The three-way SCM25A ($8,500) monitors from ATC feature drivers with large-diameter, under-hung voice coils for excellent dynamic range and linearity. The midrange is ATC’s soft dome, and the bass driver is hand-built in-house using a carbon-paper cone with high-excursion capability. Onboard amplification features the company’s Class-A/B MOSFET output stage delivering 150 watts to the woofer, 60W to the mid and 25W to the HF driver. All three stages are fed by fourth-order, critically damped crossover filters with phase compensation. The unit’s ported enclosure measures 10.4×16.9×16 inches.
STUDER VISTA 9
The Vista 9 (pricing dependent on configuration) from Studer kicks the company’s Vistonics™ interface up a notch with a variety of innovations like widescreen TFT metering and FaderGlow, which provides the operator with an instant overview of the console status by illuminating each fader in one of eight assignable colors. Channel meters can show mono to 7.1 feeds in the upper portion, while the lower portion shows bus assignment or an image of a surround composite. A History mode records overloads in the audio path of each channel and highlights them in red on the channel waveform. The Control Bay meter section can be configured to show any choice of output buses and input channels and displays up to 40 meters at a time.
ACOUSTIC GEOMETRY CURVE SYSTEM
These simple, easily mounted acoustic panels from Acoustic Geometry are available as an absorber, diffusor or corner trap. The panels are made of “green” and absorbent recycled cotton using no Fiberglas or foam. The Diffusor comes in three sizes to reduce narrow reflections and frequency-dependent modes, and breaks up parallel-surface flutter echoes. The Absorber evenly absorbs frequencies from 200-20k Hz, while the Corner Trap reduces low-frequency corner room nodes from 300 to 20k Hz. The panels start at $249 and include mounting cleats and hardware for installation.
STEINBERG NUENDO 5 DAW
Nuendo 5 ($2,399) has a new look and a bevy of fresh features, including an ADR toolset engineered for post, with advanced take and marker handling, EDL import and a new video engine. Clip packages have been designed for sound editors to organize and handle audio as clusters of files across multiple tracks that can be archived, previewed and retrieved almost instantly using the upgraded Nuendo 5 MediaBay. Other extras include new plug-ins, and a range of mixing, routing and automation enhancements.
LEXICON LXP NATIVE REVERB BUNDLE
Scaled down from the company’s pricier PCM collection, the LXP Native Reverb Bundle (VST, AU, RTAS; $749) offers four of Lexicon’s most popular reverbs—Chamber, Hall, Plate and Room—and more than 220 presets. The intuitive interface offers easy access to top-level parameters while providing the ability to dig deeper into the algorithm to edit a fuller array of settings. The real-time display offers three different views to provide additional information about the reverb tail, frequency content and impulse response. Presets can be saved in a DAW-independent format for easy transportability to other platforms.
ZOOM H1 RECORDER
Zoom’s new H1 ($99) handheld recorder features the same microphones as the company’s H2, weighs just more than two ounces and has a newly designed user interface. The H1 records up to 24-bit/96kHz, and offers a track marker, auto-record, low-cut filter, level and volume controls—all with onboard buttons and no menus. The H1 uses microSDHC memory cards (up to 32 GB) for recording, providing more than 50 hours of recording time. It’s powered by a single AA battery, offering up to 10 hours of continuous operation. An optional accessory kit ($24.99) includes a windscreen, AC adapter, USB cable, adjustable tripod stand, soft carrying pouch and mic clip adapter.
WHIRLWIND 5.1 PRECISION LEVEL CONTROL
The 5.1 Precision Level Control ($1,199) from Whirlwind Audio offers volume control of 6-channel surround systems with 0.1dBV tracking precision. Outputs can feed two sets of 5.1 speakers, or a surround system and a stereo pair. A single-rackspace main unit has all I/O connections; the 5.1PLC tabletop remote has individual speaker on/off buttons, dim and mute controls, speaker A/B switch, level control with LED and a 5.1 to stereo downmix control.
Offering protection from errant drum sticks and acoustic isolation for drum mics, the Primacoustic CrashGuard ($40) is made of high-impact ABS plastic with an underside layer of high-density, open-cell acoustic foam. It easily mounts on a microphone stand, is lightweight, and easy to position, and minimizes tom and cymbal bleed to the mic.
ROLAND SYSTEMS GROUP M-300 DIGITAL CONSOLE
The M-300 V-Mixer ($TBA) is a 32-channel console that possesses many features of its big brother, the Roland M-400 V-Mixer but in a very compact format. Features include rapid recall of setups, 100mm motorized faders, an 800×480 color screen, and knobs for EQ, pan and gain. The M-300 has 32 mixing channels and includes digital patchbays, built-in effects processors, eight auxes, four matrices, four DCAs, four mute groups, built-in stereo recording/playback and support for L/C/R configurations. The system is built on REAC (Roland Ethernet Audio Communication) and sets up in minutes by plugging in a single Cat-5e cable from a choice of digital snake stage units. The M-300 V-Mixer integrates with PCs via its Remote Control software for additional control or sending/receiving setup data, allowing users to prepare channel setups and configurations before arriving at the venue.