NAMM 2014 issue - Radial Engineering

Visit the team
Hall A
#6959
NAMM 2014
radialeng.com • primacoustic.com • tonebone.com
StageBug SB-5
Introducing the Bassbone OD (Overdrive)
Nominated for TEC award!
The next generation Bassbone is here!
The Bassbone OD is a powerpacked command center for bass
instruments of all kinds! This next
generation Bassbone has two
full-feature channels, an overdrive
circuit, direct box, effects loop and
headphone out. Ideal for top-level
bass players or weekend warriors who
want the best. Several world
renowned bassists have given the new
Bassbone a test run.
Radial has secured a nomination for the
29th annual TEC awards for Outstanding
Technical Achievement. The StageBug SB-5
Laptop DI is designed for quick deployment on
busy stages and for the fast-paced environment
of the AV system tech.
To see what Victor Wooten, Mark King and Danny
Miranda have to say about it turn to page 5.
Headload™ Guitar Amp Load Box
Finally a load box that delivers!
The StageBug series of compact DIs
features the SB-1 Acoustic, SB-2 Passive, SB-4
Piezo, SB-5 Laptop DI, SB-7 EarMuff and the
SB-48 Power Bar.
Making its world debut is the SB5W-WallDI
- Like the nominated SB5, the WallDI is a two
channel passive direct box with level control
only this time, built into a standard electrical wall
plate for AV installations. See page 4 for more
details.
For more on the Headload see page 6
Also making its debut is the
Headload. It is a 100% discrete guitar
amp load box that lets you attenuate
the output of the guitar amplifier so
that it can be driven hard for improved
tone without being overly loud on
stage or in the studio. The built-in JDX
DI box and Phazer (phase correction
tool) can create unequalled guitar
tones. Also features a built-in
headphone amp that lets you quietly
practice without disturbing the
neighbors!
Space Heater™ 8 Channel Tube Summer
Add character to your digital recordings
For more on the Space Heater see page 7
New at NAMM is the Space
Heater a combination eight channel
tube drive and summing mixer
designed to bring character to the
sterile world of digital recording. This
eight channel twelve AX7 tube line
amplifier features Eclipse transformers
that combine to produce a huge
bottom end. A three position switch
lets the user select the applied voltage
on the tube so that it can be lo-fi, mid-fi
or hi-fidelity.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 2
The exciting new Voco-Loco™
Add effects to your voice, trumpet or sax!
Radial is pleased to announce the Voco-Loco, a combination microphone preamp and
effects loop that enables a lead vocalist, horn player or blues harp to incorporate effects into
their signal path. Just like an electric guitarist adds pedals for soloing such as delay, reverb or
distortion, this option is now available to anyone's performance by engaging a simple footswitch.
Award winning composer/producer/instrumentalist Vince Mai has already put the
Voco-Loco to the test: "I'm really gassed about the Voco-Loco because it is changing the way I
approach electronics with my horn. As a horn player, the primary thing we work on is our
personal sound. We are very attached to how we sound and spend years developing our voice.
When you connect directly into guitar pedals, your sound degrades. What the Voco-Loco does
for me is allow my true sound to be sent through to the PA system. I can then add as much of
the effects as I see fit for a given song or musical passage.”
The design begins with a high-performance preamp section that delivers over 60dB of gain,
more than enough to adapt to virtually any microphone. Radial's unique Accustate level control
automatically sets the gain and sensitivity via a dual wafer potentiometer for improved signal-tonoise. A simple two band shelving EQ lets you add bass or accentuate the highs to enhance.
The signal then feeds an effects loop that has been optimized for guitar pedals via standard 1/4"
guitar jacks. Separate send and receive controls let you adjust the levels going to the pedals to
reduce distortion and optimize the signal path. A tone control on the return path can then be
used to tame overly bright pedals for a smoother more natural tone, while the wet/dry blend
control enables the artist to mix in as much of the effect as desired. The Voco-Loco's output is
fully balanced and able to drive a typical mixing console input.
Two footswitches are top mounted. The right hand footswitch is used to turn on or off the
Award winning composer, producer and instrumentalist
Vince Mai.
Voco-Loco Part# R800 1425 00 Retail: $300 USD
effects loops while the left-hand footswitch can be used to
either mute the Voco-Loco output (to turn off the mic when not
in use) or it can be assigned as a 100% wet loop. You could,
for instance, create a weird telephone effect with all of the
sound passing through a distortion pedal or toggle the signal
so that a blend of the unprocessed voice plus some reverb
can be heard together. A 180° polarity reverse switch ensures
the pedals are in phase with the original signal when the
wet/dry blend is in use.
Add echo, chorus or wah to your sax or trumpet to make your solos stand out from the
crowd and deliver a unique performance to the audience that they will never forget!
Measuring only 5" x 7" (12.7cm x 17.8cm), the
Voco-Loco is exceptionally compact to fit on any pedalboard.
It comes equipped with an external 15VDC supply.
Primacoustic now on Sketchup
Full line of acoustical treatment products in Sketchup’s library
Sketchup is a popular 3D modeling program that is widely used by designers in a variety of
fields to create layouts and models. Primacoustic Product Specialist Jay Porter: "Primacoustic
has been using the software to assist customers with acoustic treatment layouts and basic
design for over 5 years. We have amassed a collection of 53 Sketchup models representing our
entire product line. Sharing these components with the general public via Sketchup’s Component Library will allow end-users, architects, interior decorators and acoustic designers to
access Primacoustic products and incorporate them into their designs. This allows you to create
a realistic representation of the acoustic product in the room or acoustic place and really gives
you a feel as to the final visual outcome.”
