Your word Decoupling And Speaker Stands Last week I spotted some sturdy metal speaker stands at a local Cash Converters, and managed to pick them up for $50 after some minor haggling (one of the screw-in carpet spikes was MIA on one of the stands). I promptly lifted up my Mackie HR824s and placed them on the new stands, which placed them about 17cm above my desk top. A little later, as I was listening to a favourite CD, I noticed something ‘new’ about the sound. Previously, I had each monitor resting on top of two large hard-cover reference books (about 10cm high in total), but now I was hearing a tighter, less ‘muddy’ output. I’m certainly no hi-fi mystic, and try to rely on my ears as much as possible, but something was definitely afoot. My madness was fortu- nately dispensed with when, several days later, I read the ‘First Word’ column in Volume 2, Issue 1. Yes, physical coupling does make a noticeable difference on high end nearfield monitors! I tried a simple experiment after reading of your adventures, returning to the books, and then back to the stands, and indeed, I can hear the difference (not a true double blind test, but then again I am an engineer...). Considering the dollars invested in the monitors, I can recommend that proper placement (which was not covered in any detail in the HR824 manual) is imperative. I now have the stands upside down, with the Mackies resting on the spikes. John P. Shea via email In addition to the benefits of proper mounting, you may also be hearing the effects of the 7cm change in height between the text books (10cm) and the stands (17cm). This changes the arrival times of first order reflections off the desk top, and therefore changes the perceived frequency response due to comb filtering. (Further emails with John also revealed that his stands are held to the desk top with small blobs of BluTak, which provides similar benefits to cones and spikes.) – GS Console Schematics? Firstly, congratulations on AudioTechnology magazine. It is a very interesting and informative read! Secondly, I am a student in electrical engineering at the Univer- sity Of Newcastle. In semester one of next year I will be undertak- ing my final year design project. As a part of my project I want to build my own analogue mixing desk. Could you suggest where I may be able to obtain a detailed electrical schematic diagram (including values of resistors, etc.) of a typical mixing desk (with sweepable EQ and effects)? Ray Palmer: [email protected]If any readers have access to circuit diagrams or other information Ray may find helpful, please contact him via email. – GS Dance Recognition I am writing to offer an insight into that field of sound I am most involved in: dance music (yes, it is music), often disregarded as simplistic machine-made noise. Admittedly dance music is without conventional pop music structure, doesn’t use instruments and vocals in a conventional sense, and live performances will more likely be from the producer’s tweaking than an instrumentalist. But all these unconventional elements serve to make the music the focus, and help the music evoke a strong emotional response – the power to move you. A friend recently related an experience of Melbourne’s Lygon St. Festa. He’d taken the opportunity to fire up an idle PA with a CD mixed by US techno/trance DJ, Christopher Lawrence, and this soon attracted about eighty ravers, whose dancing, in turn, brought a crowd of onlookers. When a breakdown in the music arrived, the ravers new what was coming, but the onlookers had probably never experienced this sort of thing. As the music built, peaked and the beat kicked back in the 300 or so spectators quite unconsciously rose on their toes with the music, thumped back to earth, and then looked around to see if others had been similarly affected. Here’s the purpose behind dance music’s form. It is created as something to move to. The skill to do this is not a ‘cut and paste’ commodity: read Chris Holder’s Second Word in Volume 1 Issue 6 if you want proof. A song can have only three sounds in it, yet may be more interesting, with more thought gone into it than most pop songs. Meticulous programming and fine attention to detail and feeling are what makes a track successful on the dancefloor. This genre of music is undoubtedly one of the most important of the past fifteen years and has progressed and diverged far from its origins, and its contribution cannot be ignored. Not liking something should not mean disrespecting it. Jonathan Salmon Carlton, VIC. I couldn’t agree more Jonathan. Here at AT my taste for the uncom- promising sounds of the urban underground regularly go head to head with Philip Spencer’s penchant for meandering ‘70s prog rock. But, as much as we both sometimes hate to admit it, there’s merit in all music that’s been created with skill and care. – CH 14 Got something to say? Want a rant? Send your comments, observations, and criticisms to Your Word, AudioTechnology magazine, Suite 33, 84 Dee Why Parade, Dee Why NSW 2099. As an added incentive, the best letter printed in each issue wins some equipment from M Audio courtesy of Electric Factory. This issue’s winner is Marly Luske, who receives some great M Audio gear like you see pictured left. Future issue prizes include the Flying Calf 20-bit A/D convertor, and Mac and PC Midi/SMPTE interfaces.
