Posted on: Friday 3rd of February 2017
Aaton Digital has introduced a new Cantar Mini 16 track digital portable mixer-sound recorder. The Cantar Mini is based on the renowned CantarX3, winner of many awards and widely used by the production sound community as a digital 24 track location sound recorder.
The Cantar Mini retains the full sound quality, uses the same preamps and components and manufacturing quality, and the same design quality as the CantarX3 but with 16 tracks instead of 24, resulting in a considerably smaller size and a more lightweight unit: just 2.8Kg with 2 batteries on board, almost half the weight of the X3. Measuring just 259 X 234 X 90 mm, the Mini has 4 low noise mic inputs, preamps with high quality transformer, 48V Phantom, limiters, filters and EQ -2 balanced line inputs. AES digital inputs include 2 AES42 (mode 2) / AES3 pairs (4 mono channels) and there’s additionally a built-In slate mic with ext slate mic input. Mini boasts 8 analogue line level outputs; 4 AES3 digital outputs on SubD HD 15 and can simultaneously record to internal mSATA 256 GB SSD drive, two SD cards and USB external drive. Like the X3, the Mini also has a tilting display, it uses the same batteries, and is compatible with the add-on mixer panel Cantarem2. The Cantar Mini is priced at €7,600 (excluding sales tax).
Dynaudio PRO unveiled its latest addition to the LYD studio monitor range at the 2017 NAMM Show, the LYD 48 3-way active monitor, which couples an 8″ and a 4″ woofer with a 1″ tweeter. Each of the woofers and the tweeter are powered by a dedicated state-of-the-art Class D amplifier, delivering 80W / 50W / 50W of power per monitor. The amp features a 96kHz/24bit signal path and selectable input sensitivity, as well as the same Standby Mode as the original LYD speakers.
The new 3-way version features Bass Extension, allowing for a choice between the default setting or pushing towards maximum bass or maximum volume. Changes will affect the low-end response, but importantly the linear frequency response remains intact.
The Sound Balance option is a tilt filter that tips the tonal balance gently. It emphasizes one end of the spectrum while decreasing the opposite end by the same amount. This approach is different from typical shelving filters, as it alters the frequency response, but without interfering with the phase. By default the monitor is set flat, but the Sound Balance toggle switch can go for either ‘Bright’ or ‘Dark’.
Focusrite has released the “pinnacle” of their interface range, the Focusrite Red 8Pre, with 64 inputs and 64 outputs (a total of 16 analogue inputs and 18 analogue outputs) and eight of Focusrite’s specially-developed digitally-controlled mic preamps with a stated –129 dB EIN and 63dB of gain. In common with the Red 4Pre, the Red 8Pre includes two front-panel high-headroom instrument inputs, dual Thunderbolt 2, dual Pro Tools | HD DigiLink and Dante network audio connectivity. Software control allows recall of settings and stereo linking, plus configuration of HPF, polarity invert and individual phantom power. The preamps include Focusrite’s unique ‘Air’ effect, intended to recreate in the analogue domain the sound of the transformer-based mic preamps in the classic ISA range.
The Red 8Pre’s high-performance conversion system features what Focusrite call “parallel path summing”, two matched converters running in parallel to increase the signal to noise ratio. They operate at up to 24-bit, 192 kHz sampling with a dynamic range of 118dB (A-D)/121dB (D-A). The Red 8Pre delivers a claimed ≤0.0009% THD+Noise and a frequency response flat from 20Hz to 35kHz ±0.25 dB or better. Levels at the Red 8Pre’s monitor outputs are adjusted via an innovative Digitally-Controlled analogue Attenuator. This allows the monitor out to deliver full dynamic range at all signal levels, rather than the conventional approach using digital attenuation on the D-A, which is more cost-effective and offers slightly lower distortion, but means that bit-depth will be lost at lower levels.
The Focusrite Red 8Pre will be available from dealers for £3199.99 / $3499.99
PreSonus StudioLive 32 Series III – a 32-channel Digital Mixer with 32 (33 including XMAX talkback amp) Microphone Preamplifiers, 33 Motorized Faders, a 34×34 USB Audio Interface, 55×55 AVB Ethernet Interface, Built-in SD Card Recorder, and Studio One Professional DAW Software. In this new series PreSonus offers two models: the 16-channel StudioLive 16, which features 17-touch sensitive, motorised faders and 17 recallable XMAX preamps and the StudioLive32, that features 33-touch sensitive, motorised faders and 33 recallable XMAX preamps.
PreSonus Capture multitrack recording software with virtual soundcheck is installed directly into StudioLive Series III consoles. With a single switch Capture records up to 34 tracks to the StudioLive’s onboard SD recorder. The recording can be buttoned-in for a virtual soundcheck if musicians have limited time on stage. When finished recording, the Capture session may be opened in Studio One for Mac and Windows (included with console), and the entire mix scene will transfer to a Studio One session, including fader levels and Fat Channel settings. There’s also a 38×38 USB recording interface and a 55×55 AVB recording interface.
