NMK e-magazine February 2010 by NMK Electronics Ent.

Vasundara Das Uses Beta Mics Dj Jen using the Vfx-1

E-Magazine

Namm Show 2010

www.nmkelectronics.com

THE LEGENDARY SHURE SM SERIES CONTINUES.

NEW Shure SM Series Microphones are virtually indestructible, versatile professional gear, equal to the demands of high-energy performance on stage or studio recording. Now, with the new X2u XLR-to-USB Signal Adapter from Shure, you can connect your favorite SM Series Microphone to your PC or Mac.

SM27 Multipurpose and SM7B SM58 SM86 Europe, Middle East, Africa: SM137 Instrument Microphone, Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, Germany X2u XLR-to-USB Signal Adapter Phone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean: Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific: Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com www.shure.com

SM87A

SM57

SM81

Editor’s Note Things are getting really exciting this month as the 2010 NAMM exhibition just got done in Anaheim. There are some really cool new products coming soon this year but we guys at NMK just have to wait in suspense for the new items to arrive. However we just got the new Vestax Djay which is quite awesome if your starting out to be a Dj and also a Mac user. The product is really light and small but is still durable and looks pretty sick near a macbook. There’s a bunch of new stuff as Rane, Pearl and Shure have all come out with something new to make our jaw drops in awe. I don’t know how much better this month can get but I’m pretty ecstatic already with the latest products I’ve seen. Do check out what’s ‘Coming Soon’ so you know how crazy 2010 is going to be... richie@nmkelectronics.com Richie Lozada Hiranandani

NMK Electronics gets the Rane Award for Outstanding Sales Growth in 2009 The NAMM show is the biggest audio exhibition in the US and we got a big reward as well from Rane. However with the new racks and RADs shown during the NAMM show we at NMK defenitely have more to offer and will continue to do better in the following years. We would like to thank Mr.Dean from Rane for giving us the award and all the support Rane has given us throughout the years. We hope to acheive even greater sales in 2010 as we have more to offer from consumer end to professional audio.

Local News

Vasundara Das uses BETA Microphones WBH53T Beta Microphone was bought by the very talented actress/singer Vasundara Das who came by the store and gave us a peak of what she can do with her amazing voice. Das is also an actress and played a significant role in a very popular independent indian movie called ‘Monsoon Wedding’ which got international acclaim. She is now focusing on composing music and NMK will keep providing her what she needs as she defenitely made our new year’s eve day at the office alot better than it should have been.

Local News

Sound, like a Pro. PG Series Microphones, the entry point to professional Shure quality, ruggedness and sound, offer a wide range of microphone and connectivity options for rehearsing, gigging and home recording. Now, with the new Shure X2u XLR-to-USB Signal Adapter, you can connect your PG Series microphone to your Mac or PC. New: PG27/PG27USB Multipurpose and PG42/PG42USB Vocal Microphone, X2u XLR-to-USB Signal Adapter

Offering easy, zero-latency Plug and Play functionality, the X2u connects to all PG Series microphones including the new PG27 and PG42 condenser microphones. Interesting in PC recording only? Shure also offers PG27 and PG42 models with integrated USB connectivity.

PG48

PG58

PG57

PG81

PG52

PG56

Shure - Legendary Performance for over 80 years.

Europe, Middle East, Africa: Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, Germany Phone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean: This area for DC logo and contact information Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific: Nicolas Kyvernitis Electronics Ent. Ltd. Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

P.O. Box 3191, Sharjah, United Arab Emirates Telephone: +971-4-2665244, Telefax:+971-4-2626682 www.shure.com www.shure.com Email:info@nmkelectronics.com Web:nmkelectronics.com

Shure Wireless Powers 32nd Kennedy Center Honors

NILES, IL, December 17, 2009 - On December 6th, the John F. Kennedy Center for the Performing Arts held its 32nd annual Kennedy Center Honors event. Each year, five top American performing artists are selected to receive the awards and are celebrated with a lavish show honoring their lifetime achievements. This year’s event, which will be televised December 29th on CBS, honored writer, actor, director, and producer Mel Brooks; jazz pianist and composer Dave Brubeck; opera singer Grace Bumbry; actor, director, and producer Robert DeNiro; and singer/songwriter Bruce Springsteen. The honorees watched the show from the first mezzanine boxes with President and Mrs. Obama. “It’s one of the classiest events on the calendar, and definitely one of the toughest tickets in Washington,” notes veteran broadcast production mixer Ed Greene, who has worked on all 32 Kennedy Center Honors events. “They put together a tribute segment for each honoree, which includes speeches, performances, and a film package highlighting their important works. One of the great traditions is the appearance of surprise guests, which really makes the whole night special. It’s definitely one of my favorite events.” House audio for the event is by Baltzell Audio Design, known for its work on major televised events ranging from the Academy Awards and GRAMMY® Awards to the Super Bowl and Olympics. Pat Baltzell works with Ed Greene to ensure a smooth, sonically superior show. “Ed mixes for broadcast and I do the live house mix, so we do our planning as a team. We work together a lot, so it’s a great partnership,” says Baltzell. This year’s show was ambitious, requiring 32 channels of wireless, supplied by ATK Audiotek in Valencia, California. Baltzell and Greene elected to go with the Shure UHF-R® system. “When you’re doing everything from high opera and acoustic jazz to show tunes and hard rock, all on the same stage, with the President and First Lady in the audience, you go with the people and the equipment that you trust,” Baltzell states. “Ed and I both love the sound of the Shure mics, and now that they have a microbodypack for costume work, they are an excellent choice for this show.” The UR1M micro-bodypack was employed throughout the show, starting with host Caroline Kennedy. It was also used on the Broadway-style production numbers honoring Mel Brooks, where it was hidden in wigs and costumes; and for Romanian soprano Angela Gheorghiu during the tribute to opera star Grace Bumbry. During Gheorghiu’s number, Shure’s standard UR1 bodypacks also came into play, for a unique arrangement of choir mics. “We had very little time to set the stage and couldn’t use hanging mics,” recalls Ed Greene. “Because the show is taped in hi-def, we needed something

