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Tag Archives: Gear and Technology

L-Acoustics Unveils Flagship L Series Line Array at Hollywood Bowl

Los Angeles, CA (April 17, 2023)—Hundreds of audio professionals from high sound firms, FOH engineers tackling stadium-filling excursions and different VIPs have been in attendance final Thursday when L-Acoustics launched its new flagship line array, the L Series, on the Hollywood Bowl in Los Angeles.

The system, sporting the corporate’s Progressive Ultra-Dense Line Source expertise, debuted earlier this yr on the BRIT Awards with pilot section accomplice Britannia Row/Clair Global, on tour in Europe with Helene Fischer and pilot section accomplice Solotech, and now’s getting used at Coachella Valley Music and Arts Festival with help from RAT Sound. L Series will proceed its pilot section with PRG, Tokyo Sanko, Novelty and Winly, earlier than the system turns into accessible in manufacturing this fall.

The new L-Acoustics L Series is comprised of two models -- the L2, seen in the top and middle of this hang, and the L2D, seen at the hand's bottom.
The new L-Acoustics L Series is comprised of two fashions — the L2, seen within the high and center of this dangle, and the L2D, seen on the hand’s backside.

The system relies round two components—L2 and L2D—that are primarily fastened components with pre-defined progressive angles that between them can accommodate the seating preparations of most venues, in keeping with Germain Simon, Director of Product Management, Loudspeakers at L-Acoustics. “When we analyzed a whole bunch of tasks utilizing line supply array throughout all genres and venues, we realized that the majority viewers geometries and array shapes adopted an identical development. This led to the understanding {that a} fastened factor with pre-defined progressive angles would offer unbelievable beneficial properties in high quality, effectivity, and sustainability.”

One L2 or L2D factor supplies the identical contour as 4 K2 components in a format that’s reportedly 46% smaller and 40% lighter. The result’s a smaller, lighter footprint lowering required truck area and ensuing journey prices and load-in/out time, as nicely (extra importantly) a set consistency over audiences and a reportedly improved rejection behind the system.

After the keynote, the crowd was invited to come onstage and examine the L Series system more closely.
After the keynote, the gang was invited to come back onstage and look at the L Series system extra carefully. Photo: Mix.

Each factor incorporates eight three-inch high-frequency drivers with eight ten-inch low-frequency drivers, together with 4 side-loaded 12-inch drivers with back and front exits to ship broadband protection with a selection of cardioid or supercardioid patterns. L Series additionally employs L-Acoustics Panflex expertise, offering 4 horizontal directivity patterns: 70° or 110° symmetrical, or 90° asymmetrical on both facet. Each L2 factor consists of 4 Panflex modules, whereas L2D incorporates two Panflex modules on the highest components, and two fastened L-Fins progressing from 110° to 140° on the underside components.

The working efficiencies of L Series originate from its form, which omits inter-element angles and options each a pin-less auto-lock rigging system and a single cable connector, all meant to supply a set-up setting that reduces errors. It reportedly results in a three-fold lower in loading time versus an identical K2 configuration or as much as 5 occasions quicker than Kara II.

The L Series system, silhouetted at middle dangle, stuffed the Hollywood Bowl with sound on the occasion. Photo: Mix

Due to the system’s smaller, optimized dimension, its development requires 56% much less paint; 30% much less wooden and 60% much less metal. That finish results of 30% much less quantity and 25% much less weight result in it requiring much less truck area and gasoline consumption.

The new LA7.16 high-resolution touring amplified controller in a new LA-RAK III touring rack.
The new LA7.16 high-resolution touring amplified controller in a brand new LA-RAK III touring rack.

Powering the L Series is the brand new LA7.16 high-resolution touring amplified controller, which helps L2 and L2D with 16 channels of high-power amplification and processing. LA7.16 is available in a brand new LA-RAK III touring rack providing 48 channels of amplification in a Milan AVB-ready bundle with greater than 60,000 watts of energy in 9U.

For hanging the brand new system, L-Acoustics additionally unveiled the brand new Clamp1000, which may carry as much as 4 L2/L2D. It may also be used with Kara II, K3, or K2, supporting as much as 16 K2. Using Clamp1000 customers can rotate a flown line array from the bottom, lowering setup time and the variety of motors wanted.

