Enthusiasm for, and excitement about, various types of instruments tends to wax and wane, sometimes owing to larger music industry trends, sometimes attributable to a new technological innovation, and sometimes because other factors conspire to bring a particular product to the fore. There probably has been no bigger craze in the music products space over the last few years than that associated with ukuleles; truly, the early part of the 21st century has been a renaissance of sorts for ukes. The possible reasons for this trend are numerous: ukes are easy to learn to play, they’re relatively inexpensive as compared to other instruments, they’re portable and they tend to make “happy music” that puts a smile on people’s faces. There’s also something quite communal about the instrument, a fact testified to by the prevalence of ukulele clubs and ukulele circles.
When a particular type of product gets “hot,” it is only to be expected that the market will flood with newcomers seeking to take advantage of the overwhelming demand. Scott Emmerman, Director Marketing and Sales, Hohner, Inc.—Lanikai’s exclusive authorized U.S. distributor—noted just such a development in the uke space. “People who had never made ukuleles before, and who weren’t even in the business, jumped into the fray,” he said. “You saw ukuleles coming from pretty much every fretted manufacturer in the world, plus tons of little companies. Even small retailers would import a container from China and try to compete in the uke business with an unknown brand.” This stands in stark contrast to Lanikai itself, which has been in the ukulele market for a decade or more, enabling it to capitalize on market growth organically.
According to 2012 import statistics, Lanikai captured approximately 40% of the total U.S. ukulele market, putting it in a premier position. In short, Lanikai felt that, in order to remain in that position both during the craze and after it potentially cools off, it would have to differentiate its product line from competitors. “We wanted our ukuleles to offer something unique…some aspect that provided an improved playing experience and that would truly resonate with players, as opposed to being gimmicky,” said Emmerman. “So, we started looking and researching options.” Already, the company has broken ground in terms of product innovation: inexpensive acoustic ukuleles with onboard chromatic tuners represent one breakthrough, as do the company’s Tuna Uke-equipped ukuleles that achieve a dramatic improvement in intonation. But perhaps the biggest “Wow” must be reserved for UkeSB, the first USB-equipped ukulele in production, which enables musicians to record their performances onto computers or iPads easily, thus allowing them to produce videos that have great audio quality efficiently.
Drew Lewis, former Lanikai Ukuleles “Big Kahuna,” who has just recently been promoted to Harmonica Product Manager for Hohner, said the company spent more than a year bringing the product to fruition, working in partnership with Fishman. “There was an inkling in 2012 at NAMM; that’s when we started discussing it,” Lewis revealed. “They mentioned the possibility to us, and we jumped all over it. We said, ‘Yes, that is exactly what we want for our ukes moving forward.’” He continued, “It has taken a year to get just right…to make sure it works with everything. And it really does.” The UkeSB is compatible with PCs, Macs, iPads (using an adaptor supplied with registration of the product), webcams and all digital audio workstations, such as GarageBand and Logic Pro.
Lanikai is initially offering six models, including four LK series ukes. Models in that series feature koa top, back and sides and encompass all four sizes: soprano, concert, tenor and baritone. Rounding out the offering are two LKS series models, which have a solid spruce top with koa back and sides; they come in concert and tenor sizes.
Emmerman was enthusiastic in mentioning the features, which are common across both series. “We feature Grover tuners,” he enthused. “We put on genuine mother of pearl inlays. And it’s one of our first ukes with a high-gloss finish in about four years.” And, as far as connectivity, Lewis summed things up by saying, “We haven’t found anything yet that it hasn’t worked with.”
Why is a USB-equipped ukulele desirable, you ask? The millions of hits received by ukulele videos on YouTube, and the increasing number of ukulele players who record their performances via digital audio workstations, tell the tale. “We wanted to make digital recording easy for uke players who may not yet have made the investment in mics, preamps, cables and computer interfaces,” commented Emmerman. And, given that video performances are at top of mind for many uke enthusiasts, aesthetics have become increasingly important. “The UkeSB, with mother of pearl block inlays across the fingerboard, is very distinctive,” Lewis explained. “No other uke company is doing that. Plus, we put a faux truss rod cover up on the top that’s mother of pearl, as well, and has our UkeSB logo.” He added, “That is just the exact frame that you normally see on videos.”
The product was presented initially at the NAMM show this January, earning strong praise and plenty of media interest, including press from outside-the-industry heavyweights like USA Today, which featured UkeSB in its tech section. Lewis said the response has been positive everywhere he turns. “I haven’t come across anybody who doesn’t get the concept,” he said. “The Facebook team…they’re abuzz with this. Any time we launch it out in social media land, the response is fantastic. The forums are all talking about it.” During their conversation with The Retailer, Emmerman and Lewis discussed the planning for the retail rollout, saying that MI industry big boys like Guitar Center are on board, but that Lanikai will also seek to capitalize on the small-store, mom-and-pop MI channel.
To complement the UkeSB launch, Lanikai is also providing new in-store merchandising solutions. Included with every UkeSB model is a “USB Shout-Out Tag,” which is suspended under each instrument and promotes that the uke is equipped with a USB plug. Further driving the message home for customers is a wall-mounted, three-dimensional PoP display in the shape of a laptop. The printed “monitor” shows YouTube videos with thousands of hits and tells the customer how easy it is to record with the ukulele. The display can be mounted on both slat wall and pegboard, and it holds two UkeSB ukuleles. Dealers qualify for this free display with the purchase of any three UkeSB ukuleles. Acceptance of this display authorizes dealers to be part of the Big Kahuna program, which provides additional discounts, free UkeSB exclusive advertising and exclusive models. Clearly, Lanikai is pushing this product innovation with guns blazing.
The six current UkeSB models are only the beginning; the line will expand in the months ahead, as products roll out to dealers and the marketplace eagerly accepts them. UkeSB price points range from a retail of $650 for the soprano koa model to $799 for the solid spruce tenor model. Shipping began this month.

