Archives for February 2003

Shure Acquires UK Distributor HW International

Microphone manufacturer Shure Incorporated today announced the purchase of its long-time United Kingdom distribution center, HW International, from Wilton Investments.

The new Shure subsidiary will keep all current employees, as well as the distribution of its other existing product lines, Phonic, QSC, and PreSonus. Dennis Harburn will continue as Managing Director at HW, and will report directly to Shure Europe GmbH management.

“The purchase of HW International provides an opportunity for Shure to have more direct contact with our end users in the UK, one of Europe’s largest markets,” said Mike McGinn, Shure’s Executive Vice President of Global Marketing and Sales. “This will make Shure even more competitive in the UK.”

Markus Winkler, Managing Director of Shure Europe added, “From the standpoint of our UK customers, the change in ownership of HW will be transparent, as we will continue to utilize the excellent staff that HW has assembled, and continue to carry the same product lines.”

Shure Web Site

Final Sound Aims High and Low With New Home Theater Electrostatic Loudspeakers

Final Sound, the Dutch manufacturer of electrostatic speakers for home theater, custom installation and professional audio applications, has announced several new models for 2003, as well as new pricing for existing models.

The new models expand Final Sound’s range for the entry level consumer, as well as the high-end audio professional.

The affordable end of the spectrum is addressed by the Model 90 ($999 US per pair), a 20-inch wall-mountable in Final’s Home Theater Series. At the other end of the price range is the Model 700 ($4,999 US per pair), a 73-inch floor-standing model in the Reference Series for audio professionals and high-end consumers.

Final Sound demonstrated the new speakers at the recent Consumer Electronics Show in Las Vegas. The company says they represent the first true flat-panel line of high-definition electrostatic speakers designed for mounting on walls or ceilings, with flat-screen TVs and home theater systems.

“Using our patented technology, we are able to completely separate the speaker from its bulky drivers and electronics,” explains Maarten Smits, co-founder of Final Sound and inventor of the new flat speaker technology. “This achieves a flat, lightweight, virtually transparent speaker design that can be mounted easily beside even the thinnest LCD or plasma display, or suspended from the ceiling.”

Final also demonstrated its new Model S12 Subwoofer featuring a 12-inch aluminum cone woofer and a frequency range from 28 to 50 Hz, fixed and 28 to 300 Hz, variable; and the Model 700 Center, specially designed for use as a center channel in combination with Reference Model 700 only. See specifications below.

The new models will be available in stores in April, 2003.

New Line Includes First Home Theater Electrostat Priced Below $1,000

Final also announced new pricing for 2003. The complete Final Sound line-up now includes five different models ranging from 20 inches to 80 inches in height. Pricing ranges from $999 (US, per pair) for the Model 90, which the company says is the first home theater electrostatic speaker priced below $1,000, to nearly $20,000.

In the Home Theater Series, Final offers the 28-inch Model 100 ($1,499 US per pair); and the 48-inch Model 200 ($1,999 US per pair), in addition to the new 20-inch Model 90. The Series is designed for use with today’s flat-screen TVs and LCD displays. All three Home Theater Series models can be mounted on a wall or hung from the ceiling.

There are now two models in the Reference Series, designed for professionals and the most discriminating audio consumers. In addition to the new 73-inch Model 700, there is an 80-inch Model 1400 ($19,999 US per pair). Both Reference designs come with floor stands, while the Model 700 can also be wall mounted.

All models are finished in a silver satin anodized frame.

Final’s complete modular range also includes two center speaker models, 10-inch and 12-inch subwoofers, and a variety of mounting systems and stands.

Ultra-Thin Speaker Panels are Completely Separate from Bulky Drivers

The most striking feature of the new Final speaker line is the complete separation of the audio driver and electronics from the speaker panel itself. This unique modular approach frees the speakers from the heavy bass drivers that have dominated loudspeaker design for nearly 50 years. The result is a line of speakers that are so thin and light that they can be easily mounted anywhere, creating a true surround sound environment.

“Weight has been such a major part of speaker design for so long, that most people think a speaker has to be the size of a file cabinet to produce theater-quality sound,” says Mr. Smits. “That’s absolutely no longer true.”

“By redesigning the way sound is generated by the diaphragm, we’ve eliminated the bass driver that could weigh 100 grams or more, and replaced it with a far more efficient design weighing barely one-half gram. That’s a factor of 200 times less weight, and the result is a much more open and lifelike sound.”

