SCN: What prompted you and Bob Crowley to establish RF Venue in 2009?

Chris Regan: The industry was undergoing a massive shift. The FCC had recently vacated the 700 MHz band for wireless mics and later most of the 600 MHz band, forcing countless systems to be traded in or redesigned. Bob and I saw a clear opportunity to address the growing challenge of more wireless devices competing for less available spectrum. Our mission became eliminating wireless mic dropouts and interference—developing innovative antenna designs and system tools compatible with any brand to dramatically improve performance. That mission still drives us today.

SCN: Generally speaking, what venues are the most difficult for managing wireless audio?

CR: Generally, larger venues with high channel count systems are the most complex. These spaces typically experience higher RF noise levels during events, often compounded by temporary, third-party systems that must be accounted for. That said, the immediate spectrum environment is also a huge factor. For example, it is inherently harder to make wireless systems work reliably in a dense urban area like in broadcast facilities in Times Square versus in a more rural environment where the ambient noise levels and interference sources are far lower.

SCN: What are the main causes of wireless mic dropouts?

CR: In an indoor environment, a wireless mic’s signal can drop out due to multipath reflections—RF signals bouncing off walls, stages, and equipment—as the mic's angle, orientation, and location change. This is very common and notoriously difficult to troubleshoot. Many of RF Venue's products, like the Diversity Fin Antenna and circularly polarized antennas such as the CP Beam, are specifically designed to overcome these dropout events. The other most common cause is from poor frequency coordination or improperly implemented antennas and RF system infrastructure, resulting in insufficient signal reaching the mic receiver. We see these issues across systems of all sizes and budgets.

SCN: Why is it not recommended to mix-and-match wireless mics from different manufacturers within a production?

CR: We take great pride that RF Venue’s products work with all brands of wireless and across all project budgets. With UHF wireless systems, it is generally fine to mix and match brands and models, provided you accurately account for them in your frequency coordination plan. We frequently get questions about digital versus older analog systems; the fact is, both can successfully coexist in a venue if the overall system design and coordination are robust. To help professionals navigate these challenges, we offer excellent free tools on the RF Venue website, such as Wireless System Builder, designed to streamline single or multi-brand wireless projects.

SCN: RF Venue offers a number of antennas—and those come in a variety of shapes. When it comes to wireless audio, how does the shape of an antenna influence its effectiveness?

CR: Antennas are transducers—they radiate and receive RF energy within a specific frequency range. The physical dimensions determine their performance: an LPDA (often called a paddle or “shark fin”) for the 470–608 MHz UHF band must be a certain size, while a VHF version must be much larger to match longer wavelengths. Conversely, antennas for higher frequencies like 5 GHz Wi-Fi can be quite small. This is one reason UHF remains ideal for wireless audio—it balances antenna size with excellent propagation characteristics.

SCN: How important is line-of-sight for antennas?

CR: Line-of-sight is critically important to performance! If there is no clear line-of-sight between your antennas and the stage, the signal level can be greatly reduced, often to the point of complete failure. A common mistake we see is wireless mic systems buried in an equipment rack, where their small, attached “whip” antennas have no hope of achieving line-of-sight. This is the primary reason to use remote antennas—to get them up high above the audience and maintain a clear, direct path to the transmitters on stage.

SCN: Are there different concerns with regard to signal management for wireless mics versus in-ear monitors?

CR: Yes, one best practice is to deliberately try to separate your wireless mic frequencies and in-ear monitors into different parts of the available frequency band. When you space these systems apart from each other, you greatly reduce the potential for intermodulation and noise problems that you might encounter if you placed them all together in one tight frequency range. They still need to be coordinated, but in general it will be much easier to deploy and monitor a system that way.

SCN: What’s the response been for your new RF PA Extension Kit?

CR: The response has been fantastic. Live sound providers are constantly asked to deliver audio to remote zones—greenrooms, lobbies, or large outdoor areas like parades and graduations. Running cable to those spaces is time-consuming and messy. The RF PA Extension Kit eliminates that hassle with reliable wireless transmission and built-in delay for perfect sync. It’s quickly becoming a must-have in the production audio toolkit.

SCN: How are new technologies like WMAS and DECT NR+ impacting wireless audio?

CR: WMAS (Wireless Multichannel Audio System) is an exciting advancement in wireless audio because it allows for a high channel count to operate in a very narrow spectrum range, along with advanced monitoring and bi-directional radio capabilities. Currently, Shure and Sennheiser are the two primary players shipping WMAS products. It’s still early days in the market, so it will be interesting to watch how the technology matures and where it is adopted. DECT NR+ operates in the 1.9 GHz band and was originally built for IoT applications like smart meters, but its mesh capabilities show real promise for future pro audio use cases.

SCN: You’re also very active with the Professional Audio Manufacturers Alliance. Why is PAMA so important for the Pro AV industry?

CR: I’ve been involved with PAMA for many years and recently had the honor of chairing the organization. PAMA is a fantastic group that meets regularly to discuss ongoing trends and organize speaking events to promote its mission of high-quality audio. One of the latest efforts is the Hearing Rocks campaign, which is centered around promoting hearing health and safe listening environments—a critically important issue that isn’t currently getting enough attention in the industry. PAMA is unique in that it can provide a unified voice for member companies on a range of technical and policy topics. It also focuses heavily on the next generation of audio professionals, most recently awarding the Mark Brunner Professional Audio Scholarship to some truly driven and passionate young people.

SCN: Speaking of the Pro AV industry, where is it headed in the next few years?

CR: It’s a very exciting time in our industry. We have the unstoppable momentum of audio over IP continuing to steam ahead, with cloud-based systems seeing wider adoption. Initiatives like OpenAV Cloud, which advocates for interoperability using common API-based design approaches, are definitely worth keeping an eye on. Then, of course, there are AI and AI agents, which are changing how people design and deploy all kinds of technology products. I fully anticipate the AV industry will adopt elements of this technology to make complex systems significantly easier to design, install, and maintain. It’s an exciting new set of tools to help drive the spirit of innovation that founded RF Venue.

We live in an on-demand culture. Everything, from streaming services to delivery apps, has trained modern individuals to expect precisely what they want, where and when they want it. These on-demand attitudes have profoundly affected AV design.

Modern workers and customers are no longer willing to "make do" with the technology or content provided in a space. They anticipate being able to bring their own technology and content into any environment and have them function as seamlessly as they do at home.

[Vanco Unveils New 4K Wireless Extender and Multiview Matrix]

In terms of audio, this expectation translates to offering wireless connectivity. Whether in conference rooms, classrooms, or event spaces, users want the ability to share presentations with audio, demos, video clips, and even background music from their devices effortlessly. Given that many personal devices come with a single USB-C or Lightning output, which may or may not support audio, a wireless solution becomes essential. Moreover, users are reluctant to physically tether their devices to a system just to facilitate audio during a presentation.

Now that wireless BYOD connectivity is a baseline expectation, integrators have two paths to consider for every project: Bluetooth or Wi-Fi. While there is a plethora of branded wireless audio connectivity solutions available, most rely on one of these two foundational technologies, each with its own set of pros and cons. Let’s break them down.

Bluetooth

Pros: Bluetooth is nearly ubiquitous; most end users are familiar with it, often using it daily. This familiarity means that users can comfortably pair their devices with systems via Bluetooth without assistance. It’s also pervasive and standardized in the consumer device industry—practically all new phones, tablets, computers, and displays have Bluetooth built in, and it’s added to more devices every day.

With Bluetooth, you can feel comfortable that your components as well as end user devices will all be compatible. Transitioning devices from space to space is simple, and switching among sources is nearly seamless. It’s also a relatively low-cost technology, a big reason for its ubiquity.

Cons: Historically, Bluetooth’s range has been unimpressive. Older generations have topped out at about 33 feet (10m) for indoor applications, and even the latest generations have a range of only 131 feet (40m) indoors. If you’re aiming to allow end users to “un-tether” the source and receiver, it’s not acceptable to have the audio drop out whenever the user walks into the next room.

[How BYOD Is Impacting Today's Conference Room Connectivity]

Bluetooth signals are also typically quite compressed. This can affect audio quality—and, if there is accompanying video, cause latency issues as well. Newer codecs such as aptX or Apple’s AAC have improved on this problem, but it’s still no match for wired or even alternative wireless technologies. If audio quality, distance, or video sync are critical considerations for your application, you may want to instead consider Wi-Fi.

Wi-Fi

Pros: The range for a wireless audio distribution system is as good the wireless network itself. All the regular Wi-Fi rules apply: As long as you can create and maintain a stable network (using extenders, repeaters, etc.), you can extend the range as long as you want. With proper network management, that means you can create an incredibly flexible wireless audio transmission system that works anywhere in an office, sports bar, event center, or school.

Wi-Fi also supports much higher bandwidth transmission than Bluetooth, although in real-time audio applications on mixed-criticality commercial networks, this bandwidth may need to be reserved. As a result, Wi-Fi transmission can achieve higher audio quality and is less prone to latency than Bluetooth.

Cons: The trade-off for quality is cost and ease of implementation. Wi-Fi solutions generally require more programming in the initial setup and more support thereafter. They also often require specialized or proprietary components and software.

In addition, many manufacturers have implemented their own proprietary Wi-Fi-based audio systems, which are often not designed with compatibility in mind. Choosing one of these solutions can make it extremely difficult to integrate components from multiple manufacturers, essentially locking you in to a single-vendor solution.

What's Your Priority?

When it comes to wireless audio, the integrator must prioritize, balancing ease-of-use and interoperability against signal quality and range. There are excellent solutions available in both categories, but no silver bullets yet.

[It's Complicated: How Integrators Balance Classroom Technology and Usability]

Integrators must critically analyze the prevailing factors—including the environment, user preferences, and technical demands—to tailor a solution that meets the contemporary expectations of an on-demand culture. While there is no one-size-fits-all solution, the innovative advancements in both Bluetooth and Wi-Fi technologies enable us to create spaces where limitations are fewer, and the user experience is richer and more seamless.

Shure has teamed up with Natalie Grant, five-time GMA Dove award-winning Female Vocalist of the Year and nine-time Grammy award-nominated iconic Christian and Gospel musician, to provide worship leaders with the knowledge and audio gear needed to elevate the sound of their worship space so the message can be heard more clearly than ever. 

Grant relies on Shure products to deliver her voice and message to her audience on tour and when she is recording in the studio. She shared, “For years, Shure has supported me in achieving crystal clear audio. No matter the worship space, whether it’s a large arena or my local church, Shure’s vocal mics elevate my voice and the message. Their products are incredibly reliable, and that stability means I never have to worry.”

When choosing the right microphones to pair with their wireless system, audio engineers and worship leaders must consider sound quality, durability, feedback rejection, and handling noise. For Grant and her team, these factors are critical to immersing a congregation in the worship experience, elevating the message through high-quality audio, and deepening the congregation’s connection to the “heart-level.” As Grant shared, “Music is a powerful tool that can help us connect emotionally.”

“I’ve been trusting Shure to deliver crystal-clear audio for pioneering artists like Natalie for many years now,” shared Jay Wright, FOH audio engineer and production manager. “Natalie has been singing into the Shure KSM9 capsule for several years now. It just works perfectly with Natalie’s voice. Her vocal tone and delivery pair so well with the microphone. The vocal doesn’t get overdriven or become “crunchy,” so Natalie can retain clarity without being harsh during even the loudest parts of a song. By pairing the Shure Axient® Digital Wireless System with the KSM9 capsule, our team is able to capture the incredible detail and brilliance of Natalie’s voice no matter where she is standing on stage.”

[ Live Events Industry Finds New Solution in Shure Microflex Complete Wireless ]

Wright continues, “For the band, we’re using the Shure PSM 1000 in-ear monitoring system. For the drum kit, we have a Beta® 52A and a Beta® 91A for the kick, Beta® 98’s for the toms, SM57’s on top and bottom snare, KSM137’s for the Hi-Hat and Ride, and a VP88 for the stereo overhead mic. We are using a KSM32 and an SM57 for electric guitar. And KSM9s and SM58s on all the vocals.”

Together, Grant and Shure are setting out to help more worship leaders create reliable audio environments where congregations can more deeply connect to their worship experiences.

“Natalie’s focus on delivering uninterrupted, immersive worship vocals makes her the natural partner for Shure,” said Ryan Smith, regional manager, Artist Relations Nashville at Shure. Nick Wood, senior wireless category director at Shure, added, “With this collaboration, we are furthering our goal of providing worship leaders with the knowledge they need to make the best investments in audio that will provide their congregations with the most immersive experience.”

To learn more about audio for houses of worship, visit the Shure Houses of Worship homepage and Guide to Choosing the Best Vocal Mics for Houses of Worship.

On Sunday, April 3, the 64th Annual Grammy Awards show was broadcast live from the MGM Grand Garden Arena in Las Vegas. Behind any live broadcast, the highest quality audio is paramount. But a broadcast that honors the voices of performers, songwriters, producers, engineers, and all music professionals represented by The Recording Academy on Grammys night—the audio needs to be flawless. 

As in years prior, the majority of the night’s performances featured Shure Axient Digital wireless microphones used by the industry’s most iconic names and innovative artists, including Jon Batiste, winner of Album of the Year.

