NAB Show Express Draws Virtual Crowds

NAB Show ExpressWashington, DC (May 21, 2020)—After the coronavirus pandemic forced the cancellation of this year’s NAB Show, an estimated 40,000 industry professionals participated in the inaugural NAB Show Express, consuming more than 1.6 million minutes of video content over the course of a week.

The digital experience brought the annual NAB Show online with 24-hour access to premium content curated for the global media and entertainment community and an exclusive marketplace featuring 1,479 exhibiting companies. The NAB Show in Las Vegas typically attracts more than 90,000 attendees from 160 countries and 1,600+ exhibitors.

NAB Show 2020 Replaced by New Offerings

NAB Show Express continues to offer free access to more than 200 on-demand educational sessions, executive conversations, resources and exhibits. Launched on May 13, the online event encompasses broadcast channels, on-demand videos and social media streams. Registration remains open at through the end of August 2020.

“We understand how important NAB Show is to our industry, and we are thrilled to offer NAB Show Express to help our community stay connected during this difficult time and provide critical information, inspiration and solutions to help the industry move forward,” said NAB president and CEO Gordon Smith. “Thank you to our education partners, exhibitors and all who made NAB Show’s digital experience a success.”

“NAB Show Express is only the beginning as we continue to develop our digital capabilities and platforms to better engage with our community year-round,” said NAB executive vice president of conventions and business operations Chris Brown. “We see live and digital events as great complements to one another and look forward to offering hybrid versions of our events going forward to better serve the full gamut of the media and entertainment sector.”

National Association of Broadcasters •

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Deadline to Nominate Your Products for Best of Show InfoComm Awards

InfoComm Best of Show Special Edition Awards
InfoComm Best of Show Special Edition Awards

The Best of Show InfoComm awards celebrate products which would have been showcased live at InfoComm, and shares them with 95,000+ relevant professionals in the audio visual industry.


From now until May 29, 2020, businesses can nominate new products for awards presented by Future publications Sound & Video Contractor, AV Technology, Digital Signage, Rental & Staging Systems, Installation, Pro Sound News, Mix, Tech & Learning and Government Video.

Winners of the Best of Show awards will be announced on the first day of InfoComm 2020 Connected, June 16th, 2020.

Each nominated product will also be featured in a post-show digital Program Guide that offers an overview of new AV technology released this year.

For more information about the Best of Show Special Edition, visit the FAQ page. To nominate, visit the official website.

See last year’s winners for PRO SOUND NEWS

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Caracol Monitors Remotely During COVID-19 Crisis

Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic to use remotely.
Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic to use remotely.

Rastatt, Germany (May 22, 2020)—Lawo put its remote FAT (Factory Acceptance Testing), training and equipment demonstration procedures into play when Colombia’s Caracol private media company purchased three mixing consoles during the current coronavirus pandemic.

Recently, Bogotá-based Caracol purchased a 48-fader Lawo mc²56 mixing console with Dallis frame for its news studio, another mc²56 for a new OB van and a mc²36 console for the broadcaster’s Studio 10 facility. Caracol safety protocols during Covid-19 require that the company’s engineers be able to monitor and meter critical audio signals from home, so they contacted Lawo for a solution.

Lawo Disrupts Covid-19’s Disruption

On April 30, Lawo engineer Daniel Egea demonstrated remote monitoring solutions for Caracol engineers via two possible monitoring methods—one employing Lawo AoIP Stream Monitor software and a second using RƎLAY VPB software. Both solutions use RAVENNA/AES67 connectivity to monitor the mc² consoles. Since the demonstration of both setups met Caracol’s requirements, both software packages will be configured for long-term tests, and eventually will be a permanent part of their studio installation.

“The question for us was, how can the engineers both listen to and meter the audio signals while not on site?” says Egea. The solution was an infrastructure that allowed the mc² console core to supply its audio signals to a facility computer.

“Audio signals were supplied to the streaming network via the RAVENNA card in the core and collected from the network on a PC using AoIP Stream Monitor or RƎLAY VPB software,” says Egea. “By accessing this computer via Teamviewer or Remote Desktop through a second NIC [network interface card], Caracol engineers can now conveniently monitor the most important signals from home. This setup offers a very flexible monitoring situation and has simple, intuitive GUIs to quickly create a suitable monitoring overview.”