Transcript
Your wordDecoupling And Speaker StandsLast week I spotted some sturdy metal speaker stands at a localCash Converters, and managed to pick them up for $50 after someminor haggling (one of the screw-in carpet spikes was MIA on oneof the stands).
I promptly lifted up my Mackie HR824s and placed them on thenew stands, which placed them about 17cm above my desk top. Alittle later, as I was listening to a favourite CD, I noticed something‘new’ about the sound. Previously, I had each monitor resting ontop of two large hard-cover reference books (about 10cm high intotal), but now I was hearing a tighter, less ‘muddy’ output.
I’m certainly no hi-fi mystic, and try to rely on my ears as much aspossible, but something was definitely afoot. My madness was fortu-nately dispensed with when, several days later, I read the ‘First Word’column in Volume 2, Issue 1. Yes, physical coupling does make anoticeable difference on high end nearfield monitors! I tried a simpleexperiment after reading of your adventures, returning to the books,and then back to the stands, and indeed, I can hear the difference(not a true double blind test, but then again I am an engineer...).
Considering the dollars invested in the monitors, I canrecommend that proper placement (which was not covered in anydetail in the HR824 manual) is imperative. I now have the standsupside down, with the Mackies resting on the spikes.
John P. Shea via email
In addition to the benefits of proper mounting, you may also behearing the effects of the 7cm change in height between the text books(10cm) and the stands (17cm). This changes the arrival times of firstorder reflections off the desk top, and therefore changes the perceivedfrequency response due to comb filtering. (Further emails with John alsorevealed that his stands are held to the desk top with small blobs ofBluTak, which provides similar benefits to cones and spikes.) – GS
Console Schematics?Firstly, congratulations on AudioTechnology magazine. It is a veryinteresting and informative read!
Secondly, I am a student in electrical engineering at the Univer-sity Of Newcastle. In semester one of next year I will be undertak-ing my final year design project. As a part of my project I want tobuild my own analogue mixing desk. Could you suggest where Imay be able to obtain a detailed electrical schematicdiagram (including values of resistors, etc.) of a typicalmixing desk (with sweepable EQ and effects)?
If any readers have access tocircuit diagrams or otherinformation Ray may findhelpful, please contact himvia email. – GS
Dance RecognitionI am writing to offer an insight into that field of sound I am mostinvolved in: dance music (yes, it is music), often disregarded assimplistic machine-made noise.
Admittedly dance music is without conventional pop musicstructure, doesn’t use instruments and vocals in a conventionalsense, and live performances will more likely be from the producer’stweaking than an instrumentalist. But all these unconventionalelements serve to make the music the focus, and help the musicevoke a strong emotional response – the power to move you.
A friend recently related an experience of Melbourne’s Lygon St.Festa. He’d taken the opportunity to fire up an idle PA with a CDmixed by US techno/trance DJ, Christopher Lawrence, and thissoon attracted about eighty ravers, whose dancing, in turn, brought acrowd of onlookers. When a breakdown in the music arrived, theravers new what was coming, but the onlookers had probably neverexperienced this sort of thing. As the music built, peaked and thebeat kicked back in the 300 or so spectators quite unconsciouslyrose on their toes with the music, thumped back to earth, and thenlooked around to see if others had been similarly affected.