Kicking Off with a Bang

The evening kicked off with a foot stomping performance from Bruno Mars and Anderson .Paak of Silk Sonic. The retro soul-funk artists relied on Shure wireless microphones as they performed their hit, “777.” Later that evening, Silk Sonic won four Grammys. Behind the scenes, Chris Rabold, FOH mixer for Silk Sonic, was overseeing their performance with the support of Shure Axient Digital. 

“Having Bruno and Anderson and the whole Silk Sonic gang on Axient Digital for not only the Grammys, but for their Las Vegas residency is just such a no brainer,” Rabold said. “There are things you do, decisions you make, from a live audio perspective that are done out of preference and then there are the things you do because it’s simply the smart move. For us, Axient is the latter of the two. It’s the most stable, most reliable, best supported and, most importantly, best sounding option available. Period, bottom line. And it has been for a while. Bruno, specifically, is too smart, too aware and too involved of an artist for us to use anything less than the very best. I mean that.”

[ Inside Scoop on Snoop Dogg's Gold-Plated Microphone During Super Bowl LVI Halftime Show ]

Audio Production

The live broadcast of the 64th Grammy Awards show was overseen by audio producer, Michael Abbott and his longtime team of accomplished audio engineers and sound technicians. “Our team knows we can depend on Shure gear to capture the high-quality sound of the Grammy Awards,” Abbott said. “Shure consistently provides a reliable frequency coordination solution for in-ear monitors and wireless microphones for the artists performing on the broadcast.”

[ Shure Adds ADX5D Portable Receiver to Axient Digital Wireless Line ]

Jon Batiste, who performed on Sunday evening and won five of his 11 Grammy nominations, relied on a Shure BETA 58 wireless microphone for his performance of “Freedom.” J Balvin and Maria Becerra’s “Qué Más Pues?” was delivered on a Shure BETA 58 and KSM8 wireless microphone, respectively. Lil Nas X performed with a Shure KSM9HS alongside Jack Harlow, who was using an SM58 wireless microphone, to absolutely crush a live routine of their collaboration, “Industry Baby.”

Celebrating the 20th anniversary of his record God’s Son, the rapper and songwriter Nas received a standing ovation during the show after delivering a montage of his career hits via an SM58 wireless mic. Brothers Osborne, who claimed the award for Best Country Duo/Group Performance, both sang into Shure BETA 58’s for the performance of their hit, “Dead Man’s Curve,” to close out the award show. 

All these performances relied on the clarity and flexibility of Shure Axient Digital Wireless. Key supplier ATK Audiotek made this possible by providing the sound system design and implementation for the show. Overall, the Grammys relied on 28 channels of Shure Axient Digital. The production handheld microphones were all Shure KSM9’s and the lavalier microphones were Shure TwinPlex TL47. Nearly every performance the entire evening depended on the Shure PSM 1000 in-ear monitoring system, totaling 34 channels. Notably, 250 Shure hand-wired microphones were orchestrated throughout the event on the many instruments that graced the Grammy stage. Shure Beta 181’s were used to mic the piano throughout the show. “Once again, the Beta 181’s provided perfect piano sound for our needs,” said Ron Reeves, FOH.

Given the sheer amount of wireless used throughout the show, frequency coordination was pivotal to creating a seamless production for those in-person and tuning in from home. Managing the frequencies was Soundtronic’s RF Coordinator, Steve Vaughn. “For another year, Shure Axient Digital and Wireless Workbench have proven the most reliable, quality solution at the Grammys for managing and maximizing every frequency in a completely saturated RF spectrum in Las Vegas,” said Vaughn. “This level of dependability is exactly what we have come to expect from our Shure gear.”

Even in the busy RF environment of Las Vegas, Shure brought flawless wireless audio solutions to the professionals overseeing the entire broadcast. Shure Artist and Entertainment Relations Specialist, Jenn Liang-Chaboud remarked, “Each year, Shure is proud to have our gear play an important role in helping cutting-edge artists bring their music to the world at the Grammy Awards. Congratulations to all the musicians, engineers, and technicians involved.”

If not yourself, how many people in the AV industry do you know that are musicians? Some were roadies, others were, and some are still in a band, and most of us have immersed ourselves in the earth-shaking sounds at concerts. When I was in college, we would measure the success of a concert experience by the fact that our ears were still ringing the next day.

During the past couple of decades, the effects of noise-induced hearing loss have been studied, leading to greater awareness on how to protect one's ears when in environments of any kind with unsafe noise levels. Only in more recent years have audio technology companies been addressing the need for assistive listening devices for a full range of conditions and applications that go beyond the hearing aids of our parent's or grandparent's time.

A Far-Reaching Concern

Since the beginning of the pandemic, we’ve dedicated a lot of time covering the importance of speech intelligibility for videoconferencing and other forms of remote participation. But we have fallen short in discussing the need for assistive listening in pretty much every environment.

The facts are astounding. According an article published by the Cleveland Clinic, noise-induced hearing loss (NIHL) is more common than one might think. Research studies found that NIHL affects approximately:

>> 5.2 million children and teens between ages 6 to 19

>> 26 million adults between the ages of 20 and 69

People of all ages can develop noise-induced hearing loss. Individuals who attend loud concerts or listen to music through headphones at high volumes are more susceptible to NIHL. In addition, those who have jobs in noisy environments are also particularly vulnerable.

The Cleveland Clinic has shared the following information with us, and for a more in-depth read, check out the full article here.

What part of the ear is damaged in noise-induced hearing loss? Loud noises primarily affect the cochlea, an organ within the inner ear. When you’re exposed to loud noises, cells and membranes in the cochlea can become damaged.

How do you know if you have noise-induced hearing loss? There are a few things that could mean you're losing your hearing. Depending on the cause of your NIHL, symptoms may be immediate, or you may develop them over time. Some of the most common noise-inducing hearing loss symptoms include:

Inability to hear high-pitched sounds, like birds singing.

Muffled or distorted speech.

Tinnitus (ringing or buzzing in the ear).

A feeling of fullness or pressure in the ear.

Noise-induced hearing loss symptoms may last minutes, hours or days after noise exposure ends. But even if your hearing returns to normal, cells in the inner ear may still be destroyed. If enough healthy cells are left, your hearing will eventually come back. But as more cells are destroyed over time, hearing loss can become permanent.

What causes noise-induced hearing loss? NIHL occurs when the hair cells in your inner ear die. Once these hair cells are destroyed, they cannot grow back.

Noise-induced hearing loss may be caused by a single event, such as a loud explosion or gunshot. This type of NIHL can be immediate and permanent. In other instances, NIHL may be caused by exposure to loud noises over time. When this happens, you may go for weeks, months or even years before noticing symptoms, as they often occur gradually over time.

How long does it take noise-induced hearing loss to occur? It depends. In some cases, a single exposure to loud noise can cause immediate hearing loss. In other cases, symptoms may accumulate over several years. Research suggests that significant noise-induced hearing loss usually develops after 10 or more years of exposure.

[ DMB's Rashawn Ross Solves the Auditory 'Puzzle' with Sensaphonics IEMs ]

Halvard T. Eriksen, Age 52, Married, Bad Knees, and Worsening Hearing Loss

In a series of blog posts by Listen Technologies, channel partner Halvard Eriksen, a long-time AV integrator and sound engineer shares his own experience with hearing loss, hearing aids, and assistive listening systems. In this first post, he talks about the cumulative effect of noise on his hearing.

"I am a bassist and vocalist in various bands. If you’ve ever played in a band or been to a gig or rehearsal when everything gets too loud and you do not hear anything, you know it can be easy to get carried away by the atmosphere and groove," said Eriksen. "The volume goes up, and the mind goes out!"

Read the three-part series here. 

AV Industry Responds

Sennheiser offers touchless audio with MobileConnect—an assistive listening solution over Wi-Fi. Focusing on the education sector. MobileConnect offers a fully customizable hearing experience for students, who listen via their own smartphones. “The system has many advantages for students, but also for operators and universities,” said Kai Tossing, head of product management, Business Communication, Sennheiser. “To name just a couple: Operators can simply use the existing Wi-Fi for audio transmission and do not have to invest in separate technology such as induction loops; and students don’t have to sit in dedicated areas or use hardware which identifies them as being hard-of-hearing, for example.”

[ Sennheiser Launches New Software and Standalone Mode for MobileConnect ]

beyerdynamic UNITE is a wireless communication system conceived for a range of applications. From tour guides, through voice transmission for speeches, to interpreter applications, assistive listening, silent PA, blind audio description coverage, and wireless intercom uses, UNITE offers a complete wireless solution.

Broadcasting in the DECT frequencies, which eliminates licensing fees, UNITE offers 24 simultaneous channels, a talk-back option for up to three speakers per channel, AES 256 encryption, and an optional Access Point to coordinate your system with Dante, creating a seamless communications solution. UNITE can be adapted to individual requirements with a range of available components. For example, the Unite AP4 expansion component via access point creates a robust solution for fixed installation applications.

This digital platform opens new possibilities for improved dialog between people, regardless of when, where, and how they wish to communicate. UNITE connects people—even over large distances (up to a 980-foot radius), language barriers, or with sensory disabilities.

Listen Technologies’ ListenTALK lets users communicate in any environment, while following safe social distancing standards. The system features a small transceiver (combination transmitter/receiver) that users wear on a lanyard around their neck, accompanied by a venue-provided headset with microphone or users’ own headphones or earbuds with a built-in mic. Users press and hold a button on the transceiver to speak to just the leader or the group.

“With ListenTALK, listeners who do not understand the language of the presenter are not excluded from understanding what is said and sharing in the experience,” said Sam Nord, vice president of global sales at Listen Technologies. “Whether interpreters provide whispered, consecutive, liaison, simultaneous, or relay interpretation, we’ve made it easy to use ListenTALK and facilitate communication between groups that do not speak the same language.” 

Williams AV’s WaveCAST Dante assistive listening system delivers wireless audio to personal devices via a free app. A spokesperson for the company, said that one of the things that makes this solution unique is that it incorporates a professional audio DSP. “It’s got real professional audio inputs and outputs; it’s got the ability to be optimized for speech intelligibility, music, or for assistive listening. You can tweak it to match the facility and the environment,” he said. Up to four WaveCAST systems can be configured on the same Wi-Fi network, delivering audio to up to 45 listeners via unicast or 200 in multicast mode. WaveCAST Dante is based on Audinate’s Dante Ultimo UXT chipset that supports AES67 and SMPTE 2110. It can be controlled by Audinate’s Dante Controller for setup and management.

Biamp Crowd Mics transforms every smartphone into a personal microphone and interactive response system via a free iOS or Android app. By downloading the free app, audience members can share their thoughts and questions with the room without having to pass a mic or awkwardly line up to speak. They can also share these same thoughts and questions via text, allowing those with an aversion to public speaking to still take part in the conversation.

It’s just as important for students and meeting attendees to be heard as it is the presenter to be heard. With Crowd Mics Online, geographically diverse audience members can use their smartphones to connect with the event presenter as if they were in the same room. 

Audio Engineering Society (AES) Takes Note

In 2005, the Audio Engineering Society (AES) formed the AES Technical Committee on Hearing Loss and Prevention. Its mission statement:

1. Raising AES member awareness of the normal and abnormal functions of the hearing process.

2. Raising AES member awareness of the risk and consequences of hearing loss resulting from excessive sound exposure.

3. Coordinating and providing technical guidance for the AES supported hearing testing and consultation programs at US and European Conventions.

4. Facilitating the maintenance and refinement of a database of audiometric test results and exposure information on AES members.

5. Forging a cooperative union between AES members, audio equipment manufacturers and the hearing the hearing conservation communities for purposes of developing strategies, technologies, and tools to reduce and prevent hearing loss.

The committee is organizing its 4th International AES Conference on Hearing and Hearing Loss Prevention to take place sometime in 2022.

Given evolving travel and health guidelines during the pandemic, event production has had to evolve as well. Finding an easy solution that ensures pristine, quickly adaptable audio is crucial for the success of today's live, virtual and hybrid events. For customers worldwide, Shure Microflex Complete Wireless (MXCW) serves as an all-in-one instant sound system for any event space requiring professional quality audio, helping users navigate live event challenges. Originally intended for users in government and corporate meeting spaces, the system is becoming a popular choice for conferences and hybrid events where quality audio is essential for engaging both live and remote audiences.

[Shure's Moorut Elected Chair of 5G-Mag Working Group]

"The live events industry has faced several challenges over the past two years," said Peter James, VP of Global Sales, Pro Audio, at Shure. "In that time, we have seen event organizers choose Microflex Complete Wireless as the best audio solution to support live events safely and effectively, regardless of the acoustic conditions. In a matter of minutes, just one person can set up an MXCW system and have a complete professional audio system ready to use. Without sacrificing reliability or audio quality, MXCW can ensure natural communication for virtual, in-person, or mixed format events."

[With Its MXA910, Shure Completes an Elegant Installation for Lane Clark & Peacock]

Comprising an all-in-one wireless conference unit with microphone, loudspeaker and customizable LED touchscreen, MXCW can be easily set up without necessitating invasive installations and without the limits of complex wired systems. Shure Microflex Complete Wireless is simple to deploy with only a single cable via the Wireless Access Point and uses encrypted, globally license-free RF. Additionally, the system automatically detects and avoids any RF interference for uninterrupted and flawless audio performance.

Units can be strategically placed to adhere to safety protocols while enabling socially distanced attendees to actively participate in the conversation. Remote participants can equally feel part of the event by connecting MXCW's high-quality audio for live streams and online meeting software.

