HC News

Cort Guitars announces a limited edition series of guitars featuring the custom artwork of noted artist Stephen Jensen. The series includes the KX5 FR-TF and KX5-TF electric guitars and the NDX-TF acoustic guitar. Each model will be available in limited quantities, built with the finest materials and adorned with the exclusive artwork. The Cort KX5 FR-TF is a solid basswood body double cutaway featuring white body binding and a Canadian hard maple bolt on neck featuring a 15 3/4” radius, 24 fret, rosewood fretboard with rectangular white pearl inlay. The 25 ½” scale guitar features black hardware such as die cast tuners and a the Double Locking III tremolo system with a single volume and single push/pull tone controls with a 3-way toggle selector for the MB-2F and MB-2R Motherbucker pickups. The guitar comes complete with the D’Addario EXL 110 (10-46) strings. The Cort KX5-TF is outfitted with identical features of the KX5 FR-TF but has a T.O.M. bridge and string-thru body in place of the tremolo system. The Cort NDX-TF is a mahogany back and sides, solid Sitka spruce top acoustic guitar with ivory body binding. The 25.3” scale length guitar features a mahogany dovetail neck, rosewood fretboard, white block inlay, Cort’s CE304T EQ with ceramic pickups and the D’Addario EXP16 strings.

Continuing the tradition of rolling out affordable road-worthy gear, On-Stage Stands sets the standard again with the new GS7561 5-Space Folding Multi Guitar Rack, set to hit dealer floors in July. A hit at its Winter NAMM 2013 unveiling, the new GS7561 5-Space Guitar Rack is a cost effective way to display a combination of electric and acoustic instruments on stage, in the studio, or at home. With the GS7561, the stage clutter that comes along with a vast guitar arsenal is a thing of the past. Instead, guitars line up in single-file leaning against a padded yoke and cradled by a padded base. Access is unobstructed and instantaneous. The wide rectangular base is stable no matter how many slots are full. And, like you’d expect from On-Stage Stands, portability is built into the design. The backrest folds downwards, making a lightweight, low-profile bundle that neatly packs away in a car, truck, van or storage closet. While the product is designed with 3 electrics and 2 acoustics in mind, a number of other combinations are possible. A user’s guide inserted in each box details all the recommended combinations and provides clear assembly instructions. The GS7561 is feature-rich. Black velveteen rubber on all contact points cradles and protects guitars from scratches and wear. Unique spanning dividers can be added or removed for custom configurations. The dividers are also fully-padded and keyed for a snug, tight fit. List: $89.99. MAP: $50.95

Liquid Metal Guitars is pleased to announce the latest in their family of crafted guitars. This is truly the culmination of all the things they have learned over the years. Theirprocess of getting this intricate paisley design into the aluminum body is using an old lithographer's technique. First polishing the metal to a mirror finish, then etching deep the fine work into the metal and finally, mindfully polishing it again before the protective clear coat goes on. This way there’s a very beautiful transition between the raised polished parts and the subtly darker etching. The deep etched design is both front and back of the guitar's body. Liquid Metal Guitars calls it the Silver Dollar Paisley because it has the same look and feel as a shiny silver dollar. You know that “oh so shiny, rich to have in your hand" feel. Liquid Metal Guitars take this beautiful piece of art and make an infinitely playable guitar. The Silver Dollar Paisley’s strings dance a top our custom bridge. Like the guitar body, it too is machined from a solid block of aircraft aluminum. Adding a final touch of uniqueness, Liquid Metal Guitars' LMG aluminum control knobs. This model has a Seymour Duncan Custom Pickup set with a PHAT Cat in the neck and the lil 59 in the bridge. This set gives the guitar player the great, clear tone that LMG has become famous for over the years and a ton of tonal versatility. Liquid Metal Guitars guitars are well known for the almost zero noise level that is a result of the way they build them.

