The Neumann TLM 102, what a microphone! Not only pleasant to the eyes but can be used in many different situations. The TLM 102 is a impressive large-diaphragm capsule made by Neumann. The name Neumann says it all, you can not dispute the unbelievably good reputation of Neumann. The TLM 102 is mostly used for vocals and speech. By handling up to 144 db in sound pressure the TLM 102 is also very effective in use with loud instruments such as drums, percussion, wind instruments, and amps. While it can handle the loud instruments, for those things that are not that loud you will be pleased with the transient response of the TLM 102. Slightly above 6 khz of frequency response provides for excellent presence of the voice in the over all sound. I could go on and on about this mic. The versatility and price of the TLM 102 makes it perfect for just about any application. If you are a professional or starting out with your home studio, the TLM 102 will work for you.  Available in black and nickel; stand mount included. Please leave comment below with your favorite application and thoughts on your TLM 102.

Questions or comments please contact me at Larry Bicknell or (615)534-1190 ext. 3

Future Sonic Atrio in use at Norah Jones Concert

If any of you were fortunate enough to catch the Norah Jones concert at the Ryman Auditorium this past weekend in Nashville, TN you know it was a great sounding and looking show. JSS owner Jason Spence caught up with friend and JSS client Steve Baird, Lighting Designer and operator for Norah Jones after the show.

“Steve approached me last year about getting a pair of custom ear monitors but was having a tough time justifying spending between $700 or over $1000 on them,” says Spence.

Steve monitors the shows he lights using an in ear monitor system like those used by the artists and band members on stage. Doing so allows him to follow cues from musical directors and stay in perfect sync with the music. Steve’s resume speaks for itself, designing and touring with artists such as YES and Julio Iglesias to the Canadian Country Music Awards. With that experience he knows how important it is to be able to accurately hear and monitor the music. Whether executing cues in faced paced shows like that of Dream Theater or enforcing subtle moods during Norah’s concert, Steve does so listening to his custom Future Sonic Atrio with Softwear Sleeves.

I proposed the Future Sonic Atrio to Steve. This would allow him to use an amazing sounding universal fit ear monitor to listen to the show. And at a fraction of the cost of customs in-ear-monitors but still allow him to customize them if he really liked them. After trying the Atrio, Steve ordered a pair and a  pair of Custom fit Softwear Sleeves that allow the Atrio to fit and sound like custom ear monitors. Custom sleeves are molded and the Atrio just snap into them. Brilliant and affordable. Even after customizing the Atrio, your investment will be well under $400.”

Steve has this to say about his Future Sonic Atrio, “Thanks again for the headphones..These things Rock.” Steve also points out they are great for more than just the stage. “I had a baby crying all the way home from Atlanta, and couldn’t not hear a thing with my ears in. LOL….”

Steve Baird - Lighting Designer for Norah Jones pictured with his Future Sonic Atrio

Steve Baird – Lighting Designer for Norah Jones pictured with his Future Sonic Atrio and custom fit Softwear Sleeves

You can order your Future Sonic Atrio online by clicking here. Or for more information on Future Sonic Atrio and or Softwear Sleeves contact:

Larry Bicknell
Senior Account Manager
(615) 534-1190 Ext. 3
Email Larry
www.JSS.net

Sound System Optimization Analysis (SOA)

It’s a beautiful day in the world of audio for worship ministries. Aaaahh, there’s nothing like the smell of sanctuary pews, the sound of church bells and the rumble of congregational chatters.  But wait there’s more, at least for the sound guy that is. I must not forget that along with the before mentioned my senses also take notice the sites of good ol’ rack clutter, the sounds of buzzes and hums, and the all American spaghetti – mounds of wires piled on the floor. Don’t forget it’s a little louder over there and we can’t here you as well on this side. Aaah audio bliss. Or is it?  To most audio professionals the latter is definitely unacceptable and to volunteers and ‘part time’ sound guys they know something just isn’t right.

But how do we fix it? You may wonder of a solution to these typical system issues that plague worship environments and studios. If I am asked the question ‘how’, the answer is J Sound Services and our sound System Optimization Analysis or SOA. Haven’t heard of it? That’ the first problem that we definitely and quite easily have a solution for. For the small investment of only $99; audio professionals from JSS will perform a complete diagnostic check of your system. Even if you have the ‘know-how’ needed to find and fix the issues, you may not have the time. In any case JSS can help. What JSS has created with the SOA is a comprehensive check list of  your sound system. A complete physical exam similar to what ones health care physician would perform on the body.

I recall visiting a local church with JSS to perform a SOA. Here I witnessed a church who had a pretty decent set up. A Nexo system that included PS10’s and PS15’s. If I may revisit a past post, I will mention again that Nexo systems utilize proprietary technology in their processing that if used correctly will sound like wonderful heaven to ones ears. You can be assured that the message will be delivered, and with unprecedented clarity and articulation.

