Member Profile: Antonio Velasquez

Antonio Velasquez

Antonio Velasquez

Location: Lo Barnechea, Chile

Education: MS in Acoustics Engineering and Post Graduate Studies in Physics, Microprocessors, DSP, and Computing Science

Occupation: Antonio owns Vitglobal.com, which is a database cloud services and acoustics measurement equipment manufacturer.

Member Status: Antonio subscribed to audioXpress after being linked to it from Elektor, which he said he had been familiar with for a long time. At first, he said he just read the audioXpress articles. Then he said he realized there is a community of great folks, who are really into audio and acoustics innovation. Antonio said, “I thought that I may learn and have a lot of fun if I could be part of it.”

Audio Interests: Antionio is a drummer for the Sobregiro Band. The band plays jam sessions at Thelonious in Santiago, Chile.

Most Recent Purchase: Antonio just bought a kit to assemble a permanent noise monitoring station. It is based on a LGX M150 fanless dual core with a 120-GB solid-state drive, a Mimo Monitors 10” touchscreen, and a UMIK-1 calibrated by CrossSpectrum. He also purchased a Sony PS-Q7 turntable to listen to his old 12” records.

Current Audio Projects: Some months ago his Altec Lansing studio monitors were stolen, so he is in the process of rethinking his next project. Antonio said, “I had those speakers since 1988. Now, I don’t know where to start.”

Dream System: Antonio said he is not a “hi-fi crazy guy.” He enjoys a simple stereo recording setup with a UCA220 interface, a Xenyx 802 mixer, and two matched Behringer condenser recording microphones. He uses Audacity for recording. For noise measurements, Antonio wants a nice homemade system with repolarized capsules that could read down to 20 dB, up to 140 dB, with 20/20 kHz or 20/40 kHz and 24 bits/192 kHz ADC, and an audio USB interface to his PC or Android tablet to program analysis algorithms in C++. His dream system will always provide huge dynamic range and flat frequency response. For listening, he wants an all-analog 1980s setup (with a nice DAC), with a Nakamichi, Aiwa, Sansui, Yamaha or some similar tuner, an MK2 turntable, and his lost Altec Lansing studio monitors. Antonio tries to never listen to compressed music and said his music motto is “as raw as possible.”

What’s Next in Audio?

audioXpress is deeply rooted in the R&D and DIY audio communities. So is Elektor, our sister publication that originated in Europe. Elektor International Media (EIM) group publishes Elektor, audioXpress, Voice Coil, the Loudspeaker Industry Sourcebook, and Circuit Cellar.

For those interested in building electronic things, analog or digital, audio related or not, for a hobby, addiction, or pure passion, we recommend Elektor as a must-read practical electronics magazine. You will not be disappointed. Because audioXpress is part of the EIM group, we share common resources such as our excellent Elektor.LABS service and web community. Projects from around the world can be submitted—and you are immediately rewarded for your submission. Your project’s development can be supported by our team of experts, as well as other members. So, we would like to invite all our audioXpress members to register at www.elektor-labs.com. Check it out! You will see there are already several interesting audio-related projects you can follow and discuss.

We also have exciting things on the horizon for all DIY audio aficionados. You will be the first to hear about them if you are a member of the Elektor.LABS community.

On a similar note, we are approaching the publication date of our Loudspeaker Industry Sourcebook (LIS), which this year will include a searchable online version. There is no better way to find a supplier for anything audio-related be it speakers, transducers, amplifier modules, components, or any other part for your projects, from prototype stages to high-volume production.

For this year’s LIS, our team has been compiling and analyzing important trends. It’s clear the audio industry is speaking volumes in completely new areas (e.g., Bluetooth speakers and anything mobile) while “wearable” concepts are about to revolutionize the market. Just like tour-guided systems enable you to receive relevant information in different languages by walking into an exhibit and approaching a display, now personal mobile devices and wireless transmissions will expand the concept to the retail and entertainment markets. Such products already exist for sports events, and soon those collective experiences will be reinforced with “bring-your-own” personal devices. These notions weren’t feasible five years ago, because the technology was not there—or was simply too complicated and expensive.

