Mar New Arrival & News

Lectrosonics HH Digital Hybrid Handheld Wireless Transmitter 

Lectrosonics offers one capsule for their HH transmitter: the HHC cardioid condenser. It is a warm and crisp, open-sounding element that can be best compared to a C-535 without its HPF engaged. However, OEM wireless capsules with the same thread diameter and pitch can be used, including those from EV, Blue, Earthworks, Heil, Telefunken and many from Shure. Audix, Neumann and Sennheiser capsules can be used with adaptors.

Measuring a quarter inch longer, a millimeter slimmer and an ounce lighter than Shure’s UR2 handheld, Lectrosonics’ HH transmitter fits into standard 2-inch diameter mic stand clips. Lectrosonics also provides a padded blue pouch (with a convenient business card holder on the outside) and a handy four-battery AA storage cartridge that’s helpful for users who purchase in bulk and need to furnish fresh batteries with their transmitters.
Live Applications
While Lectrosonics makes many wireless receivers designed for film and broadcast, their single rack-space Venue receiver is a unique value for live sound applications, because it provides up to six receivers in a 1RU chassis, permitting higher-than-normal rack density. Secondly, the Venue frame allows the flexibility of using various combinations of their 25.5MHz-wide frequency blocks with a choice of standard (VRS) or tracking front-end (VRT) receivers.
I’ve used a Venue for a couple years with their affordable LMa body-pack transmitters, while looking forward to the new HH. The Venue “Low” frame supports receiver modules covering most of the U.S. UHF TV spectrum from in eight consecutive 25.5MHz groups (block 19 to 26), plus an additional one that starts at 470.1MHz and overlaps block 19.
We won’t review the Venue here other than to point out that it is compact, affordable and never fails to impress engineers. This Road Test focuses on the new HH transmitter.
My Venue is loaded with six block 24 VRS receivers, so it operates in the unoccupied TV channel “safe haven” for unlicensed microphones just above 614MHz (TV 37, reserved for radio astronomy), and I easily get all six to coexist within 6MHz-wide TV 38 (614-630MHz). Naturally, I ordered my pair of HH transmitters in the same block 24.
Lectrosonic’s patented Digital Hybrid Wireless audio chain preserves audio quality, overcoming analog RF noise without resorting to use of a compander by encoding the analog signal into 24-bit digital, transmitting it over analog FM and then decoding it in the receiver, improving range and efficient use of spectrum while providing frequency response to 20,000 Hz.
Secret Weapon
Due to its lack of companding, Digital Hybrid is a secret weapon of both guitar techs and system engineers wanting to employ wireless FFT measurement mics. The resulting audio transmission is impossible to tell apart from hardwired mics (or guitars) other than 3 ms of latency.
Tuning for Lectrosonics is classically  in 100 kHz steps, providing 256 frequencies in each block, but can be switched to 25 kHz steps in “fine” tuning mode when needed. In the Venue receiver and in the HH transmitter, this is simply a menu selection.
HH, like other current Lectrosonics wireless transmitters (and receivers) is not only backwards-compatible with previous Lectrosonics “200” and “100” analog systems, its “mode 6” is compatible with Shure’s previous-generation “MARCAD” companding, while “mode 3” is compatible with Sennheiser’s “HiDyn plus” companding.
The HH transmitter provides nearly six hours of battery life on two alkaline AA batteries, more than enough for line check, sound check and a show (or 10 hours with Lithium batteries). An icon on the receiver’s main window displays a familiar battery fuel gauge. Inside, HH employs a clever blue lever that assists in ejecting the AAs for rapid battery changes.
The lower housing unscrews with a three quick spins, sliding open to a detent, but keeping its lower shell captive, to reveal a control panel with six membrane switches and two modulation LED meters. The nine sub-menus are straightforward and described in a manual that’s as well constructed as any Lectrosonics hardware. The HH has a number of unique features.
Pressing the power button without holding it for three seconds turns on the transmitter with its RF muted. Similarly, the power button must be depressed for three full seconds to turn it off. The backlit LCD multifunction display on the exterior can be programmed to turn off after 30 seconds, five minutes or to remain lit.
Dual bi-color LED signal meters assist gain adjustment for the particular capsule and individual voices for maximum modulation. The first (-20) glows red when the first limiter stage kicks in, and the second (-10) glows red when the second stage of the dual-envelope limiter engages, for over 30 dB of limiting. As a variety of capsules are accommodated, audio gain can be adjusted up to 45 dB in 1 dB steps. Low-frequency roll-off can be selected as 35, 50, 70, 100 or 125 Hz (– 3 dB down) with a steep 36 dB per octave slope.
A small momentary button on the side of the HH can be programmed for mute or to direct the audio to an alternate, unused output on the Venue receiver for studio or control-room talkback, or even private IEM communication on live stages.
Hidden features include an RF output isolator that blocks RF energy from coming back into the transmitter from others in close proximity, thus greatly reducing intermodulation (IM). HH also incorporates an internal helical antenna, reducing dropouts in any orientation when used with any receiver antenna type.
Output power can be set for either 50mW, the legal maximum for unlicensed users, or increased to 100mW to extend operating range, though only legal for licensed users and slightly shortening battery life. There’s also an IR sync port for use with future Lectrosonics receivers. ( Arriving in 3rd week March)





