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  • NEW JBL PRX800 Coming Soon

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    JBL Professional by HARMAN have introduced the PRX800W high-powered portable PA system. Created by the industry leaders in loudspeaker technology, PRX800W features wireless control and sophisticated DSP, so live sound professionals and musicians can quickly set up and configure a system right from a mobile tablet. PRX800W also features class-leading power and a remarkably lightweight design that makes transportation easy. Thoughtfully designed from the ground up to deliver legendary JBL sound for demanding artists, PRX800W represents the next generation in controllable and portable live sound reinforcement.

     

    “With the PRX800W family, we’re excited to give bands and DJs more control over their live sound than ever before,” said Craig Lambrecht, Retail & Recording Solutions, HARMAN Professional Solutions. “Users can now shape their sound wirelessly, right from the palm of their hand, ensuring the best possible listening experience for themselves and their audiences. PRX800W is by far our most advanced and powerful portable PA, and represents the next generation in smart live sound reinforcement.”

     

    PRX800W is the first PA system in its class to offer complete wireless control. The PRX Connect mobile app for iOS and Android connects wirelessly to each unit in the system simultaneously, providing full control over the powerful DSP built in to each speaker. With control over 8-band parametric EQ, speaker delay, mute, gain and more, PRX Connect helps musicians achieve the perfect sound for their performances, faster than ever before. Users can walk around the venue during sound check and fine-tune the speakers for optimal sound quality. PRX Connect also makes it easy to configure shows offline and save presets for fast future setup.

     

    Featuring integrated 1500-watt Class-D power amplification, PRX800W is the most powerful and efficient system in its class. Patented JBL Differential Drive™ woofer technology reduces magnet mass while increasing power handling. Updated tuning delivers flat frequency response and smooth off-axis behaviour. The all-wood cabinets feature durable tongue-in-groove joints, tour-proven DuraFlex® protective finish and dent-resistant 16-gauge steel grilles. PRX800W systems undergo a stringent testing regimen, including a 100-hour torture test, to ensure peak performance in any real-world environment. The combined result is an ultra-reliable and remarkably lightweight system capable of delivering clear, pristine audio at extraordinarily high volumes.  

     

    PRX800W loudspeakers are packed with innovations from HARMAN’s industry-leading live sound brands, introducing a new level of flexibility, scalability and sound quality to the portable PA category. The redesigned Crown input panel offers XLR, 1/4” and RCA inputs plus XLR loop-through and professional outputs to provide plenty of options for input sources and routing. dbx Type IV™ limiting eases the system back to a safe level when any frequency band is in limit, ensuring that the sound is accurate and uncompressed, even at very high volumes over long periods of time. An intelligent variable-speed fan cools the system only as needed to ensure optimal sound quality during quiet performances. PRX800W systems can be easily scaled by adding additional speakers, and they offer seamless integration with other JBL powered PA systems.

     

    The JBL PRX800W series is available in November of 2016, for pricing head to our website.

  • Constant Focus - JBL CBT Series

    JBL CBT SERIES - Constant Beamwidth Technology, Focused on the Audience

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    Column speakers. We’ve all seen them, heard them, and for the most part despised them and there AM radio tonal “qualities”.

    Our install department look after a lot of churches in the greater Brisbane area and regularly come across older PA systems that were cutting edge in the 80’s but now lack the clarity and coverage demanded by congregations. Often these buildings are relatively small and the churches requirements not overly demanding on the system which means a larger format speaker system is not appropriate.

    With traditional passive columns, the coverage continually narrows at higher frequencies, resulting in much of the listening area being covered by only part of the sound spectrum.  Driver interactions cause the frequency response to change at every distance away from the speaker resulting in each listener hearing a different balance of sound.

