Knoxville, TN (June 25, 2020)—Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer. Developed specifically for the LV1, the FIT is a tactile live sound controller created in collaboration with MidiPlus.
FIT is designed to function as a 16-fader bank with the LV1 mixer, sporting 16 + 1 motorized 100 mm faders, each featuring Mute, Solo and Select buttons, a multi-function rotary control and a display for each channel. Fader banks are controlled using eight dedicated layer switches for toggling between the eight factory or custom layers in the Waves eMotion LV1 Live Mixer.
The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide easy access to Mute Groups and user-assignable keys.
The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide access to Mute Groups and user-assignable keys.
The FIT controller also provides audio engineers with a Tap Tempo pad and a “Touch & Turn” knob for controlling any parameter selected on the eMotion LV1 screen. Additionally, common LV1 functions and modes can be controlled from the Utility section, where some of the controlled functions be customized by the user.
The controller weighs 4.5 lbs. and can be fitted with rack ears to mount into a 19-inch 7U rack space. Rear panel connections include a USB Type B port for computer connection, 12V 2A DC power input, and two 5v 0.5A USB outlets for external LED lighting.
UPDATE – JBL Professional has updated its product announcement to note that the BRX300 Series Line Array is specifically only available for the APAC, China and India Markets.
Northridge, CA (June 23, 2020)—JBL Professional has launched its new JBL BRX300 Series of modular line array systems intended for use in small- to mid-size applications, such as bands, DJs, A/V rental firms, houses of worship and the like
The series launches with a variety of offerings—the BRX308-LA line array element, BRX325SP powered subwoofer with DSP, BRX308-ACC transport kit, BRX308-AF array frame and BRX308-PM pole mount and adapter kit, aiming to provide users with a scalable set up that arguably scales down JBL’s venue-sized line arrays to something that bridges the gap between those and a PPA.
The BRX300 Series can be configured to accommodate a range of live music events, receptions and corporate functions. Systems are available in minimum one-subwoofer/two-top or one-subwoofer/four-top configurations and can be stacked, pole mounted or hung.
The BRX308-LA line array element features dual 8-inch LF drivers and a 3-inch titanium compression driver, reportedly providing 136 dB output and 110° horizontal dispersion, with variable interbox angles for fine-tuning vertical coverage. Meanwhile, the BRX325SP dual 15-inch powered subwoofer extends low-frequency energy to 32 Hz, with built-in 1,000-watt, 6-channel amplification providing 136 dB output and powering up to four BRX308-LA Line Array Elements. Internal DSP handles EQ, filters, driver-protection circuitry and crossover management, while built-in casters simplify transport.
That said, the BRX308-ACC transport kit also provides a self-contained transport system for four BRX308-LA Line Array Elements and includes padded covers for the cart, BRX3255 powered subwoofer and required speaker cables. Along with that, the BRX308-AF array frame supports one BRX325SP powered subwoofer or up to eight BRX308-LA line array elements in flown configuration, while the BRX308-PM pole mount and adapter kit mounts up to two BRX308-LA line array elements.
The JBL BRX300 Series will be available in July, 2020.
Stow, OH (June 8, 2020) — Audio-Technica has updated its Wireless Manager software with V1.1.1. The software is a Mac OS/Windows application for remote configuration, control, monitoring, spectrum management, and frequency coordination of compatible Audio-Technica wireless devices.
The new version provides improved usability, layout and control; enhanced scrolling capability; improved visibility of all frequency coordinated devices; updated and expanded channel list reports; upgraded user tools; and minor bug fixes.
Wireless Manager provides control and management functions of networked devices, grouped into three tabs: Device List, Frequency Coordination and Monitor. The software’s Device List auto-discovers connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturers’ wireless systems. From the Device List tab, users can edit/modify transmitter and receiver parameters of network-enabled Audio-Technica devices, including projects created offline. Devices can be assigned tags for filtering for frequency coordination and monitoring purposes.
The Frequency Coordination function allows real-time spectrum scanning via connected network enabled receivers. Based on spectrum availability, Wireless Manager provides an estimate of available channels and uses a proprietary algorithm to automatically create a channel plan and then pushes that plan to all connected network A-T devices. Users have the option of setting manual frequency exclusions to avoid prohibited frequency bands and other wireless systems in operation at a given location.
