Milevsko, Czech Republic (April 23, 2013) – KV2 Audio distributors for the US and Canada, Lift Distribution of Kirkland, WA, were awarded best distributor for the Asian Pacific region during a recent gathering of distributors at the KV2 factory near Prague, Czech Republic.
(L-R) Christenson, Ellis of LIFT, Croxton of KV2, Palermo of LIFT, Krampera of KV2
Lift Distribution took on the KV2 brand in September 2011 and grew the profile of the brand substantially through 2012 by making systems available for major events and reconnecting with KV2 owners across the US and Canada. Their efforts have resulted in a steady stream of mobile and installed system sales throughout the region.
Director of Sales and Marketing for KV2, Dave Croxton commented, “When looking for a new distributor in the US and Canada we really wanted a small, hands on, highly technical company that could promote the benefits of KV2 and specify the range correctly into the right applications. LIFT have exceeded our expectations in every way and we look forward to strong growth with them in the future” Croxton added “This year will see KV2 return to the US trade show floor at INFOCOMM for the first time in four years, we see this as huge step forward in our partnership with LIFT servicing the North American and Canadian markets.”
LIFT president, Steve Palermo, added, “We’re extremely pleased to be associated with a brand of KV2′s caliber. In addition to providing excellent, truly differentiated product that performs to the highest standards, their support has been unbelievably good. KV2 has a unique approach to loudspeaker and electronic design that results in systems with high power, full spectrum sound and superb value for money.”
(L-R) Ellis, Christenson of LIFT, Krampera of KV2, Palermo of LIFT
Cadac Holdings Ltd. (Luton, Beds. UK) – Confirming its superb sound quality, the first CADAC LIVE1 sold in the US has been installed in a recording facility. Newly appointed US distributor LIFT Distribution has sold CADAC’s new LIVE1 compact analogue console to Chet Delcampo as an upgrade for his private recording studio.
A songwriter, singer, multi-instrumentalist and self-recording artist of renown, Delcampo chose the CADAC LIVE1 as a replacement for a classic but aging Siemans console. Recording, producing and releasing records as both Chet Delcampo and Hong Kong Stingray, his career has taken him from coast to coast and across the pond and back, collaborating along the way with the likes of Kid Congo (ex Cramps, The Gun Club and Nick Cave), Parthenon Huxley (The Eels) and David Lovering (the Pixies). Finally settling in Philadelphia, he has produced two critically lauded albums, The Fountain and Apartment Songs as Chet Delcampo, and two further LP’s as Hong Kong Stingray. Recently he has also scored for the movie Mr. Chen and produced, co-arranged and played extensively on the acclaimed debut album by Heyward Howkins.
The LIVE1 might not necessarily be the first console one would consider for a recording facility but its ultra low noise circuitry, famous CADAC sound and engineering quality, and competitive price point caught Delcampo’s attention: “The quality factor was my main interest,” says Delcampo. “It’s fair to say that being designed as a live desk it has relatively minimal studio monitoring options but, that said, by using the board’s AFL’s on the monitor and master sections one can easily switch between tracking mode and mixing mode; i.e. back to DAW or tape capture and returning into the LIVE1 to monitor. I’m finding for my studio it works well, though for more elaborate monitoring needs there are several I/O monitoring rack units that would be worth considering to provide further options.
“Sonically it is a major upgrade and the workflow, ergonomics and affordability are also very attractive, not to mention CADAC’s history and reputation; and it has cool looks. The improvement is readily appreciated and I have just started to get my head around it, enjoying having the low noise and clean signal path, allowing for the use of select hardware on busses and master to get transformer or tube glow when needed.
The CADAC joins a host of classic and esoteric gear in Delcampo’s writing, arranging and recording suite, including Burl AD and Metric Halo Lio DA conversion in and out of his DAW, Magnacord Tube and SCA N72 pre amps, Retro 2a3 Tube EQ, Siemens W295 vintage EQs, Blackspade UM17R, Cascade Fat Head II stereo ribbons, and Oktava MC012 Joly modded mics, and an Otari ¼ inch 2-track tape machine. It is a facility that reflects the lush and layered arrangements that are a signature element of his sound, and which earn him comparisons with the likes of Burt Bacharach, Scott Walker or Brian Wilson. Right now Delcampo is writing and recording with the CADAC, working on new tracks for an upcoming release, as well as some more film score work.
