LAS VEGAS, NEVADA: TransAudio Group, the U.S. distributor for ATC (Acoustic Transducer Company) audio reference speakers, introduces the U.K. manufacturer’s first ever compact active three-way studio control monitor – the SCM25A Pro. Designed for positioning on a meter bridge, or rack-mountable for broadcast applications, the ATC SCM25A Pro offers very high-performance in the most compact possible form factor. more

LAS VEGAS, NEVADA: TransAudio Group announces the Daking FET3, a new dual-channel limiter incorporating Class A discrete compressor circuitry and gain stages that is built in the U.S. by Geoffrey Daking. The FET3 builds on the quality and performance benchmarks set by the renowned Daking FET II single-channel limiter while adding several unique front panel features for enhanced user control. more

NEW YORK, NEW YORK: TUBE-TECH introduces the new RM 2, a new two-slot rack that vertically accommodates any two TUBE-TECH M Series tube-based modules. The new two RU frame enables the user to own multiple TUBE-TECH modules and one small two-channel rack, offering the sound of TUBE-TECH in a smaller and less expensive package than ever before. The RM-2 is unique in that it is designed from the ground up for tubes. The power supply and internal voltage rails are specifically built for tube-based electronics, offering much higher supply voltages than the modular 500 racks can offer. This new two-slot RM2 rack, along with the existing eight-vertical slot RM8 rack, expands the flexibility of TUBE-TECH while lowering the per channel cost. more

LAS VEGAS, NEVADA: TransAudio Group, the worldwide distributor for BOCK AUDIO, is introducing the new BOCK 50 omni-tube microphone at the 127th AES Convention in New York. Focused on a tradition that stretches back to classical orchestral recording microphones of the 1950s, the BOCK omni-directional BOCK 50 is similarly intended to capture the natural ambience of groups of acoustic instruments, from small ensembles to large orchestras. It is particularly well-suited for use in a Decca Tree configuration.

The BOCK 50 features a half-inch diaphragm mounted in a sphere offering unique frequency-dependant directional characteristics. The capsule is mated to BOCK-designed tube electronics for wide bandwidth and dynamics. In addition, the custom BOCK inductor loaded linear power supply offers the best combination of long-term power, low noise floor and high-end mic sonic performance. more

BOWIE, MARYLAND - OCTOBER 2009: Prodigy Engineering has developed the first-ever, remote-controllable, microphone preamplifier for the API 500 Series format, called Bella.

Bella features relay stepped gain from 18 to 69dB in 1dB increments, switchable high-pass filter (-3dB @78Hz), phantom power (48V), polarity inversion (0/180˚), attenuation pad (-22dB), and mute functionality. Additionally, Bella can be remote controlled from professional standard Digital Audio Workstations like Apple’s Logic(r) software and Digidesign Pro Tools(r) | HD systems, as well as ICON(r) control surfaces.

Bella will be on display at the Prodigy Engineering booth #642 at the 127th Audio Engineering Society Convention in New York City, from October 9-12, 2009. more

OLD LYME, CONNECTICUT - AUGUST 2009: Listeners seeking a great new pair of cans can look no further: Sennheiser announces an expansion of its line of full-sized, portable HD headphones. The stylish HD 428, HD 438 and HD 448 are optimized for portable players but also deliver strong audio performance on home hi-fi systems, making them an ideal choice for users who want to crank their playlists on the move and at home.

“Many headphones are either optimized for use with portable players or are designed to be used with home stereo systems,” said Eric Palonen, product manager for consumer electronics and telecommunications products at Sennheiser’s U.S. headquarters. “But many music lovers want headphones that can do both, and ones that can always be relied upon to offer superb sound, no matter the audio source.”

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OLD LYME, CONNECTICUT - AUGUST 2009: The waiting is over. The evolution e 965, Sennheiser’s multi-award-winning large-diaphragm condenser microphone, is now available as a wireless version. The MMK 965-1 microphone capsule attaches to both Sennheiser’s 2000 Series and evolution wireless G3 wireless series SKM handheld transmitters in seconds, allowing users of both series to enjoy the unique dual-diaphragm advantage of Sennheiser’s e 965 microphone. Sennheiser’s ew 500-965 G3 system, which is part of the evolution wireless G3 series, is based around the MMK 965-1 and ships with the EM 500 G3 receiver, a GA 3 rack-mount kit, and the SKM 500 G3 transmitter with the MMK 965-1 capsule.

“The e 965 is the flagship microphone in the wired evolution 900 Series,” explained Ben Escobedo, associate product manager for music industry products at Sennheiser Electronic Corporation. “Ever since this microphone was released to the more

LAS VEGAS, NEVADA - JULY 2009: TransAudio Group has announced the immediate availability of ATC’s most reasonably-priced reference monitor - the SCM11 two-way passive speaker. The new monitor incorporates ATC’s innovative Constrained Layer Damping (CLD) technology, which reduces third-harmonic distortion between 100 Hz and 3 kHz, resulting in an extended, resonance-free axial frequency response, improved off-axis frequency response, and a significant increase in loudspeaker power response.