Lace Music Products® formally releases another new edition of metal inspired humbuckers for 2013, the “Finger Burners”™. These new humbuckers for both neck and bridge position run the sonic gauntlet from metal, hard rock, classic rock and punk. Finger Burners™, are loud and specific with an old school grit, and endless low end punch. With always a punchy, clean top end, the Finger Burners™are passive in allowing top end in either full dual coil mode or in single ultra quiet single mode. Designed for maximum output and dynamic range Finger Burners™ offer the player increased harmonic content with dynamic articulation. These ultra quiet passive pickups are equipped with a magnetic blend of Ceramic 8 magnets and Barium Ferrite magnets. Finger Burners™ require no batteries or active electronics for their high output tone footprint. Unique to the Finger Burners™ is Lace®’s new Burnt Chrome™ finished covers. After a finish of chrome over heavy brass covers it is followed by a hand flame torched process. The result is the look of burnt chrome as seen on a motorcycle exhaust pipe. This new finish process adds attitude and distinction to the Finger Burner™ goal of setting the pace of tone in any situation. No two Burnt Chrome™ covers are the same as are no two guitar players. Also available in standard black matte finish non metallic cover. Tech Specs: Neck: Resistance; 9.5 Ω, Peak Frequency; 2910 Hz, Inductance 4.6 henries Bridge: Resistance 11.3 Ω, Peak Frequency; 2540 Hz, Inductance 5.2 henries Suggested Retail: Neck Sku # 11573 $139.99 Bridge Sku # 11574 139.99 2 pc Set # 11572 249.99

K-Sounds presents Organimation, a collection of tonewheel organ sounds for the Korg Krome. Featuring detailed recreations of nine drawbars and percussion, clonewheel-quality rotary speaker effects, and real-time tone shaping options, Organimation is poised to be the definitive organ resource for the Krome. For each drawbar, careful attention was paid to recreate the volume contours, foldback, and key click found on vintage tonewheel organs, so that all drawbar settings sound authentic. Also included are percussion programs for both 2nd and 3rd harmonics. Selectable C3 chorus effects are provided, and tube emulation effects further sweeten the tone. Many organs even include leakage! Utilizing the Krome’s Program and Combination modes, Organimation offers dozens of preset drawbar settings and organ tones. All Combination mode organs include real-time drawbar control, selectable C3 chorus, and selectable percussion. If a second keyboard is connected via MIDI, Organimation is even optimized for double manual operation! MIDI channel 2 offers three additional drawbars configured for playing bass or comping. For years, K-Sounds has raised the standard for workstation-based rotary speaker effects. Organimation for the Krome continues that tradition. Two unique rotary simulations provide authenticity that’s typically reserved for dedicated organ keyboards. Organimation for the Krome is available now. Additional formats are offered for a variety of Korg and Yamaha synthesizers.

V75-SC is the first Line 6 vocal wireless solution to be released under the Relay brand. XD-V75, XD-V55 and XD-V35 vocal wireless systems will also join G-series instrument wireless solutions as part of the industry-standard Relay family—giving musicians a single source for the best-sounding, most reliable wireless in the industry. “Discerning vocalists require a microphone that delivers pristine sound quality, even on loud or crowded stages,” said Max Gutnik, Vice President of Products, Line 6. “Relay V75-SC features a super-cardioid polar pattern that delivers excellent on-axis response while preventing feedback and bleed-in from other instruments—giving vocalists the confidence they need to deliver their best performances.” Featuring 24-bit audio quality, 10Hz to 20kHz frequency response and a wide dynamic range of up to 118dB (A weighted), the Relay V75-SC signal is so clear and strong that it sounds and performs like a wired microphone. Thanks to compander-free Line 6® digital wireless technology, Relay V75-SC allows vocalists to convey every nuance of their performances to the audience with crystal clarity. Relay V75-SC also offers four exceptional microphone models—including three based on the world’s most celebrated super-cardioid live mics—allowing vocalists to choose the perfect sound to match their voice, performance style and venue. Relay V75-SC is a durable, dependable microphone transmitter designed to provide reliable performance night after night. The rugged metal body is engineered to withstand the elements and minimize handling noise. A custom hard-shell touring case with soft inner padding protects Relay V75-SC while traveling.

