ProAudio Review
ProAudio Review
ProAudio Review
P. 8, 36
ProAudio
Review
INSIDE:
IN USE:
Equation F.20
LDC Microphone
WORSHIP AUDIO
On Staying Analog
Focus On
Acoustics
Installations,
Consultations,
& Tips
APPLE LOGIC
STUDIO
featuring
featuring Euphonix
Euphonix
MC
MC Control
Control &
& Mix
Mix
reviews |
www.proaudioreview.com
in this issue
ProAudioReview
FEBRUARY 2010 | VOLUME 16 | ISSUE 2
Review 34
Studio
by Randy Poole
Mini-Review 35
14
Review 20
by Rob Tavaglione
Sound Reinforcement
by Rich Tozzoli
Review 22
Primacoustic FlexiBooth
Acoustic Cabinet
by Strother Bullins
Review 40
Feature Review 24
by Will James
by Russ Long
Departments
Feature Review 27
Technically Speaking
by Russ Long
by Frank Wells
Review 30
Review 31
Studio Sense 18
36
Worship Audio
Review 32
34
4
by Rob Tavaglione
technically speaking
Frank Wells
ProAudio
Review
The Review Resource for Sound Professionals
F E B R U A R Y 2 010
V O L U M E 16
ISSUE 2
EDITORIAL
Frank Wells, Editorial Direc tor
212-378-0400, x535, [email protected]
Strother Bullins, Reviews And Features Editor
336-703-9932, [email protected]
Fred Goodman, Managing Editor
212-378-0423, [email protected]
Lynn Fuston, Technical Editor
Rich Tozzoli, Soft ware Editor
Bruce Bartlett, Dr. Frederick Bashour, Ty Ford, Carlos Garza,
Will James, Tom Jung, Bascom H. King, Russ Long, Steve
Murphy, Alex Oana, Randy Poole, David Rittenhouse,
Richard Alan Salz, Alan Silverman, Rob Tavaglione,
Christopher Walsh, Dan Wothke, Tom Young C ontributors
Paul Haggard, Photographer
ADVER TISING
Tara Preston, Associate Publisher
917-331-8904, [email protected]
Karen Godgart, Sales Direc tor, West C oast Offic e
323-868-5416, [email protected]
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650-238-0296, [email protected]
Will Sheng, Specialty S ales A ssociate, S outh
650-238-0325, [email protected]
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CIR CUL ATION
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Aphex 140A
Series Audio
Interfaces
Aphex has introduced three digital
audio conversion/interface products:
the 141A, 142A, and 144A. These
devices are SMUX-capable, allowing
them to be used at 44.1, 48, 88.2 and
96 kHz sample rates. The companys
original 140 Series will remain in the
Aphex line to provide a
lower-cost alternative Pric es: $549, $649,
for customers who dont and $549 (141A,
require the new flexible, 142A, and 144A,
high sample-rate 140A respectively)
C ontac t: Aphex
Series.
Systems
|
The 141A (pictured) is
www.aphex.com
an 8-channel ADAT-toanalog converter, the
142A is an 8-channel analog-to-ADAT
converter, and the 144A is an AES-toADAT and ADAT-to-AES bidirectional
interface. All models in the 140A Series
are housed in the same half-rack chassis as the original 140 Series, which can
be mounted in racks or to use as tabletop devices.
10
studio events
LEAH LEE
16
www.proaudioreview.com
17
by Strother Bullins
Careful Consideration,
Good Consultation
Mean Better Acoustics
For a moment, forget about your microphones, your monitors, your front end, your
back end, and your DAW. Your forest
amongst your trees isnt your hardware
and software, its your environment the
room in which you do your critical listening.
Thus, we suggest periodically setting
aside a small percentage of your business
time (and funds) purely for removing at
least one negative acoustic characteristic
from the space in which you listen. Even if
you dont have an actual budget for
acoustic materials this year, very affordable results are to be had with careful consideration, phone consultation with reputable acoustic treatment authorities, and
just a touch of physical labor.
Nick Colleran of Acoustics First
Corporation is an industry veteran and
expert in the realm of acoustic treatment
materials, applications, and installation
techniques. Based on decades of treating
all kinds of listening and recording environments from world-class places to
humble home-based spaces Colleran
generally advises to make logical, one-byone small changes, then stop and listen
for improvements, if any.
