NAB 2012 - Lectrosonics HH Handheld Transmitter
The Lectrosonics HH Digital Hybrid Wireless Handheld Transmitter represents an elegant solution for a variety of wireless microphone applications including live performance, broadcast, AV rental and houses of worship. The HH incorporates many advanced features to provide highquality speech and vocal reinforcement. Along with providing peerless audio quality with wide frequency response and dynamic range in native 400 Series mode, the technology used in the HH includes compatibility modes for Lectrosonics 200 Series, 100 Series and IFB receivers, and some systems from other top manufacturers.
For more information on the Lectrosonics HH Digital Hybrid Wireless Handheld Transmitter, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - Sound Devices PIX 260 Video Recorder
The rack-mounted PIX 260 is a file-based video recorder / player that seamlessly replaces tape-based video decks in production and post-production environments.
Using the Apple ProRes or Avid DNxHD codecs, the PIX 260 records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video as well as 32 tracks of 48 kHz audio. Files from the PIX 260 are ready for direct import into Avid and Final Cut editing environments, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260 for real time applications.
PIX recorders offer powerful, hardware-based video scalers. Realtime conversion among video formats, including 1080i, 1080p, and 720p, are set with a simple menu selection. Conversion between interlaced and progressive, as well as frame rate conversion is available in realtime. For instance, some cameras set to record 24ps send 1080i 60 over HDMI or HD-SDI. PIX recorders can be set to convert the 1080i 60 stream back to 24p with no loss in quality.
The PIX 260 has extensive audio connectivity. With up to 32 track record/playback capability, the PIX 260 accepts eight channels of line-level analog I/O, eight channels of AES digital, 16 channels of embedded SDI, 8 channels of HDMI, and 32 tracks of audio over Ethernet using Audinate's Dante.
The PIX 260 has a built-in five-inch 800 x 480 pixel video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260 is a flexible video playback source that is compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions.
The PIX 260 can be controlled by both external RS-422 and via Ethernet through the embedded Web server, allowing for machine transport control over Ethernet-based networks.
Up to four SATA drives can be connected to the PIX 260 simultaneously. All four drives can be recorded to simultaneously, for RAID-1 type redundancy and to eliminate the need for post-record copying when multiple copies are required.
The PIX 260 includes a built-in Ambient Clockit time code generator/reader with genlock output for multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time code can be read from the SDI stream, the HDMI stream, or from an external source.
Like the PIX 220 and PIX 240, the PIX 260 includes a high-performance hardware scaler and frame rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up, down, or cross-conversion at the same or different frame rate. Hardware-based 3:2 pull-down removal is included as well.
PIX 260's convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10--27 VDC through its four-pin XLR connector.
The PIX 260 Rack Mount Kit (Sold Seperate). The kit includes one full 19" 2U rack (holds two PIX 260s), one blank panel and screws.
For more information on the Sound Devices PIX 260, please contact us at
email@example.com or call 888.462.7828.
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NAB 2012 - DPA Microphones d:fine d:facto d:vote
DPA d:fine Headset Microphone
Total flexibility - d:fine has gained a great many fans since its launch, and the range is now available in directional/omni versions, single/dual ear designs, long/short microphone booms and in multiple colors. Each performs spectacularly on cable and with all pro wireless systems.
Comfortable single- and dual-ear - The choice of single- or dual- ear mount allows artists to select the optimum version for their performance. For example, the new dual-ear version is ideal for more active situations where secure mounting is required, as it sits snugly on the neck and is virtually invisible. Like its single-ear counterpart, it is unobtrusive, and so comfortable that users forget they are wearing it.
Switchable boom - d:fine is easy to switch between right and left sides by rotating the boom and the earhooks. A new short, 4cm boom is available for the omnidirectional d:fine. Sitting just below the earlobe, this is designed for applications where the mic must not be visible on the face, but where high quality sound is paramount.
