Radial Engineering has made built-to-last solutions that meet everyday studio and live needs for decades, and their new SGI Stereo instrument line driver – designed primarily for guitar and bass – is another excellent example. The SGI Stereo lets you drive two unbalanced, low-level instrument signals up to 300 feet via a CAT5 Ethernet cable without noise or signal loss. It is designed for use on stage or in the studio. Long cable runs fed by instrument pickups (even via stompboxes) can lose clarity and pick up electronic interference; a problem Radial’s SGI products help solve. With this new addition, the SGI system now comes in single-channel SGI (via XLR) and SGI Stereo (via CAT5) versions. The SGI Stereo consists of transmitter (TX) and receiver (RX) boxes that each sport a pair of Jensen transformers. The TX has an included 15V power supply but can run on pedalboard power from 9V to 18V. The RX also has a ground lift for both channels and a 180-degree phase inversion button. The TX also has handy 1/4-inch Thru options. The devices have the same form factor as the JDI and J48 direct boxes in the Radial line. The claimed frequency response is 20 Hz to 18 kHz +/-1 dB with a very low total harmonic distortion. Connectors are unbalanced 1/4-inch, and the CAT5 jacks are also compatible with locking Neutrik etherCON connectors.

A typical use case scenario would be a path like this: guitar/bass>effects pedals (if used)>SGI Stereo TX>CAT5 cable>SGI Stereo RX>amp(s). Pedals can also go between the RX and the amplifier instead of in front of the whole chain. I used the SGI Stereo in both stereo and mono configurations, and I immediately thought of two scenarios where I could put it to work. The first was running from my pedals in the control room out to an amp in the live room. For the purposes of A/B-ing, I set up runs with and without the SGI. The total run was around 75 feet from my spot in the control room, through and under several doors, to the amps at the far end of the live room. Not close to the 300 feet the SGI Stereo can handle, but still significant enough to make signal degradation a potential issue. The SGI Stereo was the clear favorite of the two options. Even using high-quality guitar cables for the non-SGI path, I found the SGI Stereo to be cleaner, clearer, and noise-free. We quickly ditched the standard run and sent the signal from the RX side of the SGI to both amps instead of using just the left/mono side, and I didn’t notice any loss of tone in doing so.

My other test involved a longer run from my home studio/barn control room, across the driveway, and into the house’s living room. I have always thought about recording guitars in the house, as the room has a nice natural tone, but I have been hesitant due to the length of the cable run. Again, I set up two paths. One used jumpered-together, super long cables that I purchased years ago for my kid’s elementary school play that I was roped into doing sound for (“You’re a sound guy, right?”). That path went into an old ’70s Marshall 2×12 combo. For the other, I connected the two SGI Stereo units using a 100-foot CAT5 cable, patched my guitar into some pedals, and then into the SGI Stereo’s TX. I ran the output from the receiver to two amps (a Vox AC30 and a Fender Princeton Reverb) in the living room. The first (non-SGI) path was pretty noisy. It was still somewhat usable, but it had significant hum issues. With the SGI Stereo, the signal was strong, with no crosstalk or extra noise other than the normal crackling of the AC30’s faulty tubes. For kicks, I ditched the first path and swapped out the AC30 for the Marshall. It was remarkably cleaner using the SGI Stereo.

Like everything Radial Engineering makes, the SGI Stereo is built like a tank and will be around long after I kick the bucket. The SGI Stereo will interface with many Radial products, but understand that it is not a DI or a re-amping device. As with many of the company’s products, it does a specific job and does it very well!

SGI Stereo

Stereo Instrument Line Driver

The SGI Stereo is a line extension of our high-performance stereo line driver system for guitars. It takes a pair of unbalanced instrument signals and allows you to drive them up to 100 metres (300ft) over a single standard Cat5 Ethernet cable without noise or signal loss.

The post Tape Op Magazine Reviews the SGI Stereo appeared first on Radial Engineering.

Radial Engineering has a big reputation for making pro audio problem solvers. Its direct boxes (DIs) have dominated the market for some time now. Generally regarded as among the best available, the combination of high fidelity, rugged design and practical features has made them a standard request on tech riders. No one asks for other brands. Radial also make splitters, combiners, interfaces and devices that solve problems you didn’t know you had (until you have them). The Catapult Analogue Over Cat5 range is one such solution.

Cat5/Cat5e Ethernet cables and RJ45 connectors were designed for digital data transmission, not audio, but the twisted-pair cable used to reduce interference is suitable for balanced analogue audio. So with a bit of hacking they can be made into a cheap four-channel audio multicore. Radial’s first audio-over-Ethernet (AoE) product, the Radial Catapult TX4 released in 2016, turned the hacker’s idea into a road-tough device with a strong case and proper connectors. The TX4 functions as a four-channel passive splitter/Ethernet extender, available in straight-wire or TXL4 transformer-isolated versions.

BETTER TO SEND & RECEIVE

The Catapult Rack TX/RX has recently joined the Catapult range. Essentially three TX4 four-channel devices built into a single-space rack unit that handles up to 12 channels of audio over three Cat cables. A simple device built with typical Radial strength and attention to detail, the distinctive blue colour looks good in the rack and the clear layout helps when making connections. The Catapult TX front panel has three sections (A, B, C) of 4 x Neutrik XLRs and a ground lift. The rear panel has six locking EtherCon RJ45 sockets, two for each section. The matching Catapult RX version is the same except for the gender of the XLR sockets. Reversible rack ears allow you to mount the Catapult either way in a rack.

STRANDS

Instinctively, the wire inside Ethernet cables looks a bit thin, in use, you don’t notice any sound issues although there is the possibility of crosstalk if there are large differences in signal levels through the same cable. Any ol’ Cat5 cable will work but shielded cable works best for optimal noise performance, or when phantom power is applied to the channel – shielded Cat6 cables will perform even better.

WORKING UNDERCOVER

I’ve noticed the touring bands I work with at the Theatre Royal are increasingly using AoE setups for sub-snakes around stages – some acts making custom versions for each stage position. They’re neat, flexible and quicker to set up/tear down than bulky regular cabling. I installed temporary Catapult Racks at the FOH and foldback desks and used the spare house Cat5e cable to send extra mixes back to stage for a show that needed them, and it saved running a 30m return loom and worked without any issues.