L Series can be at Prolight + Sound Booth #C06, in Hall 11.0 and at Infocomm Booth 5751, Level 2 and Demo Room W320, Level 3; the brand new system will ship in This autumn.

Mix’s 23 Pro Audio Companies to Watch in 2023, Part 2

23 Pro Audio Companies to Watch in 2023

Immersive music was the talk of 2022 in both pro audio production and consumer distribution, which led to a wealth of new creative tools, both studio and live sound, and a renewed focus on playback systems, both speakers and headphones. There is no sign of that slowing down in 2023.

The past 12 months also saw the release of plenty of new, affordable microphones, high-end outboard gear, AI-infused plug-ins and advanced means of control. With all that in mind, we present the second half of Mix’s 23 pro audio companies to keep an eye on in 2023; don’t forget to check out Part 1!

MEYER SOUND

MEYER SOUND

It would be hard not to include Meyer Sound on any Companies to Watch list, in any year, even a year following the introduction of a new flagship, large-format, linear line array loudspeaker called Panther, where the mandate was to provide the power of Leo in a package closer to the size of Lyon.

That would seem like enough to sit back and take it easy, and sell a few systems, but that’s not going to happen. There’s too much knowledge at the company to sit still, and with a well-deserved position at the high end of post-production, live sound and control systems, it’s a safe bet that 2023 will be another banner year. Don’t count out Constellation, where the possibilities for immersive playback are endless.

PMC

PMC

On that same trip to Nashville this past fall, just a half-block from Jeff Balding’s studio, Mix stopped in at Ryan Hewitt’s new 7.1.4 Dolby Atmos mix room, Stratmosphere, featuring a crazy-good-sounding PMC monitor system built around PMC 6-2 Active Monitors with 8-2 subs in an XBD array up front and PMC ci45 and ci90 speakers hidden in the walls. A few blocks away, two flagship PMC immersive systems fill out the two immersive studios at UMG/Capitol’s Berry Hill facility. PMC was a founding member of the immersive music club, and with the introduction in late 2021 of the new, more affordable PMC6, PMC6-2 and PMC8-2, along with associated subwoofers, the company’s name will only spread wider.

PSP AUDIOWARE

PSP AUDIOWARE

Mix reviewer Michael Cooper has long been a fan of PSP Audioware’s plug-ins, most recently diving in to take a look at Impressor and Saturator. “It’s these two guys from Poland,” he said in pitching the review to a Mix editor, “and they make fantastic products. I would like to play with these two.”

In the same month, at the Mix immersive music event in NYC, noted mixer Ronald Prent casually remarked about “this little company in Poland, PSP,” that was about to come out with a new, simple immersive plug-in that was going to have a huge impact on immersive workflow. That product, we now know, is PSP auralControl, and it just came out to rave reviews. We’re keeping an eye on those two guys from Poland.

SENNHEISER/NEUMANN 23 to watch

SENNHEISER/NEUMANN

Sennheiser and Neumann have been so deeply involved in pioneering research involving immersive audio capture and playback, most notably through its AMBEO development team, that it can become easy to look past the fact that they had released new products. Not so in 2022, when Neumann released its new NDH 30 open-back, reference-class headphone for mixing and mastering, in both stereo and immersive formats, along with the KH 150 DSP-powered studio monitor. Both received instant acclaim.

Meanwhile, at the Mix immersive music event in NYC, Sennheiser showed off the latest iteration of its Dear Reality dearVR immersive headphone mixing plug-in and its AMBEO 2-channel renderer. Headphones and binaural matter. This is very cool stuff. Very cutting-edge. Stay tuned.