Detachable cable - Repairs no longer require taking a mic out of commission, as d:fine is designed with a detachable cable which can be replaced immediately with a spare.
DPA d:facto Vocal Handheld Mic
Best of the best - DPA asked engineers what they loved most about their legendary 4011 mic and then tailored those qualities for a handheld design. The result is a supercardioid mic with superb definition and breathtakingly natural sound.
Road ready - Built for the long haul, d:facto boasts exceptional isolation from handling noise, a robust three-stage pop protector and ability to accommodate extreme sound levels.
Double duty - In addition to its standard use on a DPA wired handle, d:facto’s capsule can be simply unscrewed and attached to a Wisycom wireless handle for even greater versatility.
DPA d:vote 4099 Live Instrument Microphone
Building upon the award-winning 4099 series, d:vote features an enhanced shockmount design, and – starting from May 2012 – a choice of detachable cables of two diameters and versatile gooseneck extender.
Much more natural sounding than any internal microphone or pickup, d:vote rejects unwanted noise and accurately captures the true voice of acoustic instruments.
From piano, guitar and strings to woodwinds, brass and drums, d:vote sounds equally impressive on them all. Now, just one microphone model can beautifully reinforce an entire orchestra.
These cost-effective mics are handcrafted in Denmark for a wide array of musical instruments, complete with gentle, discreet mounting solutions and robust carrying cases.
All 4099 condenser microphones feature supercardioid polar patterns for high rejection and superior gain-before-feedback, while retaining a highly uniform off-axis frequency response.
For more information on DPA Microphones, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - Sanken COS-11D HWN Headworn Microphone
The Sanken COS-11D HWN Headworn Microphone features the same capsule as the already popular COS-11D.
This new offering from Sanken is a very stable, dual-ear, hands free microphone. The microphone can be located on either the left or the right side of the wearer. It's available in two colors: beige and cocoa.
For more information on the the Sanken COS-11D HWN, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - Comrex STAC VIP VoIP Talkshow System
VoIP (Voice over IP) technology has taken the telephone industry by storm due to its flexibility and low costs. It’s time for radio broadcasters to reap the benefits of this change.
Comrex's STAC VIP smoothly integrates legacy POTS lines with VoIP technology to deliver a new way to manage telephone calls for talk shows, interviews and contests. STAC VIP can take traditional POTS calls, but breaks new ground by handling calls from "HD Voice"-capable telephones and Smartphones apps as well as high quality calls from Skype users.
Complete with the STAC IP Call Screening and Control Interface, the STAC VIP Caller Management system will even integrate with your VoIP PBX system. STAC VIP leads the charge in migrating old-fashioned on-air telephones to dramatically clearer wideband audio quality – just another reason to put Comrex on the line.
For more information on the the Comrex STAC VIP, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - Worldcast Horizon NextGen Audio IP Codec
The WorldCast Horizon is a fully duplex, two channel stereo codec designed to enable real-time transport of broadcast quality audio over IP networks using linear audio or Enhanced apt-X coding.
Perfect for unattended sites, IP STLs and as back up for STL and satellite applications, the WorldCast Horizon enables broadcasters to utilize cost-effective data communication links such as Wide Area and Local Area Networks using RTP over UDP/IP and SIP/SDP
Delivering bi-directional stereo audio, the WorldCast Horizon enables broadcasters to utilize cost-effective data communication links such as Wide Area and Local Area Networks using RTP over UDP/IP. A 10Base-T /100Base-TX RJ45 interface is used for both audio transport and remote control/supervision. Network quality of service is provided using DiffServ.
The WorldCast Horizon incorporates Enhanced apt-X coding technology which, thanks to its low delay and exceptional acoustic properties, is particularly suited to the transport of audio over packet-switched networks. Highly resilient to multiple coding, Enhanced apt-X overcomes the problems associated with multiple psycho-acoustic passes of audio in the broadcast chain. It also offers a unique embedded synchronization feature, “AutoSync”, which enables the Enhanced apt-X compression algorithm to complement the packetising nature of UDP/IP.