that would basically disappear on camera, so we devised a set of six wireless choir mics using Shure bodypacks.” To create those wireless choir mics, Shure UR1 bodypacks and battery-powered phantom power supplies were secured to a standard Atlas mic stand base, which supported a short desk stand holding a seven-foot length of welding rod, with a black Countryman Isomax2 micro-miniature choir mic at the end. “The welding rod is about the diameter of a coat hanger,” details Pat Baltzell, “and the mic cable is just as thin. We taped them together, and they all but disappeared on camera.” On cue, a group of stage A2s carried the stands onstage and positioned them about four feet in front of the choir. “The mics were in perfect position, high and in front of the group, yet didn’t interfere with the shot,” relates Baltzell. “When you see it on video, it’s like magic –superb sound with no mics in view. It really worked out great.” Where visibility was not an issue, Shure handheld transmitters were in ample evidence throughout the evening. “It’s really one of the main reasons we went with Shure wireless,” says Ed Greene. “First and foremost, I love the sound. We used both the KSM9 and SM58® capsules on this show, and you just can’t argue with the quality of those mics.” That quality definitely came into play in the Kennedy Center Honors final performance segment, honoring Bruce Springsteen. A diverse group of high-profile artists, including Sting and John Mellencamp, paid homage to The Boss, and every wireless vocal was performed with a Shure UR2/KSM9 transmitter. “The Springsteen tribute performance was awesome,” says Baltzell. “For me, it all starts with the vocal mics, especially with wireless, so that’s where I start the mix. I want the lead singer to sound as natural and warm as they possibly can, and it really showed in that segment. That’s why I’ve always been partial to the sound of the Shure capsules.” For a program with the high profile and diversity of artistic performances at the Kennedy Center Honors, there was little room for error. “This is the first year the program was shot in hi-def, in 5.1 surround,” notes Ed Greene. “We captured some great performances, and the Shure wireless systems were flawless, a great credit to the microphones and the crew operating them.”

Global News

Focusrite MD awarded Honorary Professorship

Focusrite Audio Engineering Managing Director Phil Dudderidge has been awarded an Honorary Professorship by Thames Valley University (TVU). The accolade comes after twenty years at the helm of one of the world’s leading audio hardware manufacturers and a forty-year career in professional audio. Earning his stripes in the live sound arena, Phil landed the job as Led Zeppelin’s live engineer in 1970, using a pair of WEM Audiomasters connected together to achieve a 10-channel mixer! Discovering first hand that there was a gap in the market for larger mixers, Phil went on to co-found Soundcraft in 1973, developing the company into Europe’s leading console brand, before selling it to Harman International in 1988. Shortly after this, Phil bought Focusrite, a young company with a prestigious reputation founded by Rupert Neve. Under Phil’s control, Focusrite’s product portfolio diversified from studio consoles, and the company re-focused on the outboard hardware market. Soon, Focusrite’s Red Range mic-preamps, equalisers and dynamics processors were in use in professional studios across the globe, with subsequent product ranges designed for the new breed of home-studio owners selling in their thousands. Today, Focusrite and sister brand Novation, acquired in 2004, are the leading European brands in their respective fields, conquering markets across the globe. Commenting on his Honorary Professorship at TVU, Phil commented “I am exceedingly proud to be chosen for this honour by the Faculty of the Arts, especially by record producer and senior lecturer Pip Williams, who has known me on and off since I was an 18 year old roadie. Education in the recording and live production arts was unheard of when I was young. Today there are countless schools and colleges offering such courses, from basic to advanced degree level, and TVU is without doubt one of the leaders in the field in the UK. I am proud that Focusrite products have been some of the equipment choices made by TVU for the studios, and I look forward to making a personal contribution to the University in the coming years.”