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About the CADAC LIVE1
The LIVE1 is CADAC’s first compact console design. Designed by the same engineers responsible for large scale sound production consoles like the CADAC J-Type, the LIVE1 features a true CADAC signal path with ultra-low noise mic preamps and classic CADAC EQ, offering 16, 24 or 32 channels of legendary CADAC sound at a highly competitive price point.
The classic 4-band EQ incorporates two sweepable mid sections. The new mic preamp design – also featured on the new compact CDC Four digital console – utilises the latest engineering and component technologies to deliver the unique audio performance at this price point. Input channels also feature individual phantom power, PFL and Mute (AFL mode set from master section), 100mm faders with LED signal indicators, six Auxiliaries (switchable pre/post in pairs), 60mm Aux Master faders, and four subgroups. All frame sizes feature four stereo inputs and six returns (four with sends to aux 5/6), as well as two returns on 100mm faders; with sends to subgroups and aux 5/6.
About Cadac Holdings Limited
The CADAC name has been synonymous with top quality mixing consoles since 1968, from its earliest designs for recording studios and broadcast applications, through to the latest live sound reinforcement consoles. The company’s reputation for unparalleled audio quality and intuitive operation is matched by continuous enhancement and development, using the highest quality components together with innovative electronic and mechanical designs. The CADAC J-Type Live Production Console remains the industry-standard choice for leading musical productions, featuring on Broadway, the West End and around the world on long-running hits including Mamma Mia!, Wicked, Jersey Boys, and Disney’s Lion King. CADAC is headquartered in Luton, where all CADAC products are designed. For more information on the CADAC line-up, visit www.cadac-sound.com
About Soundking Group Company Ltd
The Soundking Group Company Limited has been established for more than 20 years, and is headquartered in Ningbo, close to Shanghai. One of China’s leading audio manufacturers, Soundking Group has an extensive range of innovative, market-leading products and was a major supplier for the Beijing Olympic Games in 2008. For more information go to www.soundking.com
About LIFT Distribution
LIFT Distribution is the exclusive North American distributor for leading live performance technology such as KV2 Audio and Cadac Holdings. In addition to products, parts and customer support, the company has comprehensive systems design and build capabilities to assist with projects of any scale. Products are available for purchase directly or through an exclusive, value-added dealer network. For more information, please visit: www.liftdistribution.com
CADAC Media contact:
Keith Grant KGa marketing&media Tel +447977 410 444 Email Web www.kgamarketing.com
CADAC Company contact:
Patrick Almond Cadac Holdings Limited Tel +44(0)1582 404202 Email
Cadac’s large-format consoles are legendary in touring theatre circles, but their Live 1 range aims to clean up in the compact-mixer market…
Hugh Robjohns
The Cadac mixing-console brand has been associated with live-sound applications — and theatre sound, in particular — since the company’s inception in 1967, and Cadac have built an enviable record in those marketplaces. Now under Chinese ownership, the company’s current range includes both analogue and digital products, with the huge and totally customisable J-Type automated console being their analogue flagship. Cadac’s S-type is a more modest (but still very sophisticated) fixed frame-size console, available in 17-, 25- and 33-channel versions, all with fully balanced bussing to eight groups, plus stereo main outputs, 10 auxes and eight DC masters! The company also make two digital console variants; the compact 16-channel CDC Four (which loosely resembles Yamaha’s DM1000), and the very much larger CDC Eight, which can accommodate up to 128 input channels!
