AKG mics have captured some of music’s most iconic voices, from Frank Sinatra to David Bowie to Kanye West. Legendary producers George Martin and Quincy Jones have raved about their AKG mics. AKG mics were used onstage at The Beatles’ watershed 1965 Shea Stadium concert, and AKG technologies went into orbit onboard the MIR space station. In 2010, AKG received a Grammy Award for “contributions to the art and science of music recording and performance through innovation and excellence in product design.”

AKG has produced hundreds of microphones over the decades, including dynamic mics, condenser microphones, USB mics and wireless microphones. But their C Series mics truly changed the studio game.  Today, AKG are proud to offer the AKG C414 XLS and C414 XLII, which carry the C Series legacy forward in our most versatile models yet.

Read the full history of the legendary C Series microphones here:

AKG 75th Anniversary Retrospective: C Series Microphones – The Evolution of a Studio Icon

If you want to hear what these microphones sound like, you can listen below.  Instruments recorded at the world famous Village Recorder in West Los Angeles. All samples were recorded at 24bit / 48khz and compressed down to 320kbs mp3. They are unprocessed with only their levels adjusted to be equal in power.

AKG Mic Check

Covid lockdowns have been tough on many industries, with the events community being hit particularly hard.

The Production Company and The Stream Shop have joined forces along with the help of the NZ Music Commission to launch Money for Jam, a streaming fundraiser for the music industry charity MusicHelps. Money for Jam will bring artists together to collaborate on unique performances and acoustic sets.

The Production Company Managing Director Paul (Goff) van’t Hof says that Money for Jam is a chance to raise money to support members of the music community who are out of work due to lockdown and event restrictions, but also to give musicians and production workers an opportunity to stay match fit for what everyone hopes will be a big summer ahead.

Tim Robertson, Tour Sound Manager with AKG distributor JPRO says “AKG is proud to give back to the entertainment industry and support The Production Company. Its been a long and difficult year and this is what the industry needs to lift their spirits and find encouragement.”

AKG through NZ Distributor JPRO are donating 15 Lyra USB microphones to the artists performing on Money for Jam. Lyra is a multiple-pattern USB condenser microphone that doubles as an audio interface. It works easily with all major audio and video production software and online platforms.

“While there may be some downtime from road gigs, Kiwi musicians can work on new material, collaborate on video calls and provide livestream performances from their home with AKG Lyra,” adds Tim Robertson.

Performances by different artists are planned for every Friday from the end of October and will be filmed safely within current Ministry of Health guidelines at The Production Co’s studio in Auckland.

To support MusicHelps and keeping Kiwi music alive, visit https://www.moneyforjam.co.nz/

Ara lets content creators and musicians effortlessly capture studio-quality, 24-bit, 96kHz audio for superior speech clarity and stunning vocal and instrument tracks. Two pickup patterns focus on a single source or everyone in the room: The directional Front (cardioid) pattern captures sound directly in front of the mic while rejecting sound from other sides, making it perfect for podcast hosts, bloggers, gamers, videoconferencing and for recording voice and instruments. The Front + Back (omni) pattern picks up sound evenly from all sides, making it ideal for recording interviews with multiple speakers.

Ara’s compact footprint and versatile mounting options make it ideal for both desktop use and studio scenarios. Set Ara on a desktop using the included yoke and base stand or attach to a boom or standard mic stand; record on the go with a mobile device and optional adapter.

Included accessories include a 2m USB-C to USB-A cable, a 3/8-inch to 5/8-inch threaded mic stand adapter and a free registration card for Ableton Live 11 Lite recording software. Ara works seamlessly with all major live-streaming, video conferencing and music-recording applications.