[Shure, Logitech Collaborate to Optimize Conferencing Audio in Hybrid Environments]

To enhance customer safety, MXCW offers Handsfree Mode for effortless conversations with touchless convenience. With Handsfree Mode, participants' microphones are automatically voice-activated without the need to press a physical button. When a participant stops talking, their mic shuts off.

In a time when event organizers and rental companies need to respond to changing customer requirements, MXCW is built to adapt and is becoming a highly requested solution. "Rentex owns one of the largest rental inventories of MXCW in the United States," said  Janne Mummert, VP, Marketing & Strategic Accounts at Rentex, a market-leading provider of AV rental equipment in the U.S. "The system is popular with many clients, as hybrid events become more common. We love the quality of the product and the support that Shure provides. Given the continued trend toward hybrid events, and the flexibility and scalability of the system, MXCW is going to be a Rentex staple for many years to come."

[Shure Expands Micxroflex Line with MX415 Dual Model]

LEMON Event Support, an all-kind events agency, selected Shure Microflex Complete Wireless as the ideal solution for an event for a public institution in Luxembourg. "We needed to find a system that was flexible and very easy to install and configure," said Paul Thyes, managing director of LEMON Event Support. "We were very pleased with MXCW. It proved that it's really the most flexible and scalable wireless system available, capable of adapting to challenging situations."

Shure MXCW can be used independently by each participant who gets their own microphone, loudspeaker and control, making sure all sanitary restrictions are enforced. It also includes analog and Dante(r) digital audio connections to provide flexible integration with downstream devices.

They don't call it "The Special Event" for nothing. TSE, as it's been known for 19 years now, is the leading annual conclave of resources for the live event-production industry, attended by event planners, wedding planners, event rental companies, caterers, florists, entertainment vendors and every other type of professional working in event production. And TSE's opening-night party is a yearly highlight. Last year's fete, held at Live Nation's Fillmore Miami Beach at the Jackie Gleason Theater venue in June, was a gala affair organized by Orlando-based Entertainment Central Productions, with performances by Free Daps, Jazz Noire, Joyful Noise Choir, Queen Beats girl drumline, SoundUp Band as well as entertainment from Eklectic Entertainment and Star Time. But behind the scenes, Marcelo Caramuta, the freelance wireless audio technician brought on for the event, was facing one of the densest RF environments in the country, with radio, television, entertainment, hospitality, emergency services, and other RF users packed into a narrow strip of land, all competing for the remnants of spectrum left behind in the wake of several huge and historic FCC spectrum auctions. Caramuta ultimately found the solution to the venue's wireless issues was a combination of RF Venue hardware--RF Spotlight low-profile floor-pad antennas, a pair of DISTRO4 RF distribution amplifiers and a COMBINE4 transmitter combiner for IEMs.

[From Houses of Worship to Softball Fields, RF Venue Solutions Solve RF Dropout Issues]

"I was hired to handle all of the audio and monitoring backstage, including the multiple wireless microphones and wireless in-ear monitors," said Caramuta, who is also the director, audio tech and keyboard player for Paradigm Party Band, a leading event-music provider in the region, which lets him see wireless-audio challenges from both sides of the business. "There were going to be ten to twelve acts at this event, and we were going to need eight wireless microphones, but when I scanned the venue using an RF Explorer spectrum analyzer, I could see immediately that there was virtually zero availability for wireless in the Shure H50 and H9 bands. Almost nothing. Nowhere to put the wireless microphones we're using."

But it wasn't a problem for long. Based on previous advice from Don Boomer, senior applications engineer at RF Venue, Caramuta strategically deployed his two RF Venue Spotlight antennas, which enable wireless mics to function reliably in highly crowded RF environments. "I positioned two of them on the floor and now I had spectrum," he says. "It sounds dramatic--'just like that'--but that is how amazing the Spotlight is. We went from near zero spectrum to zero problems. I ran eight wireless mics through those antennas and through two RF Venue DISTRO4 units, to tie all of the wireless microphones to the antennas. I also used an RF Venue COMBINE4 for the in-ear monitors. No dropouts, no matter how the performers moved around."

Caramuta said that while the TSE show was an especially challenging RF environment, all live events have become more difficult as RF spectrum availability has diminished in recent years. In every case, though, RF Venue products have literally saved the day. "At another big corporate event recently the RF coordinator came to me and said, 'sorry, but there are just no frequencies available for you,'" he recalled. "I said, 'Don't worry, I've got RF Spotlights.' He told me he'd seen them demonstrated at a trade show but had never used them before. They literally saved the show--we had six wireless microphones operating flawlessly, no dropouts, for four straight days. I've had wireless microphones in front of huge video walls and never a dropout or any kind of interference. All of RF Venue gear is phenomenal. And that's why I use it, everywhere, all the time. It never lets me down."

The Family Farm is the secluded performance venue of The Family, a 120-year-old fraternal organization based in San Francisco. The Family sponsors charities and organizes benefits and other events, most notably its annual "Flight Play," written and performed by club members. Those performances take place at the Family Farm venue, on the outskirts of Palo Alto about 10 miles south of San Francisco proper. It's a bucolic setting, on the edge of several nature preserves, but that hasn't shielded it from the how the RF spectrum has been significantly reduced over the last decade, with the FCC auctioning off much of the UHF and VHF frequency ranges traditionally used for mobile-device applications, limiting what's available for wireless microphones used for theatrical performances.

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That's what Alan Chang, Principal of Coral Canopy (a multimedia production house that covers the gamut of film, television, concert, theater, orchestra and choral sound design and system integration) faced when the Family Farm sought help in dealing with spectrum constraints ahead of last year's "Flight Play." "The show, which takes place each summer and is usually a musical with a historical context, can have as many as 20 to 40 cast members," explained Chang, who named his company after a nonprofit nature preserve he once founded. "There are a lot of moving parts--we had 36 channels of wireless microphones this year, plus two backup channels. And in a tighter spectrum environment like we have now, that's a challenge."

[Vox Church Gets the Message Out With an RF Venue Assist]

Fortunately, it was a challenge met with the help of solutions from RF Venue. Chang says he had been using the RF Venue Diversity Fin antennas for a decade now, encountering them early as a beta product. "We've deployed them across a wide range of events, from television to theaters to concerts, and they've always been great," he said. "But what really made a huge difference this year, with the tighter spectrum environment, was the RF Venue 4 ZONE active antenna combiner. The 4 ZONE was located near the stage, feeding the A/B combined antenna pair into a main rack with the wireless receivers. We used an RF Venue Spotlight omni floor pad antenna upstage, with one D-FIN by stage left and another D-FIN by stage right. It was a great combination of systems." Additionally, RF Venue's RF Explorer Pro Audio Edition handheld RF analyzer was deployed to aid in monitoring performance of Coral Canopy's Lectrosonics wireless system.

[RF Venue Simplifies Wireless Connections with Performance Calculator]

Chang explained that onstage performers wearing wireless bodypacks will often turn away from and out of the line of sight of wireless receivers, precipitating dropouts. "With the combination of the 4 ZONEs and the RF Venue Spotlight, we had complete coverage of the entire stage, even when performers were facing downstage." Chang singled out the 4 ZONE's 31 dB of individual channel RF attenuation, calibrated in 1 dB steps so he can adjust the gain of each antenna to minimize any overlap. And the RF Venue technology had a positive impact beyond just what's seen in the spec sheet. "Because the coverage is so complete, the front-of-house mixer for the show can really stay on point during the performance, not having to worry about dropouts at all," he said. "RF Venue gear just works and works well, and the products are user-friendly and reliable. That's everything you'd ever want in a wireless antenna solution."

Vox Church, a multi-site, non-denominational church whose campuses cover much of New England's central and southern tiers, from Stanford, Connecticut, to Worcester, Massachusetts, puts a lot of emphasis on music performances and communication from the stage. But operating their eight locations (with a ninth expected to open shortly) in a region of the country crowded with television broadcast stations, and heavily populated with event sites that use wireless mic and in-ear monitor systems, makes for a challenging RF environment.

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That's what Vox Church's A1 audio engineer Eugene "Geno" Mulcahy was facing when he came aboard several years ago to help the fast-growing church deal with its proliferating number of wireless channels, used for both vocals and speech, and for in-ear monitoring. Mulcahy came to Vox Church after a decade at the massive Mohegan Sun Casino, about 25 miles east of the church's main Branford, CT location. Helping build and manage the resort's sprawling RF infrastructure "was a trial by fire, putting wireless microphones into every aspect of the property," Mulcahy recalls. "But it really taught me the importance of establishing a good RF infrastructure for wireless." At Mohegan he also encountered what would become a foundational part of that infrastructure, when he met RF Venue co-founder Chris Regan as the new brand was first getting its RF product line off the ground. "Chris really showed me how critical the antenna and its distribution is to a reliable wireless system," he says.

No Dropouts With RF Venue Wireless

Mulcahy brought those lessons learned to Vox Church, where he implemented its wireless systems using wireless antennas and signal combiners from RF Venue. "Antennas and distribution are the non-fun part of working with wireless, but they are mission-critical to making any event happen flawlessly," he says. "The RF Venue products do the one thing that absolutely has to happen with wireless, and that's make sure there are no dropouts. If you lose audio during a service, especially during the streaming audio that's going out to other campuses that depend on taking their music cues from us, it's game over. It's as bad as losing video. We do what is called point-to-point streaming, where we send various channels to our other church campuses so the band at the remote locations can play along with the main worship band at our broadcast location. If the worship leader's mic fails, it not only fails in the live performance area but also at the other locations."

[RF Venue Simplifies Wireless Connections with Performance Calculator]

The Vox Church antenna, distribution and combiner systems include the RF Venue Diversity Fin(r) Antenna, a multi-purpose antenna that can make an RF system less susceptible to dropouts thanks to a patented cross-polarized design. It provides a diversity solution in a single package by combining one log-periodic dipole array (LPDA) and one dipole antenna in an orthogonal (right angle) configuration (where one element captures vertically polarized waves, and the other horizontally polarized waves). Unlike traditional "paddle" or "shark fin" antennas, the Diversity Fin allows receivers to see a constant signal regardless of microphone orientation, allowing the user to hold a wireless microphone in any position relative to the antenna without signal loss. These antennas interface with RF Venue's DISTRO4 and DISTRO9 distribution amplifiers, which feed RF to multiple wireless microphone receivers of any brand. The DISTRO4 has dual inputs that combine the two outputs of the Diversity Fin Antenna for distribution to up to five wireless microphone receivers, along with regulated 12 VDC power. Six DISTRO4's can be connected together to feed up to 25 receiver channels. The DISTRO9 features dual zone inputs for reception from dual Diversity Fin Antennas. Its nine outputs can be used to directly feed wireless mic receivers, or to feed the inputs of additional DISTRO9 units to in turn feed up to 81 receiver inputs. To ensure a consistent signal with in-ear monitors, RF Venue's COMBINE4 and COMBINE8 can combine the outputs of four or eight wireless monitor system transmitters into a single output to feed the CP Beam Antenna, a lightweight, circularly polarized helical antenna.

 Building a 'Soup to Nuts' Reliable Infrastructure for Wireless

 Mulcahy has implemented RF Venue products throughout most of Vox Church's campuses and is adding more as opportunities present themselves, creating what he calls a "soup-to-nuts reliable infrastructure for wireless." At the same time, he adds, RF Venue allows him to use any wireless microphone and IEM systems he wants. (Vox Church is using Shure ULX-D for the former and Sennheiser IEM G4 for the latter.) "Antenna choice, placement, and management are the most important aspects of wireless, and RF Venue has made those aspects easy to take care of," he said. "At our New Haven campus we have as many as six channels of wireless microphones and 12 monitor mixes each Sunday. For our big 10th anniversary show [which took place in September] at the Westville Music Bowl in New Haven, we had 16 IEM mixes plus the eight handhelds. And never a single drop out. RF antennas aren't the glamorous part of audio, but without them there's no show. With RF Venue, there's never a drop out."

Since its founding in 1968, the Alliance Theatre has drawn local and national audiences of all ages by producing a diverse range of musicals and theatrical works—each of them anchored by the highest possible artistic and production values. Now, the Alliance reemerges stronger than ever, with the world premiere of Darlin’ Cory and a timely adaptation of Dickens’ A Christmas Carol.

Clay Benning, resident sound designer of the Alliance Theatre, is responsible for audio at the facility’s two theaters, as well as sound design for many of the theater’s productions. Often, the Alliance Theatre serves as a tryout theater for Broadway, and up to 80 percent of the shows the Alliance produces are original. “In a typical year, we produce somewhere between 10 and 14 productions — these can be plays, musicals or other new works,” he said. 

The last several months afforded Benning and his production staff time to evaluate the technical needs of the Alliance’s latest production, A Christmas Carol, which is in performances now until Christmas Eve. “It’s a huge production,” said Benning. “The last production of A Christmas Carol had run for 20 years, so this is the first time since 1999 that we’ve built everything new from scratch.” 

Benning and his production team fortified its arsenal of wireless audio to include 34 channels of Sennheiser’s Digital 6000 wireless system. “As far as the audio was concerned, the major thing we had to do was move to wireless microphones for the entire cast, which was not part of our last production of A Christmas Carol,” he explained. “We had been running older Sennheiser wireless for years and years and it has been great, but considering the shift in the spectrum landscape and the agility of the newer Digital 6000, the time was right to replace.”

