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Omnitronic SMA passed the tests

October 29th, 2010 Posted in OMNITRONIC Tags: ,

Omnitronic SMA SerieIn 2009, the power amplifiers of the SMA series by Omnitronic had to manage the difficult task to replace their very successful predecessors after almost ten years. The new models now had to pass the testing procedures of the technical press.

Uli Hoppert’s test report in the magazine “Soundcheck” is headlined “easy play” as an allusion to the low weight of the power amplifiers. Due to the switch-mode power supply, even the large models SMA-1500 and SMA-2000 stay below 10 kg without cutting back on protective circuits or performance. Moreover, he emphasized that the test data has met the specified performance data reliably and that the protective circuits have proven to be safe. This is also approved by few customer complaints in the first year after the series’ market introduction.

In his report for the magazine “tools4music”, tester Stefan Kosmalla praised the remarkable quality of the switch-mode power supplies and the clear and thought-out design of the power amplifiers. Besides, there was also praise for the light weight and the low stand-by power consumption. All the performance data reached in the test exceeded the manufacturer’s data. Compared to three even more powerful competitors, the SMA-1500 was performing well.

Omnitronic’s SMA series benefits from the development of the switching power supply technology, which is meanwhile also affordable for beginners and ambitious hobbyists. This technology makes it not only possible to produce power amplifiers with low weight but also protects the environment: A significantly higher efficiency of the switch-mode power supplies compared to conventional toroidal transformers, reduces the power dissipation. The top models SMA-1500 and SMA-2000 can minimize the power dissipation even more, because of a staged supply voltage (Class H circuitry).

The new Omnitronic SMA series is perfect for mobile DJs or musicians – for every purpose, where light weight, high reliability and low heat emissions play an important role. Moreover, the power amplifiers are also suitable for fixed installations and other sophisticated soundings with limited budget.

The SMA series is available in four different power categories. The power amplifiers have a total weight between 5 and 9 kg and provide a nominal power from 600 to 2000 watts.

Omnitronic SMA-1500 front Omnitronic SMA-1500 back

OMNITRONIC SMA-1500 Amplifier 2x750W/4 ohm

User manual SMA-1500 (PDF)

Omnitronic SMA-2000  front Omnitronic SMA-2000 back

OMNITRONIC SMA-2000 Amplifier 2x1000W/4ohm

>User manual SMA-2000 (PDF)

Now on stock – OMNITRONIC TMC-1 and TMC-2 MIDI controller

October 8th, 2010 Posted in OMNITRONIC Tags: , , , , , , , ,

11045042 OMNITRONIC TMC-2With the new TMC-1 and TMC-2, Omnitronic introduces two compact USB MIDI controllers which are supplied with the powerful software Virtual DJ LE by Atomix Productions.

Both handy controllers can either be powered via USB or the included power unit, which does not only conserve the laptop’s battery in live operation but also increases failure safety with computer breakdowns. Both controllers were designed as wieldy desktop units to give users an alternative to the widely used rack-mounted controllers.

The Omnitronic TMC-1 is designed for DJs possessing a high-grade audio interface and thus comes without analog inputs and outputs. Despite its inexpensive price the TMC-1 features appealing haptics and boasts fine potentiometers, faders and large wheels for sound manipulation. Samples and effects of the supplied software can directly be selected via the numerous control elements.

The Omnitronic TMC-2 is all-in-one solution that combines the benefits of the TMC-1 with a fully-fledged 2-channel audio interface and several finesses. Hence it is possible to route an external line signal (e.g. coming from an iPod) directly to the master output to avoid a complete audio dropout in case of a computer breakdown. The input of the DJ microphone for emceeing and announcements is directly connected to the output and thus does not use up processor resources. What’s more, the interface has two separately controllable outputs for master, booth, and headphones. Additionally, the master signal is available at the recording output.

11045040 OMNITRONIC TMC-1 Top 11045042 OMNITRONIC TMC-2 Top
11045040 OMNITRONIC TMC-1 Front 11045042 OMNITRONIC TMC-2 Front
11045040 OMNITRONIC TMC-1 Back 11045042 OMNITRONIC TMC-2 Back

11045042 Virtual DJ Software

Noise protection with the OMNITRONIC SPL-1 Controller with limiter

In Germany, the organisational and legal legislation has changed a lot during the past 10 years. The staff’s qualification in the entertainment industry was completely restructed so that every event must have its own responsible person.

In 1998 and 2007, the guideline for noise protection and the DIN-standard 15905-5 came into force, respectively. Every staff with a social security card is now to be protected against excessive noise by the BGV B3 guideline. The Association of German Discotheques (BDT e.V.) has been training DJs since 2004 in order to sensitize and educate DJs in respect to dealing with loud music and ear damage. Successfull participants can boast with a DJ licence.

These changes are meant to have events carried out and monitored by qualified staff so that neighbours, audience and employed staff will no longer be exposed to excessive noise. This sounds easy in theory, but in not so easily carried out in reality.

It is true that digital loudspeaker controllers like OMNITRONIC’s DXO-series can limit the maximum signal level effectively and protect the settings via password. Furthermore, cost-effective, portable sound-level-meters like the OMNITRONIC SLM-700 can monitor and even record the sound pressure level at the venue and in the neigbourhood. Nevertheless, these measure make sense for individual events or a number of single events, but the authorities do no longer accept such practice in discotheques or other venues with regular events and permantently installed sound equipment. Such locations require highly effective level limits which can be sealed by the authorities.

