DPA CORE Micro Shotgun Mic
With its supercardioid polar plot, DPA’s 4097 CORE Micro Shotgun Mic offers a highly directional pick-up pattern as well as low self noise and high sensitivity. The mic is capable of handling high SPLs, which allows it to deliver undistorted natural sound, even when users speak loudly or yell. It shines in outdoor locations, handling inclement weather and limiting intrusive background noises.
Due to the highly directional pick-up pattern, it is easy to focus on what the interviewee is saying. While the speaker’s voice is captured clearly in front of the mic, background noises are captured at a lower level (off axis), making the entire interview clear and pleasant to listen to.
The 4097 CORE Micro Shotgun Mic is outfitted specifically so that it can be used in difficult filming locations like a car. Its foam windscreen protects it from wind noise, even when windows are down (due to tight spaces and camera placement). The built-in shock mount is also particularly useful when filming in a moving car.
Yamaha RIVAGE Systems
Yamaha Corporation has introduced new additions to the company’s professional audio lineup—the RIVAGE PM5 and RIVAGE PM3 Digital Mixing Systems. The systems feature new CS-R5 and CS-R3 control surfaces, along with the DSP-RX and DSP-RX-EX DSP engines.
The CS-R5 control surface for RIVAGE PM5 systems features three large touch screens and a condensed selected channel section that contribute to smooth intuitive operation. The CS-R3 control surface for RIVAGE PM3 systems packs full RIVAGE PM series functionality and performance into a console that is only 45 inches wide, making it the most compact console in the series.
The new DSP-RX engine provides 120 inputs, 48 mix buses and 24 matrices, whereas the DSP-RX-EX engine has 288 inputs, 72 mix buses and 36 matrices. The availability of two DSP engines with different mixing capacities, along with the two new control surfaces, offers greatly expanded flexibility for creating systems that are ideally suited to applications of just about any scale.
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Adamson IS219 Subwoofer
The Adamson IS219 is a dual 19-inch front-loaded subwoofer with a maximum SPL of 143 dB. Designed to fit under standard 60 cm stages or in ground stack configurations, the IS219 also has front and back grilles for cardioid applications with no visual indicator to the audience. It weighs in at 90 kg and ships with removable handles.
The enclosure is loaded with two lightweight, long excursion, 19-inch SD19 Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a dual 5-inch voice coil. It is mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.
The cabinet construction uses marine-grade birch plywood as well as aircraft-grade steel and aluminum, and is equipped with two front and back Speakon NL4 connectors, or barrier strips available upon request.
d&b KSLi System
d&b audiotechnik’s KSLi System features the KSLi8 and KSLi12 loudspeakers, combined with (KSLi-SUB/KSLi-GSUB) subwoofers and the new 40D high performance installation amplifier, plus a complete catalogue of system-specific accessories and customization options.
The KSLi8 and KSLi12 loudspeakers, with 80- and 120-degree horizontal dispersion, respectively, provide consistent pattern control down to the lowest frequencies, in part due to the geometry of two front-facing 10-inch drivers and two side firing 8-inch drivers, which couple and apply cardioid techniques to cause directivity with low-frequency headroom.
The new KSLi SUB excels where space or weight limits exist, either flown in an array KSLi-SUB or ground stacked KSLi-GSUB.
Designed for fixed installation applications, the 400 installation amplifier is the most powerful 4-channel Class-D installation amplifier in the d&b range. This amplifier provides the power density required to drive the KSLi loudspeakers to full potential.
Eventide CrushStation Plug-in
The Eventide CrushStation plug-in, part of the company’s H9 Series and adapted from the hardware pedal of the same name, offers excellent sound and some unique features to stand out from the crowd.
From a distortion standpoint, it provides a range of effects, from light saturation to bit-crushed demolition. Unlike some distortion processors that only have a couple of controls, CrushStation offers a variety of adjustable parameters, giving you significant control over what it does to your sound.
The Drive knob governs the amount of distortion. The Sustain knob lets you add compression and sustain. The Sag control aims to replicate the sound of badly designed or dying tube gear.
You also get a knob to add in octaves above or below the source, or both. You can create cool octave-divided effects, especially if you keep the distortion on the low side. The Grit knob, when turned up, adds low end to the distortion, giving you a fuller, more fuzz-like tone.
