Record Producer And DJ Paul Chambers Enhances His Sound And Performance In A Wide Range Of Applications With Soundcraft’s MFX12™ Mixer

Showcasing its versatility in virtually every application, ranging from live sound and recording to houses of worship applications, the Soundcraft MFX12™ multi-purpose mixer offers the finest quality effects in its price range. Paul Chambers, composer of over 300 records, demonstrates the professional quality of the MFX12 mixer as he records and remixes for countless artists and most recently completed a 10-part series for Channel Five television.

“The sound of the MFX12 is very warm and the EQ is very recognizable, as it is on all Soundcraft products,” states Chambers. “The construction of the MFX is incredibly durable and the amount of inputs and outputs provide users with countless routing options. Even if I do most of the composing within the actual computer, I still run each individual channel back through the desk to create a warm, analog feel. I also always use hardware compression knowing that there are still the benefits of hands on faders present.”

The MFX12 mixer combines all the features of the popular Soundcraft MPM™ mixer with a built-in 24-bit, digital, Lexicon® effects processor, expanding the Soundcraft low-cost, multi-purpose compact range. The effects section fits neatly into the mixers compact framework, which is available in eight, 12 or 20 mono input variants, both with two stereo channels and effects send on each channel. There are 32 different effects to choose from with a tap tempo function, three effects parameter controls and a user effects setting store facility. An effects channel level clip LED and Mute function gives the user even more flexibility.

The MFX12 is an extension to Chambers’ long time association with Soundcraft products, which began with the Spirit 24/8/2, the Ghost, and now the MFX12. “I began my relationship with Soundcraft over 15 years ago and I have always favored Souncraft products ever since my first interaction with the 24/8/2. The sound is very full and well rounded, and the logical next step was to move up to the Ghost, as the EQ was great for carving out sounds and frequencies. Now as times have changed, a small multimedia mixer like the MFX12 is ideal, as it can be used for routing or mixing through a wide range of applications.”

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ESP New York Selects Soundcraft’s Vi6™ For Diesel’s 30th Anniversary “xXx Rock and Roll Circus” Party Finale In Brooklyn

The Soundcraft Vi6 was among the elite attendees invited to the final stop of a 24-hour non-stop party hosted by Diesel to celebrate its 30th anniversary around the world. The “Diesel xXx Rock and Roll Circus” took place in 17 major cities across the world; commencing in Tokyo and moving to Beijing, Dubai, Athens, Amsterdam, Milan, Zurich, Munich, Paris, Stockholm, Copenhagen, Barcelona, Oslo, Helsinki, London, Sao Paulo, and finally had its grand finale on Pier 3 in Brooklyn, New York on Saturday, October 11.
ESP New York chose the Vi6 for its outstanding audio quality and its ability to handle The Rock and Roll Circus that hosted numerous music artists performing in front of thousands of VIP guests.

T.I., N.E.R.D., Franz Ferdinand, M.I.A., Hot Chip, and Chaka Khan staged performed on the Brooklyn waterfront in front of a crowd of 5,000 VIP attendees, including celebrities Lindsay Lohan and actress Emma Roberts. Soundcraft’s Vi6 enhanced each of the performers’ music exemplifying what a fantastic sounding board it is.

All the engineers involved with the show used the boards and programmed individual shows for each performer prior to show time. ESP New York’s Monitor Engineer, Steve Swope, educated the engineers on the Vi6’s capabilities. “The amount of inputs/outputs and accessibility makes the Vi6 perfect for this venue,” said Swope. “The user-friendly interface allowed the sound engineers to operate the console without any difficulties despite having very little experience on the Vi6.”

With the flexibility of the Vi6, engineers had the ability to digitally patch all content ahead of time to any specific location. This preparation allowed them to switch and adjust any problems that may have arisen without any interruption or loss of sound quality. ESP New York’s Glenn Davis and Bill Danilczyk met at Front Of House, and commenting on the potential of the system, Davis states, “I can route signals through this console more than any other digital console. The functionality in terms of outputs, routing, and flexibility is far superior and the sonic quality is outstanding. All of the design work, planning and layout were perfect every time.”

The Rock and Roll Circus went exactly as planned and the mash ups between T.I. /Franz Ferdinand and M.I.A./ N.E.R.D. were successful with the operation of 195 mic inputs. “The ability to pre-label the show ahead of time allowed the show to run seamlessly without any difficulties,” said Davis.

Tony Berger of Relevent produced the show that featured not only popular music acts but also an array of spectacular entertainment. Cabaret performers, fire-eaters, trapeze artists, sword swallowing acts, and female roller derby squads dazzled guests.

For more information on ESP New York, please visit www.espnewyork.com.

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Ten Day Navratri Music Festival Features India’s First Soundcraft Vi6™

Showcasing Soundcraft’s growing influence in the burgeoning India pro audio market, SOUND.COM coordinated efforts with Reliance Big Music for a 10-day concert series that relied on an extensive Harman audio system featuring a Soundcraft Vi6 digital mixing console. The 96-channel Vi6 exceeded expectations, assuring further installations in the future.

The versatility of the Vi6 allowed the engineers to simply slot the additional DSP (Mix engine) card into the console, upgrade the software to V3.0 and start mixing immediately. There was no threat of sacrificing I/O on the desk as it is fully loaded to accept audio signals from all the input and output channels from the local rack as well as the stage box, simultaneously. The individual channels are managed in a small footprint while the fiber optic lines protect users from any disruptive interference.

Sunil Karanjikar, Systems/Mix Engineer for the Navratri Festival stated, “I’m extremely happy with the sound of the console, which is the most important aspect of providing the audience with a great experience. The Vistonics and Fiber Optics provided a full and sensational sound that resembled an analog desk. Overall, I felt completely at home with the Vi6 and I didn’t even reference the user manual,” Karanjikar added. “At SOUND.COM, we’re generally fanatical about loudspeaker engineering, and we gravitated towards the Vi6 console because it offers the pedigree of those ‘great-sounding British consoles’ that we could never afford in the past.”

Warren D’Souza, Founder and Owner of SOUND.COM, proudly mentions, “The decision to feature the Vi6 is a classic example of the team providing exemplary audio services to our customers, and instead of skimping on technical prowess and equipment, we exceeded our customer’s expectations.” D’Souza continues, “I also appreciate the efforts of the backstage team, including Ashok Giri and Ranjit Singh. The quality of the crew on stage is of the utmost importance, and we have to appreciate the contribution Ashok Giri has made to SOUND.COM. He’s toured a million miles, representing us all across the country, and it was only fitting that when we were recognized for our efforts, it was him who went up on stage to accept the laurels.”

