Distributed in 94 countries, Mix is the world's leading magazine for the professional recording and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.
Currently riding high with tours and engineers thanks to the incredible success of the Vi Series digital consoles, Soundcraft has launched a mid-market partner console in the Soundcraft Si3.
This new desk is designed for live use on both touring sound systems and in fixed installations and its intuitive operation and high input and bus count makes it a perfect choice for house of worship sound systems. Theatre users will also find the Soundcraft Si3 very applicable in their area.
What is particularly nice about the Si3 is it all comes in one chassis – console surface, all input and output connections, power supply – so it can literally drop in and replace an existing analog desk as almost certainly no additional cabling would be required to install it. This compact footprint desk can directly handle 64 mono inputs, four stereo inputs and has full connectivity for all 35 output busses (24 Aux/Group, eight Matrix and Left/Right/Centre mix buses), something you don’t find often on digital consoles at the price level of the Si3. Add to this four Lexicon® effects processors, 12 VCA groups, eight Mute groups and bar graph metering for all 35 bus outputs and you begin to see what a package the Si3 is.
So what about the operating surface, is it easy to use? The obvious lack of what is now standard fare on most digital consoles, a large central screen, brings hope that cumbersome centralized channel operation is a thing of the past, and indeed when you look at the controls in detail you see it may well be. Although the Si3 does have a small central touch screen, it is really there for console management, cue-lists, labelling etc. All the normal day-to-day mixing operations are carried out adjacent to the channel faders continuing Soundcraft’s philosophy of ‘where you look is where you control.’ An amazingly crisp and bright OLED display clearly shows important channel data for every fader on the desk, while in the centre section, OLEDs provide the same for the output faders.
Soundcraft has revisited the control topology employed on the ground-breaking Spirit 328 and 324 digital consoles, and made it even easier. The model is this - above each fader is a rotary encoder, the function of which changes according to the mode selected. This ‘bank’ of encoders, known as the VCS or Virtual Channel Strip can be set to control every function of a channel (known as Channel mode), so mic gain, EQ, dynamics, auxes, panning are all controlled as if you had a normal analogue channel strip laid sideways in front of you. The VCS also incorporates all the switching you would find on an individual analogue channel strip (48v, Phase Reverse, EQ in etc.). Alternatively, in what is called Global mode, each encoder controls the same function for each channel. So, for example, the encoders could control all the mic gains, pans or a chosen Aux bus (very useful for creating monitor mixes).
The encoder and OLED displays located in the output section are used primarily for output signal controls such as EQ, dynamics, Matrix contributions etc. but also double up as dedicated controls for the four onboard Lexicon processors.
When using the Lexicon processors, you can expand the controls to adjust virtually every parameter available, giving you outstanding control over the effects. Each of the four Lexicon engines can be assigned by the user to any channel. The gates and compressors, as you would expect, draw on the heritage of BSS Audio and dbx, Soundcraft’s sister companies within Harman.
The output encoders and OLEDs can also be assigned to control EQ and Dynamics control for any selected Input or Output channel for those who prefer central control.
Like its bigger sisters the Soundcraft Vi4 and Vi6, the Si3 uses the patented Soundcraft FaderGlow™ system to show what mode your faders are in, whether they are controlling inputs, aux or effects sends, bus outputs etc. For example, when faders are controlling Aux sends, the faders glow yellow, while for VCA’s they glow blue. In fact the colour codings closely follow the Soundcraft Vi6 setup, so engineers moving between consoles will be equally at home with both.
Complete desk settings may be stored as snapshots, as you would expect on a digital console, and these can then be sequenced from a Cue list on the central touch screen and controlled with dedicated snapshot automation buttons. Global snapshot filtering is also available.
Under the hood of the Si3 is an array of new technology, most notably EMMA, a single-board digital mixing console with an embedded operating system. This compact pcb holds not only the processing and DSP to run the mixer with its EQ and dynamics, but also four Lexicon AudioDNA chips to provide the Si3 with arguably the best effects available in the pro audio world. The team of developers at Soundcraft was responsible for the entire development and coding of this new mixing core which is also the base core of further new console designs already in development.
But how does it sound? Needless to say with the wealth of experience in digital platform development that Studer and Soundcraft have with the Vista and Soundcraft Vi Series, the Si3 has inherited the same sound quality pedigree, and coupled with Graham Blyth’s talents in mic pre-amp design and the extensive development of the integral dynamics and gates and Lexicon FX, sound quality is a given.