(continue reading)

PRS Guitars, based in Stevensville MD and in business since 1985, has become known over the past nearly three decades—by retailers and players alike—for building some very cool, great-sounding electric, acoustic and bass guitars, as well as boutique-style guitar amplifiers. It’s renowned for its Private Stock guitar department and, in a similar vein, its Custom Amp Design (CAD) program, which has been operating for about three years. Individuals can custom order from any current or past PRS amplifier platform. The company can then customize the amp mechanically, sonically or visually to suit one’s preferences and needs. Another way to approach the program is to purchase one of the company’s CAD model amps: the Sweet 16+, 25th Anniversary, HXDA, “Paul’s Amp,” PRS Blistertone, PRS Dallas and, finally, the 2-Channel Custom. In this article, we’ll zero-in on the 2-Channel Custom, exploring its unique value proposition.

According to Mike Clark, Amplifier Sales Manager, PRS Guitars, the development of the 2-Channel Custom has been ongoing for a few years, really having its origin with the 2-Channel H. “With that amplifier,” he began, “we wanted to offer a competitively priced two-channel amp that was hand-wired and made in the U.S.A. We wanted to address what we felt the primary weakness of most two-channel amplifiers was: the clean channel.” He continued, “Many two-channel amps do not offer a clean channel with the flexibility of their single-channel counterparts. Generally, they are too clean, with much less harmonic content. We feel like the clean channel is a real strong point of our two-channel amplifiers.”

From there, PRS transitioned into the development of the Custom. Sonically, the amp is almost exactly like the H, but boasting greater flexibility. Features, which we’ll explore below in greater depth, include a solo boost with controls on each channel, mid shift pull switch, deep boost pull switch, presence control, LED indicators on the three-function footswitch (channel, solo boost, reverb), loop bypass when not being used and the ability to disengage the reverb on the lead channel. “These things meet the additional needs of the gigging musician,” Clark declared. (It should be noted that some of these features were actually added to H amplifiers through the CAD program, prior to the Custom’s introduction.) The 2-Channel Custom is available as a 50-watt head, 100-watt head or a 50-watt 1×12 closed back combo (with other wattages potentially available through a special CAD order). “We also offer speaker cabinets in 112, 212, 410 or 412 configurations,” Clark added.
To dig a bit deeper into the technology behind the Custom, and the features offered, it uses 6L6s or EL 34 power tubes, with 6L6s as the standard. The amps boast master and gain controls and three-way EQ for both channels. This delivers the maximum amount of control over each channel. The master volume and gain controls allow users to create their sound at any volume. Solo boost allows players to have a pre-set boost for each channel that will increase their overall volume for a solo. There’s also a control for each channel, allowing flexibility from each. An FX loop provides the ability to run time-based effects cleanly and seamlessly after the pre amp section of the amplifier.

Another key feature, which we alluded to earlier, centers on mid shift and deep boost. These push/pull knobs allow extra tone-shaping capabilities, creating a more flexible platform. Finally, we come to hand wiring. This is a detailed, handmade platform in which all the components are hand stuffed in the boards and soldered by hand, as opposed to solder baths used by many manufacturers. “This creates a quality product with attention to detail designed to last,” remarked Clark. “For example, each amp is hand-tuned to minimize issues like microphonics and background noise.”

These versatile and articulate amplifiers are well suited for alternate tunings, although, according to Clark, the 100-watt version is generally preferable for this. He explained, “Things like Drop C tuning require increased headroom to maintain note definition. These tunings put extra demands on both the pre-amp and power sections of a tube amp. More power—increased headroom—works much better in these applications. We’ve paid careful attention to the characteristics of the low-mids and lows of the amp to maintain the ‘tight,’ responsive, but full-sounding, tone and feel that guitarists using alternate tunings generally require.”

As one would imagine, the market for a product like this is quite broad, a point Clark underscored by saying, “We designed the Custom to meet the needs of the gigging musician and the hobbyist who wants a feature-packed amplifier suitable for classic rock, ’80s metal, country, blues and indie music, all in a great-looking package with top-quality components at a mid-level price point.” He also mentioned very positive feedback received this past January at the NAMM show, at which the Custom made its debut. “We have also gotten a lot of feedback from artists, such as Dave Weiner who plays with Steve Vai. He’s using our 100-watt H on tour,” he added. Clark also remarked about the huge role PRS’ artists play in the…

(continued on page 53)

By Dan Ferrisi

If you have any connection to the audio products industry, you’re almost guaranteed to be familiar with beyerdynamic, the family-owned audio equipment manufacturer, founded in 1924 and based in Heilbronn, Germany, that’s known for its headphones, microphones, wireless systems and more. Here in the United States, beyerdynamic products are distributed by American Music & Sound, the Woodland Hills CA-based distributor that also handles such brands as Kurzweil, Nord and Vestax. From American Music & Sound, The Music & Sound Retailer spoke to David Hetrick, who serves as National Sales Manager for beyerdynamic and Fostex, to discuss a truly revolutionary product launch in the wireless systems world.