These are all seriously high-end consoles, of course, and built to a specification rather than a price. Total reliability over long and arduous working lives is designed in as an essential quality. Naturally, the prices reflect this level of engineering, and so the biggest 128 channel CDC Eight digital console can be yours for a cool £96,000, while the S-Type analogue consoles cost from £44,400 down to £26,400. Even the ‘baby’ CDC Four digital console costs around £7000 — so still pretty serious money. Nonetheless, the customer base is very loyal, because they know that they are paying for world-class engineering and getting exactly that.
As you can see, Cadac have never really produced a ‘compact’ analogue mixer before — their previous designs have all been highly sophisticated and relatively large modular constructions, all carefully optimised for the demands and rigours of large-scale theatre and touring markets. So the announcement of the new Cadac Live 1 series of compact, non-modular analogue consoles at the Pro Light & Sound Association exhibition last year garnered a lot of interest and excitement.
The company say that the Live 1 has been developed using the most modern computer-aided design and manufacturing techniques available, and it is that approach that has enabled them to produce the new Live 1 console with “unrivalled quality and performance” for the price — which ranges from just under £7000 in the UK for the range-topping 3242 model, down to a little below £4000 for the base 1642 version. The mid-range 2442 channel console reviewed here costs around £5400. So we’re still not talking bargain budgets, but the price is directly comparable to many similarly sized and specified high-end consoles.
Overview
Here you can see the layouts for the mono and stereo input channel strips (with white and red fader caps, respectively), the four mono buses (blue caps), the two stereo aux returns (red caps) and the master section (grey cap). Unusually, the six aux masters are controlled via faders, rather than knobs. The Live 1 is very obviously designed as an FOH or monitor console for live-sound and theatre applications, although it would also make a great tracking console for location recording duties. It could be employed in a recording studio environment at a push, but it lacks some essential monitoring features for that market and isn’t ideally suited.
From first sight, the console is unmistakably a Cadac design, with its very solid construction and light-brown, one-piece control panel, covered with a dense collection of small but elegant knobs and 100mm, long-throw faders. The console’s compact wedge profile is slightly extended at the front to incorporate a traditional wooden armrest, which adds to the classic British design styling.
World renown DJ, Paul Van Dyk at Foundation - Photo: AJ Apuya
Seattle, WA (November 1, 2012) – Seattle’s nightlife scene is great if you’re into classic cocktails, live music, hipster hangouts and dive bars. But when it comes to nightclubs, to say we’re lagging behind other major cities would be a tremendous understatement.
Foundation's Front Bar - photo: Ernie Sapiro
A handful of stalwarts have managed to thrive for years – Pioneer Square’s Last Supper Club and Trinity being the prime examples – but thanks to new music trends (EDM, specifically), a nightclub arms race is in full swing; one which has quickly sucked top talent away from quaint local clubs. That is, until now.
Foundation Nightclub opened in late September – hot on the heels of Capitol Hill’s sparkling Q Nightclub – and within a month’s time has already raised the bar for a new era of Seattle nightlife.
Foundation's Back Bar - photo: Ernie Sapiro
Foundation occupies the much-maligned Venom space on Western Avenue in Belltown, but any similarities to its previous tenant end at the address. Gone are the chilly entrance and S.W.A.T. gear-clad security. In their place are inviting double-doors, suited bouncers, and welcoming hosts.
Aforementioned EDM (Electronic Dance Music, for the uninitiated), the club’s music of choice, pulsates into the street thanks to a KV2 Audio system – essential for any club looking to make a statement. Once inside, a dazzling array of lights gives a once cold and uninviting room new life. Giant LED screens flood the dance floor and DJ booth, while a glowing wall display above the main VIP area adds a sensual sheen.
All the bells and whistles don’t mean much without an artist lineup to match. That’s where Chad Anderson, owner of USC Events (United State of Consciousness), comes in. His pedigree, grown from years of throwing large-scale parties and small club shows, got Foundation off to a rocking start.
A Foundation VIP Table - photo: Ernie Sapiro
The opening month’s talent roster was a mix of dance music pioneers (Sasha, The Crystal Method, Paul van Dyk) and rising stars (Manufactured Superstars, Norman Doray) – all of whom can be found spinning in the world’s top nightclubs. And while Foundation intends to be EDM-heavy, some mainstream nights will be sprinkled in.