“Ultimately, our goal is to take the mystery out of acoustics by making great sounding rooms
possible and accessible for everyone. It’s actually very easy! With some good old fashioned
common sense and a bit of planning, anyone can take a bad sounding room and make it sound
great.”
Home studio designed in Sketchup featuring
Primacoustic panels, traps, clouds and diffusers.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 3
Two new footswitches: the JR-1L and JR-1M
Part# R800 2082 00 (JR-1L), Part# R800 2080 00 (JR-1M) Estimated Retail: $70 USD
Latching or Momentary footswitches feature XLR connectors
The JR-1 remote is a compact
footswitch that is available in choice of
latching or momentary formats.
According to Radial's Senior
Engineer Dan Fraser: "The thing
about R&D is that once you get started
on a project, it is almost like opening
up a rabbit hole. As you dig deeper,
ideas begin to surface and the next
thing you know, the product morphs in
both size, features and of course
application. When developing the
Relay Xo it became abundantly clear that we had to produce a remote footswitch control with XLR connectors. Professional touring bands prefer these over guitar cables as they lock into place. The JR-1 is an
incredibly simple device that is purpose driven and does exactly what it is supposed to do: make something
switch."
The compact JR-1 features choice of XLR and ¼" remote outputs to suit various setups and can be
ordered with choice of a latching or momentary footswitch. As the JR-1 is completely passive, no power is
needed to make it work. One simply plugs in and stomps.Made from 14 gauge steel with baked enamel
finish, the JR-1 is made tough to handle the rigors of professional touring. As with all Radial products, the
JR-1 is made in Canada and comes with a 3-year transferable warranty. The JR-1L and JR-1M will start
shipping in March 2014.
The second generation SW8 is now shipping
Part# R800 8100 00 Retail: $1350 USD
New features make it easier to use
The SW8 is designed to switch 8
audio
channels
simultaneously.
Backing tracks are recorded on two
separate systems and each is sent to
the SW8 where the user may manually
select between the playback systems
or have the SW8 automatically switch
between them when a drop-out occurs
via an internal gate. Inputs include a choice of 1/4" TRS or 25 pin D-subs. The outputs can be via a series of
transformer isolated XLR outputs to run through a snake system or a D-Sub.
According to Radial's President Peter Janis: "Over the past several years, the Radial SW8 has gained
tremendous market penetration with major tours such as The Eagles, Rush, Rihanna, Maroon 5 and Cirque Du
Soleil all using it. During this time we have had many discussions with the technicians who use the SW8 on a
daily basis. This input has driven us to develop a next-generation switcher that will elevate the performance in
several key areas such as managing standby status more effectively, muting the main audio outputs to enable
on-the-fly editing and providing remote controllability with LED status indicators."
New features include: A 'standby' function that enables the technician to stop the show in between songs
when the artist chooses to speak to the audience. A global mute turns off the front panel XLR outputs allowing
the tech to monitor playback tracks and prepare playback cue points. Two signal status LEDs have been added
for both A and B playback systems providing visual indicators to show signal present. External remote control
options now include either a footswitch or desktop options with LED status indicators. To help eliminate
switching noise with less than ideal sources, a series of DC blocking filters have been added on all channels.
Gate level controls have also been relocated to the front panel for easier manipulation.
Show and Tell
ARTIST FILE: TONEBONE
Eric Jarrin
HEAVEN’S CRY
“For the live part of this new release, all
the shows we did overseas and even here for
our album launch show, Pierre and I put all our
trust in Radial's Plexitube Tonebone pedal.”
“We have this pretty cool setup where
everyone has an in-ear monitoring system so
we can travel light without any band back-line.
We tried to find a way to have the best guitar
tone without playing with a big high gain tube
stack. The answer is the Tonebone Plexitube.
It's the only thing we tried out that delivered the
same qualities of a high gain tube amp cranked
up in a tiny metal box. It's just amazing. No
more huge stack of amps to carry around on
every stage we step foot on. And trust me, we
are very picky about guitar tone and the
Plexitube delivers.”
Rubens de la Corte
“Performing is something that connects me
to the listener at a different level. It is pure
satisfaction. I have to perform to be myself. I
just love the PZ-Pre to play live. It is part of my
sound and it improved my tone since I started
to use it. Compact, convenient, it is easy to use
and it gives me all the different sound nuances
I want.”
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 4
The Twinline Effects Loop Router
Estimated Retail Price: $400 USD
Share your pedalboard between two amp heads
The Twinline will be available in April 2014.
According to Radial Customer Service Manager Catharina Taylor:
"We have received numerous calls and emails from musicians asking how
they can better manage their pedals when using two amps. Many guitarists
prefer to route their effects pedals through the amplifier effects-loop as
opposed to connecting them in-line in between the guitar and the amp. This
generally produces better signal-to-noise and eliminates the problems
associated with true-bypass and non-true-bypass pedals. This, however,
introduces a new problem when using two amplifiers: How do you share
the effects between the two amps? The Radial Twinline is basically a router
that lets you select between the active amplifier head's effects-loop and
automatically switches the effects so that they follow in tandem. When
used with the Radial Headbone, you can toggle heads and reroute effects
in a single foot stomp!"