As is the case with nearly any manufacturer with a history stretching back almost a century, beyerdynamic has had its ups and downs, somewhat losing its way in the ’90s only, now, to resurge to new levels of robustness and influence. “A couple of years ago,” Hetrick began, “there was a major reenergizing of beyerdynamic.” He continued, “They brought in a whole new marketing team…a real youth movement.” One substantial contribution credited to this youth movement has been a “start-from-scratch” mentality, as distinguished from piggybacking on technologies that have been established over a period of years. “Since everything beyerdynamic makes is designed and handmade in Germany,” Hetrick explained, “they’ve expanded their production. And, now, they’re able to do some very high-level things.” This is the laboratory from which beyerdynamic’s TG 1000 emerged.

TG 1000 is beyerdynamic’s first 24-bit digital wireless system, which covers a remarkable 319MHz of the UHF bandwidth (470MHz to 789MHz). This is extremely welcome news because, if you are part of the wireless community, you know that television, radio, cell phones, LTE and more are all grabbing for different frequency ranges. And, different countries have different legal frequencies. “beyerdynamic wanted to build one system that worked everywhere,” Hetrick explained. “Every frequency is available, and you can customize for any frequency in any country with one system.” There’s also a strong element of future-proofing because, of

(continue reading)

By Dan Ferrisi

In the music products industry, there are iconic, universally known brands that, in many cases, gain the lion’s share of the attention, both from trade journalists and, in some instances, even from the retail community. And, given the size and strength of, say, the electric guitar or drum markets, items that fall under the heading of “accessory” can sometimes be crowded out and robbed of the attention they deserve. For every rule, though, there exists an exception, and Asterope might just be that exceptional company.

Ever since Asterope surfaced on The Retailer’s radar screen, we’ve been impressed not only with the technology at the company’s heart, but also its philosophy and approach to business. You might have read the Five Minutes With interview of Dariush Rad, President & CEO, which appeared in the July issue. That was a huge month for Asterope because, at the Summer NAMM show in Nashville, a partnership was announced with Fishman Electronics, according to which Fishman manages the sales and distribution of Asterope instrument and XLR audio cables for the musical instrument and pro audio markets globally. It also provides for collaboration on marketing and promotional efforts. The Retailer recently spoke to Rad and Dean Kline, Vice President of Communications, to delve more deeply into the products.
“We have two primary series right now,” Rad began, “the Pro Studio Series and Pro Stage Series.” The former, in Asterope’s signature burgundy or deep purple, has an ultra-clarity gold connector on it. It provides a more dynamic, spatial sound, which is ideal in environments that are more intimate, where one is looking for clarity and an open harmonic response. The Pro Stage Series, Asterope’s black cable, has a nickel connector on it. It offers a warmer, punchier or more percussive sound. “And,” Rad mentioned, “it seems to manage gain a little more effectively, which is important when you’re in live situations and the signal is more volatile.” So, he mentioned, Asterope finds that its more heavy, rock-centered, high-gain players gravitate toward that. The Pro Stage Series also suits acoustic players in a live situation; it helps to manage flighty harmonics.

Although Asterope is protective of its proprietary technology and manufacturing processes, Kline lent some insight into what sets Asterope apart. “We use the highest quality materials in our manufacturing, as well as proprietary production methods,” he revealed. “We utilize patented ultra-clarity connectors and manufacture with a durable exterior jacketing.” So, the products are extremely rugged, suiting the different environments in which they’re used. Enhanced noise-resistant shielding helps protect the overall sound that’s being delivered. Finally, a unique unidirectional design further enhances the sound over the life of the product. Rad underscored the aforementioned ruggedness, saying their products are “bulletproof.”

Asterope centers its marketing pitch—and, really, its complete value proposition—on the idea that its cables deliver an audible, unmistakable increase in sound quality. “It’s essentially based on an ultra-efficient signal flow,” explained Rad, “which is dramatically increasing (continued reading)

By Dan Ferrisi

One of the companies I’ve followed from the beginning of my career (with sister publication Sound & Communications) right up to the present here at The Music & Sound Retailer is JBL. The company’s clearly always been associated with innovative technology and high quality, covering a wide range of market segments. Although JBL is a fixture in tour sound, cinema, studio monitors and installed-sound loudspeaker systems, portable PA speakers for musicians and others—sold through the MI distribution channel—actually represent its biggest segment. “Since the inception of systems for musicians in the ’60s and ’70s, through the evolution of component systems, through to current passive and powered loudspeakers, JBL has been providing professional solutions at all price/performance points to serve the retail customer,” remarked Mark Gander, Head of Marketing. One of the company’s most recent developments is the PRX400 series of passive portable loudspeakers.