Here’s the purpose behind dance music’s form. It is created assomething to move to. The skill to do this is not a ‘cut and paste’commodity: read Chris Holder’s Second Word in Volume 1 Issue 6if you want proof. A song can have only three sounds in it, yet maybe more interesting, with more thought gone into it than most popsongs. Meticulous programming and fine attention to detail andfeeling are what makes a track successful on the dancefloor.
This genre of music is undoubtedly one of the most importantof the past fifteen years and has progressed and diverged far fromits origins, and its contribution cannot be ignored. Not likingsomething should not mean disrespecting it.
Jonathan SalmonCarlton, VIC.
I couldn’t agree more Jonathan. Here at AT my taste for the uncom-promising sounds of the urban underground regularly go head to headwith Philip Spencer’s penchant for meandering ‘70s prog rock. But, asmuch as we both sometimes hate to admit it, there’s merit in all musicthat’s been created with skill and care. – CH
14
Got something to say? Want a rant?
Send your comments, observations, and criticisms to YourWord, AudioTechnology magazine, Suite 33, 84 Dee WhyParade, Dee Why NSW 2099.
As an added incentive, the best letter printed in each issue winssome equipment from M Audio courtesy of
Electric Factory. This issue’s winner isMarly Luske, who receives some greatM Audio gear like you see pictured left.Future issue prizes include the FlyingCalf 20-bit A/D convertor, and Mac and
PC Midi/SMPTE interfaces.
NEWS
&
NEW
PRODUCTS
New EuphonixSystemEuphonix used last year’s American AES show to release an all new
96k fully digital console: the System 5. The good news is it’s hitthese shores via new Euphonix distributor, Technical Audio Group. TheSystem 5 certainly looks the goods. The S5’s control surfaceprovides powerful multi-format monitoring including LCRS, 5.1 and7.1; dedicated channel processing for dynamics, EQ, filters, aux sends andpanning; flexible bus configurations of up to 48 groups, 48 mix, 24 aux and 22 monitor busesand the processing power to provide instant reconfigurability. Check out our full review in the next issue ofAudioTechnology.Technical Audio Group: (02) 9810 5300
24-bit Silver preampDbx has introduced the only tube preamp on
the market with 24-bit 96k digital outputs forless than $2000. Combining the best of bothworlds, the dual channel dbx 386 means userswith digital workstations don’t need a separateA/D converter, yet still get the benefits of the warm valve sound at an affordable price.
The model is the latest in dbx’s classic Silver Series and employs dbx’s proprietary Type IV conversionsystem with digital outputs in both AES/EBU, and S/PDIF formats. RRP: $1795.Jands Electronics: (02) 9582 0909
JBL’s Spatial awarenessJBL has released a new addition to its LSR range of studio monitors. The LSR25P is
a compact, bi-amped monitor that utilises many of the design innovations seen onthe larger LSR32 and LSR28P models. The 25P included a 5.25-inch woofer based ona low distortion, high excursion design with a non-woven carbon fibre composite coneand a one-inch titanium composite diaphragm tweeter integrated with an EllipticalOblate Spheroidal (EOS) Waveguide with 60 by 100 degree dispersion for a smoothspatial response.Jands Electronics: (02) 9582 0909
RolandV-Recorder
The VSR-880 Digital Studio Recorder brings Roland’s V-Studio tech-nology to a convenient 2U rackmount design. This hard disk
recorder features high-quality converters, plenty of virtual tracks,optional COSM-based effects and Roland´s R-BUS port for expandedI/O possibilities and interfacing with select V-Mixers.Roland Corporation: (02) 9982 8266
New Final Cut Apple are now shipping Final Cut Pro 1.2,
which is now optimised for Power Mac G4,which will be good news for web producers,broadcasters and video editing professionals.Video rendering will be up to three time faster,taking advantage of the G4’s Velocity Engine.Version 1.2 includes support for the AustralianPAL.Apple Australia: (02) 9452 8000
16
NEWS
&
NEW
PRODUCTS
System 6000TC Electronic have released an new flagship
product, the System 6000, which is big newsin itself, but the specs look interestingas well.