The Twinline begins with two effects-loop connections for the two
amps, each of which is equipped with send and receive ¼" jacks along with
individual send and receive level controls plus a polarity reverse to ensure
the amps and pedals are in phase with each other. A third send and
receive effects-loop is then used to connect to the pedalboard using ¼"
hi-Z jacks or balanced lo-Z XLRs for use with studio-grade professional line
level effects. In effort to eliminate hum causing ground loops, the two
amplifier effects-loops are 100% transformer isolated and supplemented
with ground lift switches. Switching between the loops may be performed
using the front panel AB switch or via the optional JR2 remote control. The
JR2 is equipped with two footswitches whereby the first is used to select
the amplifier effects-loop and the second is used to bypass the effects
altogether. Bypassing the effects is done via gold contact sealed relays for
true-bypass signal flow. Using the remote control is particularly advantageous as it allows the Twinline to be positioned adjacent to the amplifiers,
eliminating a tangled mess of spaghetti!
As with all Radial products, the Twinline is made in Canada using
heavy duty 14 gauge steel. A recessed front panel creates a protective
zone around the knobs and switches to keep them safe from overly
zealous roadies. A full bottom no-slip pad allows the Twinline to be
positioned on the guitar amp without fear of it sliding off. Powering is done
with the included 15VDC power supply.
The SB5W ‘Wall DI’ - Wall Mount Direct Box
Part# R800 0155 00 Estimated Retail Price $140 USD.
Introducing Radial’s First DI Box Designed for Permanent Installations
According to Radial Export Manager, Steve McKay: "Just when you think you have seen every DI box ever to
be made, those crazy engineers keep on coming out with new devices that seem to hit a certain market or
demographic. The SB5W is one of those. Just imagine you have a laptop computer in a boardroom or conference
center and you want to send the audio through to the PA system. The SB5W is the perfect solution! Affectionately
known as WallDI - it mounts inside a standard electrical box and employs an off the shelf Decora plate. You plug in,
adjust the volume and your Power Point video comes alive!"
The SB5W is a stereo direct box that fits inside a standard light switch electrical enclosure and employs a
Decora wall plate cover for the fit and finish. As the design is completely passive, no local powering is needed.
Choice of RCA or 3.5mm mini TRS inputs make it easy to interface to laptops and iPhones. A simple level control
sets the output. This is augmented with a set & forget switch to sum the stereo audio file to mono plus a ground lift
to eliminate hum and buzz caused by ground loops that often appear when interfacing computers and video
projectors with professional audio equipment. Connections from the SB5W are done with simple screw-down
terminals and tie wraps for strain relief. Made in Canada from 16 gauge steel, the electronics are fully enclosed in
a metal casing to reduce susceptibility from outside magnetic interference. Plug and play easy to use, the SB5W’s
estimated shipping date is March 2014.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 5
The Bassbone OD™
Part# R800 7072 00 Estimated Retail Price: $500 USD
Next generation Bassbone Overdrive
According to Radial President Peter Janis: "Since we launched the
Bassbone a decade ago, it has become one of the most successful bass
preamps on the planet, having been adopted by many of the world's top
bassists including Marcus Miller, Victor Wooten and Tony Levin just to name
a few. Over the years, we have had many conversations with artists on how
we could improve the Bassbone. Some of the requests we received
included a mute footswitch for quiet tuning, the ability to have the effects
loop active at all time and the option to elegantly switch between passive,
active and upright basses."
"We also had many conversations regarding the use of distortion on bass - including the type of overdrive bassists would like to use and more importantly, what
typically does not work when applying overdrive or distortion to bass signals. We quickly discovered that in order to deliver a solid bass foundation and the natural
tone of the instrument, you have to maximize the frequency response, retain the dynamics and introduce the ability to 'mix in' the dry original signal with the
distortion. And once we got started... well, we kept on going until we got it right!"
The Bassbone OD is a bass preamp with two instrument input channels, each of which is fully equipped with level control, a semi-parametric equalizer and low
frequency resonance filter. Channel-1 is further equipped with Drag™ Control load correction to optimize the tone and feel when using a vintage passive instrument
such as a Fender bass. Channel-2 takes a different slant with a PZB booster that increases the sensitivity and load to 10 meg ohms to optimize it for use with piezo
transducers as commonly used on upright bass. Toggling between channels is done using a footswitch and both channels may be mixed together by depressing the
blend switch should a dual pickup system be in use. Outputs include a ¼' instrument level output to feed the on-stage amplifier plus a low-Z balanced Radial DI box
output to feed the PA system. The XLR output can be assigned pre or post effects to suit the engineer's preference. A separately buffered tuner output works with
the mute footswitch for quiet on-stage tuning.
For bassists who employ effects, both input channels can share the same pedals by connecting via the built-in send & receive effects loop. This is augmented
with an on-board bass overdrive with control over the drive level, tone and a wet-dry mix that lets you add slight grit or over the top distortion to the signal path. The
OD footswitch may be assigned to the loop, overdrive or both. Finally, a built-in headphone amp with 3.5mm output lets you use the Bassbone on the bus for those
long drives between gigs. The Bassbone OD will start shipping Spring 2014.
"Mother of God!! what a frickin’
awesome pedal…thank you!
I've been jamming on it for 2
hours and haven't even bored
myself yet.”
Mark King, Level 42
“I think this unit is brilliant.You
guys scored a major home run
on this ! I haven't even dug
deep on the effect loops and
various outputs. You guys
thought of everything. But
most importantly, this sounds
AMAZING!!”
Danny Miranda
"I've been a long time
user of the original
Bassbone. It's hard to
believe that Radial could
make it even better, but
they did it. The Bassbone
OD is my new choice.”
