It was a busy show, certainly, as I hope you noticed: over the last few days the PSNEurope team have worked diligently to bring you stories from the halls of Frankfurt, regularly updating the website as announcements have broken. There’ll be plenty more pictures and stories from the show in the April edition of PSNEurope. But for now, here are ten product announcements – and this is by no means an exhaustive list – that caught our eye…
Midas launched the XL48 ‘digi-log’ mic preamp at Prolight + Sound 2012. Recognising the legacy of the much-vaunted (analogue) XL42 dual channel strip, the XL48 features eight XL4 mic pres in a 1U box, swept high and low pass filters, eight Midas XL8 96kHz 24-bit A-D converters and a low-jitter 1ppm clock. Additional features include 8-segment LED input meters, individual phantom power, polarity invert, and -20dB pad. All inputs are Neutrik XLR and 25-way D-sub connectivity.
In other Midas news, the company launched Generation-ll software for all Midas digital consoles, encapsulating the user feedback Midas has been gathering for the past five years. The upgrade brings the advanced navigation features pioneered on the Midas PRO2, and retro-fits this into the entire range of digital consoles, along with a clutch of new FX plugs.
Nearly 20 years after its initial launch in 1993, AKG’s workhorse microphone the C3000 is back, along with the rest of AKG’s Project Studio Line. The line is focused on the home recording/project studio market, but the mics are said to perform just as well on stage.
The new designs of the C2000, 3000, 4000 and 4500 BC maintain many of the technical aspects of the earlier models, but are now encased in a more sleek design. The line’s edge-terminated capsule mimics AKG’s premium line of mics, including the C414 and C12VR.
Sennheiser’s new “entry-level” XS Wireless radio microphone series debuted in Germany. The system automatically searches for free frequencies, and transmitters are synchronised with their receivers via a wireless link. The two XS Wireless vocal sets are fitted with Sennheiser microphone capsules, and the series also includes an instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. Up to 12 wireless links can be operated simultaneously on freely tunable frequencies within a switching bandwidth of 24MHz (13MHz for the E frequency range).
Dynacord presented the TS-400, a full-range vertical array cabinet for mobile applications and fixed installations. TS-400 can be used either full-range or in active two-way systems for applications requiring subwoofers, and is designed to provide even coverage over a very wide bandwidth by using spaced and filtered woofers as array elements.
Celebrating 25 years in business this year, Link announced an expanded range of DGLink Media Connectivity Products in Frankfurt. New components include: DGLink Protocol Convertor (MADI, EtherSound, Dante); DGLink Redundant Gigabit Media Switch for Touring; DGLink CWDMOptical Interface System – capable of transporting up to 18 distinct networks via one redundant fibre backbone; and the DGLink AES-EBU Drive Module.
DPA unveiled the d:vote range of microphones – an upgrade to the 4099 series – and the new d:facto vocal mic. Newly appointed VP of sales and marketing, Susanne Seidel, was at the show to meet clients and friends.
Bridging the gap between live performance and studio recording, d:facto is said to offer natural sound, high separation and extreme SPL handling. It is equally at home in sound reinforcement and recording applications. “For many years the market has been requesting that the high sound quality of DPA’s legendary 4011 mic be available for live performance,” says DPA’s CEO Christian Poulsen (pictured). “As a result of the innovative partnership with Wisycom, we have developed the d:facto vocal mic to fulfill those requests.”
The d:vote range, meanwhile, builds on the success of the 4099 instrument clip mic series: d:vote has been enhanced with a new shockmount to provide better absorption, and an upgraded cable available in a heavy duty 2.2mm and a 1.55mm diameter version, which can be detached from the end of the gooseneck.
Solid State Logic’s Live-Recorder combines Soundscape V6.2 DAW recorder/player software and a MadiXtreme or MX4 PCIe audio interface, with an “industrial-strength, high-performance” 1U rack-mounting PC.
The Live-Recorder system provides a high-channel-count live, location, or broadcast recording. It can connect directly to MADI-equipped digital mixing consoles, venue audio distribution infrastructure (Riedel, Optocore, etc.), or broadcast routers. And, says Peter Gabriel-owned SSL, the system presents “significant cost-saving opportunities when compared to hard-disk recorders or other DAW recorder systems”.
Looking somewhat forbidding on the Void Acoustics booth was the new Incubus system (pictured, with Void’s Rog Mogale), designed, according to Void, with “the sole purpose of being the ultimate dance club system.” Incubus incorporates Void’s Air Array, Hyperfold and Incubus Sub designs.
Finally (for this round-up), Nexo presented its new proposition for the modern touring and rental company, the STM Series – the first scalable modular line array on the market. First revealed in Pro Sound News Europe in February, STM combines the best of NEXO Alpha functionality with the technical innovation of NEXO GEO waveguide designs to deliver “a system that is both super-powerful, super-flexible and easy to use.” Scale Through Modularity (STM) is NEXO’s strapline, describing the STM’s ability to scale up or down to suit event audiences from 1,000 to 100,000.