IDA 2009 Champion ! DJ CO-MA

The World IDA 2009 World Finals took place in Poland and representing Japan, the first ever champion from the Asia territory, our very own, DJ CO-MA During the finals, DJ CO-MA selected the PMC-08Pro Mixer to take the championship. We want to thank CO-MA for continuing the detication in the battle scene, YouTube http://www.youtube.com/ watch?v=P2QAiSYWyq0 DJ CO-MA (Myspace) http://www.myspace.com/vmpdjcoma

Global News

Dual Midas XL8 system reworks Snow Patrol The 15-date Snow Patrol Reworked tour of the UK and Ireland recreated songs from the band’s 15-year career with a dual Midas XL8 system at front of house and monitors, provided by Britannia Row. As the shows featured six band members, 10 musicians and special guests, all 96 channels of each desk were full to capacity. “The band wanted to create an organic reconstruction of their songs, so lots of different types of acoustic instruments are being used,” said monitor engineer Tristan Farrow. We have up to 18 musicians on stage at one time, using a combination of in ear monitors and wedge mixes, hence my desk is full. All the inputs and outputs are being used, we even have to use the direct inputs and outputs for the vocal effects.” Tristan was making good use of the system’s automation on this tour. “I’ve had to create a scene for every song,” he said. “Each song needs to be its own picture portrait, with subtle mix changes making all the difference to the emotion conveyed in each song. Also, there are so many instruments that need to be muted and unmuted, that can’t be left open all the time because of the spill. This is combined with musicians changing position and needing their mix to change with whatever instruments they’re playing at the time. The Show Editor feature allows scene changes to become seamless. You can propagate a mix change which is channel and mix specific. Without it, it would be very difficult to do this show with the continuity the musicians demand.” The XL8’s Area B section was also a useful feature.” I can be mixing down one end of the desk, and my assistant and Britrow technician Josh Lloyd can be up the other end fielding requests from the musicians and dialling them in separately. So we can both mix on the same desk, which has always been an issue with digital consoles, as usually you can’t do two things at the same time.” Given the amount of instruments onstage, including guitars, harp, accordion, banjos, mandolins, xylophone, glockenspiel, violins, cello, pianos, drums and a percussion section, the XL8’s small footprint has been a bonus, particularly as all Tristan’s effects and dynamics are onboard. “The desk’s EQ is fabulous, and I particularly like the low pass filters, especially with this many mics on stage. You can tidy up the cymbal spill down the vocal mics, which has really helped with a lot of the mixes, because 90 open mics can lead to a bit of a mess. I’m a big fan of the compressors, but I’m not using anything to colour the sound, rather to help solidify it.” Over at front of house, Suneil Pusari – a Midas man by choice - was touring the XL8 for a first time, having worked extensively with XL4s in the past. “Due to the complexity of the show, using a digital board has simplified dealing with so many changes,” he said. “To try do this on a analogue board could be a nightmare. The show itself changes so much I wanted to keep a level of coherency from song to song. For it to be changing dramatically in terms of effects or tone wouldn’t suit it. The show starts off very simply with just the harp and a vocal and builds gradually, so I wanted the mix to build organically as well.

Global News

“I’m using the onboard delay for space rather than effect, for example, and the gates and compressors are great, with the four modes of compression all doing what they’re supposed to. I find them really accurate, unlike a lot of digital compression. It’s a very musical board, it has tone and character and you can feel what it’s doing, so you work with the board rather than using it as a means to an end. Suneil is also using the XL8 automation’s Show Editor feature. “This comes in very handy because the band change their arrangements and instrumentation every day, so we can start off with scenes and quickly go in and change things, either across the board or individually,” he said. Given the unique nature of each show, each one was recorded using a Klark Teknik DN9696 high resolution audio recorder. “It’s very straightforward to set up and use, the recorder is very reliable, and it’s also been good for virtual soundchecks,” said Suneil.

Drums are the New Violins

Percussionists Go From Background to Podium By ALLAN KOZINN If you think about it, drums are the new violins. This is a realization I have come to relatively slowly, given the prominence of percussion in contemporary music, not to mention the number of performances by solo percussionists and percussion ensembles I’ve reviewed over the last two decades. As someone who misspent part of his youth putting together rock bands, I always had the hardest times with the drummers. They were the egotists who wanted their names, rather than the group’s, on their bass drums, and they were the ones who thought that the intricate acoustic number would be a great place for a 20-minute drum solo. My attitude probably began to change in college, when I sat next to a percussionist in my music-theory class and asked him for advice about a chamber piece (with a percussion part) that I was writing. My problem was that I wanted an effect that used a fairly unwieldy gong, and I planned to use it only once in the entire three-movement piece. “So what’s the problem?” he asked. I told him that as much as I wanted the sound of the gong in that one bar of music, I thought it seemed silly to have the instrument dragged to a concert hall for just one stroke. He laughed and said, “But that’s what we do.” Of course it is. If you keep a close eye on soloists like Ms. Glennie or groups like So Percussion, when they do their thing, you will not only be satisfied that all the hundreds of items in their stage setups were used at some point in the performance but also that a great many of them were touched only sparingly. If efficiency were the ideal, percussionists would record samples of these items (they are often not actually instruments, but rather tin cans, teapots, brake drums and other found objects) and load them onto a laptop or an electronic keyboard. A composer might do just that. But no selfrespecting percussionist would. Having established their centrality to the sound of contemporary music, percussionists are beginning to make themselves heard in other ways; for example, by composing and conducting. Again the contrast with the 19th century and even the first part of the 20th century is enormous.

Time was when the great composers of the classical canon were overwhelmingly pianists and violinists. So were the most important conductors. It made sense: pianists are trained to deal with varied, often dense polyphonic textures and have cultivated a discipline that lets them control the strands within these textures with a startling independence. That is a skill conductors need. And for composers, there is nothing like a keyboard for trying out passages with complicated rhythmic or harmonic combinations.