Victor Wooten
The new ProMS2™ Mic Splitter
Part# R800 1122 00 Retail: $140 USD
High performance audio at an affordable price
The new Radial ProMS2 is a single channel mic splitter designed for PA, recording and broadcast
applications.
According to Radial’s Production Manager Steve Hopia: "Radial has been building custom mic splitters
and snakes for over 20 years. More recently, the Radial OX8 has gained notoriety as the mic splitter of choice
with artists as diverse as Rush and U2 when recording live performances. We felt that it was time that we
made a single channel version of the OX8 that could be used for general PA applications and installations
where high performance is needed at a more affordable price point. The ProMS2 delivers in spades!"
The Radial ProMS2 is completely passive and 100% discrete to ensure optimal signal flow. The engine
inside is an Eclipse ET-MS10 transformer that is exceptionally linear from 20Hz to 20kHz while exhibiting less
than 0.01% distortion at 20Hz. The Eclipse transformer is equipped with a mu-metal can that shields the
sensitive circuit from outside electro-magnetic fields to ensure the signal is delivered without artifact.
Features include microphone input with -30dB pad to enable extra high level sources to be used without fear of saturating the transformer. There are three
outputs: The first is a direct-coupled output that is normally connected to the main FOH PA system mixer and provides a return path for 48V phantom power
should a condenser mic or active DI box be in use. The second is a transformer isolated output that is particularly adept at eliminating the hum and buzz caused
by ground loops. The third is a direct output with a ground lift switch. This auxiliary output can be used to feed the stage monitors, recording system or remote
broadcast truck.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 6
The Headload ™
Part# R800 2025 00 Estimated retail: $600 USD.
Guitar Amp Load Box With Built-In JDX DI™ and Phazer ™ Phaze Adjustment Tool
According to Radial President Peter Janis: "With the
proliferation of in-ear monitors, there has come a tremendous
need for reducing sound pressure levels on stage. Outside of
drums, the next biggest culprit is the guitar amplifier. To get
tone, guitarists like to drive their amps hard. This is particularly true for smaller amps that sound great when pushed to
the max. Having tried all kinds of load boxes - we have never
been all that impressed with the ones currently on the market.
Although they all reduce the sound level coming out of the
amp, they fall short when it comes to producing a usable
signal for the PA system. We felt that if we could leverage the
incredible success we have enjoyed with the Radial JDX
direct box and combine this with the Phazer phase
adjustment tool, a new type of load box could be created.
After a year of trial and error, we are pleased to announce the
Headload - the culmination of our quest for great amp tone."
The Headload will start shipping in Spring 2014
The 100% discrete fan-cooled design begins with a
series of high power cement-encrusted epoxy-coated copper
coil resistors that are used in conjunction with a 6-position
Grayhill rotary switch to dissipate the power generated by the
amplifier. A variable range control allows incremental power
reduction at low levels if needed. This is augmented with
separate high and low resonance switches to compensate
with extra sparkle or bottom end. Power going to the
speakers may also be turned off for quiet recording or to
eliminate the speaker cabinet on stage. A front-panel ¼"
headphone jack with level control makes the Headload the
perfect companion for quiet practicing.
In addition to the 8 ohm speaker cabinet outputs, the Headload comes with a built-in Radial JDX direct box. The JDX has gained tremendous notoriety with
artists including Megadeth, Sting, Rascal Flatts, Aerosmith, Radiohead and Evanescence often replacing the guitar and bass amp microphones. This is coupled with
a 6-position voicing switch that lets you choose the desired amp and cabinet emulation. This is supplemented with a 2-band EQ for fine tuning and a low pass filter
to eliminate overly harsh harmonics that are produced by some amplifiers. Two JDX direct outputs offer the choice of pre or post EQ settings to allow the artist to
control his wedge or in-ear monitors to suit while sending a non-equalized tone to the front of house mix position. For engineers who prefer to combine a microphone
with a direct feed, the Headload has also been outfitted with a Radial Phazer - phase alignment tool. This enables the stage tech to align the direct feed with the mic
and dial-in the ideal mix on stage. In the studio the Phazer can also be used for creative equalization such as creating Boston-type out-of-phase rhythm tones or an
ultra-thick wall-of-sound. A second set of ¼" line outputs may be used to feed additional stage amps or effects if needed. The Headload is made in Canada from 14
gauge steel and is supported with a 3 year transferable warranty.
Included inside
the Headload!
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 7
The Space Heater ™
Part# R800 7005 00 Estimated Retail Price $2000 USD
Eight channel 12 AX7 Tube Line Amplifier with Eclipse Transformers
According to Radial President Peter Janis: "Ever since the success of
our Workhorse 500 series power rack with built-in summing mixer, we have
been thinking about building a dedicated summing mixer that would be a
worthwhile addition to the industry. As there are plenty of passive analog
summing mixers on the market, we wanted to bring something out that would
be both unique and of value. While talking about how many producers prefer
to fatten up the sound of drums using analog recorders, it occurred to us that
it would be really cool if you could add tube coloration and transformers to a
drum track. So we got to work! The Space Heater is an 8 channel 12 AX7
tube line amplifier with big fat Eclipse transformers. These combine to
produce a huge bottom end. We then added a 3 position switch that lets the
user select the applied voltage on the tube so that it can be lo-fi, mid-fi or
hi-fidelity, depending on the need. It is fun, easy to use and I am sure it will be welcomed by the more adventurous minded producers and engineers."