Based on DSP architecture for 24/7/365 reliability, the WorldCast Horizon provides contact closures and opto-couples for remote status alarms. Both analog and digital (AES/EBU with external reference) units are available.
Supplied with CMS software, the WorldCast Horizon provides extensive control and monitoring capabilities to manage your audio, data and network conditions.
For more information on the WorldCast Horizon, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - Clear-Com Helixnet
Clear-Com's HelixNet is an all-digital platform based on the groundbreaking I.V.Core Technology that delivers superior audio quality through the use of wideband CODECS, low latency from an intelligent decision engine, and noise-reduction and error-recovery through proprietary algorithms optimized for human voice characteristics.
All HelixNet platform products were designed to provide the same user experience: the same legendary “Clear-Com Sound”, networking flexibility, ease of operations and simplified cabling.
HelixNet Partyline is the first set of products to demonstrate a revolutionary platform with the superb audio clarity of the digitized Clear-Com Sound, central administration of the entire system (firmware upgrades and maintenance) from the Main Station with a single cable and flexible cable options with the ability to leverage an existing cable infrastructure.
HelixNet Partyline delivers unique capabilities for achieving greater efficiency, cost-savings and flexibility from setup to operation and maintenance. The initial release of HelixNet Partyline consists of the HMS-4X Main Station, HBP-2X HelixNet Beltpack, HLI-2W2 Two-wire Interface Module, and the HLI-4W2 Four-wire Interface Module.
For more information on Clear-Com HelixNet, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - RTW TouchMonitor TM3 Audio Monitor
RTW's TouchMonitor TM3 comes with a capacitive 4.3“ touch screen and intuitive preset control at an affordable price. With its feature list, it is the ideal solution for editorial offices, edit suites, small control rooms, and all applications with the need of easy readable loudness-compliant level control.
The Unit - The TM3 consists of a display unit for vertical or horizontal use and a remote interface box. It handles analog or digital stereo signals (TM3) and digital 6-channel signals (TM3-6CH). TM3‘s flexible user interface allows the selection of up to 10 presets quickly and simply with just a finger swipe. The contained factory presets present a cross-section of the applications, audio connections and standards and allow you to start working right out of the box.
The Devicer Software - When it comes to configuring local presets using the Devicer DC1 software application (Windows and Mac OS X compatible), the TM3‘s power and flexibility really shines. Existing presets easily can be personalized and adapted to individual needs. Furthermore, Devicer DC1 allows to create several configuration sets with different presets, which may be uploaded to TM3 as required.
The Instruments - Besides PPM and True Peak instruments, the TM3 features comprehensive loudness measuring features conforming to all relevant international standards (EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB). Loudness instruments include single-channel and summing bargraphs, loudness range and numerical displays.
For more information on the RTW TouchMonitor TM3, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - RTS BTR-240 Intercom System
The BTR-240 from RTS: With best-in-class audio performance, license-free operation, and an array of user-friendly features, wireless intercom has never been easier.
For more information on the RTS BTR-240, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - RTS MH Series Headsets
Audio Performance - Equipped with professional-quality headphone transducers and a noise-canceling microphone, the MH series provides exceptional sound quality for applications including live remote or studio broadcasting, film, TV, and theater intercom. ANR-equipped models reduce ambient noise, ensuring communications are heard clearly the first time. In addition, all MH headsets are equipped with a failsafe system to ensure uninterrupted communications.
Modular Flexibility - The MH series’ innovative design allows the user to switch headset modules according to their needs. This means the headset isn’t limited to studio or venue communications: microphone and listen-only modules can be quickly and easily replaced with a music/audio module, allowing connection to MP3 players, tablets, laptops, DVD players, etc., and other audio devices. The headsets are also equipped with quick-swap connector options, allowing the user flexibility for various connectivity requirements.