Blue Microphones, a leading innovator in microphone technology and design, announces the availability of Nessie (www.bluemic.com/Nessie), the solution for fearless recording that instantly delivers studio-enhanced sound for desktop recording of vocals, instruments, voiceovers and more. Nessie adapts in real time, applying professional studio processing, combined with a built-in pop filter and internal shockmount to produce expertly finished sound, without the need for additional mixing or editing. Nessie, MSRP $99.99, is available immediately in-store at Apple Retail and online at Guitar Center and other authorized Blue retailers worldwide. Nessie’s key features and internal processing are specifically designed to combat the most common pitfalls of recording. The built-in, studio-grade pop filter and shockmount reduce harsh plosives and disruptive rumbling and vibrations, while the adaptive processing, including EQ, de-esser and level control, automatically smoothes and refines your audio in real time. Nessie takes the audio guesswork out of great recording. “We are excited to release Nessie and introduce people to fearless recording with this brand new category of adaptive USB microphones. Nessie not only captures the professional-quality recording you’ve come to know from Blue, but adds the next step of adaptive studio processing to automatically give you improved recordings,” said John Maier, CEO of Blue Microphones. “We understand that not everyone has the tools, time, or engineering know-how to get the best recording results. So we designed Nessie to expertly apply the most common, professional techniques instantly, allowing you to concentrate on creating, not recording.” Nessie employs a single custom-tuned condenser capsule with a cardioid pattern. Nessie’s three flexible recording modes are optimized for richer vocals, more detailed instruments or an option for raw audio for manual post-production editing. Nessie features a zero-latency headphone output for direct monitoring, which is critical for eliminating distracting delay, while headphone volume and instant mute are located directly on the microphone. For optimal positioning, Nessie’s head adjusts with serpentine flexibility. Nessie is plug-and-play compatible via USB with both PC and Mac with driverless installation. For mobile recording, connect to iPad using Apple’s camera adapters (30-pin to USB or Lighting to USB), sold separately. Nessie, MSRP $99.99

Death By Audio is proud to announce Thee Fuzz Warr Overload Thee Fuzz War Overload is a limited edition pedal inspired by John Dwyer from Thee Oh Sees. We've always been impressed by John's intensity and it's been inspiring to work with him to create this unique effect. We went back and forth with John to craft what he thinks is the ultimate fuzz tone. This design has been road tested by Thee Oh Sees for over a year, and can be heard extensively on their latest record Floating Coffin. This pedal is based on the super powerful circuit of the Fuzz War combined with a switchable hot-rodded treble boost. The Fuzz circuit controls include Gain, Level, Tone and the Boost circuit has a Level control. Combining these circuits unlocks new and virtually endless guitar tone possibilities. The specialized Tone knob allows you to sweep between rumbling low end, scooped out mid section and sizzling highs. The Gain knob can go from a smooth overdrive through distortion and up into uncharted territories. Thee Fuzz Warr Overload combines raucous fuzz and a killer treble boost to bring your sound to the next dimension. This is a limited edition run of 500 pedals. Once they're gone, they're gone. Our first signature pedal (Sunshine Reverb inspired by Ty Segall) sold out in a matter of hours. The Fuzz Warr Overloads is available for pre-order now at deathbyaudio.com. The first batch will ship June 30th.

BEHRINGER has checked off another milestone on their expansion into installed sound with the announcement that the CL Series of loudspeakers are now shipping to all markets, globally. Hailed as the premier sound reinforcement speaker series in the company'sEUROCOM product line, the CL Series combines acoustically-inert cabinets, custom-designed transducers and a subtle designer aesthetic into a package that should prove as flexible as it is affordable. [attachment=142058:name] Spanning 19 models from the bookshelf-sized CL106 up to the 3-way CL3564 and with three distinct subwoofers, the series gives integrators the tools they need to deliver high intelligibility and linear response in a host of challenging spaces. Ideally suited to vocal and music reinforcement in Houses of Worship or Performing Arts facilities, the CL Series also pack the value and performance to make them suited to theme restaurants, bars and conference rooms. Their unique wrap-around fabric grille treatment makes them uniquely capable of integrating into any interior environment, no matter how sophisticated. Speaking on behalf of the EUROCOM CL series, MUSIC Group VP of Installed Sound Steven Young commented "These products are true to the BEHRINGER principles of value, performance and quality. Integrators can specify and install the CL Series with confidence knowing that we have engineered, voiced and built these speakers entirely in our own facilities, offering unprecedented quality and reliability." All EUROCOM products are covered under BEHRINGER's 3-Year Limited Warranty program.