The TELEFUNKEN Elektroakustik M80 Dynamic microphone has rapidly become a new standard for live performance and stage use. The microphone features a low-mass capsule built with a super thin Mylar membrane that is coupled with our propriety step-up transformer to give superior clarity and extended high frequency response (which in many ways is similar to what one might expect from a condenser microphone), in a rugged design meant for daily abuse in touring applications.
The M80 Wireless Head is now available in two models (each in either CHROME or BLACK finish). The M80-WH is based on the SHURE brand wireless products, while the M80-WH6 is designed to mate with the Line 6 brand products.
In 2008 a band called Green Day tried the M80 and found they liked the tone of the microphone in various applications, but especially on vocals. The only fly in the ointment was that Green Day isn't a club band, they're an internationally prominent act that regularly sells out arena and stadium venues, which in this day and age means that a wired vocal microphone is out of the question.
After a bunch of experimentation and some custom machining the design team at TELEFUNKEN Elektroakustik was able to successfully modify Green Day's current Shure® wireless mics to feature an M-80 wireless head, complete with TELEFUNKEN Elektroakustik headgrill, capsule, and output transformer.
After giving the modified Shure® mics a try, more than 40 wireless modifications were ordered by Green Day as they embarked on a world tour. From this success "team TELEFUNKEN" developed a standard modification process for Shure® microphones (which made the guys at Shure® a little angry with us!!).
This is an entire M-80 (capsule, head grill, output transformer), neatly packed in a much shorter body with the screw on terminal connections. The result is a whole lot of microphone crammed in a little tiny space that provides 10 pounds of sound in a 6 oz package. ( In stock now)