Global News

Microphone stand 210/2 demonstrates greatness

A product making history for König & Meyer the music accessories manufacturer. An absolute classic, the microphone stand 210/2 has been around for over 4 decades. Sixty years ago Karl König and Erich Meyer founded the company König & Meyer in Wertheim and initially produced music stands and thread gauges. In 1954 production of microphone stands in collaboration with Siemens began. The first microphone stands had a screw-on base section and no boom arm. At the end of the 50s, the company’s founder Karl König developed a unique swivel joint to adjust a boom arm and improve functionality. Martin König, the son of the company founder began work as far back as the 50s as a tool maker in his father’s business also making microphone stands. After completing his degree in mechanical engineering and having worked for Philips

and BASF, he returned to the company as plant manager in 1965. In 1966 father and son developed a new base construction for the microphone stand. The screw-on base was replaced by a folding base section and the shape of the base was re-designed – a design that still holds good today. The microphone stand 210/2 was born! Even today, with its clever functionality and extreme longevity, it sets the standard for a professional and reliable stand for both stage and studio. Utilisation of high-quality materials and optimized production processes guarantee top quality for the 210/2 and all other König & Meyer’s products. The photograph shows Martin König with his personal “favourite” product – this is not a photomontage! The larger-than-life version of the great 210/2 was faithfully recreated for König & Meyer’s 60th anniversary celebrations.

www.nmkelectronics.com djmag.indd 1 1 sound&stage.indd

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Two-Channel Tempest2400 2.4GHz Digital Wireless System Tempest now comes in a two-channel version. Now you can have the features and performance of the award winning Tempest 2400 four-channel system in a two-channel configuration. The two-channel version offers the convenience of a single antenna port on the BaseStation as well as both a dual listen/talk and a single listen/talk BeltStation mode of operation. The two-channel system still has all of the features that have made Tempest the fastest growing wireless intercom product on the market, but now you have a choice of two or four intercom channels. Tempest2400 is the only digital wireless intercom system that offers world-wide, licensefree operation in the 2.4 GHz band. • Compatible with all major 2-wire and Matrix intercom systems • Capable of functioning in very high ambient noise environments with extremely high audio dynamics range (>94dB) • Patented RF architecture allows the system to co-exist with Wi-Fi networks • Utilizes Frequency Hopping Spread Spectrum (FHSS) technology to maintain the high possible voice audio quality • Enhanced with 2xTX technology that greatly increases audio intelligibility by sig nificantly reducing the Effective Packet Error Rate • iSelect On Command Roaming to allow users to move from one coverage to another • Other Base Station features: Stage Announce, Unique GPIO Contact Closures, Remote Talk Kill and Auxiliary Input/Output

Coming Soon

RANE Sixty-Eight Mixer supports 4 Decks and 2 laptops Rane and Serato welcome the ultimate club mixer experience. Introducing the first Scratch Live compatible DJ mixer that allows two computers to be connected simultaneously. Using two USB ports, the new Rane SIXTY-EIGHT mixer lets two DJs play Scratch Live at the same time, allowing seamless handover from one DJ to another. You can also control up to four decks with a single laptop. Armed with studio-grade phono preamps and S/PDIF inputs to provide a blend of analog and digital audio sources like never before, the Rane SIXTY-EIGHT features easy to use internal digital effects, and direct control of over 30 Scratch Live library, cue and loop functions. Serato adds four new Display Modes into Scratch Live 2.0. These new screen layouts introduce 2, 3 or 4 deck control, each with clean design and your choice of Library Views. Additional tools can be activated in Scratch Live that give you an expanded view and instant control of a range of free plug-ins including the SP-6 Sample Player, brand new Serato DJ FX and direct access to Ableton Live via â&#x20AC;&#x153;The Bridge.â&#x20AC;? You can also add the optional Serato Video-SL plug-in to bring exciting visuals into your performance. You now have access to more tracks and effects than ever before with the clean and simple control that makes Scratch Live the number one choice for professional DJs. The Rane SIXTY-EIGHT Mixer scheduled ship date is April 2010