Long-Term Audio Investment

Since the prior production of A Christmas Carol had so much success at the Alliance Theatre, the production team made a recent decision to purchase several channels of its own Digital 6000 rather than renting them. “We ran the last production of A Christmas Carol for 20 years," Benning offered, "and we knew this production would be running for at least 10 years, so we decided to invest and amortize the cost over multiple years.”

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While the Alliance has always recognized the quality and reliability of Sennheiser wireless, the tipping point to purchase the new system coincided with Sennheiser’s introduction of the new SK 6212 mini bodypack transmitter. “That’s really what we need in a theatrical environment—to be able to hide the transmitter packs in wigs, costumes, and things like that,” Benning said. 

Aside from the diminutive size of the SK 6212, Benning also appreciates its battery life, which helps make rehearsals more efficient. “We can typically run a whole day of rehearsals on a single battery charge with no swaps,” he added. “That has made life easier for my staff because they’re not changing batteries as much and can see exactly how much time is left in the battery. We monitor this through Sennheiser’s WSM, which automatically talks to all the receivers.”

Overcoming RF Challenges

Being Atlanta’s ‘national theater’ has both advantages and challenges. Atlanta is a major metropolitan sports and media hub, chock-full of RF congestion. “We are located in midtown Atlanta, so we are right in the middle of everything,” Benning offered. “As a result of the recent frequency repacking, we only have three TV channels available.” 

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Sennheiser’s Digital 6000 features intermodulation-free operation using an equidistant frequency grid, which allows the production staff much more latitude in finding and locking in frequencies. “Because you can pack things in so tight on the Digital 6000, bandwidth hasn’t been a problem and I think we still have room to spare," Benning said. 

Having more than 30 channels on stage has become a regular occurrence, and Benning admitted there was a learning curve. Once they figured out the antenna placement, however, everything fell into place. He was particularly impressed with the audio signal. “The thing that I like most about the Digital 6000 is that you don’t hear any of the electronics," he noted. "There is no companding—the audio is just very clean sounding all the way through.”

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Since September 2021, the Alliance has also been running several channels of Digital 6000 wireless to support its production of Darlin’ Cory, which features a significant amount of acoustic music emanating from the stage. “There are 12 people in the cast that are wearing SK 6212 bodypacks with microphones, and then we have a fair number of acoustic instruments with pickups given the nature of the show,” Benning explained. “We have three or four acoustic guitars, some mandolin, and some dulcimer. The majority of these instruments are wireless and on the Digital 6000 and they sound great.”

While the last several months have been challenging for both the Alliance and its audiences, Benning is excited that productions are back in full swing. Next year looks to be a busy year, with forthcoming productions including Toni Stone, Trading Places, and many others. With Sennheiser’s Digital 6000 in place, he knows he couldn’t be better prepared. "I knew that this system was going to make the most sense for us and we’ve never had any issues with quality, reliability, or support," he said. "My preference was to stay with Sennheiser as much as we could.”

The What: Shure has debuted the Axient Digital ADX5D Portable Receiver, a dual-channel, portable wireless slot receiver that provides advanced RF performance, spectral efficiency, and transparent audio quality.

The What Else: ADX5D’s true digital diversity technology helps mitigate the potential for signal fades or interference that can cause dropouts. It also supports wide dynamic range, AES-256 encryption, and 2ms latency from the mic transducer to the analog output. A wide tuning band provides reliable operation in nearly any environment.

[Shure Expands SLX-D System Capabilities]

ADX5D functions as an on-the-go wireless receiver, and can slot inside and connect directly to the audio inputs of a professional broadcast camera, enabling streamlined connectivity of the two devices. The portability also provides convenience and flexibility, especially for film and TV sound mixers who often have discrete powering, audio-routing, and/or RF-distributing gear in their portable recording bags.

Broadcast, electronic news gathering, and film production crews can take advantage of Axient Digital’s software capabilities that facilitate production with limited staffing. ADX5D incorporates ShowLink, which is unique to Axient Digital, and allows for real-time control of all transmitter parameters, interference detection, and avoidance. Designed for remote, hybrid, or on-location sound environments, ShowLink makes it easier to use backup frequencies and provide remote control directly to the linked transmitters. Compatibility with Wireless Workbench supports control and configuration, optimal spectrum management, and frequency coordination.

ADX5D fits into the entire Axient Digital ecosystem and complements the existing solutions in Shure’s expansive portfolio, including AXT600 Spectrum Manager, Wireless Workbench, and all Axient Digital transmitters, including ADX1M Micro Bodypack.

“We designed the ADX5D Portable Receiver to incorporate the same innovative wireless technology that Axient Digital is known for, all in a portable form factor for professionals in the field or on the go,” said Nick Wood, senior wireless category director at Shure. “We took the time to ensure this new addition to the Axient Digital family exceeds the rigors of everyday use and lives up to Shure’s reputation for quality that we’ve earned over the past 96 years.”

The Bottom Line: ADX5D was designed to translate the Axient Digital line into a portable option. ADX5D is well suited for environments like sports and events broadcasting, electronic news gathering, film and episodic television, and electronic field production.

The What: Sennheiser has launched Evolution Wireless Digital, a new wireless microphone series designed with an app-based workflow.

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The What Else: Designed to be an "engineer in your pocket," the app guides users through the setup and creates reliable wireless connections. The app gives access to all system settings, and channels can be named to keep organized. 

Recently, more and more RF is appearing in venues, but Evolution Wireless Digital (EW-D) takes on this complexity by scanning the environment to find open frequencies. 

EW-D has a low latency of 1.9 milliseconds and a transmitter battery life of up to 12 hours with the BA 70 rechargeable battery pack.

The Bottom Line: Evolution Wireless Digital is well suited for corporations looking for an easy-to-manage wireless solution, and for schools with a requirement for classroom and stage microphones.

Evolution Wireless Digital is available now, with a choice of handheld, instrument, lavalier, headmic, combo, and base sets.

The What: Shure is adding free software networking capabilities for its SLX-D digital wireless system with the release of its Wireless Workbench 6 software and ShurePlus Channels iOS app, which will be compatible with SLX-D later this summer. 

The What Else: Shure’s Wireless Workbench 6 software allows audio professionals to discover and automatically connect to all Shure devices on the network for remote monitoring and control. With just a few clicks, users can scan the spectrum, identify open frequencies, and deploy to networked systems. To ensure an optimal working environment, and smooth production with SLX-D, Wireless Workbench 6 can also help establish network parameters and track all devices used in any given production; manage alerts and make adjustments in real-time without interrupting the performance; and implement necessary changes to Shure devices remotely from a computer (e.g., naming devices, gain adjustments, IR presets). 

[Shure Introduces SLX-D Digital Wireless System]

The ShurePlus Channels app gives users optimal control from the palm of their hand, helping them monitor events and make important real-time changes using a mobile device. The iOS app can be connected via Wi-Fi or an Ethernet adapter to automatically discover and manage Shure networked devices. Users are able to precisely monitor RF signal strength, audio levels, and battery life, from their mobile device for on-the-go performance management. Additionally, users can remotely diagnose and adjust critical channel information, ensuring the show goes on as seamlessly as possible.

The Bottom Line: The software solutions offer the necessary RF management necessary for critical oversight and control of Shure wireless systems. Wireless Workbench 6 software and ShurePlus Channels iOS app will be available to download for free in Summer 2021.

The What: Ahead of ISE Digital, Sennheiser has announced updates to its MobileConnect BYOD streaming solution, increasing its flexibility in providing assistive listening over Wi-Fi with a new software version and Standalone Mode. 

The What Else: The new update for the free MobileConnect Manager caters to large and software-controlled MobileConnect setups. Version 1.3.0 of the software will make workflows for large networks more convenient with a new Manager dashboard and API interface. 

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The MobileConnect Manager dashboard now gives ample system information at a glance, such as status messages for troubleshooting purposes, information about software updates, statistics for active MobileConnect Stations and streaming channels, as well as the possibility to download a log of system status messages. 

A new Standalone Mode enables fast integration and setup, and allows higher education institutions to quickly integrate MobileConnect into their existing Wi-Fi network for assistive listening support. 

With the MobileConnect API, Sennheiser opens MobileConnect for connection to third-party systems. For example, IT managers are now able to have QR codes for the streaming channels automatically displayed on digital room signage solutions. “The benefits of the new Standalone Mode are its easy installation as well as the low integration and IT effort required,” said Jakub Kolacz, product manager for MobileConnect. “The API allows AV and IT managers to optimize their university’s workflows and add more convenience both for the team and for users.” 

The Bottom Line: MobileConnect BYOD streaming solution provides assistive listening support over Wi-Fi. New features enable a new level of operational simplicity, regardless of whether a few individual units or a large network of devices are in use.

Shure, Inc. has appointed Duncan Bell, founder of Wideband Consulting Ltd, as a consultant on spectrum and advocacy affairs. Bell is a founding member of the BEIRG (British Entertainment Industry Radio Group) organization and the former financial director of the Autograph group in the United Kingdom. He is also a senior member and political team leader of the #WeMakeEvents campaign, formed by PLASA in April 2020 in response to the COVID-19 pandemic.

“Shure has been the leader in spectrum advocacy on behalf of the audio industry and continues to devote significant investments to secure its future,” said Ahren Hartman, VP of quality at Shure. “We look forward to joining forces with Duncan to secure and protect spectrum for the wireless microphone user community.”

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Recently in the U.S., Shure petitioned the FCC to reverse its recent decision and ensure that at least one “vacant” 6MHz UHF channel is designated in each market for wireless microphone use. Shure has continued to advocate for customers impacted by new government policy changes, providing a voice for the industry and encouraging more collaboration on major policymaking decisions in areas around the world.

“Duncan’s 36-year career in live sound production and industry relations makes him uniquely suited to join Shure in our fight to retain access to critical spectrum for wireless microphones,” said Peter James, vice president of global sales, Pro Audio, at Shure.

Shure has been a long-time member and supporter of BEIRG, which has successfully campaigned for the maintenance of “Programme Making and Special Events“ (PMSE) access to a sufficient quantity of interference-free spectrum for use by wireless microphones and wireless in-ear monitor (IEM) systems. Most recently, BEIRG’s campaigning led the UK government to commit to a funding program for the majority of those affected by the 700MHz clearance program.

”I am thrilled to be able to count Shure as one of my clients, and I look forward to working with the team to continue their work securing and maintaining access to critical radio spectrum that the entertainment and event technology sector uses and relies on every day,” Bell said. “Over the 14 years working with the team at BEIRG, I have been continually impressed with the impartial way so many have supported our work. Shure’s commitment to that has been there throughout, and always for the wider good of the industry.”

The What: Audio-Technica has released version 1.2.0 of its Wireless Manager software. Customers who have A-T Wireless Manager previously installed will be notified of this new version via in-app messaging.

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The What Else: Updated features include a new multi-point receiver function, improved interface and functionality enhancements, increased compatibility, and minor bug fixes. The software is compatible with Microsoft Windows 8.1 and 10 and macOS High Sierra (Version 10.13), macOS Mojave (Version 10.14), and macOS Catalina (Version 10.15). 

The multi-point receiver function allows a single transmitter to switch between multiple compatible A-T network-enabled receivers that are set apart from one another. The user of the transmitter can pass from one receiver zone to the next, enjoying seamless audio muting and unmuting for wide coverage without the need for a distributed antenna system.

A single transmitter can switch between 10 receivers on a single group. Up to eight multi-point groups can be configured within a single Wireless Manager session. 

A-T Wireless Manager software is compatible with all wireless devices operating in the UHF spectrum. When used with Audio-Technica 5000 Series (3rd Gen) and 3000 Series (4th Gen) with network control and monitoring, the software can coordinate and control all connected systems. The software can also interface with and monitor the latest 3000 Series networked chargers.

The Bottom Line: The new update is designed to improve performance in applications such as large auditoriums/halls, houses of worship, sporting events, education campuses, and other venues where installing long RF cable runs with antennas and necessary antenna management could become cumbersome and expensive.

The What: Lectrosonics has introduced the two newest members of the digital wireless microphone system family, the DBSM single battery and DBSMD dual-battery bodypack transmitters.

The What Else: The new units are fully compatible with the DSQD digital receiver, DCHR digital portable receiver, and DCR822 compact dual-channel digital receiver and feature a tuning range covering both the A1 and B1 bands from 470 to 608 MHz (470 to 614 MHz for the E01 international versions). The new transmitters include specially developed, high efficiency circuitry for extended operating time on AA batteries, and offer RF power selections at 10, 25 and 50 mW. In addition, a new, selectable high-density transmission mode (HDM) allows for much tighter channel spacing, yielding more than double the operating frequencies per available spectrum. Firmware updates are now available for the DSQD, DCHR, and DCR822 receivers, and updates for the Mac and PC versions of Wireless Designer software, to make use of this this new high-density mode.

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The DBSM and DBSM can be configured as either transmitters or recorders, with files stored on microSD card memory in the industry standard Broadcast Wave .wav (BWF) format at 24 bits, 48 kHz sample rate. The TA5M mic/line connector also acts as a timecode input for jam sync with master clocks on set, making audio file alignment quick and easy in post-production. The internal clock provides accuracy of <1ppm for all-day operation.