And what’s an EDM show without a legit dance floor? The latest trend in club design is sacrificing precious dance floor space in favor of high priced VIP tables. Foundation bucked the trend by supplying Joe Schmoes with plenty of prime real estate for partying (not to mention three convenient bars). However, clubbers looking for their own private area need not fret. Two full service VIP areas cater to those looking for a more exclusive experience.
Other details, including hand-blown glass, sleek bar design, lighting accents and bathrooms — oh yes, the amazing, better-than-anything-else-in-Seattle, bathrooms — only help cement Foundation’s status as a fast-rising superstar in Northwest nightlife.
A life-long Seattleite, John credits his discerning palette to an extraordinary experience working with a great food critic in Seattle. His tastes morphed into liquid form, and he now searches high and low for Seattle’s best cocktails. Armed with a journalism degree from Washington State University, John isn’t limited to just tasty delights; his expertise includes pop culture, fashion, night life and the driving tendencies of Seattle motorists. Even though he can be found every Monday night planted on the couch watching Gossip Girl, he still considers Omar Little to be the greatest character in TV history, and has watched The Wire four times through. His one wish in life is to have an NBA team back in Seattle. For more of John, follow him on Twitter.
(August 4, 2012) For the past decade, KV2 Audio has built a reputation for creating rugged, great-sounding pro audio gear. Founder George “Jiri” Krampera always made products with novel, innovative approaches. So when KV2 announced its JK Series direct boxes, I was anxious to check these out.
Does the world really need more direct boxes? Well, having used the JK Series, I can answer in the affirmative. The line has four models, the passive JK P ($295 MSRP) and three active variants: the JK 1 (single-channel, $295 MSRP), the JK 2 (dual-channel, $390 MSRP) and the JK A (for use with acoustic instruments, $329 MSRP). All feature rugged construction with quality European parts. They are hand-built in the Czech Republic and come with a five-year warranty.
Krampera is known for creating tools with uncompromised performance, and the JK series are no exception. For clarity and ultra-low distortion, the active models utilize a switching power supply for 20 volt peak power on the internal rails. This enables each to provide a low, 50-ohm impedance line-level output with line driver capability for extremely long cable runs.
The active units are line-out only and operate solely on phantom power (48 to 56 VDC with an 8 mA draw) to avoid the compromise of 9VDC powering. If you need a battery-operated box, you’ll have to look elsewhere, or use the JK P passive unit. The line output is a godsend, especially snaking over long runs, whether from an instrument, keyboard, mic-level output from a wireless receiver or the unbalanced feed from a PC, iPod/iPad, CD/DVD player, etc.
JK 1
This active DI box/line driver has two 1/4-inch inputs with a switch to select parallel (for using the other jack to feed an amp, etc.), a “Mix” setting for combining both jacks to mono, or parallel with a -15dB input pad. It also has switches for phase reverse, ground lift and selectable 80/160 Hz LF rolloff. There’s also an inline 20 Hz highpass filter to remove unwanted low-end crud.
JK 2
Each channel of the JK 2 stereo active DI box/line driver has 1/4-inch and RCA inputs with parallel 1/4-inch outs. Switches are provided for ground lift, input pad (0/-12/-24 dB) and phase reverse. Seems simple enough, but KV2 adds a few bonus extras. The phase switch also has an “Off” position that mutes either input, a useful touch for checking the left or right channels during setups. The ground lift adds an “RC” setting — beyond the ground and lift positions — that routes the input/output ground through a parallel resistor/capacitor network to suppress RFI or static conditions. The JK 2 can be powered via phantom from either channel, yet performance in stereo is significantly improved when phantom is applied to both channels.