Coming Soon

Ableton Transport Control (ATC) The Bridge provides Ableton Transport Control (ATC), a whole new way to DJ Live. Control Ableton Live with a turntable, CDJ or ITCH controller. Scratch Live or ITCH provides deck control, mixing, nudging and DJ style looping; Ableton Live lets you remix multitrack files, mute/solo tracks, use virtual instruments, change drum patterns, manipulate audio, tweak effects and launch loops in real time. Mix your beats into your DJ sets. Stay ahead of the competition with the freshest reedits. Audition new productions. Change your mix or add effects in real time. Whether you’re performing, backing a vocalist, MC or playing with a live band, you can manipulate your multitrack sessions in Ableton Live on the fly using your decks to control Ableton Live’s transport - see what makes your crowd move. Activating the “Ableton View” in Scratch Live or ITCH opens a representation of Ableton Live’s Session View, where you can launch clips and scenes, control instruments and devices, mix, mute and solo - all from within your ITCH or Scratch Live user interface. The Ableton View displays critical information from your Ableton Live Set, including: • Clips, including clip name, color and play buttons • Clip progress • Track levels • Level meters • Sends A and B • Device control for effects • Track solo, arm and mute The Ableton View can be customized to show 4, 5, or 8 scenes, and 4, 6 or 8 tracks. You can always switch to the full Ableton Live application for in depth control. Mixtape Heaven Play your mix rather than cut and paste in a DAW. Forget about having to start a mixtape from scratch because of a mistake at minute fifty-nine. The Bridge is the ultimate mixtape creation tool, letting you export your Scratch Live or ITCH mix as an Ableton Live set. Depending on your Serato hardware setup, fader movements, EQ tweaks and Crossfader cuts on your DJ mixer are recorded as automation and can be edited after the tape stops rolling. Before you start your DJ set, choose save as “als” from the recording menu within Scratch Live/ITCH. Instead of recording an audio file, you’ll get a fully automated Ableton arrangement, complete with song placement and automation data. You can edit your Ableton Live Set as much as you want: add new loops, apply effects, adjust your timing, smooth out your fades and obviously, correct any slip-ups. Not only does The Bridge make things easier, you also get a world of additional tools for tweaking your mix to perfection.

Be Real. Get Real

Pearl E-Pro Live is a revolutionary electronic drumset that looks, feels and sounds like real drums. Never before has today’s drummer been offered the limitless sonic capability and realistic feel of electronic drums on a drumset built with real drum shells, real brass cymbals, and real drumset hardware, all from the percussion industry’s leader, Pearl. Pearl E-Pro Live looks like real drums because the appearance of your gear is important. It’s a statement about who you are as a performer. As drummers we would rather be seen playing real drums and not a collection of practice pads. No more playing on small, black 8” pads. Pearl E-Pro Live features 10 x 6.5, 12 x 7 and 14 x 8 rack toms with a 20 x 12 bass and 14 x 4.5 snare with white heads. Real Feel is the next important ingredient of E-Pro Live. Because, whether you’re practicing or performing, we believe playing electronic drums should feel as much like playing acoustic drums as possible. Playing traditional electronic drums with their tightly configured small pads forces you to alter your playing style. E-Pro live drums are sized

and configured exactly like acoustic drums for a natural and real feel. No one makes better hardware than Pearl, and the foundation of Pearl E-Pro Live starts with the modified Icon Rack. The tom arms, shells, cymbal holders and rack are all covered by Pearl’s lifetime warranty. The rack will accommodate adding more drums and cymbals. The ultimate goal of a drum module is to reproduce the REAL SOUND of drums. And who better to engineer REAL SOUND than Pearl, the company who knows drums the best. The r.e.d.BOX is Pearl’s drum module. R.E.D. stands for REAL ELECTRONIC DRUMS, and it’s also the color of this amazing module. The r.e.d.BOX has 128MB of RAM. The full memory is used to accommodate the Original Acoustics of 1000 High Definition sounds and 100 High Definition kits. The sound library includes acoustic and vintage drums, electronics from beat machines to modern digital and a variety of orchestral, concert and world percussion instruments. All sounds are fully editable including Tuning, Decay, Filtering, Level, Panning and Attack. Assign effects include Reverb, EQ, Flanger, Chorus, Vibrato, Delays and Compressor.

Tuning used to be a necessary evil. The last barrier before you could get truly rocking. But now, tuning is ready to get blasted into the 21st century with PolyTune, the stomp-box sized tuning miracle from TC Electronic! PolyTune is the world’s first polyphonic tuner, and a game-changing total tuning turnaround that will have future guitarists wondering how we ever got by without it. The magic lies in a never before seen approach to tuning aimed at speed, accuracy and ease of use. With PolyTune, you simply strum all strings on your guitar or bass at once, and it will immediately tell you which strings need tuning! This cutting-edge tuning technology revolutionizes the way you tune and accomplishes what has been deemed ‘impossible’ until now: tuning all strings simultaneously! It really is as simple as strum - tune - rock, and this quantum leap forward allows you to get in tune fast, and back to doing what you love: playing. Strum - Tune - Rock Providing an instant overview of the pitch of all your strings, PolyTune is an invaluable tool in live-settings, where it is essential to be in tune quickly and ready to play. Crowds don’t want to wait around, they want to rock, and, let’s face it, so do you. Besides live use, this stomp box will deliver like no other in any situation where you want to get tuning out of the way and focus on play. Fever Pitch Equally effective for guitar and bass, PolyTune is extremely flexible as well. The reference pitch can be set to your preference and ranges from 435Hz to 445Hz. This guarantees you’ll be able to play along with anyone, with any instrument and in any situation. Drop it like it’s hot If you are a guitarist that likes to play at a different pitch than standard, this is your go-to pedal, allowing for dropped tunings from E-flat all the way down to B. Whatever your pitch or tuning, PolyTune is a sure-fire way to be spot-on, with an accuracy of just plus/minus 1cent.