Data Before Dollars
First of all, before you spend a dime on any
acoustic treatment materials, closely analyze the space you need to treat. Before
contacting an acoustics expert, simple
data, pictures, and measurements should
be compiled. Room shape and size, what
the surfaces are made of, and what will be
accomplished in the room are the basics,
says Colleran. We like to see a half-dozen
photographs front, back, up, down, right,
Common Problems
With Early Reflections
If the space is for listening to playback,
Colleran continues, remove all the first
reflections near the source of the sound
so the sound from the speakers reaches
your ears before the room interferes. Any
direct and reflected frequencies that combine out of phase will cancel and conversely those frequencies that combine in
phase will be boosted. String together
those valleys and peaks and your resulting frequency response will look like a
jagged mountain range."
I n t h e c o m p o s i t i o n s t u d i o o f S p e n c e B u rton,
a 2 - i n c h - t h i c k S o n o r a p a n e l b r i d g e s t h e c o rner to form a t r a p a n d f l o w s i n t o a n i d e n t ical panel mounted as a ceiling cloud.
A c o u s t i c s F i r s t s p a t e n t e d Q u a d r a P y r a m i d
d i ff u s e r s ( $ 9 7 e a c h i n q u a n t i t i e s o f s i x - p l u s )
a re b e h i n d t h e s p e a k e r s . S t a n d a rd 24 x 48
Sonora acoustical wall panels ($95 each)
fill the gap left and right. The design on the
c e i l i n g i s f o rmed from 2 x 24 x 24 Sonora
panels cut into triangles with their edges
half-beveled (custom-made items). Later
a d d i t i o n s i n c l u d e t w o m o re S o n o r a w a l l
panels to extend the wings left and right,
t w o e x t r a t r i a n g l e p i e c e s o v e rhead, and 10
C l o u d s c a p e c e i l i n g t i l e s ( $ 4 0 e a c h ) e l s ew h e re in the ro o m .
and left because we might not know
about the giant pink stuffed elephant in
the corner which affects the acoustics. If
its a large room, we like a recording of a
balloon being popped so we can hear it. If
its something small, like many control
rooms, that is less relevant.
Strother Bullins is the reviews and features editor for Pro Audio Review.
18
www.proaudioreview.com
studio review
by Rich Tozzoli
B e f o re
With a little help from some talented friends and the folks at
Auralex, I now have a comfortable, open, and great-sounding
setup. Heres how it went down and what I learned from it.
As you can see from the picture, the room was empty part
home studio, part living space which is a realistic circumstance
in todays production environment. It was a blank canvas in a typical condo complex with concrete floor and ceilings, sheetrock, and
a sun-drenched wall of windows. Since I had deadlines, including a
5.1 surround project, I had to do the whole thing quickly.
The first step was to measure the room and then make a plan.
Looking around my previous studio used for mixing, composing, and surround sound work I took stock of my current
acoustic treatments. I already had some Auralex products: four
Elite CT45 ProPanel corner traps, four Elite B24 Pro Panels, four
pArtScience SpaceCouplers in a cloud overhead, and four
Price Box
Elite CT45 ProPanel c orner traps $149 (each)
Elite B24 Pro Panels $109 (each)
pAr tS cienc e Spac eC ouplers $599 (t wo per box)
Spac eArrays $798 (t wo per box disc ontinued item)
MetroFusors $249 (12 per box)
Auralex Metro LERND $299 (eigh t per box)
C ontac t: Auralex A coustics | 80 0-959-3343 |
www.auralex .c om
Rich Tozzoli is a composer, engineer/mixer, and the software editor for PAR. www.richtozzoli.com
20
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empty space. Haverstick noted it would be beneficial to mount them away from the wall, as the airspace created by doing so would improve the lowfrequency performance of the panels. So we put
them on blocks cut from 2 x 4s, evenly spacing
them across my center-lined mix position.
Next, we put in three of the CT45 ProPanel corner traps (the rear left wall opens up into the
apartment). These are 2 x 4-foot, fabric-wrapped,
fiberglass bass traps that fit into a 90-degree
corner for extra low-frequency absorption. We
ended up placing the fourth CT45 loosely against
the front wall just behind my subwoofer, which
added a bit of extra low-end absorption. Miraglia
then donated a set of Auralex Metro LERND triangular Bass Traps, which we put into the floor After
corners below the CT45s.
Then we hung the SpaceCoupler cloud about five inches down
from the ceiling (with small chains), directly centered over my
head in the resting mix position. It was slightly back from where
Auralex suggested it go; I tend to move around quite a bit off of
the sweet spot during production. These help redirect energy
into the upper portion of the room where it gets diffused.