Recently, Final was awarded a patent from the U.S. Patent and Trademark Office for its “modularly expandable electrostatic speaker system.” The unique modular design marks the first major breakthrough in electrostatic speaker technology in a generation and is the basis of Final’s new line of ultra-thin speakers for the home theater.

Sealed Audio Circuit Virtually Eliminates All Distortion

In addition to the unique modular design, the Final speaker line includes a number of other technical innovations.

Audio signal is distributed evenly across the entire film diaphragm, and the whole speaker surface produces sound, delivering sound that is almost entirely distortion-free.

With no drivers and electronics to house, the flat electrostat design needs no cabinetry, and can be set into a simple aluminum frame similar to a lightweight picture frame. The completed assembly weighs just under 6 pounds for the 20-inch model and 12 pounds at the 48-inch size.

“These speakers are perfect blend of art and science,” said Smits. “We’ve redesigned the way sound is generated by the diaphragm and replaced the heavy bass driver with a more efficient design that weighs less than a few sheets of paper. The result is a much more open and lifelike sound and an elegantly slim design that truly blends with any home theater décor.”

Model 700 Specifications

  • Frequency Response: 45 Hz – 25 kHz +/- 3dB(A)
  • Sensitivity: 86 dB (2.83 volts at 1 m)
  • Impedence: 4 ohms, minimum of 3 ohms at 20 kHz
  • Amplifier Minimum Power: 60 watts rms
  • Amplifier Recommended Power: 90 – 150 watts rms
  • Voltage: 12 volts AC, 50-60 Hz
  • Dimensions: 73.2 x 11.3 x 2 in (186 x 28.8 x 5 cm)
  • Weight: 20.9 lbs. (9.5 kg)
  • Options: Floor-Stand (FS) or Wall-Mount (WM)
  • Wall Bracket: Uni-pivot design with pan, pivot, and tilt
  • Finish: Satin-silver anodized frame

Model 700 Center Specifications

  • Frequency Response: 60 Hz – 25 kHz +/- 3dB(A)
  • Sensitivity: 86 dB (2.83 volts at 1 m)
  • Impedence: 4 ohms, minimum of 3 ohms at 20 kHz
  • Amplifier Minimum Power: 60 watts rms
  • Amplifier Recommended Power: 90 – 150 watts rms
  • Voltage: 12 volts AC, 50-60 Hz
  • Dimensions: 36.6 x 10.6 x 2 in (93 x 27 x 5 cm)
  • Weight: 12 lbs. (5.4 kg)
  • Options: Floor-Stand (FS) or Wall-Mount (WM)
  • Use with models: 700
  • Wall Bracket: Uni-pivot design with pan, pivot, and tilt
  • Finish: Satin-silver anodized frame

Model 90 Specifications

  • Frequency Response: 150 Hz – 25 kHz +/- 3dB(A)
  • Sensitivity: 86 dB (2.83 volts at 1 m)
  • Impedence: 4 ohms, minimum of 3 ohms at 20 kHz
  • Amplifier Minimum Power: 60 watts rms
  • Amplifier Recommended Power: 90 – 150 watts rms
  • Voltage: 12 volts AC, 50-60 Hz
  • Dimensions: 20 x 7.9 x 1.6 in (50 x 20 x 4 cm)
  • Weight: 6 lbs. (2.7 kg)
  • Options: Wall-Mount (WM)
  • Wall Bracket: Uni-pivot design with pan, pivot, and tilt
  • Finish: Satin-silver anodized frame

Model S12 Subwoofer Specifications

  • Frequency Range: 28 – 300 kHz
  • Frequency Range Fixed: 28 – 50 Hz
  • Frequency Range Variable: 50 – 300 Hz
  • Amplifier: 200 watts – 4 ohm / True balanced – Linkwitz Riley 24 dB octave
  • Dimensions: 23.6 x 11.8 x 15 in (60x 30 x 38 cm)
  • Weight: 44.1 lbs. (20 kg)
  • Driver units: 10-in active aluminum cone woofer / 10-in passive aluminum cone pass live radiator
  • Voltage: 12 volts AC, 50-60 Hz
  • Finish: Satin-black

Final Sound Web Site

Z-Systems New z-256.256r Detangler Pro Router System Tames Complex Digital Audio Routing

Z-Systems has introduced the latest addition to its highly-regarded series of Digital Detangler Pro™ Audio Routers.