CU-29 " Copperhead
TELEFUNKEN Elektroakustik microphones are known for their beautifully detailed reproduction and historic accuracy. Because TELEFUNKEN Elektroakustik's Diamond Series microphones are meticulously made to historic detail with no expense spared, that also makes them rather expensive for the average small studio or home enthusiast. With this in mind, the R-F-T Series of microphones was created.
The R-F-T line of tube condenser microphones utilizes American designed electronics in conjunction with New Old Stock tubes and standardized parts from overseas manufacturers. While we have not "cut any corners," we have been able to provide a lower cost alternative to more expensive microphone systems, without sacrificing the qualities that you would expect from a TELEFUNKEN Elektroakustik microphone.
With the CU-29 "Copperhead" we went even further to ensure quality while working toward the goal of providing TELEFUNKEN Elektroakustik craftsmanship that just about everyone can afford.
No detail was left unattended. Specific attention was given to circuit board layout, with countless revisions done to optimize current flow and directness of traces. Each component was experimented with and individually selected for the best sonic and electronic qualities. Lastly, careful attention was put on keeping high impedance lines as short as possible to maximize efficiency and minimize unwanted noise.
The amplifier found in the R-F-T CU-29 "Copperhead" features a new proprietary circuit designed around a NOS TELEFUNKEN tube and a custom output transformer. Being a "cardioid only" microphone, the CU-29 "Copperhead" employs a single-membrane version of the large diaphragm capsule used in the AR-51 and AK-47 MkII microphones, which undergoes rigorous testing in our laboratory prior to installation. Further quality control is ensured again during final testing and burn-in of the microphone, all to give you the ease of many trouble free years of use with your R-F-T microphones.
Sonically, the CU-29 "Copperhead" is a remarkably hi-fidelity microphone with a "present" but not "harsh" character, with clarity and detail, but entirely devoid of the "bite" usually found in microphones in this price range.
The microphone provides a solid and clear low end, without the upper mid-range frequency bump often found in microphones in this price range. Instead, it has a delicate and intimate "air" that is usually found only in microphones many times the price, and because it is not a "recreation" (or even a variation on a theme) the end result is a detailed yet unique tone, with character and its own sonic texture.
The CU-29 "Copperhead" was developed from the ground up in our South Windsor Connecticut facility by our in-house design team and the aid of some of the industry's most knowledgeable and respected consultants. If you're interested in the history and the development of the CU-29 "Copperhead".
The CU-29 "Copperhead" delivers top shelf TELEFUNKEN Elektroakustik quality at a price nearly any dedicated engineer, musician, or enthusiast can afford. ( Arriving in 3rd week March)

Specifications

Type	Condenser Pressure Gradient
Capsule	Single Sided Gold Sputtered Membrane
Frequency Range	20Hz / 20kHz
Polar Pattern	Cardioid
Sensitivity	14MV/Pa = -37dB (0dB = 1v/Pa) -10bD
Impedance	200 ohms stock
SPL	138 dB
Non Linear Distortion	Less than or equal to 0.5% at 100 dyne / cm sq
Equivalent Noise	16 dB (a-weighted)
Tube Type	TELEFUNKEN new old stock EF-95
Power	Dedicated Power Supply
Weight	24.7 oz (690g)
Size	8" (203.2) Length x 1 3/4" (44.45mm) Diameter
Extras	Modern Power Supply, Shock Mount, Wooden Box, 7-pin Microphone Cable

AR-51 Multi pattern Tube Condenser Microphone
With this in mind we created the R-F-T Series of microphones as an affordable solution that delivers amazing tone, ultimate application flexibility at a price anyone who is serious about recording can afford.
The AR-51 is the culmination of this ideal. For the AR-51 we took the amplifier electronics of a C-12 and ELA M 251E and married them to an offshore capsule and power supply so we can bring the best of both worlds together for what are destined to become the classics of tomorrow.
While the capsule is built off shore, it is tested to very high tolerances for consistency in our Connecticut based US laboratory. The capsule is then coupled to a slightly tweezed classic amplifier. The core of this amplifier is NOS [New Old Stock] ECC81 vacuum tube which is coupled the same German built output transformer you will find in our far more expensive C-12 and ELA M 251E.
In use, the R-F-T AR-51 is a fantastic utility mic!! Its smooth mid-range, open top end, and solid well-balanced low frequency translation make it a great choice on anything from vocals to drums and percussion to acoustic guitar to saxophone. There are 1000 more uses, but we think you get the idea that this is indeed a remarkably versatile microphone.
The remote pattern selector (located on the power supply) provides 9 different polar patterns, giving the user a myriad of choices for how to record the source sound in a manner that will best compliment their production.
You can start your path to sonic euphoria by contacting your favorite TELEFUNKEN Elektroakustik reseller and requesting a demo of the R-F-T AR-51. It is sure to put a smile on your face without putting too much of a dent in your wallet. ( Arriving in 3rd week March)

