The future is not entirely clear, but be prepared for interference from lots of stupid and worthless text messages to start hitting your wireless mics and ears in the near future.

FCC Puts Screws to Live Event Audio Industry

The important thing to keep in mind is that we don’t know what is going to happen, but we all need to be watching this very closely and be ready to defend our uses when the time comes.

The FCC is attempting to reassure us that they will allocate some channels to wireless microphone use and that the other white space devices must comply with a database indicating on what frequencies they are allowed to operate in what areas. It seems that the FCC is going to establish a database for operators to register their venues in an effort to reduce interference. While the FCC indicates this database will give complete protection for wireless microphones to registered venues, I don’t feel so confident.

From what I have read, every test of a white space device has in essence failed. They have not been able to adequately adapt to the frequencies that are in use by wireless microphones and have caused harmful interference. Limiting the amount of frequencies that are available for microphones will work in many markets, but as many already know, it can be hard to find a clear channel now in Southern California and other crowded markets. Reducing this number further is only going to make frequency coordination that much more important in live events.

You may be wondering what you can do as this does really affect everyone. This isn’t just audio companies, but theaters, churches, corporate professionals, hotels and amusement parks who will need to deal with the consequences of this action. At this point, it doesn’t seem that there is much we can do other than continue to monitor the situation and be ready to give input to the FCC again when they ask for it. (The period for comments has already passed at this time.)

FCC Chairman Kevin Martin did make the following note regarding the new white space devices and protecting wireless microphones:

Prior to going to market any white space device will undergo a rigorous certification process.  Today’s item protects broadcasters’ operations.  It also protects entertainment, sports and other significant venues, including the unlicensed operation of many wireless microphones and other wireless devices in those areas.  Additionally, channels have even been set aside to protect wireless microphones in major markets.

It seems that the FCC is worried about microphones and recognizes their importance to the world. Hopefully the testing of white space devices will prove to be successful and this will not create any problems on our microphones. So far, this does not impact any microphones you may already own. However, I would probably suggest putting some serious thought into renting wireless microphones you may be considering purchasing in the next year.

Electro-Voice wireless microphone operation above 698 MHz in the United States – Electrovoice.

Please note that it is not yet illegal to USE wireless products above 698, just illegal to manafucturer or sell them. How are these changes going to impact you?

I would further predict that this is just a start and we will be continually seeing smaller digital consoles with lower price points. As I discussed the other day, it is easier to scale a product down that it is to try and scale it up. Yamaha has been in the game a little while longer, so they have already been taking their consoles to a smaller scale. Where some of the competition comes in (like Soundcraft) with coming to the market with a product later is that they have been able to see what everyone else has done and aim to improve the products and market.

All that is needed for the upgrade is a DSP card and new V3 software if you have one of the existing consoles. Those interested in purchasing a new system will have the option of a package for 64 or 96 input channels for the Vi6 and 48 or 72 inputs for the Vi4. Additional stageboxes can be added to the system if additional microphone preamps are needed or the additional inputs can be used with MADI hcannels or AES/EBU inputs.

The Vi6 and Vi4 are very impressive consoles from Soundcraft and these new updates will hopefully expand the reach of viable venues for these consoles to be used in. I personally love the layout and feel that these consoles most closely match the feel of mixing on an analog console that most of us are used to using. An engineer can almost literally walk up to this console with no training and figure out how to use it. One of my biggest issues with digital consoles in the layout of the channel strip and Soundcraft has kept things essentially where they should be. The Vi6 and Vi4 keep the channel strips as we are used to and yet use the adjacent space on the lcd screens when the user needs to fine tune something in the mix.

The V3 upgrade also allows the Vi4 to access all 35 output busses (8 busses fixed in Aux mode). The output expansion does not require the DSP card.

For more information on the new software or to download, please visit soundcraftdigital.com. For pricing and basic product information, see productionoutlet.com (vi6 | vi4). To purchase or to speak with us about this console, give us a call at 877-4-CBC-TECH. We’re working on finding the information regarding the needed DSP card as this is a product we haven’t seen yet. Stay tuned for updates.

The PRO6 is scheduled to be revealed at PLASA next week (September 7-10, 2008) and I’m sure there will be a crowd there waiting to get their hands on it. The console is being compared to a digital Heritage with the tag line “digital, with Heritage.”

The new product brochure tells us:

The Midas PRO6 Live Audio System is the second networked digital audio system from Midas. Employing technologies developed from the class-leading XL8, the PRO6 offers the same exemplary sample-synchronised audio performance in a compact package.

Although the PRO6 standard system comprises a Control Centre with a footprint similar to that of a 32 channel Verona and only two 7U 19” rack units, it’s diminutive size belies its ability to provide up to 80 simultaneous input processing channels and up to 32 (+3) discrete mixes in monitor mode, all of which feature EQ and a choice of many dynamics processing options. By adding additional I/O hardware the PRO6’s network can be expanded up to 264 inputs and 264 outputs. These connections can be patched and routed on a scene-by-scene basis, by use of the PRO6’s powerful snapshot automation.

In typical Midas fashion, they were concerned with ensuring the Midas sound with the digial consoles which is achieved through Midas microphone pre-amps and Midas class plugins. Reliability is handled with redundant master control computers, power supplies and data links.

Alas, I probably won’t get my hands on one until October and I’ll be sure to enjoy it and report back to you. In the meantime, have fun drooling over the new product brochure or check out the teaser. And hey, let me know if something like this would work for you and we’ll discuss your needs and find out how we can get the product to you. You can always call 877-4-CBC-TECH or drop us an email at sales@cbctechnical.com. We look forward to discussing this product and your needs with you.

How could this console work for you? What features are you looking forward to?

I must admit my first struggle with the bodypack was opening the battery compartment. There is a little switch like piece on the bottom of the pack which must be opened to gain access to the batteries and controls. I’m sure this was designed to keep talent out of the controls, but it seemed kind of a hassel to deal with. Maybe wtih time it will be easier for me to open the flap.

The unit seemed just like the pre produciton models we saw. Nicely built and an incredibly good use of space. It will take some getting used to for users to put AAA batteries in the unit instead of the AA batteries used in it’s big brother the UR1. Even more interesting is that they go in the same direction instead of alternating as in most other units. Removing the batteries was easy which is good since it can be a pane in some other units.

I didn’t have the opportunity to fire it up and listen to the sound coming through the airwaves. I’m sure that it sounds as good as we would expect from products in this range and is comperable to the other UHF-R products in audio dynamics and compression.

The controls were easy to use and the display was easy to read, a great must on all devices and something I was worried about with the smaller unit. It was weird pushing buttons on the bottom of the unit (once the battery compartment is open) as opposed to the buttons under the display on most other units (like the UR1). The buttons were firm and did not require special tools or toothpics.

I am a fan of the threaded TA4F input connector on the UHF-R series packs. I just wish that Shure would allow us to purchase elements with the threaded connectors already installed.

All in all, I’m looking forward to using the new micro bodypack even though I will probably not ever actually wear it or experience the benefits of it that a cast member would. I guess I’m just really happy that Shure has this addition to their line.

To Buck and the team, thank you for all you do. Congratulations on your award!

Follow the link below to register to win 1 of 3 limited edition Ipod Nanos.

MIDAS DIGITAL

PS: I wonder what is in those road cases?