A-T Wireless Manager software is compatible with all wireless devices operating in the UHF spectrum, but when used with Audio-Technica 5000 Series (3rd Gen) and 3000 Series (4th Gen) with network control and monitoring, the software can coordinate and control all connected systems. The software can also interface with and monitor the latest 3000 Series networked chargers.
Currently available for download, the software is compatible with Microsoft Windows 8.1, 10; macOS High Sierra (Version 10.13), macOS Mojave (Version 10.14). For those customers who have A-T Wireless Manager previously installed, the software will be automatically updated.
Vancouver, Canada (June 8, 2020)—Radial Engineering has introduced its new HotShot 48V Microphone Switcher, intended for use in live sound scenarios.
Aiding private communication between performers and crew or each other, the Hotshot 48V footswitch allows a live performing artist to redirect a condenser or dynamic microphone signal away from the main house system to the stage monitoring or in-ear system for discrete communication.
The unit features a transformer-isolated XLR input and two independent XLR outputs. The balanced input accepts both mic and line-level sources, enabling the connection of microphones, an effects device, line-level output of a vocal processor, or any other balanced signal in the audio chain.
While the switcher is specifically designed to address issues when switching condenser microphone outputs, it works equally well with dynamic mics also. The unit is also noted to be “pop-less;” while passive audio switchers occasionally create an audible pop during switching due to the introduction of phantom power or by stray DC, the unit employs active circuitry and a time delay microcontroller for silent switching. A five-millisecond delay is introduced when the switching relay is activated, preventing audible noise.
The HotShot 48V’s footswitch operates in either momentary or Latch switching mode, and LED indicators display the selected output. 48V phantom is supplied, and the unit is powered by an included 9V PSU.
San Luis Obispo, CA (June 5, 2020)—In the wake of a deadly tour bus crash that killed a monitor engineer and injured seven others last fall, members of country artist Josh Turner’s production crew and the engineer’s estate are suing All Access Coach Leasing, which owned and operated the bus, and Turner’s management, Modern Management.
Represented by attorney Ronald L.M. Goldman, the plaintiffs filed a civil complaint in San Luis Obispo Superior Court on Friday, May 29, seeking unspecified damages for the September 2019 crash, citing “wrongful death, negligent and defective design of the bus, and negligent hiring,” according to the San Luis Obispo Tribune.
On the night of the accident, a 2005 Prevost XL2 Motor Coach bus carrying the crew left Highway 46 East 20 minutes outside of Paso Robles and drove off a 50-foot embankment into a creek bed. The crew bus was pulling an equipment trailer and was in the slow lane when it left the roadway at roughly 60 MPH, driving through 200 yards of undergrowth before smashing into the dry creek, crushing the front of the bus and ejecting two passengers, one of whom was FOH engineer David Turner, no relation to the artist. The Oxford, MS engineer, 64, had been Josh Turner’s monitor engineer for 14 years. The artist and his band were traveling in a separate bus. The bus crash took place only a few miles from the site where actor James Dean died, wrecking his car in 1955 near the intersection of Highways 41 and 46.
The bus driver, Bradley Dratnol, was an All Access Coach Leasing employee and was also injured in the crash. While the California Highway Patrol finished its investigation into the crash this past winter, the final report has yet to be released to the public. The first hearing is expected in September.
Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/live/tour-sound/tour-bus-crash-lawsuits-josh-turner-monitor-engineer
New Orleans, LA (June 3, 2020)—Marking one of the last festivals to take place in the U.S. before the pandemic took hold, The Ahava Festival in New Orleans’ Woldenberg Riverfront Park held its first edition, bringing together thousands to enjoy performances and donate money to 10 local charities in lieu of an admission fee (it worked—more than $100,000 was raised). Multiple regional production companies were involved in the event, coordinated by technical director Matt Dupuy, system designer and installation technician at local AV integration firm Assurance AV Solutions of Mandeville, LA.