Chromatic champion Besides the Polyphonic tuner, PolyTune has a chromatic tuner that can hang with the best current tuning technology out there, with an amazing 0.5 cent accuracy. But we are never satisfied with the current norm, and added some features to make this tuner’s chromatic section stand out from the crowd. Tuning modes Let’s start with the two separate chromatic tuning modes, which cater to your individual preferences and needs. Needle mode is for those that are used to the classic view on a tuner. For the people that want a little more real-time information, we have included stream-mode, which measures even the slightest pitch variation and instantly feeds the info back to you via a rotating motion on the display. What is the Matrix? PolyTune features 17 LEDS which allow for a higher resolution and the LEDs themselves are super bright and focused to ensure optimal visibility at all times. This guarantees the most effortless tuning experience money can buy. And as an added bonus, the 100 LED matrix can give you information right on the display, so you won’t have to go dig for the manual mid-gig. Size Matters PolyTune will brighten any pedalboard, and we aren’t just talking about the LEDs! Besides looking like a million bucks, its small footprint design means that PolyTune doesn’t take up more of your precious pedalboard real estate than absolutely necessary. Spruce the juice Battery changes are a breeze thanks to the one-screw easy access to the battery compartment and when powered by an external 9v DC power supply, the 9v DC out can be used to power other pedals on your board. True Bypass The true bypass feature ensures PolyTune is only there when you need it. It allows for your carefully sculpted tone to flow unaffected when the pedal is bypassed and for silent tuning once engaged. We can’t make tuning fun. But we can sure make it a whole lot easier. We want to do our part for the guitar community and truly innovate the life of guitarists. And with PolyTune’s extraordinary features and cutting-edge technology, we feel we have accomplished just that. We are passionate guitarists ourselves and we work every single day to make all our lives easier and more rocking. We did it for multieffects with G-Force, G-Major2, Nova System and G-System, we did it for stomp boxes with the Nova series, and now PolyTune is here to give tuning a much needed kick in the A440!

Coming Soon

Overview With eight channels of Focusrite microphone pre-amplification, eight VCA-based Red 3-derived compressors and built-in 24-bit / 96 kHz digital inputs and outputs, OctoPre MkII Dynamic is Focusrite’s feature-rich expansion upgrade for any digital audio workstation. It’s equally an ideal expansion for any analogue or digital console, or hard disk recorder. Digital inputs and outputs let you make the most of often-neglected ADAT i/o; ideal for expanding the number of mic-pre inputs on your interface or for providing analogue monitoring from any digital ADAT feed. With this entire package fitting into a single 1U chassis complementing Focusrite’s Saffire PRO range, and all controls adjustable from the front fascia, OctoPre MkII Dynamic sets the standard for modern, compact, multi-channel recording expansions. • Eight award-winning Focusrite pre-amps Focusrite’s unparalleled pre-amp legacy forms the foundation of this new device, with pre-amps optimized to handle extreme levels from sound sources like acoustic drums. • Eight ‘single-dial’ Focusrite Compressors A single dial gets you to the right amount of compression, fast. These new VCA-based, feed-forward compressors model the character of the celebrated Focusrite Red 3. • Compress transparently or with effect The classic soft-knee design achieves beautifully transparent compression that caresses your sound. Focusrite’s unique “More” switch doubles the ratio to deliver ‘compression with effect’. • Built-in eight channel 24-bit / 96 kHz digital outputs Make the most of your interface’s ADAT input for tracking, with eight channels of analogue to digital conversion via ADAT, boasting a ‘real world’ dynamic range performance of 110dB. • Built-in eight channel 24-bit / 96 kHz digital inputs Switchable from the front panel, digital to analogue conversion via ADAT provides analogue monitoring of any digital ADAT feed, as well as the ability to clock from any ADAT device. • State-of-the-art Clocking Solutions OctoPre MkII Dynamic’s internal clock delivers a jitter performance of +/- 20 PPM. For external clocks, industry-standard JetPLL™ jitter elimination technology is employed • Two high-quality instrument inputs OctoPre MkII Dynamic’s first two channels feature DI’s, ready for you to plug in your Guitars and Bass. No expensive external DI required.

Additional features: • Input clip and Compression active LEDs on every channel • 5 LED input metering on every channel • Phantom power available on every channel (switched in two groups: 1-4 and 5-8) • 24-bit resolution, 44.1, 48, 88.2 and 96kHz sampling rates • Internal clocking, master clocking and external clocking via BNC or ADAT