Initially I asked what could be the problem. I was a bit confused until I took a look at the actual rack of gear that was stationed on a makeshift rolling cart in the amp room.  At one glance I could see a major problem. The processors had been bypassed! By letting the Nexo processor sit and collect dust they were unknowingly missing the miracle of crystal clear sound that they already invested in and possessed.

I am confident in saying, because we see it time and time again that this case is very similar to what goes on in many places where audio systems are installed such as Houses of Worship and studios alike. As I think back on all the cases like this one that I’ve seen, it is very satisfying to perform the SOAs at JSS and bring life back into audio systems neglected or unintentionally compromised.

Contact Jontae Hall at JSS for more information about Nexo or to schedule an SOA.

(615) 534-1190 Ext. 8

Email Jontae

JSS is implementing a Service and Maintenance program. Our System Optimization Analysis is a new service that JSS is offering for the new year of 2010. Focusing on a few key components, the analysis will ensure all of JSS’s clients are getting the most out of their PA and audio system. It may seem simple to some, but to others it is like speaking another language. Not only will we perform a comprehensive diagnosis of your audio system, we can even train you on how to operate it. You will find JSS’s passion for audio quite evident with this service.

The analysis is a complete system check. Beginning with the power source to ensuring an end result of quality sound and everything in between, including wireless equipment. Some of the checks include meter system power, test speaker system and components, and check all cabling. If you have a digital mixer, we will verify that its firmware is up to date. After we have thoroughly analyzed your system we will provide a system report and consultation. This will provide you with the information that you need to get the ultimate sounding system.

This program is just another example of JSS’s commitment to the “We Do It Better” promise that we make to all of our clients and ourselves. No other company will come to you and perform hours of system analysis for only $99.00. We do this for such a small amount because we want all of our clients to get the most out of their investment. JSS was started for the soul purpose of helping and consulting individuals. To ensure that their clients receive what they need for each individual circumstance. Hopefully this analysis will be just a stepping-stone in our relationship with all of our new and existing clients. We want and will be the number one source for your audio, video, and lighting needs.

To schedule your service and maintenance appointment you can send an e-mail to sales@jss.net or you can call (615)534-1190.

The PSM®900 Wireless Personal Monitor System with SE425 (clear) Sound Isolating™ Earphones (P9TR425CL) is now shipping!*

Place your orders now!

The PSM®900 Wireless Personal Monitor System adds to the unmatched suite of professional wireless products and microphones that makes Shure the one-stop shop for all on-stage audio.

• PSM®900 Wireless Personal Monitor System without Earphones (P9TR) $1099.00
• PSM®900 Wireless Personal Monitor System with SE425 Earphones (P9TR425CL) $1330.00
• PSM®900 Transmitter (P9T) $649.00
• PSM®900 Body pack Receiver (P9R) $450.00

In addition, Wireless Workbench 5 (WWB5) now has PSM®900 frequencies included.  This update is accessed while in WWB5 (no new download required).  Wireless Workbench 5 is your wireless command center for frequency coordination of any Shure Wireless product. WWB5 takes the guesswork out of frequency coordination and provides a graphic display of your RF environment.

PSM®900 offers the most premium set of features and ease of setup ever available in a personal monitoring system.

Unsurpassed Audio Quality

Robust RF Performance

Category-Leading Feature Set

* Orders are shipping first come, first serve and in the order in which they were received.

Update: Shure PSM900 will now ship March 24.

That means the Shure PSM900 Pre-order Sale at JSS has been extended to midnight of March 23, 2010 CST

Be one of the first to get the new Shure PSM900. The units will ship first come first serve so get your order in now to ensure prompt delivery and to take advantage of our pre-order sale price.

Contact Jason Spence for pre-order SALE pricing at (615) 534-1190 Ext. 2 or Email Jason

RME Fireface 800

If you have a personal studio that you want to upgrade the sound quality of & take your recordings to the next level – RME has once again put serious quality and functions into a relatively affordable package with the RME Fireface 800.

The Firewire 800 is a great sounding audio interface that serves as a hub for your studio, it offers 4 mic pre’s, digital and MIDI I/O, 8 analog Ins and Outs, Word Clock, and a High-Z instrument input.

It connects to your computer via FW800 and gives you up to 56 channels of record/playback capability with up to 24bit 192mhz resolution. It is compatible with both Mac and PC, so just add your favorite recording software and you are ready to start making high quality recordings.

Add to this the great AD/DA conversion with excellent low latency and you may see why this interface is an essential piece of gear for your studio.