AVAILABILITY

AKG Ara is distributed in New Zealand by JPRO and will be available from October 2021. Recommended Retail Price is $199

HIGHLIGHTS

Pro-Grade, High-Quality Sound

24-bit/96kHz High-resolution audio

Two Audio Capture Modes

Two-capsule mic array provides two user-friendly capture modes

Easy Setup and Universal Compatibility

Intuitive, plug-and-play setup and operation with support for Mac® and PC, plus iOS® and Android™ tablets and phones

Headphone Output and Volume Control

Zero latency monitoring while tracking with full control over output volume, mic gain and mute

Versatile Mounting Options

Used with the integrated base stand, with a desktop boom arm, or a common microphone stand

Modern Design

Camera-ready styling for on-screen appeal

Complete Production Solution

Includes Ableton Live 11 Lite audio production software

This means that the need for clear, easily heard sound in conference (video) calling is vitally important. Poor audio can ruin your meeting experience. Lets face it – how many times have you struggled to make out what a person is saying during a video or audio call that just ruins the meeting experience?

We take a look at what essential WFH AV communication tools there are (that do not break the bank) that will help you to be heard clearly and seen no matter where it is you’re remotely connecting from.

Enhance Your Focus Time with AKG K361 and K371 Headphones

The new AKG K300 range of headphones offer two variants – the K361/K371 wired headphones and K361BT/K371BT Bluetooth version. K361-BT and K371-BT are the first AKG Professional headphones to combine pro-grade performance, Bluetooth functionality and comfort in a closed-back, over-the-ear, folding design that are perfectly suited for work and play.

The earpads across the range are designed for extended listening sessions, providing supreme comfort over the ear. They help isolate from some external distractions, allowing personal space to focus for home office and learning. The K371 headphones provide additional audiophile listening enjoyment with reference quality 50mm titanium drivers.

The Bluetooth headphones can be used wireless or wired. They have a built-in microphone for video or mobile calling, pairing easily with any device. K361-BT and K371-BT have gesture control, 40-hour battery life and you can fold them up for portability and storage. As with all AKG headphone and microphone technologies, they sound fantastic.

Be Heard Clearly with AKG USB Microphones

When working remotely, being heard clearly is the name of the game. Clear sound starts at the source – a standalone microphone, when used correctly, will almost always sound dramatically better than the one that’s built into your laptop or phone.

AKG USB Microphones are useful plug and play audio interfaces that greatly enhance your voice through a computer or mobile device and simply connect via USB.

With two models to choose from, AKG Ara and Lyra have eye-catching appeal based on iconic models that look stylish no matter the application.

The newly launched Ara is competitively priced with dual-pick up patterns that allow podcasters, communicators, vloggers, gamers and musicians to capture pro-quality, high-resolution sound right from their desktop.

If you’re on Teams, Zoom or other web conferencing platforms, both models give you quick access to a mute button and headphone volume, without fumbling for a mouse.

Inspired by classic studio microphones like the legendary AKG C414, AKG USB microphones have a sleek, retro look with future-oriented application, allowing users to look like a professional and sound like one too.

Get the Message Clearly with the JBL 104BT Desktop Speaker Set

Providing clarity and richness far above that of a laptop or computer that allows you to follow the conversation, JBL’s 104BT Series powered desktop speaker set is now available in a stylish matte white or matte black finish. In addition to Bluetooth, these speakers offer a variety of inputs via the front-panel source select for Bluetooth, RCA, TRS, 3.5mm or All with Volume Control. The 104BT can be used in conjunction with the AKG Lyra USB microphone for Audio & Video Conferencing calls. Should you need to have discrete audio, a headphone can be connected via the front panel.

JBL104BT are studio reference quality and can be used for office, content creation and critical audio listening as well as anyone looking for accurate, yet compact speakers on their desktop.

Be Seen and Heard with AMX Acendo Vibe Video Conference Solutions

The AMX Acendo Vibe is perfect for executives, small meeting rooms and home offices. If you are conducting business meetings by video conferencing and want an excellent sound and picture experience for you and your customer, without the need for headphones or external speakers, then the AMX Acendo Vibe all-in-one sound bar is an elegant solution. It can easily be used in small meeting spaces and huddle rooms or taken home for remote working*

The first total conferencing sound bar solution designed for the demands of the modern workspace, with tuned-for-voice JBL speakers and microphones delivering experienced audio with built-in signal processing and Acoustic Echo Cancellation (AEC). A wide-angle camera catches every movement in the space and professional features like CEC display control, USB and convenient Bluetooth connectivity ensure an optimised experience. A stylish external desktop remote provides easy source selection, volume and mute control. Installation is made easy with an integrated mounting bracket.