SHURE

SHURE

Shure pretty much exploded out of the gate at the start of 2022 and didn’t let up all year, unveiling product after product aimed at every corner of pro audio. January saw the company release the second generation of its SRH440A and SRH840A headphones, while the long-awaited Shure KSM11 wireless vocal mic capsule came out in April, having already hit the road as Dua Lipa’s live mic capsule of choice. For integrators, MXA920 ceiling array microphones arrived in May, while content creators got a limited edition of the MV7 broadcast mic in August. October saw the company unleash a one-two punch: its UniPlex cardioid subminiature lavalier mic for AV conference pros, and the AD600 Axient Digital Spectrum Manager for the touring, broadcast, location sound, theater and HOW markets. It’s a safe bet that Shure has another round of must-have tools in its back pocket, just waiting to be unleashed at the right moment in 2023, so keep an eye on those pros from Chicago.

SOLID STATE LOGIC ssl

SOLID STATE LOGIC

The number and range of new products coming out of SSL over the past few years have been staggering, with everything from audio interfaces and plug-ins to brand-new and updated consoles, big and small. There’s no sign of slowing down following the fall release of Origin 16 at AES 2022.

What grabs our attention, however, is the fact that Phil Wagner, head of U.S. operations, spent much of the past year touting the capabilities of the SSL System T console for immersive music production, despite the fact that it was originally designed for broadcast. That means the technology behind the immersive audio control package is in place, and we’re likely to see much more of it in the year to come, spread across a multitude of products. Can’t wait!

SONY PRO/SONY RA360 23 to watch.

SONY PRO/SONY RA360

Where the heck did Sony come from? Sure, through its various pro and consumer divisions, the company has put a lot of backing behind the development of the RA360 format, and it’s making inroads in both gaming and music. Elsewhere, behind the scenes, the company has done extensive research into the binaural simulation of immersive spaces and released a few creative tools for high-end mixers. Then in the past couple of years, Sony Professional started releasing some pretty nice microphones (the C-100 and C-80), and most recently, a high-end wireless transmitter. We didn’t see this coming from a company that had largely disappeared from pro audio over the past decade, but it’s sure nice to see. Bring on more!

SOUND PARTICLES

SOUND PARTICLES

You can read much more about this relatively recent Portuguese plug-in startup in this month’s View From the Top, interviewing company founder Nuno Fonseca. Just a few years back, Fonseca was an academic, teaching CGI, coding and software-based technologies when he saw that what he was teaching in visuals could be applied to audio. He named his first product, a randomization plug-in that created rich and full soundscapes, Sound Particles. The timing was right, and he found instant acceptance from high-end studios and engineers in sound for film and television. A flurry of new products emerged, and now the company has set its sights on immersive music production. Good things are happening here, where high technology delivers easy-to-use tools.

SWEETWATER

SWEETWATER

Who could have predicted that a small online and phone-based audio retailer from Fort Wayne, Ind., would emerge over the course of the past decade as one of the audio industry’s most prominent success stories, with annual revenues topping $1 billion a year?

Those inside the company likely saw it coming, because the way Sweetwater does business— fairly and with a personal touch—provides a throwback model for the modern age that should be taught in MBA programs across the country. Provide a reliable resource, treat your employees and customers right, and deliver what you say you will. It sounds simple, we know, but founder Chuck Surack and his team have turned it into an art form— and it’s only getting bigger and better.

UNIVERSAL AUDIO

UNIVERSAL AUDIO

The much-beloved Universal Audio, founded by one of the music industry’s original engineer’s engineers, Bill Putnam, and still in the family, has been on a tear lately, releasing a flood of new products, both hardware and software. From the introduction of its Spark subscription plan, to the launch of its first native audio interface, the new Volt 476P, to the recently released Hitsville Reverb Chambers emulation plug-in, there’s been no breaks. It’s easy to forget how central UA was to the introduction and acceptance of realistic emulations and models of vintage gear in software so many years ago. That’s because the company has remained the leader, and there’s no sign that it’s giving up the title.

WAVES 23 to watch

WAVES

If there is any company that has a right to challenge the claim of UA’s market-leading plug-ins, it would be Waves, as we could make the same claim for the longtime Isreal-based software developer. Heck, it was Waves that led the way to its celebrity engineer and producer signature plug-ins, dating back to Jack Joseph Puig and many others. However, Waves does so much more, extending its reach successfully into live sound through its hardware stage racks, integrated plug-ins and mixing/control surfaces. It’s hard to fathom that one company has such a solid footprint in both worlds. But Waves does. Now let’s see what the company does when it seriously dives into immersive music. It should be fun!