Dupuy worked with Danley Sound Labs, which supported the Ahava Festival with over 4,200 pounds of loudspeakers, subwoofers and multi-channel amplifiers for all of the event’s three stages. “The whole concept behind the Ahava Festival is based on sharing love and giving to the people in New Orleans who are in need,” explained Dupuy, who also handles FOH engineering for regional party band, Groovy 7. “As an integrator, Danley is always our first suggestion to clients whenever possible. And I own Danley! Groovy 7’s main system is two SM80s and two TH118s.”
Dupuy reached out to Kim Comeaux, Danley’s western regional sales manager, to see if Danley would be willing to supply the sound system for the charity event; Comeaux was happy to oblige, noting, “The Ahava Festival provided an opportunity to exhibit different Danley solutions while supporting an important charity fundraiser.” Ivan Beaver, chief engineer at Danley Sound Labs drove down from Georgia to assist with the event and chat with local live sound engineers who used the system.
The Ahava Festival used three stages stretched across a quarter mile of the Mississippi River in Woldenberg Riverfront Park: a big, central “Seruntine” main stage, a smaller “SOTA” gazebo stage, and a smaller “420 Gospel Tent” stage. The Seruntine main stage used a flown Danley J7-95 loudspeaker per side sonically supported from below by two Danley BC415 subwoofers per side. Two smaller Danley SM80s provided front fill.
The SOTA gazebo stage used a Danley SH96HO stacked on top of two Danley TH118XL subwoofers per side powered by two Danley DNA 20k4 Pro amplifiers. Finally, the gospel stage used Dupuy’s Danley SM100s, along with two Danley TH115 subwoofers and a Danley DNA 10k4 Pro amplifier. All of the Danley DNA amplifiers used on-board DSP with model-specific presets.
“I was really blown away that Danley was so willing and eager to do this for us,” Dupuy said. “At the Ahava Festival, the Danley boxes helped us knock it out of the park. That’s saying something, because Louisiana has over 150 registered festivals. I had a bunch of people come up to me to say Ahava was the best-sounding festival they had ever been to!”
Marcoussis, France (June 3, 2020)—Yamaha’s recently launched Rivage PM5 and Rivage PM3 digital mixing systems will be able to natively control L-Acoustics’ L-ISA Immersive Hyperreal Sound technology, as they’ll be equipped with a L-ISA DeskLink for onboard control.
Co-developed by the two manufacturers, the DeskLink will be a feature of the upcoming Rivage PM firmware V4, currently set to be released simultaneously alongside the new Yamaha consoles. The firmware will also work with existing Rivage PM10 and PM7 digital mixing systems, thus bringing updated features including the L-ISA DeskLink, to those desks as well.
Within the Yamaha Rivage PM Series desks, for every mono or stereo input channel, direct control of L-ISA Objects or Groups will be available on the console control surface and touch screens. The five main L-ISA parameters—Pan, Width, Distance, Elevation and Aux send—will also be stored for each object in the console Scenes, with dedicated recall scope.
“More than three decades ago, Yamaha helped pioneer the digital mixer market, and has since remained one of the premier live console manufacturers,” says Sherif El Barbari, director of L-ISA Labs. “With the recent additions of the PM5 and PM3 to their Rivage range, Yamaha can now accommodate a much broader user base and allow them to each experience the future of live sound reinforcement in a very intuitive way, via L-ISA’s object-based mixing approach.”
“Yamaha is delighted to have been able to include L-ISA system control integration for the newly expanded Rivage PM family of consoles, through the recent launch of our new PM5 and PM3 console systems together with the V4.0 firmware release,” says Chris Angell, Yamaha R&D. “This opens the doors of our collaboration with L-Acoustics to an even wider range of customers and projects.”
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.
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.
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.
New York, NY (May 20, 2020)—Since its introduction in 2014 with the PM10 digital mixing system and the subsequent PM7 in 2018, Yamaha’s Rivage Series has been the company’s flagship for touring and installation mixing consoles, with the distinctive desks often spotted at front of house on tours or in megachurches. Pro Sound News recently got an exclusive sneak peek of Yamaha’s most ambitious expansion for the series yet, as the company introduces two new consoles—the PM5 and PM3—as well as a pair of new DSP engines—DSP-RX and DSP-RX-EX—and Version 4 firmware that provides features to new and legacy Rivage systems.