The microSD memory card can also be used to update the units’ firmware in the field. The DBSM and DBSMD respond to remote “dweedle tone” commands, available via third-party apps such as New Endian’s LectroRM and PDR Remote, allowing users to change settings including frequency, audio level, lock/unlock, and to start or stop recording.

The durable, machined aluminum housings are the same size and shape as the previous generation SMWB and SMDWB units so that standard accessories are compatible, including belt clips, battery eliminators, and pouches. The input wiring is also the same as previous generation SM Series transmitters, allowing the use of existing lavaliere and headset microphones wired for either servo-bias or “universal” inputs, along with adapter cables for line inputs and dynamic mics. The two-way IR port ensures quick setup and allows for data sharing between units including frequency tuning groups and encryption keys when in shared key management mode.

The DBSM and DBSMD support encryption in a 256-bit AES, CTR mode format for robust security, meeting FIPS 197 and 140-2 standards. Four different key management modes can be employed, including Universal—where all units in the system share the same default key; Shared—where a unique key is created and can be shared between transmitters and between transmitters and receivers; Standard—where a unique key is created but cannot be shared between transmitters or from transmitters to receivers; and Volatile—where every session requires a new key.

“The SM Series of miniature transmitters has been immensely popular since their original introduction four generations and more than and 15 years ago,” said Karl Winkler, VP of sales and marketing at Lectrosonics, Inc. “This latest generation brings these body-worn transmitters into the digital era, with a host of important features. The high-density mode alone will be a huge problem solver for a wide range of users. And the option to record gives these transmitters enormous flexibility for the demanding applications our users encounter on a daily basis.”

The Bottom Line: With an audio frequency response of 20 Hz to 20 kHz in standard transmission mode, a dynamic range of 112 dB, and a flat in-band phase response, the DBSM and DBSMD provide studio-grade sound, with low noise, for the most demanding productions.

MSRP is $2,350 for the single-battery DBSM and $2,450 for the dual-battery DBSMD.

University of Michigan’s Stephen M. Ross School of Business is a top-ranked business school worldwide, offering action-based learning to prepare graduates for an ever-evolving world. Today, that includes overcoming technical challenges in instruction. 

Christopher Visel, director of AV infrastructure at the school, was already looking to upgrade the wireless microphones in their classrooms before the COVID-19 pandemic. “Our microphone system was about 10 years old and the RF spectrum it operated on was phased out by the FCC, so it was time for an upgrade,” he said. “I was looking for a wireless mic solution that used a frequency spectrum that would be a better long-term solution. Our classrooms, particularly in our Ross Building, are adjacent to each other and on top of each other. Because the building is several stories, we were concerned about crosstalk and interference, which was a problem with our old system. It also had to be easy for faculty to use and for our IT department to support. After testing Panasonic’s Digital Wireless Microphone system at our facility for several months, it was clear the Panasonic system was the right choice.”

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Visel reached out to integration partner TEL Systems, which specified Panasonic’s Digital Wireless Microphone System that uses DECT 1.9GHz technology for a stable and secure communication from each wireless microphone to the receiver. 

“The system features a distributed architecture allowing us to rackmount the receivers in locked cabinets outside of the classroom,” said Paul Eiswerth, vice president for TEL Systems. “This leaves just the wireless microphones, wireless bodypacks, and the antennas inside the room. It is incredibly easy to install and the wireless microphones are pair-registered to the Panasonic receivers, so there is no need to manually channel plan and assign.”

According to Visel, professors prefer wireless bodypacks and lavalier microphones because they keep their hands free to use their computer and write on the whiteboard. “Panasonic’s wireless bodypacks are among the lightest in the industry (less than 0.25 pounds with the battery inserted), so they liked that when we tested Panasonic versus other competitive offerings,” he said. Each Panasonic wireless handheld microphone or wireless bodypack takes only one AA battery (standard or rechargeable Ni-MH). Desktop charging consoles are in each room to recharge the handheld mics and wireless bodypacks when not in use.

“Another feature of Panasonic’s digital wireless microphone system is that both the wireless microphone and wireless bodypack feature a 3.5mm audio input,” Visel said. “Professors and students that are using the classroom and want to play audio from their laptop or smartphone can easily do so by plugging a 3.5mm cable from their device into the handheld or bodypack.

Visel and his team were also able to leverage previously owned 80-inch displays from collaboration classrooms and distribute them to each classroom where they are installed onto a custom fabricated stand for displaying a “Zoom gallery.” Lecture desks are motorized for adjustable height and have Crestron touchpanels that serve as room control as well as double as confidence monitors. The rooms have occupancy sensors that automatically wake up the Crestron touchpanel and turn on the lights when the professor walks in the room. Professors can control the volume levels on the Panasonic microphones from the Crestron touchpanel and can see the audio level as well as the battery level status. Professors can choose to bring their own laptop for presentation or insert a USB thumb drive into the computer locked in the desk. University of Michigan has standardized on Zoom for online education. 

Another challenge the Michigan Ross IT team had to overcome with a hybrid in-person / virtual class was how to facilitate natural dialog between students and the teacher. To accomplish this, Visel mounted three ceiling microphones, later adding a fourth to capture speech near teacher’s desk, and one microphone over the teacher’s desk in the room and ran them into a Biamp Tesira Digital Signal Processor (DSP), as well as a line out from the Panasonic digital wireless microphone system. This put priority on the Panasonic lavalier microphone so that the teacher could always be heard. The Panasonic receivers are wired directly to the Tesira DSP, and the line out is from Tesira to PC. 

Phase 1 deployment of the Panasonic wireless mic system includes 22 classrooms in the Ross, Wyly, and Blau buildings at the University of Michigan Ross School of Business. Two classrooms in the Blau and Ross building have room dividers that have been eliminated due to social distancing requirements. The University wanted to accommodate a future when they could be divided, so multiple wireless receivers and antennas were installed to accommodate one large room or two smaller ones.

“This was a fun project to work on,” Eiswerth said, “mainly because Panasonic worked as a team with us and the IT team at Michigan Ross School of Business. Sometimes projects like this when the manufacturer is heavily involved can get a little antagonistic, but Panasonic delighted us with their superior service and support.”

“We’re very happy with the audio quality of the Panasonic digital wireless mic system,” Visel said. “With our new classroom designs, we are well-prepared for whatever comes our way.”

The What: Shure has introduced the SLX-D Digital Wireless System, the digital replacement of the company’s SLX system, complete with new mechanical designs, enhanced audio quality, more reliable RF performance, improved setup, and more.

The What Else: The SLX-D Digital Wireless System is offered in single- and dual-channel options. Transmitters run on standard AA batteries or an optional lithium-ion rechargeable battery solution with a dual-docking charging station. 

With improved signal quality and digital modulation, SLX-D lets users navigate crowded environments with high spectral efficiency and dependable RF. The system enables operation of up to 32 channels per frequency band without worrying about dropouts or signal fades.

Related: Shure’s ShurePlus Channels App Now Offers Free Editing 

SLX-D delivers clear sound to ensure every performance, lecture, and speech is delivered cleanly. With a wide dynamic range, it can handle a variety of inputs while preventing distortion.

Knowing that personnel in various institutions and facilities need a simple and straightforward solution, SLX-D is equipped with Guided Frequency Setup and a Group Scan feature that lets users set up multiple channels more efficiently by assigning frequencies to all receivers automatically via ethernet connections. Even for a 30-plus channel system, the entire Group Scan can be completed within a few seconds, according to the company.

“As we support customers in education, houses of worship, corporate facilities, and theaters, we recognize the need for an easy-to-use digital wireless system with rock-solid RF performance that can scale as the needs of the venue or spectrum environment change,” said Nick Wood, senior wireless category director at Shure. “With SLX-D, we can offer a solution that is both state-of-the-art and a great value.”

The Bottom Line: Wireless microphones face additional challenges in today’s increasingly crowded RF environment. The SLX-D Digital Wireless System provides end users with greater channel count than SLX, rechargeable options, and improved ease-of-use for a wide range of applications including classrooms, houses of worship, corporate facilities, hospitality, local government, and more.

The What: Shure has temporarily removed all in-app purchases from ShurePlus Channels for iOS. Since 2014, ShurePlus Channels has enabled RF coordinators to freely move around venue spaces, providing remote, real-time precision monitoring and control of Shure wireless systems. 

The What Else: With the ShurePlus Channels app, setup is designed to be quick and easy. Users connect over Wi-Fi to automatically discover and connect to compatible Shure-networked hardware. The remote control of wireless channel settings can now be added for free. Unlock the feature for each compatible product family to adjust frequency assignments, audio gain, muting, and more. When combined with ShowLink Remote Control for Axient Digital systems, transmitter and receiver settings can both be adjusted simultaneously.

Related: The Technology Manager's Guide to Networked Audio 

“As a way to alleviate additional costs for Shure wireless users, we are temporarily removing all in-app purchases for ShurePlus Channels,” said Corey Peoples, global product manager, Shure. “It’s more important than ever to understand and respond to the industry needs right now, which is why we listened to customer feedback and decided to remove in-app purchases until further notice.”

The Bottom Line: With ShurePlus Channels, users can monitor critical channel information, including audio levels, RF signal strength, and battery life with compatible wireless systems such as Axient Digital, Axient, UHF-R, ULX-D, QLX-D, and PSM 1000.

Visit the Apple App Store to download ShurePlus Channels for iOS. New users will be charged $0.00 when proceeding through the purchasing process to edit gear.

The What: Sennheiser has announced a major update to its Sennheiser Control Cockpit, a software tool designed to streamline daily work routines in controlling and monitoring large microphone setups. 

The What Else: Besides design and usability enhancements, the latest version 4.0.0 now adds the ability to monitor the new SpeechLine Multi-Channel Receiver and the EM 6000 receiver from Sennheiser’s Digital 6000 series, in addition to evolution wireless G3 and G4, SpeechLine, and the TeamConnect Ceiling 2 microphone. This makes the software a universal tool for corporations and education facilities. Version 4.0.0 can be downloaded here and experienced at the virtual InfoComm Connected from June 16 to 18.

Sennheiser Control Cockpit now features a “location-based Mute” functionality: All devices in e.g. a room can be grouped and their mute switches synchronized, so that all devices can be muted and unmuted together, either centrally via the Sennheiser Control Cockpit or locally on one of the devices. Location-based Mute is available for TeamConnect Ceiling 2 and SpeechLine Digital Wireless, including the new Multi-Channel Receiver. Also, the software now employs SSL encryption to make data transmission between the user interface and the host server even more secure.

The user interface of the software has had a refresh, too, and you can easily switch between Details View and Monitoring View. In addition, the software is now available in a Chinese language version.

“The prime benefits of the software are easy battery management and remote troubleshooting,” said Peter Grünert, product manager Software. “Whereas in the old days, IT staff had to walk to every single room and check the microphones on site, they can now take a look at the dashboard and quickly identify where action is really required. The same goes for remote troubleshooting: a look at the dashboard, and you can immediately see if a mute switch has been operated accidentally or the sensitivity changed unintentionally, and remedy this via the software.”

The Bottom Line: Sennheiser Control Cockpit provides centralized monitoring and control of Sennheiser microphone systems. Enabling remote device management as well as remote troubleshooting and support, Sennheiser Control Cockpit improves workflows and operation. The software provides IT staff with a real-time overview of all networked devices, including their location and status, and is accessible from anywhere in the network on all common platforms.

To read more InfoComm Connected stories, visit avnetwork.com/tag/infocomm.

The What: Expanding its range of network-enabled AV equipment, Sennheiser is launching the SpeechLine Multi-Channel Receiver, available from Q2 2020 in both a two-channel and a four-channel version.

The What Else: The SpeechLine Multi-Channel receiver accommodates up to four receiving channels and an auto-mixer—no additional antenna is needed, and only one cable is required for PoE, control data, and the Dante stream for which redundant sockets are provided. A three-pin terminal connector is available for infrastructures that need an analog output. The multi-channel receiver complies with common network security standards.

Related: Sennheiser Releases Control Cockpit Version 3.2.0

The receiver can be wall- or ceiling-mounted using the included wall-mount adapter. For an on-site check, the receiver features status LEDs for the audio channels; otherwise it is configured and controlled via Sennheiser Control Cockpit software or via Sennheiser’s open SSC protocol for third-party solutions. Sennheiser Control Cockpit allows centralized remote control, monitoring, and maintenance of campus- and company-wide audio installations from anywhere in a network. Besides SpeechLine Digital Wireless, the software also supports evolution wireless G3 and G4 as well as the TeamConnect Ceiling 2 microphone.

The Bottom Line: Aimed at use in higher education facilities and corporations, the compact receiver is intended for use in modern IT infrastructures, using license-free 1.9 GHz technology and can be centrally software controlled through Sennheiser Control Cockpit.

Shure announced it will extend the “Switch to Digital” instant rebate program through July 31, 2020. The promotion applies to the company’s Axient Digital, ULX-D, and QLX-D Digital Wireless Systems.

“This is an unprecedented time for everyone,” said Sean Bowman, U.S. sales director for Musician and Consumer Audio at Shure. “We are committed to supporting our customers, which is why we are providing more time for them to determine their digital wireless needs.”

Related: Shure Announces New Rebate Program for Digital Wireless Portfolio

Shure’s rebate program features instant savings:

• Up to $600/channel for Axient Digital with ADX-FD transmitters
• Up to $400/channel for Axient Digital with ADX transmitters
• Up to $300/channel for Axient Digital
• Up to $200/channel for ULX-D Digital Wireless Systems
• Up to $100/channel for QLX-D Digital Wireless Systems

No trade-in gear is required, and the discount is applied upfront. Open to all U.S. customers, the program will continue through July 31, 2020.