*Perfect for meeting room sizes of 3m x 3m or smaller.

Soundcraft Notepad USB Desktop Audio Mixer Interface

Soundcraft Notepad is the reimagined version of the legendary Soundcraft Spirit Folio Notepad Mixers released in the 1990s, updated with a modern look and USB connectivity that make them equally at home on your desktop or on-the-go.

Reimagined with today’s online streamers in mind, the Notepad mixers are perfect if you’re looking for a little more tech on your desktop. They have additional input connections for microphones and external audio devices while the USB audio interface allows you to easily connect to your computer, where you can record, edit and play projects using your favourite audio software.

Headphones and external speakers such as the JBL104BT can be connected for the optimum desktop audio experience. The latest driver updates include amongst others a pro-broadcast audio ducking feature.

Soundcraft Notepad mixers are available in 3 variants – Notepad5, Notepad 8FX and Notepad 12FX

The Opportunity

NZ guitarist, composer and producer Arli Liberman was given the honour to compose the opening music titles of this prestigious event.

The soundtrack combines futuristic elements, NZ culture and Kiwi flavour together to create an inspiring anthem that establishes the event firmly in New Zealand.

“This experience has been the complete opposite of anything that I have produced thus far,” says Arli. “It is indeed an honour to be involved with this unbelievable sport, combining technology with nature.”

The Solution

Arli relies on the accuracy of JBL708P Powered Master Reference Monitors and AKG Studio Headphones for his film scoring and composing projects.

“This project needed true versatility with the sonic palate that was required. When I decided to take the sound of the boat and use it as my focal point, it was essential that my production speakers have the most accurate, fast response to create the effects and imagery needed. The JBL 708P definitely meets this criteria.”

The Opportunity

The Christchurch Justice and Emergency Services Precinct was the first major government building to be built in Christchurch after a series of devastating earthquakes destroyed the city centre in 2011.

Completed in late 2017, the Precinct was purpose-built with an emphasis on collaboration, bringing together all regional justice and emergency services. The precinct is home to the Ministry of Justice, New Zealand Police, Department of Corrections, St John Ambulance, Fire and Emergency, Civil Defence and Emergency Management services. The Justice Building houses 19 courtrooms and associated court and legal functions.

The Solution

Due to the critical nature of the services rendered by the agencies in the Precinct, reliable specially configured loudspeakers and microphones are needed to reproduce high quality audio.

Leading audio visual systems integrator and supplier of courtroom and chamber technologies, Vega Global (formerly Kodum), were contracted to design, supply and install robust cutting edge audio and visual systems within the Justice and Emergency Services Precinct.

System Features

• JBL Professional Control Contractor series ceiling and wall mounted loudspeakers achieve balanced sound quality and broad, consistent coverage throughout the indoor sections.
• Control 47LP low-profile ceiling speakers are utilised in the areas with limited above-ceiling clearance with JBL’s Radiation Boundary Integrator providing very consistent coverage throughout the listening area.
• Control 47HC loudspeakers with a well-defined narrow coverage pattern provide improved sound quality and intelligibility in reverberant and high ceiling spaces.
• A range of AKG gooseneck and boundary microphones are deployed in the 19 courtrooms providing exceptional sound reproduction through the sound reinforcement and audio visual recording systems.
• Across the Precinct, BSS Soundweb audio processors form an integral part of the audio management and audio distribution.

The Impact

“During the design and construction phase it was essential the audio visual systems would work within the complex IT infrastructure of the Justice and Emergency Services Precinct,” says James Thompson, Civil Defence New Zealand. “The systems are excellent. Kodum were key partners in establishing our audio visual needs and have walked with us every step of the way. Post commissioning they have been readily available to help with fine tuning the system.”

2.4 GHz microphones operate in 83 MHz of spectrum between 2.400 GHz and 2.483 GHz. By comparison, most wireless microphones today operate at lower “UHF” frequencies between 470 MHz and 698 MHz.

Let’s take a look at the pros and cons of wireless microphones that operate in the 2.4 GHz ISM band.