The install consisted of 18 VERTEC® VT4889 full-size line array elements (nine per side), left-center-right hangs of four VT4880 arrayable subwoofers each, plus two VT4887 compact line array elements for front fill, all powered by Crown IT8000 amplification. The key focus was to not compromise on the trim lengths for good coverage and headroom to provide unprecedented power in the venue. The specific genre of music contains a lot of mid-frequency energy produced from the instruments as well as the vocals, and the R.B.I. (Radiation Boundary Integrator) of the VerTec mids produced a clear and full sound.

More information and a free download of the Virtual Vi software is available at www.soundcraftdigital.com.

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Dale Hanson Drives The Soundcraft® Si3 Around Bedford All Night

Dale Hanson took time off the road to handle eight different acts at The Bedford in London and mixed the evening away on a Soundcraft Si3-its first public, commercial gig. Along with the other Si3 beta testers covering theatre, touring and house of worship applications in Europe and the USA, Dale has taken the Si3 through its test paces but this gig was the ultimate beta test! In typical pro fashion, Dale was calm and collected. "The show was a bit like live TV with eight acts performing a couple of songs each during the evening without any change over time at all really. Not many digital consoles can cope with that type of challenge but the Si3 worked really well.I found that you can use so many different functions at the same time to be really useful. Having control of EQ, Dynamics, Bus Sends and Effects without having to reassign anything was great."

The Si3 is Soundcraft's latest 'mid range' addition to its growing digital family. It follows the Studer Vista 5 SR (Tours including: Celine Dion, Rascal Flatts, Billy Joel, Katie Melua, Keith Urban) and both Soundcraft Vi6 and Vi4, which were just announced with upgrades to 96 and 72 inputs to mix at PLASA (Tours: Bob Dylan, The Feeling, Deep Purple, Diana Krall and Rufus Wainright).

"Although we label the console mid-range in terms of price, that certainly doesn't limit its capabilities. It's a large format console at a mid-size console price point," added James Shears, Soundcraft's Si3 Product Manager. "Amongst many other new features, it has 64 inputs, 24 group busses, Lexicon processing and Distributed Display Technology.”

Very analogue in feel, the Si3 follows the company's digital operational philosophy of 'where you look is where you control' established by Studer on the Vista and OnAir ranges and continued on the Soundcraft Vi Series. Soundcraft has eliminated the need for a large, central screen and instead put the information screens right where you went them; next to the controls. Shears adds, "This console is perfect for users growing out of their smaller digital consoles and looking to upgrade at a sensible price and especially suitable for current analogue users who haven't yet made that switch. That's why we've designed the user interface to be so 'analogue familiar.’ Basically, just take your analogue console out and drop the Si3 in it's place - simple!"

"The pre amps sounded really nice and had plenty of headroom,” Hanson adds. “I found that I needed minimal EQ on the night, which is always a good sign. The dynamics were easy-to-use and sounded smooth. I particularly liked the Lexicon reverbs, as they sounded great. The fact that the FX returns appear as normal channels is also great as I could easily send one effect into another; for example; very analogue!"

"It was a great feeling to see the Si3 go through its paces in a real life situation," said Shears. "We'll be running a series of Si3 gigs to provide engineers the chance to come and play with it after the launch at PLASA."

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Lexicon® Releases PCM96 Surround Version of Reverb/Effects Processor

Lexicon®, a Harman International Company (NYSE-HAR), is introducing its PCM96 Surround Reverb/Effects Processor at the 125th AES Convention in San Francisco. The Surround version delivers 50 new and legendary Lexicon reverbs, delays and modulation effects, while at the same time offering more presets, configuration options and additional inputs and outputs. Designed for the modern studio, the PCM96 Surround can function as a control-only insert or FireWire streaming audio plug-in inside any Mac VST® or Audio Units software.

A new Pitch algorithm has been developed for the PCM96 Surround in addition to the Room, Hall, and many additional algorithms for music and post production. The Pitch algorithm was released as a software update for the original PCM96 on Nov 1st,.

Lexicon’s new Room algorithm provides a more flexible alternative to convolution type reverbs. Reflection patterns can now be easily selected, scaled and equalized – all while simultaneously passing audio. They can be instantly reversed or combined with a traditional reverb to extend the delay or bring a stronger sense of “liveness” to the space.

The PCM96 Surround uses multimode filters at several spots in the audio flow to provide more exact shaping of the reverb while still maintaining the distinctive Lexicon sound. All reverbs have an ‘infinite’ switch that allows the reverb to run forever, a feature used for creating unusual backgrounds and sound effects. With decades of legacy products to leverage, the PCM96 Surround includes over 2200 of the finest collection of factory presets available.

The PCM96 Surround can be divided into four virtual machines, each of which can run its own algorithm. This allows the signal from each input to be routed through a variety of algorithm combinations. Following in the tradition of the PCM60, PCM70 and PCM96 signal processors, the PCM96 Surround delivers the versatility and rich sound that is unmistakably Lexicon.

Two models are available: a digital only version with six XLR Stereo AES inputs and outputs; and a version with both digital and analog which includes two DB25 connectors with 6-channel analog I/O and one DB25 with 6-channel digital I/O. Both versions feature MIDI, Wordclock, Ethernet, and FireWire®.

The Lexicon PCM96 Stereo Reverb/Effects feature set includes:
• New Parallel Stereo and Surround configurations
• Lexicon’s new Surround Room algorithm, used to generate a vast array of room-related effects for music and post
• New pitch algorithms
• 50 legendary Lexicon® reverbs, modulation, and delay effects
• Two models available:
• 6 XLR Stereo AES inputs and outputs
• Two DB25 6-channel analog I/O and one DB25 6-channel digital I/O
• “Hardware Plug-In” feature with Mac VST® or Audio Units software
• Seamless automation and control via Ethernet or FireWire
• Over 2200 factory presets, including recognizable classics from Lexicon’s immense library of sounds
• External BNC Wordclock input
• Multiple sample rates: 44.1, 48, 88.2, and 96 kHz
• 32-bit floating point processing
• MIDI in, out, and thru
• 768 user presets
• Large front panel OLED display
• Compact Flash preset storage
• HiQnet™ compatible

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Lexicon® Introduces I·ONIX FW810S FireWire® Audio Interface with dbx® Mic Pre’s and Dynamics

Lexicon®, a Harman International Company (NYSE-HAR), is proudly introducing its I·ONIX FW810S FireWire® Audio Interface with integrated channel strip processing. The I·ONIX FW810S represents a breakthrough in recording technology for the sophisticated home or project studio. This new recording interface offers the highest quality 96kHz sampling, coupled with dbx high-voltage, ultra-low noise mic pre’s and dynamics. All these powerful tools connect to your digital audio workstation through FireWire for the ultimate pro recording studio in a single rack unit. The unit also features the new Pantheon II reverb plug-in.