On the rear of this highly-featured console are all the I/O connectors you’ll need. Sixty-four XLR’s for the mic/line inputs, four stereo line level inputs, 24 bus output XLR’s, eight matrix output XLR’s Left/Right/Centre mix output XLR’s, Left/Right/Centre monitor output XLR’s and comprehensive internal and external talkback and Oscillator connections. There are also eight analogue insert connections, which allow outboard processing to be inserted into any input channel output bus.
The power supply for the Si3 is integral to the chassis, and a secondary PSU module can be fitted for total redundancy. There are also four spare slots for other optional cards such as MADI interfaces or AES/EBU inputs.
Of course, the Si3 has been developed with Harman’s HiQnet™ networked audio system in mind, and connection to the HiQnet network is included.
To make preparation of the console setup easier, Soundcraft is also planning to release an off-line editor for the Si3. This self-contained suite runs on a PC or laptop, and allows configuration of the console which can then be downloaded to the desk, saving precious on-site setup time. Just like with the Virtual Vi software for the Soundcraft Vi Series (www.soundcraftdigital.com), engineers can move between different consoles and take their shows and settings with them.
The Soundcraft Si3 is bound to appeal to regional tour sound companies and regional theatres, medium sized houses of worship and corporate event sound companies.
Lexicon Introduces Its Newest Professional Reverb and Effects Processor That Increases Inputs and Outputs, Configuration Options and Reverb/Effects Algorithms.
Lexicon®, a Harman International Company (NYSE-HAR), is introducing its PCM96 Surround Reverb/Effects Processor at the 125th AES Convention in San Francisco. The Surround version delivers 50 new and legendary Lexicon reverbs, delays and modulation effects, while at the same time offering more presets, configuration options and additional inputs and outputs. Designed for the modern studio, the PCM96 Surround can function as a control-only insert or FireWire streaming audio plug-in inside any Mac VST® or Audio Units software.
A new Pitch algorithm has been developed for the PCM96 Surround in addition to the Room, Hall, and many additional algorithms for music and post production. The Pitch algorithm will also be released as a software update for the original PCM96 on Nov 1st.
Lexicon’s new Room algorithm provides a more flexible alternative to convolution type reverbs. Reflection patterns can now be easily selected, scaled and equalized – all while simultaneously passing audio. They can be instantly reversed or combined with a traditional reverb to extend the delay or bring a stronger sense of “liveness” to the space.
The PCM96 Surround uses multimode filters at several spots in the audio flow to provide more exact shaping of the reverb while still maintaining the distinctive Lexicon sound. All reverbs have an ‘infinite’ switch that allows the reverb to run forever, a feature used for creating unusual backgrounds and sound effects. With decades of legacy products to leverage, the PCM96 Surround includes over 2200 of the finest collection of factory presets available.
The PCM96 Surround can be divided into four virtual machines, each of which can run its own algorithm. This allows the signal from each input to be routed through a variety of algorithm combinations. Following in the tradition of the PCM60, PCM70 and PCM96 signal processors, the PCM96 Surround delivers the versatility and rich sound that is unmistakably Lexicon.
Two models are available: a digital only version with six XLR Stereo AES inputs and outputs; and a version with both digital and analog which includes two DB25 connectors with 6-channel analog I/O and one DB25 with 6-channel digital I/O. Both versions feature MIDI, Wordclock, Ethernet, and FireWire®.
The Lexicon PCM96 Stereo Reverb/Effects feature set includes:
• New Parallel Stereo and Surround configurations
• Lexicon’s new Surround Room algorithm, used to generate a vast array of room-related effects for music and post
• New pitch algorithms
• 50 legendary Lexicon® reverbs, modulation, and delay effects
• Two models available:
• 6 XLR Stereo AES inputs and outputs
• Two DB25 6-channel analog I/O and one DB25 6-channel digital I/O
• “Hardware Plug-In” feature with Mac VST® or Audio Units software
• Seamless automation and control via Ethernet or FireWire
• Over 2200 factory presets, including recognizable classics from Lexicon’s immense library of sounds
• External BNC Wordclock input
• Multiple sample rates: 44.1, 48, 88.2, and 96 kHz
In what is the world’s largest and most ambitious Harman Professional HiQnet™ sound system, leading systems integration firm ESCO Communications has just completed the integration and commissioning of HiQnet audio system featuring amplifiers from Crown Audio, loudspeakers from JBL Professional and system configuration and control via HiQnet System Architect™ at the new Lucas Oil Stadium NFL football stadium, home of the SuperBowl-winning Indianapolis Colts franchise. The system was designed by consultants, WJHW and is seen as one of the most progressive and impressive stadiums in an era rich with new and exciting stadium projects.