Pro’s

Simple to operate (under ideal conditions)

The selling points for most of these models are “easy,” “easy,” and “easy.” The predictable locations of WiFi channels allow 2.4 GHz mics to sniff out where occupied frequencies are and are not, and they are also great at communicating with other mics and self-coordinating (this is probably because 2.4 GHz microchips ship with more advanced radio protocols than off the shelf UHF chips).

2.4 GHz chips do not use FM modulation, and they are (at least the ones we’ve seen) all digital, so they are less susceptible to the intermodulation artifacts that plague multi-channel UHF FM systems. Mics from professional grade manufacturers like Shure, Sennheiser, AKG, Line6, and AT have tuned their modulation and circuitry to bring latency down to acceptable levels, as opposed to simply sending audio over WiFi.

International compliance

Properly manufactured 2.4 GHz microphones can be used in nearly every country without a license, in the same frequency range. UHF frequency bands are not synchronised across international borders, and the rules for wireless microphones vary from country to country. In some countries like the U.K. operating professional UHF equipment requires a permanent or temporary license, and half of the equipment sold in the UK in the 700 MHz band is illegal to use in the United States. 2.4 GHz mics give users a free pass from all the regulatory confusion.

Latency

Since all professional grade 2.4 GHz mics are digital, latency is a bit higher than UHF analogue. But the delays aren’t all that bad on digital microphones, and don’t really stand too far behind UHF digital microphones. In fact, Line6 has latency that beats some UHF digital mics. Latency on 2.4 is only an issue when shows are being recorded for broadcast, or a picky artist starts complaining about monitor delay.

IT Department Wrath

2.4 GHz is the same band that most WiFi devices use. You can’t always expect to waltz into a facility – especially a secure one – and power up a 2.4 GHz device without someone from the IT department hunting you down and telling you to put it away. WiFi in corporate and stadium settings is carefully calibrated and, usually, completely full. IT professionals have tools that let them know if something is interfering with their network.

Bottom Line

2.4 GHz microphones are a great choice for those who only need a few channels and want hassle free setup. For those who need lots of channels and ultra-low latency, top-tier UHF mics are still the best choice.

2.4 GHz audio fidelity from reputable manufacturers should be more than acceptable for most applications.

While they may provide additional long-term security over 600 MHz microphones – which will soon be illegal – they do not guarantee complete immunity from interference. A vast sea of other devices uses the 2.4 GHz band, and their numbers will only increase as the Internet of Things explodes.

Need a High Performance 2.4 GHz Antenna?

Inspired by the popular UHF CP Beam antenna, this lightweight, miniaturised helical antenna is built for maximum gain in the 2.4 GHz band. Painstakingly designed and tested in the RF Venue laboratory, it provides significant performance improvements over other non-audio 2.4 GHz directional antennas that are intended for networking devices.

Nestled in Henderson Valley in Western Auckland, Whoa! Studios is a state-of-the-art film studio and theatre specialising in live action, puppetry and miniatures. Its flagship offering is an original, world class, live show based on the characters and sets of Custard’s World – adapted for stage from a script by Bob Baker, BAFTA award winning screenwriter of Wallace & Gromit.

Whoa’s owner David Sutherland wanted to create an exciting family destination in Auckland with unforgettable live experiences. He says “It started out as an idea to do something fun for children and for families, to do something that was different to what they had engaged with before. We wanted to try and do something that was magical.”

David’s vision has resulted in a world class facility with a children’s adventure playground, a modern family restaurant and hi-tech studio and theatre facilities. In order to realise this vision and create a truly immersive experience alongside the mix of puppets, digital effects and live action from within the main stage movie set, leading world class AV technologies were needed.

World Class meant that one of New Zealand’s top integration companies, ITAV was called upon to knit together this immersive experience that would create lasting memories. Their brief was clear: sound quality, flexibility and ease of use.

Consultant and ITAV Integrator Paul Ivory had no doubts when it came to selecting his team that would partner on this project. Paul declares “I called on the best of the best in all different aspects of this project.”

Leading AV equipment supplier and specialists in Sound System and Video Distribution design JPRO were selected because of their far-reaching support, emphasis on relationship, as well as audio and product knowledge base.