JBL designed the PRX400 series to offer a great-sounding speaker that could be used in many light to mid-duty applications by essentially anyone who’s in need of a passive speaker. “PRX400 speakers were designed to provide the sensitivity, frequency response and power handling needed for almost any professional audio environment, while still being reasonably priced,” Gander explained. Whether you use a powered mixer or an equipment rack full of amps and signal processing, PRX400 speakers deliver the sound power and bandwidth necessary to make loud music sound natural, and even quiet speech intelligible. With three two-way designs and an 18-inch subwoofer, the PRX400 series can tackle tough jobs and get them done.
Now, let’s dig a little deeper into the series and its specifics. The PRX412M and PRX415M can be used as mains or monitors and, with the addition of the PRX418 subwoofer, you’ll have a sub/sat system that’s capable of generating 135dB of full-range, high quality audio. The PRX425 dual 15-inch two-way is a good choice for DJs and bands who want low-frequency extension from the convenience of a standalone cabinet.

According to Gander, “When designing the boxes, we included suspension points so the full-range cabinets could be hung in a small club or house of worship. All full-range models utilize 12 M10 suspension points for safe deployment in light-duty installations. We cut the angles on the 12-inch and 15-inch two-ways, so they could be used as monitors or mains.” Built-in dual-angle pole mount sockets allow the PRX412M and PRX415M to be stand mounted at different angles to accommodate the best audience coverage pattern. With a 10° down angle, the speaker can be directed down toward an audience, enhancing sound coverage and clarity.

READ MORE

By Dan Ferrisi

Over the last three decades, HK Audio has built a solid reputation in the European market as a designer of sound reinforcement in stadiums and arenas; installation audio; compact PAs; and more. Recently, though, HK Audio engineers thought the time was right to push sound reinforcement to a new level. The existing limits related to size and weight prevented the use of appropriate equipment in certain settings, and the engineers wanted to push back against those limitations. LUCAS (Lightweight Ultra Compact Active System) is a long-running portable PA product line that HK Audio has been selling in other markets. But what was envisioned here would be taking things a major step forward.

“Part of the LUCAS line’s USP has always been its size-to-power ratio,” explained James Sajeva, U.S. Product Manager for HK Audio, “but HK Audio engineers were determined to take that combination to a much further extreme.” Their design brief was dauntingly ambitious: develop a new member of the LUCAS family, but make it much smaller, more efficient and more versatile than even its siblings are. “It took all of HK Audio’s considerable R&D capabilities to come up with this product,” Sajeva stated. “Through 36 months of painstaking efforts, our engineers screened nearly all legacy audio and acoustical technologies, put each through a battery of rigorous tests and boiled the best down to fit a micro format. More than 30 engineers in five countries were involved in the development, which included more than 20,000 R&D hours.”

The result, LUCAS Nano, is an all-in-one, stereo, ultra-portable PA/mixer/subwoofer combination that can provide sound and performance rivaling larger systems. According to Sajeva, “It can be used in mono and stereo, which is a USP. That makes LUCAS Nano very effective for specific applications.” With regard to ideal users, those would be live performers of any kind, singers/acoustic guitarists, mobile DJs and those who require lightweight and powerful instrument monitoring.

Sajeva extolled the technical breakthroughs achieved with LUCAS Nano. “The product goes beyond conventional—and similarly priced—systems by incorporating a lightweight yet powerful subwoofer, which works with two micro-sized mid/high satellite speakers to provide loud, even, stereo coverage. The onboard mixer provides a nice balance of input options. There’s even a Stereo Link feature that enables you to combine two systems for added power and coverage; in this configuration, the mixers duplex to double the input channels.” With the satellite speakers neatly tucked away in the recessed housing on the back of the sub, the entire system is rather cubic. The company likes to compare it, in terms of size, to a beverage crate.

Perhaps the best thing of all, though, is that the whole system comes in at only about 22lb., which, to this writer’s mind, is rather remarkable. Thanks to its comfortable grips, the system is easy to carry, as well. The two satellites weigh less than 2½lb. each, and simply click-fit into a transport bay in the subwoofer’s housing.

When one thinks of a subcompact product, one might not immediately assume it would deliver very high output and great sound quality, but assumptions of that kind might be just what the folks at HK Audio anticipated…the better to pleasantly surprise the skeptics! “The first time we unboxed one and set it up, we were truly blown away,” enthused Sajeva. “It’s so much louder than its size would have you believe it could be.” The satellites are extremely small, but can push out up to 116dB because of the combination of the special enclosure design details and a completely new, custom-made speaker. Even at high volumes, the sound stays quite rounded, as opposed to getting “boomy” or shrill. Sajeva added, “The eight-inch subwoofer sounds deep and punchy, which we never would have expected by simply looking at it.”

One of the product’s really nice features centers on the diverse mounting options for the satellite speakers. “Running stereo would be the first and most widely used configuration,” said Sajeva. The satellites are threaded to connect to any traditional mic stand, and HK Audio offers custom stands, as well. The speakers can also be joined and mounted onto a pole mount atop the sub for a mono configuration and, here, the combined satellite output gets up to 120dB. The most compact configuration offered, for instrument monitoring or unobtrusive background music, would be to connect the two satellites together (there are proprietary connectors) and mount both directly onto the top of the sub via a similar connector. “In this last configuration, signal is routed to the satellites with no additional wiring,” added Sajeva.