New AM 1 Automixer with RAD port and USB Audio I/O The Rane AM 1 Automixer is part gain-sharing automatic mic mixer, part manual line mixer, part USB audio I/O device, and simultaneously a Rane RAD. Use it as a standalone mic/line mixer, add more gain-shared mics using up to seven Rane AM 2 Automixers (sold separately), and/or use the RAD Port to transport the mix via a Rane Mongoose to a CobraNet network. Four XLR mic/line inputs with level controls feed a gain-sharing automatic mixer. A front panel Mic Mix Level control adjusts the automixed mic volumes. Three manually-mixed audio inputs with level controls are also provided: dual RCA, 3.5 mm and USB audio are each monoed. A dedicated rear panel USB Charge port provides power to USB sources such as iPods. The XLR mix output offers a mic/line switch to feed either a mic snake or a line-level input. The AM 1’s USB audio I/O is mono 16-bit, 48 kHz and permits playback and simultaneous USB recording using dozens of popular audio software programs. The AM 1 Automixer will be available April 2010. New AM 2 Automixer Begins with 8, Expands to 64 Mics The Rane AM 2 Automixer is both an 8-channel gain-sharing automatic mic mixer and a Rane RAD. Use it as a standalone mic-only mixer, add more gain-shared mics using up to seven more AM 2 Automixers, and/or use the RAD Port to transport the mic mix via a Rane Mongoose to a CobraNet network. To add manually mixed line sources, including USB audio, the AM 2 cascades to the Rane AM 1 Automixer (sold separately). Each of the eight XLR mic/line inputs offers front panel level controls feeding a gainsharing automatic mixer. The XLR Main Output can be set to mic- or line-level to feed a mic snake or a +20 dBu max balanced input. The RAD Port sends the AM 2 Output mix to a Rane Mongoose for routing to a CobraNet network. The Cascade IN port allows mic expansion to a maximum of eight AM 2s, providing up to 64 gain-shared mics. The AM 2 Automixer will be available April 2010. New MLM 65 Mic / Line Mixer Simplifies Operation The Rane MLM 65 Mic/Line Mixer manually mixes up to 6 mic/line XLR inputs and plays back one of several stereo audio inputs, including modern USB audio and old school vinyl. Stereo XLR outputs and simultaneous digital audio recording of the mix to S/PDIF, TOSLINK and/or USB audio provides a formidable mixing ally in today’s audio world. The MLM 65 is simple enough for non-technical operators and it’s dedicated USB Charge port supports MP3 players. The MLM 65 appears in Windows or Apple OS as a standard USB audio device and both incoming and outgoing audio is stereo 16-bit, 48 kHz PCM. This accommodates pristine, beyond-CD-quality audio to or from dozens of instantly compatible computer audio software programs. The MLM 65 Mic/Line Mixer will be available April 2010.

Shure Unveils PSM 900 Wireless Monitor System At Winter NAMM 2010 Uses Shure’s newly-introduced SE425 sound isolating earphones

The new Shure PSM 900 wireless monitor system, unveiled at the ongoing Winter NAMM 2010 show in Anaheim, is encased in an all-metal, ultra-thin wireless bodypack receiver (P9R), paired with a half-rack single wireless transmitter (P9T). The new PSM 900 uses Shure’s newly-introduced SE425 sound isolating earphones, which feature enhanced sound signatures and premium dual loudspeaker technology. Unlike earlier SE models, the SE425 includes a detachable cable and formable wire at the earpiece, giving performers accurate sound and a secure fit. Shure’s patented Audio Reference Companding - a more efficient process for compressing audio signals prior to transmission - and advanced digital stereo encoding, the PSM 900 delivers a natural sound with less noise and greater dynamic range. The PSM 900 receiver features the same front-end filter as Shure’s UHF-R wireless system, as well as active RF gain control that automatically reduces receiver sensitivity when an overload of RF signal is detected. The P9R bodypack is, according to Shure, the thinnest personal monitor bodypack available. The PSM 900 includes CudMode, a patent-pending feature that allows users to audition up to 20 different monitor mixes on a single bodypack at the touch of a button. Any P9R can be used in CueMode so that monitor engineers can quickly hear each performer’s mix, without the need for any additional equipment. The P9R includes “MixMode” technology, which allows performers to easily set their own levels and create the mix they want without affecting others on stage. “The audio quality of the PSM 900 system is remarkable,” raves Earl Neal, Monitor Engineer for country superstar Toby Keith. “The use of colors in the LEDs makes the system easy to read at-a-glance, and I really like the construction of the transmitter and pack. I can’t wait to use a rack of these on tour.”

The PSM 900 will be available to ship in mid-2010, and comes with a two-year limited warranty. PSM 900 Feature Summary: - Highly efficient 36 MHz tuning bandwidth with optimized frequency ranges allows more channels on-air - Precision front-end RF filtering significantly reduces RF interference for a cleaner, stronger RF signal, fewer dropouts, and less audible artifacts - Up to 20 compatible frequencies per frequency range for up to 20 different mixes - Up to 1,440 user-selectable frequencies - Patented Audio Reference Companding - Scan and Sync for simplified setup with no need for additional accessories - â&#x20AC;&#x153;MixModeâ&#x20AC;? technology to balance the level of two separate channels while simultaneously listening to both signals in both ears - Cue Mode allows storing and monitoring of up to 20 different stage mixes on one bodypack for quick and easy reference - Low profile, all-metal bodypack is the thinnest available, rugged and loaded with innovative features - LCD menu with grouped menu items for easier user interface

Coming Soon

What’s NEW?

PROFESSIONAL SOUND FROM EAR TO EAR.

The SRH750DJ Professional DJ Headphones feature 50 mm neodymium dynamic drivers tuned to deliver high-output bass with extended highs, perfect for meeting the demands of live professional DJ mixing.

SRH240

SRH440

SRH840

For more than 80 years Shure rugged, professional audio products have been defined by a legacy of legendary performance. This passion for audio excellence also drives Shure Professional Headphones. These headphones live by a simple rule: What goes in must come out. Designed to withstand the rigors of everyday use, they are an excellent choice for music professionals and music obsessives − for recording, monitoring, DJing and personal listening.

