Soundcraft's Mixing with the Professionals Day - FREE EVENT
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sE Munro Egg 150 Monitoring System
sE Munro Egg Speaker - A Revolutionary Active Studio Monitor
The sE Munro Egg incorporates a fundamental rethink of the loudspeaker engineering process. The traditional wooden box has been replaced by a scientifically proven, curved enclosure that virtually eliminates diffraction and resonant effects that distort and smear the original sound.
The result is a stunning clarity that brings the smallest details into focus and yet delivers the entire mix as a coherent whole.
The system is complete, with a free standing control unit that delivers a perfect bi-amplified power match to the egg drive units, source select inputs, active analogue crossovers, LF and HF trim pot equalisation for room and location set-up compensation and a mid-band control to emulate the mid-range response of both Hi-Fi and NS10 type speakers.
Above all, the sE Munro Egg 150 Monitoring System is designed to deliver the highest quality sound with the absolute minimum of coloration. In one word - Truth.
sE Munro Egg 150 Monitoring System is available at Dale Pro
Audio! For more information on sE Electronics, please contact us at
email@example.com or call 888.462.7828.
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The new iPad
The new iPad
With the stunning Retina display. 5MP iSight camera. And ultrafast 4G LTE.
With the breakthrough Retina display, 5-megapixel iSight camera, and ultrafast wireless, the new iPad is more immersive than ever before. Surf the web, check your email, flip through photos, watch a movie, play a game, thumb through a book or magazine, and more. iPad gives you a smarter, more intuitive, more fun way to do everyday things—and thanks to 200,000 apps in the App Store, things you can’t even imagine.
For more information on The new iPad, contact
CLICK HERE, email
firstname.lastname@example.org or call 888.462.7828.
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Lectrosonics and Dale Pro Audio - a winning combo!
Dale Pro Audio is proud to offer Lectrosonics wireless microphone and audio conferencing products. Lectrosonics is highly respected within the film, broadcast, music, and theater technical communities.
Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company's dedication to quality, customer service, and innovation.
Wireless IFB (interruptible fold back) systems are used for talent cueing and crew communications in broadcast and motion picture production. In other cases, the IFB system is used by directors and other management to monitor program audio during a production. The IFB R1a Receiver provides simplicity and flexibility in a package that is intuitive for untrained users to operate.
The receiver is housed in a rugged machined aluminum package. An optional spring-loaded belt clip provides a secure mounting on a wide variety of belts, pockets and fabrics. The belt clip is removable to reduce its size and allow mounting into other types of bags and belt worn mounting systems common in field production.
The HM Digital Hybrid® UHF Plug-On Transmitter features a DSP-based design that allows the transmitter to operate in its native Digital Hybrid Wireless® mode, Lectrosonics 200 Series, 100 Series, IFB product groups, plus two modes for compatibility with analog receivers from other manufacturers. A unique multi-voltage phantom power feature allows the transmitter to be used with virtually any microphone, including high-current condenser types, expanding its usefulness in high-end applications such as motion picture production.
The R1a Synthesized UHF Belt-Pack IFB Receiver- Wireless IFB (interruptible fold back) systems are used for talent cueing and crew communications in broadcast and motion picture production. In other cases, the IFB system is used by directors and other management to monitor program audio during a production. The IFB R1a receiver provides simplicity and flexibility in a package that is intuitive for untrained users to operate.
The receiver is housed in a rugged machined aluminum package. An optional spring-loaded belt clip (shown at right) provides a secure mounting on a wide variety of belts, pockets and fabrics. The belt clip is removable to reduce its size and allow mounting into other types of bags and belt worn mounting systems common in field production.
To find out more about Lectrosonics, please contact email@example.com or call 888.462.7828.
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Soundfield Surround Sound Products for Broadcast and Location Recording
In 1933, British scientist Alan Blumlein was issued a patent that stands today as a landmark in the development of stereophonic recording and reproduction. Among its numerous declarations, it defined the basis for all coincident microphone techniques, including the Mid/Side and crossed bidirectional configurations. (The latter, in fact, is commonly referred to as a “Blumlein Stereo” pair.) In the 1970s, British mathematicians Michael Gerzon, Peter Craven and colleagues expanded upon the stereo concepts pioneered by Blumlein to develop the concept of a microphone system that could reproduce a full three-dimensional soundfield. Both Blumlein and Gerzon realised that only when a soundwave is captured at a single point in space can it be reproduced faithfully and without the phase distortion anomalies inherent in spaced microphone techniques.