As noted earlier, LUCAS Nano can be configured for both mono and stereo applications, and this is one of the significant benefits the product boasts. “Sometimes,” began Sajeva, “you just need sound coming from one corner of a room or stage, as would be the case with speaking engagements or when playing background music for parties. Here, the mono configuration works well. Of course, stereo would be the choice for any type of music with a wide sound image.” Between the choice to use LUCAS Nano for mono or stereo applications, the sound quality for its size and the all-in-one mixer/sub/speaker design, the product truly stands out in the market, offering a uniquely persuasive value proposition.

“There’s truly been a ‘wow’ reaction from retailers and consumers alike,” commented Sajeva. “It might look unassuming amid an array of portable options on the retail floor, but, once you hear it, you totally get it!” It would be fair to say, given the complement of technical achievements the product embodies, its immediate impact on the marketplace and the uniformly positive feedback received from both the retailer and the consumer camps, that LUCAS Nano has been living up to its tagline: “Portability. Power. Options.”
LUCAS Nano began shipping in September, and the U.S. street price is $699. HK Audio products are distributed in the United States by Korg USA.

Sennheiser’s Evolution 900 Series

By Michelle Loeb

As recently as 1998, one could be excused for not associating Sennheiser with MI-style microphones. Today, however, the two are quite synonymous, thanks in part to the launch of the company’s evolution 900 series, which hit the market in 2003 in an effort to “complete the Sennheiser wired microphone portfolio,” explained Robb Blumenreder, Regional Sales Manager for the Americas at Sennheiser.

“The evolution 900 series designs were based on the e 800 series, but with even tighter tolerances on the manufacturing line and a different customer focus,” Blumenreder said. “When the development process of the 900 series began, we asked ourselves, ‘What can we do to make this a tour-friendly, studio-friendly microphone?’”

Sennheiser is continuing its “evolution” in the MI microphone market with a concerted relaunch of the e 900 tseries—a result of feedback from artist relations, as well as the dealer network. The Music & Sound Retailer spoke with Blumenreder to learn about the key features of some of the evolution 900 series’ top models.

The e 935 cardioid and e 945 super-cardioid are both dynamic microphones. Each comes equipped with hum-compensating coils, a shock-mounted capsule and metal construction. They both also feature a neodymium ferrous magnet with boron, which keeps the microphone stable regardless of climate. Where the two differ, according to Blumenreder, is the application and user to which each is best suited.

“Depending on your vocal styling, how you sing and whether you have good vocal technique or not, you might choose the e 945 over the e 935, or vice versa,” said Blumenreder. “The e 945 is going to provide more isolation since it is a super-cardioid. It is also perhaps more suitable for use with stereo wedges, because you can put one on either side. If [you’re performing on] a really loud stage, I would choose the e 945 because it is more isolating.”

Compare that to the e 935 microphone, which Blumenreder said, “is less sensitive directly behind the capsule, so it might work better with a single wedge, depending on placement. The e 935 has a much more natural top end because it is designed to perform with larger-scale, professional PAs, where a smoother top end is preferred.

“For those playing larger clubs, performing in houses of worship or recording through a high-quality console,” added Blumenreder, “the e 935 would be more suitable and versatile.”

The e 935 carries an MSRP of $169.95, whereas the e 945 has an MSRP of $219.95.

One of the evolution series’ most versatile models is the e 965, a true one-inch condenser microphone with a switchable pattern between cardioid and super-cardioid. The microphone features a frequency response of 40-20,000Hz. It also has a switchable low-frequency rolloff and a 10dB pad, which, according to Blumenreder, “can be useful if a singer has a loud vocal technique.” The e 965 has an MSRP of $699.95.

“The e 965 might be a good choice for anyone from a breathy jazz singer to a pop singer with an extremely wide dynamic range in their voice,” Blumenreder said, adding that the microphone works extremely well in live recording environments. “It is for ‘good’ vocalists and, when you use it with in-ear monitors on a live stage, it will get you as close as possible to what a studio recording might sound like.”

All models in the e 900 series are designed for live and recording applications. These microphones are intended for touring professionals, not for amateurs. “[These microphones are] meant for vocalists and musicians who are well seasoned and have a solid understanding of their signal path,” said Blumenreder. “The ideal buyer for the e 900 series would be someone who is playing through a larger-scale PA, or performing with a band that is extremely well balanced and not fighting each other sonically.”

Every microphone in the e 900 series is designed to capture the timbre of the instrument that it is reproducing or recording, Blumenreder pointed out. “When you look at the transient response time on the e 900 series, it is faster; therefore, you get more of the instrument’s natural sound,” he said.

Helping the evolution 900 series microphones achieve their top-notch sound quality is something Sennheiser calls hi-res 3D sound.

“When we say that these microphones offer a hi-res 3D sound, they more accurately reflect the true sound of the actual vocal instrument,” Blumenreder explained. “We’ve taken things into account such as the frequency rolloff, which starts at around 90Hz on the e 935 and e 945. In a professional touring application, you really do need that rolloff, because a large-scale, professional PA system is more than capable of reproducing sound at 90Hz and below; it’s always preferred to eliminate these frequencies at the start of the signal chain instead of later on.”

The capsules, which are all compatible with Sennheiser’s G3 and 2000 series wireless products, are also designed to work well with the user’s in-ear monitors because, as Blumenreder noted, “there is a huge, audible difference with the e 900 series when an artist is using in-ear monitors; how an artist sounds through in-ear monitors is very critical, because they want to hear it like they are listening to a recording of themselves.”