The six SpaceArrays were then mounted on the rear wall,
again centered on my mix position. We needed those to help
with the flutter echoes, and, since the wall is quite large, I had to
purchase a few more to cover the extra space. These are made
of Paulowina wood, and aside from doing a great job of randomizing and reflecting sound, they look quite nice.
Finally, we mounted an additional B24 panel on the wall to the
left of my mix position, so it would catch the
first reflections off the speakers. Auralex noted I
should mix with the curtains closed, and that the
curtain should be oversized (so there are deep
folds even when it is closed).
So that was it; the treatments were up. I
placed my two racks of preamps and compressors to the right of my mix position with everything plugging into a Monster AVS2000 Voltage
Stabilizer underneath the desk (a simple IKEA
table). The Pro Tools HD192 and Creation Audio
Labs MW1 DI/Reamper sit in a small rack to my
right, with a Command 8 and Grace 906 5.1
Monitor Controller to my left. Pro Tools optically
feeds six channels to the Grace, which then distributes to the speakers. When I need to compose, I simply plug in an M-Audio Axiom Pro,
which hyper-controls Pro Tools. Like the rear surround monitors, I take it down when not in use.
The setup is clean and efficient.
Further Adjustments
The challenges I face now are to adjust to the new
sound and feel out the space. Since I changed
21
subs (to an NHT Pro S-20 with M-00 monitors), its a new learning
curve of sound. It takes a little time to listen, and Miraglia has
been helping me tune the room with optimal sub positioning,
speaker heights, and so on. However, the fundamental sound is
excellent, and the sonic treatments made a huge difference.
Undoubtedly, there will be some slight changes and revisions
to the space (we already pulled the desk out a few inches). I
may even put up some more treatments if need be. But like any
other worthwhile workplace improvement, it takes time, effort,
and (most often) a few bucks to do it right. Do some research on
your own space; the info is right there online and in books.
Simply put, if your room is right, your mixes will sound better.
And that leads to more clients.
studio review
by Strother Bullins
Primacoustic FlexiBooth
Acoustic Cabinet
FlexiBooths potential uses are anywhere
from conventional to literally off the wall.
marily comprised of the
same high-quality absorptive materials as the
Broadway Series I was
intrigued. While it is primarily marketed as a wallmounted vocal booth, its
potential uses are anywhere from conventional
to literally off the wall.
Features
FlexiBooths absorptive
components are highdensity (6 lb. per cubic
foot) encapsulated fiberglass panels with resintreated panel edges,
covered with acoustically transparent polyester
fabric in black, gray, or
beige (which can even
be covered with a second fabric to better
match or to develop a unique dcor, if so
desired by the user). Three panels two
46 x 9.75 x 1 inches on each door and one
46.75 x 22.5 x 2 inches in the middle
provide the absorptive zone of an open
FlexiBooth. [Detailed absorption characteristics of FlexiBooth are available on the
Primacoustic website at www.primacoustic.com/flexibooth-specs.htm Ed.]
Completely
unconstructed,
the
FlexiBooth comes with numerous parts: the
three panels, seven MDF pieces, and several bags full of cam locks, wooden dowels,
screws, pins, dry wall anchors, etc. Also
enclosed are two door guides, four door
hinges, and two magnetic door catches.
Last but not least, accurate and wellillustrated assembly instructions are
included, featuring diagrams and photos.
In Use
Of course, before I could place the
FlexiBooth in use, I had to build it. With
basic tools (Phillips head and flathead
screwdrivers, small hammer, power drill,
and level) and an extra set of hands, the
FlexiBooth was together and hung in
place with well under two hours of labor
invested, even working at a relaxed pace.
Once constructed, I screwed the
FlexiBooths mount a French cleat
on the rear wall of a small editing/control
room (with tie lines to other recording
spaces throughout a large residential
structure). In this position (placed
between an entrance door and closet
door), the FlexiBooth (when open) would
double as an adjustable absorptive surface behind the mix position and a VO
space, maximizing the functionality of
this small audio production room. In both
applications, FlexiBooth excelled.