The What: Audio-Technica has released its Wireless Manager software, a Mac OS/Windows application for remote configuration, control, monitoring, spectrum management, and frequency coordination of compatible Audio-Technica devices in sound reinforcement or installed sound applications. 

[Audio-Technica Expands 3000 Series Wireless with Network Control and Monitoring Option]

The What Else: With connectivity for A-T 5000 Series wireless microphone system and the new 3000 Series featuring network control and monitoring , the software package offers a broad range of control and management functions of networked devices, grouped into three tabs: Device List, Frequency Coordination, and Monitor.  

Wireless Manager’s Device List auto-discovers connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturers’ wireless systems. From the Device List tab, users can edit/modify transmitter and receiver parameters of network enabled Audio-Technica  devices, including upload of setups created offline. Devices can be assigned tags for easy system grouping for frequency coordination and monitoring purposes.

The Frequency Coordination function delivers A-T wireless system users spectrum management tools, allowing real-time spectrum scanning via connected network-enabled receivers, or the option of using the pre-loaded television channel database for off-site planning. Based on spectrum availability, Wireless Manager quickly provides an estimate of available channels and uses a proprietary algorithm to automatically create an interference-free channel plan and then pushes that plan to all connected network A-T devices. Users have the option of setting manual frequency exclusions to avoid prohibited frequency bands and other wireless systems in operation at a given location.  

The Bottom Line: On A-T network wireless systems enabled for Wireless Manager, the Monitor tab allows live monitoring of connected systems with the option of filtering the displayed devices by assigned tag groups. Parameters monitored include AF, RF, battery, transmit power, and more. Wireless Manager allows users to assign alerts for performance values of parameters such as signal strength and battery level, and offers event logging. Wireless Manager also includes a Tool Box function offering walk test, user access control, and cable loss calculation functionality. 

The What: beyerdynamic is now shipping Unite AP4 Access Point, a multifunctional device that can be used either as a four-channel transmitter or as a four-channel receiver for microphone operation with an individual return channel.

The What Else: As a transmitter, the Unite AP4 transmits the audio signals of an external audio source with up to four DECT channels. Typical applications include interpreting assignments in conjunction with an interpreting system and assistive listening.

As a receiver, the AP4 can establish up to four bi-directional point-to-point connections (individual return channel from analog or Dante inputs) to Unite transmitters. These four microphone signals can then be played from the Unite Access Point via Dante or analog. These can also be sent to a second Unite Access Point via Dante or analog, which can then be configured as a transmitter to send up to four DECT channels.

Four audio channels are available on one single Unite AP4. A network of up to eight devices for a total of 16 full HD audio channels can be established (32 in the European Union due to spectrum differences). The individual devices work either as transmitters or receivers depending upon the application and corresponding configuration via the Unite Manager software.

“As a system, Unite provides components that allow users to create their unique solution,” said Alan Feckanin, director of Americas for beyerdynamic. “Throughout the coming years, we will expand the technology platform and use it to access additional applications, such as the AP4 Access Point, which expands the possibilities. When using several Unite AP4 devices in different operating modes, almost any application can be combined.”

The Bottom Line: Unite AP4 expansion component via access point is a flexible solution for fixed installation applications. With the AP4, users can rely on Unite in applications where a fixed installation is required. Featuring Dante-functionality and Phoenix inputs and outputs, Unite is compatible with a wide range of applications. 

The What: Sony’s new UWP-D series wireless microphones have begun shipping. The UWP-D21 wireless microphones are now available, with the UWP-D22 and UWP-D26 expected to ship in December.

The What Else: The UWP-D series wireless systems offer support for Multi-Interface Shoe (MI shoe) and a new Digital Audio Interface. The UWP-D series enables direct digital audio interface and delivers high sound quality with low noise by skipping the D/A and A/D process in combination with a new SMAD-P5 MI shoe adaptor and compatible camcorders including Sony’s PXW-Z280 and PXW-Z190 XDCAM models, using firmware version 3.0, as well as the α7R IV (ILCE-7RM4) 35mm full-frame camera.

It shares audio information such as RF level meter, audio mute status and low battery alerts for the transmitters and displays them on the viewfinder. Utilizing the SMAD-P5 MI shoe, audio signals are transmitted from the wireless receiver to a connected camera without a cable connection.

The new NFC SYNC feature is designed for easy frequency setting. By holding the NFC SYNC button on the receiver for a few seconds, it automatically scans for the appropriate frequency, and allows this channel to be sent to the transmitter via Near Field Communication (NFC).

The Bottom Line: The wireless systems’ reduced size and weight enable the mobility required for a wide range of applications, including news, remote, documentary, sports and wedding production.

A Clear-Com Eclipse HX digital matrix system served as the all-IP wireless communications solution for Antenna Hungaria, the host broadcaster for the Formula One Hungarian Grand Prix, ensuring a clear, flexible communication system in one of the largest, noisiest, and most complex broadcast environments. The system was provided by HDwireless, the German wireless specialist, through Audio-Technica, Clear-Com’s distribution partner for Germany.

The system needed to cover an extremely wide area including the pit lane, the paddock, and the TV compound, guaranteeing a reliable signal in a high-traffic audio environment, and providing audio clarity despite the extreme noise levels from the F1 cars. Previously HDwireless had used UHF radios for this event because of the size of the area they had to cover, but the team was keen to deploy its recently purchased Clear-Com solution. 

[State Theatre New Jersey Upgrades to Clear-Com Digital Intercom Systems]

The system included an Eclipse HX-Delta matrix frame with 12 audio connections to the host broadcaster’s OB vehicle, plus V-Series Iris panels, FreeSpeak II digital wireless beltpacks, and FreeSpeak II IP-connected transceivers. 

"We have supported the host broadcaster with wireless camera systems and a wireless video transmission for several years,” said Patrick Nussbaum, managing director, HDwireless. “Up to now we had used UHF radios as our intercom setup but we were looking for more flexibility, more channels per user, and better audio quality. We had already used the Clear-Com FreeSpeak II digital wireless system for the 24h race at the Nürburgring in Germany and everything worked perfectly. In Hungary, we set up the old UHF system as a backup, but we did not need to use it at all. The Clear-Com system performed flawlessly and our customer was very happy."

The What: Sennheiser has released version 3.2.0 of Control Cockpit, designed to provide an intuitive way to set up and manage all networked Sennheiser microphone systems such as evolution wireless G3 and G4, SpeechLine Digital Wireless, and TeamConnect Ceiling 2.

The What Else: In version 3.2.0, Sennheiser has further optimized workflows, providing graphical indication of the wireless link status, improved filtering for device types, and the ability to select multiple charging units.

“Digital workflows unlock wholly new ways of product interaction such as remote management of devices, and remote troubleshooting and support,” said Kai Tossing, head of product management, business communication. “They shift tiresome routine tasks such as checking microphones’ battery status into the digital domain where they can be performed with greater ease and efficiency.”

To make routine procedures and workflows as convenient and efficient as possible, Sennheiser Control Cockpit offers a combination of automatic notifications, display of status information, and the possibility to share responsibility and delegate tasks. Settings or firmware updates for microphones can be made remotely, as can troubleshooting, with error messages helping to identify problems and often allow for these to be rectified remotely too.

“Universities find that troubleshooting has become a lot easier,” Tossing said. “When they get a phone call from a lecture hall saying that the microphone does not work it is often sufficient to take a look at the dashboard to see that the microphone has been muted or the sensitivity has been modified—things the IT staff can immediately rectify via the Control Cockpit.”

The advantages of a centralized control software are especially obvious when it comes to battery management. While in the past the university’s IT staff had to visit every single lecture hall or classroom to check the battery status on each and every microphone, they now just need to take a look at the dashboard to identify all microphones with low batteries and their location.

For campus-wide installations, a very helpful feature provided by Sennheiser Control Cockpit is the out-of-range detection for wireless microphones. When activated, the system administrator will be notified via e-mail and/or text when a wireless microphone leaves the range of the receiver, thereby avoiding situations where microphones get mixed up or misplaced on campus.

The Bottom Line: Sennheiser Control Cockpit software provides centralized monitoring and control for Sennheiser microphone systems ranging from evolution wireless G3 and G4 to SpeechLine Digital Wireless and TeamConnect Ceiling 2. The software provides IT staff with a real-time overview of all networked devices on campus, including their location and status, and is accessible from anywhere in the network on all common platforms.

CP Communications, a provider of live event production solutions, recently turned to Pliant Technologies’ CrewCom wireless intercom system to provide wireless communication for the recent MLB All-Star Game and surrounding live events, including the Home Run Derby and pre/post-game ceremonies. Providing RF coverage throughout the stadium as well as additional on-site production locations, Pliant’s CrewCom provided a dependable intercom solution for the weekend-long event.

It was of utmost importance for CP Communications to provide the MLB with an easy-to-use system that had virtually no end-user learning curve. “Something that has always stood out to me about Pliant’s CrewCom system is that it doesn’t require much effort on the user end. You can pick it up and it just works,” said Michael Mason, president of CP Communications. “CrewCom is lightweight, ergonomic, feels comfortable, and the battery lasts as long as I need it to. I couldn’t ask for more when it comes to a coms system.” 

[NBA All Star Weekend Employs Shure Wireless]

The coverage area needed for the MLB All Star game was fairly large. With its Control Unit (CU) housed in the production truck located across the street, approximately 1,000 feet from the house I/O, the system needed to span the distance to the stadium and then also cover several areas within the facility including in the bowl, in the hallways behind the dugouts, the production offices and the service hallway. CrewCom’s new Fiber Hub provided the perfect solution.

Using multiple CrewCom four-volume Radio Packs and 10 Radio Transceivers (RTs), the MLB commissioner’s office was able to be assigned to their own production intercom channels while also having a direct line for communications to the television trucks: ESPN for the Home Run Derby and Fox for the All-Star Game. This setup allowed MLB to seamlessly communicate with directors and producers in the network trucks to ensure a smooth production. 

In regard to the system setup, CP Communications depends on the ease of deployment with CrewCom. Additionally, Mason finds CrewCom to be a solid option in the 900MHz spectrum range, helping to avoid overcrowded frequencies. For a given event, CP Communications can use up to 36 Radio Packs with two Control Units. The system can be expanded for additional users. Since CrewCom was first released, CP Communications has relied on the wireless intercom system for dozens of live productions, including multiple WWE events including WrestleMania, and the past two seasons of college football with The Big Ten Network, as well as the MLB All-Star Game for the past two years. 

“Having the ability to connect the remote antennas directly off of the Fiber Hub increases the usability of the system,” Mason said. “You can walk into a facility that is wired with single-mode fiber, grab strands, and go—there is no need to run additional copper or fiber.”

The What: Shure announced its Axient Digital ADX series wireless transmitters are now widely available through all global resellers and distributors. The ADX series offers enhanced features and form factors, including the ADX1 and ADX2 bodypack and handheld transmitters, ADX2FD frequency diversity handheld and ADX1M, the first micro bodypack with an internal self-tuning antenna. ShowLink-enabled transmitters offer real-time remote control plus automatic interference detection and avoidance. 

The What Else: The premier micro bodypack transmitter—a small, smooth bodypack with an internal antenna—enables greater concealment and more comfortable wear in theater productions and other applications requiring discreet placement. With its RF performance, wide-tuning, High Density mode, and encryption, the micro bodypack enables premium, professional-quality wireless digital audio.

“About halfway through a set of Waitress the Musical, I actually switched bodypacks to the ADX micro bodypack and immediately noticed how lightweight and ergonomic it was,” said Grammy Award-winning singer-songwriter and Broadway performer Jason Mraz. “During previous shows, we wore heavier micro-packs underneath our clothing that were uncomfortable and would sag a bit. Because of its internal antenna, the ADX micro bodypack is much smaller, smoother, and more compact—I almost didn’t even know it was there. I loved it right away.”

The ADX series transmitters also incorporate ShowLink for real-time control of all transmitter parameters, interference detection, and avoidance. The ShowLink Remote Control provides instantaneous adjustment of critical settings across the network. Coupled with the AD610 ShowLink Access Point, it establishes a wireless network between linked Axient Digital transmitters and receivers enabling real-time control over the entire Axient Digital coverage area.

Jagged Little Pill, a musical that premiered at the American Repertory Theater at Harvard University (A.R.T.) in 2018, is heading to Broadway in 2019. “For Jagged Little Pill, we used the ShowLink Access Point to actively and automatically monitor interference, and allow us to change frequencies remotely. We were able to target and address issues without having to track down the actor attached to the mic,” said Bryan Atterberry, assistant sound manager at the A.R.T. “I could adjust sensitivity or gain, switch a mic’s frequency, or even adjust its power output remotely in real-time. ShowLink became an important part of how we managed audio for the show.”

The Axient Digital Wireless System features numerous user-friendly features and benefits:

High-Performance RF—Incorporating all of the capabilities that professional productions demand, Axient Digital is designed for maximum signal stability. It features true digital diversity with Quadversity receiver technology, mitigating the potential for signal fades or interference that can cause dropouts. Quadversity mode enables users to place sets of diversity antennas in different zones, or double the number of antennas in a single zone, to improve RF signal-to-noise in challenging environments. High Density mode increases the maximum simultaneous system channel count from 17 to 47 per 6MHz TV band (from 23 to 63 per 8MHz TV band), while maintaining exceptional audio quality.