TC have latched ontothe importance of multi-channel audio. TheSystem 6000 combineselements already known from theM5000, VSS technology and state-of-the-art mastering technology with a newmulti-channel processing platform. System 6000provides the professional audio industry with ‘the perfecttool for exploring the creative potential of multi-dimensionalsound’. An impressive four engine structure provides the
user with theability to run four
multi-channel algo-rithms simultaneously.
Each Engine has eight audiochannels in and eight audio
channels out. They may berouted, cascaded, split and
combined in a flexible system core, andtailored to the number of available physical
I/Os on the Mainframe. All inputs and outputs arehandled at 24-bit. Internally, processing precision isextended to 48-bit or 72-bit whenever needed.
The System can process audio in any format frommono to 7.1, and use internal and external sample rates
from 32kto 96k.Metric Halo ChannelStrip
ChannelStrip from Metric Halo Labs is literally the channel-strip audio-processing section of a digitalconsole with a TDM plug-in interface. Each instance provides: Input gain/trim, polarity invert,
expander/gate with integrated side-chain filter, compressor with integrated side-chain filter, six-band fullyparametric 48-bit EQ, and six-selectable filter types per band. RRP: $1750.
The curiously named SpectraFoo by Metric Halo Labs is a comprehensive metering package for ProToolsTDM. This is a professional spec’ed product indeed. There’s two versions, Spectrafoo (RRP $899) and Spec-trafoo Complete (RRP $1750).Sound Devices: (02) 9283 2077
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Few people were too surprised when Yamahareleased the PM1D at last year’s AES. A fully digitallive console has been on the cards for a while, but
the result was always going to be hotly anticipated.The PM1D is first and foremost a live console,
designed for OB, sound reinforcement and theatre work.To write that ‘this is a live console’ might appear to bestating the bleeding obvious, but it’s important to notefrom the outset that unlike it’s digital cousin, the 02R, thisis a console built with all the functionality necessary forlive applications, and really shares little in common withthe 02R in its look, features and operation.
The system is designed in two parts. The CS1Dcontrol surface operates the DSP1D digital audio engine– the engine is where all the I/O are found and DSPcrunching occurs. The engine may be located up to 200metres from the board – the idea being that the enginecould be on stage and connected digitally to the board.It’s also worth noting that I/O modules in the DSP1Dcan be removed (up to 200 metres away) and used asstage boxes, which is a handy feature. All console to rackcontrol signals are carried via two 68-pin cables (per 96channels) and three ethernet-type cables – say goodbyethe multicore snake.
It’s important to note that the DSP1D engine incorpo-rates hardware DSP, not assignable software DSP. Thismeans that everything is on-line all the time, you don’thave to call up a dynamics module and drop it in –
everything you see on the console is availablesimultaneously with no detrimental
affect on the
overallthroughput of the desk.With every processing module func-tioning on all 96 channels, the quoted latencyfigure from AD to DA converter is 3ms. I’m told that2.3ms of that latency is derived from the conversionstages, which leaves only 0.7ms of processing latency.Impressive numbers.
Each DSP1D is capable of carrying two DSP cards,yielding a total of 96 channels of inputs per engine. Ifthat’s not enough then you’ll be interested to learn thattwo engines can be hooked up together. Each engine canhandle two CS1D control surfaces, so potentially youcould control 192 channels with four boards (each oneup to 200 metres away), I can think of a few festival gigsthat would benefit from just such a set-up.