Temporary long cable runs for outdoor shows is another helpful application. If the multicore is run on the ground under cable covers and you need extra channels, the Cat cables will always fit under the covers, an extra snake may not. Delay speakers or distributing sound to different parts of a small festival often sees me stringing cabling through trees or on poles to keep them off the ground… hard to do with a long, heavy multicore, much easier with Cat cables. Once you start using Catapult you see more potential applications – cue systems, temporary feeds, handy splits in venues and portable recording in remote locations to name a few.

CIRCLE BACK TO RADIAL

Because I’m sure ‘they’ are watching me I’m suddenly and mysteriously being offered lots of cheap versions of AoE connectors online. Why choose Radial Catapult devices? Quality. They’re not cheap but they are so well made they still offer good value for pro users who want flexibility, consistent functionality and high reliability. The Radial Catapult Rack is a great way to get 12 extra AoE channels in a convenient 1RU rack unit.

CATAPULT IN A NUTSHELL

The Radial Catapult does not convert audio into digital packets; instead, it uses the four twisted pairs of conductors within standard Cat5 or Cat6 Ethernet cable to transmit four channels of balanced analogue audio.

Why is Catapult ‘Analogue Audio over Ethernet’

• Physical Medium: It uses standard RJ45 connectors and Cat5/6 Ethernet cables instead of a heavy analogue multi-pair snake cable.
• Passive Operation: The system is completely passive, requiring no power, and acts as a direct ‘straight-wire’ connection, maintaining analogue audio throughout the entire chain.
• Isolated Channels: High-quality transformers are often used to break ground loops, providing clean, analogue signal transmission.

Important Distinctions

• No Digital Conversion: Unlike Dante or networked audio systems, there is no latency, no sample rate, and no A/D-D/A conversion.
• No Network Functionality: Do not connect Radial Catapult units to network switches, routers, or PoE devices, as this can damage the equipment. It uses the cable, not the network protocol.
• Limited Distance: While it can run 100+ metres, it is a point-to-point analogue snake, not a networked node.

Catapult Rack

Cat 5 Analog Audio Snake

The Catapult Rack is a passive audio snake that allows you to send or receive 12 channels of analog audio over standard Cat 5 or Cat 6 Ethernet cables.

The post Audio Technology Magazine Reviews the Catapult Rack appeared first on Radial Engineering.

The following review by Matt Houghton was originally published in Sound on Sound Magazine.

What does Radial’s latest compact pair of boxes have to offer?

Canadian manufacturers Radial have a surprisingly wide range of products for the studio and stage, from load boxes and audio‑over‑Cat devices to colourful summing boxes and 500‑series modules. But they’re particularly well established as one of the leading brands making useful little problem‑solver boxes such as DI and re‑amp boxes (and even both in the same box!), splitters and switchers. As well as boasting superb technical specifications, their compact gadgets are housed in robust folded‑steel boxes, with very clear labelling and usually with an overhang to protect the connections and controls — in other words, they’re built to last a lifetime on the road.

Highline

Passive Line Isolator

The Highline is a passive line isolator designed to connect guitar and amp modelers to a mixer for live touring and recording applications, featuring a premium Jensen transformer for exceptional audio performance.

Highline Stereo

Stereo Passive Line Isolator

The Highline Stereo is a two channel passive line isolator designed to connect guitar and amp modelers to a mixer for live touring and recording applications, featuring premium Jensen transformers for exceptional audio performance.

Two High

The latest additions to the portfolio are two boxes that form the Highline range. Both are line‑level isolators, one being mono and the other stereo, and the intended application is to sit between either a pedalboard chain or hardware amp simulator and a PA system, where their internal transformers provide true galvanic isolation — in other words, it protects your gear’s outputs from DC phantom power voltages being applied from the FOH mixer, and it also serves to break/prevent the ground loops that can result in unwanted hum when using unbalanced outputs, such as are often used on amp sims and pedals.

“A grey, latching button changes the Thru output to an input, summing it with the main input signal.“

But for their size and the fact that one can isolate two channels, the two pedals are almost identical and at their heart lies a 1:1 ratio Jensen transformer (or two in the case of the stereo version). Starting with the mono version, it’s incredibly simple from a user point of view. On one end, there are two TRS jack sockets, one labelled Input and the other Thru, and these can handle balanced or unbalanced sources. Between them is a grey, latching button that changes the Thru output to an input, summing it with the main input signal. So this box can receive stereo outputs from an attached device, and send a mono sum on to the PA. At the other end, the output is presented on a male XLR connector, and there’s a ground‑lift button that lifts the audio ground path at the XLR. Helpfully, the labels appear both on the end panels and on the top of the steel case. And that’s as complicated as it gets!

The stereo version is a couple of centimetres longer and about 1cm wider, and this time there are four TRS sockets and two XLR outs, to cater for stereo devices and setups. Again a switch lets you use the Thru jacks as inputs and sum them with the main Input jack. A second button, though, sums everything to mono.

So the stereo box has more potential uses; engage both buttons and it would be possible, for example, to sum four mono inputs to a single or dual‑mono output. Again, there’s a single ground‑lift button that acts on both channels.

Verdict

As is so often the case with Radial gear, it’s hard to know what to say about these boxes — they just work! They successfully blocked phantom power, and I was able to eliminate the hum caused by a ground loop that I’d contrived to create for test purposes. As well as being ruggedly built, the technical specs are exemplary, and to my ears this translates to them having zero audible impact on the sound.

Though intended for amp sims and pedalboards, there’s no reason you couldn’t use them (with suitable cables) for any other line‑level gear, and if you have gear not at line level… well they do boxes for that too. There are plenty of line isolators to choose from today, but there is much to commend the Highlines, and if you have the budget they deserve to sit at the top of your audition list.

Summary

Robust, effective and transparent, the Highlines both do exactly what Radial claim.

Information

Highline Mono $179.99. Highline Stereo $249.99.

Radial Engineering +1 604 942 1001.

www.radialeng.com

The post SOS Magazine Reviews the Highline appeared first on Radial Engineering.

The following review by Sam Inglis was originally published in Sound on Sound Magazine.

There’s more to designing a quality monitor controller than meets the eye — or the ear.