Specifications

Type	Condenser Pressure Gradient
Capsule	dual sided gold sputtered membrane
Frequency Range	20Hz / 20kHz
Polar Pattern	Omni, Cardioid, Figure 8 with 6 intermediate stages
Sensitivity	14MV/Pa = -37dB (0dB = 1v/Pa) -10bD
Impedance	200 ohms stock
SPL	138 dB
Non Linear Distortion	Less than or equal to 0.5% at 100 dyne / cm sq
Equivalent Noise	16 dB (a-weighted)
Tube Type	NOS ECC81 twin triode
Power	Dedicated Power Supply
Weight	27oz (765g)
Size	9 1/2" (241mm) length x 1 3/4" (44.45mm) diameter
Extras	Modern Power Supply, Shock Mount, Wooden Box

Check this out!!

Radial Engineering JDX™ Reactor™ Guitar Amp Direct Box

Part No. R800 1400

• Captures the sound of the head and the cabinet
• Delivers consistent tone show after show
• Works equally well on electric guitar and bass
• Great for recording direct without a mic

The Radial JDX Reactor™ is a direct box designed to capture the explosive dynamics and warmth of an electric guitar amplifier by connecting between the guitar amp head and speaker cabinet. This delivers a sound that is similar to a well placed microphone while eliminating the frustrating inconsistencies.
The design begins with 100% discrete class-A circuitry and a transformer-coupled 'reactive load' that captures both the sound from the amp head along with the back electromagnetic impulse from the loudspeaker. This produces a more realistic rendering than the usual resistive pad offered by other manufacturers. The signal is then processed via a carefully designed multi-stage filter to emulate the tone of a 4x12 half stack cabinet.
In use, the JDX delivers greater consistency over a typical microphone as irregularities such as mic placement and varying acoustics no longer play the dominant role on stage. This is most appreciated when using in-ear monitors as the tone remains consistent from one show to the next, resulting in shorter setup times and a more comfortable audio feed for the artist.
Although originally designed for guitar, the JDX has also become a favorite on bass. The clarity and punch in the lower mid range delivers a tone that is reminiscent of an Ampeg SVT connected to an 8x10 cabinet. On guitar it sounds as if you have a Shure SM57 in front of a Marshall half-stack.
The JDX Reactor is easy to set up, delivers great sound and is consistent. ( In stock now!!)






What is the Radial JDX?
The Radial JDX is a direct box that captures the sound of both the head and the cabinet. In other words, if a guitar player has distortion from the amp, the JDX will capture the tone. But unlike other products that may be similar, the JDX also captures the effect of the loudspeaker. This gives the musician more of a natural feel.

What is the benefit?
It allows you to capture a consistent tone night after night.  Because you do not have to use a microphone, problems such as the room acoustics, stage resonance, mic position, proximity to other instruments causing bleed are all eliminated.

Who is the JDX made for?
Any guitar or bass player that plays live. This includes musicians that play in clubs, concerts, studio, house of worship, theatre... The JDX can handle up to 300 watts (more than we specify) making it perfectly suitable for most players.

Why is it so important today?
Today, bands make their money from live performance. It is all about efficiency. They need to get in and out of the venue as quickly as possible to save money. This means using in-ear monitors, short sound checks, and packing up quickly after the show. Microphones take more time to get right and are inconsistent. The JDX helps as it is more efficient and more consistent.


 Applications:

Using the Radial JDX on guitar

The Radial JDX is connected in between the head and the cabinet where it taps a minute signal off the circuit. The reactive load captures both the sound from the head and the impulse from the cabinet for a more realistic tone. 

 

Using the Radial JDX on bass

Bass guitar sounds amazing with the JDX! You get a fat low-mid punch and extra clarity that makes the bass stand out. It truly sounds like you are playing through an SVT with all the grind and drive… yet it is coming through the PA. 

 

 

 

 

Using the JDX with a mic and the Phazer

For even more fun, combine the direct sound of the JDX with a microphone. Use the Radial Phazer to time-align the two signals and be prepared for the biggest, fattest, most amazing tones ever. Careful… this is addictive!