    In recent years we have looked to a couple of manufacturers of new generation column speakers which leverage the developments achieved through line array R&D and applied it to smaller format column style PA’s.  JBL’s offering in this market, the CBT range, has given us great results across a range of facilities and has become our go to speaker for small to medium houses of worship.  The CBT100 coupled with CBT50’s as rear delay fills are a super discreet and tonally usable system that can happily run of a single two channel amplifier (we use the Crown XTI series with integrated DSP).  For larger rooms the CBT70 is able to handle more horsepower and is also able to be augmented with the CBT70E extension module that extends the bass response.

    jbl-cbt1jbl-cbt2

    JBL’s Constant Beamwidth Technology maintains a specific coverage over a very wide bandwidth. The CBT models deliver smooth, consistent coverage that is similar to complex and far more expensive line arrays. The CBT Series’ constant directivity coverage delivers consistent frequency response at every distance as well as off-axis.

    With the CBT Series, every seat in the house experiences the same quality of sound regardless of position.

     

     

  • Tech Tips: Drum Mic Techniques

    Tech Tips:  Drum Mic Techniques

    One of the most common questions we get asked is how to best mic up a drum kit.  Like all things audio, there are many approaches that have their merit in different situations.   In this article we'll brush over some of the basics and how to get a solid starting point for a nice, full sounding drum setup.

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    How Many Mics Do I Need?

    When determining how many mics you need to effectively mic up a drum set, it pays to consider your environment and the sound you are chasing.

    Scenario 1:   'Unplugged' Band, Theatre Orchestra or Jazz Kit 
    In this scenario we want to gain a natural sound of the full kit and hear the nuance of the brushes & stick work.  A single mic in the kick drum and a pair of overheads works well in this situation, allowing all the drums to effectively be picked up as one instrument by the overheads.  A snare mic can be easily added if required.  The Audix DP QUAD kit or Shure PGA Studio 4 work very well for this setup.

    Scenario 2:  Rock band on a small to mid size stage
    In this scenario we want to bring out the punchier aspects of the drums to reinforce the acoustic sound of the kit.  Mics on all the individual drums is a good place to start - Kick, Snare & Toms.  Since we're in a small to medium sized venue there is a good chance that the cymbals are already loud enough and we simply need to bring up the lows & mids of the drums.  Many kits are available at different price points for this configuration such as the Audix DP5a, Miktek PMD4Shure DMK57-52 and PGA5.

    Scenario 3: Live or Studio Recording / Large Stage
    This is arguably the most common seen both on stage and in the studio for a full pickup of the drum kit where complete control is required.  A mic on each drum, a mic on the hi-hats and a one or two overheads.  By mic'ing up each drum individually we can have control over which elements of the kit are the focus of the mix and have greater control over the tones of each drum.  Audix's DP7 Kit and DP8 Elite Kit are built with this approach in mind.

    Scenario 4: Mic Everything!
    In some cases you may wish to mic every drum and cymbal.  This can be for a clean look using claws & mounts instead of stands, for extreme control of each element in the stereo field, or simply because you can!  In this setup we usually see mics under each cymbal and on every drum, sometimes with the addition of a second Kick mic and a Snare Under mic.

    Of course you can always build up your own drum mic kit to suit your exact needs, if you require advise or recommendations from our vast selection we're happy to assist!

    Positioning the Microphones

    One of the most important aspects of setting up your mics is the position.  This is often overlooked but is the foundation of any good mix.

    Kick Drums often are quite sensitive to mic position.  You want to capture both the sound of the beater on the skin and the resonance of the shell.  One common mistake is to put the mic just outside the port on the skin resulting in very high SPL at the mic from all the air rushing out of the drum.  A good starting point is to have the front of the mic just inside the port pointing at the beater.  When using a plate mic, setting it down on a small pillow or other baffle in the centre of the drum is a good starting position.  You can also use internal mountings such as the Kelly Shu for a permanent mounting solution.