For this reason, Blumenreder added, “The e 900 series is a very ‘true to life’ unit, even when you have it set with a flat EQ; it delivers a really good bearing of what you really sound like.”

With so many key features showing real dedication to, and precision regarding, users’ sound quality needs, Blumenreder considers the e 935, e 945 and e 965 the “unsung heroes in the touring world.” However, that does not mean Sennheiser rests on its laurels. The company is proud to back each model in the evolution 900 series with a 10-year warranty.

“The 10-year warranty is a huge differentiator, since most competitors only have two- or five-year warranties,” said Blumenreder. “We are more than happy to put our knowledge and experience to the test and stand behind our products.”

By Dan Ferrisi

The word “freedom” is among the most powerful in the English language, calling to mind philosophical principles of liberty and the very human desire to be unchained; however, less lofty but just as meaningful, it also refers to the idea of mobility and being able to roam about without having to be “plugged in.” It is this second definition that Chauvet’s Freedom series, which includes Freedom Par, Freedom Strip Mini, Freedom Charge P and Freedom Charge S, taps into. The Music & Sound Retailer spoke to Nick Airriess, Chauvet DJ Product Specialist, to gain insight into the Freedom series’ conception, the products’ technical abilities, to whom they are targeted and why they represent important additions to the market.

With the Freedom series, the company sought to reach a more budget-conscious market—wedding DJs, bands and other mobile performers, for example—looking for a blend of high quality and affordability. The company also wanted to emphasize 100-percent, true wireless technology. According to Airriess, “We wanted to make sure that these were completely wireless: battery, DMX, remote control…everything.” Finally, ease of use was also at front of mind in conceiving the Freedom series, the idea being that anyone who does mobile gigs can glance at the manual and be ready to roll.

The first two models to be released—Freedom Par, a par can wall wash, and Freedom Strip Mini, a strip-type wall wash—set the tone for a series that truly embodies innovation. They have a built-in D-Fi 2.4GHz transceiver so they can send and receive signals. Another technical commonality that the products, and many of Chauvet’s fixtures, have is compatibility with IRC: Infrared Remote Control. Airriess also zeroed in on DMX outputs, mentioning in particular the Link output. “You can actually connect multiple fixtures together to make unique effects, without having to address them separately on DMX,” he explained. “They can make patterns and programs and things like that that match each other when they’re set in master/slave mode.”

The Freedom Par is a par wash light that can also be an effect light. It has a beam of 21° and a field of 39°, meaning that it covers a wall very effectively. “Again,” began Airriess, “I can’t emphasize enough the 100-percent wireless technology. It has a battery. It has wireless control, that being the IR remote control, the wireless DMX or D-Fi system. Or, you can just control it right off the display on the unit.” It has 198 RGB LEDs, which serve to ensure adequate brightness, but it is also very efficient with respect to battery life. The catalog promises six to eight hours of usage, but, according to Airriess, “We’ve had them last upwards of 20 hours!” And, at nine inches wide, eight-and-a-half inches deep and eight inches tall, it couldn’t be more portable.

Turning to the Freedom Strip Mini, it boasts 192 RGB LEDs and has the same type of beam angle (very wide). “One nice thing about the Strip,” remarked Airriess, “is that it also has our linking technology, which enables you to plug one into another, or wirelessly have everything link down the line. You can have a color chase go down a line of, say, four Strips.” It has the same battery and infrared technology already discussed, as well as an equally portable form factor—two inches wide by 90 inches long and five-and-a-half inches deep—that allows it to fit in many tight places. It is 6.2lb. (the Par is 7.8lb.), reinforcing both products’ portability.

So, to whom, specifically, is the Freedom series being targeted? “We’re catering to mobile DJs, bands and every type of mobile entertainer who wants a convenient, easy-to-use up-lighting system that is 100-percent wireless,” Airriess declared. “The main thing is they’re affordable, intensely bright, lightweight and compact, but they also have a lot of battery life.” And, the products give users a great deal of control over how they use them. “We give them a lot of options,” Airriess affirmed, citing IRC control and the ability to pick specific colors and programs from the unit itself. “Mobile entertainers get requests for specific colors, so having this type of control over these units is perfect.”

The series comprises more than just those two products, though, so it’s important also to mention the Freedom Charge P and Freedom Charge S. The former is a durable, rolling road case that safely transports and charges Freedom Par fixtures, whereas the latter transports and charges Freedom Strip Mini fixtures. Each one can accommodate four fixtures, transporting them without worry about bumps or breaking while, at the same time, charging them.

To make a completely wireless up-lighting system, Chauvet also introduces the Obey 4 D-Fi 2.4, which is an Obey 4 controller with a built-in D-Fi transmitter. The wireless controller is compatible with the Freedom series and eliminates the need to run cables from your controller to your fixtures.

If you take a public opinion poll and ask whether people love “freedom,” you’ll get as close to unanimity as you’ll ever find about anything. It is appropriate, then, that enthusiasm for the Freedom series has been remarkably high. “People love that they’re true wireless,” declared Airriess. “You don’t have to worry about cabling, and you don’t have to worry about finding power.” It could be said that, in the lighting space, the time has come to—pardon the cliché—Let Freedom Ring.

The MSRPs for the products are Freedom Par (RGB): $369.99; Freedom Strip (RGB): $369.99; Freedom Charge P: $419.99; and Freedom Charge S: $419.99.