Featuring built in dbx Type IV™ conversion; the I·ONIX FW810S will preserve the wide dynamic range of the analog recording even when input levels get too high. This allows for more headroom, capturing the subtle details in high-level signals instead of hard-clipping them.

The I·ONIX FW810S’s software mixer includes a dbx compressor, limiter, gate, and EQ on each channel, and lets users adjust levels and apply dbx dynamics for mixing and fine-tuning recordings in real time with zero latency. The unit also has the ability to save and load up to five monitor mixes – one for the main mix, and up to four for individual band members. The mixer outputs can also be used to incorporate external effects gear.

The Lexicon name is synonymous with “the world’s best reverb”. Pantheon II continues this legacy and delivers that “Lexicon Sound” used on most of today’s recorded music and movies. Pantheon II provides the ability to change the parameters of six different reverbs, or use one of the 35 factory presets. Also included is a hardware monitor reverb for zero latency monitor mixing. This allows the performer to put a monitor reverb on their monitor mix without having the latency of monitoring through a reverb plug-in in the DAW.

The software suite operates on Windows® and Mac® platforms and includes Steinberg’s Cubase, Toontrack EZdrummer Lite, and Lexicon Pantheon II reverb plug-in.

The Lexicon I·ONIX FW810S Firewire Audio Interface feature set includes:

• dbx high-voltage, ultra-low noise mic pre’s on all eight channels
• dbx dynamics (compressor, limiter, gate, EQ) on all eight analog input channels
• Two front panel XLR + ¼” combi-jacks for mic/line or instrument inputs
• Six combi-jacks on the rear panel for mic/line inputs
• Type IV conversion feature emulates tape saturation at high levels
• Zero latency mixer hardware with dbx dynamics and a hardware monitor reverb
• 44.1kHz to 96kHz sample rates, 24 bit A/D conversion, 32 bit processing
• Eight analog TRS outputs (7.1 surround capable) and stereo main (control room) outputs
• Five unique stereo monitor mixes using all 10 output channels
• Stereo S/PDIF digital I/O
• MIDI in and out
• Firewire 400 connection to host CPU
• 1/4” high output headphone connection
• Lexicon Pantheon II reverb plug-in

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Lexicon® Unveils the I·ONIX Series of USB 2.0 Desktop Recording Interfaces

Lexicon®, a Harman International Company (NYSE-HAR), today introduced its new I·ONIX U22, U42S, and U82S USB Desktop Recording Interfaces. The I·ONIX Series offers the highest quality hardware and software to provide the user with exceptional recordings. Each model provides all the necessary tools to transform a computer into a professional 24-bit digital recording studio including the USB 2.0 desktop recording interface, Steinberg® Cubase LE4® multi-track PC and Mac® recording software, Toontrack® EZdrummer® Lite virtual instrument software, and the new Lexicon Pantheon™ II VST/AU reverb plug-in.

Brilliantly designed, the I·ONIX Desktop Recording Series sit in the perfect location when using a DAW, between your keyboard and monitor. Now all the monitor and input level controls are at your fingertips. The I·ONIX Series are meticulously crafted from the highest quality components to ensure superior recordings that live up to Lexicon’s standards of performance. Each desktop recording interface features newly designed dbx® microphone preamps on all analog inputs. The preamps are driven by a high-voltage supply to guarantee stability and provide superior recordings across a wide dynamic range. Performance driven A/D-D/A converters ensure pristine 24-bit/96kHz audio quality.

Speaking about the introduction of the new I∙ONIX Desktop Recording Interfaces, Director of Marketing for Lexicon Randy Garrett stated, “Lexicon is committed to bringing the same quality equipment to casual and aspiring musicians that it has provided to professionals for years. In-depth research into home and project studio recording provided the inspiration for the unique, ergonomic shape of the new I∙ONIX Series. In addition, the no compromise design guarantees outstanding audio performance.”

The Lexicon name is synonymous with the world’s best reverb. The Pantheon II VST/AU plug-in offers six reverb types with 16 adjustable parameters, and 35 factory presets that range from Vocal to Live Sound and Special Effects. The exquisitely rich, full reverbs make it easy to add dimension and depth to any track.

Each of the three models allows for a different level of recording capability. The U22 can record two channels simultaneously and includes two analog combi-jack mic/line inputs, two TRS balanced line outputs, a Hi-Z instrument input, a ¼” high-power headphone output, and MIDI I/O. The U42S records four analog and two digital channels simultaneously, and the U82S can record eight analog and two digital channels. In addition, the U42S and U82S include four and eight analog combi-jack mic/line inputs respectively, S/PDIF I/O, two instrument inputs, and two ¼” headphone outputs. Dedicated knobs and meters provide quick and easy access to input and output levels and locking combi-jacks make sure that a connection is not lost in the middle of a performance.

The I∙ONIX Desktop Recording Interfaces all include:

• USB 2.0 connection to the DAW, up to 480Mbps
• 44.1 to 96 kHz sample rates, 24-bit resolution
• Two, Four, or Eight analog ¼” and XLR combi-jack mic/line inputs
• Two analog TRS (Stereo Main) outputs
• dbx high-voltage, ultra-low noise mic preamps on all analog inputs
• 48V phantom power for each input pair
• Input signal metering via 8 LED’s per channel
• Signal mixing and stereo bus signal metering
• Up to two 1/4” high output headphone connections
• Up to two Hi-Z instrument inputs
• Zero latency Direct/Playback monitoring
• Low latency ASIO drivers
• Pantheon II VST/AU reverb plug-in
• Steinberg Cubase LE4 and Toontrack EZdrummer Lite software packages
• Supports Windows® and Mac® platforms

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New JBL LSR2300 Series Studio Monitors Deliver Professional Performance at Entry-Level Price Points

At Winter NAMM 2009, JBL Professional is introducing the new LSR2300 Series Studio Monitor System, delivering professional performance at price points within reach of any studio. The LSR2300 Series addresses the demand for cost-effective, high-performance monitoring systems, driven by the proliferation of affordable, computer-based production systems.