If you are interested in purchasing the RME Fireface 800 interface please contact:

Jason Spence
Audio Engineer & Owner of JSS
(615) 534-1190 Ext. 2
Email Jason

The Shure PSM 900 wireless in ear monitor system is now available and ready to ship!

I am excited to report that I received word that I can start taking orders for the new PSM 900 and that the units will start shipping on March 1, 2010.

We design and build In Ear Monitor Systems. Call (615) 534-1190 Ext 2 or Email Me
to get started on your system today!

Although it is new to the market you will not be ‘rolling the dice’ on this new IEM system. I had the privilege seeing and listening to it at NAMM. My initial response was that it was extremely quiet, very tight low end and smooth high end. An already proven and rock solid RF technology based on the UHR wireless system, the PSM 900 will combine this reliability and a sound quality to propel this system to the new industry standard for in ear monitors.

I also had the privilege of testing the new Sennheiser 2000 series wireless system while mixing monitors on the 2010 CMA Awards. It was certainly one of the best sounding wireless in ear monitor systems I had ever heard to date. However, the price point on the system makes it out of reach for most users and a tough justification for most production companies. Mean while, there are rumblings going on about Shure’s new IEM system…

Let’s face it, Shure in my opinion has not come out with an in ear system that has sounded good since the PSM 600. Which I still use and spec the P6HW for a wired IEM system today, it still rocks!. Fast forward to NAMM 2010 and the debut of the PSM 900. I stop by Shure to take a look and listen. The RF, features and functions are no doubt impressive but how’s it sound? Since then I personally know that it has been used by Creed, Pete Townsend on the Super Bowl and many, many others. In the words of Frank Sgambellone (FOH for Godsmack, Monitors for Alter Bridge, & many more) “Shure’s knocked it out of the park with this one.”

The new Shure PSM 900 is $1099.00 and we’ll ship it to you for FREE!

The PSM 900 system is currently available to ship with the following components.

P9T Transmitter

P9R Body pack receiver

SE425CL Sound Isolating TM Earphones shown (not included)

Hear are list of Features and Functions that will set it apart from the rest of the IEM systems on the market. If you have any questions, please don’t hesitate to Email Me.

PSM®900 Technology

CueMode (patent pending): Hear what the performer hears, with the touch of a button! With CueMode a monitor engineer can, with a single bodypack, flip through and audition up to 20 different mixes to check levels, balance or anything else needed to keep the show running smoothly. IR sync makes it easy to set up the different mixes the engineer wants to link to, and once set up the channels are easily stored, replaced or deleted for quick and efficient set up.
Scan and Sync: PSM®900 systems utilize Scan and Sync technology, which vastly improves efficiency and ease of setup. Group Scan analyzes the RF environment for interference and identifies the group with the highest number of available compatible frequencies. Sync communicates the results of the scan to the TX over IR link and assigns the identified group and channel. Channel scan can then be performed to find the next clear channel to use, which can then be synced to the next TX in your set up. The whole operation can be done within a few seconds, and results in the clearest channels to use for your monitoring set-up.
Robust Front-End RF Filtering: A feature of the bodypack RX, and based on the premium filtering technology of UHF-R® wireless microphone systems. PSM®900 systems use an extremely precise RF filter that rejects potential RF interference from signals outside the RX’s bandwidth BEFORE traveling to the RX itself.
Active RF Gain Control: Just like how too much audio input gain can distort an audio signal, too much RF signal can cause distortion or dropouts on a wireless PSM® system. Active RF Gain Control automatically reduces the receiver sensitivity for 31dB of additional RF dynamic range before an overload can affect the system, reducing dropouts due to receiver overload and preserving audio quality.
RF Mute Switch: A convenient on/off switch for enabling RF transmissionlocated on the front panel of the receiver. When switched to the off position, the user can perform set up operations, such as adjusting audio level and signal flow, or other actions without disturbing the current RF environment.
Audio Reference Companding (ARC): Companding is the process of compressing the audio signal prior to transmission and expanding it after reception. All pro audio wireless needs companding to deliver a wide dynamic range. Audio Reference Companding is a more efficient, level-dependent companding scheme. Instead of companding across the entire dynamic range like most wireless systems (causing a whooshing audio artifact known as “breathing”), companding only occurs at high audio levels. These levels are high enough to make the companding artifacts inaudible. The result is an improved wireless sound quality that sounds more natural, with less noise and greater dynamic range than other wireless systems – no artifacts, lower noise floor, clearer sound at all audio levels.
MixMode® Technology: Shure MixMode® Technology enables you to balance the level of two separate channels while simultaneously listening to both signals in both ears. Use the controls on your bodypack to set your own levels and create the mix you want—without affecting anyone else’s.
Separate Level and Clip Indicators: With personal monitor systems, audio signal can be too hot as it comes out from the mixing board and into the TX, and/or when it is sent from the TX to the RX, making it difficult to tell why the signal is distorted when it gets to the artist’s ears. PSM 900 TX’s have separate clip indicators for both level input and TX output to help determine if the signal needs to be adjusted at the board or at the TX.
Loop Out: Handy L/R outputs on the back panel of the receiver that can be used with MixMode to daisy-chain signal from one unit to another, out to monitor wedges, recording devices, or any other audio input.