Innovations: Grass Valley AMPP Audio Mixer

Grass Valley AMPP Audio Mixer
Grass Valley AMPP Audio Mixer

There’s little doubt that the pandemic has fueled technical innovation, focusing minds on new solutions to the challenges presented by working from home. A number of hardware solutions for remotely mixing audio have emerged over recent times, but Grass Valley has gone a step further, unveiling its cloud-based AMPP Audio Mixer.

The new product is the latest extension of Grass Valley’s AMPP or Agile Media Processing Platform, a SaaS solution for remote and distributed productions. The platform is the result of a project to bring cloud technologies to television broadcast, says Mike Cronk, Grass Valley’s VP of advanced technology and chairman of the board for AIMS, the open-standards IP advocacy group.

There are a lot of technical challenges, he says, such as handling latency, aligning signals and managing time and bandwidth. “We worked on solving those technical problems, got about 17 patents and built a platform that is able to do live production in the cloud. And, if you can solve live production in the cloud, you can also do playout and other post production functions, which are also moving that way.”

The AMPP platform is part of the Grass Valley Media Universe, says Cronk. “We want to build an ecosystem of partners, not just Grass Valley, to provide other software applications and services to bring the capabilities of elastic compute to the industry in a meaningful way, so they can use that to improve their businesses.”

Blizzard Entertainment was the first to put the AMPP Audio Mixer to work, using it on eSports broadcasts in early 2020, he reports. The user base has since grown to include broadcast networks, corporate events and even certain aspects of the Super Bowl.

“Because human ears are so keen on differences and latency between different audio signals, that’s driven the industry to do a lot with dedicated hardware. It takes time to put that into software,” he notes. Since Grass Valley solved some of those issues in a software world with the AMPP ecosystem, he says, “We were able to exploit that and build the Audio Mixer.”

The mixer is an app that runs on a computer and may be controlled via a touch screen or mouse. “That computer could be in AWS, Microsoft Azure or Google Cloud. It also could be running on a general-purpose server right next to you. You run that application up and it serves an HTTPS HTML5 interface.” Multiple instances will run simultaneously on the platform.

The mixer currently offers a feature set that supports productions up to a certain size: 64 audio stems or inputs, eight subgroups, 16 output mixes—enabling the creation of mix-minus feeds or aux sends—plus a main out and eight VCA groups. There’s comprehensive EQ, filters and compression assignable to all inputs, outputs and groups.

For those preferring tactile control, says Cronk, “A lot of our first customers have been using the Behringer X-Touch Compact,” which offers nine faders, 16 rotary encoders and 39 buttons. “We have a service that can run locally that allows you to map any key on a MIDI panel to any function.”

Audio is introduced into the AMPP platform via SMPTE ST 2110-30/AES67, SDI and NDI. “The other thing we do, especially over the WAN and in-cloud, is encode in Opus, which is pretty efficient and low latency,” he says. “Once the audio lands on a compute node that’s under AMPP control, if it’s compressed, we decompress it and we deal with PCM audio.”

The mixer UI incorporates a video program monitor panel, and because the platform carries uncompressed video and metadata, assigning an audio input with associated video brings up a keyframe thumbnail on that channel. An AV multiplexer on each mixer output channel can marry audio to its associated video, with delay compensation, without the need for external apps, he says.

While the AMPP Audio Mixer won’t be handling any super-complex productions quite yet, this is just the initial version and it’s being well received, Cronk reports: “People have found it very intuitive and have been able to up the level of their productions. This is a tool that is groundbreaking in terms of its capabilities in the cloud. We’re really excited about it.”

d&b audiotechnik Launches D40 Amplifier

d&b audiotechnik D40 Amplifier
d&b audiotechnik D40 Amplifier d&b auditoechnik GmbH & Co. KG

Backnang, Germany (June 23, 2021)—d&b audiotechnik has unveiled its new D40 four-channel Class D mobile amplifier.