Since FlexiBooth can be easily lifted
off the beveled edge of its wall cleat, I
also used it as a gobo in front of
acoustic instruments, amplifiers, drum
kits, etc. The back of the FlexiBooth
exposes most of the rear of its nearly 2 x
4-foot Broadway panel, so additional
absorption was gained in any off the
wall application. Its also worth noting
that, when closed, the FlexiBooth
becomes a hard, reflective surface; the
idea of several FlexiBooths mounted
around a room in varied positions of
open, closed, and somewhere in
between would allow lots of sonic
options.
Summary
As the name was conceived to imply,
FlexiBooth is indeed very flexible, thus
making it much more than just an
acoustic product for tracking vocals. Its
attractive, clever, useful, and much more
than the sum of its parts.
C ontac t: Primacoustic | 604-942-1001 |
www.primacoustic.com
Strother Bullins is the reviews and features editor for Pro Audio Review.
22
www.proaudioreview.com
feature
review
by Russ Long
Konrad Snyder
Pedalboards 30 modeled stompboxes and flexible routing provide a giant range of effects options and the virtual Pedalboard
allows you to select your stompboxes and determine their order
in the signal path. The collection is comprehensive and includes
everything from fuzz, overdrive, distortion, and compression to
reverb, delay, flange, phaser, tremolo, and wah.
Amp Designers straightforward interface provides a graphic
representation of the selected amp head, speaker and mic
model. Pull-down menus allow specific heads, cabinets, and mic
models to be selected. All of the heads have tremolo, and by
clicking on the EQ or reverb labels, you can switch between
many different EQ and reverb types. There are 25 amps, 25
speaker cabinets, and three mics that Amp Designer allows you
to virtually position. Amp Designer does a fine job replicating
both clean and distorted tones and I (an avid ribbon-mic user)
was surprised at the quality of the ribbon-mic emulation.
Russ Long is a producer, engineer, and mixer. He owns the Carport studio in Nashville. www.russlong.ws
24
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www.proaudioreview.com
25
Fast Facts
Applications
Professional/commercial studio, project studio,
audio for broadcast, audio post production, and
live performance
Price
$499 (full version); $299 (upgrade from Logic
Express); $199 (upgrade from previous Logic
Pro or Logic Studio version)
Contact
Apple | 800-692-7753 | www.apple.com
Product Points
No PC support
Score
26
www.proaudioreview.com
by Russ Long
feature review
Russ Long is a producer, engineer, and mixer. He owns the Carport studio in Nashville. www.russlong.ws
www.proaudioreview.com
27
working with the MC Control and MC Mix. Ive used them together and independently to control a wide variety of applications,
but the bulk of my time has been spent with Logic Pro and Pro
Tools. This has allowed me to test the functionality on both
EuCon-aware (Logic Pro) and Non-EuCon-aware (Pro Tools) systems. Ive installed the EuCon software on several systems,
each time problem-free. EuControl automatically launches when
your Mac boots, and it runs in the background automatically
controlling the foremost application.
While working with the Non-EuCon-aware Pro Tools was great,
its a complete step up in performance going from Pro Tools to
Logic Pro, which feels like it was designed to work with the
Euphonix controllers. Logic Pro 9 had a bug regarding the jog
Fast Facts
Applications
Commercial Studio, Project Studio, Broadcast,
Post Production
Key Features
Up to 36 faders by linking four MC Mix and an
MC Control; controls multiple applications and
workstations via Ethernet; 250 times faster and
eight times the resolution of MIDI; supports HUI
and Mackie Control protocols. MC Mix Power
Features: eight touch-sensitive motorized
faders; eight touch-sensitive rotary encoders;
eight displays for surround metering, parameter,
and track names. MC Control Power Features:
Touch-screen interface; 12 assignable soft keys;
four touch-sensitive motorized faders; eight
touch-sensitive rotary encoders; transport controls; jog/shuttle/zoom wheel; includes Studio
Monitor Express (SME) software
Price
$1,399 and $1,999 (MC Mix and MC Control,
respectively)
Contact
Euphonix | 650-855-0400 | www.euphonix.com
28
Product Points
Comfortable, ergonomic, compact/
risers
Score
www.proaudioreview.com
studio review
by Russ Long
Russ Long is a producer, engineer, and mixer. He owns the Carport studio in Nashville. www.russlong.ws
30
www.proaudioreview.com
by Rich Tozzoli
studio review
Rich Tozzoli is a composer, engineer/mixer, and the software editor for PAR. www.richtozzoli.com
www.proaudioreview.com
31
studio review
by Rob Tavaglione
iZotope RX and RX
Advanced Software Suite
The substantial corrective power of this audio restoration
suite will reward and delight the dedicated user.
