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The Hummingbird from Blue Microphones (MSRP $299.99) features an interesting adjustable pivoting head that allows for 180 degrees of rotation so users can set the mic at any angle without adjusting the stand.
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Up to five new System 10 Pro wireless systems from Audio-Technica can be linked together using a single Ethernet cable, saving substantial expense of adding an antenna distributor and corresponding cables.
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The new Royer R-122 MKII ribbon mic is built for live or studio environments. The 15 dB pad is positioned before any other electronics and prevents overdamping of the ribbon, ensuring consistent microphone performance.
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Line 6's new Relay G70 and G75 are designed to take the hassle out of switching between instruments in the middle of a set. Each receiver supports multiple transmitters, and features locking ¼-inch inputs that allow guitarists to plug right in, no special cables required.
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Shure calls the new budget-conscious PG Alta series “the perfect introduction to Shure engineering excellence."
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Sennheiser's new evolution D1 wireless microphone system will automatically select the frequency, match transmitters and receivers, and set the proper gain. Plus it offers a range of EQ's, filters and other effects.
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While it may look like a standard lavalier mic, the new Isomax 2 (I2) from Countryman (List Price: $262.99), shown here in a pre-production cut-away, is actually an instrument microphone.
For audio professionals, there are three --- maybe four --- trade shows each year where nearly all the exciting new pro audio products are released. CES (Consumer Electronics Show) may be more widely known by the general public, but the operative word in the name is “consumer.” Not professional. If you want to see the latest cool stuff that's soon to arrive at your local Best Buy, CES is for you. If you want to see the newest pro audio gear for your church in January, there's no other place to be on the planet than Anaheim, Calif., at the Winter NAMM Show. Last year's show had reported attendance of over 95,000, meaning for a few days in January each year the population of Anaheim swells by nearly 1/3.
With nearly 5,000 musical (and related) equipment brands represented at this year's show, which runs January 22-25, it's hard to know where to begin. If you're looking for some rare ethnic instrument from the Himalayan mountains, it's probably here. But for this article we're going to center on the one piece of pro audio gear that nearly all of the 350,000 houses of worship in North America have: the microphone. Think the gold standard of mics was minted in 1958? Hardly. While the Shure SM58 remains the world's best-selling microphone, innovation continues in some unusual, remarkable and exciting ways.
Let's start with Blue Microphones. The company is introducing the Hummingbird, a versatile Class A small-diaphragm microphone. It offers extended frequency response designed for studio and stage applications such as drum overheads, acoustic guitar, strings, harp, or any other instrument with fast transients and rich overtones, according to a company announcement. Hummingbird (MSRP $299.99) features an interesting adjustable pivoting head that allows for 180 degrees of rotation so users can set the mic at any angle without adjusting the stand. That could be quite a time saver for church techs --- especially those in portable churches.
“With fast transient response, high SPL handling and extended high frequency, Hummingbird is an exceptional small diaphragm microphone. To take it further, we designed the capsule to rotate 180 degrees for easy placement and now you have an undeniable weapon for drum overheads, acoustic guitar, piano and more,” says Tommy Edwards, director of product management at Blue. “Like its avian counterpart, the Hummingbird is compact, able to fit precisely into tight spaces, and can nimbly change positions where others can't.”
Featuring a premium pressure gradient cardioid capsule based on Blue's “B1” capsule—from the flagship “interchangeable” Bottle Caps —and a proprietary Class A, fully discrete circuit, the company says the Hummingbird offers balanced character with plenty of sparkling high end. With no ICs (integrated circuits) in the signal path, the mic exhibits maximum detail and the lowest possible noise floor. The sonically versatile Hummingbird is designed to capture the nuances of a wide range of instruments—though its agility, extended high-frequency response, and ability to handle high sound pressure levels make it a potentially ideal mic for use on drums.