You can configure your I/O rack to offer dual inputmic/line cards, or standard single line input cards, whiledigital I/O is personally customisable by mixing andmatching eight of the MY-style cards the Yamaha 01Vhandles (TDIF, ADAT and AES/EBU all catered for). Inall, you can get 10 input boxes and six output boxesattached to one engine, in effect, 320 inputs and 192outputs. That’s considerably more inputs than actuallyavailable at any one time, but with the virtual patchbayfacilities on the CS1D it means that different setups canbe instantly recalled. For example, you could switch fromone set of stage boxes to another between acts.
The CS1D control surfaceLooking left to right on the control surface, there are twobanks of twelve faders. Each strip features a full throwmotorised fader, input metering, gate and compressionmetering, head amp gain, pan, and a freely assignable mixsend control (if it was a Mackie it would be called a V-pot). Each channel and send has a LED naming strip, eachone changes its brightness level according to whether it’sswitched on or not – a clever idea in helping the operatorsee what’s activated at a glance.
When you look at the desk it’s immediately obviousthat each channel isn’t bristling with its own
the issue of assigna-bility with its inputmaster section.Hit the Selectbutton of the
channel you want totweak and reach for
the input master controls,which is a full digital repre-
sentation of the analoguecontrols of the channel strip. You
have access to phantom power,inserts on/off, phase reverse, and 24
rotary encoders for mix sends (and with48 sends there are two banks available). Each send has anaming strip and LEDs around the skirt of the pot toshow its status. Below the mix sends is the compression
LIVE
SOUND
PREVIEW
Yamaha PM1D – Live Sound Mixing Goes Fully Digital
For funky retro tube gear or thelatest high tech digital
audio equipment.
From a single microphone rightthrough to complete 48-track
mobile recording and mixing pack-ages (including cables,
Tribal rugs, scatter, cushions & Gold record not included :-)
(*) Mixing & recording packages start from $300 a day
section – with ratio, attack, release, knee controls, and fullmetering. The noise gate is below the compressor, and the EQsection below it. The EQ is four-band fully parametric, with a highpass filter. Below is a pan pot and gain attenuation. The fader inthis section mirrors the fader position of the matching fader on theboard.
The middle section comprises 24 matrix outputs in a switchablebank of 12 faders. These are freely assignable.
The master section is well specified. On each output, includingthe matrices and mix busses, there’s a compressor and six-bandparametric delay. There’s also a delay facility on the outs (an inputdelay of 250ms and an output delay of up to 1000ms).
There’s 1000 scene memories available which can be saved to aPC memory card, meanwhile the current setting of the desk issaved as flash ROM. Smart move, because if you do happen toexperience a power meltdown, the moment the board comes backon line all the settings remain intact.
The large, centrally mounted display will no doubt raise a feweyebrows. Yamaha has installed a SVGA LCD, and the idea is touse it to assist in the console’s operation, but not to replacephysical controls. The LCD comes into its own when editing theon-board effects. There are eight stereo effects modules available(all of ProR3 standard). As well as the effects there’s 24 third-octave graphic EQs. The centre bank of faders double as controlsfor the graphic EQs.
Of course, the PM1D isn’t the world’s first live sound digitalcontrol surface – the likes of Soundcraft’s Broadway, or Harrison’sShowConsole have been there before. But where Yamaha enjoys an
advantage is with the combination of its live pedigree and itsdigital pedigree. The ubiquity of the company’s PM3500 and 4000analogue consoles, and the experience they’ve gained from the02R and its offspring should add up to a well received, stableconsole. Time will tell. Certainly, being fully digital, the PM1D hasmore DSP capability than anything else in the live market – and,with eight stereo effects and 24 graphic Eqs, will mean a lot moreroom in the truck and a smaller mix position footprint. ‘Assignabili-ty’ really has been a taboo word in the live arena, and I think fewpeople would dispute the notion of one control per function isideal. But, the PM1D is potentially a 192-channel console withracks of virtual outboard, and I think most will agree that a slightdecrease in the ergonomics is more than made up for in functional-ity. The other great reservation live sound engineers have withdigital is the thought of being left with deathly silence in the eventof a system meltdown. Yamaha’s answer? The PM1D will passaudio in the event of power drop out, and the system reboots inonly 15 seconds.