Audio Quality—Featuring digital audio via Dante/AES67 and AES3, Axient Digital has a 20Hz to 20kHz range with a flat frequency response and accurate transient response. Axient Digital also boasts wide dynamic range, AES-256 encryption, and a 2ms latency from the mic transducer to the analog output.

Command and Control—Axient Digital is compatible with Wireless Workbench as well as the ShurePlus Channels App for efficient control and configuration, optimal spectrum management, and frequency monitoring. Additionally, Axient Digital provides networked charging through a suite of smart, high-performance batteries and chargers. 

Hardware and Scalability—Axient Digital’s wide tuning range of up to 184MHz for all transmitters and receivers covers an extended range of spectrum and simplifies inventory. Dual and quad receiver options, combined with a common receiver platform supporting both AD and ADX transmitters maximize user flexibility and scalability.

“When putting on a production like Jagged Little Pill, it’s imperative to ensure flawless RF, audio quality, and scalability,” said Alison Schaefer, production audio technician at A.R.T. “Axient Digital’s support of Wireless Workbench took our production to the next level. It provided a completely comprehensive interface to manage every aspect of performance, including battery life, signal strength, and RF interference. If something happened to cause concern, such as low battery life, I was able to quickly locate the precise bodypack or microphone that needed recharging. The ability to monitor the battery and RF status gave us continued confidence throughout the show’s run.”

The Bottom Line: The ADX series is positioned as the new premier wireless solution in Shure’s portfolio. Catering to evolving customer needs, ADX series transmitters are compatible with the Axient Digital receiver platform and dedicated to providing high-performance RF, exceptional audio quality, command and control, and hardware scalability.

The Super Bowl is arguably the most wireless-intensive live event every year, with thousands of devices vying for clear spectrum. Leading up to the big game, the 2019 host city of Atlanta saw a wide range of football activities, concert events, broadcasting, and fan experiences. To ensure uninterrupted operation and outstanding sound quality across these events, Shure wireless systems were selected for game day, including the flagship Axient Digital wireless system and PSM 1000 in-ear monitors.

All RF usage was planned and managed by NFL Lead Frequency Coordinator Karl Voss. Primary audio supplier ATK Audiotek again brought in experts from Orlando-based Professional Wireless Systems (PWS) to meet the challenge of delivering pristine audio for the on-field entertainment. PWS handled Gladys Knight’s rendition of the U.S. National Anthem among other pregame festivities, plus the Maroon 5 halftime show and the referee’s critical microphone.

Professional Wireless Systems RF engineer, Gary Trenda, chose Shure wireless again, explaining, “It’s our second straight year using Axient Digital as our preferred system, which has several advantages in covering a football field. The Quadversity antenna system increases reliability and range. No matter where your transmitter is, you’re always closer to antennas than you would be with a regular diversity setup. That’s a huge advantage to us because the stage design and location are typically not yet finalized at the time when we are designing the RF distribution and specifying the wireless equipment.”

In the 30 minutes before kickoff, Axient Digital got the game broadcast off to a solid start. Activities like the Walter Payton NFL Man of the Year Award, presented to Chris Long of Philadelphia, by previous winner J.J. Watt of Houston, used an AD2 handheld transmitter with KSM8 mic element. Presentation of the colors used AD1 bodypack transmitters on the Sergeant and drummers in the color guard. Chloe x Halle then sang “America The Beautiful” using AD2/KSM9 handhelds, followed by the National Anthem, sung by Gladys Knight on the ADX2FD/KSM8 microphone, using Shure’s unique frequency diversity feature.

For the coin toss, referee John Parry was double-miked with twin Axient analog AXT100 bodypack transmitters, also in frequency diversity mode. Parry used the system for penalty calls throughout the game, so the referee’s mic was always under the microscope. Since changing to Axient analog several years ago, referee audio has been consistently tight.

“Shure frequency diversity feature offers big benefits,” Trenda said. “With two active frequencies operating simultaneously, we can avoid interference by switching seamlessly to the second channel. For the referee system, we extend that redundancy by using two microphones and even two receivers, one on house AC and the other plugged into a UPS battery backup system. That gives us two fully redundant audio paths, so it would take a pretty catastrophic failure to lose the referee audio.”

The halftime show was a Shure-driven event, with Adam Levine’s vocals delivered via an ADX2FD/SM58 microphone. In addition, Levine and Maroon 5 lead guitarist James Valentine used the new ADX1 bodypack systems for their guitars. The ADX series of Axient Digital incorporates Shure’s ShowLink system, which provides full remote control of all transmitter functions by the system operator. This backchannel command and control system was powered by three AD610 ShowLink Access Points, strategically placed around Mercedes-Benz Stadium.

“Throughout the day, PWS’ Cameron Stuckey was monitoring all the Shure wireless systems with the Wireless Workbench software,” Trenda said. “With Workbench and the AD610 Access Points, we can control all aspects of the ADX series transmitters. We can actually change frequencies, and adjust other functions remotely. This provides an extra measure of reliability and confidence that you need at an event like the Super Bowl.”

In fact, Shure products were spotted at a wide range of Super Bowl Week events. During the game, surround sound listeners enjoyed audio ambience from a range of Shure microphones, including VP88 stereo mics in mid-side mode with KSM313 ribbons, paired Beta 181 condenser mics, and roof-mounted KSM44A condensers in X-Y configuration, all strategically placed around the stadium by sound engineer Dave Grundtvig, to capture the crowd’s excitement.

During the week, 48 Axient Digital channels were deployed at Super Bowl press conferences by the NFL, the Rams, and the Patriots, plus Opening Night at State Farm Arena and at Super Bowl live fan events. Shure MX418 gooseneck microphones were spotted on podiums for speeches and interviews in the Georgia World Congress Center.

At the annual NFL Honors awards show on Saturday, ATK Audiotek provided 20 channels of Axient Digital, six channels of UHF-R wireless mics, and used PSM 1000 for all in-ear systems. Another highlight of the week was the first Bud Light Super Bowl Music Fest, where daily concert events included Bruno Mars on Axient Digital, Aerosmith on Axient analog, and Cardi B with her signature gold UHF-R handheld wireless transmitter.

Shure wireless systems were seen at official events around Atlanta leading up to Super Bowl Sunday, with hundreds of Axient Digital microphones and PSM 1000 in-ear systems in the most demanding situations. It all culminated on Sunday night, with another series of performances during the game itself. 

“The Super Bowl requires a lot of preparation and specialized equipment, and Shure is a big part of that,” Trenda said. “Once again this year, we had no equipment issues at all during pregame or the halftime show, so it’s fair to say that Axient Digital with Quadversity is our preferred wireless. It’s a proven product that gives us the reliability required for a live broadcast event like the Super Bowl.”

The What: Shure has begun shipping its Microflex Complete Wireless (MXCW) Conferencing System. 

The What Else: The wireless conferencing units—which include a microphone, loudspeaker, interpretation audio, controls, and touchscreen—overcome cable restrictions for use in rooms that require adaptable seating, or in historic settings, where permanent installation (like tabletop drilling) is not an option. Of note, most government entities have rooms that are multipurpose or multifunctional. From hosting a quick internal catchup, to committee meetings or large public gatherings, these rooms are used by numbers of people and purposes. Flexible seating—and a corresponding scalable conferencing system—is a must. Additionally, the lack of visible wiring meets today’s expectations for sleek, clean, set up. It also encourages natural interactions between participants who are no longer held back by connections; instead, they can move and communicate without restraint.

Because a wired connection is not needed, IT managers and AV professionals can set up and configure the system in minutes, according to the company. If a last-minute meeting is scheduled, users can pull out the system and configure it for the gathering. On top of this, Automatic Gain Control technology and proprietary audio codec help ensure that MXCW delivers intelligible audio and consistent speech levels for all participants.

“Straight out of the box, the system just works,” said Mark Breakspear, production manager, DLC Events, Dubai UAE. “With simply a laptop, a switch, the APT, and two cables—along with the mics—you have a top-of-the-range discussion system that has knocked the competition of the park. Connect the APT to the PoE switch, turn the mics on, and, in less than a minute you have a functional discussion system—this product really sells itself.”

Microflex Complete Wireless leverages the power of Shure’s frequency management technology to eliminate the need for time-consuming frequency adjustments and interruptions. Additionally, MXCW is supported by Shure’s Interference Detection and Avoidance technology for reliable transmission even in the most congested RF environments. Coupled with AES-128 audio encryption for enhanced privacy and one single access point, integrators and AV professionals have real-time control over the entire wireless coverage area.  

The Bottom Line: A premier solution in Shure’s conferencing portfolio, MXCW is designed to provide wireless freedom and flexibility for conferences, meetings, and events inside government, corporate, hotel, and educational facilities. Well suited for environments that need quick setup and breakdown, the all-in-one conferencing solution is dedicated to providing high-quality audio, security, and ease of use.

The What: Shure has released the P9RA+ and P10R+ bodypack receivers that operate with the PSM 900 and PSM 1000 Wireless Personal Monitor Systems, respectively.

The What Else: Both the P9RA+ and P10R+ deliver RF performance while preserving the audio quality and transparency of the PSM 900 and PSM 1000. Designed for live performers, broadcast production managers, sound technicians, and rental agency managers, the updated PSM receivers use an analog/digital hybrid system that increases headroom, stereo separation, and audio fidelity.

The P9RA+ is a compact, stereo bodypack that works with the PSM 900 wireless system to deliver unparalleled audio quality and increased RF signal strength to meet the needs of professional audio applications of all kinds. All P9RA+ receivers are compatible with original P9T and P10T transmitters and all Shure SE Sound Isolating Earphones. Similarly, the P10R+ is a low-profile, twin-antenna diversity bodypack receiver that operates with the PSM 1000 wireless system. With premium features like full bandwidth RF scan, precision front-end RF filtering, and automatic RF gain control, P10R+ meets the demands of professional audio applications of all sizes.

For sound engineers who wish to retain the identical sound signature of original PSM 900 and PSM 1000 receivers, the new PSM receivers are built with an Input EQ Preset option called Match, which reproduces the audio signature of the P9RA and P10R receivers. In addition, PSM 900 and PSM 1000 transmitters and in-ear monitors will remain unchanged.

The Bottom Line: Built with an integrated FPGA circuit, the updated PSM receivers are equipped with advanced digital signal processing (DSP) technology that provides high-quality digital audio over analog RF transmission. By offering higher RF sensitivity, the P9RA+ and P10R+ deliver a cleaner RF signal and better end-of-range performance. The P10R+ possesses a more robust and reliable RF signal in close proximity to digital transmiters, providing superior operability when used alongside digital wireless microphone systems in crowded spectrum spaces.

The P9RA+ and P10R+ bodypack receivers will be available for sale by late 2018.

Tom Cruise, who famously performs many of his own stunts, doubles down on the derring-do in Mission: Impossible — Fallout, the latest installment of the spy thriller franchise. Multi-award-winning British production sound mixer Chris Munro had to up his game to cleanly capture Cruise’s dialogue as the action star clambered aboard a moving helicopter, leaped from a high-altitude jet and sped through the streets of Paris, using Lectrosonics PDR Portable Digital Audio Recorders, as well as his existing arsenal of Lectrosonics Digital Hybrid Wireless equipment.

The best intentions often come back to haunt you. Mission: Impossible – Fallout finds Ethan Hunt (Tom Cruise) and his IMF team (Alec Baldwin, Simon Pegg, Ving Rhames) along with some familiar allies (Rebecca Ferguson, Michelle Monaghan) in a race against time after a mission gone wrong. Henry Cavill, Angela Bassett, and Vanessa Kirby also join the dynamic cast with filmmaker Christopher McQuarrie returning to the helm. Mission: Impossible – Fallout opened in RealD 3D and IMAX on July 27, 2018.

“I used Lectrosonics on M:I – Fallout because of the range that could be achieved during the challenging car chase and helicopter sequences,” said Munro, who relied on SMb transmitter belt packs for this production. For those situations where it was impractical to use wireless mics, including the skydiving sequences and some of the helicopter sequences, Munro used Lectrosonics’ PDR, a device the size of a small body pack that captures 24-bit, 48 kHz digital audio onto a Micro SD card with synchronized internal or jammed external timecode.

“We used the Lectrosonics PDR recorder quite a lot, mainly for the small size, but also for the timecode capability, as we were shooting very long takes on the helicopter sequences,” he said. “We also used a PDR to record all of the helicopter comms. This was particularly useful for the editor, as he could hear directions from the director, Christopher McQuarrie, which allowed him to identify which parts of the film were to be used.”

Munro, who typically uses DPA d:screet and Sanken Cos 11 lavalier microphone elements with his Lectrosonics transmitters, had to employ some different transducers for the helicopter and skydiving sequences, he said. “This involved the use of bone conduction technology, which not only allowed us to record Tom Cruise’s dialogue in the helicopter and during a HALO jump, but also allowed us to interface with the helicopter RF to allow him to safely fly the helicopter.”

HALO or High Altitude Low Opening is a military technique that minimizes the time a parachutist spends in the air, free-falling at terminal velocity for a period before opening the parachute as low as 2,000 feet above the ground. For the film, Cruise jumped from a Boeing C-17 transport jet flying at 25,000 feet.