AMX specialist Quentin White designed the video and switching distribution system. Projector mapping was suggested in conjunction with specialist lighting to create themes for the shows. AMX touch panels control scene changes, projectors and video monitors. This resulted in a unique part of the delivery and a main component now written into all live shows.

JPRO Sales Director and Audio Designer Paul Edlin designed the fully integrated networked audio system for the theatre and restaurant. BSS Soundweb and Soundcraft Vi3000 are an integral part of the audio distribution and essentially, the heart of the theatre system.

The primary objective was to keep as much of the Audio Signal in the digital domain as possible. Audio was passed in and out of the Vi3000 via Dante, into the BSS BLU-806 signal processor before reaching the Crown DCi Amplifiers that powered the JBL CBT-70J Array speakers and eight Zones such as the Green Room and back of stage.

Audio outputs for the live film studio and theatre were configured in 7.1 and 5.1 respectively. This was not only for a surround sound effect, but for localised sources as puppets came in from different locations around the room.

For the theatre, the first choice of speakers for Paul Ivory was always going to be the JBL CBT 70’s. “They are great for speech and music” he says, “the array of the speakers is perfect for having clear sound for the front and back end of the room; there was nothing else that came close to that decision.”

The new AKG MicroLite HC81 headworn microphones were selected as they are comfortable and lightweight to wear for the actors while the AKG wireless microphone technology used has a track record of solid reliability.

Through clever configuration and use of the Soundcraft VISI App, from an operator’s point of view the Soundcraft Vi3000 mixing console provided the central control point for all performance areas.

Paul Edlin from JPRO explains the use of the VISI integration: “Vi3000 controls all the actors and playback audio within the main theatre and on the second layer it controls audio in the second theatre.” This resulted in a cost saving of an additional mixing surface. Paul continues, “So the main theatre can be running a show and the second theatre can simultaneously run another show with audio controlled via the VISI iPad App.”

The approach to the AV design for the restaurant and mezzanine areas is equally as ingenious, with exceptional sound quality produced by the unobtrusive JBL Pendant speakers.

“You can walk throughout the café, into the parent’s area, toilets, the shop into the entrance way and the sound is all even, it is not overbearing in any area” states ITAV’s Paul Ivory.

All AV technologies such as switching on projectors and lowering screens, operating lights and adjusting volume are controlled on a touch panel system via an automated process. Third party systems control is made simple and easy to execute with Audio Architect and AMX seamlessly integrating together.

Through effective communication, simplistic AV and sound system design and leading World Class products from Harman Professional, the teams from ITAV and JPRO were able to put together a solution that will provide simplistic user operation for staff, and unforgettable live experiences for families.

David Sutherland concludes “We wanted to exceed expectations. I didn’t think it would be as good as this result – and that makes it all worthwhile.”

The Opportunity

Newmarket, Auckland New Zealand: New Zealand’s largest mall, Westfield Newmarket, recently underwent a complete redevelopment to incorporate Westfield Broadway 277 and 309 to form a new benchmark as a world-class retail and lifestyle destination.

The new mall consists of over 200 specialty stores, gymnasium, 6 screen cinema complex and a new rooftop lifestyle, dining and entertainment precinct.

To fulfil the developer’s requirement of a premium shopping experience, a high-quality multi-zone audio system was needed to provide an even distribution of background and foreground music with multi-level zone capability.

To ensure the project was completed on time with superior audio quality throughout the complex, Westfield Newmarket hired Oceanic Communications Limited (OCL) to install the audio system.

The Solution

JBL Professional’s range of installed audio solutions were selected as the loudspeakers were able to meet the stringent specifications for audio quality, volume and STI readings as well as aesthetic requirement.

OCL outfitted the redeveloped Westfield Newmarket with a Dante enabled networked audio system that included JBL Professional loudspeakers, BSS Audio Processing, Atterotech I/O endpoints, AKG paging microphones and Crown CDI installed audio amplifiers. System design and equipment was provided by leading NZ distributor JPRO.