One solution will be offered by OMNITRONIC’s SPL-1: this system provides a little controller with limiter to be installed between audio mixer and controller or amplifier, respectively. The controller will be connected with a measuring microphone in order to measure the real sound pressure level at the venue. On the frontpanel, the maximum signal level and the operational modes can be adjusted under a sealable cover. Two different “traffic lights” are available for rack installation and wall installation in oder to indicate a too high sound pressure level to the operators and technicians. If the given sound pressure level is exceeded for a longer period of time, the signal will be cut until the input level will be reduced. All connections are installed in a second housing chamber in order to avoid sabotage. If the microphone cable will be cut, the audio signal will immediately be cut.

<img class="alignnone size-medium wp-image-2579" title="10356251b_Omnitronic_SPL-1_Indikator" src="×225.jpg" alt="10356251 OMNITRONIC SPL-1 Indikator" width

10356252 OMNITRONIC SPL-1 Indikator

Plasa London with Steinigke Showtechnic

August 23rd, 2010 Posted in EUROLITE, FUTURELIGHT, OMNITRONIC, PSSO Tags: ,

Soon it’s September again and that means: Plasa time in London. The most important trade show in the second half of the year is once again a platform for all representatives of our industry. There is no question, that Steinigke will be present as well. You’ll find us in Earls Court 1 at stand E8.

As is usual in London we’ll offer the possibility to take a look at our current assortment. Our motto this year: the answer is in the mix. Because we are not focusing on only one special product. We are showing small but excellent progress in all areas. Why don’t you get an idea of our articles yourself and visit us in London’s Earl Court? Ask for an appointment this very day and contact our staff. Please send your requests to or call 0049-931-4061-600.

Or confirm your visit on Facebook…

Monitoring – more important than many believe

Even in music, as is so often the case: “Trust is good, control is better”. The acoustical controlling option addressed here is called Monitoring (lat. monere, to monitor, to warn). Essential for stage or studio musicians, if good sound is of particular importance.

Let’s tread the boards, as the world’s a stage, and devote ourselves to live monitoring on stages. One may ask why this is necessary. Other than perhaps on very small stages, the PA – or rather guitars and drums – are usually so loud, that the singer can’t or the keyboarder barely hear themselves. In order to change the situation and to allow for control over one’s own performance, it is advisable to install a monitoring system. It is a separately managed sound system, isolated from the PA. The musicians receive a similar auditory impression over the loud speakers as the audience does, making it easier to hear themselves and to better coodinate the musical interaction.

Studio monitoring, on the other hand, has a different emphasis. It naturally deals with controlling options, but on a much more sensitive level. On stage, the priority is good musical interaction and a means to check the overall impression, while in the studio everything centers on the quality of the individual signal, in other words of the respective instrument. In this case the sound of the recording and the subsequent editing are monitored. The point is, to reproduce the respective audio signal as exact as a microphone, an amplifier or another sound generator would emit. In order to achieve this, several factors must be considered.

Of overall importance is the right choice of speakers. There’s no getting around special monitor speakers disposing of good impulse reproduction as well as low reverberation and for which a linear frequency output ist essential – in other words, frequencies are neither raised nor lowered. Since one sits right in front of the speakers in the studio, they should moreover dispose of a wide emission angle and the sound properties should not alter within the working parameters of the sound technician. Equally important is the correct positioning of the speakers. If the sound should reach the listener directly, without hindrances, it is advisable to mount the speakers on tripods or on the wall. If mounted on a table or at the end of a mixer, distorted reflection could occur. The speakers should be oriented toward the listener and in this manner ideally form an equilateral triangle between the speakers and the technician.

In general, the rating of the amplifier should be larger than that of the speakers, in order to avoid distortions. Furthermore, larger amplifiers offer a higher damping factor and are able to produce precise and fast transmission of voltage peaks.

The selection of monitor speakers for stages is equally important. Similar to studio monitors, they should have a linear frequency response if possible, yet here it is more important to achieve a greater performance. One difference is demonstrated in the emission angle. As opposed to the broad studio version, a targeted emission angle is preferred on stage, as each musician uses his own speaker. A word about the design: it visibly differs from the studio speakers. A horn is used, not a dome tweeter, furthermore one side is sloped so the monitors can be laid on the floor in order to resound upward.

In-Ear monitors are being used more and more on stages, instead of speakers. These are small ear plugs with a fine earpiece, which take over the function of speakers via a wireless link. The advantages are clear. On the one hand, the musician can move freely and always receives an unaltered signal. On the other hand, technicians need to lay less cable and transport fewer speakers. Additionally, In-Ear-Monitoring protects against acoustic feedback, which could occur when, for example, a microphone again picks-up the amplified singing of an artist, which is played back over the speaker monitor.

Whichever version you choose or require, the right equipment is important so the performance isn’t distorted and as a result, inferior.

Our product recommendation:

OMNITRONIC IEM-500 In-ear monitoring set

The IEM-500 is a wireless in-ear monitoring system with excellent sound and full user comfort. 16 frequencies in the low-interference UHF band can be adjusted. Due to a limiter in the transmitter input, the ear is completely protected even in case of extreme clipping. The system can be operated in mono and stereo mode and is thus qualified for many applications such as live music, theater use and voice transmission. The multifunctional LCD screen indicates all operation modes. The transmitter features a headphones output with adjustable output level in order to monitor the signal sent to the musician at the FOH. The set comes fully equipped with transmitter, receiver, headphones and 483 mm mounting kit (19″).