The new CLD technology is incorporated in the 5.9 inches (150 mm) mid/low frequency driver with 1.77 inches (45 mm) integral soft dome. The driver features a precision undercut bass pole, in-house, hand-wound precision flat wire coil, and a massive optimized motor assembly. The driver is paired with a new soft dome 0.98 inches (25 mm) neodymium high-frequency unit featuring a precision alloy ATC waveguide.

The frequency response of the SCM11 is 56 Hz - 22 kHz (-6 dB), with a sensitivity of 85 dB (1W @ 1 meter) and a maximum SPL of 108 dB. The recommended power amplifier rating is 50 to 300 Watts.

Finished in black ash, the cabinet dimensions are 14.96 inches (380 mm) (H) by 8.3 inches (211 mm) (W) by 9.84 inches (250 mm) (D). Each unit weighs 18.7 lbs. (8.5 kg).

The brainchild of ATC engineer Ben Lilly, Constrained Layer Damping was first introduced in the ATC SCM16A self-powered monitor. Previously, the only way to achieve an extended on-axis frequency response was to use a stiffer driver cone, but the unavoidable tradeoff was a poor off-axis frequency response and a colored sound due to multiple resonances. Traditional designs damp the cone’s motion to reduce these unwanted effects, but the result is a dramatically less efficient loudspeaker. Lilly’s innovation was to sandwich a constrained damping layer between two lightweight driver cones. The shear generated when the cone flexes results in less acoustic distortion by instead dissipating unwanted vibration energy as frictional heat. CLD reduces third-harmonic distortion by 10 - 15 dB between 100 Hz and 3 kHz, resulting in a better sounding loudspeaker that requires much less power to generate a given SPL.

“ATC’s low distortion technology really works but it’s pricey. This new CLD technology means that small affordable versions of the high-end speakers are now possible. The SCM11 is ATC’s most reasonably-priced loudspeaker to date, and we’re excited to be able to offer this kind of clarity at $1,440 a pair,” says Brad Lunde, president, TransAudio Group, Inc.

ABOUT ATC ATC products are manufactured by Loudspeaker Technology Ltd, UK. ATC is a registered trademark of Loudspeaker Technology Ltd. Acoustic Transducer Company is a trading style of Loudspeaker Technology Ltd. All trademarks acknowledged.

ABOUT LAS VEGAS PRO AUDIO LasVegasProAudio.com, a division of TransAudio Group, is the launch pad for the brands of tomorrow. The goal of LasVegasProAudio.com is to provide unique equipment, useful information and long-term support to their clients.

www.lasvegasproaudio.com (702) 307-2700 • www.atc.gb.net

SPRINGFIELD, VIRGINIA - JULY 2009: Airshow Mastering’s East Coast studios are relocating to a larger facility in Takoma Park, Maryland from its longtime operations base in Springfield, Virginia. The new facility will incorporate two mastering studios, each equipped with an eight-channel Metric Halo ULN-8 interface outfitted with the latest 2d upgrades and running v5 software in conjunction with soundBlade(tm) software from Sonic Studio, LLC.

Airshow Mastering co-owner Charlie Pilzer comments, “The MIO is an integral part of the design at the new facility. I have used the Metric Halo boxes with Sonic Studio soundBlade for a long time. They are my principal interface to the computer.”

Pilzer utilizes Metric Halo ULN-8 multichannel and ULN-2 two-channel interfaces for a variety of applications. “I mostly work in the studio and do CD mastering, audio editing and audio restoration. But that’s not all I use them for. The ULN-2 goes with me on virtually every live gig that I do. When I do location music recording, it’s the same thing. I’ll choose the boxes to take with me depending on the channel count. I’ve recorded everything from large choruses with a stereo pair of mics through the ULN-2 and the v5 recording panel to multitracking in Nuendo using multiple ULN-8s + a 2882 That’s all part of Metric Halo’s flexibility.”

“Plus,” he continues, “I use it as an interface for Metric Halo’s SpectraFoo audio analysis software. I can use it to inject signals or music into a PA system and then look at the responses, using the various analysis tools in SpectraFoo to help tune the system. I even use it as a test system to check out my gear.”

The new ULN-8, incorporating 2d technology and v5 software, has brought a new level of functionality to the Metric Halo interface, he says. “It’s like having this cool little analog desk - it’s digital, but you can put character on it. On each of the channels they have a DSP process called “Character” and you can have a very neutral channel or, if you want something that has a little bit of character, you can make it sound like it has a transformer or a tube built into the circuit. You can tailor it to what you need for the project. Another very interesting and useful DSP plug-in is the “TransientControl.” It’s useful for increasing the snap of a snare or taming an electronic keyboard. ”

Having DSP running inside the box has proven very convenient, he says. “You have EQ and compression and everything, so rather than having to patch in and out of an external piece of gear, or use native plug-ins, I can use the MIO box to do some of the same things. The EQ is very high-quality and transparent-sounding.”