Set up as four stereo pairs, the Space Heater design begins with a choice of 1/4" TRS or D-sub inputs for quick connection to a workstation. Each channel pair
is 100% discrete enabling 4 stereo sets to be used independently or be sent to a stereo mix bus with left and right outputs. To control the effect on the tube, each
channel set is equipped with a separate drive control to increase or decrease the signal being sent to the 12AX7 tube and a level control to set the output. A unique
Heat switch lets the user apply 25, 50 or 100 volts on the tube depending on the fidelity needed. Lower voltages starve the tube causing more distortion. On the
other hand, higher voltages produce a cleaner signal. Each stereo set is also equipped with a handy high-pass filter to help eliminate resonance and clutter. This is
extremely useful for cleaning up a mix. To expand patching options, all 8 channels are equipped with separate send and receive insert jacks. The send jack works
double duty as a second output with the D-Sub for parallel processing. The master section features a simple level control, headphone amp and choice of XLR or
TRS outputs. Everything is housed in a 1 RU 19" rack frame and as with all Radial product, it is made from 14 gauge steel for greater rigidity and maximum shielding.
An external power brick works globally by accepting anything from 100 to 240 volts. The Space Heater is expected to start shipping in April 2014.
Bootsy Collins...helming the
Funkship in the ‘Firefly Zone’
The iconic Bootsy Collins is happy to report he has been flying in
what he refers to as the 'Firefly Zone' these days. Bootsy recently added
Radial's premium Firefly tube DI to his gear arsenal. The cheerful yellow
box has been getting a lot of attention since its debut and Collins
includes himself as a fan.
"I am using the Firefly in both my studios with my new WarwickStar-Spacebass. The Firefly is pleasantly warm, while it can get very
chunky and funked up, it also can be punchy and clean, so whatever the
scheme, the Firefly can funk up a bad dream, or a wet one, (laughs). As
you know, I use a lot of effects and the Firefly allows them to breathe
instead of decreasing or animating the true sound of whatever I throw at
it. It does not break up or change the tone unless I want that... and in
some cases I do. The Firefly gives you everything needed to adjust to
any situation.”
Firefly Part# R800 2020 00 Retail: $700 USD
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 8
These pages are crawling with bugs...
You will want these little guys in your road kit
StageBug SB-1™ Active Acoustic Direct Box
The StageBug SB-1 is an active direct box, optimized for acoustic guitar and bass. It features a
standard instrument input with a thru-put that can be used for a stage amp or to connect to a tuner. A -10dB
pad also enables the SB-1 to be used with higher output sources such as active basses and keyboards. The
balanced XLR output is used to feed the PA. This is equipped with a 180° polarity reverse to help tame hot
spots on stage and reduce feedback. Best of all, the design is super compact so that it fits inside a guitar
case! This makes it easy to carry and at the ready to deploy anywhere – anytime!
Radial’s Sales Manager Roc Bubel explains: "Radial already makes more types of direct boxes than
any other manufacturer so adding another model to our line up is not something we would do unless we had
good reason. In this case, it really came down to getting inside the case! Today, more and more musicians
are traveling light in order to keep costs down. This is particularly important since airlines are now charging
for extra baggage. The other reality is that most venues or clubs tend to have low-end DI boxes that do not
sound very good. So more musicians are now equipping themselves with their own DI to ensure they can
deliver as good a quality signal as possible to the PA system. We combined these two 'needs' to create the
StageBug SB-1... the most compact yet high performance Radial DI ever!"
StageBug SB-2™ Passive Direct Box
The StageBug SB-2 is a passive direct box designed for high output instruments like active basses,
keyboards and drum machines along with other buffered sources like DJ mixers, computers and CD
players. It features an instrument input, a thru-put to feed an onstage amp or personal monitoring system,
plus a transformer isolated output. The custom made Eclipse transformer performs the balancing and
impedance matching for optimal signal transfer. And by isolating the source from the destination you also
enjoy lower noise. Features include an input pad to reduce sensitivity plus a pin-1 lift switch to eliminate
ground loops.
According to Radial’s Western Regional Sales Manager Mark Gummer:"We have noticed a trend
whereby musicians are looking for ways to reduce the size of their payload when traveling from gig to gig.
This is happening both regionally when traveling on a tour bus and nationally when traveling by commercial
airliner. In both cases, the attempt to downsize results in lower fuel costs, lower baggage handling costs and
ultimately the reduction in size improves efficiencies all around. But as always, musicians want it all. They
want smaller, but do not want to compromise on quality. The new StageBugs deliver big sound in a small
way! And the response we have had so far has been terrific!"
StageBug SB-48™ Power Bar 48V Phantom Supply
The StageBug SB-48 Power Bar, a dual channel 48V phantom power generator, is designed to power
microphones and direct boxes when phantom power may not be at hand.
Radial’s Service Manager Paul Blake explains: “We sometimes get calls from artists who want to use
a clip-on instrument microphone with devices like the popular Radial PZ-Pre acoustic preamp. These are
usually condenser mics that require 12V to 48V phantom power to make them work. We thought that it
would be a good idea to provide a plug and play solution for these users. The SB-48 is just that. You simply
plug the SB-48’s 15VDC power supply in the wall and it converts the voltage to 48V phantom power, just like
a mixing console or studio mic preamp.”