The StudioLive Series III’s distinctive Fat Channel processing section has received a major re-vamp, including a plug-in-style workflow that features new vintage or passive-style EQ plus new Tube or FET compression options on every channel. In addition to channel processing, StudioLive Series III consoles offer 6-band, fully parametric EQ on all mix outputs.
The engineer can create, save, and edit up to 100 scenes. Scene management is now fitted with Scene Safe to prevent a scene change from affecting designated “safe” channels. The mixer may be controlled with multiple iPads and – optionally – a computer, each running UC Surface with a different view, enabling operators to see and touch all of the controls at a given time.
PMC launched two additions to its next-generation Main Monitor range of active Advanced Transmission Line (ATL) loudspeakers at NAMM 2017. The MB3 and BB6 build on the design of PMC’s respected MB2 and BB5 monitors. Both new models feature PMC’s hand-built 34mm soft-dome tweeter and 75mm fabric mid-range driver coupled with the latest generation of the Radial low-frequency driver. The MB3 features a 12-inch and the BB6 a 15-inch Radial driver; teamed with the ATL, these exhibit a claimed flat response down to 20Hz and 17Hz respectively. The LF drivers have been engineered with an exposed exoskeleton to dissipate unwanted heat, thereby eliminating the detrimental effects of power compression – so they can be driven for extended periods at high output levels while preserving definition, and without exhibiting tonal changes or distortion. Both the MB3 and BB6 are available as single-cabinet (MB3-A and BB6-A) and twin-cabinet (MB3 XBD-A and BB6 XBD-A) active versions. The latter offer 3dB more headroom (the MB3 XBD-A has a maximum SPL of 129dB, while the BB6 XBD-A will produce a massive 131dB). Dedicated centre-channel versions of the MB3 and BB6 are available for multi-channel systems, but subwoofers are not required, as the 20-60Hz sub-bass frequency range is already comprehensively covered. Instead, all the new systems incorporate dedicated ‘Point One’ inputs to accommodate the LFE channel from surround mixes, such as the effects channel in film soundtracks.
Each channel of the new MB3-A, MB3 XBD-A and BB6-A is powered by a single Control 1200 (supplying 275W of power to the high-frequency driver and 550W to the mid-range unit) and a Power 2400 unit, which supplies 2400W to the bass driver (and to the XBD unit on the MB3 XBD-A). The exception is the BB6 XBD-A, which has an additional Power 2400 dedicated exclusively to the 15-inch bass driver in the XBD cabinet for additional headroom and bass definition – a total of 5625W of power per channel.
As with the QB1-A Main Monitor, both the MB3 and BB6 incorporate advanced DSP to optimise the response of the drivers. The DSP also provides shelving EQ for in-room integration, along with four presets, which are ideal for personal settings when multiple users have access to the system, or if a particular custom balance is required. These can be accessed via a wired RJ45 desktop remote control with a backlit display and jog wheel, which is supplied as standard with all the new models. The remote also allows input switching and shelving EQ adjustments to be made from the listening position without the need to constantly refer to the rear panel of the monitors.
API announces its new 3124MV Microphone Preamp. The 3124MV is essentially the same unit as the 3124mb+, but it provides two important additional features. First, the 3124MV offers front panel Variable Output Level Control, an extremely valuable addition given today’s professional workflow. “This is a feature long requested by the pro audio community, and we’re happy to provide it in the 3124MV,” says API’s President Larry Droppa.
Second, the 3124MV adds a switchable 3:1 output transformer selection, also on the front panel. “The 3:1 Output Transformer selection switch allows the user to alter how much gain comes from the different stages,” explains API’s Director of Engineering Todd Humora. “Do you want more transformer gain, or do you want more 2520 gain, or both? You can choose exactly what you prefer, and then use the Variable Output to make sure the level is where you want it.”
Like the 3124mb+, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. Additionally, the 3124MV adds a stereo panner with a level control, and a post fader aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique stereo aux return control acts to balance the left/right signal, yet staying stereo. It can also be used as a mono return. MSRP: $3795.00
Lynx has updated their well respected Aurora multi-channel converter range. Available in 8, 16, 24, and 32 channel configurations, with USB, Thunderbolt, HD & Dante connectivity options.
The Aurora(n) features an I/O platform that can be uniquely configured using different modules. The first three of these modules will include a pre-amp, an analog summing and a digital (AES3+ADAT) module to be released in 2017. As with current Lynx products, a host of new features and capabilities will continue be added periodically via firmware updates. All units include a unique onboard micro SD player recorder capable of up to 32 channels of direct recording and playback designed for confidence and field playback and recording. In addition two audiophile grade headphone outs and a new1-in 3-out Word clock I/O sporting Lynx’s exclusive second generation SynchroLock-2 sample clock technology are on every unit.