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Get Connected With the DiGiCo S-Series

DiGiCo has announced the launch of a new DMI-MIC Pre-Amp Card for its S-Series digital mixing consoles, offering additional connectivity.


The S-Series has already seen an increase from 40 to 48 flexi channels as part of a recent update, and the new DMI-MIC Pre-Amp Card adds an extra eight mic inputs, connected via a 25-way D-sub, using the same pre-amps already found in the console. 


DiGiCo consoles are used on many of the biggest live sound tours and events around the world and DiGiCo claims that the launch of new, compact S-Series made this pedigree of audio performance available to every part of the industry, with Stealth Digital Processing, power and flexibility. 


The S-Series multi-touch touch screens offer up to 31 faders, 96kHz processing, internal FX and a range of I/O. With plug-in DMI cards the S-Series can operate in a variety of environments by adding extra I/O or connectivity options, including MADI, Dante or Waves SoundGrid. 


“The new DMI-MIC Pre-Amp Card shows our continued commitment to our products,” says DiGiCo General Manager, Austin Freshwater. “To take advantage of this and our other DMI card options, we are running a Get Connected program, so contact your local dealer for full details of the program and get connected soon!” 

Posted: Thursday, September 21, 2017

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PCB Piezotronics Launches Quick Start University Laboratory Programs for Acoustics, Civil Engineering, Mechanical Engineering, and Physics

PCB Piezotronics has announced the launch of its University Laboratory Programs for academic facilities. These programs are said to provide cost savings for Acoustics, Civil Engineering, Mechanical Engineering, and Physics curricula that incorporate hands-on student labs. Each program bundles sensors and accessories, laboratory experiments, classroom lecture, and technical posters for use in academic classrooms and laboratories.


With a history of providing discounted sensors to the academic community, PCB expands their commitment with four new Laboratory Programs that help both seasoned and first-time instructors provide comprehensive educational programs for their engineering classes. Students will have hands-on experience with state-of-the-art sensors used by today’s Research and Development facilities throughout the world.


Each Laboratory Program includes:


- Discipline-specific kits with the most commonly used sensors (acoustics, vibration, force) and accessories

- Instructor’s Guide of laboratory experiments with step-by-step instructions

- Technical poster for display in laboratories

- A classroom lecture by a PCB expert


Academic discounts are available for the programs; recommended optional products are also discounted. PCB Piezotronics says that additional engineering and technical disciplines will be added in the near future.


For more information visit http://www.pcb.com/universitywww.pcb.com/university 

Posted: Thursday, September 21, 2017

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Genelec Unveils Flagship 7380 Smart Active Subwoofer

Genelec, celebrating four decades in active monitoring technology, is introducing the 7380 Smart Active Subwoofer, which is said to deliver both high SPL and an extended low-distortion LF response in a compact enclosure. 


The new flagship of the Smart Active Monitoring subwoofer range, the 7380 was conceived to be integrated into any monitoring system – from stereo to multi-channel, as well as part of a large-scale 3D Immersive setup. Equipped with a newly designed Class-D amplifier section plus all the features of Genelec’s Smart Active Monitoring technology, the 7380 has been created for discerning professionals in music, post, film and broadcast. Furthermore, the 7380 was designed to partner with Genelec’s “The Ones” series of coaxial three-way monitors, particularly in the creation of immersive systems for those working with Dolby Atmos, Auro-3D and DTS:X formats.


Standing 26.97" (685mm) in height with a width of 28.27" (718mm) and depth of 19.37" (492mm), the 7380 features an 800W Class-D amplifier driving a custom 15-inch long-throw woofer that, combined with Genelec’s LSE spiral enclosure, is spec’d to produce a maximum SPL of 119 dB (123 dB peak) plus precise low-frequency response down to 16 Hz. 