A lot of respected live sound luminaries in the US have beeninvolved in the development of the PM1D and it shows. Yamahahas produced an assignable, fully-digital console which demon-strates a real affinity to the job of the live sound engineer. Oh, andthe wooden arm rest is a very nice touch – I can see a can of Mr.Sheen going into a few tool boxes in anticipation. Prices start from$230,000.
Christopher HolderYamaha Music Australia(03) 9639 5164
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NEWS
&
NEW
PRODUCTS
Sony launch SACDSony recently launched SACD in Australia with a press conference and
demonstration. SACD is a high density CD format developed in partnershipwith Philips, using Direct Stream Digital (DSD) encoding. DSD offers increasedbandwidth and dynamic range and is based on a high sampling, 1-bit datastream. SACD supports two-channel/multi-channel audio, visuals and a conven-tional CD layer for backward compatibility.
Sony have developed an entire SACD multi-channel production system,including eight-channel analogue to DSD converters, format converters to recordDSD on existing Sony digital multitrackers, SBM converters to move DSD audioback into 44.1k CD format, DSD DSP Card for use with a computer-based editor and a SACD authoring system.
Playback devices haven’t been forgotten with a range of SACD players, amps and a pair of monitors, the SS-M9ED.The SS-TW100ED tweeter can also be sold separately for use on existing monitors, they’re built to cope with SACD’sextended dynamic range. (See Second Word on page 10 for more.)Sony Australia: (02) 9887 6666
Iron BrewIf you look at the accompanying picture you’ll note that these are notyour ordinary plain MDF black satin pillars. These are handmade
monitors by Australian company Vulcaenia Ironworks. The case are3mm black steel plate, grind finished. They weigh in at about 85kgand stand 1240mm high. On Vulcaenia’s own admission, the applica-tion of a sledge hammer would merely add character!
The drivers are VAF DC-X and we’re told the sound they produceis exceptional. Production will be very limited but if you want to knowmore phone Craeg Bennett on the number below.Vulcaenia Ironworks: 0413 052205
Rode export awardAfter the hugely successful release of their new NTV and Classic
II mics, and just when they thought their 1999 couldn’t have gotmuch better, Rode were buoyed even further with the winning of thePremiers 1999 NSW Exporter of the Year Award. Rode promisemore new products and increased distribution in 2000. Congratula-tions to the Rode team.Rode Microphones: (02) 8765 9333
Portable MiniDiscMarantz have released a professional Minidisc version of their
famous portable cassette recorders.Sporting balanced mic inputs, an internal playback speaker
and a weight of just 1.2kg the PMD650 provides a ‘flexible, easyto operate package equally capable of field or studio recording’.The PMD650 has all the professional features that made its
analogue cousin so popular, plusthe random access
advantages ofMiniDisc. RRP:$2,995.
Technical AudioGroup: (02) 9810
5300
22
NEWS
&
NEW
PRODUCTS
Masalec – Four PresThe MMA-4 four-channel microphone preamp is the latest in the Prism Sound
Masalec Master series ofanalogue signal processors.
Used with Prism Sound AD-2 stereo A/D converter, orADA-8 multi-channel A/Dconverter, the MMA-4 providesa top quality microphonerecording signal.Control Devices: (02) 9356 1943
Terratec ‘plug’The brand new phonoPreAmp by Terratec is for
anyone who would like to be able to put the musicfrom their old records onto the computer or CD. ThephonoPreAmp includes a hi-fi phono preamp for PCsoundcards, an external case which protects againstvibrations and EQ to get make transfer as easy aspossible. RRP: $249Moore Music on (03) 9419 0344
Yamaha A5000Yamaha’s hot news for the NAMM show in the US, (which is
commencing as we go to the news stands), is the releaseof two new samplers, the A4000 and the A5000.