Lawo •

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SugarHill Upgrades Desk with GenesysControl

The long-running SugarHill Studios in Houston have upgraded the facility’s Neve Genesys Black console for total integration with DAWs.
The long-running SugarHill Studios in Houston have upgraded the facility’s Neve Genesys Black console for total integration with DAWs.

Houston, TX (May 22, 2020)—SugarHill Recording Studios in Houston, TX, has upgraded its Neve Genesys Black console, installing the GenesysControl plug-in to enable total integration with DAWs.

The Genesys Black console is installed in SugarHill’s Goldstar room, originally built in 1964 and designed by Jack Clement, who also designed the Sun Recording Studios in Nashville, TN. SugarHill has completed many sessions on the console for artists such as Chance the Rapper, George Thorogood, Kevin Gates, 21 Savage, Maxo Kream and North Mississippi Allstars. Most recently, Finley has been mixing an album for The Killer Hearts, which will be released soon on Spaghetty Town Records.

Inside the Audio Post-Production of Parasite

SugarHill studio engineer Stephen Finley says, “In 2018, we installed our Genesys Black G32 console with 16 analog channels. It is a fantastic console and we all really love the preamps and EQs. We have 16 Neve 1084s, which make everything sound better — just a little always helps. We also have one eight-channel bank of dynamics that I like to use while tracking drums as its helps to tame some hits. I use very little gain reduction.”

Finley says investing in the GenesysControl plug-in has brought an entirely new dimension to the studio’s workflow. “I enjoy being able to automate my drum busses on the 8T [8 track] section during choruses for extra excitement. Also, being able to have the automation plug-in on all my tracks, put all the tracks in Pro Tools into the Neve at a touch and finalize any volume automation on the fly is very helpful. With the new GenesysControl plug-in and the console’s recall software, recalling a mix and making an adjustment is now a fairly easy task — depending on your patching, of course.”

Founded by Bill Quinn as Quinn Recording Studio in 1941, the facility was renamed Gold Star Studio in 1950 and eventually became SugarHill in 1972 when it was acquired and renamed by notorious producer Huey P. Meaux. The studio is now owned by Stephen Finley, Fred “Bubba” Hightower and Ryan Youngblood, collectively known as The Hightower Group.

AMS Neve •

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Inside Stereophonics’ In-The-Round Sound

Capital Sound created a concentric arc of Martin Audio MLA line array hangs above the B-stage to provide in-the-round style sound on Stereophonics' recent UK tour.
Capital Sound created a concentric arc of Martin Audio MLA line array hangs above the B-stage to provide in-the-round-style sound on Stereophonics’ recent UK tour. Sophie Hoult

United Kingdom (May 21, 2020)—Most arena concerts follow the same game plan when it comes to setting up the PA. With the stage at one end, you put up left and right line array hangs on either side of the stage, some side hangs to cover fans perpendicular to the stage, a bunch of front fills and subs down at the front of the stage, and if there’s budget and a need, maybe some delay hangs at the other end of the room. Now, want to throw a wrench in the works? Throw in a B-stage elsewhere on the arena floor and figure out how to keep those left-right PA hangs from bleeding into the mics. That was the challenge the audio team faced on Stereophonics’ most recent UK tour.

Band leader Kelly Jones specifically requested a B-stage at the end of a 60-foot thrust emanating from the stage. The band’s longtime FOH sound engineer, Dave Roden, spec’d his preferred Martin Audio MLA loudspeaker system for the tour, which he mixed to via a DiGiCo SD5 console. Ultimately, system tech Nick Boulton envisioned and deployed a distributed PA, using the Martin MLAs, that ran the length of the thrust to the PA.

The band’s longtime FOH sound engineer, Dave Roden, mixed each show on a DiGiCo SD5 console
The band’s longtime FOH sound engineer, Dave Roden, mixed each show on a DiGiCo SD5 console Sophie Hoult

Production was running Audinate’s Dante networking protocol to the stage and sending AES3 protocol to the hangs, with Martin Audio UNET back-up. Monitor engineer, Sam Cunningham was using a DiGiCo SD7 on stage while Roden himself was on an SD5 at FOH.

Boulton explained, “We did some modelling with the aim of getting as much even coverage throughout the arena while keeping the weird noises off the stage. With the end of the thrust 60 feet into the room, it was well within the coverage area of MLA so we simply moved the hangs downstage.”