A lot of the equipment we review in these pages falls into the ‘nice, but not essential’ category. That new plug-in or Eurorack module may be fun to play with and inspire creativity, but your studio isn’t going to grind to a halt without it. And if you boil things right down, there are relatively few items that are absolutely indispensable. Speakers and headphones, for sure; microphones, if you record audio; a computer and an audio interface.

The only reason that list doesn’t include monitor controllers, though, is that most audio interfaces already have some degree of monitor control built in. At a pinch, you can also implement it in software. However, as time goes by, I’ve become increasingly convinced that a good quality, standalone monitor controller is one of the most important investments you can make. In my experience, it’s the single piece of equipment that gets the most interaction from the engineer, and what it lacks in wow factor, it more than makes up for in sheer convenience

The fly in the ointment is that every engineer has different preferences about what they want from a monitor controller, and every studio has its own array of sources and speakers that need to be catered to. Consequently, it can be difficult to find a controller that precisely meets your needs. When you start looking at what’s on the market, you inevitably find that there’s nothing out there with the exact combination of features and I/O you want. Or, worse still, you hit upon something that looks ideal for your purposes, only to discover that it colours the sound in some insidious way.

That, apparently, was the experience of Radial Engineering’s design team — and unlike you or me, they had both the opportunity and the know-how to do something about it. The result is Radial’s first monitor controller, the Nuance Select.

On The Button

There can be few engineers or studios out there who don’t have at least one Radial product in their armoury. The company have always majored on robust construction and functional, engineering-led design, and you could probably use one of their DI boxes in hand-to-hand combat without doing any harm (except to your opponent). The Nuance Select is equally bulletproof, and thanks to its steel chassis and a faceplate made of 1/8-inch aluminium, is weighty enough that it won’t slide around on your desktop. Cosmetically, it’s quite different from older Radial products and more similar to the recent HDI. With its chromed metal knobs, large illuminated buttons (which click reassuringly when pressed) and slick black finish, the Nuance Select is a really good example of industrial design that is simultaneously attractive and ergonomic, allowing the user to take in all the settings at a glance even from a distance.

Many studio monitor controllers these days are also audio interfaces, or at least digital-to-analogue converters. Not so the Nuance Select, which is a purely analogue device. It’s an active controller, powered by an external laptop-style supply that connects securely using a four-pin XLR. Radial say that the Nuance Select uses a “unique patent-pending circuit design” that operates in Class A throughout and has no capacitors in the signal path. This enables it to achieve remarkable audio specifications, including a THD figure of below 0.00001 percent — that’s an astonishing -140dB.

New Jack City

Audio socketry is all on quarter-inch jacks, with two sources entering on balanced pairs, and two more balanced output pairs for the connection of main and alternate speakers. Two further TRS jacks provide additional outputs: one an unbalanced auxiliary stereo feed for a meter or an external headphone amp, and the other a balanced mono feed intended for a subwoofer or mono speaker. Finally, the Nuance Select is also a headphone amp in its own right, with two phones sockets on the front panel. These can be switched independently to pick up either of the two sources, and have separate volume controls.

Both the headphone level controls and the main volume control are stepped, and the latter is said to offer gain matching of better than 0.1dB in all of its 21 positions. This seemed a sensible number to me, combining enough granularity for most purposes with sufficiently discrete stepping to make it easy to recall settings by eye. Maximum volume equates to unity gain from source to speaker output, as you’d expect. The auxiliary output bypasses the volume control and, being unbalanced, drops the signal level by 6dB compared to the source.

Unlike some monitor controllers, the Nuance Select does not allow multiple sources or speakers to be selected at once, so for example pressing the SRC 2 button automatically deselects SRC 1 and vice versa. The exception to this is the subwoofer output, which is switched independently of the A and B speaker outputs. All are full-range, so any bass management needs to be handled elsewhere in the chain. Located below the source select buttons are mono, mute and -15dB dim buttons, and the switch logic behind the LEDs is nicely thought out so that when you hit the mute button, the speaker buttons go dark. None of the buttons in this group affect what’s heard at the headphone feeds, which have their own source select controls, plus a button labelled Phones which mutes both sets of cans when dark.

One thing the Nuance Select doesn’t have is a power button or on/off switch. This reflects the fact that it will most likely be used in a studio environment where everything is powered on and off directly at the mains, or perhaps from a power distribution panel. When powered up, it auto-mutes for five seconds, which should be long enough to prevent any thumps from reaching your speakers. It’s passively cooled, so there’s no fan noise, and gets mildly warm in use.

Finely Balanced

I mentioned earlier that every engineer has their own ideas regarding monitor controller functionality. And, as I’ve already stated, if your needs include D-A conversion, the Nuance Select will be off the list. Mine don’t, and in fact my preferences coincide pretty closely with those of Radial’s design team. For example, I’m happy to implement talkback separately where needed, and appreciate having a smaller, simpler and more affordable monitor controller as a result of leaving it out. Likewise, Radial’s choice to have all the audio I/O on quarter-inch jacks gets a big thumbs up from me, and saves space compared with the equivalent number of XLRs. The complement of two sources, two sets of stereo speakers and two headphone amps also seems well judged, offering enough flexibility to cater to most control room setups whilst keeping things as simple as possible.

The provision of a separate ‘subwoofer’ output goes some way to compensate for one of my most-used features that isn’t present, which is the provision of separate left and right mute buttons. Where these are available, I use them all the time in conjunction with the mono button to audition mixes on a single speaker. On the Nuance Select, you can route the subwoofer output to a mono speaker to achieve the same thing: easy as pie if you are happy to buy a separate mono speaker for the purpose, perhaps less so if you want to route the mono output to one of your existing speakers, depending on what sort of I/O they have.

The only other feature I missed on the Nuance Select is the ability to apply a fixed level offset to the second speaker output. In an ideal world, you want to be able to hit the A and B buttons and retain the same perceived level; that’s usually achievable by calibrating the levels on the speakers themselves, or on the power amp feeding them, but it can be useful in some circumstances to have it as an option on the monitor controller.