At the same time, clever ideas without business plans to back them up don’t necessarily equal product success. Nor does it mean all ideas should immediately be converted into crowd-funded campaigns on Kickstarter. Doing so risks turning a valuable resource designed to help finance new start-ups into a site filled with collective deceptions.

We’ve seen examples of many “good-idea” products introduced on Kickstarter that are not viable in the real market. And remember, one product is not a company and not a business by itself. You need a market opportunity larger than one single product idea.

Also, there’s nothing like a good electronics community to find technical solutions and prove the concept in earlier stages. Sometimes, it’s not a good idea to include a powerful lithium battery in a device we are going to use for hours in our ear canals. And 3-D printers are great and will create new business opportunities, but do we really need consumers “printing” speakers? Others simply need to realize we now have powerful computers with touchscreens in our pockets. We don’t need more boxes and remote controls!

Member Profile: Jack Philpot

Jack Philpot

Jack Philpot

Member Name: Jack Philpot

Location: South Holland, IL

Occupation: Jack is retired from AT&T. At one time, he was a frequent contributor to Audio Amateur. Jack’s articles appeared in several Audio Amateur issues including February 1978, February 1979, February 1980, January 1983, February 1983, April 1983, February 1986, February 1988, April 1989. He also wrote an article for Speaker Builder that ran in January 1982.

Member Status: Jack said he started subscribing to audioXpress when he discovered that it was a continuation of the Audio Amateur publication. He said he was hoping to find back issues that may contain an upgrade article on the Adcom GFP-565 preamplifier.

Audio Interests: Jack is very interested in home audio, both new and vintage.

Most Recent Purchase: He recently added a Cambridge DAC for for listening to high-resolution digital music sources and an Ortofon 2M Blue, designed for high-performance reproduction of analog records, to his home audio system.

Adcom

Adcom GFA-535 II power amplifier

Current Audio Projects: Jack converted two dual-mono Adcom GFA-535 II power amplifiers to mono blocks with dual-power supplies. He used an extra pair of outputs from spare modules and added them to each driver board similar to the GFA-545 II. He built the unit so that the output terminals are bridged for bi-wiring.

Q&A: Craig Bernabeu – Recording Engineer Introduces Innovative Designs

Craig Bernabeu

Craig Bernabeu used his audio knowledge to start his own professional audio company, SBS Designs.

SHANNON BECKER: What compelled you to start your company, SBS Designs, in 2011?

CRAIG BERNABEU: I was not really seeing audio products designed for a variety of applications with different approaches to record or play back music that would suit my needs. So in late 2009/2010, the former head engineer from Summit Audio and I started designing visionary gear. SBS designs makes my vision of US-made high-end designs with a left-field approach available to users.

SHANNON: How did you choose the name SBS Designs?

CRAIG: I have a sound company called SBS that designs custom high-end analog systems for different venues. SBS Designs builds custom speaker cabinets, consoles, and desks for mixing consoles and outboard gear. I had originally planned to call the company SBS Electronics. Due to legal trademark issues I could not use the name so I came up with SBS Designs, which works perfectly. SBS is globally known for the systems I have designed in the past so I wanted to incorporate the name into my new business venture.

SHANNON: Tell us about your company’s first product.

CRAIG: Our first product is the Iso-Q2, which is a three-band program equalizer with infinity cut, 15 dB of boost with five front controllers, three gain controls and two adjustable frequency potentiometers for the low and top end. Its I/O is balanced and unbalanced with a selectable effects loop. The Iso-Q2 is 115 and 230 V ready. It also offers a rear-panel output gain trim for perfect gain matching or it can be used to reduce gain for heavy-handed end users.

The Iso-Q2 is a solid-state three-band isolator/three-band program equalizer with five usable front panel controls (top). The Iso-Q2 can be used in an effects loop insert, mixbus, or main output of any console (bottom).