Audio-Technica expands its System 10 digital wireless system with a new Pro Series of rack-mount systems that allow the receivers to be remotely mounted on walls, ceilings, mic stands or operated locally from within the rack-mounted chassis. Audio-Technica says this groundbreaking approach to delivering wireless increases the versatility of the system while also greatly enhancing wave propagation – without the substantial expense of adding an antenna distributor and corresponding cables. Additionally, up to five System 10 Pro chassis (10 receivers) can be linked together using the RJ12 (Ethernet) cable included with each system, creating a stable multichannel system with the simultaneous use of up to 10 channels.
“With its remote-mountable receiver units and special linking function, the System 10 Pro represents a big step forward in the realm of digital wireless,” says Gary Boss, Audio-Technica marketing director, professional products. “It gives users a very stable, interference-free multichannel system that works anywhere in the U.S., right out of the box. It's an incredibly powerful and versatile system, but it couldn't be simpler to use.”
The chassis' LCD Dual System Display shows RF signal level, system ID, transmitter battery level, and system link status for both channels. According to a company announcement, the products in the System 10 wireless family, including the new Pro Rack-Mount, feature 24-bit/48-kHz wireless operation, easy setup, clear, natural sound quality, and three levels of diversity assurance: frequency, time, and space.
Frequency Diversity sends the signal on two dynamically allocated frequencies (with automatic frequency selection) for seamless, interference-free operation. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Space Diversity uses two antennas on each transmitter and receiver to maximize signal integrity. A ground-lift switch helps eliminate audible hum caused by ground loops.
Each System 10 Pro Rack-Mount system includes an ATW-RC13 receiver chassis, one or two ATW-RU13 receiver units, one or two AT8690 receiver-unit mounting brackets, one RJ12 cable, two rack mounting brackets, one joining plate, one AC adaptor, and one or two ATW-T1001 UniPak body-pack and/or ATW-T1002 handheld transmitters. Both the receiver chassis and transmitters feature easy-to-read displays.
As with all A-T System 10 wireless systems, the company says the 2.4 GHz operating range in which they operate is free not only from TV interference but also from the uncertain regulatory future facing the TV bands, making it a potential wise investment for churches that want to invest in long-term technical infrastructure.
System 10 Pro will be available February 2015 in the following configurations (pricing U.S. MSRP):
ATW-1301Single Channel Bodypack System$599.00
ATW-1301/LSingle Channel Bodypack System w/ Lav$699.99
ATW-1302Single Channel Handheld System$629.00
ATW-1311Dual Channel Bodypack System$1,059.00
ATW-1311/LDual Channel Bodypack System w/ Lav$1,259.00
ATW-1312Dual Channel BP/HH System$1,089.00
ATW-1312/LDual Channel BP/HH System w/ Lav$1,189.00
ATW-1322Dual Channel Handheld System$1,119.00
While it may look like a standard lavalier mic, the new Isomax 2 (I2) from Countryman is actually an instrument microphone. Countryman says the new I2 (List Price: $262.99) is engineered from the ground up for smooth frequency response, low noise, and precise polar patterns with deep nulls and natural on- and off-axis response. The I2's combination of small size and sonic precision is designed for X-Y, M-S (mid-side), and other professional microphone techniques that rely on accurate coincident positioning and consistent patterns. Their tiny size makes them appropriate for distance mic'ing that is invisible on camera. Flexible new close mic'ing techniques are aided by Countryman's new line of instrument mounts, which are designed to mount securely and gently to many different instruments.
Line 6 Inc. introduces the Relay G70 (List Price: $699) and Relay G75 (List Price: $699) digital wireless systems, what the company calls next-generation wireless performance to meet the needs of performing guitarists. In addition to high audio quality and rugged metal construction, Relay G70 and G75 support multiple instruments and are designed to be the control center of musicians' live performance rigs.
“In addition to pristine sound quality and road-ready build, Relay G70 and G75 take the hassle out of switching between instruments in the middle of a set—enabling guitarists to focus on giving a great performance,” says Marcus Ryle, chief strategy officer at Line 6.
