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New products from the States

The special qualities of speakers produced in Britain has been affirmed by Pyle Industries with its new Accent I series, a series the company has dubbed as 'the American speaker with a British accent.' Six 12-inch and two 10-inch sound reinforcement speakers, designed for the hard rock/heavy metal sound, have been introduced so far. "The inherent sound reproduction of these speakers is similar to English style sound reinforcement amplifiers and speakers," said Kent C. Pyle, whose company is most noted for its Pyle Driver speakers.

Pyle said a specially designed magnetic field results in a greater SPL level for ideal tone colour while the precision motor assemblies concentrate more magnetic flux in the voice coil area resulting in higher efficiency and more sound per watt of amplified power.

Pyle Industries Accent 1 speakers.

The 10-inch speakers are offered with 30-ounce magnets and in either 8 ohm or 16 ohm versions while the 12-inch speakers are offered in 30-ounce, 40-ounce and 60-ounce models in either 8 ohm or 16 ohm versions. All eight speakers feature 1½ inch or 2 inch Power-Proof voice coils. The 10 inch speakers are rated at 115 watts RMS while the 12-inch models can handle 120 watts, 150 watts and 155 watts respectively. The retail prices of the speakers are $58.95 and $59.50 for the 10-inch models and $62.95, $75.95 and $88.95 for the 12-inch models.

Other new loudspeaker systems have been introduced by Bag End, Crate, JBL and Randall.

Bag End TA-12 speakers.
Bag End TA-12 speakers.

Bag End TA-12 speakers.

Bag End's new TA-12 series from Modular Sound Systems feature time offset correction that utilizes sophisticated filter networks and precisely calculated speaker placement to ensure that sound from both drivers reaches the listener's ears at exactly the same time. The drivers include a proprietary Bag End 12-inch loudspeaker with a rear-vented 80-ounce magnet assembly and a constant directivity-type horn/tweeter that reproduces frequencies above 3.5 kHz and is protected by a specially designed passive limiter which dissipates excess energy and prevents component failure without switching the unit off.

The two-way system has capabilities of up to 300 watts continuous programme, sensitivity of 103 dB SPL, 1 watt, 1 metre, a nominal impedance of 8 ohms and frequency responses of plus or minus 3dB 125 Hz to 17 kHz and plus or minus 6dB 70 Hz to 19 kHz.

Crate CR 280J.

Crate's CR-280J, from St. Louis Music Supply, has been designed specifically to handle both the wide tonal range and the percussive nature of a steel guitar. Instead of two 12-inch speakers, the CR-280J, which carries a retail price of $729.95, has one 15-inch JBL speaker which produces a very clean sound.

JBL 4612 Horn.

JBL itself has introduced its new Cabaret Series models 4612 and 4691, compact two-way systems specifically engineered for high level, full-range music playback in clubs, discotheques and theatres. The 4612 has a power capacity of 400 watts continuous programme and a frequency range from 3 kHz to 20 kHz while the more rugged and versatile 4691 has the same power capacity but with a frequency range from 40 Hz to 20 kHz. The 4691 incorporates JBL's recently developed 2370 flat-front bi-radial horn, a 2425J titanium-diaphragm high frequency compression driver and an E140 15-inch woofer. A 1.5 kHz high pass network blends the low and high frequencies for improved sound quality, while switchable bi-amplification inputs are conveniently located on a rear terminal panel. The 4691 is designed to either be used alone or in conjunction with JBL's 4695 subwoofer.

Randall's new amp and speakers.

Randall Instruments has introduced two new mini stack cabinets, the R-212TC and R-212BC, which have been designed along the lines of Randall's classic and widely used four speaker stack cabinets. Each cabinet, which employs two G12-65 Celestion speakers, measures only 24 inches by 24 inches by 12 inches, resulting in lighter weight and easier portability than found with Randall's other stack cabinets. Yet both the R-212TC and the R-212BC provide 130 watts RMS per cabinet power handling capability.


Randall also has introduced a new amp which was designed with the help of several professional keyboard artists especially for keyboard players, rather than simply being a warmed over guitar amp. The RK120-115H has three separate channels, each with an input jack that will accept either Hi z or Lo z keyboards, microphones or instruments; two band active EQ; gain control, and effects send control. In addition, it has built-in reverb, in and out effects jack, 0 dB @ 600 ohms signal output jack, reverb footswitch jack, two speaker jacks and a 200 watt convenience outlet mounted on the chassis. The master section controls consist of master gain, reverb and effects. The amplifier, which Randall claims is virtually impossible to overload, produces 120 watts RMS power.

Fender, which has been busy making over its amplifier line, has introduced the Montreaux, a compact 100-watt unit. This guitar amp has two independent preamp channels — rhythm, which features the classic Fender 'passive' tone control circuit with volume, bass, treble and bright controls; and high-gain lead which incorporates a new 'active' equalisation that gives large amounts of boost or cut in four separate bands. This lets the amp duplicate many popular sounds that previous Fender amps could not produce, according to marketing director Paul Rivera.

Adding to the Montreaux's flexibility are separate reverb presets for lead and rhythm channels, and an external effects patching loop that is foot-switchable and assignable to lead channel, rhythm channel, or both. Separate preamp out and power amp in jacks are also provided.

A three-button footswitch for reverb, channel and effects makes use of digital switching technology and the amp's LED mode indicators are duplicated on the front panel. The Montreaux carries a suggested retail price of $599 with the standard 12-inch Fender speaker, and $739 with the optional EVM speaker.

Ampeg has added the V3SC to its "V" series of tube amplifiers. Features include remote switching of each channel and reverb; three-way foot controller with three LED indicators; dual-voice pre-amp design; a separate pre/post volume control; dual-in-line, full length reverb, and EQ shift, mid boost.