The LSR2300 Series includes: the LSR2328P Bi-Amplified 8-inch Studio Monitor with 160 Watts of amplification; the LSR2325P Bi-Amplified 5-inch Studio Monitor with 85 Watts of amplification; and the LSR2310SP Powered 10-inch Studio Subwoofer with an integrated 180 Watt power amplifier.

In developing the LSR2300 Series, JBL applied the same stringent Linear Spatial Reference criteria used in the design of the acclaimed LSR6300 and LSR4300 Series. While most manufacturers take only a single on-axis measurement of the speaker’s performance, JBL’s Linear Spatial Reference criteria requires 70 measurements, yielding more than 1,200 times more data. The data enables JBL to engineer a system that produces greater accuracy at the mix position. A trademark of LSR2300 design is the large waveguide and the elliptical tweeter aperture that work in conjunction with a 1” silk-substrate high-frequency transducer to deliver superior imaging and smoother frequency response.

Today’s music styles, film production and the demand for high-quality audio for HDTV require a monitor system capable of extended low frequency performance and high dynamic range. To address this, JBL engineered new long-excursion low-frequency transducers with high-flux motors and a custom tuned port that work in concert to produce deep accurate low frequency response, previously unavailable at this price point. The LSR2328P 8” model provides low frequency extension to 37Hz; the LSR2325P 5” model to 43Hz, and the LSR2310SP subwoofer provides deep low frequency performance below 29Hz.

Additionally, each model in the LSR2300 line produces exceptional sound pressure level (SPL) achieved through the use of high-sensitivity transducers and careful attention paid to the thermal properties of the system. Since heat is the enemy of output, the low frequency port doubles as a means of cooling the amplifier output devices. The LSR2328P bi-amplified 8-inch 2-way monitor for example, includes 160 Watts of amplification and is capable of a maximum peak SPL of 117 dB. All three LSR2300 models survived the torturous JBL power test in which the system is required to play at full rated output for 100 hours before becoming a production-ready design.

Featured to integrate into professional systems, all models include balanced XLR, ¼-inch, and unbalanced RCA inputs that allow connection to a wide range of playback sources including computer audio workstations, professional mixing consoles, as well as consumer playback systems. The LSR2310SP Subwoofer includes a 2-channel bass management system with selectable crossover settings and balanced outputs for integration of the sub into any system. LSR2325P and LSR2328P enclosures include mounting points and are reinforced for safe wall mounting. Transducers in all models are self-shielded to allow use in close proximity to magnetically-sensitive equipment.

“Our objective was to introduce a line that provides an unprecedented level of accuracy and performance at the price points. The new LSR2300 Series benefits from JBL’s 60 years of expertise and history of delivering premium studio monitors to the market,” said Peter Chaikin, Director of Recording and Broadcast Marketing, JBL Professional. “With the introduction of the affordable LSR2300 Series, it is now possible for any studio to have the JBL Professional quality and performance that have made our LSR6300 and LSR4300 models the choice of top engineers, artists and facilities worldwide.”

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JBL VERTEC® Line Arrays Specified For High-Profile Tours And Special Events Worldwide

Highlighting the global acceptance and demand for loudspeakers from JBL Professional, rental companies servicing numerous major tours and events around the world relied upon VERTEC® line array systems in 2008. Whether it was AVPG in Texas meeting the demanding special-benefit concert sound needs of award-winning country songstress LeAnn Rimes with their new compact powered VT4887ADP/VT4881ADP rig, Sound Media Fusion deploying mid-size VT4888DP-AN powered line arrays for the 2008 Summer Olympics in
China in the Beijing National (“Bird’s Nest”) Stadium, Sound.com of India adding new VT4888 line array elements to its VERTEC inventory to service a “Bollywood” extravaganza at the world’s largest film studio complex in Hyderabad, AdLib Audio fielding VT4880A Ultra Long Excursion arrayable subwoofers for the U.K. tour by German rock legends The Scorpions, or Maryland Sound handling New York’s Times Square New Year’s Eve for a broadcast audience of one billion persons with VT4889 full-size line array elements, rental sound service providers around the globe offered their clients the precision coverage, premium fidelity, and robust output power capabilities of JBL’s industry-leading line array systems.

A unique case in point was the recent “Heaven's Rehearsal,” a large-scale multi-denominational musical event on November 1, 2008 intended to reflect the gathering of all nations, tribes, peoples and languages in Toronto, considered by many to be the most ethnically-diverse urban center in the world. The event was staged in Canada’s massive indoor/outdoor Rogers Centre, formerly known as the Skydome, and equipped with the world’s first fully retractable roof. The 55,000-seat venue is home to Major League Baseball’s Toronto Blue Jays and the Canadian Football League’s Toronto Argonauts, and frequently hosts concerts from some of the world’s top performers, soccer matches, motor sports, family shows, conventions, trade shows and private events like this one.

“Heaven’s Rehearsal” featured a contemporary band on stage to support solo artists like Dominiq, Maggie Blanchard, and Raymond Anthony Fuentes plus a full orchestra and 500-member choir. The major special event was supported by Toronto’s PA Plus Productions, Inc.

“From an audio perspective, this event posed three major challenges for us, first of which was the acoustical nature of the venue space,” explained Mark Radu, Chief System Engineer for PA Plus. “A huge concrete and glass stadium with a retractable steel dome roof extends 325 feet above the field. Secondly, due to a football game the evening before our load-in, we could not get any points pre-rigged above the football field layout. This limited us to designing a point-source system emanating from the stage without using any signal-delayed array locations. Finally, as a large portion of final ticket sale would be walk-up, there could be no way of accurately predicting which areas of the stadium would require coverage.”

The PA Plus event team onsite, led by Senior Engineer John Lacina, deployed a total of 60 VT4889 full-size line array elements, 32 VT4880 full-size arrayable subwoofers integrated into the full-range speaker arrays, and four VT4887 compact line array elements under-hung for center down-fill. Four main arrays were flown 22.5 degrees apart on a 160-foot (49-meter) radius. In total, 636 driver elements were energized with total available power of 320,000 watts provided by 80 Crown I-Tech power amplifiers. Using Harman’s HiQnet™ System Architect™ software for remote control and monitoring allowed sections of the arrays to be turned off as required, to limit the coverage down to 30,000 people, the minimum attendance expected. The general seating was assigned in a pre-determined order, enabling the audio team to turn on sections of coverage as more distant seating zones were filled.