System Features:

• JBL 8128 commercial loudspeakers with high sensitivity drivers provided maximum amplifier power efficiency.
• High Performance loudspeakers for the Entertainment zones include ceiling mounted JBL Control47LP low profile wide-coverage loudspeakers, JBL CBT70-J IP rated column array speakers and JBL Control 85 360-degree landscape speakers.
• State-of-the-art auto-sensing Plug ’n Play zones with Atterotech UND6IO wall plates for Dante audio distribution.
• Crown CDI4300 and CDI41200 energy efficient installed power amplifiers, programmed with auto-on and auto-off features.
• BSS BLU-806 audio processing and Atterotech UNDIO2x2 Dante Interfaces allowed seamless Dante integration for the entire complex, incorporating all BSS and AKG paging stations.
• A customised Master Control Panel in the main server room allows quick monitoring and control of the audio in over 40 zones.

The Impact

“We were comfortable providing a design with STI readings as JBL manufacture a variety of loudspeakers that are purpose-built for their application” says JPRO’s audio design team. “Professional quality speakers provide better audio coverage at a lower volume, and this in turn works favourably for our customer as less speakers are needed due to the efficiency of the loudspeaker and accuracy of the predictions in a system design.”

“The audio coverage and quality for this scale of project is exceptional,” says a spokesperson for OCL. “The integration and usage of Dante in the system, along with the Atterotech wall plates are really creative. The range of JBL speakers work seamlessly together, and the JBL CBT-70 with the Control82M landscape speakers create a very full and extremely clear sound in the rooftop and entertainment precinct. We appreciate the extra effort into making it easy to monitor and control over 40 zones from the main server room – we are truly pleased with the overall outcome.”

The Gang at Noisegate get hands-on with the Ultra-HD Multi-Mode Condenser USB Microphone from AKG, known as LYRA.

AKG LYRA has ultra high definition audio capture, with a sample rate of 192kHz at 24 bit. Other features like USB-C connectivity make it ideally matched for newer computers, and there’s a USB-C to USB-A cable included for older machines.

LYRA is designed for ease of use and plug and play. One cable connects to your selected device and you’re good to record. LYRA is compatible with OSX, Windows, iOS and Android devices. There’s a registration card for Ableton Live Lite included too for those who don’t already have a favoured DAW on their computer.

Fast Facts:

• 4K-compatible, Ultra HD-grade, 24-bit/192kHz audio resolution
• Four-capsule mic array provides four user-friendly capture modes
• Headphone monitoring with volume adjustment
• Microphone mute and gain adjustment
• Comes with Ableton Live 10 Lite
• Industrial-Retro Design inspired by the C414
• Versatile mounting option with integrated desktop stand or standard mic stand

Hell, I know I do. But here’s the deal: active antennas can really do a number on your system if you aren’t using them right. This article should get you up to speed on the active vs. passive debate.

First, two definitions:

Active antennas are any antennas with integrated signal amplifiers built right into the unit, like the AKG RA4000B-W.

Passive antennas are antennas that have no amplification stages, like the CP Beam.

An active antenna is a passive antenna that simply includes an onboard amplifier. There is no difference between the antenna element of an active or passive antenna of the same type; the only difference is whether an amplifier is included.

Active antennas can be used for both receiving and transmitting applications, but they are most often seen as receiving antennas. When used to receive signal, the integrated amp boosts the RF picked up by the antenna and allows much longer remote cable runs.

When used as a transmitting antenna, active antennas increase the RF power above and beyond whatever output power the transmitting device is using.***

The only practical reason to use an active antenna is to compensate for cable loss in receive applications. All RF signal loses strength (attenuates) as it passes through coaxial cable. The longer the cable run, the larger the loss. 100’ of RG8X will steal anywhere from -8 to -11 dB, depending on a few factors, like frequency. The amps on active antennas are designed to compensate for this loss by boosting the signal right behind the antenna before sending it down the line, so the gain at the receiver is closer to unity gain.

All too often, we’ll find a small theater or school or church system is using an active antenna at the side of a stage with a +12 dB amplifier on a 50’ or 25’ run. This gain is in addition to the + 6db of gain the paddle antenna itself imparts. With their transmitters at 30-50 mW, the front end of the wireless receiver gets overloaded and all hell breaks loose (except in a church, where hell is kept safely at bay).