Each receiver supports multiple transmitters, and features locking ¼-inch inputs that allow guitarists to plug right in, no special cables required. Preset scenes enable performers to control signal routing, levels and more, with the single press of a footswitch. For example, guitarists can set different levels for instruments with active, passive and acoustic pickups. Singer-songwriters and worship leaders can route an electric guitar to an amp, and an acoustic to the PA system, while giving both access to the built-in tuner. Multi-instrumentalists can set up unique signal chains to optimize the tone of violins, mandolins and more.
Line 6 says the Relay G70 and G75 provide industry-leading audio specs and the lowest latency of any digital wireless system (under 1.5ms). A custom-designed radio with four calibrated internal antennas delivers a “loss-less” 24-bit digital signal and a wide dynamic range of up to 120 dB. And unlike other digital wireless systems, Relay G70 and G75 never compress the signal, providing guitarists with the purest possible audio quality, according to a company announcement. Guitarists will enjoy eight plus hours of battery life, with up to 70 hours of standby time thanks to an intelligent sleep mode.
Relay G70 features a rugged stompbox form factor designed for pedalboard use, while Relay G75 comes in an amp-top form that supports an optional footswitch, sold separately. Relay G70 and G75 will be available in March 2015.
Shure Inc. introduces PG Alta Microphones, a new comprehensive line of entry-level microphones that include advanced design features for professional sound at a budget-conscious price. Shure calls it “the perfect introduction to Shure engineering excellence.” The complete PG Alta family includes 14 new products—including vocal and instrument microphones, drum kits, and a studio kit—ideal for small venues, aspiring musicians, and home recording sessions.
“PG Alta microphones are designed for anyone seeking great sound, durability, and style. They are easy to use and help produce great results across the board,” says Matt Engstrom, category director for wired products at Shure. “Vocals or instruments, live sound or studio, new form factors – like the side-address PGA181 – and innovative new mounting options, PG Alta has what you need. The entire line has undergone our rigorous product testing – just like all Shure products – to ensure it performs perfectly, time after time.”
For the first time at this price point, Shure developed a side-address condenser microphone—PGA181 (MAP $99) tailored for smooth reproduction of sound sources. The PGA181 is suited for a wide range of applications, including acoustic and amplified instruments, vocals, and live rehearsal recording and performance. Shure is also offering gooseneck condenser microphones—PGA98D for drums and PGA98H for horns—both featuring a flexible, discrete design with highly durable construction.
The PG Alta line features three Drum and Studio Microphone Kit options:
PGADrumKit5 includes one PGA52 kick drum microphone, three PGA56 drum microphones, and one PGA57 instrument microphone, along with three drum mounts, five XLR-XLR cables, and a carrying case.
PGADrumKit7 includes one PGA52 kick drum microphone, three PGA56 drum microphones, one PGA57 instrument microphone, and two PGA81 instrument microphones, along with three drum mounts, seven XLR-XLR cables, and a carrying case.
PGAStudioKit4 includes one PGA52 drum microphone, one PGA57 instrument microphone, and two PGA181 side-address microphones, along with four XLR-XLR cables, and a carrying case.
Shure says these carefully selected microphone kits ensure a wide variety of flexible solutions for live performance and recording scenarios.
The full PG Alta models and MAP prices (for models with cables) are:
PGA27 Large Diaphragm Side-Address Cardioid Condenser Microphone ($199)
PGA48 Cardioid Dynamic Vocal Microphone ($39)
PGA52 Cardioid Dynamic Kick Drum Microphone ($119)
PGA56 Cardioid Dynamic Snare/Tom Microphone ($69)
PGA57 Cardioid Dynamic Instrument Microphone ($59)
PGA58 Cardioid Dynamic Vocal Microphone ($59)
PGA81 Cardioid Condenser Instrument Microphone ($129)
PGA98D Cardioid Condenser Drum Microphone ($129)
PGA98H-XLR/PGA98H-TQG Cardioid Condenser Horn Microphones ($129/$99)
PGA181 Side-Address Cardioid Condenser Microphone ($99)
PGADrumKit5 Drum Microphone Kit ($299)
PGADrumKit7 Drum Microphone Kit ($499)
PGAStudioKit4 Microphone Kit ($299)
PG Alta microphones will be available in spring 2015.