The incorporation of Genelec’s Smart Active Monitoring technology puts the 7380 at the heart of a larger family of smart monitors and subwoofers from across the Genelec range. With GLM (Genelec Loudspeaker Manager) software for PC or Mac, up to 40 Smart Active Monitors and subwoofers can be networked with recallable system configurations and auto-calibration features including level, time-of-flight and phase adjustments. GLM deploys room compensation features including an adjustable crossover frequency and 20 parametric notch filters, which Genelec says allows optimization of loudspeaker performance to achieve the best possible performance even in challenging acoustic environments. GLM also supports both centralized and distributed bass management modes, depending on the type of monitors being used.


The 7380 can also be used in a non-Smart Active Monitoring environment. Front panel accessible DIP switches facilitate calibration for hybrid systems in which traditional main monitors are used. In standalone mode, the crossover frequency is fixed at 85Hz. 


For those working with multi-channel audio, the 7380 offers 7.1 channel XLR analog inputs and outputs, while an AES/EBU digital connection can be used either for stereo operation or for full 7.1 digital with the addition of Genelec’s optional 9301 Digital Interface.


“We have spent more than 10 years refining our Smart Active Monitoring range to represent not just the world’s most advanced monitoring technology, but also a uniquely powerful family of products that is trusted and relied upon by professionals the world over. The 7380 continues that tradition of extraordinary innovation,” commented Genelec Managing Director Siamäk Naghian. “Simply put, the 7380 will go louder and lower than anyone would expect with an enclosure of this size. It is the ideal choice for anyone who demands powerful, dependable LF reproduction in a truly compact form factor.” 


For more information visit www.genelec.com


Posted: Thursday, September 21, 2017

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Pitbull Takes Over Las Vegas With Sennheiser Digital 9000

Pitbull, a.k.a. “Mr. Worldwide,” recently settled in at The AXIS at Planet Hollywood Resort & Casino for an eight-night limited engagement performing his energized Las Vegas show “Time of Our Lives.” The high-octane series of performances follows successful Las Vegas tour stops in 2015 and 2016 for the artist, with one difference this time around: Pitbull and his team put their recently acquired Sennheiser Digital 9000 wireless system to work.


A chance to test-drive the Digital 9000 at last year’s Summerfest in Milwaukee is cited as convincing the multi-million-selling artist and his team to deploy the system. Monitor engineer Matt Holden recalls the moment at Summerfest last year when he realized Digital 9000 was something special: “I was impressed with the sound when I heard it, but what really caught my attention was that for the first time, Pitbull came off the stage after the show and right away wanted to know what microphone we had used!”


The experience at Summerfest led the team to begin traveling with a Digital 9000 system immediately thereafter on tour. They stuck with the MD 9235 capsule they had demoed at the festival, noting its “clear sound and excellent rejection”. “It has a really tight pickup pattern on it, so there isn’t a lot of ambient noise,” Holden explains. The capsule is also super-friendly to the artist’s unconventional microphone techniques. “Pitbull goes back and forth between cupping the mic and holding it down on the neck. But with the MD 9235 the sonic difference is imperceptible which helps ensure a consistent sound throughout the show.”


Front-of-house engineer Will Madera notes how the sound of Pitbull’s voice sits in the mix while using the MD 9235 through the Digital 9000 system. “The microphone system gives body and clear definition to his voice, and it cuts through really well,” he says. “We’ve got percussion, drums, keyboards, bass, and backing tracks — all of which are really energetic and loud during the show. But with the Digital 9000, there is no issue and the vocal is right there in front of everything.” 


For Holden and Madera, the Digital 9000 was easy to set up and integrate into their existing rig. “The quality of the wireless and the ability to do the frequency scans internally is amazing,” Holden says. “You just dial in the lowest noise floor and don’t worry about it.”


“When we go to the larger cities like Dallas or New York, the RF person will be fighting to coordinate 96 channels of wireless. We just fire up the Digital 9000 for our wireless, do a quick scan, drop in our channels and we’re done. It takes ten minutes!” Madera also notes the system performance as “predictable and stable”. He continues, “Since we have been using this there hasn’t been one drop in that microphone at all.