As easy as it may be to pitch-correct a vocal or correct bad timing, the most basic problems we
may encounter can be more vexing, such as ground noise, distortion, and external sounds finding
their way into the tracks with
which we work.
Enter iZotope and its RX (and RX
Advanced) software suite; it helps make
such problems easier to manage, if you
have the patience.
Features
iZotope RX offers five different processor
tools, each focused on a specific group of
audio problems. Declicker, Declipper, Hum
Removal, Denoiser, and Spectral Repair
are all obviously named to indicate their
purposes. These modules are available all
at the same time via RX as a standalone
application and are also available one at a
time using RX as a plug-in within your
DAW. The Advanced version includes additional parameters, extra algorithms,
iZotopes MBIT+ dithering and 64-bit sample rate conversion.
In Use
Pardon my brevity, but Hum Removal
simply works. Whether 50 or 60 cycle,
even in harmonic multiples, this module
gets it done and quickly, too since
you can preview the hum before removal.
There are numerous advanced features,
but youll find that Hum Removal is both
intuitive and effective.
Rob Tavaglione has owned and operated Catalyst Recording in Charlotte NC since 1995. www.catalystrecording.com
32
www.proaudioreview.com
Product Points
Eye-friendly, ergonomic interface; effec-
superlative GUI
Works much better as standalone app
than plug-in
Spectral Repair can only process four
Score
www.proaudioreview.com
Fast Facts
Applications
Commercial/professional studio; mastering studio; project studio; audio for broadcast; audio
for video; forensic audio; historic audio preservation/restoration
Key Features
Standalone audio software suite with five different processor tools: Declicker, Declipper, Hum
Removal, Denoiser, and Spectral Repair (RX);
Advanced version includes additional parameters, algorithms, MBIT+ dithering and 64-bit
sample rate conversion. OS Compatibility:
Windows (XP, x64, Vista); Mac OS X 10.4 or
later (Universal Binary); Formats: Standalone
application and as plug-ins: Pro Tools 7+
(RTAS/ AudioSuite), VST, MAS, Audio Unit,
DirectX
Price
$349 and $1,149 list (electronic delivery of RX
and RX Advanced, respectively)
Contact
iZotope | [email protected] |
www.izotope.com
33
studio review
by Randy Poole
Features
The F.20s first example of Equations
promising attention to detail is in its
packaging; it comes in an attractive and
soft, zippered and tweed-covered
clamshell carrying case filled with cut
foam with an included metal pop filter.
[According to the manufacturer, its
unique soft bag style case allows for
great protection without impacting the
total cost, explaining that some hard
cases at the same cost tend to be easily
destroyed, contain cheap foam, and
afford no better protection and are cosmetically attractive until used a few
times. Ed.]
The F.20 has a 16 dB pad and a highpass filter (at 80 Hz). Its switches are
located on the front side of the microphone, distinguished by the Equation
logo. The microphone is internally shockmounted, using a straightforward yoke
design for mounting to a mic stand. For
its head amp, Equation explains that the
F.20 utilizes a completely new design
claiming low noise (80 dB S/N), high
headroom 150 dB max. SPL @ 1 kHz), and
a very broad frequency response
(according to manufacturer-supplied
specs, 20 Hz to 20 kHz with notable 3-5
dB bumps at around 3 kHz to 6 kHz and a
nearly 6 dB peak around 12 kHz). The
transducer is an electret type with a
In Use
First up for the F.20 was
vocals, comparing it to
several vocal mics in its
price range and a few
costing three times as
much. The results with
the F.20 were very nice; in
comparison to the other
mics I auditioned, it had a
smoothness to the frequency response the others
couldnt match, especially on
female vocals. On darkersounding singers, the mic didnt place
quite as high on the list, but I found
that, even when EQd to add some air,
the F.20 still didnt become harshsounding.
Even though the F.20 is a super-cardioid, it possesses a subtle proximity
effect that proved quite useful for our
vocalists and never became overbearing
or muddy. One subtle quality I noticed
during mic comparisons and during mixdown was that the vocals recorded on the
F.20 seemed more focused in the stereo
image, and slightly more forward-sounding than the other models tested. This
phenomenon allowed them to sit in the
mix nicely and still be heard without as
much processing as other mics.