“JBL’s VERTEC line array systems gave us the predictability and sound-pressure level required to focus acoustic energy only where it would be needed,” summarized Radu. “The system design worked as planned and we were able to minimize spill outside the desired coverage zones. Overall, considering all of the challenges involved, everyone was pleasantly surprised with the final result."

With professional rental inventories on all continents now equipped to offer VERTEC-quality sound reinforcement to sound designers, meeting planners, and concert-industry production managers, a growing number of challenging entertainment and multimedia events like “Heaven’s Rehearsal” are being specified as JBL-equipped projects. “JBL is committed to providing leading-edge business tools that will assist qualified practitioners like Mark Radu and his team at PA Plus to achieve the results their clients expect and require for such difficult events,” explained David Scheirman, Vice President, Tour Sound for JBL Professional. “The VERTEC system’s key design attributes of lighter weight, easier suspension, greater output and better fidelity continue to meet the sound-reinforcement challenges that our customers encounter around the world.”

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JBL Professional Showcases Next Generation Of EON® Portable Loudspeakers

At Winter NAMM 2009, JBL is showcasing the next generation of EON® portable loudspeakers. This includes five models spanning the new EON500 and EON300 series, all of which feature the trademark portability, versatility and reliability that made the original EON series the most groundbreaking and revolutionary product of its kind.

The new EON loudspeaker models feature deep-welled, full-size handles with ergonomically designed grip points. Combined with light weight and balanced weight distribution, the portability of speakers this size is unmatched. The new EON loudspeakers are also extremely versatile, offering flexible mounting capability, making the EON500 and EON300 series ideal for performing musicians, touring bands and mobile DJ’s. Lastly, the new EON loudspeakers offer a level of reliability that only JBL can provide, incorporating JBL’s legendary transducers and special limiter circuitry.

“JBL has developed the new EON500 and EON300 series loudspeakers with the same dedication to performance and reliability as the original generation of EON products, while increasing portability, through an even lighter system and designed ergonomics,” said Simon Jones, Director of Marketing, Portable PA, JBL Professional. “The addition of five new models, including a subwoofer, addresses a variety of applications and customer needs.”

The EON500 series features three new models: the EON515 and EON510 2-way powered speakers, and the EON518S subwoofer. Each of the full-range EON500 series compact, lightweight models features an on-board mini-mixer with loop-thru or mix-out capability, allowing for greater control of the loudspeaker’s output. The EON500 series loudspeakers also offer selectable EQ, multiple suspension points, soft-grip handle and a full screened backed grille for extra component protection. The EON500 series loudspeakers feature a combination of JBL’s patented engineered components, enabling a smaller enclosure and lighter weight than competitive models.

The EON515 and EON510 offer mic and line level inputs, as well as selectable system EQ, giving users a “loudness” type control and the ability to roll off the low frequency for maximum performance with a subwoofer or when used as a floor monitor. Both models feature one XLR/ quarter-inch combo connector and additional quarter-inch inputs providing input flexibility and the ability to mix multiple sources. Each loudspeaker features one XLR output where the output signal is selectable, either the whole mix may be looped to another speaker (or sent to a mixing console), or simply the primary input for traditional “daisy-chaining.”

The EON518S is the first true subwoofer in the EON family of products. It’s comprised of a single 18-inch Differential Drive woofer in a vented enclosure and powered by a 500/1000 watts (continuous/burst) amplifier. The EON518S features a pole mount cup for sub/satellite applications, level control, dual inputs, a stereo crossover network, peak limiter and polarity reverse switch. It also has a speaker level input increasing connectivity, flexibility and system configuration options.

The new EON300 series loudspeakers are the result of cutting-edge mechanical design and expertise in materials, making them as compact as possible but at significantly lighter weight than competitive models. Each of the EON300 series 2-way loudspeakers offers a high performance-to-price ratio, with a very simple user interface, along with multiple handles and suspension utility.

The EON315 15-inch 2-way loudspeaker system offers a total of 280/560 watts (continuous/burst) power and weighs a slight 35 pounds (15.9 kilograms). The EON315 features a 15-inch JBL woofer and a 1-inch exit compression driver with a neodymium motor on a 100 x 60-degree wave guide. The input is mic-line switchable and offers connectivity flexibility in the form of a balanced XLR/quarter-inch combo connector. The EON315 also features one XLR output to facilitate signal loop through.

The EON305 is a 15-inch passive 2-way loudspeaker featuring 250/500/1000 watts (continuous/program/peak) power handling. It offers a 15-inch JBL woofer and a 1-inch exit compression driver with a neodymium motor on a 100 x 60 wave guide. The inputs include two Speakon®/quarter-inch combo jacks linked in parallel. The EON305 is the perfect powered-mixer match, delivering all the fundamental EON attributes to a pre-existing system.

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DIGITECH® INTRODUCES NEW VOCALIST VL3D DESKTOP HARMONY PROCESSOR

DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), has announced its newest addition to its popular line of vocalist products: the VL3D Desktop Harmony Processor. The VL3D is specially designed for keyboard players requiring back-up harmonies for either live performance or studio recording.

The VL3D offers 3-part harmonies using DigiTech’s exclusive MusIQ™ Technology, which analyzes the singer’s voice and adds the most musically correct harmonies while offering real-time pitch correction and gender control. Featuring single-level programmability and five user defined voicing patches, the VL3D can be programmed on the fly without missing a note. The VL3D’s inputs include Midi In, Out/Thru, guitar or line level, and XLR.

Effects available with the VL3D include reverb (studio, room and hall) and a pre-effects section with warmth, compression, de-esser, and noise gate. Additionally, there are controls for Harmony Mix, and an A/B part selector with humanizing mix for dialing in precise gender effects.

Speaking about the new VL3D, Scott Grow marketing manager for DigiTech stated, “The VL3D represents the latest in vocal harmony technology, and our commitment to giving musicians the most advanced processing and best sounding effects in the industry”.

The DigiTech Vocalist VL3D Desktop Harmony Processor has an MSRP of $429.95 and is shipping in February 2009.

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DIGITECH® INTRODUCES REVOLUTIONARY TIMEBENDER DELAY PEDAL

DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), is introducing the TimeBender Musical Delay Pedal. The TimeBender Musical Delay leaps ahead of all delay pedal technology currently available.