Yamaha Rivage PM5 Digital Mixing System
Both of the new consoles feature large, capacitive touchscreens that let engineers use multi-finger gestures (think the “pinch” motion used on smartphones), with the PM5 sporting three screens, while the PM3 gets one. As with their predecessors, the PM5 and PM3 each have 38 faders—three bays of 12, with two masters—but the new control surfaces are laid out with an eye toward efficiency.
“With the PM5, some people will think of it as the as the PM5D replacement, but it’s so much more than that,” said Kevin Kimmel, systems application engineer, Yamaha Commercial Audio. The CS-R5 control surface for the PM5 may be roughly the same width as a PM7 or PM10, but it has a shorter depth, at just over 23 inches, and is laid out somewhat differently. Making room for that third screen, the Selected Channel section on the right side of a PM10 or PM7 now has a smaller footprint and fewer knobs as well. Likewise, the meters that were above the ‘on’ button and by the Select buttons are now alongside each fader, while the LCD channel strip is gone, replaced by names across the bottom of the screens. While the drastic change might give some engineers pause for thought, Kimmel notes, “After I got to mix on it, I went, ‘Yeah, this is actually pretty cool.’”
The shorter depth of the CS-R5 control surface isn’t only about dropping the LCD channel strip; it puts the touchscreens within a comfortable reach, is expected to provide clearer sight lines and helps bring the control surface’s weight down to 93 pounds, aided in part by the fact that the frame on both new control surfaces is now aluminum.
Yamaha Rivage PM3 Digital Mixing System
The PM3’s CS-R3 control surface scales things down even further, resulting in the most compact Rivage console to date, weighing in at 84 pounds and measuring 45 inches wide, making it only slightly wider than a CL5 digital mixer. “It’s a natural progression to go from a CL or QL to this because within the GUI we’ve made it look a fair amount like CL,” said Kimmel. “If you come to it from those consoles, you’re not so intimidated when you walk up to it.”
DSP-RX and DSP-RX-EX
Of course, control surfaces are only part of the story—it’s the DSP and firmware under the hood that do the heavy lifting. As it happens, both the new DSP-RX and the DSP-RX-EX, as well as the existing DSP-R10, can be used with any Rivage system except the PM7 (its DSP is already built-in).
“The DSP-RX is 120 inputs by 48 mixes and 24 matrices—the same number of inputs as a current PM7, with a bit fewer on the output side—and visually, it looks very similar,” said Kimmel. “The DSP-RX-EX doubles the inputs, going to 288 inputs with 72 mix outputs and 36 matrix outs. It also increases the amount of plug-ins—in DSP-RX, there are 384 ‘slots’ for plug-ins, and now you get 512 with DSP-RX-EX. It’s quite a jump. Now, if you’re using the DSP-RX and eventually decide you’ve outgrown it, there’s a DEK-DSP-RX expansion kit so you can bump it up to become an EX with the same channel count and plug-in amount.” DSP mirroring is also supported by the new DSPs, allowing two DSPs to be run simultaneously to provide redundancy.
Version 4 Firmware
As for the firmware update, Version 4 brings legacy and new Rivage desks a number of additions, including an Eventide SP2016 reverb plug-in that includes presets developed by the likes of George Massenburg, Dave Pensado and Joe Chiccarelli. Additionally, Yamaha’s MonitorMix app for iOS is now supported, allowing individual wireless Mix/Matrix/Aux mixing from up to 10 iPhones or iPads simultaneously. Rivage PM7 owners aren’t left out from the updating—the v4 firmware increases the PM7’s channel count from 120 to 144 and serves up another dozen Matrix Outs for a total of 36. Other new features include flexible HY-car slots in DSPs, updates to the GUI, NuendoLive included for both the PM3 and PM5, and more. Users can expect continued support for some third-party efforts, like the L-Acoustics’ L-ISA DeskLink, and Yamaha plans to add third-party plug-ins down the road.
At press time, Yamaha was still hammering out prices on the new offerings, but the summer months will see the PM5 and v4 firmware debut, while the PM3 will hit the ground in the fall.
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.
“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.”