Featuring a unique retractable roof that makes it ideal for indoor and outdoor events, Lucas Oil Stadium seats 63,000 for football but can accommodate thousands more for basketball, conventions, concerts and other applications. The stadium covers 1.8 million square feet, features 137 corporate suites, two club lounges, meeting rooms, and two exhibit halls. The sound system is designed to be versatile and high performing. It comprises eight JBL Professional VLA line-array clusters powered by Crown CTs series amps for football application. In other applications where additional sound reinforcement is required, six clusters of 12 JBL Professional VERTEC™ VT4888DP-AN midsize powered line array loudspeakers drop down from the stadium roof. Crown PIP-USP3CN modules installed in the CTs Series amplifiers provide EQ, level control, delay and signal.
As the JBL Professional VERTEC and VLA Line Arrays and the Crown CTs Series amplifiers are HiQnet-enabled, system designers employed HiQnet System Architect to custom design master control panels to manage the configuration, operation and monitoring of up to 438 devices in a single venue file. System Architect provides a highly customizable, ultra-intuitive interface and allows recall of pre-programmed configurations for different applications from concerts to basketball games to conventions.
Commenting on the application, Gary Dunn, Executive Vice President of Business Development, ESCO Communications noted, “Our Project Manager, Keith Schuetter, and his team were very happy with the performance of the HiQnet system. The HiQnet System Architect software is very versatile and easy to use. It is powerful and the presentation is appealing. Harman was supportive throughout the project. Bradford Benn of Crown International was highly involved in the design and implementation of the custom software. We feel Harman as a whole was instrumental in the project’s success.”
Rick Kreifeldt, Vice President of Harman System Development & Integration Group (SDIG) is equally impressed with the Lucas Oil Stadium. “The versatility of this stadium to accommodate football on a Sunday or Monday and then transform itself into a basketball arena or convention center over the course of the following week is a testament to the foresight and design capabilities of all involved — and from our perspective the teams from WJHW and ESCO Communications,” Kreifedt said today. “We’re pleased that HiQnet was able to contribute to the performance and versatility of this stadium as we believe that custom configurability and reliable performance are two of the key attributes that make HiQnet successful in the marketplace.”
Category-Leading XLS Series Matches Price, 2-Ohm Power Rating, Sonic Integrity And Robust Construction Meaning Serious Audio Professionals Should Accept No Less!
With More Watts Per Dollar Than Any Other Amplifier In Its Class, The New
Crown XLS 5000 Eliminates Sub-2-Ohm Amplifiers As Serious Contenders For Any Audio Pro!
In a move that makes quality high power amplifiers affordable to a broad new market, Crown Audio today showcased the newly extended XLS Series amplifiers that significantly elevate the performance threshold of affordable portable PA amplifiers. Comprising the XLS 202, XLS 402, XLS 602, XLS 802 and the brand new XLS 5000, the XLS Series is ideal for musicians, DJs, rental companies and corporate and hotel AV departments.
”Providing more watts per dollar than any other amplifier in its class, the XLS5000 represents a tremendous value to end users who need a high power amplifier without the big price tag,” noted Marc Kellom, Vice President of Marketing, Crown Audio. “By pairing this amplifier up with JBL’s MRX, SRX, or VRX loudspeaker enclosures, our customers can now have access to a highly professional yet economical all-Harman solution.”
The XLS Series, Crown’s workhorse amplifier line, has now been extended with the addition of the new XLS 5000 ($1,399 US street price). Delivering 1,800 watts per channel in 4-ohm stereo mode, and a staggering 5,000 watts in 4-ohm bridge-mono mode, the XLS 5000 packs more than twice the punch of the next highest-powered model in the range, the XLS 802.
Housed in a rugged, 3U, all-steel chassis, the highly reliable XLS 5000 is equipped with an efficient forced-air fan to prevent excessive thermal buildup. The front panel sports dual precision-detented rotary level controls, a power switch with accompanying LED, and six additional LEDs indicating signal, clip, and fault for each channel. Rear panel connections include two electronically balanced XLR inputs as well as touch-proof binding post and Speakon® outputs.
The XLS 5000 also employs extensive protection and diagnostics capabilities, including output current limiting, DC protection, circuit breaker, and special thermal protection of the unit’s transformers.
Like the rest of the XLS Series, as well as all other Crown amplifiers, the new XLS 5000 is backed by the manufacturer’s industry-exclusive Three-Year, No-Fault, Fully Transferable Warranty.