Washington, DC (February 1, 2010)–Shure, Inc. is mobilizing the pro audio community in response to the Federal Communications Commission’s proposed expansion of Part 74 licensing eligibility for wireless microphones.

The FCC has set a very short deadline of February 20, 2010 for wireless microphone users to submit comments regarding the importance to them of wireless microphones, personal monitor systems, intercoms and wireless assist devices in their businesses and productions. The FCC hasn’t reviewed the rules for Part 74 of title 47, Code of Federal Regulations, under which wireless mics are classified, since 1977.

“They were written for TV networks and broadcasters,” explains Mark Brunner, senior director, brand management, for Shure. “They were the only people using wireless mics in 1977.”

RF mic usage has grown almost exponentially over subsequent decades. A bill–HR 4353–submitted to Congress by Rep. Bobby Rush (D-IL), proposes an expansion of the Part 74 rules to allow 13 sites of wireless microphone usage access to a geolocation database. The database is the FCC’s proposed solution to the sharing of the RF frequency spectrum used by wireless pro audio products and proposed new unlicensed TV band consumer devices.
The categories outlined by Rep. Rush include amusement parks, fairgrounds, restaurants and museums in addition to theaters, arenas, convention centers and churches. Shure, through spokesman Brunner, is stressing the urgency with which interested parties should submit their comments regarding their particular use of wireless audio products to the FCC.

“But we’re also recommending that anybody who might want to file and get some guidance contact Shure’s counsel in Washington, DC [Tim Bransford at Bingham McCutchen, LLP]. He’s up to speed on the issues and will help people put those comments into the proper format,” says Brunner.

The second order of business, says Brunner, is for professionals working with wireless mic products to encourage co-sponsorship of HR 4353. “They should contact their local representatives and say, ‘Take a look at HR 4353, it’s important to me.’”

Comments may be filed electronically with the FCC at http://fjallfoss.fcc.gov/ecfs

Tim Bransford, Bingham McCutchen, LLP
timothy.bransford@bingham.com

Shure, Inc.
www.shure.com

Buena Park, CA (February 4, 2010)–Yamaha Commercial Audio Systems, Inc. has announced a newaddition to the M7CL digital console product line: the M7CL-48ES.

Available in the spring of 2010, the desk’s main I/O interface is the SB168-ES remote stage box, which connects via a single Cat5 cable. The new console includes a built-in EtherSound interface with a third port for PC control and monitoring, eight Omni Ins (Mic/Line), eight Omni Outs, and three MY card slots. The M7CL-48ES supports up to three SB168-ES stage boxes and, like the M7CL-48, can mix up to 48 mono plus 4 stereo inputs to 16 Mix Buses, 8 Matrix Outs, Stereo and Mono Outputs. The new Stage Box Quick Set up feature provides plug-and-play connection of up to three SB168-ES units.

“Using the I/O within the SB168-ES stage boxes will provide end users with up to 48 remotely controllable mic preamps and 24 outputs,” states Kevin Kimmel, mixer product manager. Utilizing the onboard Omni Inputs and Outputs brings the number of mixable channels to 56 and 27 Outputs. “The M7CL-48ES is physically laid out much the same as the original M7CL-48, so for those users who are familiar with the M7CL, they will immediately feel comfortable on the new console.”

With the built-in EtherSound interface, the M7CL-48ES provides a digital network infrastructure while allowing the card slots to be used for other purposes, such as personal monitoring systems and recording outputs.

Because the new M7CL-48ES console runs the same software as standard M7CL consoles, there is direct file compatibility between all M7CL models. And, new Version 3 software updates, available in coming weeks, will include Direct Sends on Fader access from the M7CL knobs in Sends on Fader mode, Sends on Fader in M7CL Editor; new Recall Safe parameters (Input Patch, Output Patch, Direct Out Patch, Insert Out Patch); inclusion of VCM Effects (Comp 276/276s, Comp 260/260s, Open Deck, EQ601); additionally, Omni In 1-8 can be used for Talkback.

The new console consumes 50 percent less power (150w vs. 300w). Other new features include on board analog insertion via Omni In/Out and added Output Port Delay for each EtherSound output.

To learn more about the Yamaha M7CL-48ES visit our M7CL-48ES product page, Email JSS , or call (615) 534-1190.

Yamaha Commercial Audio Systems, Inc.
www.yamahaca.com