    OLYMPUS DIGITAL CAMERA Kick Mic Placement Example - Shure Beta52
    Internal Kick Mic Placement Example Internal Kick Mic Example - Shure Beta91A

    Snares & Toms also require good placement to capture the best tone of the drum.  If you angle the mic too close to the edge of the drum you will get too much sound off the rim.  Positioning a mic on about a 30 degree angle aimed half way between the centre of the drum and the edge will give you a great starting position.  Likewise if the mic is too close to the skin the tone will be off.  Start with around 5cm of height off the drum.  A variety of clamps are available to make mounting easier and cut the number of stands required.  Some of our favourites are the Audix DVice, Latin Percussion Mic Claw, Shure A56D and K&M 24030.

    Snare Mic Example Snare Mic Example - Shure SM57
    Tom Mic Example Tom Mic Example - Rode NT6 on an Audix D Vice

    When using a snare bottom mic to capture the sound of the snare wires against the bottom skin a steeper angle is fine pointed up from underneath.  Also don't forget the flip the phase of the channel so you don't create cancellation with the top mic.

    OLYMPUS DIGITAL CAMERA Snare Under Mic Example

    Overheads have many techniques for deployment, the most common are the AB and XY positions.  In the AB position place each mic on a tall stand above the kit around standing height, pointing directly down at the cymbals.  Ideally they should be a similar distance from the snare drum.

    In the XY position both mics should be above the centre of the drum kit (over the drummers right knee is a good reference) roughly at standing height.  With both mics as close together as possible angle the capsules so they are facing opposite sides of the drum kit at 45degrees.  This method gives you a very coherent stereo image of the kit as a whole.

    This guide is intended to be a general overview to help you get started mic'ing your drums or help enhance your current setup, there are many many more techniques out there and this is by no means an exhaustive guide.  As always for personal advise feel free to contact us and see how we can help.

  • C3 Church Choose Allen & Heath dLive

    C3 Church Choose Allen & Heath dLive

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    C3 Church Bridgeman Downs recently underwent an audio upgrade with Allen & Heath’s new dLive digital mixing system.

    The church was in need of a new mixing system after finding their old analogue system could no longer meet the requirements for  weekly meetings and community venue hires.  After much consideration, the Allen & Heath dLive S7000  Surface and DM48 mixrack was selected, paired with an ME-1 Monitoring System and Dante card.

    As our Audio team is volunteer based we were looking for a console that was easy for operators to jump on and quickly find their way around.   This was easily achieved on the dLive system. With the addition of the dante card, our team can easily be trained and practice on the console using Virtual Soundcheck.” explains Chris Wiggins, Music Director.

    Since the dLive platform has seamless integration with A&H's own ME-1 monitoring system, it was a clear choice to upgrade from the church’s previous Aviom system to Allen & Heath’s ME-1 personal mixers.   This raised the audio quality and features all the way from FOH to on stage monitoring.

    Not only has there been an instant upgrade in audio quality, but it has also enabled the church for future production growth. “We were after a mixer that would fulfil all our current needs and give us good options for expandability in the future.

    If you’d like more info on the Allen & Heath dLive system get in touch, we also have a S5000 mixer and DM48 available for demo.

     

  • BSG Hire & Produciton Navigate the Wireless Spectrum with Shure

    To wire or not to wire, that is the question….... that a lot of our customers have answered for us.

    13305176_10154307791744379_7439479225142513663_oIn recent years we have seen a significant spike in the quantity of wireless microphones and in-ear monitoring systems on events we service from our Hire and Production departments. It is not uncommon for us to deploy 20-30 channels of wireless equipment on an event and several events a year demand much higher counts to fulfil varying show demands.

    The growing inventory demands, paralleled with the forced repurchase of all of our inventory due to the roll out of the digital divide, has required us to invest heavily and to evaluate carefully which products we stock.

    Shure is a known brand that our customers recognise and love, thanks to both their sonic qualities, solid RF performance and reliability.  The simple to use and reliable Wireless Work Bench software also allows us to pre plan and execute large amounts of RF gear easily and quickly.

    Furthermore, the digital integration of the Dante equipped ULX-D range has been an ideal partner to our rental stock of Yamaha CL and QL digital mixers.  The CL & QL series consoles have a native ULX-D control page allowing remote setup and monitoring of wireless receivers directly from the console.

