Sennheiser MobileConnect and CinemaConnect Apps Make Custom Sound Adaptation Possible For Individual Audio
Following earlier announcements on the technology developed in collaboration with the Fraunhofer Institute for Digital Media Technology, Sennheiser has now released new, updated versions of both its MobileConnect and CinemaConnect apps, allowing users to adjust not only the volume but also the amplification and dynamic range of high- and low-frequency audio content.  Read More


TASCAM Releases Free Hi-Res Editor Software With Native Direct Stream Digital Support

TASCAM has announced Hi-Res Editor, a free application that supports up to 11.2 MHz DSD files or 384k WAV. The software allows playback and export of DSD files without intermediate conversion to PCM audio. It is available now as a free download for Windows, with a Mac OS X version coming soon Read More


Tannoy Introduces AMS Series Dual Concentric Architectural Loudspeakers
UK loudspeaker manufacturer Tannoy has launched a new range of surface-mount architectural loudspeakers incorporating its very latest Dual Concentric technology. The new series was introduced at the InfoComm 2015 show and is targeted at entertainment and hospitality venues where quality and reliability is required.   Read More


Octave and One-Third Octave Band Measurements with NTi's FX100
Octave and one-third octave band representations of measurements are widely used for real-time acoustic spectral analysis in sound level meters. Audio analyzers, on the other hand, typically represent spectrums with high-resolution Fast Fourier Transforms (FFTs). There are also audio measurement applications where standards require octave or one-third octave band measurements. NTi Audio provides a tool to derive octave and one-third octave band results from FFT measurement results using the FX100 Audio analyzer.   Read More



Aviom Makes Personal Mixing Systems More Flexible with More Dante Options

Since Aviom introduced the first bridge to Dante networking and launched the redesigned A360 and A320 personal mixers and associated A360 display software, the whole Aviom Personal Mixing System became even more flexible. Now, Aviom is going to introduce the D400 and the D400-Dante A-Net distribution systems, making its Aviom personal mixing systems more affordable.  Read More

PreSonus Launches UC Surface 1.3 with Smaart and Announces Measurement Microphone Giveaway 

To celebrate the release of the UC Surface 1.3 multi-touch mixer-control software for Mac, Windows, and iPad, which now includes Rational Acoustics' Smaart audio-analysis software, PreSonus is giving away a free PRM1 precision reference microphone with any StudioLive AI console or StudioLive RM rack-mount mixer purchase between June 1 and July 31, 2015 Read More

VUE Audiotechnik Announces Dante Support for H-Class Loudspeakers and V Series DSP/Amplifiers at InfoComm 2015 

VUE Audiotechnik will unveil new Dante network support for its digital DSP-enabled systems at InfoComm 2015 (Booth #573). Planned for both the H-Class family of Ultra-High Definition Speaker Systems and V Series DSP/Amplifier Systems Engines, the update is set to officially ship in September 2015 and will be incorporated within all future products.  Read More


Lab.gruppen Announces Lake Controller V6.4 Software

Swedish company Lab.gruppen - part of the TC Group of companies recently acquired by Uli Behringer's Music Group - announced the new Lake Controller v6.4 software program, introducing several significant features to enable faster and more accurate optimization of complex, large-scale sound reinforcement systems.  Read More 


Joćo Martins

Editor's Desk

Radio is Revolutionary (Again)


I promised to come back to Apple's announcement of Beats1 Worldwide Radio as part of its Apple Music service. From one perspective, it is a great promotional idea - not much different from those great video ads Apple puts out. It will certainly stimulate awareness for traditional radio and Apple can afford to spend the money. So, no harm done. But that's it.


No matter if Apple hires the world's best radio hosts and creates the best mainstream or alternative programming that Trent Reznor and his team can come up with, it will only please one-in-a-thousand Earth inhabitants. Because, as I wrote last week, music is a personal thing. Music preferences are as diverse as the number of radio stations around the world. For many, it might come as a shock to discover that their hip hop/R&B favorite artists are ignored in Europe but are favorites among terrorists in the Middle East. Or that Scandinavian countries really like rockabilly and old-style country music. Or that, believe it or not, Michael Bolton and Kenny G world tours actually happened.

The announcement of Apple Beats1 Radio feels about the same as if Elon Musk hired a Formula 1 driver to come up with a marketing plan for Tesla and the resulting proposal would be "Let's drive a Tesla through all the streets in the world. After people see the car pass by, they'll want to buy one."


I have no doubt that Trent Reznor understands and likes radio. Radio is great! As I wrote before, with the streaming model dominating the digital music industry, sooner or later, the true value of radio becomes obvious for people who seem to have forgotten it.