Line 6, Inc., leading manufacturer of innovative solutions for musicians, today announced the new Sonic Port™ guitar system for iPod touch®, iPhone® and iPad®. Building on the success of the popular Line 6® Mobile In™ digital interface, the Sonic Port system delivers pristine audio quality, legendary Line 6 guitar tones and all the inputs and outputs needed to transform a mobile device into a studio-quality music creation system. “Sonic Port provides an easy way for guitarists to make studio-quality music on their iOS devices,” said Max Gutnik, Vice President of Product Management, Line 6. “Customers can pair it with CoreAudio apps to record, practice, perform and more. For example, the free Line 6 Mobile POD app lets guitarists dial in their favorite artists’ tones in an instant, while the Jammit app is perfect for practicing. All in all, Sonic Port brings amazing audio quality and a great music-making experience to iOS devices.” Sonic Port is a sleek, highly compact digital audio interface that connects to an iPod touch, iPhone or iPad 30-pin or Lightning connector, enabling guitar players to jam and record using CoreAudio music apps such as GarageBand®, and gain access to the acclaimed Line 6 Mobile POD® app. Unlike other devices that connect to the analog headphone jack of an iOS device, Sonic Port features an all-digital signal path resulting in best-in-class sound quality. With 110dB of guitar dynamic range and up to 24-bit/48kHz audio quality throughout, Sonic Port allows musicians to get the most from CoreAudio music apps. For forward-thinking musicians who want to use an iPod touch, iPhone or iPad as the centerpiece of a mobile studio or as a performance tool, Sonic Port provides a variety of inputs and outputs for connecting instruments and outboard gear. A 1/4" input makes it easy to connect guitars and basses, while keyboards, mixers, CD players and other iOS devices can be connected via the 1/8” stereo input. For monitoring, users can simply plug in their headphones or powered studio monitors and enjoy unparalleled audio fidelity. Musicians can also connect to a guitar amplifier via the 1/4” guitar/line-level output. The companion Mobile POD app (available as a free download from the App Store) opens the door to an incredible collection of highly prized vintage and modern guitar gear. The app includes 32 amps, 16 speaker cabinets and 16 effects—all of which can be fully adjusted, mixed and matched to create a virtually endless range of tones. Mobile POD includes over 10,000 tone presets created by artists, Line 6 and other guitar players—and guitarists can also store and instantly recall their own custom tones. Thanks to a partnership between Line 6 and Jammit®, Sonic Port instantly integrates with the award-winning Jammit app, allowing guitarists to learn, jam and record along with original multi-track master recordings of their favorite songs. When used together, Sonic Port and Jammit form the ultimate jam-along experience. Each track can be isolated for closer scrutiny, looped for extended practice or slowed down to a comfortable pace for learning. When used with Line 6 interfaces, Jammit loads amp and effect sounds that are custom made for the song, automatically changing the sound when appropriate as the song plays. Sonic Port includes a detachable 30-pin dock connector cable and a Lightning connector cable for direct connection to iPod touch, iPhone and iPad devices. Mobile POD is a free download from the App Store. Sonic Port is compatible compatible with iPod touch (4th and 5th generation), iPhone 5, iPhone 4S, iPhone 4, iPad (3rd and 4th generation), iPad 2, iPad and iPad mini.

Zvork presented today its first audio synthesizer for the Propellerhead Software Rack Extension platform. Based on an in-house additive synthesis engine, specially developed for Noxious, that insures alias free audio quality, it features polyphonic voice management with portamento, stereo output, two multi-mode filters, LFOs, modulation envelopes and a modulation matrix for complete control of the sound. But most of all, the heart of the Noxious sound lies on a stack of modifiers that lets the user transform an original sound spectrum based on a predetermined list of wave forms, including in-harmonic wave forms. Considering that these modifiers are totally available as modulation destinations, this opens up a whole new spectrum of sounds not yet available on Propellerhead Reason.

