• 24-Bit / 48 kHz digital audio
• Wide frequency range with flat response for superb low range and transient response
• Greater than 120 dB dynamic range provides excellent signal-to-noise performance

 Encryption-enabled for any application for which secure transmission is needed

• Advanced Encryption Standard (AES-256) conforming to the US Government National Institute of Standards and Technology (NIST) publication FIPS-197
• Enabled via front panel menu on the receiver and sent over IR sync
• A new, unique, randomized encryption key is generated every time encryption is enabled

 Extremely Efficient and Reliable RF Performance

• Up to 64 MHz overall tuning range (region dependent)
• Up to 14 active transmitters in one 6 MHz TV channel (17 on an 8 MHz TV channel)
• Over 60 compatible channels on one frequency band
• Rock-solid signal stability with no audio artifacts extends over the entire 100 meter line-of-sight range using standard supplied dipole antennas

 Ethernet networking for streamlined setup across multiple receivers, Wireless Workbench® 6 integration, and AMX/Crestron control

Support for frequency coordination with the Axient™ Spectrum Manager

• Optimized scanning automatically finds and deploys the cleanest frequencies available
• Proprietary Shure Gain Ranging optimizes the system’s dynamic range for any input source, eliminating the need for transmitter gain adjustments
• Interference detection and alerts provide instant confirmation when interference is present

• Adapted from industry-leading Axient™ intelligent power management technology
• Lithium-Ion chemistry and intelligent Shure battery circuitry results in rechargeable batteries with zero memory effect. The battery can be recharged at any time; a complete discharge is never necessary
• Provides ULX-D transmitters with unmatched 12+ hours of performance time
• Transmitters and receivers display remaining battery life in hours and minutes accurate to within 15 minutes

http://www.shure.com/americas/products/wireless-systems/ulxd-systems/index.htm

Shipping Spring 2012

QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.

The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.

 These two new Core models are fully integrated solutions, each with I/O  eight card slots on-board. The Core500i is capable of up to 128 (flexible) network channels while the Core 250i provides up to 64 (flexible) channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.

 Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.

 The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. Q-Sys cores are configured using an intuitive object-based drag and drop user interface that provides for the creation of nearly any imaginable signal flow. Control logic objects are provided and custom scripting may also be used to accomplish a wide range of interface or control tasks. The design GUI is capable of quickly and easily generating graphical control screens that may be run on network-connected computers, tablet devices or QSC touch-screen controllers.

 QSC has also announced that Acoustic Echo Cancelling will be included with a new version of Qsys Designer software to be released this spring as well.  The Core500i will be capable of 32 channels of AEC and the Core250i will be capable of 16 channels of AEC.

 Also coming this spring is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)

 It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.

http://media.qscaudio.com/pdfs/Specifications/Core250i-500i_SpecSheet_0112_web.pdf

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Shure Apps Tech Tip  – VP68 Omnidirectional Wireless Mic Capsule and Its Attributes

The Shure VP68 wireless mic capsule, introduced in June 2011, is sold as the model RPW124.  The VP68 audio pick-up pattern is omnidirectional (“all directions”), so the mic can be held upside down, or sideways, and the talker will still be heard.  This is a useful attribute when the mic is spoken into by a person that typically does not use a mic, e.g., an audience member asking a question, a family member giving a wedding toast, or a citizen addressing the city council.

Other useful attributes of the VP68 omnidirectional mic capsule are:

1) Minimal wind noise when used outdoors.

2) Minimal handling noise as the user touches or moves the mic.

3) Minimal “P” popping when the user speaks words beginning with “P”, “B”, or “T”.

4) No proximity effect [excessive bass] when the mic is positioned close to the mouth.

These forgiving attributes are beneficial for the novice mic user, plus these attributes improve the intelligibility of the spoken word.

 Link to the Shure Technical FAQ on this topic: http://shure.custhelp.com/app/answers/detail/a_id/78/

 Arcana – mysterious or specialized knowledge. Shure Applications Engineering is full of it.

A Shure omnidirectional microphone, the SM11, was installed in every NASA Space Shuttle.  The mic monitored the deafening sound level of the solid fuel booster rockets, and triggered a mechanism that captured the rocket exhaust gases for analysis after the Shuttle returned to Earth.  During the entire Shuttle program from 1981 to 2011, there was only one reported failure of the SM11, and this was due to the mic cable being pulled too tight by a service technician.  The Shure Archives contains an SM11 mic that flew on multiple Shuttle missions.

Shure Apps Tech Tip – Difference between the SM57 and the SM58

There is a plethora of pro audio myth regarding the SM57 and the SM58, and how they differ.  But no matter what is posted on the Internet, the fundamental difference is the type of protective grille: the SM58 has a metal ball grille and the SM57 has a plastic cylindrical grille that rotates.  The shape of each grille does slightly affect the high frequency response and this may seen on the frequency response graph printed on the User Guide supplied with each model.

Links to the Shure Technical FAQ on this topic:

 http://shure.custhelp.com/app/answers/detail/a_id/1118/

http://shure.custhelp.com/app/answers/detail/a_id/142/

http://shure.custhelp.com/app/answers/detail/a_id/256/

The SM57 was introduced in 1965, and the SM58 in 1966.  Both models employ the Unidyne III microphone element, developed by Shure engineer Ernie Seeler, and first used in the model 545 introduced in 1959.  The 545SD is essentially an SM57 with an on/off switch.   “SM” stands for Studio Microphone as the SM57 and SM58 were originally developed for use in television studios.   Two features were very important for TV: 1) The non-reflective gray finish to prevent reflections of the TV studio lights, and 2) the lack of an on/off switch to prevent onscreen talent from accidentally muting the mic.