Celemony Updates Melodyne
In major update of Melodyne, Celemony has added the new Melodic Algorithm, which detects sibilance, breaths and other noise components in audio and displays them as graphically different than the pitched part of notes. Noise components can now have their levels changed or be deleted entirely without affecting the pitched parts.
As a result, Melodyne (Melodyne Assistant and higher) can now be used as a de-esser, selecting a note or range of notes and reducing the noise level. The pitched-note information remains the same; only the noise components get reduced. It’s also handy for editing breaths and noise artifacts that get into a vocal track. The separate status of noise events is also useful when editing pitch. When transposing a note, the sibilance or other noise components are unchanged, which is a more realistic result.
Celemony also has updated Melodyne’s pitch-detection algorithm, giving it more power to analyze pitch deviations and home in on the intended pitch of a note. When detecting notes in a vocal (or monophonic instrument) track, it no longer chooses the pitch based on averaging the full duration of a note. It now places more weight on what it detects as the central part of the pitch.
Lectrosonics D2 Digital Wireless Mic System
Lectrosonics’ D2 digital wireless microphone system utilizes the Lectrosonics fourth-generation digital architecture for excellent flexibility, ultra-fast setup, studio quality audio and ultra-low latency. The system includes the DSQD 4-channel digital receiver, DBu digital belt pack transmitter and DHu digital handheld transmitter. System features include 24-bit, 48 kHz digital audio, two-way IR sync, three levels of encryption, and a tuning range from 470-608 MHz (470-614 MHz for export versions).
The DSQD digital receiver is a 4-channel, half-rack design with high-resolution color display, analog or Dante digital outputs, and rear BNC antenna ports with “loop-thru” buffered BNC outputs to another receiver. The DSQD is compatible with the latest Lectrosonics all-digital transmitters including the DB Series and DHu, the stereo DCHT and the half-rack M2T. The DSQD is also backward compatible with any Digital Hybrid Wireless transmitters including the SM Series, LT, HM Series, SSM, HH Series, UM400, UM400a, LM Series, MM Series and WM. Three different receiver diversity schemes can be employed depending on the needs of the application, including switched (during packet headers for seamless audio), Digital Ratio Diversity or Digital Frequency Diversity.
Yorkville Sound Synergy Loudspeakers Line
The most recent addition to the Yorkville Synergy line of active loudspeakers is the SA221S active subwoofer. Designed as a companion to the Yorkville SA153 full-range active loudspeaker, the SA221S employs dual 21-inch neodymium woofers with 4.5-inch voice coils housed in a bass reflex enclosure constructed from 15mm birch plywood.
The SA221S features a frequency response ranging from 28 Hz to 100 Hz (±3 dB) and is capable of generating C-weighted SPLs up to 130.6 dB (continuous) and 142.6 dB (peak).
Onboard amplification is Class-D, capable of supplying 6000 watts (program) and 17,000 watts (peak) power to the two drivers. A Yorkville proprietary DSP platform provides system protection from over-excursion (X-Max), voice coil overheating (VC-Thermal) and clipping.
The DSP employs IIR filters for crossover and equalization, and adds a small delay to time-align the SA221S with the SA153 full-range box. The SA221S crossover point may be set using 50Hz or 100Hz low-pass filters.
Radial BT-Pro V2 Bluetooth Direct Box
Radial’s BT-Pro V2 is a Bluetooth-enabled direct box that connects wirelessly to smartphones, tablets and other mobile devices and provides a pair of balanced analog audio outputs to feed a PA system. Each BT-Pro V2 has a unique identifier, allowing multiple units to be used within the same building. The latest model of the BT-Pro can also be powered via 48V phantom from a mixing console.
The BT-Pro V2 makes it easy to quickly connect to any smartphone, tablet or mobile device for high quality audio playback through a sound system. It wirelessly pairs over Bluetooth, eliminating the need to search for adaptor cables and providing you with the freedom to move around while staying connected. Audio quality is provided using the Bluetooth 5.0 protocol, allowing the BT-Pro to be used for playback even in critical listening environments. While the BT-Pro V2 is designed to last with a 14-gauge steel outer shell and high durability connectors and controls, it also has an enhanced reception range thanks to the plastic injection-molded insert, which allows wireless signals to pass through unimpeded. Balanced XLR outputs are provided for connection to pro audio equipment.