Following a year of intense instrument modelling deep inside XILS-lab’s ear-opening laboratories, the XILS V+ virtual instrument and effects plug-in has finally emerged, sounding nigh on indistinguishable from an instantly-recognisable keyboard vocoder classic much loved by both contemporary and acclaimed artists alike. But what keyboard vocoder are we talking about here exactly? And what’s a vocoder, anyway? By definition, a vocoder is a synthesizer that produces sounds from an analysis of speech input. Vocoders arguably had their musical heyday in the Seventies with the likes of British record-producing heavyweight Jeff Lynne’s symphonic rockers ELO making much use of them throughout several striking recordings — think smash hit ‘Mr Blue Sky’ and the Time album (featuring the Roland VP-330 Vocoder Plus keyboard) — while German techno pop pioneers Kraftwerk crafted themselves an ongoing robotic vocoder-led career that’s still resonating throughout EDM’s many modern-day stylistic offshoots; French house music stalwarts Daft Punk became big vocoder fans with several memorable club-friendly hits to their eminently danceable name, par exemple. Historically speaking, the aforesaid Roland VP-330 Vocoder Plus is also musically immortalised on celluloid thanks to Greek synth wizard Vangelis’ memorable early-Eighties electronic scores to the Oscar-winning Chariots Of Fire and Ridley Scott’s sci-fi film noir classic, Bladerunner, both of which made much use of the instrument’s signature Strings — ‘emulating’ the sustained portion of orchestral strings — and Human Voice Ensemble ‘choir’ — remarkable and unique — sounds. Subsequently the long-since-discontinued VP-330 Vocoder Plus has become something of a sought-after classic itself... for those in the musical know. Yet finding a fully-functional, pristine example of this 30-plus-year-old temperamental hardware has become nigh on impossible. Which is exactly where XILS V+ comes into play, of course, thanks to XILS-lab’s labours. So how, technically, does that historic hardware produce those distinctive sounds? And, more to the point, how has XILS-lab been able to magically model them? First things first. Just like the real thing, XILS V+ is based on a Top Octave Divider oscillator — the hidden heart of almost all vintage string machines. Basically, back in the day, this clever concept enabled hardware designers to achieve 49 notes (or more) of polyphony without having to stabilise and tune 49 (or more) oscillators! Instead, a single square wave-generating so-called Top Octave oscillator designed to oscillate at very high specific frequencies is ‘divided’ to provide 12 standard tempered frequencies over four (or more) octaves that are then used to create the waveform for each individual note. All notes are kept in phase with no drift between octaves and only a single tuning circuit is needed for the complete keyboard range. This was quite a technological breakthrough by Seventies standards, but by its very nature there were some divisive downsides — no polyphonic attack stage to the sound which we take for granted today, for instance. Yet, thanks to today’s cleverer computer world, XILS V+ offers polyphonic attack (and also monophonic attack for the sake of authenticity). So, just like the real thing, XILS V+ features a 10-band VOCODER, Top Octave Divider-based STRINGS and HUMAN VOICES — or, indeed, sophisticated layering of any these three elements! It successfully captures the keyboard in question’s Top Octave Divider oscillator’s unique sound (that no sampling technology or other simple synthesis techniques can reproduce); the ensemble (chorus) circuitry, featuring a compander and no less than four bucket brigade delays; the voice and vocoder ‘vibratos’ (based on two more bucket brigade delays); the 14 filters involved in producing that heavenly Human Voice Ensemble sound; the three filters used for the Strings section; the 40 ‘vocoder’ filters; and sophisticated Attack, Release, and Glide circuitry. Visually, the main control panel section above the keyboard basically mirrors that found on its inspirational hardware predecessor so anyone familiar with the VP-330 Vocoder Plus will immediately feel right at home here — right down to the classic colourful rocker switches! But that’s not all: rather than simply producing a feature-by-feature emulation of the original hardware, XILS-lab has truly taken the opportunity to bring this Seventies-vintage keyboard vocoder concept kicking and screaming into the convenience of present-day DAW workflow with four additional panels boasting advanced settings: Mixer/ARP allows users to fine-tune the internal sound generators — from adjusting the relative level of the Male 8 and ML/FM 4 Human Voices to tweaking voice formants, the Top Octave Divider waveform, as well as the Strings filter shape — while a built-in arpeggiator is also provided; Vocoder allows users to adjust the analogue-like Pitch Tracking, the ATT (attack) and REL (release) of the ANALYZE algorithm, as well as FILTERS parameters; Effects provides three built-in effects (STEREO SPACE, based on XILS-lab’s now-well-known Stereo Dynamic Engine; a simple, but efficient REVERB; and an analogue-like resonant PHASER); and last, but by no means least, Modulations with over 14 sources and 24 destinations! So there you have it. If you’re lusting after those classic keyboard vocoder sounds — and more besides, perhaps, but could never afford or find a suitable hardware original, then your prayers have surely now been answered by XILS-lab. Load up multiple instances of XILS V+ into your favourite DAW. Play. Smile. After all, it’s even better than the real thing!