StageBug SB-1 Acoustic StageBug SB-2 Passive
Part# R800 0110 00
Part# R800 0120 00
Retail: $80 USD
Retail: $80 USD
StageBug SB-4 Piezo StageBug SB-5 Laptop
Part# R800 0140 00 Part# R800 0150 00
Retail: $90 USD
Retail: $115 USD
StageBug SB-7 Earmuff
Part# R800 0170 00
Estimated Retail: $99 USD
StageBug SB-48 Power Bar
Part# R800 0148 00
Retail: $100 USD
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 9
...Radial’s new compact StageBugs™
StageBug SB-4 Piezo™ Orchestral DI
The StageBug SB-4 Piezo is a special direct box designed specifically for instruments that use a piezo
electric transducer as a sound source element. Piezos are notorious for their peaky response and edgy tone
when they do not see a proper load. The SB-4 has been optimized with a 5 meg-ohm input impedance that
smoothes out the dynamics while increasing the frequency response for a warmer, more natural tone. The
SB-4 has also been equipped with a high pass filter that gently rolls off excessive bass which can cause
resonant feedback. This makes the SB-4 a great choice for violin, fiddle, mandolin, upright bass and for
expensive guitars where you do not want to cut a hole into the body to mount an active system.
According to Radial's Senior Engineer Dan Fraser: "Over the past 10 years, our engineering team has
been re-evaluating how the direct box is used, what works and where problems continue to cause havoc. The
Radial J48 changed the way we loaded the magnetic pickup for a more natural sound and it has become
'standard equipment' on many of the world's most prominent stages - Paul McCartney and The Rolling
Stones - to name a few. Then, in 2013 we released the Radial PZ-DI - a direct box that is able to adapt to a
wide range of pickups including piezos. The PZ-DI was recently adopted by Rush for a string section and Zac
Brown for traditional bluegrass instruments, creating an awareness that when treated properly, piezo pickups
can actually sound really good. We felt that it would be great if we could produce a pared down version of the
PZ-DI that the traveling artist could carry in his or her gig-bag. This became the StageBug SB-4."
StageBug SB-5 Laptop DI™
The StageBug SB-5 Sidewinder is a direct box designed for AV integrators who need a handy ‘tool box’
solution for connecting laptop computers, iPads and other audio sources to a PA system. The ultra compact
design features an integral 5ft cable terminated in a 3.5mm TRS connector to mate with the headphone
output from a laptop. The ‘sidewinder’ gets its name from the attached cleat that lets you neatly wrap the
cable when not in use. Completely passive, the SB-5 does not require any powering. You simply connect and
it converts the signal to a pair of 1/4” TRS connectors for stereo use or the signal may be summed mono
using the XLR output.
According to Radial’s President Peter Janis: "With so many productions now using computers, we felt
that the time had come to bring out an additional solution to our range. The StageBug SB-5 Sidewinder is
unique in that it has an integral cable and storage cleat which makes it easy to deploy and impossible to lose
the cable! There's nothing more painful than trying to find a 3.5mm interface cable when you are in the heat
of the action. I also think the super compact design will be of particular benefit to the audio-video tech. These
guys travel with their own service kits and having a ready solution in the work case will certainly be
welcomed."
StageBug SB-7™ EarMuff Headphone Mute
The StageBug SB-7 EarMuff, a unique headphone interface that enables the artist to mute one side of
his or her headphones to eliminate bleed when recording. Radial’s Corey Phillips explains: “When recording
classical music, violinists will often remove one side of the headphones to uncover one of their ears so that
they can better hear their instrument when performing. This generally improves their intonation and tone
versus only hearing their performance through ‘a set of cans’. This causes a bleed problem whereby the open
phone is now being picked up by the ultra sensitive condenser microphone, mixing in with the instrument. The
EarMuff solves the problem by enabling the artist to turn off the unused side of the headphone.”
Features include ¼” TRS input, level control, mono blend, mute switch and choice of 3.5mm and ¼” TRS
outputs for ear buds or headphones. A handy mic stand adaptor is available to mount the SB-7 onto a mic
stand if needed.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 10
SW4 Quad Input Switcher™
Part# R800 8012 00 Estimated Retail: $1000 USD
Multi-channel switcher can be configured to back up wireless mic systems, wireless guitars and more
The Radial SW4 is a unique multi-channel switcher for balanced audio signals that enables four input pairs to be switched individually or be linked together to
create stereo, tri-channel or quadraphonic switching should the need arise.
Radial’s President Peter Janis explains: “Over the past several years, we have increased our focus on providing various types of switchers for microphones,
preamps, guitars, amplifiers and backing tracks. Today, the majority of artists employ wireless microphones in their live shows along with in-ear monitors. More
recently, guitarists have been replacing their stage amplifiers with digitally generated devices such as Fractal’s AxeFX. Considering most electronic devices employ
internal computers to do the work, backup systems are now becoming essential for professional touring. Computers are certainly more stable than they were in days
gone by, but on stages where high voltage lighting is abundant, power spikes can pose problems. Another concern is brownouts due to fluctuating power generators
that can cause havoc with digital systems. The Radial SW4 is an advanced switcher that can be configured to back up wireless mic systems, wireless guitars, stereo
backing tracks or even be used to switch or combine mixing consoles in a festival environment.”