“The bone conduction units that I used were specifically designed for military use,” Munro said. “I used them with the Lectrosonics PDRs, connected to the helicopter avionics using interfaces that were designed and built by our technical engineer, Jim McBride.”

Munro got his start in production sound in the early seventies and has been using Lectrosonics since his first film project in the U.S. He didn’t own any Lectrosonics equipment until the mid-nineties, when the company introduced versions that operated in Europe’s radio frequency spectrum.

Munro said, “I typically use six channels of radio mics, though of course it could be more,” although he uses booms mics whenever possible for their superior fidelity. “That is not to say that I don’t appreciate radios,” he said, “but that I value them as tools that contribute to getting the best sound possible.”

Mission: Impossible — Fallout was filmed at locations around the world. Despite the density of RF traffic at some of the locations, Munro and his team had no major problems, he said. “We were very fortunate in New Zealand as frequencies were not an issue. Paris and London were a little trickier, but my crew and I always take time to make a good frequency plan.”

Munro has worked on more than 80 films, winning Oscars for Gravity (2013), for which he also won a BAFTA, and Black Hawk Down (2001). He has also been recognized with multiple awards and nominations for his work on Wonder Woman (2017), Captain Phillips (2013), Quantum of Solace (2008), Casino Royale (2006), United 93 (2006) and numerous other films.

Audix, a U.S. manufacturer of professional microphones for the stage, studio, and installed markets, announced that it is a premier sponsor of the Sisters Folk Festival, a three-day celebration of roots music to be held Sept. 7-9, 2018 in Sisters, OR. More than 50 performers will gather for the 3-day event, which attracts more than 4,000 attendees.

This is the third year that Audix has sponsored the event and their contribution includes providing a variety of vocal and instrument microphones for the performers, including several of their Performance Series wireless microphone systems.

"The Sisters Folk Festival is lucky to have such an incredible resource right here in Oregon,” said Steve Remington, development director for the Sisters Folk Festival. “Audix provides SFF with the same high-quality mics that they install on stages throughout the New Orleans Jazz & Heritage Festival. Our artists are always reassured that they're going to sound great when they see the Audix gear on stage.”

Founded in 1995 to bring the finest in acoustic music to the town of Sisters, OR, the Sisters Folk Festival has developed into a year-round cultural-arts organization that supports local schools with extensive community engagement. In addition to the folk festival, the 501(c)(3) organization is responsible for the educational outreach program The Americana Project, the community-themed arts fundraiser My Own Two Hands, the Americana Song Academy, a Winter Concert Series, and an overarching annual membership opportunity, the Sisters Folk Arts Circle.

“Audix is proud to support the Sisters Folk Festival and the work they do in their community to enrich lives through the arts,” said Ed Hansen, marketing manager for Audix. “We were saddened by last year’s cancellation due to wild fires but are confident enthusiasts will be back to enjoy the amazing lineup of artists representing this seminal genre.”

For more information about the festival, visit www.SistersFolkFesitival.org.

The What: Audio-Technica is now shipping the ATW-T6002x Handheld Transmitter for the 6000 Series High Density Wireless System—a solution that allows users to pack 31 channels in 4MHz of bandwidth.

The What Else: The ATW-T6002x handheld transmitter offers extremely low handling noise and features a metal construction body, high-visibility OLED screen, soft-touch controls and switchable RF power (2mW/10mW/50mW). Its industry-standard thread mount allows for the use of six new interchangeable A-T microphone capsules, as well as other compatible capsules.

The Bottom Line: To address the 2016 FCC Incentive Auction that repacked the broadcast spectrum, Audio-Technica developed the 6000 Series, whose channels are spaced at 125KHz intervals and can all be used simultaneously. The system operates in the 944-952MHz band, which is free of broadcast TV. The FCC has expanded license eligibility for this band beyond broadcasters and content creators to include sound companies and venues that routinely operate 50 wireless microphones or more.

The Sennheiser Digital 6000 microphone systems can soon be integrated into Yamaha CL and QL series consoles with the upcoming Sennheiser and Yamaha firmware updates. These updates allow Sennheiser’s EM 6000 and EM 6000 DANTE wireless receivers to be monitored directly from the consoles, permitting engineers to check parameters such as RF performance, link quality, audio level, and battery status directly from the console as well as adjust certain parameters without the need for additional software or screens. This integration is already available for Soundcraft Vi000 consoles.

“Yamaha has continued to offer new and convenient solutions through close collaboration with various partners,” said Yoshi Tsugawa, general manager of the Yamaha Pro Audio Division. “This announcement takes that collaboration to an even higher level. Digital mixing consoles are expected to take on a much larger role than simply mixing in today’s sound systems, and the full breadth of the functionality required cannot be handled by one company alone. All-encompassing solutions would not be possible without the support and cooperation of third parties. Feedback from our valued customers is also a vital ingredient. Driven by the needs of our customers, deeper collaboration with our third-party partners will continue to produce world-class solutions into the future.”

“Sennheiser is always keen to collaborate with other manufacturers to allow our systems to interface with their products, making user workflows as smooth and easy as possible,” said Tom Vollmers, senior product manager, Professional Audio at Sennheiser. “Being able to monitor the EM 6000 parameters directly from a mixing console is something our customers have been asking for. We are delighted that both Yamaha and Soundcraft are implementing this integration in selected consoles in their ranges, and we are currently working with other manufacturers to extend this ability to their consoles.”

The first North American production of the 2016 London revival of "Jesus Christ Superstar" took place at Chicago Lyric Opera for a four-week run. Billed as Lyric Opera’s annual spring musical, this ambitious staging of the Andrew Lloyd Webber/Tim Rice rock opera featured an all-star cast supported by an operatic chorus and six-piece rock band, requiring 74 wireless microphone channels.

Nick Lidster, sound designer from the creative team at Autograph that staged the show’s revival in London’s Regents Park, worked with senior sound engineer Peter Wiejaczka of OSA International to create a viable rock-based musical within the acoustical confines of the Lyric Opera House. They opted to work with Shure Axient Digital as the primary wireless system for the production.

“This production was quite a significant step up from the show we’d done in London, going from a cast of 27 to needing over 50 radio microphones,” said Lidster. “We had the opportunity to work with Shure’s latest product, Axient Digital, including factory support here in its hometown of Chicago, so we were happy to do that.”

For Jesus Christ Superstar, Lyric Opera used a total of 56 channels of Axient Digital, plus 18 channels of UHF-R. All but eight transmitters were bodypacks. Of particular note was the inclusion of ADX1M Micro-Bodypack transmitters, important for the adaptive internal antenna, which automatically optimizes RF output when worn against the body. ADX transmitters also enable Axient Digital’s frequency diversity and ShowLink remote control features. Still a few months away from general release, Shure made 12 beta-test production units available for the show.

“The system being digital is a big help, because you can fit more frequencies together without intermod,” said Stephanie Farina, a Chicago-based theater tech who worked in the A2 role on the production. “We did need to do a little work with creative antenna placements to get full coverage with a steel set in such a large space, but once we did, we used Wireless Workbench software together with some old school methods and ended up with a solid frequency plan, including 16 backup frequencies. Not bad for downtown Chicago!”

Farina was also responsible for miking the performers, which is where the ADX1M came in. “With no external antenna, I was a little skeptical of the ADX packs at first, but they worked flawlessly for us,” she continued. “I love that the mic connector is recessed. Because of how small and sleek they are, with rounded corners, it makes my life easier with costume and wardrobe, and the actors love them.”

“With the Axient Digital micro-pack on the lead performers and standard AD1 packs for the rest of the main ensemble, plus eight handhelds, we have 54 simultaneous microphone channels running," Lidster said. "It’s been clean as a whistle from the time we pushed up the faders on the first day, so I’ve been very pleased."

The new Axient Digital AD610 Access Point was also deployed, enabling the system’s ShowLink remote management system for the ADX1M Micro-Bodypacks. This lets the sound engineer monitor and change all transmitter functions remotely, in real time. Even better, the system can detect and avoid interference, using ShowLink functionality in conjunction with the AXT600 Spectrum Manager for an extra measure of assurance that the show will go on as planned.

“There are a lot of little touches on the micro-packs that make my job easier,” said Farina. “I appreciate that the buttons are on the top and bottom, and that there is no antenna to hide. And because they are small and thin and curved, they can go almost anywhere. Things like remote control, power lock, and knowing the exact battery life of the rechargeables are all great. Everything has been really reliable.”

For sound designer Lidster, Axient Digital proved itself worthy in an extremely challenging application. “Working in association with Shure and OSA International on this particular show has been invaluable,” he said. “Jesus Christ Superstar requires a rock and roll aesthetic, and we had to bring a lot of technology into a very traditional opera venue to make that happen. With Axient Digital, I feel as though Shure is actually listening to theater sound designers and turning up with products that are actually intended for our specific needs.”

Following the success of this large-scale production, Chicago Lyric Opera will add 48 channels of Axient Digital receivers with ADX transmitters, ShowLink Access Points, and Shure rechargeable batteries with rackmount charging stations to its permanent sound system.

As part of Yamaha Corporation's drive to accelerate its unified communications (UC) business in the global market, Yamaha Corporation (hereinafter Yamaha) announced Monday that its 100 percent subsidiary Revolabs, Inc. has changed its company name to Yamaha Unified Communications, Inc., effective June 1, 2018.

Founded in 2005, Revolabs has developed, manufactured, and marketed remote conferencing systems, wireless microphone systems, and other UC products. Since becoming a wholly owned subsidiary of Yamaha in 2014, it has played a role in Yamaha's growing UC business activities.

Striving to further develop the company's UC business globally, Yamaha has changed the corporate name of Revolabs to clearly indicate its relationship with the Yamaha Group. Through this change, Yamaha will work to raise the recognition of the Yamaha brand and increase its corporate value by providing customers with superior products and services.

Outline of the Corporate Renaming

New company name: Yamaha Unified Communications, Inc. (https://uc.yamaha.com/)

Location: 144 North Rd., Suite 3250, Sudbury, MA 01776, USA

Date of establishment: 2005 (Became a wholly owned subsidiary of Yamaha Corporation in March 2014)

Representative: Masanori Kamihara

Principal lines of business: Development, manufacturing, and marketing of remote conferencing systems and wireless microphone systems

Effective date: June 1, 2018

Professional audio vendors are poised to profit from movements in the corporate meeting room sector, as budget share creeps away from display technologies. That’s the message from 2,500 interviews carried out by Futuresource Consulting during a recent corporate end user research project.

Covering the U.K., U.S.A., Germany, and France, the Futuresource study reveals the rising importance of audio products such as commercial speakers and high-quality microphones in the meeting room ecosystem.

“Alongside collaboration devices and room control products, audio continues to make its presence felt,” says Chris McIntyre-Brown, associate director, Futuresource Consulting, “And with almost 11 million meeting rooms across Western Europe and North America, there’s a handsome reward for audio vendors who act on the opportunity. There’s a particular sweet spot in the U.S.A., where 28-percent of AV hardware budgets for large meeting rooms are being invested in audio.”

Drilling into the sub-segments, speakers have seen strong growth over recent years, as multi-location conferencing from huddle spaces and meeting rooms has increased. Although a significant proportion of speakers are consumer grade, there is a growing demand for professional grade ceiling and column speakers as meeting room sizes and budgets continue to increase.

“Our research shows that corporate speakers tend to be installed as complete systems, generally as part of a new office build, refurb, or systems overhaul,” added McIntyre-Brown. “Moreover, a key take-home for vendors is that the corporate vertical typically demands higher quality products when compared with other installed commercial verticals, such as retail and education.”

As professional speakers begin to gain a foothold in the corporate space, the same is true for microphones.

“Corporations are becoming more attuned to the importance of high quality audio when making conference calls, which is helping to grow demand for dedicated microphones.” McIntyre-Brown said. “We’re seeing a range of form factors gradually sliding into the mix, particularly in medium and large sized meeting rooms, where extender mics are being used in tandem with conferencing phones."

“Professional microphones are subject to some key regional differences, far more than any other product segment covered in our report," she continued. "The strongly contrasting European and North American meeting room environments are creating two different markets, with their own form factor preferences. Either way, there’s still plenty of growth left in the market, with respondents telling us penetration rates are still down in the single figures.”

As corporations continue to demand integrated conferencing facilities in their meeting rooms, global audio solutions provider, Plantronics, announced in March that it will acquire Polycom in a deal valued at $2 billion USD. This acquisition offers major opportunities for both companies and signals even greater competition in the voice and video collaboration sector.

Watch this space for a range of new challenges and opportunities for many vendors and integrators operating across the breadth of the corporate audio and video landscape.

beyerdynamic (booth C1628) is introducing several new conferencing products at InfoComm, including the Phonum Bluetooth speakerphone and Unite wireless communications platform.

Phonum

A wireless Bluetooth speakerphone, Phonum is engineered for quick, impromptu meetings for higher education, corporate offices, K-12, medical facilities, governmental institutions, and other applications.

Unite

The Unite digital wireless communcations platform is designed for tour guiding, assisted listening, and two-way communications applications. It can scale up to 32 channels at once, and provides license-free, noise-cancelling operation with up to 20 hours of battery life, according to the company.

TG 1000 Dante

TG 1000 Dante is a new 24-bit digital wireless system. It covers 319MHz of the UHF bandwidth and can be utilized in demanding touring, theatrical, and permanent installation environments.