Transparent Radiation

By this point in a product review, it’s usually time for some discussion of how the product sounds. That should be, and is, a very short discussion in the case of the Nuance Select, because it doesn’t have a sound. What comes out is indistinguishable from what goes in, which is exactly as you’d hope. As an experiment, I tried playing back a mono mix with one speaker connected through the controller and the other fed directly from the audio interface. Nothing changed whatsoever compared with running both speakers through the same path, which is as it should be. My only reservation about the performance of the Nuance Select is that although the headphone amps sound good, they are arguably a bit underpowered. With a relatively insensitive set of phones such as the HEDD Audio HEDDphones, I needed to have the level control pretty much full up even with mastered material. But stick to sensitive, low-impedance phones and I don’t think you’ll run into any problems.

As is often the case with high-quality, well engineered devices made in high-wage economies — in this case, Canada — it’s possible to find rival products that appear to do more for less, at least on paper. But you’re unlikely to get the same industrial build quality, and I doubt there’s anything out there at any price that can better the Nuance Select’s audio specs. Moreover, with something like a monitor controller, I think there’s a strong argument for having only the features you actually need. What I liked most of all about the Nuance Select was the way in which using it instantly became second nature. You never have to stop and think about which button to press, or hunt around for a control that you know is there somewhere. It feels like it’s always been part of your studio — and sounds like it’s not there at all. The Nuance Select could prove one of those rare devices that’s both nice and essential.

Nuance Select

Studio Monitor Controller

The Nuance Select is a completely transparent studio monitoring system, giving you control over two sets of monitors and a subwoofer with zero sonic coloration.

The post SOS Magazine Reviews the Nuance Select appeared first on Radial Engineering.

The following review by Rob Tavaglione was originally published in the September 2024 Edition of Mix Magazine. Read the original review Here.

Leave it to good old Radial (and veteran designer Hutch Hutchinson) to build the new Nuance Select Monitor Controller like a tank and help streamline workflow (both as “per the usual” for Radial). However, with this device, the company incorporates a new concept, the Clarity Circuit, to achieve incredible sonics.

Nuance Select is a desktop monitor controller providing straightforward input switching, monitor selection, volume control and headphone facilities. Two balanced pairs of stereo inputs are provided on ¼-inch TRS, while two pairs of balanced monitor outputs (and a mono subwoofer out) are also on TRS.

Two discrete headphone amps are provided (on front-panel ¼-inch jacks) with muting, independent input sourcing and level. Mono, Mute and Dim switches aid fast workflow, as well as an Auxiliary output on unbalanced stereo TRS that allows either input to conveniently feed an external device (likely a headphone amp or foldback monitors).

This is all controlled with a proper 21-position stepped attenuator (volume control) that provides accurate left-to-right balance within 0.1 dB at any volume, via resistors and DC servos, not capacitors (caps don’t always age well, drift in value over time and can introduce noise).

The Clarity Circuit is Class-A and exceptionally clean, with barely measurable THD of -0.00001%, crosstalk of -125 dB, A-weighted signal-to-noise of 127 dB, and frequency response from 7 Hz to 20 kHz.

This is all contained in a steel enclosure, with a polished aluminum 10 x 5-inch faceplate, backlit silent switches, and chrome control knobs (especially attractive is the huge, 2-inch attenuator), powered by an external supply connected with a locking 4-pin XLR at the end of a sturdy 12-foot cable. Thanks for getting the details right, Radial!

An initial listening test of recent mixes with my assistant was immediately conclusive and it held up after weeks of daily work: The Nuance Select is exceptionally clean and absent of distortion to a degree you’ve likely not heard before. The difference is more clarifying than shocking, more transparent than unique, more revealing than introductory. There is no warmth generated by the unit, there is no added cohesion or gelling, dynamics are untouched, there is no emphasis of frequency, there is no (de)emphasis of placement, panning or soundstage. There is simply stark truth, linearity and confidence.

Austrian Audio MiCreator Studio – A Mix Real-World Review

My assistant noticed the NS difference, but only some of my clients did, as the differences are major to my ears but apparently subtle to those of lay-persons. Nonetheless, I quickly got dependent on such pristine sound quality and was therefore disappointed to find that I could not employ Nuance Select in my studio!

I track bands and use analog summing (no console). My setup requires a feature-rich controller with numerous inputs, multiple-input-blending for my headphone/cue mixes, and a talkback mic, too. For what it’s worth, I would prefer XLR connections and multi-color(ed) switches for even more ease of use.

Nonetheless, for those of you with nice, normal, modern, all-digital workflows, the Nuance Select comes highly recommended. A three-year warranty backs up typical Radial reliability, a retail price of $699 makes for only a moderate investment, and I can promise you’ll appreciate the sound quality at whatever level you dial-up on that big and delightfully clicky stepped attenuator.

Nuance Select

Studio Monitor Controller

The Nuance Select is a completely transparent studio monitoring system, giving you control over two sets of monitors and a subwoofer with zero sonic coloration.

The post Mix Magazine Reviews the Nuance Select appeared first on Radial Engineering.

Nuance Select – Monitor Controller

Control your speakers with pristine audio and well-curated features

Canada’s Radial Engineering is well known for its exhaustive selection of direct boxes, Reamp devices and compact stage box-style specialty audio fare. A few years ago, Radial took a welcome step into a more high-end, studio-focused direction with the HDI High Definition Studio Direct Box (reviewed in July 2020), and now, we welcome the Nuance Select Studio Monitor Controller.

Sonic and Visual Nuance

Radial is no stranger to monitor control and the stage-box style MC3 Studio Monitor Controller has been part of the line for years, but as we will see, the Nuance Select is in a whole new league.

Nuance Select is a 10″ (W) x 5″ (D) x 2.25″ (T) desktop-style monitor controller. Its looks and layout are straightforward, classy and even elegant, and its build quality is 100% battle-ready.

The gently sloping 1/4″ milled and etched aluminum faceplate (similar in style to the HDI) is finished in an anodized midnight blue. It features 12 round backlit hard-plastic function buttons (sources and phones in white, speakers in blue) that engage and disengage with a satisfying click, as well as 3 shiny chrome-capped stepped-level controls.

On the front are a pair of 1/4″ headphone outs, and on the rear of the unit are ten 1/4″ TRS I/O jacks, plus a 4-pin XLR power socket for use with the included external power supply.

