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

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.

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

The Shure KSM313 ribbon microphone will blow you away!

Are you a guitar player looking to get into ribbon microphones?  Look no further. This microphone captures acoustic and electric guitars equally well and it also responds beautifully on percussion, drums and vocals.
The KSM313 features a “Dual-Voice” ribbon assembly that lets users choose from two different sound signatures.
Addressing the front of the mic delivers a warm, full sound that is ideal for many instruments while addressing the rear side offers a bright, articulate sound that complements vocals.

Traditionally ribbon microphones were not durable enough to handle high SPL applications and/or transient spikes due to the fragile foil ribbon element.
Not so anymore with the new Roswellite ribbon material Shure uses on their KSM313 and the KSM535. This material offers higher tensile strength and more resilient shape-memory properties than traditional foil ribbons allowing them to withstand very high sound pressure levels over extended periods of time without damage.

This versatile microphone performs well both in the studio as well as on stage.
So there it is: two ribbon mics in one.  It also comes with a unique mounting device and a mahogany storage box.

I had the opportunity to listen to the KSM313 on a session at 615 Music recording studio here in Nashville. They were using the mic of choice, an Shure SM57 for recording electric guitar and that sounded solid. I had them put the KSM313

in front of the guitar cab and then the guitar tone opened up. The engineer could not believe how much better it sounded. There were more extended high frequencies, yet it retained most of the fat low end. So from now on my first choice will definitely be the Shure KSM313 ribbon.

If you are interested in purchasing or listening to the Shure KSM313 ribbon microphone please contact:

John Castellanos
Account Manager
(615) 534-1190 Ext. 6
Email John

This past week, Shure debuted it’s new PSM 900 wireless personal in-ear monitor system at the 2010 winter NAMM convention. Boasting better RF performance and sonic quality than any other wireless in-ear monitor system on the market. I spoke with Geno, a Shure engineer at NAMM about their new system. He described the feature packed bells and whistles of the system. Of which many of us have become spoiled with; allowing us to efficiently program multiple wireless systems. Features such as infrared sync and group/channel scanning. The PSM 900 takes these features to another level. In under 5 seconds, I was able to scan the entire group and lock in those frequencies! Another 2 seconds and it was synced via infrared, very cool!

I really like the P9R bodypack. It’s small and lightweight but does not feel fragile. It is actually made of metal! According to Shure it’s the thinnest personal monitor bodypack available. One feature which is worth the price of admission alone, especially to us monitor engineers is CueMode. CueMode can be enabled on any bodypack and gives the ability to select and monitor up to 20 different mixes without the need of additional equipment. You can actually monitor the audio you’re transmitting without the coloration of a consoles cue section electronics and yes, that means you’re also monitoring the RF! Another cool feature is the ability to mute the PSM 900 RF. This allows you to scan and program your system while other bands are performing. Without interfering with other RF systems being used. The effects of inter-modulation are greatly reduced by the precision front-end RF filtering of the PSM 900. Up to 20 compatible frequencies per 36 Megahertz frequency range are possible.

I haven’t had a chance to field test it, which is the only true way to give a piece of gear the thumbs up or down I did however take a listen to it at the Shure booth during NAMM. The program being played was unfamiliar but in trying to focus on the sonic quality of the system my initial reaction was that it did seem light years ahead of previous wireless PSM systems. The low end seemed tight and punchy and the noise floor was very low. The price point for the new PSM 900 is about $1000.00 and should start shipping mid-2010.

Not having network capability is a HUGE drawback with today’s coordination that is required for multi-RF systems. Despite that, the system can be managed quickly and easily so all and all it seems to be a great system.  I can’t wait to take it for a test drive to see what it sounds like out in the trenches. Stay tuned…

Jason Spence – Owner

jason@jss.net

(615) 534-1190 Ext. 2

The musicians I am familiar with are always looking for “their sound.” For vocalists, this usually means finding the right microphone for their voice. I generally try to recommend a versatile microphone to my clients that are vocalists and in most cases that ends up being Shure’s KSM9 Vocal Condenser Microphone.

The real difference between the Shure KSM9 and any other high-end handheld condenser microphone on the market is the dual-pattern feature. The Shure KSM9 features both supercardioid and cardioid polar patterns. The benefit to having this feature is that you can find the most natural response for your vocalist. The cardioid polar pattern is more susceptible “proximity effect” than the supercardioid pattern. Proximity effect refers to the change in frequency response of a microphone with a directional polar pattern (cardioid) as the source of the sound is brought closer to the microphone. Explained, when you are using a cardioid pattern and you bring your sound source (vocalist) closer to the microphone, you gain bass response. If you are not in favor of having the additional bass response, you can simply change the capsule to the supercardioid pattern. This dual-pattern feature is also an extremely useful tool for monitor engineers. As the KSM9 provides supercardioid and cardioid the microphone gives the engineer more options on where to place the stage monitors to reduce feedback and provide proper coverage to the musicians.

The KSM9 is the premium choice of live hand-held vocal microphones. Apart from the dual-pattern feature, the Shure KSM9 is available in a Champagne or Charcoal Black finish. Also, the sound quality of the KSM9 is truly unmatched. In fact, even as a live microphone, the KSM9 is often used in recording studios on anything from vocals, to acoustic guitars, to electric guitar cabinets. If you are looking to improve the quality of your live performance or your studio recordings, choose the Shure KSM9. If you have any questions regarding microphone selection, please feel free to contact me directly. Thanks for reading!

Forrest Colegrove
Account Manager
Cell (615) 663-4481
Office (615) 534-1190
Nashville, TN
www.JSS.net

I began using the ATH-M50 headphones two years ago while mixing monitors at the CMA Awards. Prior to this I had been using the Sony MD-7506s. What a difference!