The interface is truly a Swiss Army knife, and the v5 software additionally lends itself to a wide variety of applications, he says. “The way they’ve set up the new software, whether you’re doing stereo or multitrack or quad or 5.1, you can reconfigure it in a way that makes it really easy to use. I’ve even hooked it up in theater productions and used it with QLab, a program that can fire off cues to multiple channels. I just loaded the driver onto the Mac in the theater, plugged in the ULN-8 and off we went.”

Over the course of a year Pilzer will use the Metric Halo interfaces to mix at various outdoor events such as the Smithsonian Folklife Festival, National Folk Festival and the American Folk Music Festival. “I usually have a ULN-2 with me. It’s getting a little scratched up and dusty but it doesn’t seem to bother the equipment. It’s rugged enough for touring use. I clean it out when I return home,” he reports. That gear goes with him on location recording gigs, too.

In fact, outboard equipment may not even be necessary. At a recent location recording, he shares, “I took two MIO boxes and a set of API preamps, and we never took the APIs out. We had some nice Neumann tube mics and plugged them straight into the MIO and it sounded so good we said, ‘why mess with it?’”

“Metric Halo has always been interested in making something that sounded better than anything else,” says Pilzer, who started out with an original MIO 2882+DSP. “I was looking for a compact system that had preamps, converters and a FireWire interface, but I was principally interested in sound quality. Then, when they came out with the ULN-2, I purchased one. As good as the 2882 sounded, the ULN sounded even better. They upgraded the preamps - Joe Buchalter [president of Metric Halo] worked his analog magic - and they began building more functionality in. Here was a little, self-contained unit with knobs on the front, so if all you needed was stereo in and out, here was this extremely high-quality preamp.”

According to Pilzer, the quality just gets better and better. “First was a high quality multichannel interface, then an amazing two-channel preamp/converter box. Now they’ve come up with the 2d card. And with v5 software, it adds a whole new level of functionality to my existing boxes. And I believe they sound better. It preserves the investment I made in the 2882 and in the ULN-2. The ULN-8 is a whole new level of functionality. It can be configured from the v5 console software, yet operated via the front panel on location. But ultimately, it’s the sound of the Metric Halo MIO interfaces that I find most attractive.”

ABOUT METRIC HALO Based New York’s Hudson Valley, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and hardware.

www.mhlabs.com

PHOTO CAPTION Charlie Pilzer, co-owner of Airshow Mastering, will be using the new Metric Halo ULN-8 interface in each of the mastering suites in the new Takoma Park, Maryland studio.

JESSUP, MARYLAND - JUNE 2009: API Audio, one of the most enduring and respected names in pro audio, has appointed powerhouse dealer Sweetwater Sound to sell its unique brand of rack-mounted gear and Arsenal Audio by API line. The agreement gives users access to API gear in Sweetwater’s outlets. The timing is perfect, as the resolution of the analog vs. digital wars has placed a premium on high-quality, robust analog input chains.

API and Sweetwater have been revolutionizing their respective spheres of business for over thirty years. API started in the late 1960s by designing consoles and modular units with a sonic authenticity and color that grabbed the imagination of the industry. Fidelity to the original designs, the legendary 2520 op-amp, and a philosophy that never succumbs to engineering expedience, have kept API at the forefront of high-end pro audio for forty years.

“I’m elated that Sweetwater is now an API dealer!” enthused Sweetwater founder and president, Chuck Surack. “Without question, API has a strong foothold in our industry’s history. I know their gear is a great fit for the Sweetwater customer seeking classic studio sounds and enduring designs!”

Sweetwater started modestly in the mid-1970s and grew to become one of America’s 500 fastest growing companies two decades later with the germ of a commonsense idea: give customers substantive pre and post-sales customer support that helps them deliver better sound.

“We’re very pleased to add Sweetwater as a dealer,” said API president Larry Droppa. “Of course, their high sales volume is attractive, but we’re also very comfortable with their sales philosophy, which hinges on honestly educating the customer. API products offer unique and time-tested solutions for many high-quality audio applications and will be a valuable component of Sweetwater’s repertoire.”

ABOUT API Automated Processes, Inc. remains the leader in analog recording gear, with the Vision, Legacy Series and 1608 Recording Consoles, as well as the classic line of modular signal processing equipment.

www.apiaudio.com

PHOTO CAPTION Jeff Radke, vice president of sales for Sweetwater Sound and Larry Droppa, president of API, finalize the appointment of Sweetwater as an API dealer.