As a result, the conventional main stage L/R PA hangs were replaced by two side hangs further downstage, comprising, respectively, two drops of 16 MLA Compact as conventional outfills. Meanwhile, a further eight MLA Compact for infills were mounted on trusses set near the beginning of the thrust, and angled down.

Sight and Sound Sets Colorado Church’s New System

When Stereophonics headed out to the B-stage, that third of the show was heard via  three hangs of 10 MLA and two MLD Downfills situated in the center and 90° upstage, forming a concentric arc at the end of the thrust. Three hangs of six MLX subwoofers were set behind that in end fire configuration. This design, Boulton felt, would reduce the sound bleed at the back of the stage, and help ease the room reflections.

Boulton leaned on the Hard Avoid setting in Martin Audio’s Display optimization software, not only creating rejection at the back of the stage but also the hard surfaces at the rear of the arena that would cause slapback. “We worked Hard Avoid to within an inch of its life,” he said. “Considering I had to take all the room measurements from scratch, and we have had to put hangs in different positions, it has been much quicker and easier than I had expected,” adding that at the new P&J Live Arena in Aberdeen, it took 25 minutes to build the plot.

Martin Audio •

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Radial Launches BT-Pro V2 Stereo Bluetooth DI

Radial’s new BT-Pro V2 Bluetooth DI
Radial’s new BT-Pro V2 Bluetooth DI

Canada (May 21, 2020)—Radial Engineering has shipped its new BT-Pro V2 Bluetooth DI. The unit is intended for feeding smartphones, tablets and other Bluetooth devices to a PA system, studio interface or powered speaker.

Expected applications include houses of worship, installed sound (gyms, dance studios), live sound, studio, DJ, presentations or any environment where providing music playback via Bluetooth connection is desired.

Radial Engineering Ships HDI Box

According to Radial, the new V2 edition of the BT-Pro provides “significantly improved audio quality and range.” Since many users need to connect multiple devices in a single room, each BT Pro-V2 ships with a unique ID. The new BT-Pro V2 can now be powered by either 48V phantom or a USB-C connection.

Like the original, the BT-Pro V2 includes an output level control with an output range from mic level to line level. It also features Mono-sum, Pair/Reset switches, and a 3.5 mm headphone output. An updated chassis design makes the BT-Pro V2 more durable and extends the Bluetooth connection range.

The BT-Pro V2 has a unique identifier that shows up as a six-digit numerical code, allowing users to connect an iPhone to the PA without having to search through drawers looking for wires.

Radial Engineering •

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Orpheum Theater Upgrades with Sound Image

Touring sound/installation specialist Sound Image replaced the aging audio system in Flagstaff, AZ’s Orpheum Theater with a new EAW KF810P line array.
Touring sound/installation specialist Sound Image replaced the aging audio system in Flagstaff, AZ’s Orpheum Theater with a new EAW KF810P line array.

Flagstaff, AZ (May 20, 2020)—The Orpheum Theater in Flagstaff hosts a myriad of concerts, performing arts events and more—enough so that its PA system was ready to call it a day after 16 years. Teaming with Sound Image (Escondido, CA), the Orpheum Theater’s audio production manager Scotty J. demoed various systems and ultimately decided upon an EAW KF810P Line Array, backed by SB818P Single 18-inch flyable subwoofers.

Originally built in 1914 and then later rebuilt in 1917 following a major snowstorm, the Orpheum Theater is located in the center of downtown Flagstaff. It is listed on the National Register of Historic Places and recognized as one of the West’s most significant theater structures. The classic 650-seat space with additional standing room up to 1,000 people, hosts major bands, plays, classical concerts, film screenings, community events and occasionally TV shows.

Roni Nevo Named EAW CEO

“The theater doesn’t specialize in one type of music or event, so we needed a versatile PA that could not only handle speech intelligibility, but also the decibel level of hip-hop and EDM shows,” says Scotty J. “Numerous times, I was worried that we had been pushing the existing PA to its last watt. The older PA’s amplitude was never a problem as we could make it loud, but the coverage, because of the design of the theater itself and the number of boxes we had, just wasn’t adequate for the room.”

Scotty worked directly with Ben Davis from Sound Image who advised on the purchase and design of the rig. “Ben came out, looked at the room, took his measurements and discussed with us what was available within our budget,” says Scotty J. “We looked at several different systems and EAW was clearly the best option. I heard the EAW rig in a few different environments and it always sounded amazing. Through my interaction with the EAW team, I knew I wanted to work with them. Also, a lot of the acts/engineers that come through the venue know EAW, which added to my confidence in the brand.”