 “Before we acquired the Digital 9000, Pitbull’s proximity to the stage during performances was always an issue,” Holden explains. “He would go under the stage, up and down the lifts, up the catwalk, and sometimes all the way to front of house. We would sweat a little bit when he did that on our last system. Now, with the D 9000, we can walk the mic all the way to the production office.” 


The D 9000’s is performing well in Vegas, according to the production team. Holden and Madera recall challenges of the past in Las Vegas, using gear from other manufacturers: “This is our fifth time here in Las Vegas, and as everybody knows, it’s kind of an RF nightmare,” Holden explains. “On our other systems, I would have full signal bars and clean frequencies, but we would lose him if he went to certain spots and this meant we were constantly on edge. With this system, I never have to think about it and can instead focus all my energy on his mix and performance.


“If the mix is perfect for Pitbull, he will take the performance to another level,” Holden says. “He stops thinking about the technical side and gets into the crowd. The difference in performance is very noticeable. Switching over to the Digital 9000 also proved to be the catalyst for him to start using in-ear monitors, which previously he was never 100% happy with, sonically. This gives him even more freedom on stage.”


Currently, Pitbull has eight channels of the Digital 9000, which are used on vocal microphones, bass guitar, and a djembe. For the bass guitar, the SK 9000 bodypack transmitter provides controls that allowed Madera to work with the bass player to dial in his tone. “I love the way the transmitter allows you to load the pickups differently,” he says. “It delivers a noticeable change in the tone of the bass, so before the run we sat down with the bass player and asked him which setting he liked best.”


Now that the “Time of Our Lives” mini-residence is complete, Pitbull is preparing to take his show back on the road. He will be co-headlining a new tour with Enrique Iglesias in the U.S. in September and October, with an itinerary that includes iconic arenas like the Staples Center, The Forum, and Madison Square Garden. The Digital 9000 system is also booked on the tour. “The sound is so clean that sometimes people think that the vocals are coming from a playback system we recorded in the studio,” Madera says. “But he is really rapping and singing everything! We could not be happier with the results we are getting on this system.”  

Posted: Thursday, September 21, 2017

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La La Land's Composer Justin Hurwitz Chooses Prism Sound Conversion for His Own Studio

Award-winning film composer Justin Hurwitz has invested in a Prism Sound Lyra 2 for his private studio and is using it as the audio interface between his preamps and his digital audio workstation.


Based in Los Angeles, Justin Hurwitz is the composer of this year’s movie hit La La Land, which won in all seven categories for which it was nominated at the 74th Golden Globe Awards. The film also received 11 nominations at the 70th British Academy Film Awards, winning five, and received 14 nominations at the 89th Academy Awards, winning six. Among these Oscars were two for Hurwitz – for Best Original Score and Best Original Song (City of Stars).


Hurwitz, who also scored the Oscar-winning movie Whiplash, chose a Prism Sound Lyra 2 interface after taking advice from various sound engineers whose opinion he trusted.


“I heard that Prism Sound made great interfaces with the highest quality A/D conversion,” he says.  “I wanted really high-quality A/D conversion for the one or two channels that I'm recording right now, so this unit was the perfect solution. It is now set up and an important part of my recording chain.”


Based on the company’s Orpheus interface, Prism Sound’s Lyra allows music recording professionals to access the power of the Orpheus audio path and clock circuitry, but in a smaller package and at a lower price. 


The Lyra 1 interface has two analog input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. Lyra 2 includes two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both versions incorporate new ARM Cortex processor design offering class-compliant USB interfacing that allows for integration with both Macs and PCs. Both versions also offer digital volume control, a low latency ‘console-quality’ digital mixer for foldback monitoring and optical SPDIF capability.


Although he records orchestras on the larger scoring stages in Los Angeles, Hurwitz is currently building a project studio and is now set up to record vocals and overdubs there.



“I’ve also been recording some solo instruments for my next score, which is a film about Neil Armstrong,” he says. “The Lyra is proving really useful for this type of work and I love it - it’s working great.”

Posted: Thursday, September 21, 2017

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