We always encourage our customers to buy passive antennas, and then only add in-line amplifiers to make up for transmission line loss if they are doing very long cable runs of more than 100 feet.

With the introduction of low-cost RFoF technology, active antennas and in-line amplification are becoming increasingly obsolete. In the past, if an installed system required a cable run over 100’ there were only two options: use expensive plenum rated coax, or use some combination of active antennas/in-line amps and carefully manage the gain structure to avoid overload or coax line loss. With fiber optic transmission, signal can be sent miles with little to no loss at all.

***Use caution when deploying active antennas in transmit applications. In the VHF/UHF broadcast bands, most transmitters already operate at or near the maximum output power allowed by the FCC. Adding an amplification stage before the transmitting antenna risks exceeding those limits, so unlicensed UHF users should never include an active antenna in the signal chain of an IEM or intercom system. Plus, an active antenna’s amplifier would need to be bi-directional to function in a Tx setting. Not all of them use bidirectional amps.

Originally published by Alex Milne for RF Venue

Pro performance, sleek style and the convenience of Bluetooth

The K361-BT and K371-BT are the first AKG headphones to combine pro-grade performance, Bluetooth functionality and luxurious comfort in a closed-back, over-the-ear, folding design that are perfectly suited for working in the studio or on the go.

By combining performance and style, the K361-BT and K371-BT bridge professional and lifestyle markets – they’re perfect for musicians, podcasters and content producers who demand high-performance headphones with a modern look and feel – as well as professional engineers and producers who need a portable critical reference they can trust.

The K361-BT and K371-BT feature high-sensitivity, largest-in-class 50mm drivers that reproduce deep bass, articulate midrange and pristine highs with detail and clarity, delivering a stunning frequency response of 15 to 28 kHz and 5 Hz to 40 kHz, respectively.

The earpads across the range are designed for extended listening sessions, providing supreme comfort over the ear. They help isolate from some external distractions, allowing personal space to focus.

Both models feature ergonomically contoured, foldable headbands with long-wearing oval earcup designs – another AKG first. Bluetooth 5.0 streaming offers the convenience of switchable Bluetooth wireless and wired connectivity; a built-in microphone allows two-way Bluetooth communications with a 40-hour battery life and gesture control.

These folding, over-ear Bluetooth 5.0 headphones still deliver a best in class frequency response of 15 to 28 kHz, and include a protective carrying pouch and detachable 3m (9.8′) and 1.2m (3.9’) straight cables, ¼-inch (6.5mm) adapter and USB charging cable.

Availability:

AKG Pro is supported and distributed in NZ by JPRO. AKG 361BT and K371BT professional Bluetooth headphones are now available in New Zealand as of March 2020.

Apart from its role in the Church, the Cathedral has a number of functions as it serves an important civic and national role in New Zealand. It is frequently used to host services of particular attention or significant events, while the fine acoustics in the Cathedral make it a sought after venue for concerts, both choral and orchestral.

Sound reinforcement plays a critical role in the Cathedral, where the tonal balance needs to be just right, complementing the natural acoustics of the building with amplified and distributed sound, ensuring that the spoken word and music accompaniment can be clearly heard.

David Kendall Audio Visual was tasked with the sound system upgrade where leading sound system technologies were needed for the sanctuary and surrounding areas. Due to their professional audio expertise and ability to provide unique custom designs, David Kendall chose supplier JPRO to partner on the project.

“This was always going to be a challenging job – over the years quite a few people have had a crack at it,” says David Kendall, Integrator. “Thanks to the technology provided by HARMAN solutions, we were able to make big improvements while staying within the church’s budget. Lots of work went into getting the design right and even more into the installation and tuning. I am very proud of what we achieved with a very tricky acoustic space. And now the Anglican Church have a usable Cathedral space in Wellington.”

Paul Edlin and the technical design team from JPRO designed the networked audio and distribution system for the Cathedral. Soundcraft Si Impact, JBL Intellivox and CBT array column speakers and BSS Soundweb processing form the primary parts of the audio distribution, critical for the sensitive nature of the acoustics in the venue.