The new EAW PA system consists of 12 KF810P line arrays with six boxes on the left and right respectively, 12 SB818P Single 18-inch flyable subwoofers and four RSX129 2-way self-powered loudspeakers for front fills. When spec’ing the system, Davis wanted to make sure the PA could generate enough SPL from the mains and didn’t want to rely too heavily on the subs. In addition, the venue is a long rectangular space with a balcony on one end, so making sure the balcony was covered was another important factor.

“We made a very significant investment for the theater in order to attract more national acts,” adds Scotty J. “We are excited to unveil it in the very near future, once the theater re-opens.”

Eastern Acoustic Works •

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Henszey Launches Dolby Atmos Suite

Veteran audio engineer Dave Henszey turned to Westlake Pro and Focusrite to create his Dolby Atmos-certified immersive mixing and recording suite.
Veteran audio engineer Dave Henszey turned to Westlake Pro and Focusrite to create his Dolby Atmos-certified immersive mixing and recording suite.

Los Angeles, CA (May 8, 2020)—Veteran audio engineer Dave Henszey’s Dolby Atmos-certified immersive mixing and recording suite, Henszey Sound, features an all-Dante network infrastructure enabled by an arsenal of Red and RedNet interfaces from Focusrite.

Among his important tools are a Focusrite RedNet MP8R eight-channel mic pre and A/D converter, a RedNet A16R 16-channel analogue I/O interface, three RedNet HD32R 32-channel HD Dante network bridges and a Red 8Pre 64-in/64-out Thunderbolt 2 and Pro Tools | HD-compatible audio interface. Other highlights include a Slate Raven console, a full complement of outboard gear, software and mics (including his prized Neumann U47fet), and the first Atmos speaker system made up of ADAM components — three ADAM A77X near-/midfield monitors, four A7X and four A5X nearfields and two SUB12 subwoofers.

Tenderfoot.TV Turns to Focusrite

Creating the Atmos mixing suite meant getting outside advice. “I found those people at Dolby Laboratories and Westlake Pro, and they’ve been wonderful advisors in helping me make this vision happen. The experts at Westlake Pro recommended Focusrite components, and I’ve had good experiences with Focusrite through my career, so it was an easy decision to go with their advice,” says Henszey. He has been in-demand for years, with an extensive client list that includes Lego Star Wars, Miller Brewing, the Tonight Show with Jay Leno, MTV Spring Break and much more.

“The one non-negotiable approach that I had was that I needed to have this system be Atmos-certified with ADAM speakers, because they are my go-to. [Dolby] had never certified an Atmos system with ADAM speakers, so I was to be the first. They have digital tools to help set up and certify a room, and we got it up and running, and it all worked like a dream. The sound was stunning. I knew it would be good, but I had no idea what I was about to hear, and it was spectacular. The work that Westlake Pro and Dolby did at this room is way over the top.”

Henszey comments, “The future of the audio industry is really exciting, and there’s a lot of great stuff happening right now. Atmos has opened up a lot of possibilities. I love that format — even when you hear an Atmos mix out of a smartphone, it jumps out at you and goes all around you. It’s a beautiful set of tools for audio professionals working today and in the future.”

Focusrite •

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Lectrosonics Debuts New D Squared Wireless Transmitter and Receiver

The Lectrosonics D Squared Family now includes the DPR Digital Plug-on Transmitter and the DSQD/AES-3 Receiver.
The Lectrosonics D Squared Family now includes the DPR Digital Plug-on Transmitter and the DSQD/AES-3 Receiver.

Rio Rancho, NM (May 8, 2020) — Lectrosonics has launched its new DPR digital plug-on transmitter and the DSQD/AES-3 receiver for location sound recording, intended for use on a variety of applications including boom miking. Both products are part of the D Squared wireless family platform.

The DPR digital plug-on transmitter is fully compatible with the DSQD digital receiver and features a tuning range of 470 to 608 MHz (470 to 614 MHz for the export version). The new transmitter includes specially developed circuitry for extended operating time on two AA batteries, and offers RF power selections at 25 and 50 mW. AES 256-CTR encryption is provided for high level security applications, and the unit sports phantom power, selectable to off, 5v, 15v or 48v to accommodate a range of microphone types.

