New Product Releases
Posted on: Sunday 7th of February 2016
Shure’s KSM8 Dualdyne cardioid dynamic vocal mic is the world’s first dual-diaphragm dynamic handheld mic. It provides engineers with a mic with virtually no proximity effect, a mastery of off-axis rejection and an output accuracy that requires none of the presence peaks or roll-offs that are typical of other dynamic microphones. The ability to virtually eliminate proximity effect and the off-axis rejection performance is powered by the patented Dualdyne cartridge of the KSM8, which features two ultra-thin diaphragms – one active and one passive – and a ‘ground-breaking’ inverted airflow system. Additionally, its pneumatic shock mount offers exceptional rejection of handling noise without any loss of low frequency response. The KSM8 design is said to virtually eliminate the need for EQ and processing. The mic features the purest cardioid polar pattern that Shure has developed to-date, providing the most consistent on-axis performance regardless of the performer’s microphone technique.
‘In order to make the Dualdyne concept a reality, we had to reinvent the way we make dynamic microphones,’ said John Born, Shure product manager. ‘We knew the only way to bring the concept to life, was to set all pre-existing parts and template designs aside, and start from scratch. Since then, we’ve put over seven years of engineering and development into creating something we knew the industry needed, but had never seen. As a result, the introduction of the KSM8 brings an entirely new dynamic microphone element to the world.’
A dent-resistant, hardened carbon-steel grille design lined with hydrophobic woven fabric provides exceptional plosive and wind protection, while offering virtually waterproof protection. The aluminium handle — which is available in a brushed nickel or black finish — completes the KSM8’s clean design. The KSM8 is also available as a handheld transmitter option for use with Axient, UHF-R, ULX-D, and QLX-D wireless systems.
McDSP’s 6050 Ultimate Channel Strip is based on the design of the 6020 and 6030, and has three module bays in which any of the included 27 modules can be inserted. It features EQ, compression, gates and more, easy drag and drop on-the-fly module auditioning, sidechain support, input and output control, and Analog Saturation Modelling.
All modules from the 6020 and 6030 are included and the additional modules include gates, expanders, signal saturators, and specialised filters all designed by McDSP.
Thermionic Culture’s The Swift is an all-valve 2-channel stereo EQ, with frequencies chosen in conjunction with noted international producers and engineers. It includes shelving bass and treble lift/cut controls at two frequencies each, Mid Cut and Lift at four frequencies each with three ‘Q’ combinations plus Thermionic’s Presence and Air controls. A Switchable High Pass Filter with a special last position is used in conjunction with the Bass lift and can yield an interesting combination. Gain is adjustable in 0.75dB steps.
The Swift is handmade in England using the same chassis as the Classic Phoenix and the same Valves as the Little Red Bustard.
Mackie’s DC16 control surface for its DL32R 32-channel digital mixer delivers a scalable system with the benefits of wireless mixing. With 32 remote-controllable Onyx+ mic preamps and 16 outputs paired with DSP, the system uses Dante for communication between the DL32R mixer and DC16 control surface.
Visual feedback is provided by large, colour channel displays and the ability to dock up to three iPads in the SmartBridge, with smart sensing that knows when your iPad is in place. This allows easy customisation over each iPad view to meet specific needs. Users can grab an iPad from the DC16 and tune the room or dial in monitors and the Master Fader control app knows to switch it to the view that makes the most sense for the application.
Mojave Audio’s MA-50 large-diaphragm transformerless condenser mic uses the same capsule as found in the MA-200 and MA-201fet models. The mic’s transient response and its ability to handle high SPLs make the MA-50 versatile and the 3-micron capsule and transformerless circuitry gives a low noise floor.
‘The new MA-50 is an incredibly versatile mic that continues the company’s new design aesthetic as premiered by our recently introduced MA-1000,’ said Dusty Wakeman, president of Mojave Audio.
‘It’s equally at home in the professional studio as it is the home project studio. I genuinely believe the combination of features and affordability will make the MA-50 one of our most popular microphones.’
Apogee has a second generation of its flagship audio interface, Symphony I/O Mk II. The Mk II is a multichannel audio interface featuring Apogee’s latest A-D/D-A conversion, modular I-O (up to 32 inputs and outputs), touchscreen display and optional microphone preamps. It comes with direct connectivity to one of three different platforms — Thunderbolt, Pro Tools HD or Waves SoundGrid.
It offers up to 32 channels of modular analogue I-O with optional 8 mic preamps, original Symphony I/O modules are compatible with the Mk II chassis, and a latency of 1.35ms with Thunderbolt and Logic Pro X.
Subwoofer Pros, from the people behind TransAudio Group, will provide subwoofers with ‘best-in-class bass response and functionality’ for recording and mixing environments. Subwoofer Pros’ first two products, Studio 12 and Studio 18, use a 400W integrated amplifier to deliver precise linear performance down to 8Hz at SPLs of 105dB and 113dB, respectively. A comprehensive set of inputs, outputs, and bass management protocols allow the subs to integrate with a range of existing professional monitoring setups.
They use sealed-box, front-firing 12-inch and 18-inch high-excursion, low-frequency drivers. Both include identical, input methods, including a dedicated LFE input, a six input panel for 5.1 surround programmes to either sum all of the inputs to a single sub output or to have channel-dedicated subwoofers. Five line-level, high-pass-filtered outputs allow output to all five surround monitors using bass management. A line-level Infra output allows additional slave subs to be connected for increased SPL or improved room behaviour. A Dynamic Filter protection system maintains undistorted bass regardless of the input level without using compression.