The Iso-Q2 is a solid-state three-band isolator/three-band program equalizer with five usable front panel controls (top). The Iso-Q2 can be used in an effects loop insert, mixbus, or main output of any console (bottom).

The Iso-Q2 enables the end user to sweep the low frequencies from 50 to 400 Hz with a front panel potentiometer. The high frequency is sweepable with another front panel potentiometer from 3.15 to 12.6 kHz, and it offers a frequency response from as low as 8 Hz to 100 kHz.

It’s primarily used in recording studios, and mastering houses; as live PA for mix engineers, electronic dance music (EDM) performers, and DJs performing in clubs or at festivals; or for sound reinforcement.
This Iso-Q2 can also be used as a performance processor to cut and boost on the fly, cutting out and isolating target frequencies from a song to get an audience excited in a live venue to take the energy to the next level. In the studio, the Iso-Q2 is intended as a program equalizer to sweeten up the source or equalize rough frequencies that need to be smoothed out.

SHANNON: What other products have you developed?

CRAIG: The SP-1 is the company’s first tube processor. The SP-1 is a unique design, offering features and technology that has not been previously developed. It is designed to warm up and improve the dynamic range. The SP-1 is a handmade hi-fi processor that will let you record and add dimension to music in ways never achieved.

The SP-1 tube device has two front-panel controls (top). The SP-1 offers a line level to phono level playback with a reverse phono curve to a line level source (bottom).

The SP-1 tube device has two front-panel controls (top). The SP-1 offers a line level to phono level playback with a reverse phono curve to a line level source (bottom).

With the SP-1, I wanted to put a twist on vacuum tube processing. From the original concept, it took more than five years to get it perfect. We designed a few different concept prototypes and then put the prototypes through years of testing in different applications including live, studio and even home hi-fi applications.

There were a few things with the prototype that I did not like, so I started redesigning it and our engineering experts said I was crazy, and that no company would put this kind of R&D into one product. We spent thousands of hours on the SP-1.

That’s what is different about SBS Designs. The product needs to be right and very unique so it really stands out. So we went back to the drawing board and made multiple changes until it was perfect. Now, the SP-1 is my vision of what it should be.

What is really unique about the SP-1 is its reverse phono curve option, which is a first of its kind of feature with full control with the front panel controls. The SP-1 offers a phono stage to use with turntables for end users who want to get the most from vinyl to sample.

I wanted to include a feature that enables users to put phono curves on line sources to attain digital or analog line sources as close as possible to the sound of turntables. It is really amazing how good you can get line digital sources to sound.

SHANNON: Can you share some of the other challenges involved with the designs?

CRAIG: One major challenge is coming up with unique designs to put a twist on audio by offering features not previously done or different to the last design I have already brought to the market. But the biggest challenge with this philosophy is offering features for the end user but not at the expense of the sound quality.

To ensure this process properly works, I design my products two or three years before they are available to the public. Then I can really test them in a variety of applications so I know they work how I intend them to and sound the way I expect. This is very tricky to do, especially when I need SBS Designs to have perfect synergy with other high-end brands.

I have never approached any SBS Designs product with the idea that it will be like anything else on the market. I have always wondered what I could do differently than others to get the most out of the source and give users innovative options that are fun to use. I want to bring the fun factor back to recording or playing back music.

SHANNON: What makes your amplifiers unique?

CRAIG: The S-series amplifiers, which range from the S1 to the S6, are uniquely designed with a high-end old-school approach. Attention to detail is our first priority. Everything from the board layout and circuit design to all the components on the board, right down to the heatsink and manufacturing, are made to our specifications so the amplifiers sound and reproduce amazingly.

Our head of engineering and I are sticklers about this. If it doesn’t sound and function a certain way, it does not get released no matter how long it takes to get done. I don’t operate with time restrictions just to rush it and get it out the door. If it’s not right, it does not leave the facility.

