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Posted on: Monday 12th of June 2017

Genelec have introduced a “new” monitor – the 1032C – one of the world’s most popular two-way nearfield monitors – has now been upgraded with Smart Active Monitoring (SAM). 1032C adds advanced monitor auto-calibration and networking software, plus significant across-the-board improvements including a digital input, higher SPL and increased low frequency extension.
Launched in 1992, the 1032A nearfield was immediately hailed as a milestone entry in the Genelec 1000 Series line-up, offering more audio horsepower, a larger 10” woofer and greater directivity than its smaller sibling, the iconic 1031.
Using the GLM app, 1032C owners can quickly and easily optimise the performance of their set-up for even the most difficult acoustic environments, compensating for factors such as placement and time of flight anomalies to facilitate the best possible listening experience within their room. As a latest generation SAM device, the 1032C also includes Video Delay Compensation, level calibration and input sensing for automatic power saving and wake up, known as Intelligent Signal Sensing (ISSTM).

Lectrosonics have a new digital wireless monitor (IEM) system, the Duet. The new system consists of the M2T dual-stereo half-rack transmitter and M2R diversity belt pack receiver. The Duet covers the UHF frequencies of 470-608 MHz in a single range, uses digital modulation for transmission and can accept analogue or Dante digital inputs. The M2T half-rack transmitter houses two independent stereo transmitters allowing for up to four stereo or dual-mono transmissions in a single rack space. The audio inputs can be individually configured to be analog or Dante compatible. The analog input connectors are full size XLR/TRS combo types for balanced line level analogue signals while the input preamp circuits use a special balanced amplifier with very high common mode rejection to minimize hum and noise. A Dante Ultimo interface via dual RJ45 connectors accepts Dante networked audio inputs and can cascade the digital stream to additional units via CAT6 cables. An additional RJ45 jack provides an Ethernet connection for programming and control via Wireless Designer software and a USB jack on the front panel allows for firmware updates. The transmitter features a full color, backlit LCD for high visibility in any environment, while the chassis is all-metal and can be racked singly or in pairs using included rack mount hardware. The M2R bodypack receiver employs antenna diversity switching during digital packet headers for audio. The 24-bit digital audio stream guarantees sound quality with wide dynamic range, low noise floor and stereo image. The headphone jack is fed from a stereo amplifier with 250 mW available to drive headphones or earphones to sufficient levels for stage performance or other noisy environments. A high-resolution, color LCD allows for a wide range of menu options, including precise limiter settings, using detailed graphics. The M2R runs on two AA batteries for an operating time of over four hours with alkaline cells.

The DPA d:vice MMA-A Digital Audio Interface is a high-quality, two-channel microphone preamp and A/D converter offering mono, dual and stereo capabilities. This flexibility allows a journalist to use the equipment for any unexpected situation that might arise during their day. The d:vice comes with interchangeable lightning and USB cables for connectivity. Its MicroDot inputs allow the d:vice to be connected to all DPA miniature microphones, including the d:screet Miniature, d:fine Headset, d:vote Instrument and even the d:dicate Recording microphones with the optional MMP-G preamp. ‘This is the first pocket-sized digital audio interface that can deliver sound that rivals studio recordings, says René Mørch, Product Manager at DPA Microphones. ‘The d:vice Digital Audio Interface was designed with broadcasters and mobile journalists in mind, but can also be used by other content makers for recording music, filming on location and during both live and recorded broadcasts. With this interface, users can portably record and stream professional audio from the connected microphones.’


NUGEN Audio previewed a new technology for its Halo product line at AES Berlin. Ambisonic stream output was demonstrated in Halo Upmix as an alternative to channel based output for VR, game and other immersive applications making it possible to re-purpose or convert channel based audio for an Ambisonic workflow.
Nugen already had a Downmix feature in their Upmix plug-in (for compatability checking). However, suppose you’re normally supplied with a multi-channel surround audio file and just want the downmix? Here it is! With all the features Nugen have become known for: visual controls for relative levels, timing, and direct vs. ambient sound balance allow unprecedented fine-tuning, delivering accurate downmixes that are no longer limited by typical in-the-box coefficients-based processes. Pre-existing tools can generate excess ambient sound as the rear channels collapse to stereo, and can cause indistinct dialogue or excess low-frequency energy, while original archive material – when upmixed using legacy methods such as rear-channel delay and phase shifting – can sometimes end up with audible timing errors when summed to the phantom centre. Halo Downmix can be quickly employed to mitigate these issues eg. controlling excessive diffuse sound from added artificial reverberation, or removal of delay artefacts introduced in the rear channels. Existing 5.1 or 7.1 mixes may also be fine-tuned in surround-to-surround mode. Levels of individual channels, and balance of direct vs. diffuse sound can be adjusted to fine tune or re-balance existing surround audio where access to the original mix is not possible.


Sonnox for SoundGrid: three Sonnox plugins (the Oxford EQ, Oxford Dynamics and Oxford Reverb plugins, with more to follow) are now compatible on all Waves SoundGrid platforms. They can be used in a live environment using Waves MultiRack or the Waves eMotion LV1 live mixer, or in the studio using Waves SoundGrid Studio and Waves StudioRack.
Mick Olesh, Waves EVP Sales & Marketing, comments, “Waves is happy to offer our users the freedom to practice their craft everywhere and anywhere. By enabling the use of Sonnox plugins alongside Waves plugins through Waves SoundGrid technology, be it in the studio, broadcast or live, Waves has expanded its intent to enable musicians and sound engineers to have the best in flexibility and creative freedom.”
Giles Farley, Sonnox Sales & Marketing Manager, comments, “We’re delighted to now support the SoundGrid platform with our latest V3 releases. Best wishes to our friends at Waves and to our shared customers wanting to add hallmark Sonnox clarity and precision to studio and live performances alike.”


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