The LPT-M1 ListenPoint Microphone/Media Interface Kit (M1) provides the ability to interface external sources wirelessly such as laptops, iPads, MP3 players or be used as a microphone with the ListenPoint system. It offers exceptional audio quality, ease of use and years of dependable service. The intuitive design allows the user to control volume. The M1 uses advanced lithium ion battery technology and intelligent battery management to maximize battery life, minimize battery charging time and increases the time between battery replacements. The included drop in charger makes charging simple and fast.

http://www.listentech.com/lpt-m1.html

2010 Changes to Assistive Listening Systems

Roland Systems Group Announces Two Exciting Additions to the V-Mixing System!

M-480 – 48 Channel Live Digital Mixing Console

NOW SHIPPING! RETAIL $11,795

The Flagship Console of the V-Mixing System

With superb sound quality, powerful functions, expandability and intuitive operation; the V-Mixing System continues to introduce new possibilities to the live mixing market. Now after its 2007 debut and as a direct response to actively listening to our users, the next generation V-Mixer has arrived. Equipped with a newly developed mixing engine, the M-480 provides an enhanced level of powerful and flexible audio processing.

The M-480 is the first V-Mixer to support a cascade connection that enables 96 channels of mixing by connecting a second unit – all via one simple Cat5e/6 cable. Supporting live events, mobile production, broadcasting, and sound installation the V-Mixing System with the M-480 V-Mixer at its heart provides a premium level of innovation for any live mixing venue.

The M-480 V-Mixer features:

• 60 Mixing Channels: 48 mixing channels and 6 stereo returns
• 16 Aux Busses, 8 Matrices
• Full support for Mono, Stereo or LCR configurations.
• Supports  90 inputs with up to 330 inputs using the S-4000M REAC Merge
• 214 audio patch points including direct post pre-amp splits assignable to up to 90 discreet outputs
• 4 Band “Advanced” Parametric EQ, Compressor, Gate and Delay on each Mixing Channel.
• 4 Band “Advanced” Parametric EQ, Limiter and Delay on all Mix Busses
• 6 Stereo Effects Processors including Roland Vintage Effects with dedicated effects returns
• 12 Dedicated GEQ with 12 additional available from Effects Processors
• 300 Scenes
• User Layers, User Buttons and User Access Settings
• M-48 Management

http://rolandsystemsgroup.com/products/100089

R-1000 48 Track Recorder/Player

Summer 2011!

The R-1000 is an intuitive stand alone, dedicated hardware recorder/player designed to fully integrate with the V-Mixing System in any live event or production. The R-1000 can also be digitally connected and used with any digital console that has MADI output capabilities by pairing it with the Roland S-MADI REAC MADI Bridge.

Use the R-1000 as a recorder for live events to capture up to 48 channels of discrete audio all as separate broadcast wave files (BWF) that are recorded to removeable hard disk drive (HDD) or solid-state drive (SSD) and are fully compatible with the DAW of your choice. In addition, recorded audio files can also be transferred via USB to a connected drive.

Virtual Sound Checks have become standard industry practice. The R-1000 greatly reduces sound check time for bands/productions travelling from venue to venue. Using a song previously recorded on the R-1000 or transferred from another DAW, simply switch to playback mode when arriving at a new venue and all the sources play back through the appropriate channels on the console. When integrated with the V-Mixing system, adjustments of the preamp gains on the console include gain compensation to the Digital Snake pre-amp.

The integrated playback functionality is also a powerful training tool for new console operators. Recordings of the actual band in the venue are used to practice mixing technics and learn the art of audio mixing. Playback functions are used to rehearse and perfect Scene settings in the console and tweak effects and other settings.

In a live performance, the R-1000 is the ideal playback device to augment the performers and musicians by selecting pre-recorded tracks and/or playing along to a click-track.

With the ability to sync to video with SMPTE (LTC), black burst and RS-232 make the R-1000 an ideal choice for large channel count location sound recording as well as providing high channel count playback in theaters and amusement parks.

http://rolandsystemsgroup.com/products/100091

Lowell Lay-in Tile Ceiling Speakers

Quality. Simplicity. Flexibility.

Lowell Lay-in Tile Ceiling Speakers feature exceptional Audio and Aesthetic QUALITY, far surpassing the competition.  SIMPLICITY – The speaker system assembly ships ready-to-install with speaker leads exiting through a Romex clamp for easy field connections.  With multiple speaker, transformer, backbox, and even sound masking options, the Lowell Lay-in Tile Ceiling Speakers offer design FLEXIBILITY not seen in any other lay-in tile ceiling speaker line.

LT-Series (Pro):

• Two Sizes – 1′x2′ or 2′x2′
• Coaxial speakers options -  8″(50watt), 6″ (40 watt), 4″ (30 watt) models
• 3 70 volt Transformer options – tap selections vary from 1 watt – 32watts
• 1′x2′ assembly features patented integral T-bar to save time and labor during installation

LT-Series (Music/Paging):

• Two Sizes – 1′x2′ or 2′x2′
• 8″ and 4″ speaker options – dual cone or coaxial
• 3 70 volt transformer options – tap selections vary from 1 watt – 16 watts
• 1′x2′ assembly features patented integral T-bar to save time and labor during installation

SMTGM-Series (Sound Masking)

• 1′x2′ assembly only
• 8″ or 4″ dual cone speakers
• included transformer – tap selections from .25 watts – 5 watt
• Optional Rotary Switch transformer tap selector and shaft adjust Volume Control

http://www.lowellmfg.com/audio-packaged.html