So I think what makes us different is that we ensure our products are the way we want them to be throughout the entire process. This attention to detail is understood day one.

This especially applies with our ratings. We don’t play the ratings game just to show impressive numbers and have our products fall short of their specifications or go with the 1/8 duty cycle rating like most amplifiers do. Our S1 and S2 amplifiers offer 50% true duty cycle full output loads at full frequency from 10 Hz to 100 kHz and the same goes for the way we specify our larger S3, S4, S5, and S6 amplifiers.

We also decided to offer two high-current amplifiers. The S5 is a pure Class-AB, 2-Ω stable amplifier. The S6 is a Class-AB +B that is 2 Ω stable and designed to work flawlessly with 2-Ω load-driven hard and passive speakers with difficult chokes. In these applications, the S5 and the S6 would work perfectly and sound amazing.

SHANNON: How has the audio community reacted to your products? Is the audio market a difficult one to enter?

CRAIG: The community has been very receptive to SBS Designs. I have received several compliments and our products have been selling globally.

It seems the audio community is really enjoying the twist I have been putting on audio by adding different features to get the most from a mix or a sound system and providing really high-quality sound, which allows the end product to be improved whether it is live or studio recordings.

It’s been great so far with a lot of successful engineers and producers getting behind SBS Designs with great results on a production or in a live application.

The S5 is used in several mastering studios and receiving praise from engineers such as Nick Moon at Tone Proper Mastering in Oregon. Moon is using the S5 on the road to mix and he recently used the S5 to mix Liv Warfield when she performed on the Late Night with Jimmy Fallon show (http://sbsdesigns.com/liv-warfield-mixed-on-the-jimmy-fallon-show-s5-amp). So the S-series amplifiers are really getting incredible praise and demand is growing as SBS Designs’s reputations spreads.

The audio market, as with any market, can be difficult when you offer a left-field approach so it can take a while to make an impact. But, if you’re determined, you can make it happen, and it will.

SHANNON: Tell us a little about your background. What did you do prior to starting SBS Designs?

CRAIG: I went to school in the 1980s in New York City and got a degree in recording. I worked in a few studios then I started focusing on high-end analog pro sound system designs. They sold globally via word of mouth, and my sound system designs won or were nominated for best sound system times from 2003 to 2011.

I also built studio reference systems and worked closely with many major manufacturers and their engineers to change their products to structure them to meet my needs.

After several years, I noticed some of the great audio components be replaced by cheap products. I decided to design my own high-end products and I came up with a concept for an entire line.

I approached Summit Audio with my concept and they were interested. The first product, a tube processor that took two years to develop, was released in 2002. Next, we developed the amplifiers and then a solid-state equalizer. I also became an investor in Summit Audio in 2004.

After working with Summit Audio, Summit’s former head engineer and I started developing an entire new line. That’s when I started SBS Designs. SBS Designs are now sold in retail outlets in the US and a few countries around the world. It is growing fast and amazing things are happening for SBS Designs in 2014.

SHANNON: What’s next for your company?

The SP-1 PRO includes seven usuable front panel controls (top) and it can be used in any fully balanced or unbalanced circuit without any drive loss (bottom).

The SP-1 PRO includes seven usuable front panel controls (top) and it can be used in any fully balanced or unbalanced circuit without any drive loss (bottom).

CRAIG: I have been working on my 2015 products for the last year and a half. My background is speaker design, and I have completed a full monitor line that I would eventually like to release.

For 2014, SBS Designs has two new designs—the SP-1 PRO and the SX-3. The SP-1 PRO is our second vacuum tube processor. It will feature seven front-panel usable controls, designed to really let the end user improve the dynamic range of any full-range source.

Similar to the SP-1, a carefully designed expansion process will bring out exciting detail that is so often masked by recordings that are compressed and engineered to be mono compatible. The SP-1PRO will also bring back incredible detail to digitally stored/processed recordings that were subject to data reduction processing.