Outline, S.r.l., the makers of high-quality, industry-leading speaker systems for touring, installation and studio applications, introduces the new GTO C-12 Line Source Array Speaker System to the North American market at InfoComm 2013 (Booth 109). The GTO C-12 is completely derived from Outline’s larger-format, dual-15-inch GTO cabinet introduced in 2011, generating output power surpassed only by its larger sibling from an enclosure that is physically smaller and 30 percent lighter. From arenas to 500-seat theaters, the GTO C-12 is equally at home delivering maximum thunder for a rock concert or providing crystal-clear sound for a spoken-word performance. “InfoComm attendees are welcome to stop by our booth to see the GTO C-12 and to join in our 40th anniversary celebration,” says Tom Bensen, Senior Vice President and Managing Director of Outline North America. “We engineered the GTO C-12 specifically to deliver high SPL with a sonic accuracy rivaling a recording studio environment for the smaller venue. The system is more lightweight than competing systems on the market, combining superior performance with ease of setup and hauling. The GTO C-12 will definitely find a home with permanent installation venues, sound companies and touring bands and shows.” Incorporating its V-Power Concept and patented DPRWG Wave Guide, combined with the most advanced transducer technology available, the GTO C-12 carries the familiar high-resolution signature sound synonymous with the Outline brand and its family of world-renowned line array products. The GTO C-12 contains dual high-power 12-inch LF drivers, four 6.5-inch midrange units and two 3-inch throat-compression drivers. The cabinet is 21.6 percent smaller in the vertical plane than the larger GTO, whereas the overall cabinet weight has been reduced by 30 percent, representing a remarkable feat of design engineering. The use of a special aluminum alloy for the integral rigging hardware, originally developed by Outline for GTO, contributes to this major weight savings. This unique system also provides 12 different adjustment settings in the angle between connected GTO C-12 cabinets, adding further to the real-world flexibility and adaptability of the loudspeaker. The concentration of power into a smaller and lighter enclosure has significant benefits in terms of transportation, storage, deployment, crew requirements and operational efficiency. GTO C-12 extends the Outline concept of ultimate system flexibility, not just because it is mechanically compatible with all the other GTO modules, but also because systems of virtually any size and power can be designed using the speakers. As the footprint of the new C-12 is exactly the same as all the other modules in the GTO range, the cabinets offer full mechanical compatibility with GTO, GTO-SUB, GTO-LOW and GTO-DF in terms of rigging, flying hardware and wheelboards. Further, Outline’s design team is currently developing a new lightweight flybar for the GTO C-12, transforming the product into a real game-changer, as using it will allow up to 12 GTO C-12 cabinets to be flown from a single one-ton fly point while staying within standard Safe Working Load restrictions. “This single fly point is a big advantage for production companies that work in venues that only provide a single rigging point per side, or have low fly weight limitations,” continues Bensen. “Sound companies can now bring in an easy-to-handle, compact system that is quick to rig and de-rig, and requires only one motor per side while producing more than enough power to handle any event. A 12-cabinet per-side GTO C-12 main L&R system with a suitable complement of subwoofers (and infills if necessary) delivers the definitive combination of outright SPL, intelligibility and controlled coverage that makes the GTO C-12 the perfect go-to system for thousands of medium-sized venues throughout the world.”