The very first thing I noticed when I put the M-50s on was how extremely comfortable they are. They fit snug to the head. With the amount of padding around the earpieces the snug fit never becomes uncomfortable.

A unique feature of the M-50s is that each earpiece can swivel independently. While one earpiece remains snug to your head, the other side can be swung off the opposite ear, never loosing isolation or sacrificing what you are monitoring. This immediately became one of my favorite features of the M-50s. While mixing monitors I often need to monitor an ear mix and a wedge mix simultaneously. The M-50s allow me to do this easily and more listen more accurately. If you are a DJ, no more having to hold one side of your headphones against your head with your shoulder.

As for sound quality, bigger bottom end! When mixing on the MD-7506 you really have to understand their characteristics and mix ‘around’ them. Where the 7506s have accentuated high end and really no low end to speak of, the ATH-M50 allow you to trust a little more what you’re hearing.; a definite plus while mixing.
If you spend a lot of time editing on Pro Tools, Nuendo, or any software based audio editing system and can’t always have a set of near fields with you, the Audio-Technica ATH-M50 professional headphones are a must.

If the ATH-M50s are a bit more than you would like to spend, check out the rest of the line of AT headphones and you will find a pair within your budget.

Jason Spence
Audio Engineer/Owner of JSS
(615) 534-1190
www.JSS.net

The Shure UHF-R Series Wireless Systems are truly the industry standard for professional touring wireless systems. With up to 2400 selectable frequencies there is no doubt you will be able to navigate to a clear frequency in any theater, stadium, or arena. All UHF-R systems include Shure’s patented Audio Referencing Companding, which provides crystal-clear sound quality that is unprecedented.

Versatility

UHF-R wireless systems can truly be used in any application. No matter if you want an SM58, SM86, SM87, KSM9, Beta58a, Beta87a, or even Beta87c, UHF-R has you covered. Any wireless microphone capsule Shure manufacturers can be connected to the UR2 handheld transmitter. If you are looking for something along the lines of a lavaliere microphone or a guitar wireless, Shure has the UR1 bodypack transmitter. Now we didn’t forget you theater folk, the Shure UR1M micro-bodypack transmitter is a miniature version of the UR1 which is lighter weight and physically smaller than the UR1 making it easier to conceal in a costume.

Wireless Workbench

When the UHF-R receiver systems are connected to Shure’s Wireless Workbench software you are able to scan the frequency spectrum in your room and navigate your system to the clearest frequency. Another benefit to using Wireless Workbench is that you are able to see the RF noise floor, any RF intermodulations from existing wireless pilot tones, and control all of your wireless systems from a single point interface. Wireless Workbench is available for both Windows Vista and Mac OSX and to top it off, it is a FREE application.

To be honest, there is nothing not to love about Shure’s UHF-R Systems. At JSS, we highly recommend the UHF-R systems because they are a product we can rely on to deliver extraordinary performance and superior audio quality along with providing a true solution to any wireless situation. If you have any questions regarding Shure UHF-R wireless, please do not hesitate to give me a call, I will be happy to help! Thanks again for reading!

Forrest Colegrove
JSS – Account Manager
fcolegrove@jss.net
615-663-4481
www.JSS.net

The Latest Craze…….

As I have entered my 18^th year of concert lighting I have reflected back upon all of the changes that I have seen with lighting equipment during my career thus far. There have been several periods in my career where there were craze’s about one type of fixture or another. For instance, I recall when Intellabeams (one of High End Systems first moving mirror fixtures) came onto the scene. I had seen “big time” LD’s using Vari*Lites for years, but could never even begin to imagine using them on my shows. But these Intellabeams, now they were usually in my budget range! The old Intellabeam controllers were often referred to as “shoe boxes” as they were these odd square rack mount units that used a joystick to control pan and tilt. Sometimes I miss the simplicity of those lighting rigs…..

As a few years went on, the moving yoke fixture became more affordable to LD’s like me….High End Systems made the Studio Spot and Studio Color while Martin was putting out the Mac 500 and Mac 600 fixtures. With the more common availability of these fixtures, it forced the need to use (and learn) the newer automated lighting consoles. Jim Bauman, the longtime LD for Alan Jackson, took a couple of days out of his schedule to teach me the Whole Hog II console. I still spec that console on some of my shows to this day!

We are in different times today…..budgets are tighter, we all feel the need to be conservative on energy, and the need to save time is important. These factors all play a key part in today’s latest craze in the lighting industry – the LED. I have seen over the past 4-5 years LED’s become a very integral part of most lighting rig. Let’s look at the facts:

• LED’s require FAR less power than any other type of lighting fixture on the market.
• LED fixtures are very affordable and have a long life span.
• The ability to mix literally hundreds, if not thousands, of colors give LD’s the opportunity to be creative without worrying about gel, color wheels, and other color alternatives.
• Most LD fixtures are easily manageable and lightweight.
• There is almost any kind of LD lighting fixture that you can imagine on the market these days – LD pars, battens, molefays, moving yoke units, video panels, video curtains, and all sort of other gadgets and gizmos.

LED fixtures have become a staple on most of the shows that I design these days. They are great to use as truss toners, eye candy, scenic pieces, uplights on the band, or general stage wash. The simple fact that they require so much less power is alone a reason to try to utilize them whenever possible!

Color Kinetics are one of my favorite manufacturers of LED product. I have used their products on many of my shows and have always been satisfied. I have found their products to be durable, user friendly, and have some of the best looking (and brightest) LED’s on the market. JSS.net is proud to distribute Color Kinetics LED products! Check out some of their most popular products on our LED page, and of course lets us know if you have any questions about these or any of our other products!

Chris Lisle
Affiliate Lighting Designer
JSS.net
615.534.1190