Switch It Up

The Nuance Select focuses squarely on the most common, one could even say, time-tested features one needs in a monitor controller rather than trying to be all things to every possible user or, worse yet, “tricky.”

The unit allows for two stereo input sources (via two pairs of left and right inputs) to be sent to a pair of A or B stereo speaker destinations (with two pairs of Left and Right speaker outs). There is also a dedicated Sub button with a corresponding single (mono-summed) 1/4″ out that can nicely be used with a mono check speaker instead, when desired.

The Nuance Select only works with one source and one speak-er pair at a time. This means you can’t have both sources and/or speaker pairs active simultaneously. When SRC 2 is pressed, SRC 1 goes dark and mutes, while SRC 2 lights up and becomes active and vice versa.

The same happens with the speakers; as A is selected, B is dis-engaged. A second press of either turns the speaker routing off entirely. The exception to this is the Sub button, which, for obvious reasons, can be activated simultaneously with speaker A or B.

This is a great place to note that while Nuance is an active monitor controller, there is no onboard DSP, secret button presses or hidden configuration options. As such, you cannot set up the Sub button to automatically engage or disengage with a selected speaker.

Control

Keeping with the straight-ahead approach, there are only three control functions, which, as you might guess, are the three most common/expected monitor controller functions of Mono, Mute and Dim (-15dB).

Level adjustment of the selected monitor set is handled by a large 1.75″ chrome-capped 21-position stepped switch in 2dB steps (except in the lower quadrant where the steps increase to a greater jump/value).

Headphones

On the right of the unit are a pair of high-quality headphone amps. Each one features its own .75″ shiny chrome-capped stepped pot, a dual-source selection button, an independent 1/4″ output, and a single master headphone button to engage or disengage both headphone channels at once.

Each dual-source button (labeled SRC 1/2) receives a signal from source 1 when dark and source 2 when lit in white.

Aux

The final control on the unit routes the selected source to a rear 1/4″ TRS out-put that, with the use of a stereo TRS-Y breakout cable, lets you send the selected source (full volume) to a secondary device like an external headphone amp, recorder, or tracking room monitors, etc. The corresponding button here functions similarly to the aforementioned headphone source buttons.

In Use

Since I have two audio set-ups (home and studio), I tried the Nuance Select in both spaces and, simply put, it did not meet a monitor it didn’t like.

At my studio, it came in very handy for testing the Dynaudio Core 5 and Core Sub Compact, since the Core Sub Compact is not an inline sub, and I needed the added subwoofer out. I also enjoyed using the sub-output in mono with one of my Auratone 5C Active Super Cube 4.5-inch reference monitors. I already have an active monitor controller in my studio, which performs similar and additional tasks required by setup (analog summing, digital conversion, etc.). I moved the Nuance Select to my home editing and listening room, where I am currently using a less-expensive passive monitor controller and the difference in sound quality was instantly noticeable.

As an active controller, the Nuance Select offered more volume, but this was not simply a matter of being louder. The sound was clearer, more detailed and even more solid, with fantastic imaging.

Like a good monitor controller, the Nuance Select does not have a sound of its own; rather, it lets the sound of your DAC and/or audio interface shine through in a glorious hi-fi way. I also appreciated being able to use the Aux out to feed an external dedicated headphone amp, although its headphone amps are quite nice on their own.

The Nuance Select does not offer any onboard output/speaker attenuation. Since I run my DAC and audio interfaces at full range—bypassing those units’ volume pots when possible—the Nuance Select is loud and proud.

This meant that most of my listening took place in the lower quadrant of the unit’s master control knob, where the jumps are bigger, and the usually minute and imperceptible dropouts between settings could, at times, become more pronounced. I am told that is inherent in every analog stepped switch, so it’s just something to be aware of if, like me, you spend a lot of time listening in the 50–60dB range with a wide-open audio source. My next step will be to turn my monitors down and re-calibrate my system.

Wrap Up

The Radial Nuance Select is a wonderfully designed device with a simple yet well-chosen selection of source and speaker routing options, monitor controller features and top-shelf build quality. Best of all, it exhibits a pristine, high-fidelity sound that stays out of the way of your music, which is arguably the most important consideration in a monitor controller.

Nuance Select

Studio Monitor Controller

The Nuance Select is a completely transparent studio monitoring system, giving you control over two sets of monitors and a subwoofer with zero sonic coloration.

The post Recording Magazine Reviews the Nuance Select appeared first on Radial Engineering.

The following review by Eli Crews was originally published in the August 2024 Edition of Tape Op Magazine. Read the original review Here. 

Cat 5, aka Ethernet cable, has been a powerful way to pass digital audio around your studio or live venue for quite a while now. The various formats (Dante, AVB, and many other proprietary protocols) have changed the way we think about studio installs, stage box runs, etc. Personally, I’ve been running my studio cue systems over Ethernet for over a decade (first Aviom, now Digital Audio Labs Livemix), and will never look back to the bulky, expensive multi-pair cabling necessary for analog personal headphone mixers. In more recent years, manufacturers have been experimenting with running analog audio over inexpensive, ubiquitous Cat 5 cables, much to the surprise of those of us who always thought of it as a digital-only delivery method. In our defense, the Wikipedia page for “Audio over Ethernet” doesn’t even mention analog audio transmission at all.

The premise is simple: Connect the outputs of a microphone or line-level analog device to the twisted pairs that live inside your standard Cat 5 (or Cat 6) cable, and let those electrons fly. Since there are eight wires inside, you get four pairs, meaning four balanced analog channels over a single cable (one wire for the hot, one for the cold). Radial has been making 4-channel units of their Catapult system for about eight years now, but the new family member, Catapult Rack, triples that channel count in a rack-mount version consisting of two elements. The TX box transmits: It has 12 female XLR jacks on the front, and outputs those 12 channels on three pairs of RJ45 EtherCON jacks on the back. The RJ45s come in pairs (since the Catapult TX also serves as a passive splitter for your signal) in case it’s useful to run your audio to two separate locations simultaneously. The Catapult RX box then receives those three Cat 5 cables, and outputs the signal on 12 male XLR jacks for connection into a mic preamp or line-level analog device, with the second RJ45 jacks serving as potential throughputs to a second receiver box. I was careful not to use the word “convert” anywhere above since the system is more of an adapter than a converter, i.e., nothing digital is involved in this process. However, you may also run purely digital audio over these lines; it turns out they are the right impedance for lengthening AES runs, which also often happen to employ XLR connectors.

