The fun really starts to happen in the filter and sequencer - PDF document

handle. The fun really starts to happen in the filter and sequencer section where you can tune, delay and flange your source file. The tone selected in the sequencer can be ‘moused’ in or input via a Midi keyboard whilst the two band-pass input filters have a slider control for blending their outputs before the synthesis section. The final tweak zone in Beatburner includes the enveloped filter, LFO filter, post filter and distortion controls. The post filter utilises the draw-able section at the bottom of the display. Using the points in the display, you can control the cut-off of the filter’s frequency at any point of time. Easy interface, great filters and a sequencer, not to mention fully automatable parameters! Enough said. Check it out. Calum Orr Price: $149 Major Music Wholesale: (02) 9525 2088 or info majormusic.com.au Allen & Heath Xone VF-1 resonance applied. The VF-1 features ARC (Automatic Resonance Control) which limits output volume when drastic levels of resonance are introduced. On the left-hand side of the unit an envelope follower can be dialled in (switchable between fast and slow decay times), and this can be linked via another switch to the increasingly ubiquitous valve overdrive control. An LFO (switch able between triangle and square waveforms) with rate and depth controls rounds out the front panel features. On the back panel a feast of connectivity awaits – with balanced XLR, TRS jack and RCA phono inputs and outputs, Midi control as well as a handy headphone/ monitor TRS jack output allowing the monitoring of an effect before it is switched in. there’s nothing quite like sweeping a resonant filter. Greg Walker Price: $1,395 Technical Audio Group: (02) 9519 0900 or info tag.com.au Sound Labs Australia Personal Headspace Device Australia has recently proved itself the equal of the world when it comes to in-ear monitoring systems, and one crucial aspect of IEMs is their almost coincidental ability as a form of ear protection. Modern stages are getting quieter and quieter thanks to IEMs, and searingly loud foldback systems pumping out high percentages of harmonic distor tion may soon be a thing of the past. The 21st century will likely see some radical new approaches and thinking to on- stage monitoring and sound reinforcement, some of which will combine improved audio quality with ear safety and protection. To that end, an unusual product (based on its looks alone!) has arrived on the market, looking every bit a linked to your sinus passages and other fine bones in your face, including your nose, earmuffs can never truly provide gain reduction across all frequencies. This is one of the reasons why headphones and earplugs create a ‘boomy’ or ‘muffled’ percep tion of tone. This problem is solved however, with the PHD. With a published SPL reduction of a whopping 48dB (flat down to 28Hz!), the Personal Headspace can be used everywhere from concert stages, where high SPLs are difficult to attenuate, (particularly at the lower frequencies) to front of house, and even in the studio. In a circumstance like a festival stage, for instance, where earplugs can protect the user from all but the low-frequency content of a given audio signal, the PHD reduces the SPL evenly across the audio spectrum, reducing volume substantially without the ugly tonal anomalies normally associated with plugs and muffs. The high quality dual-concentric drivers in the PHD capsule provide for superb audio performance with the added ‘openness’ afforded by the ‘off-ear’ design. For front of house duties where soloing an instrument ‘in the cans’ can often be a futile exercise due to the volume of the FOH system, the PHD allows for clear and balanced tone at any desired volume – rather than the potentially dangerous volume that puts the headphones ‘above’ the PA. The PHD comes in two models, one made of Perspex, the other toughened safety glass. Both models sport dual-concentric driver technology (as standard) as well as UVA and UVB sun protec tion filters and a sorbethene base, which can be comfortably adjusted (like normal headphones) to suit each individual wearer. When worn, the capsule is supported by your chest, shoulders and back, and although this might seem conceptually flawed, the unit seals well, is surprisingly balanced, and can cope with all but the jerkiest movements. Suffice it to say, the unit probably won’t survive the mosh pit, then again, very little does. There’s even a 5.1 surround sound model in the wings apparently. Sound Labs Australia is also seeking the cooperation of international microphone manufacturers to custom install vocal mics at the front of these units (for singers interested in a PHD) and already several of the obvious candidates have shown significant interest in the product. The units will easily accommodate a singer wearing a conventional headset mic, however, so for those of you who are interested in a PHD in the short term, the vocal model seems a bit far-fetched for mine, and a fairly long way off regardless. Well worth a look if you have an HET (high embarrassment threshold) or your ears mean more to you than your street cred. Andy Stewart Sound Labs Australia: (02) 818 0803 or www.soundlabsaustralia.com.au Hylex Radio System The Hylex radio system came as an unexpected surprise. This little-known Taiwanese brand is actually very good value at a retail price of only $899! Very good value because you get a receiver, a hand-held mic (HUM-193T), a body pack (HUM-195), a lavalier mic (HCM-105) and a headset mic (HCX-403) all in the one package. The lavalier and the headset are both condensers as well! The sceptic in me expected it to be a real dog but I kept an open mind. The capsule in the hand-held offers a cardioid pattern with a response from 50Hz to 15kHz. It’s powered by two 1.5V AA batteries and has a neat little LCD screen which displays frequency and battery level. It’s no EV N/D 457A but it’s not junk either. Vocals were clear and precise, with no distortion and good tonality. The HU-8193 receiver gave the mic a range of at least 50 metres with its two antennae. The lavalier mic and the headset were up to scratch as well. Both were of a quality usually associated with more expensive brands. The body pack appears to be durable but the battery cover is a real fiddle. It’s almost impossible to open without risk of breaking it and is the only annoying part of the whole system. The buttons for frequency assignment are easy to use and the on/off switch is on the top of the unit. There’s an LCD display window on the side of the body pack, and next to it a volume control, which affects output level. Unfortunately, there are no lights in either of the LCD screens, which is a bit of a pain in the dark. Nevertheless the Hylex system really is well worth a look. You get a lot for your money; a handheld, a headset and a lavalier mic – and all three are eminently useable. The system will do well with presenters, schools, singers, clubs, karaoke bars and just about everywhere else. The receiver is half-rack size and has an optional mounting bracket. P.S.: The Hylex radio system also features seven individually coloured plastic bits that appear to have no purpose. Eventually I worked out that they are colour-coding devices which attach to the base of the handheld mic for identification. The manual really came into its own at this point… it doesn’t mention them anywhere. I felt much better! Grahame Harrison Price $899 Magna Systems: (02) 9417 1111 or photson magnasys.com.au AT