of cable run; they can be placed up to 1.25 miles apart. The stage box accepts balanced or unbalanced XLR or TRS mic/line-level audio, and 48V phantom is available. Optional optical outs on the stage unit allow separate feeds to a monitor console or broadcast/recording vehicles. All ADCs are 24-bit/96kHz, and a typical configuration is $7,500.