Now shipping more Dynacord U240 iM Mixer amplifiers with vocal ducking in a super compact unit. 240watts for clear paging and background music for retail stores, restaurants, and offices. These are going FedEx Priority Airmail out to the Urban Planet fashion clothing store near Macy's in the Crabtree Valley Mall, in Raleigh NC.

Kurt and the Violators will also be on The Tonight Show with Jimmy Fallon on Nov 2nd. This is where they kick off the tour before heading to Buffalo at Asbury Hall

Let's take a closer look at the big boy! Featured today is the Whirlwind W4 Mass Cable and Connector, specifically the FM58W4IRP010SS fanout, getting ready to ship to a production company in Virginia. This impressive assembly features a 176-pin/socket connector paired with a 58-pair Belden cable, designed for demanding professional audio applications where managing multiple signal connections is essential. From the massive W4 connector to the individual cable runs, it's a great example of the specialized connectivity solutions used behind the scenes in professional audio production.

NEW FROM WHIRLWIND! Introducing the Whirlwind RS24T, a 24-channel recording and in-ear monitor mix splitter designed for professional live sound and recording applications. Built to support organized signal distribution, the RS24T helps production teams manage audio feeds for recording and monitor mixing within a dedicated rackmount system. A practical addition to professional recording and live sound workflows, now available in our catalog.

Wireless audio has invisible traffic, and every microphone needs its own space. When multiple wireless systems operate nearby, poorly coordinated frequencies can increase the risk of interference and dropouts. That's why frequency coordination matters. The Sennheiser EW-DX EM 2 Dante supports professional digital wireless workflows, combining dual-channel reception with Dante network audio integration. Reliable wireless starts with a well-planned spectrum.

Bass isn't just something you hear. It's energy you can feel. Producing deep, impactful bass requires moving significant amounts of air. That's where driver size, cabinet design, and acoustic engineering come together. The Martin Audio X118B uses an 18-inch driver to deliver the low-frequency foundation that gives music its depth, weight, and presence. Because powerful bass isn't simply about being louder. It's about creating an experience you can feel.

The best place to adjust a mix isn't always where the mixer sits. What sounds balanced at the mixing position may sound completely different across a venue. Speaker coverage, room acoustics, and listening position all affect what the audience hears. Remote mixing lets engineers walk the room, hear those differences firsthand, and make adjustments from where they matter. The Mackie DL32SE makes that flexibility possible through wireless control.

One audio source. Multiple destinations. But how do you keep each feed under control? Sending identical signals to different zones doesn't guarantee equal sound levels. Amplifier gain, speaker sensitivity, and room acoustics can all affect what listeners hear. Independent level control lets technicians balance each feed without affecting the others. That's where the Whirlwind DA2 comes in, helping maintain consistent, controlled audio distribution across multiple destinations. #Whirlwind #AudioDistribution

For the last 13 years, Nancy Perry has been the Music and sound mixer for The Price is Right Game show. So all the Come on Downs, music, and trombone sound effects you hear when someone loses is all done by Nancy. She is very old school and does not listen to the director at all. She simply watches and listens to Drew Carey on her monitor during the live taping and hits the cues on her screen manually and does the fades on a mixer manually. Very cool. She does 3 shows a day. Behind the scenes, shot credit to Dallas Taylor #gameshow #audio

In live sound, a stage snake does more than organize microphone connections. It brings multiple audio channels together through a multipin connection, helping reduce cable clutter and simplify stage-to-console routing. Here’s a Whirlwind Mini 12 stage box paired with its matching cable assembly, carefully prepared and shipped by air from Echotone Music to a customer in Florida.

A Cat cable isn’t limited to network data. Inside are four individually twisted wire pairs, and each pair can provide a balanced path for an analog audio signal. That means four analog channels can travel between two locations through one Cat cable instead of requiring four separate cable runs. The Whirlwind Catdusa applies this principle by breaking those channels out to familiar XLR connections.

Low frequencies behave differently from the rest of the mix. They demand more driver movement and energy to reproduce effectively, which can place additional demand on a portable PA. A dedicated subwoofer handles that low-frequency workload separately. The Mackie ThumpSub GO fits this role with a battery-powered design that adds low-end support without requiring AC power at the subwoofer location.

Running multiple microphone channels doesn’t have to mean managing dozens of individual connections between stage equipment. The Whirlwind DrumDrop M W1 brings multiple mic-level channels into a stage box and uses a 39-pin W1 multipin connection to consolidate them into a cleaner, faster-disconnecting system, especially useful for live production setups where repeatable connections matter.

Background music in a restaurant doesn’t need to be loud, it needs to be consistent. Large spaces benefit from distributed speakers that reduce the distance to each listening area. The Sonance PS-P83T fits that role by combining wide coverage with pendant mounting that reduces source to listener distance, helping maintain more consistent SPL across the dining floor without relying on excessive output from a few locations.

Having enough level in the mix does not mean the signal is healthy. A low input level can leave less useful signal relative to the system noise, while too much gain reduces available headroom. A digital console like the Soundcraft Si Impact provides input metering and preamp control to establish a strong operating level before that signal reaches channel processing and the mix bus

Having enough power does not mean it is distributed well. Audio, lighting and video can load the available service very differently. A power distro like the Whirlwind PLD 200A takes a high current feed and divides it into protected branch circuits. Those circuits let crews allocate loads deliberately while branch protection limits the current available to each circuit. That means power can be distributed around what the production actually demands.

Aiming a loudspeaker at the center of the crowd isn't always the right move. In long outdoor listening areas, the nearest listeners already have a distance advantage. Experienced installers consider mounting height, throw distance and coverage pattern together. With the Community Pro R.25-94TZ's 90° × 40° coverage, its orientation and aiming directly affect where that defined pattern lands, so the coverage decision starts at the mounting point, not at the volume control.

A system-wide EQ change can solve one problem and create another. When different amplifier channels are feeding different loudspeaker loads or acoustic areas, the correction often belongs at the output, not farther upstream. That’s where the Ashly FX750.4’s onboard DSP becomes useful, processing can stay closer to the amplifier channel it’s actually correcting, without changing the rest of the system to fix one output. #Ashly #AVInstallation

The first and last rows of an auditorium don't experience a loudspeaker from the same distance. Coverage needs to account for that change. The Martin Audio CDD6 uses Differential Dispersion to provide wider coverage up close while projecting more output toward listeners farther away. The goal isn't simply more level. It's coverage that fits the audience.

When a microphone has to sit farther from the person speaking, turning up the gain doesn’t automatically produce clearer speech. As distance increases, more of the room can enter the pickup along with the voice. The Audix M1255B uses a high-output design for distance-miking applications where close placement isn’t practical, giving AV teams more flexibility in lecture halls and presentation spaces while allowing the presenter to move naturally through the teaching area.