They follow on from the A3000 sampler which, althoughnot setting the world on fire upon its release, was respectedfor its pristine sonic qualities, if not for its usability and func-
tionality. Enter the A5000 which is a 126-note polyphonicdevice with 128MB of RAM, six on-board effects units, largebacklit LCD for on screen wave editing, on-board CD burningsoftware, space for a Zip drive, and will come bundled withnine CD-Roms. Not bad for an estimated RRP of sub $5000.The A4000 offers around half the capacity, while still keepingthe large LCD, CD-Roms and CD burning facilities. TheA4000 is expected to retail for well under $4000.Yamaha Australia: 1800 805413
Q the MusicThe Waldorf Q is a 16-part multi-timbral virtual analogue synth with
16 voices, expandable to a total of 32 voices. Each voice offersthree LFOs, three oscillators with all classic shapes plus new algo-rithms, two filters with a sophisticated routing method and all filtertypes that you expect from a virtual analogue synthesiser. Further-more, the Q offers unique Comb filter types in two flavours. Thisenables the Q not only to create polyphonic chorus or flanger effectsbut previously unheard atmospheres or pluck sounds with great life. Totop things off, the Waldorf Q has a powerful arpeggiator and stepsequencer.
Meanwhile the XTk is the new keyboard version of the MicrowaveXT. Think of it as a little like the Microwave II ‘with knobs on’ - quiteliterally. With huge number of pots and controls, wavetable synthesishas never been easier. A real programmer’s synthwith a very contemporary sound.Music Technology: (02) 9369 4990
SoundscapePowerPakSoundscape has teamed up with several top music software
developers to release a powerful combination of PC digitalaudio and Windows recording products all in one package. At$999, the Mixtreme 2000 Digital PowerPAK contains over$1750 worth of audio products and features 5 of the bestselling software applications on the market, allowingmusicians, home studio owners and pros alike to build anintegrated system with sampling, recording, synthesis, loops,mixing and effects on their Pentium II PC.Soundscape Australia: (02) 9356 1955
Derringers Music - We ship nationally67 Leader Street, Forestville SA 5035 www.derringers.com.au
ORDER LINE:
24
LIVE
SOUND
NEWS
A&H Flagship Live ConsoleML5000 puts the Allen & Heath marque firmly on the
large touring console market. The ML5000 is a VCA-equipped 16 aux, enhanced LCR and IEM equipped big-league console in a compact package. As with the GLSeries the ML5000 is a dual function console with a stackof capabilities for both FOH and Foldback. In FOH mode:8 audio groups, 8 VCA groups with scene automation, 16auxes, 8-way matrix and LCR outputs. In Monitor mode:16 aux mixes (with auxes nine to 16 optionally paired forstereo IEM feeds), plus the left and right outputs, all with faders, inserts, talkback and metering and anengineers wedge monitor listen on the Centre channel. Full retail price of the ML5000-32 is expectedto be around $45,000 and the 48-channel $55,000.Technical Audio Group: (02) 9810 5300
Series TwoSoundcraft has released the classic Series Two live
console, combining top engineering and big consolelooks at an affordable price. The model embodies theclassic eight-group, eight-aux format pioneered bySoundcraft in the ‘70s which has since become thestandard for midrange live consoles. Ideally suited forsmall touring sound companies, theatres, churches andother fixed installations, Series Two is available in 24, 32and 40 mono channel frame sizes with two fully featuresstereo line inputs on each version.Jands Electronics: (02) 9582 0909
ARX Climate ControlARX have released the Climate 6, the first model in their new series
of Weatherproof Loudspeakers. The Climate 6 is ideally suited toapplications such as Themed Entertainment facilities, Restaurants,Aquariums and other venues where high humidity or moisture maypresent problems for conventional loudspeakers.ARX Systems: (03) 9555 7859