Intended for mobile applications, the D40 is the mobile version of the 40D installation amplifier. Its user interface consists of a 4.3-inch (480 x 272 pix.) color touchscreen and a digital rotary encoder, providing information of the device configuration and status monitoring.

The D40 amplifier has a dynamic range of 116 dB (unweighted) and is designed to drive high-voltage d&b loudspeakers while providing management and protection capabilities. The D40 reaches 180 V peak, reportedly delivering full performance from d&b KSL System loudspeakers and V-Series and Y-Series.

Brooklyn Bowl Nashville is Ready to Roll

The D40 uses Digital Signal Processing (DSP) to incorporate loudspeaker configurations and user-definable setups, equalization and delay functions. Aiming to achieve a smaller environmental footprint, it also provides advanced voltage management to drive systems that demand less input power as a whole. The D40 includes enhanced energy saving features, power efficiency and Automatic Wake up for environmentally responsible and sustainable Green Building requirements.

d&b audiotechnik • www.dbaudio.com

Ashly Audio Expands AW Series On-Wall Speaker Line

AW Series On-Wall speaker lineWebster, NY (June 23, 2021)—Ashly Audio has expanded its AW Series On-Wall speaker line with a new Plus model, sporting a higher power transformer for integrations in larger spaces.

With the Plus model, Ashly Audio has increased the output power of its 70 and 100 volt transformers in a move to enable more integration options. All AW speakers are designed to coexist within the Ashly Audio ecosystem and make use of its Protēa and AquaControl DSP.

Ashly Audio Updates AquaControl Software

The new Plus model, which will be stylized as AWT+, offers a power upgrade to make the speakers more accessible for larger rooms, such as retail spaces, transportation centers or noisy sports bars. The AW-5.2T+ is now available at 30, 15, 7.5, and 3.75W at 70V, and at 60, 30, 15, and 7.5W at 100V. The AW-8.2T+ is available at 60, 30, 15, and 7.5W at 70V, and at 60, 30, and 15W at 100V.

A Directivity Optimized Crossover in the AW design reportedly reduces the off-axis deviation in sound pressure levels to <9 db, aiming to provide a wider “sweet spot” for audio. The AW-5.2T+ & AW-8.2T+ are also IP54 rated, so they are applicable for use in outdoor situations, like patios and public spaces, as well as for indoors.

Ashly Audio • www.ashly.com

Embody Immerse Virtual Studio – A Real-World Review

Embody Immerse Virtual Studio
Embody Immerse Virtual Studio

Don’t let the name fool you; Embody’s Immerse Virtual Studio plug-in is not a tool for creating immersive audio experiences. It is designed specifically to put you in the driver’s seat at some well-known studios to listen to your mixes in those rooms.

The Spaces

Immerse Virtual Studio sits on your master fader. When you’re done, you’ll either bypass or remove it before you export your mix. You get several studios to experience—Erik Reichers and Bob Horn’s Echo Bar, SAE’s Diamond Control Room, Warren Huart’s Spitfire Studio, and Carlos de la Garza’s Music Friends Studio. I have no first-hand experience with any of them, so I have no frame of reference as to how close they came…but each gets highlighted with photos and pages of information about their gear, engineers and artists that have used them. For this alone, the plug-in has educational value.

Embody has captured room responses to recreate the reflections and overall feel of each space. There seems to be a pretty wide range of styles in them, from what I consider a more traditional studio with soffited speakers to more personal spaces with speakers just piled up along the meter bridge and pretty close to each other. By selecting the headphones you’re using within the plug-in, the playing field is leveled via EQ, allowing the modeling of the speakers in each studio to translate more evenly. It takes some getting used to, and you’ll no doubt find your favorite space to be in.

Getting to work

To put the plug-in through its paces, I loaded up an old project that I’ve been aching to revisit. It was tracked on 2” tape on an SSL E Series with lots of external Neve mic pres, and later transferred to Pro Tools. It features a wide range of acoustic and electric instruments and vocals to test with. My hope was to close my eyes and be at that SSL again instead of my home studio.