Early SoundField prototype models were developed using Gerzon’s theory in conjunction with the National Research Development Corporation of Great Britain and Calrec Audio. Chief Designer at Calrec, Ken Farrar, and colleagues played a leading role in turning Gerzon’s theory into a real product and Ken Farrar’s contribution was later recognised by his appointment as a Fellow of the Institution of Electrical Engineers (F.I.E.E.). In 1993, the company SoundField Ltd. was formed specifically to manufacture and further develop the range of products and their application in both stereo and multi-channel audio environments. SoundField Ltd. is the owner of all patent and intellectual property rights relating to SoundField Technology.
The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect 'front end' to capture both stereo and 5.1 surround. It is ideally suited to those working in the field on laptop based recording systems or in the studio on fully fledged Digital Audio Workstations
The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.
The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing - such as stereo and surround sound decoding and manipulation - takes place in the Surround Zone software which is included with the SPS200.
The UPM-1 is a hardware stereo-to-5.1 upmix processor, designed for HD broadcasters who use a lot of archive stereo material and wish to generate acceptable 5.1 broadcast mixes from stereo soundtracks.
Software and hardware upmixing tools have existed for some years, but most of them create material for the extra three channels in a 5.1 mix by using processing, for example adding reverb or applying phase-shifts to the stereo material to create information for the rear surround channels. Instead, the UPM-1 generates the material for the extra channels by closely analysing the source stereo signal over time. Using a unique algorithm developed for the purpose, the UPM-1 can detect reverberant content in the stereo signal, differentiate it from the direct sounds in the mix, and separate it out.
As with SoundField's surround microphone systems, users can adjust the details of the processing directly from the UPM-1's front panel, with control offered over a variety of different parameters including the level of the direct and ambient components in the front and rear channels, and the divergence of the Centre channel in the generated 5.1 mix, with options from a discrete Centre channel at one extreme to a phantom Centre at the other. Output level controls are also offered for each of the channels in the final 5.1 mix.
For more information on Soundfield, contact Joe Prout via email at:
firstname.lastname@example.org or call 888.462.7828.
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Yamaha CL Series Digital Mixing Consoles
The pursuit of perfection is ongoing and will probably never end, but along the way Yamaha has introduced a number of innovations that have become industry standards offering performance and familiarity that discerning users continue to demand. By definition, “standards” are best kept as they are. With evolutionary refinements, of course.
Yamaha CL Series Digital Mixing Consoles represent a new level of refinement. They offer an evolved experience in accessible mixing, plus sonic purity with sound shaping capabilities that will give the most imaginative engineer unprecedented creative freedom. The CL series embodies the leading standards in live sound in their most advanced, most expressive form.
Every engineer, artist, and audience agrees that sound quality is the bottom line. That’s a given. Through thorough analysis, review, and refinement of every detail of the circuitry and technology used, Yamaha CL series consoles deliver naturally superior sound plus a comprehensive range of “coloring” options that give the sonic craftsmen who will use them extraordinary creative freedom. The signal processors provided are plentiful and of the highest quality, including extraordinary Portico 5033/5043 EQ and compressor devices that bring Yamaha VCM technology together with the legendary talents of Rupert Neve. The platform is pure and natural, so the engineer can create and deliver the ideal sound.
A truly useful sound reinforcement console is one that can keep pace with the rapidly and dramatically changing demands of live sound applications. Efficient, intuitive operation is essential. Yamaha’s acclaimed Centralogic concept is the core of a refined user interface that offers a new, unprecedented level of operating efficiency in the CL series, from visual feedback right down to the form and feel of the faders and controls. The CL consoles are also ready for seamlessly integrated remote control and offline editing via an Apple iPad® or other computer. Control is familiar and intuitive, while at the same time offering extensive freedom.
Network capabilities are rapidly becoming fundamental and indispensable in today’s fast-paced world of digital live sound. CL series consoles feature separate console and I/O rack components that communicate via the Dante™ network audio protocol, allowing fast, efficient design and deployment of capable systems from the most basic to the dazzlingly complex. The ability to add Lake® processing via expansion slots also adds to the system’s versatility and adaptability to the widest range of mixing needs.
The Yamaha CL Series is a Dante network–based console featuring remote I/O for a faster, more responsive Yamaha system solution.
All three CL models in the Centralogic™ series, only differentiated by frame size and input capability, feature 24 mix buses, 8 matrix buses, plus stereo and mono outputs, and 16 DCAs. The footprint of all three CL consoles is small, yet powerful and has been developed specifically for sound reinforcement applications such as performing arts venues, theaters, houses of worship, touring, and remote broadcast. The high output bus count will be a great benefit to live broadcast and monitor applications.