It's no coincidence that several streaming services, such as Pandora, Deezer, Rdio, and many others have promoted the concept of "radio" on-demand, basically creating "stations" made-to-taste using more or less sophisticated computer algorithms. Satellite radio companies such as SiriusXM have long understood the potential by creating hundreds of themed radio stations for all tastes, simply because they understand that, in most situations, people are fine with listening to music selections, human curated or computer generated. Like everything with music, it's a question of personal taste and mood. Sometimes we want to listen to "that" song or "album." Other times, we simply want to listen to music in a certain mood, genre, or beat.


Services such as Spotify have been perfecting the concept for some time and are getting quite good at it. As Apple should also be able to do since having started the iTunes Genius metadata collection initiative some time ago (probably something they already almost forgot about, like everything else that worked fine up to iTunes 10).


In fact, anyone with a decent Internet connection is able to listen to practically any broadcast radio station in the world, since most stream to the Internet. One of my favorite things about iTunes has always been that "Internet Radio" option, which allows me to listen to Alpha Boys' School Radio, live from Kingston Jamaica. It is one of my favorite reggae radio stations among 180-plus Reggae/Islands (low bit rate) streams available worldwide. Its personal and I like it, and probably 1,000 listeners spread around the world like it too and that's fine.


Radio is also a long perfected art, live or not. Music-oriented radio stations are mostly "automated" using computer systems since the 1990s and for a long time radio professionals have become experts on "human curated" automation. For some it might come as a surprise to know that when you listen to that radio show host announcing the time of day and the next song we're going to listen, his voice is in fact prerecorded.


Former BBC radio 1 DJ, Zane Lowe moved to Apple to be a part of the Beats1 project.

So when Apple announces that it is creating Beats1 Worldwide Radio Station as being a "new thing," thousands of radio professionals were either shocked or probably rolling on the floor laughing. Especially because they used to be scared of Apple back when the iPod was being used everywhere, including in cars, and people were not listening to the local radio stations as much. Eventually, those same users got tired of selecting playlists everyday and went back to their old favorite radio stations with a fine mix of news, commentary, and music with "a human touch." Eventually, Apple even got praise by broadcasters and "wannabe" radio presenters worldwide with its positive promotion of the podcasting concept. But that's an even longer story.


So, Beats1? Make that Beats1, Beats2, Beats3, 4, 5, 6... 1,000!

Because as I know when I ride in the car with my wife, the moment Michael Bolton or Bruce Springsteen voices pop up, she changes the channel faster than I can say "Nine Inch Nails."




"The state-of-the-art in media distribution has consistently lagged the state-of-the-art in telecommunications. Following in the path of telephone technology, media distribution has progressed from dedicated analog connections configured through patch bays to a digital circuit-switched solution based on central routers.

Extrapolating from the telecom experience, it is clear that media distribution will follow telecom onto the packet-switched datacom networks.

At present, forces preventing media distribution from completing the leap to datacom networks include the additional expense and complexity of interfacing to a network compared to a simple point-to-point connection, a fragmented market, poor economies of scale, and current performance limitations of data communications networks in terms of bandwidth, QoS reliability, and security.

With increasing network performance, more media applications will get onto networks. With more devices and components and software development environments becoming network oriented, there is a lower barrier to entry for media network applications. Media will be the principal user of QoS services. Networks and media applications will evolve in cooperation to enable advanced capabilities."


Kevin Gross - "The Future of High-Performance Media Networking"

44th International Audio Engineering Society (AES) Conference: Audio Networking Paper - November 18, 2011 


Standards Review

AES67-2013. The Networked Audio-Over-IP (AoIP) Interoperability Standard 

By Joćo Martins


In the world of professional and commercial audio applications - and soon in consumer spaces - audio-over-IP (AoIP) technologies and audio distribution over Ethernet protocols have been consistently gaining space. With multiple industry standards and initiatives being implemented, it seems natural that conversations about transport and content interoperability would begin. The AES X192 initiative - driven by the Audio Engineering Society (AES) task group SC-02-12-H - resulted in the new AES67-2013 standard, which defines key parameters for networked AoIP interoperability.

The AES67 standard was published on September 11, 2013 and this article from audioXpress' Standards Review column was published shortly after, in January 2014
Now available online


Voice Coil Spotlight

Acoustic Resistance, Secret Sauce for Speakers 

By Mike Klasco and Steve Tatarunis


The application of acoustic resistance as a design element in the optimization of transducers and enclosures has been given short shrift in audio engineering. Beyond enabling bigger speaker drivers into smaller enclosures, acoustic resistance meshes also are powerful tools to optimize transient response. Controlling the acoustic resistance of the driver radiation is a quality factor that is overlooked in most loudspeaker predictive modeling software. This article - including the sidebar profile of Saatitech, the specialist vendor of acoustic resistance materials - explores applications of acoustic resistance for audio and was originally published in Voice Coil, May 2011.  Read the Full Article


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