“One of the main objectives with the system design was to ensure that the sound energy produced by the loudspeakers was distributed evenly in the areas needed, avoiding any unnecessary reflections that could negatively affect the sound and acoustics,” states Paul Edlin. “The JBL Intellivox and CBT line array column speakers were selected as they have been manufactured to work in challenging acoustic spaces and they are perfect for speech and music.”

Earlier generation Intellivox speakers had been used as part of the previous sound system and these were re-configured and re-deployed into the system upgrade.

The main part of the Cathedral – the front Nave – is covered using JBL Intellivox DS280 Active Beamshaping Array loudspeakers which are capable of maintaining a constant sound pressure level up to 35 metres. These speakers have on-board amplification and DSP that are able to adjust to the acoustic requirements of the venue. The existing Intellivox DC280 speakers were redeployed into the rear Nave of the Cathedral.

JBL CBT-50 and CBT-100 line array column speakers, powered by Crown DCi Amplification were used for the Chancel, Choir and Front Fills.

As for the audio processing and distribution, audio is passed in and out of 2x BSS BLU-100 processors and a Soundcraft Si Impact digital mixing console. Basic education and smart system design has allowed simple operation for everyone; offering uncomplicated functionality for lay people, yet great flexibility for skilled AV operators. A BLU-100 was configured to be used as a stage box, allowing for ease of use during liturgy and preaching, as the microphones are automatically mixed using the Soundweb automix function. Control is done via an iPad with the ViSi App and the Si Impact digital mixer is used when greater control is required and for guest artists when the venue is used for concerts.

“The sound system usually has an upgrade every 10 years or so,” says the Dean of Wellington Reverend Digby Wilkinson. “I am very happy with this upgrade – the sound quality, coverage and control provided by the system is a huge improvement and it sounds fantastic!”

Events Manager and Assistant Director of Music Richard Apperley adds: “I expended a lot of nervous energy while the sound system work was underway. I am now extremely happy having heard it in action. Many thanks to David Kendall and the JPRO team for the expertise and hard work they displayed during the installation – you’re legends!”

The Opportunity

Designed exclusively with esports in mind, LPL Studios is a state-of-the-art broadcast studio that includes an ultra-modern control room, dedicated console and PC booths as well as commentary and analysis desks and game pods. The facility allows for 4K or HD recording and live broadcast of esports events at most major New Zealand and Australian venues.

The studios are close to the SKYCITY Theatre, where live events with a 700-strong audience are possible. Up to 3000 fans are being projected due to the opening of the International Convention Centre in 2019.

The Solution

As a result of their experience and knowledge integrating systems in a wide range of applications, leading broadcast integrator Digital Video Technologies (DVT) was tasked to implement a broadcast service solution based around the unique requirements of esports.

“The layout of the venue is rather unique as it is cylindrical in shape, following the natural floor layout of the Sky Tower” comments Stuart Barnaby of DVT. “We needed to ensure that the acoustics of the various studios was efficient. Further to this we required a flexible, out-of-the-box audio solution.”

To ensure a unique world-class audio solution for the esports studio facility, DVT approached New Zealand Studer and HARMAN Professional Solutions distributor JPRO (formerly known as Jands NZ).

“When I heard the details of the audio requirement, I knew that the best broadcast solution for the studio would be Studer Micro, AKG Professional and JBL” says JPRO Broadcast Specialist Tim Robertson.

The Studer Micro fader control surface was included in the TV Control Room with Studer MicroCore set up as the audio hub and controller. JBL’s compact 305P studio monitors were added into the control room, with volume managed by a JBL MSC1 monitor system controller.

DVT specified AKG HM1000 and CK31 hanging microphones that are used as ambient mics and installed in the game pods. The commentary and analysis desks make use of AKG HSD271 professional studio headsets for the commentators while AKG DMS800 wireless microphones are distributed via Dante.

“With the opening of the first esports broadcast studio in Australasia, we are excited that JPRO and HARMAN Professional are able to provide a solution for an exceptional integrator such as DVT, for the enjoyment of gamers and fans alike,” adds Tim Robertson.

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