Freedom Par and Strip are available now. Freedom Charge P, Freedom Charge S and Obey 4 D-Fi 2.4 will be available later this fall.

By Dan Ferrisi

At the most recent Winter NAMM show, dozens of press conferences touted a near-countless number of music product innovations that are sure to ring retailers’ registers for many months—perhaps years!—to come. In this writer’s eyes, though, no NAMM press conference was more impressive, and no product more attention grabbing, than Peavey’s showcasing of the AT-200 guitar featuring Auto-Tune for Guitar. In short, the Peavey AT-200 guitar electronically self tunes and intonates continuously as you play, a fact the company demonstrated impressively back in January. And now, the company has announced the product’s availability as of this month. Hartley Peavey, Founder and CEO, Peavey Electronics, briefed The Music & Sound Retailer on the AT-200’s capabilities, where it fits in the market and the feedback the company has already received.

The Peavey AT-200 guitar features built-in Auto-Tune for Guitar DSP technology by Antares Audio Technologies, giving players the ability to tune the guitar at the touch of a button. (Readers likely know Antares for inventing Auto-Tune technology, the vocal processing effect that has become ubiquitous in modern music.) According to Peavey, “The AT-200 is a giant step forward for guitar technology, bringing the power of this technology to a quality instrument that self tunes and intonates continuously as you play.” He continued, “With the simple push of a button on the AT-200, guitar players can now create music in perfect tune and pitch. There has never been an easier way to enjoy the purity of tone that you get from being perfectly in tune at every position, all the way up the neck.”

The AT-200 is a fully capable electric guitar, offering the familiar shape, feel and sound of a traditional instrument. However, unlike other guitars, it has two very different operational modes: Passive mode, which is a standard guitar mode with humbucking pickups, three-way toggle, and tone and volume controls, and Active mode, which activates Auto-Tune for Guitar. Peavey stated, “With Auto-Tune for Guitar activated, the AT-200 will tune all six strings to perfect pitch with the push of a button.”

The player engages Auto-Tune for Guitar by pushing down on the tone control pot. (Pulling up on the tone control will turn off the Auto-Tune feature, and the guitar will then be in Passive mode.) “Once the player has engaged Auto-Tune,” Peavey explained, “all it takes to tune up is to strum all six strings evenly and cleanly, and then press the volume control to engage Auto-Tune for Guitar’s String Tune and Solid-Tune technologies. You can actually hear your guitar come into tune instantly.”

The self-tuning feature on the Peavey AT-200 operates in a completely different manner as compared to previous attempts at creating a self-tuning guitar. Unlike earlier products, there are no bulky gears or moving parts to weigh down the instrument. “The Peavey AT-200 looks, plays and sounds just like a conventional guitar, exactly the way it should,” declared Peavey. But that is only half the story, because the AT-200 also self-intonates when the tuning function is engaged. Solid-Tune technology constantly monitors the precise pitch of each individual string and electronically makes any corrections necessary to ensure that every note of every chord and riff is always in tune, regardless of variables like finger position or pressure. Auto-Tune for Guitar is even smart enough to know when players intend to manipulate pitch, so bends and vibrato sound as natural as they always have. “No previous instrument has had that ability,” Peavey stressed.

Drop D, baritone, open G…all of them are possible on the AT-200 simply by moving your fingers into the proper positions when you engage Auto-Tune. However, this guitar is also upgradable for a host of alternate tunings and features from Antares. “These upgrades take advantage of Auto-Tune’s world-standard pitch detection and extremely high-quality pitch shifting to let you quickly select from among familiar alternate tunings, as well as dramatic new tunings that would be physically impossible without Auto-Tune for Guitar,” enthused Peavey. From tunings that are popular to previously difficult tunings like six-string bass, split bass/guitar, 12-string and polyphonic octaver, these Auto-Tune for Guitar upgrades give players access to virtually any tuning imaginable. And that’s without the need to stop and physically retune or swap guitars.

Apart from the Auto-Tune technology, a great deal of consideration went into the design of the guitar itself. “The shape is clean and traditional,” remarked Peavey, “and the neck has a very natural, comfortable shape.” Indeed, the company designed every part of the guitar for mass appeal, which, along with the underlying technology, helps explain the product’s auspicious NAMM show debut. “The Peavey AT-200 was a huge point of interest for our dealers, as well as for the media,” Peavey commented. “As word spread through the show, more and more people came by to see and hear the AT-200 for themselves.” And now, as one would expect, the company is getting a lot of positive feedback from dealers who are excited to carry it. Peavey noted that this is an instrument for all kinds of retailers—from small to large—and even those that traditionally might not do a lot of guitar business.

For a lot of beginning players, observed Peavey, tuning and intonation are two barriers to learning how to play guitar. Having a guitar that is out of intonation and will not tune properly can take away the motivation and joy in playing. Giving players the ability to correct those deficiencies easily can encourage those beginners to stick with the instrument. And that’s exactly what the Peavey AT-200 does. “But,” Peavey hastened to add, “as advanced as the AT-200 may be, it won’t play itself. It is crucial that dealers demo the guitar, so customers can see how easy it is to use this instrument.”

One of the coolest things is, when you strum the guitar and press the volume control knob, you can actually hear the guitar lock into tune. “It’s remarkable to hear, and it absolutely turns heads,” Peavey said. “The reactions we’re getting from this guitar are priceless!”

