www.prosoundnewseurope.com
InfoComm 2012
Posse Audio revealed an
interesting new take on personal monitoring. The US-based manufacturer has designed an IEM system which incorporates two stereo L/R ambient room microphones, so as well as being able to adjust vocal and instrument level, the user can literally turn up the sound of the room in his or her mix, therefore removing the isolation that so many musicians struggle to deal with when wearing headphones at live shows.
The main control box clips onto a mic stand and includes an inline guitar tuner and phantom power; it connects to a floor box (receiver) via an HDMI cable.
“This is a system which has been designed by musicians for musicians,” insists Posse’s Scott Morrison. “From small bar gigs to major productions, this product can really work for everyone.” And I can vouch for that,
having tried it out at the show – the audio quality was pristine, and it’s very easy to use. On the Peavey Commercial
Audio stand, a Full HD 7.1 surround sound system utilising MediaMatrix, Crest Audio and Architectural Acoustics products was demonstrated, booming out the soundtrack from the movie Captain America. The system controlled several
third-party devices including an Oppo Blu-ray player, and consisted of a streamlined MediaMatrix NION nE DSP processor and the new VSC-101 MediaMatrix video scaler/switcher, both of which were being controlled by the MediaMatrix GUI and Crest Audio Ci amps. A selection of Architectural Acoustics speakers were deployed, including the WS wall/ceiling mount range and several Impulse 261 and 652 boxes. Multiple MediaMatrix control access points were configured to control the system including nTouch 60 and 180 touchscreen wall- mount units and the new xControl LCD panel. “The system was also configured to be controlled from NWare Mobile using an iPad,” explains Peavey’s operations manager EMEA, James Kennedy. “This setup demonstrates how Peavey Commercial Audio products can also be utilised in the residential market place.”
Meyer Sound presented CAL, its new self-powered series of steerable Column Array Speakers, as well as a full-scale surround sound demonstration utilising a string of its loudspeakers. CAL’s vertical beam can be angled up or down by 30º and can be configured with vertical beam widths from 5-60º. The manufacturer says its multiple or split beams can be used as needed to fit any application. EAWalso held loudspeaker demonstrations in an external room, focusing on its muscular Avalon range, which in honesty almost made my ears bleed (that is a compliment of sorts, by the way!) I’m not sure I’ve witnessed a more aggressive low-end, so it’s unsurprising that EAW is confident of Avalon making a big impact in the dance club scene. Renkus-Heinz presented its
Varia series to the pro-audio world for the first time. Tailored to both the touring and install markets, its modular design means the system can be ground-stacked or configurable as either a vertical line array or point source horizontal array. There are three different Varia cabinets (7.5º 15º, and 22º models) which feature interchangeable waveguides and transitional waveguides from 60-90º or 90-120º within a single cabinet. The manufacturer claims Varia to be its most flexible loudspeaker series yet. RTWshowed its micro-sized
new loudness monitor, the TM3. Available in both stereo (two-channel PPM) and six-channel (three stereo pairs or 5.1 metering) versions, its screen can be oriented vertically or horizontally, and its breakout box has analogue inputs on RCAs with a trim on the pot. RTW’s proprietary Devicer DC1 software application allows users to create up to 10 presets
AT A GLANCE
Lectrosonics Aspen DNT Dante 32 I/O network processor
July 2012 l 15
showreview
Posse revealed a new IEM system “designed by
musicians for musicians”
consoles to a wireless router, which then communicates to the iPad.
Multiple iPads can be
deployed on the same network, so artists can use the app to control their individual monitor mixes on stage. Soundcraft says a software update is coming soon that will make the app compatible with the Vi console range. Finally (alphabetically at
The ‘game-changing’ X32 from Behringer
quickly and simply, with just the swipe of a finger. For loudness alone, according to the manufacturer, the TM3 is suited to broadcast, post- production and film; for PPM, it will work for ‘anything audio’, from mixing in the home studio to making master-quality recordings. The TM3 is also capable of True Peak, which is now an official ‘spec’ for broadcast; in the world of professional recording and mastering, this will suit
engineers who are mixing ‘hot’ or getting close to dBFS. Look out for a review in PSNEurope next month. Soundcraft announced the
release of its ViSi remote iPad App for the Si console range. Available for free at the iTunes store, the app provides full remote control over multiple Si consoles’ input channels, EQ settings, aux sends, and mutes from one single iPad, utilising Harman’s HiQnet architecture to connect the network of
least) XTA revealed its new DS8000, the first XTA product to feature the manufacturer’s newly-designed mic preamp. The successor to XTA’s DS800 mic/line splitter, this new box has an illuminated front panel which features additional transformer balance outputs to allow it to split audio to OB trucks. On the back there are buttons which enable users to achieve stereo 16-way splits, and a redundant power supply connects two units via a five-pin XLR connection, so the second unit kicks in and takes over if the mains lead is kicked out of the master. n
www.infocomm.org
RTW’s micro-sized TM3 loudness monitor
Richard Fleming with the XTA DS 8000
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