AKG C111LP Earhook Mic- Offering world-renowned professional audio equipment available for the studio to the stage, HARMAN’s AKG proudly introduces its C111LP earhook microphone, ideal for on-stage performers and corporate speakers for venues of all sizes. The C111LP is nearly indestructible, constructed out of stainless steel to ensure ruggedness and reliability. Still, the strong frame is pliable, able to adjust and fit the head of any performer. The small skin-colored boom visually disappears against the face, while its 7g weight provides a comfortable fit. “The C111LP’s flat frequency response ensures perfect audio quality, which we research, design and manufacture to meet the demanding needs of the professional audio industry,” stated Thomas Giczy, Business Development Manager, Installed Sound, AKG. “We understand the need to provide performers with comfort with a reliable microphone and the C111LP encompasses all of the qualities expected on stage.” The C111LP connects to all AKG pocket transmitters via 3-pin mini XLR for easy integration into any rig. Its frequency response ranges from 60-15.000hz, with an omni-directional polar pattern. C111LP includes a windscreen, cable clip and carrying pouch within its packaging. AKG CS3- Underscoring its reputation for quality and reliability in all aspects of sound, HARMAN’s AKG introduces Discussion System CS3 – the modern, elegant, modular system offers a wide variety of different gooseneck microphone options that can be expanded up to 120 units. With a demand for a more simple solution stemming from AKG’s high-end CS5, CS3 provides users with a plug-and-play, easy-to-use professional system. The CS3 BU is a 19-inch 2HE transmitting interface device, which controls up to 60 delegate stations. The base station can “work alone” or be remotely controlled by a PC. Multiple working modes enable free or controlled speech as needed during a conference. The base unit is equipped with an extension plug to double the system size with an additional CS3 BU. CS3 CU (chairman unit) is the system’s microphone station, with options to mute all other delegates and activate the “next in line” feature. The station has a detachable condenser cardioid microphone, available in two lengths – CS321 at 30cm and CS521 at 50cm. The station provides a built-in speaker and two 3.5mm stereo jacks for headphones. The Delegate units, CS3DU 30 and CS3DU 50 have the same basic features, without the priority and next in line function. “Over the years, we’ve had phenomenal success in CS5 installations across the globe,” stated Thomas Giczy, Business Development Manager, Installed Sound, AKG. “The CS3 system provides the smaller venues with an affordable and reliable conferencing system, with the promise of quality and robust audio ability. CS3 has been tested with great attention to detail and will surely be a focus point as smaller companies revamp their conferencing needs.” AKG DMM6 and DMM12- Adding to its family of microphone mixers, AKG proudly introduces its new line of digital automatic microphone mixers: DMM6 and DMM12. With an intuitive user interface, numerous DSP functions and high signal to noise ratio (S/N), the DMM series provides users with the highest quality in automatic mixing technology. DMM12 offers 12 inputs, while easily adjusting the mic to line level. Its four line outputs (2x stereo) are individually assignable for each input. The stereo record outputs are individually assignable, while the headphone out port allows users to listen to each input and output individually. DMM6 offers six inputs and two line outputs at 1x stereo. When in use, all inputs are active, but attenuated to a level that equals the level of one “active microphone.” If two or more inputs receive relevant input signals, their amplification is increased to a level, which allows overall output to equal one “active microphone,” resulting in an absolute feedback-stable system. Working to deter noise pickup, the DMM series senses numerous sonic activities to monitor and diminish unwanted sound. If a signal is picked up over a long period of time, the mixers understand that it may be an air conditioning unit or other unavoidable noise. When a large number of microphones pick up the same signal and all mics are active, the DMM system will recognize applause and not react. When two microphones are receiving the same signal, the mic with the slightly higher level gets priority, while the other one is attenuated. “AKG understands the needs of the live sound professional and the updates to our line of rackable mixers underscores our goal of providing high-quality, reliable sound in all performance spaces,” stated Thomas Giczy, Business development Manager, Installed Sound, AKG. “DMM6 and DMM12 embody the technological advancements AKG delivered with its original analog 8-channel auto mixer, AS8 and its digital predecessors DMM4/2/4. DMM12 and 6 will be a tactical addition to any installed sound system to ensure proper sound.”