The design begins with four dual-input channels equipped with two balanced XLR-F inputs and an XLR output on the rear panel. Each output is Eclipse
transformer isolated, to prevent hum and buzz caused by ground loops, and is capable of handling up to +20dB at 20Hz without distortion for the most demanding
pro-audio applications. This is supplemented with top-mounted ground lift switches on each channel. Looking at the front panel, each of the four channels is
equipped with a channel-on switch, A/B select with LED indicators, signal presence LEDs and individual trim controls to match the signals. The SW4 is also
equipped with a stereo bus that lets the user combine the active outputs to a single mix point and exit the box via two dedicated balanced XLRs. The same bus
drives two unbalanced guitar outputs should the SW4 be used with wireless guitar systems. A top-mounted level control enables the tech to adjust the guitar amp
output to suit. Finally, each of the four channels may be linked so that they all switch together. You could, for instance, have channels 1 and 2 linked for stereo use
and then use 3 and 4 independently. When linked, channels 1 and 3 show up on the left stereo bus while channels 2 and 4 show up on the right. A master mono
sum switch on the top cover brings all the active channels on the bus to both outputs. A dedicated mono-summed tuner out on the front panel can be used for
monitoring or for tuning guitars. Switching can be performed via the front panel or with the JR-2 remote. This dual function switch is available in a choice of footswitch
or desk-top models to control A/B select and master mute. Construction follows Radial’s legendary road-worthy construction with 14 gauge steel throughout, baked
enamel finish, steel encased switches and steel shafted potentiometers. As with all Radial products, the SW4 is made in Canada and covered by a 3-year transferable warranty.
The JX62 Six Input Guitar Switcher
Part# R800 6505 00 Estimated Retail: $1000 USD
Built-in DI, amp switcher and headphone cuing in one box!
The Radial JX62 is a six input guitar switcher with two amplifier outputs for live touring.
According to Radial’s Central Regional Territory Manager, David ‘Shuu’ Guidish:
“Before joining Radial, I spent over 17 years on the road as a guitar tech. During this time,
it became abundantly clear that a guitar switching system must be easy to use, quiet,
dependable and bullet proof to handle the rigors of professional touring. When designing
the JX62, the Radial R&D team discussed the feature set with me, along with a number of
other touring pros, before putting the pieces together. The combination of a guitar switcher
with built-in DI boxes for acoustics and bass, along with an amp switcher and tuner out,
truly makes the JX62 a unique and essential piece of gear.”
The Radial JX62 begins with six guitar input channels, each of which is outfitted with
¼” input and a thru connection to feed its own amp or dedicated direct box. A simple ON switch activates the channel and a recessed ‘set & forget’ TRIM control enables
the guitar technician to set all of the levels uniformly should the output from the guitars or wireless systems need adjustment. All channels may be used at once. The
trim control on inputs 1 & 2 plays double-duty whereby it can be turned into a DRAG control – to instead adjust the load when using a wired connection to a magnetic
pickup. This follows the same award winning class-A circuit topology as used on the Radial JD7 which is used by guitarists such as Carlos Santana, Neil Schon, Steve
Vai and John Petrucci. Made from 14 gauge steel with a baked enamel finish, the Radial JX62 is able to withstand the rigors of professional touring. As with all Radial
products, the JX62 is made in Canada and covered by a 3-year transferable warranty.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 11
The new Relay Xo™
Part# R800 8025 00 Estimated Retail: $220 USD
Mic signal switcher supports in-ear monitor use
The Relay Xo is a mic signal switcher that enables the
artist to convert a vocal mic into a talk-back or communication mic so they can converse with system techs, monitor
engineers or other band members.
5 MINUTES WITH
Bon Jovi’s Bassist
HUGH MCDONALD
Radial’s President Peter Janis explains: “Over the past
few years, live touring has shifted dramatically with the
universal use of in-ear monitors. Artists no longer use
wedge monitors and side fills and every instrument is piped
directly into the ears. The benefit of course is greater
control over the mix, consistency from venue to venue, no
more feedback to contend with and sound bleeding from monitors into mics is virtually eliminated. Although
the benefits cannot be understated, this has also introduced a new problem: band members have no way to
communicate with each other. Radial produced a solution in the form of a simple momentary footswitch
called the DM1 that is equipped with an XLR input and two outputs. When the footswitch is held down, the
mic output toggles from the main PA system to the intercom system, enabling the artist to converse with band
members or speak with the techs to adjust their in-ear mix. The DM1 is designed for dynamic mics but falls
short when used with condensers or wireless systems. The Relay Xo is basically a glorified version of the
DM1 that is designed to sit at the wireless receiver bay and be remotely controlled using a standard momentary footswitch. The Relay 48Xo, now in the planning stages, will also enable condenser microphones to be
employed without introducing a huge pop when phantom power is moved around.”
The design begins with a simple XLR-F mic input and two XLR-M outputs. One merely toggles the
outputs using the side access A/B switch or connects a remote control such as the Radial JR1 or a momentary switch (like a sustain pedal) to the Relay Xo using either the XLR or 1/4” remote input jacks. Although
either a latching or momentary footswitch may be used, the latter is recommended as it prevents accidentally
saying things to the audience if left on by mistake. With a momentary footswitch, you need to have your foot
on the switch for it to work. A ¼” link output enables a second Relay Xo to be connected for stereo use.
Because there are no buffers in the circuit path, the Relay Xo does not produce any form of distortion. There
are only a few carefully selected blocking capacitors in line to prevent DC offset problems that could cause
clicking in the audio system.
The Relay follows Radial’s tradition of using 14 gauge steel throughout along with an internal I-Beam
frame to ensure the sensitive PC board will not torque even when subjected to extreme rigors. A book-end
design creates a protective zone around the connectors and switches to further prevent accidental damage.