JK A
The last active DI box/line driver in the series, the JK A, is designed for acoustic instrument pickups and is ideal for high-impedance (1 Mohm) piezo transducers or active electronics with input peaks as high as 7 volts. Phase reverse and +10dB gain boost switches (for low output pickups) are standard. But in Krampera tradition, the JK A adds a twist. Rather than simply paralleling the second 1/4-inch jack for an amp feed, that jack is taken after the amplifier and is transformer isolated from the 50-ohm, line level XLR out, with the ground on the 1/4-inch output jack routed via an RC network. A built-in notch filter is sweepable from 75 to 1.6k Hz with a switchable -6/-12 dB cut. The latter proved ideal for dealing with feedback, especially with large body acoustic guitars. With the filter’s fixed, ultra-narrow Q of 12, I was able to get in, deal with the resonant frequency problem and leave no audible artifacts.
JK P
Most passive direct boxes simply insert a transformer between the input and output jacks, but as a Krampera design, the JK P passive DI adds a few new tricks, beyond its three-position ground lift with RC setting. Inputs are a Neutrik Combo XLR/TRS, paralleled to a 1/4-inch TRS jack. The transformer provides switchable windings in 1:2 or 1:4 ratios. The unit needs no phantom power to operate. However, a switchable “phantom through” function can route phantom power from the console directly to t he input XLR. This way, the JK P can also be used with condenser — or dynamic — mics, either as a splitter to both of its XLR outputs or as an in-line transformer to lower the impedance of the mic’s output for long cable runs. This also offers more sonic options to choose from, such as routing a dynamic mic using the 1:2 setting for a rounder, smoother sound, yet at the same time having the flexibility of handling line, instrument or unbalanced consumer-level input sources.
The Bottom Line
Combining low distortion and high-headroom performance with innovative feature sets, KV2 Audio’s JK series are worth checking out. Anyone who thinks direct boxes are utilitarian and boring should be prepared to be surprised.
For more on the JK Series of utility boxes, please contact LIFT Distribution at:
Seattle, WA (September 4, 2012) – The affordable yet surprisingly powerful EX systems from KV2 Audio have been making local bands sound like headliners for several years now. These systems are light and quick to set-up yet provide powerful, full spectrum, in-your-face audio for crowds of up to 300 people.
, a well-known local front of house engineer and EX system owner explained, “I run this system completely flat – I never need any system eq. Even when I use the EX10′s as floor monitors, they don’t feedback and always sound perfect. The system is so versatile and compact, I literally use it for everything. Its the best investment I’ve made.”
A pair of EX10 high/mid cabinets and a single EX2.2 subwoofer handily reinforced , the premier Seattle-based Boston tribute band (pictured above). Following the performance, there were several compliments on the sound. “Everyone present had a hard time believing so much sound was coming out of this system,” continued Brumm.
For more on KV2 Audio products or to arrange a KV2 demonstration, contact LIFT Distribution at www.liftdistribution.com, or (888) 954-3828.
Green Conscious Festival Uses Most Efficient Sound System
Tidewater Falls, OR (August 28, 2012) – Beloved Festival, a three-day celebration of music, art and spirituality, was recently held in Oregon’s pristine coastal mountain region. In addition to a roster full of enlightened performers, the sold-out festival was exceptional in its “green conscious” operational approach. To meet Beloved’s exacting requirements for superior audio quality as well as optimum power efficiency, the VHD sound system by KV2 Audio proved to be the ideal choice.
VHD stack (right) at Beloved Festival
Oregon-based has provided audio services for the Beloved Festival since its inception in 2007. This year, they upped the ante with their new VHD system. Sentient’s owner, xristophari, explained, “I don’t believe there is another system out there than can match the VHD’s output and clarity, especially when considering its remarkably small footprint. It can get extremely loud if needed, without ever becoming fatiguing or abrasive, and it has surprisingly consistent coverage both in terms of spls and frequency response from anywhere near the mains to the farthest corners of the event site. A key indicator of a system’s fidelity is vocal intelligibility – with VHD, every word is articulated clearly, even within a complicated mix, and even at great distances. You can also clearly hear subtle EQ changes and differences in microphone selection and placement. Engineers who have mixed on this system have frequently commented that it is just like mixing on ‘giant studio monitors’, and I totally agree. The overall performance of this system simply defies traditional notions of what is possible. You have to experience it to believe it.”