The AT-200 has a $999.99 MSRP and is available this month with a $499.99 street price.

DJ Tech’s SL1300 MK6 Turntable

By Dan Ferrisi

One of the reasons—in addition to the camaraderie and passion that infuse the music products business—that all of us in this community are lucky is that the music industry, perhaps more than any other, exudes that “cool” factor. There just aren’t many things cooler than electric guitars, pounding drums and rock ‘n’ roll. In fact, the only thing that might be even hipper and hotter than those is the DJ segment, which The Music & Sound Retailer devotes considerable attention to in every one of our issues. And one of the market leaders in that segment, providing quality equipment at value-focused prices, is DJ Tech. The company’s SL1300 MK6 turntable has been around a few years already, but it’s still making waves. The professional DJ turntable provides a Quartz Direct Drive motor, and it’s designed for professional DJs who need to have a robust, accurate motor to keep up with their scratching techniques.

Andrew Hong, Marketing Manager, discussed the benefits of the Quartz Direct Drive motor. “Having a stable, high-torque motor provides outstanding accuracy for scratch DJs,” he explained, while adding that high quality, hand-selected components and a rigid quality-control process ensure great reliability. He elaborated, saying, “The best example is by looking at the internal structure of the unit. If you remove the platter, all of the internal parts of the motor and magnets are high quality metal—no plastic!—components. Using these high-quality parts for the motor and associated mechanisms provides a stable platform for the most demanding scratch DJs.”

The high-torque motor not only allows the platter to spin immediately at the desired speed from a dead stop, but it also allows the platter to reacquire the exact same speed after a scratch technique, without overshooting. The SL1300 MK6’s weight and increased platter isolation from the base also increase the stability of the unit, thus reducing the likelihood of the stylus jumping or the platter skipping because of vibration. “All of these features are extremely important for time- or beat-matched scratch tricks or techniques,” Hong added.

So, what else can we add to this already-impressive basket of features and capabilities? Well, the unit features two play/stop buttons to allow DJs to manipulate the turntables to a position that is comfortable to them. And another unique feature is that the units also provide reverse control, as well as three different pitch ranges. Finally, the SL1300 MK6 features a universal arm design so that DJs can use their preferred cartridges. All these features, Hong said, are meant to provide scratch DJs with more customization options so that the gear fits their personal style of DJing.

Now, suppose I’m a DJ who has a traditional turntable set-up and I’m still wondering whether I should upgrade to DJ Tech’s SL1300 MK6. What improvements does the product offer? First off, it features a USB output to allow for direct-to-PC recording. This feature also allows the user to digitize his or her record collection by connecting the turntable to a PC. Second, it provides phono and line outputs, which provide additional convenience for DJs who want to disconnect the RCA cables completely from their turntables. Third, to provide DJs with finer control over their pitch, the SL1300 MK6 features +/-10, 20 and 50 percent pitch control. This allows DJs to beatmatch more accurately due to the finer pitch adjustment.

So, to whom is this DJ Tech turntable targeted? Hong elaborated on who that ideal buyer is. “The SL1300 MK6 is targeted to discerning scratch DJs who need to have a robust turntable to perform scratch techniques,” he explained. “The ideal buyer of this product would use either traditional vinyl or a DVS (digital vinyl system) set-up. Many of the DJs who perform on the SL1300 MK6 are both mobile and club DJs.”

Trade shows present one of the best opportunities to get detailed, candid feedback about a product, as well as simply to show off its capabilities; the SL1300 MK6 has been showcased at multiple events within the past year, including the NAMM show and Winter Music Conference. “During the 2012 NAMM show, we had professional DJs—some of the ITF and WMC Champions—performing on the turntables to demonstrate their capabilities under heavy scratching,” Hong remarked. He commented that all the DJs who performed on the turntables provided feedback that indicated they loved the strong, robust motor, noting that the motor had “tons” of torque in it. “They also mentioned that the motor allows the platter to start and stop on a dime,” he added.

And during the 2012 WMC show, a number of scratch DJs (some of them actually those who performed in the competition) told DJ Tech that the turntable had one of the best motors they’ve performed on. According to Hong, “The turntables were easily able to stand up to the DJs who ‘beat them up’ with their scratching techniques. After two days of nonstop performance on the turntables, they still operated ‘good as new!’” It should come as no surprise, then, to hear that the SL1300 MK6 has been extremely well received by the market. To date, in fact, it has been one of DJ Tech’s bestselling items, which, according to Hong, dispels the myth that “vinyl is dead.” He said, “We have found that there are many DJs who want to use a DVS setup,” adding that, “there has been a void to fill for a quality Quartz Direct Drive turntable.”

DJ Tech’s rollout strategy has been focused on putting the SL1300 MK6 turntables in the hands of music retailers who have a very DJ- and pro audio-focused customer base. “Because these turntables are designed for professional scratch DJs,” Hong elaborated, “we want to make sure that we’re getting them in front of individuals to touch and feel.” Scratch DJs, he said, have to be able to test the strength of the motor and its torque, and then actually scratch on the device to determine if it is a suitable replacement for legacy turntable models. “You can only accomplish this by having the turntables in-store and out for customers to try,” he added.

The SL1300 MK6 is available in black, silver and orange. The product’s MSRP is $549.