According to Radial Sales Manager Roc Bubel: "When we started building 500 series products our primary goal was to solidify the standard so that we would create a bunch of useful modules. We started with the Workhorse and mixer, a preamp, compressor and a Reamper. We now offer close to 20 different modules, each of which address a different market niche or price point. The latest in our series is the PreMax. This is designed to bring greater density and affordability to the 500 series format by combining a preamp and EQ into a single space module. And at a retail of $350, we are confident that the PreMax will provide certain segments of the market with the performance and price point to suit their needs." The PreMax begins with a low-noise Op-Amp input coupled with Radial's unique Accustate gain control that simultaneously sets the input sensitivity and signal gain to deliver ultra-quiet performance at all levels. Visual monitoring is supported with LEDS for signal and overload. The preamp then feeds a traditional 3 band shelving EQ for tone shaping. A front panel switch enables the user to bypass the EQ to compare the pre-post effect. This is augmented with a high-pass filter to eliminate low-end resonance that can cause a recorded track to sound muddy. A 180°polarity reverse works double duty to either help align stereo mic placement or to help tame acoustic hot spots when using the PreMax in a live stage setting. For safety, the 48V phantom power switch is recessed to prevent accidental turn-on which could damage tweeters or vintage ribbon microphones. When used with a Radial Workhorse power rack, the Omniport jack is configured as an instrument input and activated using the front panel switch. When not connected, the switch acts like a microphone mute. As with all Radial products, construction is second to none. The PreMax's thick front panel is supported with a 16 gauge L-frame and the circuit is encased in galvalume to minimize noise caused by outside electromagnetic fields. Switches are also encased in steel and the sealed potentiometers employ steel shafts for extra durability. Connection to the frame features double sided gold contacts for optimal signal flow. The PreMax won a Best of Show Award at NAMM this past January. The PreMax starts shipping June 17th, 2013 and retails for $350 USD.

Sacramento, CA - Fargen Amplification announces the Pete Anderson Tumbleweed pedal. This pedal is based on the original Tumbleweed circuit released under the Sonic Edge brand, with a new design and now made in the U.S.A. “My signature Tumbleweed brings clear sustain and clean gain, all in one pedal, just the way I like it. It’s nice to have someone to speak with in abstract terms about tone … Ben Fargen gets it. 100\%,”says Pete. Multi-platinum and GRAMMY® Award-winning producer, artist and writer Pete Anderson will bring the Tumbleweed on tour with him, in support of his next album titled Birds Above Guitarland, available July 23rd. “Pete is such an innovator and really commands his tone. He is the perfect partner to help create a cutting edge country/blues line”, says Ben Fargen, founder of Fargen Amplification. The Pete Anderson Tumbleweed pedal is now available via preorder through authorized Fargen dealers, for delivery in July. MSRP $299

Eastern Acoustic Works® (EAW®) has announced that the new QX300 range of full range loudspeaker systems is available for order. EAW President Jeff Rocha made the announcement. "EAW customers have quickly fallen in love with the unique combination of high output, tremendous pattern control and focused fidelity found in the surprisingly compact QX500 range,” Rocha said. “But they have challenged us to design the same core feature set into an even smaller package. The EAW team has once again delivered and is now thrilled to be launching the QX300 range, a two-way marvel at a price point that’s extremely attractive." The QX300 range surrounds a high-output, low-resonance, 4-in coil / 1.4-in exit high frequency compression driver with four 10-in low frequency cone transducers in vertical and horizontal pairs. EAW engineers have drawn upon their extensive horn design experience to offer six distinct coverage patterns within the range. And unlike the QX500 range, the QX300 range uses different spacing for the vertical and horizontal pairs of LF devices to better match the beamwidth of the system through the crossover transition. "EAW engineers carefully crafted the low frequency driver spacing in the QX300 range to transition smoothly to the high frequency section in both the horizontal and vertical planes," Rocha continued. "The smaller format of the QX300 horns and the nature of a 2-way system push the optimal bandwidth of the low frequency section to a higher frequency than that found in the QX500 range. At these frequencies, the horns are exhibiting the targeted pattern control of the finished system which is most commonly wider in one plane than the other. In order to ensure a beamwidth-matched crossover on both axes, the engineering team developed a symmetrical enclosure that delivers wider LF spacing in one plane than the other. It's like taking the founding principles of the MK Series from 15 years ago and bringing them to a completely new level." Like the QX500 range, all models share an identical enclosure. EAW designed the QX300 range for permanent installation only, and the products can be ordered in standard black or white or with EAW’s famous WP weather-protected coating. The QX300 range includes: