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Push The Button: Programmable remote panels for 4 Series & 1048

Introduction

Some applications for remote control, especially for permanent install situations, may not require connection to a PC running iCore or Audiocore. In some cases, access to remote PC software may be too complex for day-to-day operation, and so inappropriate.

If there is a requirement for adjustment of levels, triggering mutes, or changing scenes (recalling memories) then our Simple Remote Protocol will satisfy this, and is implemented in all 4 Series and the DC1048 (and Ti1048 from MC2 Audio).

We have sourced a hardware solution which can be programmed to transmit messages using this protocol, with total flexibility as to what each button controls – levels, mutes, recalls – across inputs or outputs and across multiple devices.

Hardware Options

We can supply the single gang, 8 button panel from Ikon’s “Synergy” range pre-programmed to operate with all 4 Series units, the DC1048, the MC2 Ti1048 and all OEM processors.

FOH UP/DWN will inc/dec the current gain of inputs A&B in 1dB steps with a range of -20dB to +3dB.

DJ UP/DWN will inc/dec the current gain of inputs C&D in 1dB steps with a range of -20dB to +3dB.
MEM 1-4 will recall user memories 1-4 on all processors. In the case of 4 Series this will recall “Everything” – so Input PEQ, GEQ and Xover settings.

These settings can all be changed if this configuration doesn’t suit your application.

The XTA Part Number for this panel is ACC-SYNERGY.

There are other sizes of panel available, either designed to fit in a UK single lighting back box, or a double UK back box, with either four, eight or 16 buttons.

Please contact us if you require a different panel as we do not hold stock of all the different variations.

Hardware Description

All panels are powered by a supplied 12V external PSU, and connect via a simple 3 wire RS232 connection. If RS485 connectivity is required then a K2-ADE RS232-485 converter can also be connected (and share the 12V supply with the panel). This can all fit in a UK back box.

All buttons are illuminated in green and, dependant on their programmed function, can operate as:

Momentary – trigger one off events such as level adjustments;
Toggle – on/off events such as mutes;
Linked groups – select certain buttons to work together so only one can latch within the group – set up four buttons as four scene recalls (as only one can obviously be active at any time);

In addition, when set as momentary action, a “repeat” action can be programmed so that, for example an inc/dec level message can be repeatedly transmitted if the button is held in so levels can be ramped up or down without having to press the button repeatedly.

All panels also support at least one external connection which can be programmed as an additional “button” or be used, for example, with a key switch to disable the panel functions.

They also have an IR emitter capabilities which can be used to send infra-red commands to any additional AV equipment if required – not all the buttons need to be dedicated to controlling XTA equipment. For example, satellite/cable TV boxes, projectors or external audio sources can be adjusted – the supplied software can learn commands from the equipment’s remote control and then replicate these commands as required. Larger panels have a pair of transmitters available.

Programming Panels

Proprietary software is provided to set up the panels’ functions and program the command sequences (or strings) as required. We have added an XTA library to this software which covers the commands that are supported by our units via the Simple Remote Protocol as described earlier.

Additionally, we have a spreadsheet available that allows commands to be built for instances where the library functions may not have it covered, as obviously we can’t show commands for every combination of unit/ID/command/parameter!

The software also has a built in labelling utility – the labels can bhttps://audiocore.wpengine.com/wp-content/uploads/2014/04/simple_remote_protocol_14.pdfe printed out and clipped into place under the caps of the buttons, ensuring a professional-looking finished panel.

Further Information

The manufacturer’s datasheets can be found here, and the programming software is free to download here.

Additional styles of panel are available – including screwless panels with brushed chrome, or polished stainless steel finishes.

Please contact us with your requirements and if you have any questions about how they work. This information is also available as a pdf.

AudioCore V8.86 is here – start skipping!

Yes – start skipping! And this is why – there are serious and valuable additions to this latest AudioCore release, but the one thing that will probably be appreciated more than any other is the small addition of this little button:

If you know they're not there, why wait? Tell the computer! — If you know they’re not there, why wait? Tell the computer!

You’ll see it now when you start working on a new system and AudioCore is scanning all IDs to see what’s out there(after choosing to “Build System From Connected Units”):

Once your IDs have been found, hit the button.

Handy.

Even more handy is that AudioCore now supports the DC1048 (and the MC2 Ti1048) for the first time, including the ability to configure and manage the timed presets. We won’t go into all the editing and how that works – it’s basically the same as a DP448 but with the mix matrix mode of the DP548 (instead of fixed level routing).

Remember – if you’re connecting the DCor Ti1048 to the computer via the USB connection, you need to select “Master” as the connection type on the unit, and in AudioCore select “RS232” as the connection type and choose the appropriate COM Port that the USB-Serial device is installed on.

To access the timed presets, it’s a simple right click on the device window, in the same way as you would do to modify the routing or edit input and output names:

Choose "Timed Presets" to edit the automated recall configurations for this device... — Choose “Timed Presets” to edit the automated recall configurations for this device…

This will then display the timed preset manager, where up to 10 events can be scheduled – either as weekly events on certain dyas, or as single one-shot events at a certain time on a certain day.

Note the “Update to current time” tick box in the bottom left corner – it’s handy to tick this before hitting OK, as it will send you current computer’s clock settings to the unit to make sure its clock is correct – assuming your PC’s one is of course 😉 It’s worth knowing that once a one-shot event has “fired”, then next time you access the timed preset manager, it will have been deleted from the list.

Talking of presets, the ability to load presets from DP448 “.xbl” files (Library Manager files) has been extended to cover the DP548 and the DC1048 and Ti1048.

Presets are loaded on an individual basis through a right click on the Device Window and choice of “Modify Device”:

Just as you would choose to edit names or change routing configurations... — Just as you would choose to edit names or change routing configurations…

On the first tab, you’ll see the “Load Preset” button:

Point AudioCore to a Library Manager file (NOT the output bin file that you would load into the unit – they won’t be recognised!)

We will access the L-Acoustics library file:

…and given a suitable file (it has to be a DP448 file – so a compatible 4 in 8 output device) you will be greeted with a list of all the presets in this file. Pick one and load and you’re done!

Note that the routing is handled intelligently when loading a fixed routing preset into a DC1048 or Ti1048, and into a DP548 which is currently running in matrix mixer mode. Channel sends will be muted or set to 0dB in accordance to the fixed routing config in the preset. If, when loading into a DP548 the current config is already a “fixed” routing ( so anything other than mix matrix mode), then this mode of operation will be preserved.

For example, the L-Acoustics preset loaded into the DC1048 above (which only operates in mix matrix mode) will have set up the “sends” to work just like a 2 x 4 way system, as you can see below:

In case you were wondering, presets with summed inputs (such as mono summed outputs for sub drive) are also sympathetically handled: an output fed from A+B for example in a preset, will be imported into a mix matrix with both sends set to -3dB so the output level is summed to 0dB. This is the way the fixed routing has always worked too.

And don’t forget this:

Is there football on? We’ve been rather preoccupied…APA Series vs World Cup 2014

Apparently there is some sort of football tournament on, but to be honest, it’s so far passed us by here at XTA, such has been the feverish activity with the launch of the APA Series at InfoComm this week. From the feedback we have received so far, it feels like all our efforts are being rewarded with great positive interest from you, not just in person at the show, but all over the wwworld.

I needn’t turn this post into a sales pitch for the new amplifiers – you can read all about them elsewhere on the website, but I will take this opportunity to dispel a couple of myths regarding the background of the amplifier and its design – things that are being speculated upon on a variety of forums and social media, only 24 hours after the launch!

As many of you may well know – we started research into Class D amplifier design way back in 2003, where we undertook a joint project with our good friends at Funktion One. They wanted amplifier modules for their subs and famous Resolution series of speakers. As we already supplied them with their OEM processing (in the form of the X01, and currently with the XO2 and XO4A) and they were willing to collaborate with us on the this first foray into digital amplifiers, we were both destined to hopefully learn a lot and end up with some great products at the end of the project.

And that’s exactly what happened – over the course of the next three or so years, we designed and built two immensely powerful digital amplifiers with a full suite of XTA DSP inside (at 96k – still a big thing way back then!), along with full remote control capabilities, in addition to ground-breaking protection systems that have since been introduced in many other manufacturers’ designs such as error logging, and supply monitoring and low power standby modes. The A4 and A6 modules delivered 2.5kW and 5kW peak power respectively, in a footprint the size of a phone book (A6 – the big one). Cramming this much power into such a small area and making sure it is robust enough to be tumbled about in the back of a sub cabinet taught us a lot about the right (and wrong) things to do. Clever tweaks to the software as the designs developed added hidden features such as adjustment of limiter time constants in reaction to over-modulation of the output stages to keep the amp up and running as long as possible, and even adjusting fan speeds not only due to temperature conditions, but with peak signal levels to help pre-empt thermal build-up – all these things would prove useful to have discovered when we came to starting with a clean sheet and the design of the APA.

The merger with MC2 Audio after this added even more amplifier know-how into our growing R&D pool of resources. They had the background of lightweight switching amplifiers in the form of the hugely successful E Series, but one of our first collaborative projects was the introduction of some intelligence into the more workhorse T Series, to make them more appealing as installation amplifiers. Thus the Ti Series were born, incorporating traditional great sounding Class AB amplifier technology with more installation friendly features such as remote control and monitoring, speaker load alarms, mains power-up sequencing, simple level and standby remote adjustment for incorporation into existing building management systems.

Going hand in hand with the introduction of the Ti Series amplifiers, were the first forays into audio networking technology – the Ti Breakout boxes. These boxes could pick off 8 or 16 channels of networked audio (Dante or CobraNet) and feed a rack of Ti amplifiers – the whole shebang being remotely connected back to a PC for control, configuration and monitoring (via iCore – the software that was also developed). They also had another card up their sleeve, which was their ability to learn about all the other connected amps and breakouts on the network (even over Ethernet hops). This enabled one breakout box to be switched to a “Master” mode whereupon, without intervention of a PC or any remote device, it would monitor and report back on all amps and breakouts, giving feedback if any amps’ loads went out of spec, got too hot, or disappeared off the network.

As can be seen from all this research and a steady progression of product development, the APA Series have been born from a vast amount of hands on acquired first-hand knowledge.

Let’s make one thing clear too – the power supply, the power stages, and even the DSP platform used in the APA Series are not culled from any existing MC2 or XTA products. This is not a cut and paste design – sure we have learnt lots along the way and there will be elements of the amplifiers that have built on what we already know, but that’s the “D” in “R&D”!

For example – the DSP platform shares some algorithms with our flagship processor, the DP548, but (remembering that the DP548 is a 4 input and 8 output processor) doubles the power available (and we are only processing 4 channels in the amplifiers). The power supply is power factor corrected and designed to operate with no need for range switching – truly universal worldwide use. The output power sections are over-engineered with devices capable of current delivery far in excess of what is asked of them, to provide ultimate reliability and low stress (both to them and you!).

It’s an XTA design through and through – even extending to the careful consideration of the display and user interface. Whilst the unit is fitted with a full colour LCD screen – you could be fooled into thinking it’s just a monochrome display. This is very deliberate so as to use colour effectively – you’ll only see red on the screen when there’s something you need to know about urgently (an alarm condition). This way, a glance at the amps doesn’t require you to study the screen – if there’s no red anywhere, all is well! Similarly with the metering – all looks pretty normal and you might never know the LED bars weren’t anything other than standard green yellow and red. However – start driving the amps above the limiter thresholds and the meters will swap to red and start reading “downwards” to show gain reduction. Again – a quick glance is all that’s required to confirm everything as it should be.

Now the launch is underway, we might be able to take an evening off and catch up on some of the football – at this point England are apparently still in the running…however, let’s just say we don’t think we will be glued to the TV for long 😉

United Brands means a whole new PL&S look for 2014!

So another year, another Frankfurt. Or not in the case this year as it was all change for us – the only thing that stayed the same was our position in hall 8.0 at trusty F60. With a change of German distribution from Atlantic Audio to the newly formed company United Brands, they did exactly as it said on the tin: United Brands.

Ourselves and MC2, Martin Audio and DiGiCo, plus of course UB, created (over about 6 months and not without some moments of tension along the way!) a new megastand which allowed all the brands to maintain their identity whilst still feeling part of a group of British companies, complementing each other.

Of the four brands represented by UB, XTA and MC2 probably had the biggest change compared to Martin and DiGiCo, and it was oft remarked that we had stepped up and looked great! Judge for yourselves – there’s a gallery on Facebook.

It was a great show and the new DP544 went down well, adding to it’s stablemate the DP548 to form the 5 Series.

As you’ll see from the photos, the Becks also went down rather well! 🙂

New DP544 – new AudioCore – new firmware!

Following on for the success of our flagship DP548 dynamic management system, and after many requests for a different format of this winning formula, we are expanding the DP548 into the 5 Series and introduce its newest family member, the DP544.

The DP544 includes all the features of the DP548 but now comes in a 4 input – 4 output format.

For all those applications where the main focus is the dynamic EQ, changing the I-O count to four inputs and four outputs makes sense – the DP544 will then fit in perfectly when considered as an in-line processor or insert processor. Imagine the top quality power available when two units are combined with a DS8000D running digitally at 96k directly into a pair of DP544s – superb mic preamps, and a digital signal chain of top quality equalisation and dynamics with remote control!

Coupled with this release, there’s a minor bump up of AudioCore to version 8.85, and an update of all 4 Series firmware to version 2.30 across the board. We’d recommend you update your units if you download the new AudioCore just to ensure you don’t get any comms errors.

Seasonal Gifts from XTA: DC1048 New Firmware and DP548 Live Presets!

Bass bins roasting on an open fire, headphones nipping at your ears…oh yes, it’s the most wonderful time of the year again – it’s Black Friday and Cyber Monday.

Well, when you have finished buying all your presents on-line from the comfort of your sofa, here are a couple of free gifts from us. Whether your nearest and dearest would be impressed with unwrapping these on the 25th is your call 😉

New DC1048 Firmware

We’ve have had a few instances recently where calls have come in about 1048 units that are not producing any sound. Meters working, all seems well but no audio. What might cause this? Mutes on perhaps? Bongo! As these units have no visible indication that mutes are enabled and the meters are pre-mute point, if you’ve pressed the System Mute button in iCore and then disconnected the computer there was no way of knowing it was enabled on the unit.

As the system mute is retained on power-down and cannot be switched off by recalling a memory/preset, you could have reasonably been confused.

Well, no longer – turning the System Mute on will now display a message on the default screen in place of the clock/date and if you power up a unit with the system mute on, you get the opportunity to turn it off locally on the unit by pressing OK – no need to plug a computer back in.

We have also added a new GPI mode – ALARM mode. This changes the functionality of the GPI port slightly as follows. In ALARM mode, the port is read at power up, to ensure any remotely enabled memory setting is recalled, and if no connections are applied to the port, memory 1 will recall.

This is to allow for situations where the unit not only has to select between possible mute/unmute scenarios for voice EVAC systems, but also perform another (different) recall if the GPI plug is disconnected.

This firmware is available for both DC1048 and Ti1048 online in the zip file, along with the loader program – remember it’s a single version for both Ti and DC versions. Get it here.

DP548 Live Presets

Meanwhile, XTATV Studios have been busy preparing the first of the Live Presets, showing you some of the more interesting uses for the Dynamic EQ bands that are available in the DP548.
Mention “Dynamic EQ” and what springs to mind initially is quite traditional “corrective” uses such as De-Essing or De-Popping, which can, of course, be accomplished very easily.

However, as the DEQ available in the unit have a few more tricks up their sleeve, other dynamic control that you might not have thought of can be achieved.

For example – used on inserts – a couple of bands can be pressed into full range service, one in boost below more and one in cut above mode to create a window of gain control and so a “levelling” function.

As the bands can also work as shelving filters, you can set two as high and low shelving EQ , and make them boost below a threshold – instant (but dynamically adapting) loudness compensation.

There are more to come, but have a look and listen to these two – and don’t say we never give you anything!

Happy Christmas!

Downton Abbey, Strictly, X Factor or XTATV?

You made the right choice – be informed as well as entertained, and spend a few minutes watching XTATV’s latest output all about the DP548 Dynamic Audio Management what makes it much more than a DP448 with purple buttons.

If any of you have wanted to get hold of a Series 2 Dynamic EQ or Comp, and feel like you missed the boat (well, you did – that ship sailed some time ago – and finding one second hand is not an easy task!), all is not lost.

There are 4 channels’ worth of D2 multiband dynamics, and 8 channels’ worth of C2 compression added to the already extensive DP448 lineup, AND your DP448 presets will work in this too…

Watch the video and look forward to our DEQ in action clips coming along shortly…

iCore Version 2.31 – because of Windows 8!

Just a quick note to address an issue that has already come to light about Windows 8 (and Windows 7 as it turns out)…
Some of you may have experienced an error after installation of the latest release due to the file structure changing from Windows XP through Vista and into W7 causing a message to appear when you run this latest release of iCore:

“Error: cold not create new Image library file, GetLast error = 5”

This is due to a folder no longer existing within the Windows file structure. We have fixed this by moving this to the local program folder so you can now get the new version, 2.31, here.

Sorry about the inconvenience of having to download and reinstall – we hope the new features make up for it!

iCore Version 2.30 now available: what’s new, what’s been improved…

The latest version of iCore is now on-line with lots of tweaks and performance enhancements to make it quicker and easier to use.

Let’s start with the essential and inevitable bug fixes:

Firstly the off-line editing and then send settings bug has been fixed. Now, any off-line editing you do will be correctly applied to connected unit when you go back on-line. Remember how powerful this feature is, especially when configuring a system which includes DSP (be that 4 Series or DC/Ti1048s). You can commission the system at home and then connect to the devices on site, and download all the settings, including memories, preset scheduling (1048s only) and current system settings in a single dump, AND have a copy of this as an iCore .icd file as backup.

Secondly, if you have ever copied and pasted presets from a DP448 to a Ti or DC1048, with output level trim enabled in the preset, you may have discovered that the trim range was incorrect – the trim of output levels should be restricted to6dB around the preset value, but this range was being pasted in at 12dB around the preset value. Remember that if the gain trim is enabled when a preset is designed, this 6dB window is not adjustable (so you can’t select a 3dB window for example) .

So that’s the fixes done – now on to the nice stuff – the additions:

Reset to default option for 4 Series and Ti/DC1048 devices:

Remember - this leaves all outputs set to FULL RANGE - that's why the mutes are ON by default! — Remember – this leaves all outputs set to FULL RANGE – that’s why the mutes are ON by default!

You can now right click on a device in the device view and choose to “Reset to defaults”. This works with all 4 Series, and Ti and DC1048s. A word of warning – use with caution! Whilst this only affects the current settings (so this deosn’t delete preset/memories or anything else), it does open all crossover filters and flatten all EQ, setting gains to 0dB and on 1048s routes all inputs to all outputs (so each mix of the matrix is set to 0dB too). On 4 Series, all outputs are routed to input A only. Mutes are enabled on ins and outs to try and stop you making any expensive mistakes!

Move to zone option for easier large system management:

This replaces the dragging and dropping functionality and works much better when there are devices off the bottom of the view list... — This augments the dragging and dropping functionality and works much better when there are devices off the bottom of the view list…

A right click on any device allows you to move it to another zone (assuming you have defined multiple zones). In a system with more than about 30 devices, the list of units can scroll off the end of the screen, and when there are zones included in this, it can become quite difficult to drag and drop units into the correct zones.