SP-1 PRO also has a sub bass expander and an extended range of top treble expander. These expanders are top quality fully analog that don’t contain any noise or distortion generators. They add dynamic range by controlling the target frequencies with photoresistors.

When bringing a second vacuum tube processor to market, I had to be creative and provide features not previously used to help the end user receive more from the vacuum tube technology. (More information about the tube technology is available at www.sbsdesigns.com.)

In late 2014, we will release the SX-3, a two-way, three-way dual mono stereo analog crossover or a four-way mono. As with my other designs, I put a spin on it that you just don’t see on other crossovers, especially in the analog domain.

SHANNON: Do you have any advice for audioXpress readers who want to build their own sound systems?

CRAIG: Learn the importance of the physics of a cabinet design for a loudspeaker. Do not think you can build a speaker just any way and make corrections in the processing. This is a huge misconception in proper loudspeaker design.

Try to learn how to design a speaker so it can naturally reproduce music with as little processing as possible. Overprocessing seems like the norm these days, but the best, most amazing sound is the least processed with as little crossover points possible. A good speaker system effortlessly works with the least amount of gear in the signal chain and provides great results.

Before beginning a loudspeaker design, truly understand an amplifier’s specifications not just the watts per channel. Learn the Thiele-Small (T-S) parameters of a loudspeaker. Knowledge of room acoustics is also ultra important so there are no weak links in the chain. That way the end result will deliver as promised and maybe even more than promised.

Feeling Too Old?

With the year’s first audio shows behind us, we have seen several technical breakthroughs and innovations that give us reason to be excited. Thus far, we have attended the 2014 International Consumer Electronics Show (CES), the National Association of Music Merchants (NAMM) 2014, and the Integrated Systems Europe (ISE)!

The 2014 International CES was marked by the emergence of ultra-high definition (UHD) TV. Audio professionals need to be aware of the sound implications that accompany those stunning images. Most (giant) LCD panels are so thin there’s no space for high-quality speakers. The TVs may sound fine at home for sports, talk shows, and news, but there is a market for new speaker systems to complement these 4K TVs. And (sorry) I don’t think consumers will opt for multichannel unless we see new speaker designs that combine great quality with convenience.

In the majority of homes, the key will be perceptual audio algorithms and a better consumer experience with less hassle. That also means wireless solutions, especially for surround sound. At the 2014 International CES, we particularly liked the Philips Fidelio E5 wireless surround cinema speakers, a “Best of Innovations” in the Home Theater category.

Also, it is critical to understand that 4K content will not arrive at homes as physical media. As we saw at the 2014 International CES, Sony’s vision for 4K includes new cloud/online services, where hi-res audio and interactive gaming are also considerations. In my opinion, this means speaker and audio systems designers have good reason to work hard on new designs.

Another major trend at the 2014 International CES was wearable electronics, which will provide new opportunities, related to headsets, wireless audio, and maybe immersive/awareness experiences.
The NAMM Show in Anaheim, CA, was also a vibrant event, complete with several major announcements for the studio and stage environments and, increasingly, many incredible options for iPad and portable devices. Apps for iPad (e.g., Korg’s Gadget featuring 15 virtual synths and instruments or Cakewalk’s Z3TA+ iOS) sound and look amazing.

There was also a new trend that combined portable wireless speakers with guitar rehearsal amplifiers. Take a look at the VOX SoundBox Mini and IK Multimedia iLoud portable speaker and you will understand. An outstanding example came from Line 6, after its recent acquisition by Yamaha. The new Line 6 AMPLIFi combines a high-performance guitar amplifier, a streaming Bluetooth speaker, and an iOS app in one powerful solution.

The NAMM Show also saw several new studio monitors and many Thunderbolt recording interface announcements, with Zoom making a grand entrance in that category. Our favorite recording solution was the new Universal Audio Apollo Twin, a desktop 2 × 6 Thunderbolt audio interface, which enables real-time universal audio digital (UAD) processing of its high-quality plug-ins.

