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More voice, less noise with PD-70

More voice, less noise with PD-70
PD-70

More voice, less noise with PD-70

The PD-70 provides a cardioid polar pattern across a 50Hz – 20kHz (±3dB) frequency range

Developed for podcasters, radio broadcasters, YouTubers and livestreamers, the PreSonus PD-70 dynamic broadcast microphone focuses on delivering clarity within the spoken word spectrum. With a superior off-axis rejection, the PD-70 eliminates mechanical noise, unwanted reverberance and electrical hum, while capturing the natural sound of your voice. The dynamic end-address microphone provides a cardioid polar pattern across a 50Hz – 20kHz (±3dB) frequency range. A windscreen and integrated hard mount are included with the package.

A CDL12P array
A CDL12P array

The CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker combines the best attributes of point source and line array technology. The design allows it to radiate a highly focused pattern with consistent SPL throughout the frequency-response range, both on- and off-axis. The CDL12P is portable and can be used alone, in tandem with a subwoofer or in an array. Each unit consists of eight 2-inch drivers aligned in a segmented circular-arc high-frequency array centred in front of a 12-inch woofer. The outputs of the low-frequency driver and the high-frequency array travel on the same acoustic axis, as with a coaxial studio monitor. Because the highs and lows emanate from the same point, they arrive at listeners’ ears at the exact same time, so the CDL12P doesn’t create any smearing in the crossover frequencies. A low 420Hz crossover frequency is said to minimises comb filtering. Each CDL12P delivers 120° x 15° (HxV) dispersion, so six enclosures rigged together form a 120° x 90° coverage pattern.

PreSonus has also added the first subwoofer to its Eris studio monitor line. The 100W Eris Sub8 drops down to 30Hz – a full 50Hz below the Eris 3.5s. Users can connect existing monitors via ¼-inch TRS or RCA, set the input level to their liking and invert the polarity. High-pass filter and low-pass crossover control reportedly ensure that the Eris Sub8 starts working at the precise low-frequency point where main monitors stop working to avoid the redundant bass reproduction that occurs without a crossover.



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