Europe, Middle East, Africa: Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, Germany Phone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean: This area for DC logo and contact information Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Nicolas Kyvernitis Electronics Ent. Ltd. Asia, Pacific: P.O. Sharjah, United Arab Fax: Emirates ShureBox Asia 3191, Limited, Phone: 852-2893-4290 852-2893-4055

34 Telephone: +971-4-2665244, Telefax:+971-4-2626682 www.shure.com www.shure.com Email:info@nmkelectronics.com Web:nmkelectronics.com

Tv production center zürich ag (tpc) relies on Neutrik’s fiber optic connection system Swiss sport events are transmitted in HD via Neutrik’s opticalCON. Since 2005 Neutrik offers a fiber optic connection system. The re-liable and simple concept of the opticalCON system has proven its robustness and low maintenance which led to a wide acceptance. These product attributes as well as quality and innovation made the company to the world wide leading supplier of professional entertainment connector products. tv productioncenter zürich ag (tpc), the leading Swiss general contractor for audiovisual media, which’s customers are well-known companies as BMW, the FIFA, Swiss Television or the ORF, relies on Neutrik. Bruno Keller, Project Supervisor Engineering tpc: “New equipment and new technologies like for example HDTV, ask for increasing data transmission rates, which can hardly be realized with copper cables any more. In this regard fiber optics can be classified as the perfect suitable and up to date transmitting medium for new technologies. The consequent use of fiber optics requires a reliable connector accordingly. tpc has chosen the opticalCON first of all because of its operating reliability.” tpc: New HD Neuer HD-OB van in the field The HD2 of tpc is the world’s latest HD-OB van. The special purpose vehicle is a mobile direc-tion for video, audio and light and offers state-of-the-art production engineering in a minimum of space. The HD2 produces with up to twelve cameras in high definition format und in high digital quality (dolby surround 5.1). For this the vehicle is equipped with more than 3 km Neutrik fiber optic cable and reliable opticalCON system components. In December it went into action for the first time at different sport and show events. “After one year of planning and building time we have a further HD production equipment which has already proven in short time at different events like gala shows and sport matches” Peter Flückiger, audio project manager, sums up and is happy: “The opticalCON cables have proven very well in the HD2.”

What’s New

DJ Jen on the VFX-1 Dj Jen is usually hanging out at Deira Virgin Megastore and playing with her favorite Dj toys such as the new Vestax VFX-1 which she seems to like alot these days. If you would like to see her perform do check her out at The Warehouse where she usually is or you can just pop by Virgin and hopefully she will be there to demo some new Vestax items for you.

Artists

Black Supremacy gets the Rane TTM57SL

These four talented guys are making moves in Dubai and are going to do even bigger things with their latest investment on the TTM57SL. For people who are into dancehall, raggaeton and hip hop you would be quite interested in their music so do check out their website which is www.blacksupremacy.com

Artists

The TTM 57SL integrates the best of Rane hardware with Serato Scratch LIVE software, allowing you to fully control Scratch LIVE without touching your laptop! SCRATCH LIVE CONTROL SURFACE Control Scratch LIVE without taking your hands off the mixer. Navigate through your library, load tracks, hit cues, loop and control effects via the integrated control surface. Foot-switch connection for hands-free looping, sampling and effects.

FUTURE PROOF The features and functionality of your mixer will improve with each new Scratch LIVE software release – and all Scratch LIVE updates are free! ADVANCED RECORDING CAPABILITIES Record your mix directly to hard drive. Choose between one single mixed output, or channel 1 and 2 post-fader separately. Perfect for editing after the mix – a mixtape DJ’s dream! EFFECTS 24-bit effects using Rane and Serato’s award winning studio and live sound software technologies gives you professional studio-quality sound. MAGNETIC FADERS Rane’s legendary patented magnetic faders are the fastest, most accurate, and longest-lasting on the planet. The TTM 57SL uses the same faders and performance-oriented layout that made the TTM 56 famous.

EXTERNAL AUDIO INTERFACE Use the TTM 57SL as a high-quality USB audio interface for your favorite Mac or PC software – USB 1.1 with 8 channels of streaming 16-bit / 44.1 kHz audio and on-board DSP processing.

HARDWARE FEATURES • Internal universal power supply • 4 line / phono inputs • EQ kills on low, mid & high • Dual headphone outputs: 1/4” and 1⁄8” jacks • Rane’s famous “FlexFX” effects loop system, in addition to built-in effects • RCA, TRS and XLR outputs, each with dedicated level controls

Nicolas Kyvernitis Electronics Ent. Ltd. P.O. Box 3191, Sharjah, United Arab Emirates Telephone: +971-4-2665244, Telefax:+971-4-2626682 39 Email:info@nmkelectronics.com Web:nmkelectronics.com

Contact Details General Enquiries Telephone: +971-4-2665244 Telefax : +971-4-2626682 Email : info @ nmkelectronics.com Sales Support Romeo Dela Torre romeo @ nmkelectronics.com Donnie Chaves donnie @ nmkelectronics.com Order Processing Ida Rosauro orders @ nmkelectronics.com Logistics Servando â&#x20AC;&#x153;Totoâ&#x20AC;? Caraiga logistics @ nmkelectronics.com Service Shaju Thomas service @ nmkelectronics.com Accounts Roy Varghese accounts @ nmkelectronics.com

www.nmkelectronics.com

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