Comfortable Design - A perfect balance of form and function, the MH series’ sleek, modern design is distinguished by the location of the headband in relation to the ear cups, which ensures greater comfort and stability when the headset is being worn. Additionally, all user contact points – ear cup cushions, temple pads, headband cushions and windscreen – are completely replaceable, allowing for sanitary use.
For more information on RTS MH Series Headsets, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - DiGiCo UB MADI USB 2.0 Connector
USB is everywhere. In fact, it’s impossible to find a modern computer without USB 2.0, which is the only connection the DiGiCo UB MADI needs to get a MADI stream in and out of your PC or Mac.
UB MADI is fully hot-pluggable. Audio flows within 4 seconds of the device being plugged in and you don’t need to restart, even if the connection is lost during a recording or playback. UB MADI is bus-powered. Only the USB cable is required to power UB MADI, even if you’re driving signals over 100m of cable.
UB MADI is small, light and robust. Using a strong USB-B type socket and standard cabling, UB MADI is reliable and portable and takes up minimal space – perfect for a high performance location recording or virtual sound check system.
48 channels. Our aim with UB MADI is to deliver a great channel count without sacrificing latency, quality or reliability. The ground breaking performance of the SD7-derived FPGA and on-board 500MHz dual-core CPU and the specification of USB 2.0 means the sweet spot for an audio interface is 48 channels of IO simultaneously (full-duplex).
Future upgrades. Because of the huge amount of extra processing power already on-board, as with all DiGiCo products, upgrades to features and capabilities are possible. Low latency. The multi-device, switching nature of USB does mean that it is more difficult for manufacturers to achieve low latency performance, but with UB MADI’s highly tuned USB processor and driver, DiGiCo has achieved industry-leading low latencies over USB 2.0.
Stability. As UB MADI is fully digital end-to-end and isn’t reliant on USB’s data clock for timing, jitter is not an issue. All audio data is recovered and input clock tolerance massively exceeds the AES minimum specification.
Computer compatibility. UB MADI is compatible with virtually all Windows or Macintosh® computers with an Intel® Core™ Duo or better CPU. Recording and/or playing back 48 channels of 24 bit audio requires a hard disk or solid state drive with reasonable performance and minimal fragmentation. DiGiCo provides a high performance, ultra-low-latency driver for both Windows and Macintosh.
Supported audio and clock formats. UB MADI can receive the first 48 channels of any AES10-compliant MADI stream, as well as coaxial AES3 (AES/EBU) stereo audio.
With no input connected, UB MADI will clock the MADI output to its own highly stable internal clock.
However, if a valid MADI, AES3 or Word Clock are detected on the input, this will be used as the system clock.
For more information on the DiGiCo UB MADI, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - DiGiCo SD10-24 Digital Console for Broadcast
In certain situations size really does matter. But even when it is of paramount importance, do you really want to compromise on the features available on your digital console? If the answer is no, then the DiGiCo SD10-24 is for you.
The SD10-24, like the original SD10, is a console that boasts features and benefits that instantly distinguish it from the others in the SD Series and every other digital console on the market, just in a more compact package.
The SD10-24 was designed to provide a smaller footprint console for a particular segment of the market, but with no reduction in functionality or number of inputs and outputs.
There is also the SD10B-24 broadcast specific product, this will be particularly useful for OB trucks, where space is often very limited but a high channel and buss count is required to handle 5.1 audio systems.
The SD10-24 measures just under 1 metre wide, with a worksurface constructed from anodised aluminium, overlaid with polycarbonate panels to provide clear and concise user feedback. It boasts the same large 15inch, touch sensitive screen as the SD10, providing both information and fast control of all the main parameters.
For more information on the DiGiCo SD10-24, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - Zaxcom ZFR300 Timecode Referenced Recorder
The ZFR300 is a compact and lightweight timecode referenced audio recorder. It’s modeled after the TRX900LA, so it’s slightly taller than the ZFR200 and has a better run time since it’s powered by two AA batteries instead of one.