The greatest NAMM surprise came from QSC Audio, which revealed its first digital mixer line, the TouchMix series. Behringer also announced a new Dante network option for its X32 range of digital consoles, adding that more than 100,000 units have been sold worldwide. Perhaps inspired by that incredible success, the Music Group also announced a new 40-input Midas digital console, the M32, which is available for less than $5,000.

If you don’t feel excited by these announcements, the music is probably too loud and you may be a tad too old.

The April 2014 Issue of audioXpress is Now Online

AX-2014-04This month’s audioXpress reviews the different approaches in microphone placement techniques for capturing and recording unamplified acoustic music, particularly classical music. A recent study and AES presentation has reignited this issue and our author Gary Galo decided an historical perspective was needed in his article “Stereophonic Recording: What Do Listeners Prefer?”

In our usual review section, we give a listen to the new Focal Spirit Professional Headphones, the first effort of this kind from the prestigious French manufacturer. Miguel Marques tested the Focal Spirit Pros in a quest to discover what this new model brings to an already crowded and very competitive headphone market.

Interested in high-resolution audio? Then you might want to check our Standards Review column, where we examine the recently announced HDMI 2.0 specification. HDMI 2.0 introduces bandwidth support for Ultra HD/4K televisions, adds up to 32 audio channels and 1,536-kHz audio sample frequency with simultaneous delivery of video and audio streams to multiple users.

In this edition, we interview Craig Bernabeu, founder and chief designer of SBS Designs. He created the company with a former colleague to explore “different approaches to record or play back music that would suit my needs” and realize his vision of “US-made high-end designs with a left-field approach available to users,” as he describes it.

Get ready to shake. Mike Klasco’s and Steve Tatarunis’s article discusses structure-borne vibrational energy with “Bass Shakers: Enhancing the Deep Bass Experience with Tactile Energy.”
This month’s Hollow-State Electronics column is dedicated to the “Effects Of Guitar-Amplifier Design On Distortion Sound.” Richard Honeycutt looks closely at one particular amplifier’s design to determine at what stages most of the distortion occurs.

For those interested in DIY projects, you will enjoy a great concept from Michael Rothacher with his LuminAria: A SIT Preamplifier. The author intended this preamplifier to be “compact enough to fit in a suitcase” and a “good-sounding, unusual preamplifier with a spiffy set of performance specifications.” He completed the project in two months, and it was one of the highlights at the Burning Amp Festival in San Francisco.

In our Audio Electronics column, we have Bill Reeve’s take on “An Alternative to Linear Regulators.” In the article, he searches for equivalent power-line ripple rejection with less power dissipation, because no one wants to listen to an audio amplifier that hums.

We also included a book review and this month we share what we can learn from a master by reading The Bruce Swedien Recording Method.

Your new issue of audioXpress is now available at www.gotomyxpress.com

Powersoft X Series Raises Power Amplification to the Network Level

powersoft-amp

Powersoft X Series

At Prolight+Sound 2014 in Frankfurt, Italian manufacturer Powersoft launched the Powersoft X amplifier Series, which the company describes as “a real evolution in pro-audio amplification, much as the seminal K Series did back in 1995 when technologies such as Power Factor Correction (PFC) and switch-mode amplification were introduced for the first time into the professional audio industry”.

The Powersoft X Series is in reality more like a system tool that integrates a large amount of functionalities, generally only found in separate outboard units, including an innovative channel routing systems, truly universal mono, bi and three-phase balancing power supply and a fully-featured DSP.

The X Series consists of two models. The X8 is the largest amplifier in the range, boasting eight channels in a 2U chassis, while the X4 features four channels in a single rack unit. Both models share the same power density, being capable of delivering up to 5200W @ 2 ohms per channel.

The X Series natively supports AES3, two redundant Dante digital streams and analogue inputs, providing up to four different selectable input sources per channel.