Sentient Audio Systems staff in action at Beloved Festival
“At Beloved, we need the clarity and tone demanded by discerning, longtime concertgoers as well as the crushing whomp that moves the younger audience,” explained Elliott Rasenick, the festival’s founder and musical curator. “The KV2 VHD met all of our needs better than I could have possibly imagined. This system is a game changer.”
Beloved Festival by night
“KV2 systems match extremely high sample rate digital conversion (20MHz) with advanced amplification and point-source loudspeakers,” commented LIFT Distribution’s Dave Christenson, the KV2 representative on-site during the event. “The result is ultra-low distortion and high power. Many acts at the Beloved Festival performed with no system EQ or processing at all. The amplifiers were usually idling even when the music was pumping. Despite this, the coverage was comprehensive, the low end was both punchy and extended while the highs were crystal clear.”
DJ Michael Manahan at Beloved Festival
The VHD system configuration used at Beloved Festival required a total of only six 20 amp, 120v circuits to power all the amplifiers. This is one-half to one-third the requirement of even the most advanced line array system given similar coverage requirements. Such a power-to-output ratio makes VHD the world’s most efficient loudspeaker system and truly green technology.
Seattle, WA (July 18, 2012) – The recently introduced VHD (or Very High Definition) sound systems from Czech Republic-based manufacturer, KV2 Audio, have been literally shaking up the summer music festival season in the Pacific Northwest. Beginning with Washington’s Sasquatch Festival in May and Idaho’s Esthetic Evolution festival in June, KV2 systems will also be featured this month at the Photosynthesis festival, the prestigious Beloved festival in August as well as most of the nine stages for Seattle’s world-famous Decibel Festival in September.
“As with all KV2 systems, the VHD definitely punches above its weight,” exclaimed , owner of Starborne Sound, the Seattle-based company that provided sound services for Sasquatch (above) and Esthetic Evolution. “We were accustomed to the superb performance of KV2′s ES and EX Series but when we had the chance to run the larger VHD System we were truly amazed by the audio clarity, and unbelievable crowd bumping bass, over such a large area. Then, there’s the incredible convenience of the VHD; for both festivals, we delivered the relatively compact system (right) in a 10-foot trailer, set-up in under two hours, used no system EQ or tuning processors and provided crystal clear audio with shirt-moving SPL to well over 5000 people. Everyone we talked to was amazed at the sound quality.”
Esthetic Evolution producer, Devin Kelly (below), summed up his KV2 experience by saying, “the VHD system dominated the main stage at this year’s festival. The dual 21 [inch subwoofers] were awe inspiring and the tops had the perfect balance of power, throw and crispness. All of our headlining acts were blown away by such a massive sound coming out of such a compact system. That sound kept the party rocking well past the expected quitting time. It would be an honor to have the same system back next year.”
For both Sasquatch and Esthetic Evolution, Starborne (below) utilize identical VHD systems consisting of a single VHD2.0 high-mid cabinet, four VHD4.18 subwoofers, a single VHD2.21, two VHD3200 amps and one VHD2000 amps per side. , president of LIFT Distribution, KV2′s North American distributor, commented, “our customers are rolling into these outdoor festivals with a fraction of the expected gear, crew and cost, setting up in record time and then watching other seasoned live sound professionals stand there listening in disbelief. They ask, ‘how do you get that sound out of such a small system.’ My usual response is, ‘KV2 have been providing great speakers for 10 years. Now, they’ve added processing electronics to their amplifiers with 20 MHz D/A conversion that sends distortion-free audio through those revolutionary speaker designs. The whole system provides the cleanest, loudest audio experience possible.’ That’s the bottom line.”
For more on KV2 Audio Systems, contact LIFT Distribution at (425) 242-7339, email to: , or visit their website at www.liftdistribution.com/performance.
The Starborne production team for Sasquatch 2012, (L-R) Benny Rox, Michael Manahan, Jeremy Kaiser, Xristopharai, Mark Wilber