The Bachelor Hooks Up with Lectrosonics

The DPR features DSP-controlled analog limiting, and input gain is adjustable over a 55 dB range in 1 dB steps to allow an exact match to the input signal level, maximizing audio dynamic range and signal to noise ratio.

The DPR can be configured as either a transmitter or a recorder, with files stored on microSD card memory in the Broadcast Wave .wav (BWF) format at 24 bits, 48 kHz sample rate. A 3.5mm TRS jack on the side of the unit allows jam sync with timecode, and Lectrosonics says the unit’s timecode accuracy is better than 1PPM due to the temperature compensated crystal (TCXO) clock. The DPR also responds to remote “dweedle tone” commands, available via third-party apps such as New Endian’s LectroRM and PDRRemote, allowing users to change settings including frequency, audio level, lock/unlock, and also to start and stop recordings.

The machined aluminum DPR housing is the same size and shape as the previous generation plug-on units including the HM and HMa so that standard accessories are compatible with the new unit, including the PHTRAN3 pouch and the HMCVR silicone cover. The input wiring is also the same as previous generations, allowing the use of existing cable and barrel adapter accessories including the MCA5X and MCA-M30.

The DPR features an audio frequency response of 25 Hz to 20 kHz +0.0, – 3dB, a dynamic range of 110 dB before limiting and a flat in-band phase response, allowing it to be used as a wireless test and measurement link with calibrated microphones, for audio system alignment and monitoring.

The new DSQD/AES3 digital receiver is a four-channel, half-rack design with high-resolution color display, analog or AES digital outputs, and rear BNC antenna ports with “loop-thru” buffered BNC outputs to another receiver. The new receiver is compatible with the latest Lectrosonics all-digital transmitters. The DSQD/AES3 is also backward compatible with any Digital Hybrid Wireless transmitters. 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. The DSQD/AES3 includes digital talkback capability when used with any talkback-enabled transmitter.

A headphone jack is included on the DSQD/AES3 for audio monitoring per channel. Ethernet and USB ports allow the receiver to connect to Lectrosonics Wireless Designer software for programming and monitoring. Antenna bias power can be engaged in the menu, and front panel LEDs show the status. Each DSQD/AES3 ships with half the rack hardware needed to mount two units together, yielding 8 channels in 1RU.

The Lectrosonics DPR Digital Plug-on Transmitter and the DSQD/AES-3 Receiver will be available in Q3, 2020.

Lectrosonics •

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Amek EQ 200 Plug-In Announced

The Amek EQ 200 Plug-In.
The Amek EQ 200 Plug-In.

Santa Cruz, CA (May 8, 2020) — Aiming to recreate the sound of legendary parametric equalizers of the 1970s and 80s, Plugin Alliance and Brainworx Audio have introduced the Amek EQ 200 plug-in.

Expected to be the first in a series of new plug-ins under the Amek brand name, the EQ 200, which is intended to provide the resolution, transparency, headroom and surgical precision of classic 70s and 80s mastering-grade EQs. Specifically, the Amek EQ 200 plug-in was inspired by the sound of Brainworx founder Dirk Ulrich’s own GML 8200 EQ, one of his all-time favorite pieces of analog outboard.

Brainworx Launches bx_console SSL 9000 J Plug-In

The Amek EQ 200 is a seven-band EQ, featuring five wide, overlapping fully-parametric bands with 15 dB boost or cut for each band, additional high- and low-pass filters, and low and high shelving EQs.

While intended to evoke the original hardware, the plug-in also offers new features, including AUTO LISTEN, available on all five bands to audition each change in isolation; continuously-variable high-pass and low-pass filters with a 12 dB per octave slop; MID / SIDE processing to tweak the width and depth of the mix as a workflow enhancement; MONO MAKER, which sums low frequency content to mono; STEREO WIDTH, to expand the stereo width of tracks; and variable THD, for adding extra analog mojo and tone.

Other additions include TMT Inside, Brainworx’s patented Tolerance Modeling Technology that simulates channel-to-channel variances in electronic components, as well as correlation, balance, input and output meters, and more

The plug-in sports a scalable UI to adapt to the user’s screen size and workflow, and offers numerous presets to provide users with a starting point for finding their sound.

Set for release on May 19, 2020, it will be included in Plugin Alliance’s monthly Mega Bundle subscription and annual Mega Bundle subscription at no extra cost.

Plugin Alliance •

Brainworx Audio •

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