The JR2-DT custom remote control
Part# R800 2085 00Estimated Retail: $100 USD
Switch enables user to toggle the SW4 and SW8 remotely
The JR2-DT remote is a dual function control switch that
enables the user to A/B toggle devices such as the Radial
SW4 and SW8 from the comfort of a desk-top position or
remotely mute the system.
According to Radial’s Custom Shop Manager Ryan
Juchnowski: “Since we launched the Radial SW8 backing
track switcher, we have had several requests to produce a
custom remote control to enable the user to reach over to
switch from one backing track to the other should one of the
playback systems fail. We figured that since we were building
an updated version of the SW8, it was the perfect time to produce an off-the-shelf solution. The JR2-DT is
super compact, uses a standard XLR as the cable interface and is plug and play easy to use!”
The compact JR2-DT (desk top) features choice of XLR and ¼” remote outputs to suit various setups.
There are two switches on the top panel: one switch is labelled A or B, the other mute. Each switch is a latching
type that stays engaged until it is depressed a second time. On-board LEDs illuminate to let you know status.
These derive their power from the Radial device that is connected, eliminating the need for batteries or local
power supply. Construction is 16 gauge steel with baked enamel finish. As with all Radial products, the JR2-DT
is made in Canada and comes with a 3-year transferable warranty.
What is your current stage setup?
Aguilar DB750 and DB410 amps and Sadowsky
5 string P Basses, Yamaha BB 2025X, Fender
Fretless Jazz Bass
You said you tried a bunch of other DIs
before trying the Firefly?
You name it, I probably used it!
What was missing with them?
The WOW factor. I find most high end DIs do a
great job, but the Firefly is a step above. If I
could put my finger on it, I'd design one and take
your business!
When did you first try the Firefly?
At a show in front of about 60,000 people.
What was your immediate reaction?
A very big smile.
How do you feel it helps with your in-ear
monitors?
Now the bass is fat, clear and natural sounding.
What did the monitor and FOH engineers
have to say about the sound of the Firefly?
Refer to question 3!
"The Firefly? In 40 years of playing
bass, live and in the studio, nothing
has been better!"
Hugh McDonald, Bon Jovi
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada
Page 12
New 500 Series modules!
The PreMax™ and PreComp™ are the latest additions to the series
The PreMax is a combination low-noise mic
preamp and 3 band equalizer jam packed into a
single-wide 500 series module. The 'all-in-one'
channel strip will be of particular interest to those who
require greater density in their production studios or
on-air radio broadcast inputs. The feature set includes
Radial's super quiet Accustate input control that
auto-pads the input while optimizing signal-to-noise. A
high pass filter eliminates resonance while a 180°
polarity reverse lets you match stereo mics for phase
parity. A front panel instrument input lets you turn on
the Omniport which in this case is optimized as an
instrument input for direct recording of bass, guitar or
keyboards.
Reverend Horton Heat
Keeping it hot in the studio
Eleven albums and several movie, television and
video game soundtracks later, The Reverend is
currently working on the band's new album. "I love the
Komit Compressor on guitar and vocals and the
TankDriver spring reverb interface is great for me as I
use spring reverb everywhere. I can record the reverb
separately with the TankDriver to give me more control
during mix-down. They are both all over our new
album."
TOP: PreMax Preamp 3 band equalizer Part# R700 0112 00 Retail:
$350 USD LEFT: PreComp Preamp VCA compressor Part# R700
0114 00 Retail: $350 USD
According to Radial’s Sales Manager Roc Bubel: "When we started
building 500 series products our primary goal was to solidify the standard
so that we could create a bunch of useful modules. We started with the
Workhorse and mixer, a preamp, compressor and a Reamper. We now
offer close to 20 different modules, each of which address a different
market niche or price point. The latest in our series is the PreMax. This is
designed to bring greater density and affordability to the 500 series format
by combining a preamp and EQ into a single space module. At a retail
price of $350, we are confident that the PreMax will provide certain
segments of the market with the performance and price point to suit their
needs."
The PreComp is a 500 series module that combines a high
performance mic preamp with a fully variable, full function VCA compressor. One merely connects the mic, sets the input level and then the
compression for instant results! The compact all-in-one module is particularly beneficial for high density setups such as live recording where you
want to capture the natural sound of the instrument while ensuring it does
not go into the red. Those equipped with a Radial Workhorse can use the
Omniport to access the preamp and compressor separately, using them
as two separate modules.
A Radial SGI Studio Guitar Interface is also a fixture
in his studio: "I got to meet the guitar techs for the
Doobie Brothers, and saw they had an SGI. I asked
what it did and the light bulb went on. Now that too gets
used all the time. I use it in the studio so I can run the
amp off in the next room. That's been a lifesaver on the
new album. I can be in the control room and locate the
amp 30 feet away and have it cranked all the way up!"
Radial's Senior Engineer Dan Fraser: "The PreComp addresses the need to combine both a
preamp with a compressor in a compact, single space module. This provides broadcasters and post
production engineers with a quick and easy solution for voice and instrument processing. It is also a
Godsend for live recording engineers as it enables them to maximize system density without compromising on performance or control."
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tic
Cube 500 series chassis Part# R700 0107 00
Retail: $400 USD. Komit Part# R700 0150 00 Retail:
$350 USD. Tank Driver Part# R700 0136 00 Retail:
$350 USD.
Radial Engineering Ltd. • © Copyright 2014 all rights reserved · www.radialeng.com · email info@radialeng.com • Subject to change without notice • Printed in Canada