The new z-256.256r Detangler Pro enables recording studios and post facilities studios to integrate and reconfigure their digital audio workplace. The unit accommodates up to 256 stereo/two-channel inputs, routing in any combination to a total of 256 outputs.

Asynchronous sources and destinations can be either 24-bit AES/EBU or S/PDIF format, at sampling rates to 192 kHz, and beyond. I/O crosspoint assignments can be selected via a dedicated serial port, using either Z-Systems’ dedicated hardware remote or networked Mac OS and Windows control software. The z-256.256r is modular in increments of 16×16.

“Our z-Series Digital Audio Routers are designed to eliminate the problem of interconnecting converters, effects processors, recorders, workstations, etc., that operate at different sampling rates and use different digital I/O formats,” explains Z-Systems president Glenn Zelniker.”

The remote control and computer interfaces allow the creation of multiple I/O presets, or salvos, that can later be recalled for instant reconfiguration.

“There are many different ways a studio or large installation might need to interconnect a number of digital sub-systems, recorders and playback sources,” Mr. Zelniker continues. “For example, a specific source might need to be connected to a targeted DAT machine, a workstation, a hard-disk recorder or a D-to-A converter.”

“Furthermore, if a single source needs to feed multiple destinations at the same time – for example, an A/D converter connected to several recorders, a workstation and a D-to-A converter for monitoring – daisy-chaining these destination devices can be unsafe and unreliable. The new large-format z-256.256r solves these and other problems.”

Rear-panel D-sub connectors require breakout cables identical in pin-out to the DB25-to-XLR breakout cables used by TASCAM DA-Series MDM Eight-tracks and related units. Z-Systems supplies pin-out designations or pre-fabricated AES/EBU breakout cables.

Z-Systems Web Site

Avatar Studios Celebrates 21 GRAMMY-Nominated Recordings, Including Best Engineered Album

When the 2003 Grammy nominations were announced recently, the staff at New York’s pre-eminent recording venue Avatar Studios was thrilled to discover that 21 prospective winners had recorded all or part of their nominated tracks and albums at Avatar.

The list of Avatar’s GRAMMY-nominated recordings includes two albums that are up for the prestigious Best Engineered Album, Non-Classical award: Natalie Cole’s Ask A Woman Who Knows (Elliot Scheiner and Al Schmitt, engineers) on Verve Records; and Sheryl Crow’s C’mon, C’mon (Trina Shoemaker and Eric Tew, engineers) on A&M Records.

Among this year’s GRAMMY-nominated artists who used the Avatar facilities are: Sheryl Crow (Best Female Pop Vocal Performance, Best Female Rock Vocal Performance, Best Rock Album), Natalie Cole and Diana Krall (Best Pop Collaboration With Vocals), Elvis Costello (Best Male Rock Vocal Performance and Best Rock Album), Foxy Brown (Best Female Rap Solo Performance), The John Scofield Band (Best Contemporary Jazz Album), and Herbie Hancock (Best Jazz Instrumental Solo).

“At Avatar, we strive to do everything we can to make the highest quality recordings possible,” comments Kirk Imamura, president of AVATAR. “When the outcome of our labor gets recognized in this manner, especially in these difficult business conditions, it is very rewarding. We are very honored to have contributed in some way to the success of the great artists who record at Avatar.”

Avatar Studios Web Site

More GRAMMY News

More GRAMMY Nominations With Key Audio Credits


2003 GRAMMY Awards Nominees Recorded at Avatar Studios

Category: Best Engineered Album, Non-Classical

Ask A Woman Who Knows
Elliot Scheiner & Al Schmitt, engineers (Natalie Cole)
[Verve Records]

C’mon, C’mon
Trina Shoemaker & Eric Tew, engineers (Sheryl Crow)
[A&M Records]

Category: Best Female Pop Vocal Performance

Soak Up the Sun
Sheryl Crow
Track from: C’mon, C’mon
[A&M Records]

Category: Best Pop Collaboration With Vocals

Better Than Anything
Natalie Cole & Diana Krall
Track from: Ask A Woman Who Knows (Natalie Cole)
[Verve Records]

It’s So Easy
Sheryl Crow & Don Henley
Track from: C’mon, C’mon (Sheryl Crow)
[A&M Records]

Category: Best Female Rock Vocal Performance

Steve McQueen
Sheryl Crow
Track from: C’mon, C’mon
[A&M Records]