When transitioning from a traditional headphone mix to this virtual room, there is a shift in how things are panned, moving to subtle and distant panning based on the position of the speakers in front of you. The acoustic vacuum of your headphones is given new life via replicated virtual acoustics (essentially a short reverb). While this helps to create the illusion, I found myself dialing down the ambience, especially when trying to listen for similar early reflections in the drum mics or even the lead vocal. Thankfully, Embody gives you control of that.

How to Choose a Voiceover Studio Microphone

I want to pull back for a moment and manage expectations: You are not gaining a pair of Genelecs or Focals for your home studio. Instead, there is an EQ curve applied to represent the characteristics of those speakers in your headphones. I found the tonal differences when switching between virtual monitors a bit disconcerting at first, but got used to it. What really bothered me was trying to mix the lead vocal; the phase manipulation and other processing made it hard for me to cope. Admittedly annoyed and just not feeling it, I was beginning to dismiss the experience completely when I thought, “Let me bypass the thing and listen on my speakers for a minute.” And that’s when…

Results!

It worked! When I switched back to my real-world monitors, I had little expectation that anything would translate—but it did…and it did so beautifully! Generally, music is mixed in studios and translates well to headphones; this is the first time I had mixed in headphones and had it translate to the speakers.

There is a free trial available for Immerse Virtual Studio so you can poke around and explore on your own. It’s a nice way to hear a mix back on multiple speakers when you’re limited to one set. I would love to see them add some more ‘world-class’ studios to the mix, as well as a surround option. If you’re in a situation what you need to keep the noise down but want to continue working on a mix, this is a fun solve! Is it worth the price tag? You’ll have to decide for yourself.

EAW Launches NTX Line Array, SBX Subwoofer

EAW's NTX201L Line Array speaker
EAW’s NTX201L Line Array speaker

Whitinsville, MA (June 15, 2021)—Eastern Acoustic Works has unveiled its new NTX Series Line Array and SBX Series Subwoofer.

The NTX201L is a 2×10” articulated array with an integrated 1,600 W two-channel amplifier and universal PFC power supply. The NTX210L operates in the 55 Hz – 18 kHz range with a max SPL of 140 dB, and additionally has a 90° horizontal and 12° vertical nominal beamwidth. The NTX201L uses EAW’s OptiLogic technology, providing automatic array self-detection via onboard infrared sensors and accelerometers, and optimization including air loss compensation and more. The NTX series features integrated Dante networking including analog redundancy capability, allowing the analog input to be set to automatically enable if the Dante signal is lost.

Meanwhile, the SBX Series high output subwoofers are also debuting with two models—the SBX218, capable of a total 5,000 watts, and the SBX118, capable of 2,500 watts. Both operate in the 25 Hz–120 Hz frequency range with a max SPL of 141 dB for the SBX218 and 135 dB for the SBX118. Both models feature exclusive 18-inch neodymium woofers with 4-inch voice coils. Designed to complement the NTX210L Line Array, they can support other systems as well.

EAW Brings MKD Speaker Production Back to U.S.

The SBX Series subs sport hefty grills with large openings to protect the woofers and resist damage, while the large port, inspired by aircraft design, is intended to prevent port noise. EAW’s DynO dynamic optimization processing technology is also applied.

The NXT and SBX series both integrate with EAW’s Resolution 2 software, which provides system optimization, as well as room design and prediction, in a single application.

Eastern Acoustic Works • www.eaw.com

Fuse Releases VREV-666 Freebie Plug-In

Fuse VREV-666 Freebie Plug-In
Fuse VREV-666 Freebie Plug-In

Duesseldorf, Germany (June 14, 2021)—Fuse Audio Labs has released VREV-666, a new, free reverb plug-in.

VREV-666 is based on a Sixties-vintage spring reverb originally built for the BBC, serving up bouncy and unpredictable vibes in its take on an electromechanical reverb. While Fuse Audio readily suggests that the results may not always be entirely faithfully representative, stating in its notes that “VREV-666 values character above realism,” the plug-in is nonetheless intended to provide an edgy, dirty vibe to audio.

Shure Launches Axient Digital ADX5D Portable Receiver

The original hardware featured a single effect gain control, but the VREV-666 adds an Effect Mix stage, a Pre-Delay of up to 150 ms, and a Tone EQ that attenuates the resonance of the spring system in the bass range. Meanwhile, an Effect Limiter built around a light bulb helps to tame peaks.