The TimeBender not only allows you to input the tempo of your delays, it also allows you to strum a pattern and it will set the repeats based on your desired rhythm. On top of the extraordinary rhythm features, the TimeBender also produces intelligent harmonies on the repeats. If that is not enough, 10 delay types are featured including two tape delays, full-time modulation and a 23 second looper. Until the TimeBender, these types of delay effects were the result of racks of gear and studio tricks. Now you can simply put it on your pedalboard.

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DIGITECH® ANNOUNCES NEW RP1000 INTEGRATED EFFECT SWITCHING SYSTEM

– DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), has announced its newest addition the popular RP product line, the RP1000 Integrated Effects Switching System. More than a multi-effects processor, the RP1000 features a switchable, external stompbox loop as well as an external amp loop that enables the RP1000 to easily connect and control external gear. Unlike most multi-effects products, the RP1000 works with the guitarist’s favorite gear so they do not have to compromise their personal tone. “We realize that guitarists want to use different brands and types of gear to personalize their tone so the RP1000 will do just that,” says Jason Lamb, Marketing Manager for DigiTech. The RP1000 also features an Amp/Cabinet bypass button that removes the RP1000’s internal amplifiers and cabinet effects leaving only the RP1000’s internal stompboxes and effects of 200 individual pedalboards.

The RP1000 features over 160 internal stompboxes, effects, amps and cabinets including the famous DigiTech® Whammy™. The RP1000 is also built for the stage with heavy-duty cast metal chassis, and 14 metal plunger switches.

To top off the RP1000, a 20-second phrase looper allows the user to easily record and overdub tracks for one-man band performances, writing and practicing. Control of the full-time phrase looper can be expanded with DigiTech’s optional FS3X optional foot controller.

The DigiTech RP1000 Integrated Effects Switching System has an MSRP starting at $699.95.

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DIGITECH® REVAMPS LEGENDARY RP SERIES WITH FIVE NEW PEDALS

DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), is introducing five new pedals in a complete upgrade to its popular RP series. With the introduction of the RP 55, RP155, RP255, RP355, and RP1000 DigiTech has thought of every guitarist from the beginner to seasoned musician.

The RP Multi-Effect processors offer tone and effects libraries with up to 200 factory and user-programmable presets, as well as 24-bit A/D/A conversion and built-in tuners. Selected models feature AudioDNA®2 DSP, USB connectivity, built-in drum machines and include library and editing software for PC and Mac®.

The base level RP55 features 80 presets, a built-in drum machine and chromatic tuner. It has 12 amp and acoustic guitar models and can produce 10 effects at once. It has an MSRP of $79.95.

The RP155 gives the user 100 presets, 60 high quality drum patterns and 83 amp, cabinets, stompboxes, and effects. It also features a 20 second looper for on the fly writing and live performance. It has an MSRP of $159.95.

The RP255 offers 120 presets, 94 amps, cabinets, stompboxes, and effects, and also has a 20 second looper for on the fly writing and live performance. The RP255 also has a built in expression pedal and packaged with Cubase® LE4 recording software included. It has an MSRP of $229.95.

The higher level RP355 has 140 presets, 126 amps, cabinets, stompboxes, and effects, and also has a 20 second looper for on the fly writing and live performance. It has a built in expression pedal and is packaged with Cubase LE4 recording software making it perfect for computer recording and writing. It has an MSRP of $309.95.

The most advanced pedal in the series, the RP1000 features 200 presets, external amplifier loop, external stompbox loop switches, external stompboxes, and effects in and out of the effect chain. The amp/cabinet bypass feature defeats the unit’s internal amplifiers and cabinet effects leaving only stompboxes and gear inside the amp and stompbox loop. It has an MSRP of $699.95.

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Drowning Pool Guitarist C.J Pierce Relies On DigiTech® HardWire™ HT-2 For Latest Tour

Guitarist C.J. Pierce of the Dallas-based metal band Drowning Pool is currently on tour to support the band’s current release “Full Circle” on Eleven Seven Music. C.J. has been utilizing the new DigiTech® HardWire™ HT-2 chromatic tuner to keep himself in tune throughout the tour. C.J. has been using DigiTech® effects for many years including the GSP2112 preamp processor and the Whammy4™ for all his tones and pitch shifting effects.

Drowning Pool is a four-piece rock band that was formed in 1996. They rose to fame while playing along with Ozzy Osbourne during an Ozzfest tour in 2001. Their most recent album has a post-grunge sound and is less heavy than their previous work. The first single off the album, "Soldiers," is dedicated to all the men and women of the United States Army.

Last year Drowning Pool’s rehearsal and storage space was broken into with most of the gear being stolen including Pierce’s GSP2112. After last year’s incident, C.J. has obtained the GSP1101 preamp and is pleased to have reproduced all of his signature tones on the new model. Speaking about the preamp C.J said, “The GSP1101 is amazing! It has replaced all of my old GSP2112’s.”

The DigiTech Hardwire Series HT-2 is a chromatic tuner pedal that is visible, accurate and durable when in use, transparent when not. The cornerstone of every pedalboard is a reliable tuner. The HardWire Chromatic Tuner's true bypass means that when it is off, it's out of the circuit.

DigiTech Artist Relations Manager Paul Muniz stated, “C.J. has always had crushing guitar tones. With the kind of abuse the gear takes on the road, it’s great to know that C.J. and the boys can rely night after night on our products to deliver.”

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Harman Professional Debuts HiQnet System Architect™ Version 1.9: Adds New Troubleshooting, File Management, Customization Capabilities

Further advancing Harman HiQnet™ audio network configuration and control protocol, Harman Professional today launched HiQnet System Architect™ Version 1.9, a free download which delivers a host of new features including network troubleshooting tools, file compression and management and advanced control panel customization, to name just three. According to Rick Kreifeldt, Vice President, Harman Professional Systems Development & Integration Group (SDIG), today’s introduction comes just as the community of registered HiQnet System Architect users exceeds 20,000.

“It’s fitting that we pass the threshold of 20,000 registered users as we continue to add new features and improvements to System Architect,” Kreifeldt said today. “I believe our commitment to systematically evolve and improve System Architect is a key reason that audio professionals continue to deploy HiQnet systems in an expanding array of applications. The improvements do not stop here, however, and we will continue to listen to the community of contracting and tour sound professionals to make HiQnet System Architect the most current and progressive configuration and control tool available.”

As new members join the community of registered HiQnet users, Harman continues to add new devices to the HiQnet portfolio. Control of the three models of the new Crown I-Tech HD Series will be possible with the device plug-ins included with System Architect 1.9, which support the configuration of the FIR filters and LevelMAX™ limiters included in the new flagship touring amplifier, the algorithms for both of which were co-developed with BSS Audio. Currently, there are a total of 93 shipping HiQnet devices and a total of 66 System Architect-controlled devices.