The build quality is what you’d expect from Radial: Tank-solid (although light), with high-quality Neutrik XLR and EtherCON jacks. You can move the rack ears on each single rack space unit to the XLR side or the EtherCON side or remove them completely; whatever suits your purpose better. Each 4-channel bank has a Lift switch, which disconnects the shield for potential noise elimination. Speaking of shielding, Radial recommends using shielded Cat 5 cable for all of your interconnects for two reasons: First, it can cut down on interference if you’re in a noisy environment, and also, it’s necessary if you will be running phantom power over your lines. For line-level signals and dynamic, ribbon, or tube condenser mics (or regular condenser mics with a standalone phantom power box), you don’t absolutely need shielded cable, and in fact, during all my tests I only used off-the-shelf non-shielded cable, since it’s what I had on hand. When I install this system into the satellite live room I’m building into a shipping container next to my studio at Spillway Sound, I’ll get myself some nice, shielded cable in bulk, and terminate it all with EtherCON plugs for easy, secure connections.

During all of my tests, I found the audio quality to be superb. For a null test, I printed a pass of the same roundtrip audio through the Catapult with 100 feet of Cat 5 cable (Radial claims anything up to 300 feet should work), and then directly from my converters out and back in, summing the results together with the polarity flipped on one channel. This was what I would call “extremely successful,” with about 45 dB of broadband cancellation, and no discernible phasing artifacts. I’d say that’s good enough for 99% of record-making purposes, and 100% of live sound purposes. The one thing to look out for, and Radial makes this very clear on their FAQ, is not to mix and match drastic level differences over the same Cat 5 cable; if you’re running mic signals and line-level signals, split them into separate banks, with like signals bundled together. With the tight twisting inside the Cat 5 cables, crosstalk is certainly possible, but in practical situations using smart practices any such crosstalk should be well below the useable dynamic range. Once I split them as recommended, I heard no crosstalk, only the noise floor of the mic preamp, and I had the mic pre cranked. I purposefully used low output dynamic mics like the Sennheiser MD 441 and Shure SM7B on quiet material in order to make sure those tiny signals could survive the long Cat 5 runs. Survive, they did, and everything sounded excellent.

Yes, you can make cables that do this all yourself if you’re savvy, and yes, there are similar cheaper devices available from other manufacturers. But even a DIY-er like me who is always looking for ways to save money on studio equipment can see the value in spending the $600 for a full Radial Catapult Rack system (not counting the Cat 5 cables). You get impeccable build quality, the reassurance of dealing with one of the most reputable companies in pro audio, and the ability to easily mix and match with the other devices in the Catapult family. An added bonus is that the units are so light and portable that they’re easily moved around for running lines from, say, outdoors or for bringing to a makeshift remote site. If you need to extend your audio signals over great lengths, these boxes will help do the job nicely.

The post Tape Op Reviews The Catapult Rack TX & RX Cat 5 Analog Snake appeared first on Radial Engineering.

The following review by Scott McChane was originally published in the July 2024 Edition of Tape Op Magazine. Read the original review Here. 

The Nuance Select is Radial Engineering’s new desktop stereo monitor controller from the bench of their lead designer, W.C. “Hutch” Hutchison (formerly of Manley Labs and Rupert Neve Designs). Radial supplies engineers and performers with utility products that fill a market gap left by other manufacturers – and every once in a while they make something we didn’t know we needed in the first place! There’s not much of a middle class in terms of monitor controllers right now. Many of us are relying on the built-in facilities of our overengineered recording interfaces to manage our playback, or expensive external controllers with 15 functions that do everything but provide transparent, reliable monitoring – everything all at once, and none of it done well. It’s this situation that has led me to review the Nuance Select.

My current single rack space programmable monitor controller is also a summing mixer with a built-in talkback mic. It has performed well for summing over the years but is just okay as a monitor controller. After the first week of use, the stereo field began leaning toward the left speaker – due to a faulty potentiometer – and the power supply PCB connector began coming loose. I got tired of fighting with it; it turned out my Universal Apollo 8 was better at managing playback. Though I may keep my old controller in the rack as a summer, I now needed a solid, simple, discrete external monitor controller to run two sets of mains and a single subwoofer. Another staple of Radial’s brand is building products that do one thing really well, so I was excited to try the Nuance Select in my space.

Nuance Select is wrapped in a dark blue ten-inch wide, five-inch deep, and two-and-a-half-inch tall heavy-duty vented steel casing with a sloped aluminum control panel. Primary controls include a large level knob, lighted button switches for input source selection (SRC 1/2), Mono, Mute, Dim (-15 dB), speaker selection (A or B), and Sub. The level knob is a 21-position stepped analog attenuator with super-accurate level matching (within 0.1 dB) between left and right fields – thank you! Note to those using your interface as a monitor controller: It’s a safe bet your box is using an inexpensive analog potentiometer (like my controller has) that will eventually begin to drift. The level control feels light to the touch with just the right amount of resistance between steps and is easy to grab (approximately two inches wide by one inch tall) without having to move your head away from the mix position. Separate level controls and lighted SRC 1/2 (source) select switches are provided for two independent 1/4-inch headphone jacks located on the front panel of the Nuance Select’s chassis. A Phones button activates/deactivates all headphones, and an Aux select switch toggles between SRC 1/2 and feeds an unbalanced stereo TRS output on the rear (for extra headphone amps or such). The external power supply connects firmly to the rear of the Nuance Select’s steel chassis via a 4-pin XLR. Circuits within the controller provide extra filtering of the incoming power, further lowering the noise floor while improving load regulation. Physically, there’s absolutely no way this cable will come loose like my existing controller!

The Nuance Select is an all-analog controller with interfacing achieved exclusively via 1/4-inch TRS jacks: Besides the aforementioned Aux output, all I/O is balanced, with two sets of stereo speaker outputs, two stereo source inputs, and one mono Sub output. The headphone jacks are also 1/4-inch TRS. These days, I prefer the 1/8-inch jacks; almost every professional headphone cable has a 1/8-inch connector now, so you’ll need to find those adapters. I leave them plugged into the jacks so they won’t get lost.