Suitable for both low and high impedance applications, the Powersoft X8 and X4 are equally suitable for concert touring and professional fixed installations. The modular construction permits the rear input / output connections to feature either XLR / speakON or Phoenix connectors, depending on the requirement of the specific application.

http://www.powersoft-audio.com

New Soundcraft Vi3000 Console with Onboard Dante

Soundcraft Vi3000 Console

Soundcraft Vi3000 Console

At Prolight+Sound 2014, Harman’s Soundcraft introduced its brand new Vi3000 ‘all-in-one’ digital live sound console, offering a host of state-of-the-art features including the groundbreaking internal DSP Soundcraft SpiderCore, a new industrial design, 96 channels to mix, onboard Dante network compatibility and much more in a very compact footprint. The Vi3000 uses the new internal DSP SpiderCore with Soundcraft’s Vi Version 4.8 operating software, offering the new 3D Vistonics user interface while adding a fourth 24-channel fader layer to improve access to the console’s 96 input channels. The surface operation and layout is similar to other Vi Series consoles, providing a familiar feel while offering expanded functionality. The Vi3000 also features upgraded microphone preamps and 40-bit Floating Point DSP processing for superlative sound quality.

Using a more efficiently designed control surface, with 36 faders, 24 mono/stereo busses and four Vistonics II touch screen interfaces with updated 3D graphics, it can be used by two engineers at the same time.

In addition to a full complement of analogue and digital inputs and outputs, the console provides Dante/MADI record feed outputs and is the first Soundcraft console to incorporate a built-in Dante interface as standard, for seamless digital audio networking with Dante-enabled devices.

http://www.soundcraft.com

Adlib Audio Launches AA Install Speaker Range

adlib-speakersLiverpool based Adlib Audio launches a new specialist division – Adlib Speakers – to manufacture and market its AA brand of speakers, which are very proudly made in Liverpool, England. Hand-crafted and designed to perfection by a dedicated team of individuals who know their audio, using quality components, precision engineering and innovation, the AA series intends to be the ultimate ‘boutique’ brand for those who understand that their sound really matters. Adlib has been making, installing and using the AA range very successfully for the last 15 years, primarily for its own installations and projects, and now they believe the time has come to step up and make the AA series available for re-sale worldwide.

Currently there are four products available for re-sale in the AA range – the AA61, AA81 and AA121 – containing 6, 8 and 12 inch drivers respectively, complete with a dedicated AA12HL 12 inch sub. All the AA series cabinets are constructed from premium birch ply sourced in Finland, and are available with a hard-wearing textured paint exterior for installs. A huge amount of quality engineering and detail goes into manufacturing the AA range all featuring the best components, custom speaker chassis, compression drivers and Adlib’s own custom crossover networks.

www.adlibspeakers.co.uk

New NTi Audio XL2 Data Explorer PC Reporting Software

NTi Audio confirmed the release of Data Explorer, a new PC reporting software for precision-grade noise measurements. With a design inspired by users of the XL2 Acoustic Analyzer, the Data Explorer is an ideal sound level meter companion offering clear visualization, fast data analysis and professional reporting of environmental noise measurements.

NTIThe Data Explorer software visualizes the entire data set including spectrogram and provides very fast zoom and pan response, even for data sets with millions of data points, creating professional reports with a mouse click and customized reports with titles, comments and own logos. Audio files are time-aligned to the graph for instantaneous playback including proper levelling. The XL2 Data Explorer PC software also automatically adds relevant header data such as the measurement date, calibration information, instrument setup etc., to produce a tailored and professional-looking report. The installation of XL2 Data Explorer software on multiple PCs provides consultants with the freedom to distribute their measurement projects among team members and clients. The data import into the software is enabled by an option installed in the XL2 Sound Level Meter. The installation of the XL2 option requires firmware V2.72 or higher. Legacy data import recorded prior the option installation is supported.

http://www.nti-audio.com/en/products/xl2-sound-level-meter/analysis-software.aspx