Worldwide frequency restrictions and digital TV present a huge challenge for wireless systems operators, and to assist with keeping wireless technologies running, AKG has added the new ‘1 Click Setup’ to its System Architect HUB 4000 Q plug-in. With a single mouse click, the tool runs an extensive environment scan and calculates intermodulation-free frequencies for the entire wireless system on the fly.

High among the new additions is a Network Troubleshooting tool, which actively monitors the network, diagnoses and alerts of any problems and, where possible, automatically resolves the problem or, if manual intervention is required, provides specific instructions on how to address the problem. In addition to providing real-time monitoring and alerts, the tool also creates a backup log of any IP address changes which were made in the event that the previous configuration is required to be restored. One welcome use case will be for those less experienced with network configuration who have the frustrating situation of a HiQnet device being connected to the PC but not showing up in System Architect due to a network configuration error. The Network Troubleshooting tool will see the device, and work with the user to resolve the issue in a few simple steps.

Also new to Version 1.9 is a compressed file format which dramatically reduces file sizes - in test cases as high as a ratio of 100:1. Separately, a new utility installed with System Architect 1.9 enables advanced users to expand and explore the contents of a saved file and thereby edit individual custom panels in an XML editor, and update images offline, etc. The same utility recompresses the file for opening again in System Architect.

Working closely with the user-base of tour sound and contracting professionals, SDIG engineers have carefully enhanced the Custom Control Panel design experience. This includes a more automated mechanism of creating controls on a panel and assigning them to system-wide parameters. By dragging any device parameter from the System Explorer tree or Advanced Parameter Search utility and dragging onto a Custom Control Panel in the design environment, the user will be prompted with a concise list of only the appropriate controls to which it can be assigned. In user tests this mechanism has proved a significant impact on the time taken to create Custom Control Panels. The same mechanism has been implemented for enhancing Custom Control Panel navigation panel: shortcut controls can instantly be placed on a Custom Control Panel simply by dragging the appropriate panel icon from the panel toolbox.

Other Custom Control Panel additions include a freshly-designed Parameter Address Editor dialog, which primarily provides a mechanism for editing parameter assignments of pre-existing controls, but the layout of which is also perfectly suited to enabling fresh parameter assignments. SDIG has also added the ability to copy and paste just the visual elements of a control without copying any parameter assignment. Together these enhancements serve to speed up not just the functional design process of a panel, but also the visual design element.

Additional user interface enhancement includes new window management improvements, offering menus to cascade all open windows or select an active window from a list. Concentrating further on user experience and interaction, a Device Arrange Tool in the Venue View enables the reordering of a selection of devices by device name, device type, device address or device brand.

Harman HiQnet™ is the world's first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. Harman HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles. HiQnet was developed by engineers from across Harman’s Professional Division and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

Harman International Industries, Incorporated (www.harman.com), designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets. Harman International maintains a strong presence in the Americas, Europe and Asia, and employs more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

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dbx® Launches New Flagship SC 64 (System Core) and SC 32 Digital Matrix Processors

dbx® Professional Products, a Salt Lake City-based manufacturer of professional signal processing products and a division of the Harman International Company (NYSE-HAR), is introducing the new SC 64 (System Core) and SC 32 Digital Matrix Processors. These flagship processors feature intuitive Wizard-driven system configuration using Harman’s proprietary HiQnet™ System Architect, for unprecedented DSP power and routing flexibility, making it the ideal foundation for even the most demanding systems.

The SC 64 and SC 32 host a total of 64 and 32 analog I/O respectively, configurable in banks of eight. The flexibility of eight analog input cards and eight analog output cards easily facilitates many different fully loaded configurations, accommodating a wide range of standard sources via the onboard mic/line and Phantom Power switching per input. Two high-speed option slots on the SC 64 and one high-speed option slot on the SC 32 also provide an interface for adding forthcoming high bandwidth audio transport I/O cards. The units feature dedicated DSP for common processing functions as well as insert positions for specialized processing and popular audio tools including dbx Advanced Feedback Suppression™ (AFS™) Ambient Noise Compensation (ANC), priority ducking, parametric equalization (PEQ), delay and dynamics.

Additionally, the new SC 64 and SC 32 devices offer a diverse range of control options including HiQnet™ System Architect custom control panels, as well as Ethernet, serial, contact closure control, ZC wall controllers and even automatically scheduled events. An optional media engine facilitates delayed paging and storage of audio files for scheduled playback.

For more information, please visit www.dbxpro.com.

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dbx® Professional Products Introduces New DriveRack® PX Powered Speaker Optimizer

dbx® Professional Products, a Salt Lake City-based manufacturer of professional signal processing products and a division of Harman International, introduces the new DriveRack® PX Powered Speaker Optimizer. The PX is the latest in the acclaimed dbx DriveRack family of products, which provide flexibility, sonic excellence and intuitive control for performance applications. Specifically, the new PX is designed to enhance and optimize the performance of powered speakers, all in an intuitive package that requires no special skills to operate.

Utilizing the highly acclaimed DriveRack technology, the PX is the first processor in the industry specifically tailored for powered speakers. Although powered speakers by definition require no amplifier or external processor, the DriveRack PX is an indispensable addition to any powered speaker setup, as it hosts a number of impressive features that offer louder, cleaner, better sound than had previously been possible from a powered speaker system.

An included dbx M2 measurement mic uses Auto-EQ to correct for audible deficiencies in the room environment. dbx’s patented Advanced Feedback Suppression (AFS™) kills harsh feedback, allowing problem-free operation at higher sound levels, and the patented Subharmonic Synthesizer extends bass response for enhanced bottom end. The graceful PeakStopPlus™ Limiting protects the speakers without sacrificing overall sound quality.

Other included features increase versatility and ease of use. Intuitive out-of-box support for a host of JBL® and other popular powered speaker brands and models and support for either stereo or mono subwoofer models make the PX the turnkey processor solution for almost any possible powered speaker setup. The exclusive Setup, Auto-EQ and AFS Wizards make setup easy and fast, preserving the simplicity of the user’s powered speaker system.

The dbx DriveRack PX is now shipping with a street price of $399.95.