The ZFR300 records on microSD cards and has a built-in SMPTE timecode reader / generator. The unit can receive timecode via a manual jam, the IFB100 or the ZaxNet 2.4 GHz wireless network.
It’s a great replacement for wireless mics on reality television type productions where there is poor RF range, interference issues, or no availabe frequencies are present. With a timecode jam any quantity of ZFR’s can be used in sync all day, the built-in timecode generator is accurate within one frame over a six hour period. The unit is powered with two AA batteries. It can run up to 12 hours using lithium or rechargeables or up to eight hours using alkaline batteries.
Weighing in at just 3.0 oz, the ZFR300 is constructed out of a high strength nylon polymer case making it resistant to water and corrosion.
Files can be output as either 24 bit / 48 KHz timecode stamped broadcast wave files or timecode stamped MP3’s.
For more information on the Zaxcom ZFR300, please contact us at firstname.lastname@example.org or call 888.462.7828.
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NAB 2012 - Zaxcom TRX742 Plug-On Transmitter
The new TRX742 is the first plug-on style transmitter supporting all professional varieties of microphones: analog mono, analog stereo and AES42. It features Zaxcom’s patented internal backup recording, ZaxNet remote control, and NeverClip (patent pending). NeverClip is a dual A-D preamp system providing an extended dynamic range of 127 dB.
Like all technologies in Zaxcom’s popular TRX product line, the TRX742 features 100-percent digital transmission for audio quality that rivals a hard-wired system. All audio transmissions from the TRX742 are compander free and are fully encrypted to eliminate the possibility of production audio interception and theft. With a patented internal timecode-referenced audio recorder that backs up all wireless transmissions on a removable microSD card, the TRX742 eliminates the possibility of audio loss due to interference or signal dropout. The TRX742 is powered by three AA lithium or rechargeable NiMH batteries and has a variable RF power output of 25, 50 or 125 mW.
With ZaxNet, Zaxcom’s 2.4 GHz RF network that enables distribution of remote control signals, timecode and metadata, TRX742 users will be able to control gain and audio replays remotely via a timecode reference so that multiple Zaxcom wireless systems can replay audio in sync. The ZaxNet integration also will allow production sound mixers to remix audio from multiple transmitters, creating a virtual multi-track playback and re-record system.
“With the versatility of supporting both mono and stereo transmission, the TRX742 will provide wireless operation for professional microphones that to this point have only been available for wired operation,” said Glenn Sanders, Zaxcom president. “The TRX742 will be the highlight of our booth at the 2012 NAB Show, and we’re anticipating a lot of interest among audio mixers worldwide.”
The TRX742 is compatible with all Zaxcom wireless receivers and IFB / ZaxNet transmitters.
For more information on the Zaxcom TRX742, please contact us at email@example.com or call 888.462.7828.
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NAB 2012 - Roland R26 Portable Field Recorder
The Roland R-26 captures audio with high-definition direct sound, as well as the rich natural ambience of the recording environment. With dual stereo mics, six channels of simultaneous recording, and much more, this portable recorder offers true professional quality and flexibility, opening the door to limitless creative possibilities.
Hand-held field recorders have been hot commodities for musicians, recording engineers, and sound designers for years. This innovative recorder is portable yet loaded with first-class, professional features, the likes of which the industry has not seen to date in this class. There are two types of stereo microphones built into the R-26, plus a pair of XLR/TRS combo inputs for external mics, and an input for a stereo plug-in powered mic. Choose simultaneous combinations of the built-in mics (directional and omnidirectional), as well as the external inputs. Capture live performances with simultaneous line and ambient signal paths, record important speeches, lectures, and presentations, or take the R-26 into the inner city or deep forest for pristine field capture. The sky’s the limit with this powerful, portable, and incredibly flexible recorder.
For more information on the Roland R-26, please contact us at firstname.lastname@example.org or call 888.462.7828.
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