Sierra has expanded its line of Sierra Sonic Products with a new preamp, the Cyber III, which employs computer type electronics to perform a variety of sound shaping functions on lead guitar, voice, harmonica, violin and other instruments. Input signals are modified by way of active electronics and a series of six controls for pre and post gain, high, centre, low band levels, centre band position and Q for centre band emphasis.

Sounds, according to Sierra, range from super clean through extra dirty; thinner than Strats to fatter than vintage jazz, warm and mellow through icy and piercing distortions; swept or comb filter centres from 150 Hz through 8 kHz.

Input on the Sierra Cyber III is very high impedance to unload signal sources and hence not reduce their high frequency content while outputs are very low impedance to provide the capability of driving long lines or groups of effects in difficult environments without introducing hum or losing highs.

The output arrangement, which places the first output before the tone block and the second after the frequency shaping section, enables a performer to use multiple amplifiers or effects groups in parallel modes. The Sierra Cyber III, which uses a 9-volt battery for its power source, mounts on most instruments without screws or clamps, placing the full range of the active sound shaping circuitry at the musician's finger tips during a performance.

Music Man's new 100 B Bass Amp employs that company's special hybrid tube output design which combines a low noise solid state preamp with a self-balancing tube power amp. It features an active five-band EQ; quasi-parametric midrange, bass and treble controls; volume control with input padding for maximum signal-to-noise ratio; subsonic input filtering; soft clipping circuitry; and pre or post EQ balanced line out at both line and microphone level for direct send to a mixer or slave amp. The vacuum tube power amp provides 100 WRMS into 4 or 8 ohms so that the amp will work with a wide range of speaker enclosures for keyboards as well as for bass.


New sound devices and effects pedals have been introduced by Ibanez, Korg, Morley and Roland.

The Ibanez AF9 is an automatic sliding filter that is triggered by the input signal to the effects pedal. The slide action may be placed wherever the emphasis is desired.

The AF9 features three selectable filter types, two slide directions, two slide ranges, an LED indicator and a quick-change battery pocket for a 9-volt battery. The unit's sensitivity control adjusts the trigger threshold and the peak control determines the slide width.

Korg SDD-3000.

A new programmable digital delay, the SDD-3000, has been introduced by Korg. Designed for both live performance and studio use, the SDD-3000 offers a wide range of effects including chorus, flanging, doubling, reverb, doppler effects and infinite repeat in an easy-to-use configuration. All control settings can be stored in nine different program locations and easily recalled via pushbuttons or footswitches.

Other features and specifications of the Korg SDD-3000 include up to 1023ms delay without the use of an expander module; 20-17k frequency response at all delay settings; footswitch connections for program up and down, delay bypass and hold; feedback loop with four position high and low cut filters; phase inversion of feedback loop and final output; triangle, square and unique random LFO waveforms, external and envelope control of VCO; input and output facilities on front and rear of unit; three-position input and output attenuators, and true stereo capabilities.

Morley's new analogue echo and reverb effects unit features delay spans from as short as 20ms up to 300 ms. Constant voltage is maintained with a built-in voltage regulator. Delay, repeat and mix each have a separate control. The effects unit is activated by plugging a cord into the input jack and is ideal for use with microphones as well as with all amplified instruments. Its two LED indicators tell whether the power is on or off and whether the effect is on or off.

Roland Compu Music.

Roland's Compu Music CMU-800R, which combines with a computer which controls the music, is a six-voice music synthesiser and a seven-voice drum synthesiser. From it, the user can change tempo, note sustain and decay and also mix the volume levels of the various sound sources. The CMU-800R connects to any stereo system for audio playback and can also expand into much larger synthesiser systems.

Music is entered note-by-note off conventional sheet music or from pre-programmed music disks into the disk-based software and then edited, arranged, played and finally stored on disk. All such work is done on the computer, rather than on a piano keyboard.

The Compu Music system, which lists at $495 for the CMU-800R and $70 for the software, is Roland's first entry into the personal computer field. Other similar models are to follow in the near future.

Meanwhile, Steinberger Sound Corp. is entering the guitar field this summer with its planned release of its Steinberger guitar two years after the release of its fibre-reinforced polyester bass. Like the bass, the guitar will be headless and feature the Steinberger Double Ball-End Tuning System in which balls at both ends of each string allow for instant changing yet extreme maintenance of fine pitch control. Controls include three-way pickup selector, volume and tone while two active, low impedance EMG/Overlend pickups are tailored to bridge and fingerboard positions. While the scale length is a full 25½ inches, the overall length of the Steinberger Guitar is only 29½ inches.

Manufacturers and companies mentioned:
Ampeg, (Contact Details).
CBS Fender, (Contact Details).
Crate Amps, (Contact Details).
Ibanez, (Contact Details)/(Contact Details).
JBL, (Contact Details).
Korg/Rose Morris, (Contact Details)/(Contact Details).
Modular Sound Systems Inc., (Contact Details).
Morley, (Contact Details).
Music Man Inc., (Contact Details).
Pyle Industries Inc., (Contact Details).
Randall Instruments Inc., (Contact Details).
Roland UK, Brodr Jorgensen Ltd., (Contact Details).
Steinberger Sound Corp., (Contact Details).

Previous Article in this issue

Electro-Music Engineer

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Digital Signal Processing

Electronics & Music Maker - Copyright: Music Maker Publications (UK), Future Publishing.


Electronics & Music Maker - Jul 1983

Previous article in this issue:

> Electro-Music Engineer

Next article in this issue:

> Digital Signal Processing

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