Skip button when scanning system added:

Pretty self explanatory (with the explanatory comment!). If you are using only Ti amps and network components, you can now skip the DSP ID searches (the ones where you specify the ID number via the individual units’ front panels) and jump straight to the fixed ID search (that uses the serial number chips built into every amp/breakout box).

Status display on bottom toolbar:

Anything that you need to know will show up as a blue bar here.

In combination with the addition of the zone collapse/expand arrows, there is new status bar notification of any problems with the system, such as a device going offline or an amplifier reaching a temperature threshold. Remember, if you want a device to stay as part of your system, but don’t want the warnings about it, you can right click on it in the device view and set it to be ignored.

Zone collapse/expand controls now also warning triangles:

Arrow will flash yellow to highlight if there is a problem in the zone, even when zone is collapsed.

This is pretty self explanatory – any device in a zone that requires attention will change its status indicator from green to yellow or red and the zone’s arrow will start to flash – the status bar notification will also change to blue and describe the problem as explained in the previous section.

Other improvements…
There are a variety of other little tweaks here and there, such as a bigger and clearer System Mute button (remember that enabling System Mute on a DC1048 or Ti1048 won’t show up on the front as there are no mute buttons or indicators, so if there’s no signal through them, perform a System Mute/Unmute operation!).

The zone collapse and expand animations have been sped up to help performance on older machines, and the comms system has been overhauled to reduce traffic in large systems – all devices only receive a “heartbeat” unless they are “in focus” now so large systems can be monitored at a faster rate.

One final thing – the integrated firmware updater for Ti amplifiers and breakout boxes has been replaced by a firmware checking tool in Tools > Show Device Firmware Status. Firmware updates will now be handled by the standard xta flashloader program and bundled in the zip file along with the firmware files, available on the website.

So what are you waiting for? Download the new version here!

PLASA – what does it stand for?

Another year, another Plasa…but not quite so this year. Oh no – this year it was all change at Plasa HQ with the imminent demise of Earls Court calling for a change of venue, and ExCel is where it’s at, post Olympics.

[Apparently the requested listed status was overturned by an “structurally unsound” report – don’t let progress get in the way of preservation of iconic buildings, developers of London…]

The regular readers amongst you will have read the ExCel reconnaissance post about the trip we undertook late last year as the Plasa marketing department started their campaign in earnest to debunk as many ExCel myths as possible and get companies on-side for the new show location in 2013.

We were suitably impressed with the presentation, and decided to give the show a go and see how the new site would work out.

Any of you that follow us on facebook (and if you don’t why not?) will have seen the photos of build up and the resulting very smart stand that we shared with our UK distributors, Polar Audio.

Not the Miley Cyrus album - the very smart Polar Audio stand ready for action! — BANNERS: Not the Miley Cyrus album misprint – the very smart Polar Audio stand ready for action!

In these austere times, and as we were hedging our bets about the success of the show somewhat(!), we decided on a theme this year that was application-centric as opposed to being product-centric. To this end, the main application areas we cover for both MC2 and xta, could be roughly split into three categories:

Live: Our bread and butter – covering concert hire, theatre, touring, events and festivals
Club: Often through our OEM partners this covers bespoke systems for high-end nightclubs and music venues
Install: It doesn’t end there – our gear also gets specc’ed into other more specialist venues and locations, such as cruise ships, sports stadia, NASA [no, really – read about it here and make sure you click on the bottom picture to be very impressed!]

PRESS: One sniff of a humous wrap or a glass of Pino and they're there! — PRESS: One sniff of a humous wrap or a glass of Pinot and they’re there!

So, the stand used these three categories across the board as Polar also distribute brands such as Aviom, Beyerdynamic and Mackie, so these could work for them too.

As for the show itself…well, despite the naysayers, there was a buoyant feeling to it all, maybe brought about by the novelty of the new venue as much as by the visitor numbers. There is still no getting round the fact that, as a certain magazine editor who shall remain nameless* asked – what does Plasa stand for? Pro Light and Some Audio? The balance has been shifting over the past few years and this change of location doesn’t appear to have done anything to redress this tilt towards lighting, lasers, smoke and fog.