     

     

    We carry a large range of Shure wireless microphone systems including:1403250_10152107613959379_1812388826_o

    • Shure UHF-R (Dual receivers)
    • Shure ULX-D (single, dual and quad receivers)
    • Shure SLX
    • Shure PSM1000 IEM systems

    We stock belt pack and handheld transmitters for all these series, and offer a choice SM58, Beta58a, Beta87a or KSM9 capsules on handheld.  Depending on the quantity of units in use we can also tailor an appropriate antenna system to ensure trouble free RF throughout your event.

  • Jands Stage CL Brings Power To Your LED Lighting

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    With the evolution of LED stage lighting dynamic and vibrant colour has never been more affordable.  Control has traditionally been difficult with basic lighting mixers or reserved for complex high end setups.

    Enter the StageCL - a simple to use LED lighting controller that doesn’t sacrifice functionality. The Stage CL is a solid solution that lets you create complex chases and effects with great ease. The built in touch screen lets you select solid colours, patterns or chases and the surrounding rotary knobs let you select speed and fade time. In just a few simple taps you can have an impressive look on stage ready to be recorded for instant playback.

    StageCL_LCDBeyond creating complex looks using the touchscreen, the Stage CL also has handy manual controls that let you smoothly change the hue and saturation of an individual fixture - or an entire selection of fixtures.  Having manual controls means they’re always at the ready, no need to jump through screen menus to simply change a colour.

    The Stage CL can run a total of 24 fixtures and has both 5 Pin DMX and ArtNet connections so integration into existing and future systems will be easy. Check out the below from the guys at Jands covering more features of the Stage CL.

    Drop in today for a demo on the Stage CL and pick one up for just $1799.00.

  • JBL LSR Monitors

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    JBL’s new budget friendly “LSR 3” range of monitors are a great solution for any level audio engineer! At first glance JBL’s new 3 series monitors look very similar to most entry level monitors on the market, however after a good listen it becomes very evident that these monitors stand well above the market with the clarity in their stereo imaging and their new Image Control Waveguide (ICW) technology.  JBL’s ICW technology is perfect for any engineer who is in an untreated acoustic environment. This technology claims to break up audio frequencies for an expansive center image from almost any listening angle. To my surprise it works exactly as they describe.  This creates a perfect solution for engineers who cannot have the ideal listening point in their studio.

     

    These monitors provide detailed highs, punchy mids and a strong bottom end response. They provide fantastic detail into the ambience of your mix while providing a stereo image that is not common in this bracket of monitors. After pulling up a couple of mixes I had previously done and having an extensive listen through these monitors it showed flaws and details that I had not previously heard. If you are looking for a studio monitor that performs at a high end level but with a small budget in mind then look no further than the JBL LSR range. Pop into store to hear these monitors perform for yourself and get a deal at $489 a pair for the LSR305 and $779 a pair for the LSR308.02_3series_012014_1_

  • Subscribe to our Newsletter for your chance to WIN!

    Giveaway Banner

    We're launching our fresh new newsletter and to celebrate our friends at Jands have given us a prize pack to give away to one lucky subscriber!

    Along with the latest news and special offers we'll also be launching a series of how-to guides and other learning resources to help you get the most out of your equipment or help you to buy the right system for your needs.

    All you have to do to go in the draw is sign up to our newsletter below and we'll announce the lucky winner in our newsletter on July

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  • Holiday & Updated Trading Hours

    BSG will be open over the Christmas break however closed for the following dates:
    Christmas: 25th – 28th Decebmer
    New Years: 1st – 3rd January

    From January 9 our Saturday trading hours will now be 9:00am til 1:00pm.

    From all the staff at BSG we’d like to wish you a Merry Christmas and happy new year and we look forward to seeing you in the new year.

  • Pro Tools 12 Buying Guide & Frequently Asked Questions

    BSG Pro Tools Buying Guide:

    With the release of the new subscription model from AVID there are now several ways to own and operate the latest version.  AVID have released a full FAQ about the new licencing here.  In an attempt to make the process easier we’ve included a simplified version below which will hopefully answer all your questions about which version to get, and what features & support to expect from the different versions.