Category: Best Male Rock Vocal Performance

45
Elvis Costello
Track from: When I Was Cruel
[Island Records]

Category: Best Rock Album

When I Was Cruel
Elvis Costello
[Island Records]

C’mon, C’mon
Sheryl Crow
[A&M Records]

Category: Best Female Rap Solo Performance

Na Na Be Like
Foxy Brown
Track from: Broken Silence
[Def Jam Records]

Category: Best Contemporary Jazz Album

Überjam
The John Scofield Band
[Verve Music Group]

Category: Best Jazz Vocal Album

Ask A Woman Who Knows
Natalie Cole
[Verve Records]

Live In Paris
Diana Krall
[Verve Records]

Category: Best Jazz Instrumental Solo

Naima
Michael Brecker, soloist
Track from: Directions In Music (Herbie Hancock, Michael Brecker & Roy Hargrove)
[Verve Music Group]

My Ship
Herbie Hancock, soloist
Track from: Directions In Music (Herbie Hancock, Michael Brecker & Roy Hargrove)
[Verve Music Group]

Category: Best Jazz Instrumental Album, Individual or Group

Triangulo
Michel Camilo
[Telarc Jazz]

The Infinite
Dave Douglas
[Bluebird]

Directions In Music
Herbie Hancock, Michael Brecker & Roy Hargrove
[Verve Music Group]

Category: Best Large Jazz Ensemble Album

What Goes Around
Dave Holland Big Band
[ECM]

Tonight At Noon… Three Or Four Shades Of Love
Mingus Big Band
[Dreyfus Jazz]

Category: Best Rock Gospel Album

The Way I Am
Jennifer Knapp
[Gotee Records]

MartinLogan’s New Clarity Loudspeaker Brings New Transducer and Stator Technology to Home Theater

MartinLogan has announced the introduction of new, advanced Generation 2 ESL transducers and MicroPerf stator technology, the first major improvements to the company’s core technology in more than 15 years.

Generation 2 ESL transducers and MircoPerf stators will first appear with the imminent introduction of the new Clarity™ loudspeaker. MartinLogan’s current product line will be modified to include the new technology, where appropriate, beginning in the 1st half of 2003.

MartinLogan’s speaker systems, which incorporate patented CLS (curvilinear line source) high-resolution electrostatic technology, range in price from $1,395 to $90,000 (US). The new Clarity hybrid electrostatic speaker is available this month with a suggested retail price of $2,695 per pair (US), aimed at the upscale family home theater buyer.

More on the MartinLogan Clarity Loudspeaker System

The New Generation 2 ESL Transducer

Generation 2 ESL transducers feature an extremely low-mass Polyethylene Terathylate (PET) diaphragm ideally suited for bonding with MartinLogan’s recently reformulated conductive alloy coating. Manufactured using a unique process involving a twenty million-dollar, oxygen-free, argon environment chamber these plasma-bonded diaphragms achieve upwards of 500% increased uniformity of the conductive coating, offering unparalleled impedance tolerance and maximum adhesion and abrasion resistance.

All Generation 2 ESL transducers will also feature MartinLogan’s proprietary ClearSpar™ technology. Originally developed for the cost-no-object Statement e2 loudspeaker, ClearSpars were previously available only on MartinLogan’s most prestigious products. The rigidity of ClearSpars allows Generation 2 ESL transducers to maintain an extremely uniform tension of the diaphragm during the hand building process and permit critical stator spacing within an exact tolerance. This increases both efficiency and dynamic range. ClearSpars, as the name suggests, also enhance a Generation 2 ESL transducers exclusive transparent look.

The New MicroPerf Stator

To further enhance the unparalleled performance of small ESL transducers, MartinLogan went back to the drawing board and redesigned the stator (the black grill on the front and back of an ESL transducer). MartinLogan’s new MicroPerf design reduces the size of individual holes in the stator, allowing more openings per square inch when compared to a traditional stator. This maximizes efficiency and dispersion of sound and also increases the optical clarity of a small ESL transducer. In addition, the tighter grid of holes allows a high level of control over the moving diaphragm, which increases the sonic accuracy of small ESL transducers.

Large ESL transducers (Aeon i size and up) will continue to feature the MartinLogan’s traditional stator perforation pattern. The new MicroPerf design was engineered for small ESL transducers – no benefits are achieved by using the MicroPerf design on large panels.

MartinLogan Web Site

More on the MartinLogan Clarity