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Crown Introduces XTI6000 Continuing A Heritage Of Leading Amplifiers For Portable PA Applications

Reprising the broad market success of its XTI Series of portable sound amplifiers for live sound and fixed applications. Crown Audio is introducing the next generation XTI6000 that features advanced power performance, improved system reliability, and a new breakthrough user interface for configuration and control in Crown’s HiQnet™ Band Manager™.

The Crown XTI Series has earned a formidable reputation in the portable sound market place, leveraging Crown’s unparalleled heritage in live sound amplification. The new XTI6000 provides audio professionals with the winning addition of a power amplifier solution to this high value, high performance product line.

“The best just got better with the XTI6000. We’ve listened carefully to the needs and suggestions of end users and retail partners before we built a compelling new amplifier that packs tremendous punch, performs consistently, and is priced to reach the broadest possible market,” stated Andy Flint, Crown marketing manager for portable PA.

The XTI6000 allows for plug and play usability with it’s integrated proprietary DSP with LCD front panel making it easy to set crossovers, delay, limiters, and EQ along with the ability to save and recall up to 20 presets.

Continuing the heritage of previous XTI-Series amplifiers the XTI6000 features an LCD screen with speaker presets for crossover frequencies, EQ, limiting, delay, and a subharmonic synthesizer. Additionally, there is switch-mode universal power supply, useful function indicators, propositional-speed fan-assisted cooling, XLR inputs, Speakon® and binding-post outputs, and short-circuit protection. The XTI6000 weighs in at 24lbs and has a MAP price of $1,999.

Power per channel:
3,000W at 2 Ohms; 2,100W at 4Ohms; 1,200W at 8 Ohms

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Crown Audio Breaks The Power/DSP Barrier With New I-Tech HD Series

In an introduction that dramatically resets expectations of what a professional-grade touring amplifier should deliver in terms of performance, processing, integration and ease of use, amplifier pioneer Crown Audio today introduced the new I-Tech HD Series amplifiers that have been meticulously engineered to advance every criteria by which an amplifier is judged. At its core, I-Tech HD features a new user-inspired DSP engine co-developed with BSS and Linear Phase FIR filters that offer unrivaled performance. Together with Crown’s Class-I amplifier technology; new software that makes I-Tech HD robust and very easy to configure; an industry-leading choice of input options including CobraNet and the all-new LevelMax™ limiters (Peak, Thermal and RMS), I-Tech HD is a stunning product of engineering R&D, more than 60 years of amplifier heritage and systematic user input from tour sound leaders in all markets.

“I-Tech HD, our new flagship amplifier, advances the state-of-the-art on no less than seven fronts,” said Mark Graham, President of Crown Audio. “A remarkable achievement in engineering, I-Tech HD Series is a destructive technology in the sense that it obsoletes all that came before it. It’s a worthy testament to Crown’s engineering team and the tour sound professionals around the world who helped with the development.”

Developed in conjunction with sister company BSS, the next generation OmniDriveHD DSP Engine at the heart of I-Tech HD is built on a new architecture specifically optimized for fast and efficient audio processing to provide tour and contracting professionals with a new platform for signal processing. The new FIREWALL™ FIR filter technology provides significantly improved midrange clarity and dramatically improved off-axis response. The OmniDrive HD reduces latency, safeguards sonic integrity and advances system reliability. AudioCore features 24- bit, 192 kHz A/D and D/A converters.

In yet another industry first, Crown Audio links the limiters in its new family of amplifiers: Crown’s innovative LevelMax™ limiter technology links the previously independent Peak, Thermal and RMS Limiters, enabling more effective, elegant protection of connected speakers while advancing system performance. LevelMax limiter actions are better informed for more effective, efficient results and minimal sonic degradation.

Crown I-Tech HD benefits from the software R&D firepower of Harman Professional’s System Development & Integration Group (SDIG) and is easily configured via HiQnet™ System Architect™ Software. The user interface has been completely redesigned. Managing large networks of amplifiers on the road has never been easier. System Architect mirrors the typical browser navigation interface to provide tour sound and contracting professionals with a familiar interface to access a host of power configuration and control functions. System Architect includes context-sensitive, alphanumeric keypads, which pop up automatically with relevant parameter units when a value or text entry box is selected with the stylus.

Further simplifying ease of use, Crown I-Tech HD Series features a road-warrior-inspired front panel USB slot for load and recall of amplifier settings. Chief engineers can simply hand pre-loaded USB keys to entry-level staff who can now quickly, cost-efficiently and accurately configure entire racks by inserting the correct key and pressing the load button. A patent-pending intuitive front panel work surface with LCD display provides fast and easy menu-based system setup and full amplifier diagnostics.

Crown Audio’s commitment to networking and interoperability goes beyond the USB slot. I-Tech HD boasts a category-leading arsenal of standard input options including CobraNet, AES/EBU and analog XLR inputs, allowing distribution of many channels of real-time, high quality digital audio for a vast array of touring and contracting applications.

I-Tech HD builds upon Crown Audio’s remarkable 60-year heritage of amplifier design and the category-defining legacy of the original I-Tech amplifiers. Patented Class-I Amplifier Technology featured in the new I-Tech HD delivers the highest output voltage in the industry, which provides clean transient peaks.

“Today, great power comes with great functionality,” Graham continued. “With I-Tech HD, Crown Audio has achieved the enviable balance of matching functionality with ease of integration, network scalability, intuitive operation and power performance. Just as I-Tech set the benchmark for integrated DSP and amplification — topping many millions of watts on the tour sound circuit and in fixed installation — I-Tech HD provides members of our user community with distinct audio and commercial advantages that make them better, faster, more competitive and lighter than their competition!”

Protected by a rugged 2U chassis, the I-Tech HD weighs in at a lightweight 30 lbs. (13 kg.) but its proven, Class-I output design packs a heavyweight punch to deliver massive amounts of power while generating minimal heat. Crown Audio’s patented Power Factor Correction (PFC) techniques allow I-Tech HD to draw current from the mains more efficiently, which in concert with the Class-I output enables I-Tech HD to provide the highest output voltage available and a clearly audible difference driving high-performance loudspeakers. Minimum guaranteed power ratings are as follows:

Power per channel with both channels driven:
I-T5000 HD: 2,000W at 2 Ohms; 2,500W at 4 Ohms; 1,250W at 8 Ohms
I-T9000 HD: 2,800W at 2 Ohms; 3,500W at 4 Ohms; 1,500W at 8 Ohms
I-T12000 HD: 3,750W at 2 Ohms; 4,500W at 4 Ohms; 2,100W at 8 Ohms

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