My sub has an integrated crossover. This means if you don’t have a dedicated sub output, like my existing controller (again!), you can send the monitor outputs through the sub to your main speakers. In most cases this can be a convenient sonic compromise, but it adds more filters and circuitry in the path to your main monitors – and could be introducing distortion. The Nuance Select is Class A throughout, with no capacitors in the audio signal path. I am fully stoked that the Nuance Select gives me the on/off Sub switch. My room isn’t awesomely studio-perfect, which makes calibration problematic – it’s a must for me to be able to cut the sub occasionally. On paper, before actually plugging it in, the Nuance Select seemed like the answer to all of my problems. I had to check how it sounds.

Though there is no power switch, like most monitor controllers the Mute button is engaged when powered up. Immediately upon playback without the sub, my old Focal Alpha 65 monitors on output A returned to life, sounding almost brand new again, with a refreshing dynamic and balanced low end response. On speaker output B, my Auratone 5C Super Sound Cubes felt like, well, Auratones, but were definitely more focused and less cloudy. I was excited to jump right into a mix, so I quickly calibrated my sub by ear. I switched between some of my favorite old mixes and tracks I’d recently worked on. The room sounded like I’d pulled sweaters off the monitors – so clear and uncluttered in the stereo field. My reactions ranged from anger (at my old monitor controller) through acceptance (“It’s too late to remix that track now”), enjoyment (“I can’t wait to work on a new mix!”), and finally, trust. For the first time in my newest space, I felt comfortable and confident with my choices because of the Nuance Select’s transparency. The second analog stereo input allows me to quickly plug in my laptop setup with a portable interface or a synth for instant playback without having to boot up my entire studio rig. The headphone outputs are impressive. Though headphone monitoring features may mirror most newer recording interfaces, the quality is several notches higher, no doubt due to its Class A circuitry throughout the headphone path, almost rivaling my Little Labs Monotor.

The Nuance Select isn’t built to get you through an immersive mix, and it doesn’t have a talkback feature. However, it does follow Radial’s ethos of serving one purpose really, really well, and definitely performs at a level above its price point. Our workflows change, but the integral pieces are used repeatedly. I can see this controller outlasting my current recording interface, monitors, and at least two more desktop computers. It comes with a three-year transferrable warranty, so I know it’s built to last. For my money (I ended up buying it), it’s all pros and zero cons with the Nuance Select.

Nuance Select

Studio Monitor Controller

The Nuance Select is a completely transparent studio monitoring system, giving you control over two sets of monitors and a subwoofer with zero sonic coloration.

The post Tape Op Reviews The Radial Nuance Select Monitor Controller appeared first on Radial Engineering.

The following review by Phil Garfinkel was originally published in the July 2024 Edition of ProSoundWeb. Read the original review Here. 

Road Test: Radial Engineering Catapult Rack

Checking out a new 1RU passive audio snake that facilitates sending and receiving 12 channels of analog audio over standard Cat 5/6/7 Ethernet cables

A catapult is an old-time device that’s designed to project objects a long distance with out propellants or explosives. The Catapult Series from Radial Engineering is designed to do the same with audio signals passively via Cat-5/6/7 cable.

For this evaluation, the company recently sent me a Catapult Rack, a new 12-channel, 1RU XLR-to-Ethernet connection box, and like every product from Radial that I’ve seen or used, it has an excellent build quality and attractive graphics.

A while back, I worked with the original Catapult 4, so I wasn’t unfamiliar with the platform. I employed it with a folk duo, three channels total, plugging their microphone cables into the transmit box and bringing out a Cat-5 EtherCON cable. It made for a very visually clean stage and, since it’s all analog, zero latency. A whole lot lighter than a traditional sub-snake as well.

Radial also offers a unit called the Catapult Mini, which provides three I/O choices: XLRM, XLRF and 1/4-inch TRS (which, depending on the application, can either send or receive).

How It Works

With that preface, let’s take a look at the Catapult Rack. As noted, it’s a standard-size 1RU 19-inch rack piece. The build quite sturdy – I have absolute confidence that it could be thrown about by local hands (not recommended) and still work just fine.

Catapult Rack comes in two models, TX (transmit) and RX (receive). This can be a little confusing, because depending on the application, signal can flow in either direction. This makes it useful for feeding satellite loudspeakers as well as corralling microphones.

The difference is the XLR connections. TX has 12 XLRF ports while RX has 12 XLRM ports. The XLRs are in groups of four – each Cat cable can carry four analog signals. I admit, I was hoping that there would be 12 mics on a single Cat path, but alas, it is not to be. This isn’t the fault of the manufacturer at all; it’s simply the nature of analog over Cat cabling.

Along with the XLR ports on the front panel, there are also three ground-lift buttons; each lifts Pin-1 on the four corresponding connectors. The rack ears are reversible, so depending on whether you need entrance or exit outwardly facing, you can easily adapt the units. This, to me, speaks to Radial’s forethought in considering all the ways this product could be used.

Another useful aspect is interconnectivity: the user can interchange any of the boxes in the series, use three of the four channels for sub snakes, and send out to three different zones from the mixer.

The back panel offers six RJ45 EtherCON-enabled connector, a send (or receive, depending), and a through (thru) to go to another Catapult unit. Because it’s Cat-cable based, it can plug into existing Ethernet connections in a building – which makes for some great use cases for corporate gigs and recording studios. (I have a friend who has a studio in New Orleans and he has a bunch of the four-channel units; it really reduces the numbers of wires lying about.)

The units are low profile and light in weight (they come in under four pounds), and to my ear, did not color the sound at all. I know my mics and loudspeakers really well and could hear no discernible difference using the Catapult or plugging the mics directly into my usual stage box.

What’s My Take?

I loved it; I thought of many ways I could use any model of Catapult to clean up the small stage gigs I work. (For example, I do a monthly for the local folk music society here in Portland and it very seldom exceeds 12 inputs.)

The platform also tightens up the cable mess that my band rehearsal space can become. In not-critical applications (like the just-mentioned practice space), standard Cat-5 (shielded if you want/need to send phantom to something) will work. In short, it’s a relatively “cheap and cheerful” way to cable-manage analog audio.