During my long term testing of the
www.proaudioreview.com
Product Points
Smooth frequency response with great low end
Bang for the buck and versatile
Does not cause ear fatigue
Comes in two finishes silver or black
Pad and roll-off silkscreen hard to read
May have to unplug XLR connector to rotate
mic due to the yoke
mini review
Fast Facts
Applications
Commercial studio, project studio, live sound,
location recording
Key Features
16 dB pad; internal shock mount; super-cardioid pattern; great packaging for travel; pop filter included
Price
$599 MSRP
Contact
Equation Audio | 800-575-4607 |
www.equationaudio.com
by Rob Tavaglione
channel). Its limitation is that your transducer must not require phantom, as the
Cloudlifter doesnt pass it.
I tried the Cloudlifter with a Shure SM58
dynamic and an AEA R92 passive ribbon
via two channels of the Millennia Media
HV-3R preamplifier. I received over 25 dB
of gain per channel, and the noise floor
was ever so slightly higher with the
Cloudlifter in direct comparison to getting
all the gain from the HV-3R. Next, substituting the Millennia preamp for a
PreSonus Digimax preamp wide at
open at +60 dB for a voiceover the
same ribbon mic used much less gain
with the Cloudlifter, which resulted in a
considerable drop in noise floor.
I think the Cloudlifter could be especially useful for broadcast work where long
cable runs with intruding EMF/RFI could
use a little boost upfront. I used the
Cloudlifter on a recent arena PA announc-
Rob Tavaglione owns and operates Catalyst Recording in Charlotte NC. www.catalystrecording.com
www.proaudioreview.com
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36
www.proaudioreview.com
Dan Wothke is the media director for Belmont Church in Nashville. He welcomes your comments at [email protected].
38
www.proaudioreview.com
live review
by Will James
Several years ago, I told the readers of Pro Audio Review about MIPRO
wireless microphones, and how their Taiwanese manufacturer (Taiwans
largest manufacturer of wireless mic and portable PA systems) simply
astounded me with the value and quality of its products.
Now, Avlex, MIPROs U.S. distributor, has
introduced me to a system whereby we
can easily take pre-mixed signal and transmit it to an unlimited number of remote
speaker systems. Meet the MIPRO MA-909
wireless mixer/remote speaker link.
Features
The MIPRO MA-909 UHF wireless mix system was originally devised for a simple
application: mixing a couple of wireless
mics and a CD or cassette player, then
sending those sources to remote speakers wirelessly. Upon discussion of potential new uses for the MA-909 with Avlex,
those of us at Atlantis Audio decided to
take this process one step further: sending pre-mixed concert signal to delay
speakers for festival gigs.
When doing audio for large-scale out-
Will James, chief owner of Atlantis Audio and Lighting, is a longstanding PAR contributor. www.atlantisaudio.com
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classifieds
CONTROL PANELS
ACOUSTICS
Advertise
For more information contact
Will Sheng at
650-238-0325 or
[email protected]
adindex
www.acousticsfirst.com
29
Peavey
www.apiaudio.com
44
Rane
www.rane.com
www.bhproaudio.com
17
www.rbdg.com
www.fender.com/passport
19
Sony Electronics
12-13
Vintage King
www.lectrosonics.com
Violet Designs
Lexicon
www.lexiconpro.com
23
Waves
11
Neutrik
www.neutrik.com
14
Parts Express
15
21
Acoustics First
Audio-Technica U.S.
43
Fender
37
JH Audio
10
Lectrosonics
39
www.proaudioreview.com
www.audio-technica.com
www.jhaudio.com
www.parts-express.com/catalog
www.peavey.com/products/ipr
www.qscaudio.com
www.sony.com/proaudio
www.vintageking.com
www.violetusa.com
www.waves.com
www.yamahaca.com
41
Applications
Touring and theater live sound; allows remote
speakers to be driven with wireless signal.
Key Features
Key Features: Can mix up to two RF mics and
one CD/cassette, or outboard signal, combined
into onboard mixer, then transmitted wirelessly
to speakers.
Price
Starting at $2,035 MSRP for a basic system
transmitting to two remote speakers
Contact
Avlex (MIPRO U.S. distributor) | 877-447-9216 |
www.avlex.com
Summary
This MA-909 system is a bevy of parts and modules that, when
properly assembled, can yield a great solution. Our only suggestion was the addition of variable Input Sensitivity, and it was well
received.
In our use, the MA-909 performed admirably with a very clean
RF path. I highly recommend giving this system a try if you have
the need or desire to wirelessly remote your speakers.
Studio Sense
42
Fast Facts
www.proaudioreview.com