    Which Version of Pro Tools do I need?

    • I want to own Pro Tools 12 outright:  Pro Tools Perpetual Licence will give you permanent ownership of Pro Tools and includes 12 months of free upgrades and support.
    • I want to subscribe to Pro Tools:  Pro Tools Annual Subscription will give you the latest version of Pro Tools and all upgrades that are released during your subscription, if your subscription lapses you won’t have access to the software until you renew the subscription.
    • I want to subscribe to Pro Tools as a Student:  Pro Tools Student/Teacher Subscription w/Support will give you the latest version of Pro Tools and all upgrades released during your subscription as well as access to technical support.  *Education status needs to be proven during registration.
    • I want to Upgrade Pro Tools 9/10/11/SE/MP:  Pro Tools Upgrade & Annual Plan can be used to upgrade your existing version of Pro Tools 9, 10, M-Powered or SE (Bundled versions w/Fast Track Interfaces only), also includes upgrades for 12 months.  At the end of 12 months you won’t be eligible for further updates unless you renew your Annual Support.

    Q.  What are these new Pro Tools licenses all about?
    A. On January 22, 2015, Avid announced that Pro Tools will be offered through a perpetual license or a monthly or annual subscription. These licenses include an upgrade and support plan, providing access to new features—such as upcoming cloud collaboration—and expert help. New Pro Tools Software purchases (perpetual licenses) come with a one-year plan. Subscriptions include access to the plan throughout your subscription. New system purchases (e.g. Eleven Rack, Pro Tools | HD, etc.) do not yet include an Upgrade and Support Plan, but activations starting 1/22/2015 do include the updated v12 software.

    Q.  What is a perpetual license?
    A.  A perpetual license is a license that does not expire—you own it. You get a perpetual license for Pro Tools when you purchase a new Pro Tools system, Pro Tools | HD system or Pro Tools Software Licence.

    Q: If I have a Pro Tools perpetual license and my upgrade and support plan expires, what are my options if I want to upgrade later on?
    A: You will have two options to get access to the latest version of Pro Tools:

    • Subscribe to Pro Tools software on a monthly or annual basis
    • Purchase a new Pro Tools perpetual license (full product) that includes an annual upgrade and support plan

    Q: If I buy Pro Tools software, does it include an upgrade/support plan?
    A: Yes, as long as you purchase the version of Pro Tools that states “Pro Tools Software with Standard Support”.

    Q. Is Pro Tools | HD software available as a subscription?

    A. No, not at this time. Pro Tools | HD software is currently only available as part of a full Pro Tools | HDX or Pro Tools | HD Native system purchase or as an upgrade.

    Q. What happens if I allow my Pro Tools subscription to lapse?
    A. You will no longer be able to use Pro Tools after your subscription lapses. If your subscription has lapsed and you wish to continue using Pro Tools, simply start a new monthly or annual subscription.

    Q. Will I still get bug fix updates if I don’t get an upgrade and support plan?
    A.  Updates are only available on a support plan or subscription.

    Q: Does my upgrade and support plan start from the purchase date or activation date?
    A: Your plan is valid for one year from the time you activate your new Pro Tools software. The same applies to Pro Tools users who buy an upgrade and support plan, which also requires activation.

    Q. Will I have to surrender my old license when I upgrade to Pro Tools 12? Will I lose my Pro Tools 10 license too?A. You will need to surrender your old license, but you will receive a new license bundle that contains Pro Tools 10, 11, and 12 so you can still use the older versions.

    Q.  Can I use my current iLok with the latest software?
    A. An iLok 2 USB keyis required for v11 or higher of Pro Tools and Pro Tools | HD software, but is not included with upgrade or crossgrade purchases.

    Q.  Will Pro Tools 12 include Surround Mixing or will this still be limited to HD?
    A. Surround support is only included with Pro Tools | HD and this does not change with Pro Tools 12.

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