I can also see Catapult being a big hit in the house of worship market; the ease of use and the small footprint of the Catapult Mini would be great for things like cry room sound distribution. Further, any small XLR connection need could be filled (i.e., for powered monitors in a choir loft). For smaller churches with fewer microphones, I can easily see the Catapult Rack replacing a bulky 12-channel copper snake.

And a big shout-out to whomever writes the manuals for Radial – they’re easy to read, very informative, complex enough for the professional to be satisfied yet simple enough for the novice to understand. Well done.

My only real issue is something that’s just a fact and can’t be changed. I wish we could put 12 channels of analog audio across Cat cable; still, three EtherCON cables take up a lot less space than a dozen mic cables.

I advise readers take a look at the manual and see if these boxes offer a better way for a situation they might be facing. I think all Catapult models are all excellent tools to have in a work box, even as a “just in case.”We live sound folks are an innovative bunch, and I really look forward to hearing stories from some of you about the creative ways you use the Catapult platform.

Catapult Rack

Cat 5 Analog Audio Snake

The Catapult Rack is a passive audio snake that allows you to send or receive 12 channels of analog audio over standard Cat 5 or Cat 6 Ethernet cables.

Catapult Mini

Compact Cat 5 Analog Snake

The Catapult Mini is a compact passive audio snake that allows you to send four channels of analog audio over standard Cat 5 or Cat 6 Ethernet cable.

The post ProSoundWeb reviews the Catapult Rack appeared first on Radial Engineering.

Radial Engineering Catapult TX/RX System

Road Tests

Radial Engineering is known worldwide for its reliable, tough-as-nails audio problem solvers. Part of its audio-over-Cat5 lineup, the Catapult system sends multiple audio channels over standard Cat5/6 cable, eliminating the need for bulky, expensive multipair audio cables. Using existing pre-wired network cabling, Catapult provides a flexible, scalable solution for sending audio from one location to another.

Rack ‘n’ Roll

The newest addition to the Catapult product lineup is the Catapult Rack. Constructed of rugged steel with a long-wearing powder-coat finish, each single rackspace Catapult Rack unit incorporates three independent 4-channel Catapult “modules” allowing distribution of up to 12 independent balanced audio channels over three Cat 5/6 cables. Connect all 12 channels to a single location using a second Catapult Rack or send each group of four channels to its own Catapult Mini fan-out or Catapult stage box.

The system can effortlessly customize signal distribution connections to multiple destinations. Catapult also offers transformer isolation when using the Catapult TX4L and RX4L line level or TX4M or RX4M mic-level units. Designed for balanced analog audio, the Catapult system can also work with AES digital audio signals. When shielded Cat 5/6 cable is used, Catapult can pass phantom power for condenser mics, active DIs and other devices.

Available in two configurations, the Catapult RX offers male XLR connectors while the TX version has female XLRs. Each “module” includes a button to lift pin 1 on all its XLRs to eliminate ground loops or hum when using shielded Cat 5/6 cables. Two Neutrik etherCON locking connectors wired in parallel on each module allow the audio to be looped to a second destination. Radial Engineering has tested the Catapult system with cable distances of 300′ (100m) with no signal degradation. The rack ears on each unit are reversible, allowing either the XLR connectors or the etherCON RJ-45’s to face outwards for added flexibility.

Making Connections

For this review, Radial Engineering sent both Catapult TX and RX Rack units along with a selection of Catapult Mini interfaces. As with other Radial products I own, the build quality on the Catapult products was top-notch. The Catapult Rack units featured clear, concise channel labels with space to add your own designations and the compact Catapult Minis had long “tails” color coded for easy connections.

The Catapult product came in handy on several gigs. I used the rack TX and a Mini as a drop snake with no issues. For complex stage setups where each musician has multiple input sources, the catapult system makes setup/teardown quick and easy, eliminating multiple mic cables.

At my symphony hall, there are multiple “dry” shielded Cat5 lines installed between the FOH, stage and truck dock. I needed several independent audio lines to feed a video guy’s remote truck setup and the Catapult came to the rescue.

At a recent “balloon glow” music playback event, I used a Catapult Mini at FOH to send four audio channels to a Catapult Rack located at the main speaker location. Picking off channels 1&2 at the rack fed the main cluster. The loop-thru etherCON let me extend the second pair of channels to another Catapult Mini at the delay cluster location. Simple and effective.

I’m a Believer

I must admit I was skeptical of running analog audio over UTP Cat5 cable. But even using the Catapult system running 200’ of (unshielded) tactical Cat5, I was pleasantly surprised. I had no noise issues. And when using my tactical shielded Cat6 cables, I was comfortable with running the lines along AC power cables. When used together, the Catapult Rack units offer a robust solution for sending 12 audio channels over lightweight, readily available Cat5 cable and combined with the other Catapult units provide a flexible, reliable and economical audio signal distribution solution.

Diagram of a basic system application

Audio Distro Made Easy

Radial Engineering’s Catapult system, part of its audio-over-Cat5 lineup, is a rugged rack-mount solution for distributing balanced audio over Cat-5/6 cable.

 

PROS

• Route audio over lightweight Cat5 cable
• Pin-1 lift switches
• Neutrik etherCON locking connectors
• Reversible rack ears
• Loop-through EtherCONs

CONS

• Shielded Cat5 cable required to run phantom power devices

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SPECS

• Circuit Type: Passive RJ-45 to XLR
• Frequency Response: 10-100k Hz, ±0.05 dB
• Crosstalk: -130 dB betweenchannels
• Construction: 8-gauge steel chassis
• Size (HxWxD): 1.75 x 19 x 3.25″
• Weight: 3 pounds

Catapult Rack

Cat 5 Analog Audio Snake

The Catapult Rack is a passive audio snake that allows you to send or receive 12 channels of analog audio over standard Cat 5 or Cat 6 Ethernet cables.

Catapult Mini

Compact Cat 5 Analog Snake

The Catapult Mini is a compact passive audio snake that allows you to send four channels of analog audio over standard Cat 5 or Cat 6 Ethernet cable.

The post Front of House Magazine reviews the Catapult Rack appeared first on Radial Engineering.