As it was pointed out to me – audio manufacturers are at an immediate disadvantage in the show setting due to health and safety legislation (and general comfort of visitors), as it makes little sense for us to be setting up systems on stands in the middle of an open exhibition space and all blasting out sound. The reverberant build-up alone makes it pointless and generally unpleasant for everyone, even though the constant sweep, flash and blind of the lights is permitted…

Talking about “unpleasant for everyone though” – one comment that came up again and again was the subject of the temperature in the hall. We shouldn’t be moaning about having a few days of lovely weather in October, and indeed it made the time spent around and about the surrounding areas in the evening a very pleasant experience. However, combine mild evenings and warm days with a hall filled with big hot lights and suddenly you have a recipe for a sweaty (personally speaking of course!) uncomfortable atmosphere. A flick of the AC switch a couple of hours before the doors opened each day would have made a world of difference.

Enough of the moaning – so what could be done next year to improve the lot of the audio fraternity? I believe the AudioLab talks and presentations were well received at the show (covering interesting and diverse topics such as cracking Brazil (no nuts) – the untapped market in a country with more festivals than you ever thought possible, to handling comms at a huge sporting event full of balls (in this case Wimbledon). These lectures are great for customers and interesting for companies to attend, but in terms of B2B and B2C (please forgive these acronyms) they don’t help us showcase new gear or demonstrate our equipment.

Due to the way ExCel is organised and built, it doesn’t lend itself to demo rooms in the style we have been accustomed to with Earls Court and even Frankfurt, as the multitude of presentation rooms available are stud-walled moveable partition affairs, with suspended ceilings and glass all across the back. Great spaces for talks, not great for making a noise in.

We did have the speaker demo and shoot-out, with some concert format systems, club systems and portable systems fighting it out, but even that wasn’t the best organised affair – eyebrows were raised when it became apparent that switching between the smaller systems entailed quickly plugging/unplugging XLR cables during announcements – a little bit poor for a cutting edge audio technology demo! Note to PLASA – next year ask us and we will provide you with a slick iPad based switching system free of charge!

On the subject of the demos, it was interesting to see Pioneer enter the club arena with a lowered Vauxhall Corsa of a system, complete with “acoustic lenses” straight from the 80’s hifi boys:

Not enough drivers! HF "acoustic lenses" ensure your top end ends up in the carpet. These aren't the Pioneers BTW - these are Sansui ;) — Not enough drivers! HF “acoustic lenses” ensure your top end ends up in the carpet. These aren’t the Pioneers BTW – these are Sansui 😉

Here they are in situ at the shoot-out:

Wall of sound - the Pioneers are at the front of this shot. Big, arent' they? — Wall of sound – the Pioneers are at the front of this shot. Big, arent’ they?

Hard to miss that “acoustic lens”, and hard to understand how it was making things better, to be truthful. The overall presentation from them wasn’t as shonky (technical term – this is a blog remember) as I had imagined, and if they got that HF mush sorted out, these might be OK as they were punchy and actually quite focussed in the midrange. However, even moving into the “beam” of the “lens” didn’t miraculously surround me in lovely crisp top end – it more bathed me in a swooshy wash of slush. Our friends with their lovely purple boxes don’t have to fear just yet!

Finally, a couple of much less important photos that just had to be used…somewhere. So if you’ve read this far you will distantly recall the pictures of the Polar Audio stand and how good it looked with its bold bright graphics. How many times have you seen the “hands in the air” shots to represent the live gig or festival experience? Rightly so of course – it’s what most people equate with a crowded music gig and it’s all part of the fun. We have used this ourselves, and there’s no shame in it. For a vertical format banner though it does’t quite work – turn it on its side and it starts to look like a screenshot of audio capture (I wonder if anyone has explored that yet?!).

So we needed a few individual concert-goer shots of the “rock” hands to play with. And this is where Richard came in…I think the photos explain everything.

Note the wristband I even gave him (which he put on the wrong hand!) – and the finished article – masterpiece!

*thanks for this Ryan – you can tell *ahem* I have paraphrased him!