All Yamaha CL (Centralogic) Series Digital Consoles feature:
24 Mix Buses
8 Matrix Buses
Stereo + Mono Outputs
16-bit Color LED Back-Lit Touch Screen
4 User-defined Knobs
Built-In Help System
2-Track USB Recorder / Player Section
16 31-band GEQs
8U Effects Rack
8U Premium Effects Rack including:
Rupert Neve Designs Portico 5043 Compressor
Rupert Neve Designs Portico 5033 EQ
Yamaha VCM Compressors and EQ
The CL5 features
72 Mono + 8 Stereo Inputs (64 channels via Dante / 8 Local), 34 Faders (16 on the left, 8 Centralogic, 8 on the right, plus stereo and mono master faders), and Built-in Output Metering.
The CL3 features: 64 Mono + 8 Stereo Inputs, 26 Faders (16 on the left, 8 Centralogic, and 2 masters).
The CL1 features: 48 Mono + 8 Stereo Inputs, and 18 Faders (8 Left, 8 Centralogic, and 2 masters).
For more information on the new Yamaha CL Series Digital Mixing Consoles, contact Michael Straus via email:
email@example.com or call 888.462.7828.
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Staff Pick - Universal Audio Apollo by Dale's Dylan M. Page
I recently had the pleasure of putting my hands on one of the new Universal Audio Apollo High-Resolution Audio Interfaces. Bruce MacPherson, from Universal Audio, visited Dale Pro Audio, bringing with him the much anticipated Apollo, and I must admit, that because of the “buzz” surrounding this unit, I had very high expectations. I wanted to see something impressive, otherwise I was going to feel cheated, considering all the anticipation surrounding the newest member of the Universal Audio family.
Universal Audio did not disappoint.
The Apollo not only looks gorgeous, but it also has the feel of a Universal Audio piece – it’s made of the same quality hardware that you’d find in any of Universal Audio’s hardware line. When you flick the power switch, it doesn’t feel like a cheap plastic component, because it’s actually the same high-quality switch that you’ll find in the LA2A! The knobs are the same knobs from the 1176! The meters are the same ones used in the 2192!
This isn’t just a Universal Audio “branded” interface - this is a true piece of Universal Audio hardware!
One of the things that I enjoyed about the Apollo (other than the superb audio quality) was the sheer attention to detail in the device. A perfect example of this is the way the device acts when you engage the phantom power button. Traditionally, most interfaces have a phantom power button, which upon depression, will activate the current, which in turn powers the microphone, occasionally triggering a pop as the microphone comes to life. Anticipating this, the Apollo briefly mutes the channel, and gradually brings the power up to a sufficient level before un-muting the channel, giving the user a pleasant, pop-free experience. This is one of many subtle nuances, which not only add to the experience of owning such a quality device, but also illustrates Universal Audio’s commitment to giving the user an amazing experience on all fronts.
The Apollo ships with 14 days of access to all of the currently shipping UAD2 Powered plug-ins. After that, you retain access to the Analog Classics bundle, with the option to purchase any additional plug-ins via the Universal Audio Online Store. Some users will wind up falling in love with the wide array of plug-ins during the 14-day trial period, and wind up in the Universal Audio online store, purchasing licenses for their favorite powered plug-ins. This can wind up being rather expensive, totaling multiple thousands of dollars in software licenses alone! One great thing about the Apollo is that it’s perfectly compatible with the other UAD powered processors on the market, including the UAD2 Quad Omni (both PCIe and FireWire). This means that instead of purchasing the plug-ins individually (and still having to run them off of the Duo or Quad processor of the Apollo), you can attach a second DSP in the form of a UAD2 Quad Omni, and have extra processor power while also saving thousands of dollars in software licenses!
The four microphone preamps on the Apollo are essentially transparent, leaving you the ability to color your input as you see fit, using the UAD powered plug-ins which are available for use either in your DAW, or in the Console app (which allows for tracking using the UAD powered plug-ins at an astoundingly low 1.1ms of latency). But what if four high quality microphone preamps are not enough? That’s not a problem! The Apollo has eight line inputs, plus ADAT S/MUX and S/PDIF! In fact, by using the ADAT S/MUX connection on the back of the Apollo, you can connect 2 of the Universal Audio 4-710d Four Channel Tone-Blending Mic Preamps, adding eight channels of dual-path 285-volt Class-A tube and transimpedance solid-state preamps!
Overall, the Universal Audio Apollo is an amazing piece – Apollo’s converters easily rival its competition, and it also includes features not found on other products in its price-point. It powers through complicated DAW sessions by adding “horsepower” to your computer via its integrated DSP-powered UAD Powered Plug-ins. It easily connects to your other gear via multiple analog and digital I/O. It’s made from quality Universal Audio components. There’s really nothing bad to say about this piece! If you’re looking for an amazing audio interface, with the ability to take on your toughest projects, the Universal Audio Apollo is your best bet!
For more information on Universal Audio's Apollo, contact us at
firstname.lastname@example.org or call 888.462.7828
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