While the Shure PG Alta line may be catering to budget-conscious buyers, Royer offers something new for the boutique marketplace. The company's new R-122 MKII (List Price: $1,995.00) is a compact, monaural, phantom-powered ribbon microphone with a switchable 15-dB pad and a low-cut filter.
Sonically, Royer says the new R-122 MKII is similar to the company's respected R-121, exhibiting a flat frequency response and a well-balanced, panoramic soundfield. But the company adds that the new model is 13 dB more sensitive and has a faster transient response, giving a sense of more open highs.
The R-122 MKII's 15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low-cut filter is configured to reduce proximity effect for close mic'ing and vocal applications, and effectively filters rumble. Royer says the R-122 MKII's active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and ensuring consistent microphone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows use with long cable runs.
Sennheiser launches the new evolution wireless (ew) D1, a range of digital wireless microphone systems. With systems for vocals or for instruments, D1 transmitters and receivers automatically pair and select suitable transmission frequencies, while multiple D1 systems can automatically coordinate themselves. ew D1 systems operates in the 2.4 GHz wireless range, which is license-free worldwide. “D1 instantly readies you for making music – and takes the complexity out of wireless,” says Martin Fischer, product manager at Sennheiser.
According to a company announcement, bands can now forget about frequency setting, matching transmitters and receivers, and getting the gain right. evolution wireless D1 offers true ease of use by doing all these time-consuming and sometimes error-prone chores for them. “Basically, all that is needed is to switch the system on,” adds Fischer. “The rest will happen automatically. In no time at all, you're all set to start jamming – with all the levels right, and a stable wireless link.”
D1 operates in the 2,400 to 2,483.5 MHz range, which is license-free worldwide so there is no need to register the system or pay for the use of bandwidth. Region-specific particularities are catered for in the respective country variants. To allow co-existence with Wi-Fi, Bluetooth and other 2.4 GHz systems, the D1 receiver continually scans the RF environment, and will inaudibly and seamlessly hop to another frequency if it detects any interference. “ew D1 continually checks the entire 2.4 GHz band in your surroundings to guarantee you optimum performance,” says Fischer. Two channels are always available: besides the actual audio transmission channel, the system runs a redundant back-up channel, thus providing frequency and time diversity. Transmission reliability is further increased by fast-switching antenna diversity. Fischer adds, “ew D1 uses triple diversity to protect the wireless link between radio microphone and receiver.”
evolution wireless D1 also employs what Sennheiser calls industry-leading aptX Live codec that ensures excellent audio quality and wide dynamics for vocals, speech and instruments over the entire audio frequency range. Overall latency is a low 3.9 milliseconds, which is ideal if wireless monitors are to be used. To ensure optimum levels, ew D1 automatically sets the correct microphone sensitivity.
Via the ew D1 menu control, bands, including worship teams, have a range of audio effects at their disposal. These include a seven-band graphic equalizer, low-cut filter, automatic gain control and de-esser. The D1 vocal systems come with dynamic evolution microphone heads but can also be combined with the condenser capsules from the acclaimed series, which are available as accessories.
ew D1 systems coordinate themselves fully automatically, according to a company announcement. For multiple systems, receivers will synchronize themselves to accommodate up to 15 channels in an ideal RF environment.
Where local frequency regulations allow, for example in the USA and Canada, Sennheiser has fitted its evolution wireless D1 systems with adaptive transmission power, with up to 100 milliwatts of power ensuring an extra-reliable link and extended range. For this, the receiver continuously informs the transmitter about how much RF output power is actually needed for a stable signal. The transmitter adapts accordingly and transmits at the requested power. “This feature not only increases the range if, for example, the singer moves farther away from the receiver but it also saves battery power in those instances where the transmitter is very close to the receiver,” Fischer concludes.
For more on exciting new pro audio products for the church market from Winter NAMM, stay tuned to churchproduction.com and check the Church Production Magazine issues coming later this Spring.