AKG Acoustics is showcasing the recently released wireless WMS 4500 microphone system which offers improved audio capabilities versatile enough to handle multiple users and multi-channel applications simultaneously. Like its predecessor, the WMS 4000, the WMS 4500 offers a wide range of available components for operational adaptability and has been modified for greater durability and flexibility with accompanying wireless applications.
The WMS 4500 is available in two new frequency bands: Band 7 (500-530 MHz) and Band 8 (570-600 MHz) that offer more options for multi-channel systems in today’s crowded RF environment. The system’s components consist of the SR4500 receiver unit, the PT4500 emitter, and the HT4500 handheld microphone unit offering new features and sleek new construction.
“The WMS 4500 is an industry-leading wireless microphone system that is reliable, versatile, and cost-effective,” explains Alfred Reinprecht, Vice President of Marketing, AKG. “We’ve redesigned the popular WMS 4000 system with updated features and components and packaged it in a sleeker, more durable design.”
The SR4500 receiver unit features an adjustable backlight setting, a factory reset, modified presets and the elegant new casing displays a stylish stage black finish. The receiver’s internal software features AutoSetup for inter-modulation free channel selection, EnvironmentScan settings for RF range scanning, and a RehearsalMode selection, which can be used to save system data during rehearsal set-up. Important settings like squelch threshold, carrier frequency selection, and the listed user name can be edited and stored with an easy-to-use menu.
The PT4500 emitter has also been redesigned with enhanced durability that protects the system from years of rigorous stage use. The major electronic components are enclosed in a metal casing for protection.
The PT4500 bodypack accepts both microphone and line-level input signals as well as adjustable input sensitivity. A lockable TA-3F Mini-XLR attachment easily connects with a broad range of AKG headsets, lavalieres, instrument microphones and instrument cables.
The HT4500 handheld transmitter also features an updated metal casing with a stage black finish that allows for interchangeable microphone modules to be removed and switched to meet any vocalist’s needs. Models available for the WMS 4500 system include the D5, D3700, D3800, C5900, C5, and C535 EB, as well as the new D7.
The WMS 4500 can be integrated into a Harman HiQnet™ system using the optional HUB 4000 Q. With the System Architect™ software, the WMS 4500 can be configured, controlled, and monitored remotely from a PC. System Architect makes frequency management incredibly easy with tools like RF Monitor, Device Manager, Environment Scan and Auto Setup.
“The WMS 4500 wireless system is designed for professionals in the field who require a reliable system even in environments that are unreceptive to RF transmission,” added Reinprecht. “It is the best in its class and offers every feature required by sound engineers, musicians, speaker systems, system contractors, and system integrators.”
In a microphone introduction that brings stadium quality performance to smaller venues at a lower price, AKG Acoustics displays the professional qualities of the D7 vocal microphone. Similarly to its predecessor, the D5, AKG’s D7 is a dynamic microphone that delivers incredibly clear sound for lead and backing vocals for live sound applications. The D7 additionally features an improved capsule design that contains a humbucking coil and a high-pass filter along with a sleek redesigned look.
The D7 ensures pure vocal sound by reducing electrical interference and stage feedback. Also featured is an integrated high-pass filter that eliminates low frequencies, reduces handling noise, and provides superior audio clarity. The result is a higher-quality microphone that offers complete control for singers and announcers ensuring a quality audio experience for audiences.
“AES is a great opportunity for us to showcase the D7 along with all of its advantages and upgrades. Since the release at InfoComm, the D7 has been featured by famous recording artists and utilized in popular venues and we look forward to showcasing this great product,” states Alfred Reinprecht, Vice President of Marketing for AKG.
AKG released the D7 to build upon the success of the D5 microphone. In doing so, the D7 microphone’s performance and reliability is one of the finest in today’s professional sound industry.
The D7’s new Laminated Varimotion diaphragm delivers high-end sonic performance by allowing the diaphragm to be fine-tuned without extra tuning resonators. This represents a competitive advancement in audio quality and performance.
“The D7 microphone is one of the greatest microphones in the industry for vocals, and we are very pleased with the amount of positive attention that it is receiving. We are dedicated to providing an industry leading microphone with superior quality and performance,” added Reinprecht.
The D7’s response evokes the subtle, open sound of a condenser microphone, while maintaining the rugged reliability of a dynamic microphone. It is equipped with a carrying case, mounting clamp, and a replacement windscreen, ensuring long life for the microphone. Two additional models are also available: the D7-S, which features an on/off switch; and the D7-WL1 microphone capsule for use with AKG wireless systems.
Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. For more information on this virtual press conference, please contact MixEditorial.
Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.