Fuse Audio Labs CEO Reimund Dratwa notes, “While the few available hardware units remain much cherished gems inside the studios of spirited artists and producers, we’re delighted to make the original vintage character of this juicy reverb available for everybody’s DAW absolutely for free.”

The VREV-666 plug-in is offered for free to anyone who creates a free account on the Fuse Audio Labs website.

Fuse Audio Labs • www.fuseaudiolabs.com

Shure Launches Axient Digital ADX5D Portable Receiver

Shure Axient Digital ADX5D Portable Receiver
Shure Axient Digital ADX5D Portable Receiver

London, UK (June 14, 2021)—Shure has introduced its new Axient Digital ADX5D Portable Receiver, expanding its flagship digital wireless line with a dual-channel, portable wireless slot receiver—a new portable form factor that makes the line more applicable to film and TV production.

While to date the Axient Digital line has been primarily used onstage in event and tour production, the new ADX5D is intended for use in sports/events broadcasting, electronic news gathering (ENG), film/episodic television, and electronic field production (EFP)—all of which rely on location sound.

The ADX5D uses true digital diversity technology, aiming to prevent signal fades and dropouts, while offering AES-256 encryption and 2 ms latency from the mic transducer to the analog output. A wide tuning band ensures reliable operation in any environment.

Shure Updates SLX-D Digital Wireless System

The ADX5D’s form factor is intended to make it an on-the-go wireless receiver, allowing it to slot inside and connect directly to the audio inputs of a professional broadcast camera. The portability is also intended to aid film and TV sound mixers who often have discrete powering, audio-routing, and/or RF-distributing gear in their portable recording bags.

ADX5D incorporates Shure’s ShowLink technology, which allows for real-time control of transmitter parameters, interference detection and avoidance. Intended for remote, hybrid, or on-location sound environments, ShowLink aids use of back-up frequencies, provides remote control directly to linked transmitters and is compatible with Shure’s Wireless Workbench software.

“The ADX5D Portable Receiver is an incredible tool to have at my disposal while on set,” said Jon Ailetcher, CAS, Production Sound Mixer on Chicago PD. “We move very fast on our show, and with ADX5D, I can easily transition from my cart to my bag, whether we’re on location or in the studio, without affecting my workflow.”

ADX5D is shipping globally this summer.

Shure • www.shure.com

Black Lion Audio Launches PG-2 Power Conditioner

Black Lion Audio PG-2 Power Conditioner
Black Lion Audio PG-2 Power Conditioner

Chicago, IL (June 11, 2021)—Black Lion Audio has debuted its new PG-2, a pro power conditioner with a 120 V Power Grid of 14 outlets in a 2U rack-mountable chassis.

The PG-2 sports proprietary PG-99 Filtering Technology, alongside a suite of status and alert capabilities, all of which Black Lion says helps the unit provide an average of 99.7% of noise filtering.

The power condition features Panasonic and Wimi capacitors, and offers filtration with a reported power absorption rating of 2,775 joules. Also, the PG-2 features a bank of 12 switched, filtered, and surge-protected outlets on its back panel arranged as three groups — four Digital Audio Outlets, four Analog Audio Outlets and four High Current Outlets.

Black Lion Audio Unveils Revolution 2×2 Audio Interface

The Analog Audio Outlets and High Current Outlets are time-delayed to ensure that speakers and power amplifiers are the last to turn on and the first to turn off, thereby preventing the ‘pop’ that can occur if speakers receive power at the same time as sound sources.

A front panel provides two filtered Unswitched Outlets for convenience alongside a (5V 1A) USB charger connection and a suite of status and alert capabilities, courtesy of Voltage Monitor and Amperage Monitor metering for real-time analysis, as well as Ground OK, Wiring Fault, Clean Power On, Abnormal Voltage, and Protection On LED (Light Emitting Diode) status. An audio alarm also helps highlight Abnormal Voltage.

PG-2 is currently available for $399.00.

Black Lion Audio • www.blacklionaudio.com

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