New Yamaha MG Mixers – Introducing the Third Generation

The Yamaha MG mixers have been a big seller for us a EAV for a long time. Since the first generation and through to the second, they have offered a reliability and performance that is hard to match at their price point. The only downside we could see was that there were so many models ( FX versions, standard versions, USB versions, USB with FX versions etc…) that keeping track and stock was a mission. Well, there is now a third generation hitting our shelves and we like what we have seen so far.


As expected, the new Yamaha MG Mixers range is comprehensive but a little more manageable now. There are non-FX and FX models of the range and the FX models have USB interface attached to most of them too. The USB is still disappointingly 2-in/2-out (rather than being able to record each channel simultaneously from the desk) but for most of us, that isn’t a problem. Those MG mixers that have the USB port come bundled with CUBASE AI for recording. The USB port can also be used for digital playpack.

Yamaha’s one knob compression can be found on 90% of the range and this tool is great for keeping your vocals or guitars dynamically in check. The SPX sound great, the pre-amps are good, they seem well built and essentially they offer all that the old ranges did but with a few added extras. They look a little nicer too.

The standard range consists of the following desks;

Yamaha MG06
Yamaha MG10 (Taken over from the MG102C)
Yamaha MG12 (Taken over from the MG124C)
Yamaha MG16 (Taken over from the MG166C)
Yamaha MG20 (Taken over from the MG206C)

The XU models are consists of

Yamaha MG06X
Yamaha MG10XU
Yamaha MG12XU (Taken over from the MG124CX)
Yamaha MG16XU (Taken over from the MG166CX and MG166C-USB)
Yamaha MG20XU (Taken over from the MG206C-USB)

Trantec S4.16-RX2 Dual Wireless Microphones

Trantec wireless microphones have been a massive player for EAV Pro Audio and we welcomed becoming a preferred dealer almost 5 years ago. Trantec led the field with channel 38 wireless systems and were the first company to make channel 38 wireless microphones available for all their systems in the UK. They led the field with the racked and ready wireless systems also and again, were the first company to make Racked & Ready wireless microphones available for mass consumption. We are massive supporters of the brand and along with Sennheiser and Audio Technica, they are producing wireless systems we can put our name too.
With that in mind, we want to introduce you to the dual S4.16-RX2 systems that they released last year. In a nutshell, the RX2 systems are dual receiver units that allow up to 8 systems running simultaneously (16 individual wireless mics). For those wanting channel 38 systems, you can run 4 systems together which gives you 8 individual wireless mics running together. At the price point that they are, it makes them perfect for schools, churches and conference centres looking for a low budget but professional system that saves on space. Here’s the S4.16-RX2 Racked & ready version for you to look at


rx2 racked and ready
If racks are not your thing, they sell the systems separately and you have three options. The first is a double handheld system called the Trantec S4.16-RX2-HH and that comes complete with a single dual receiver and two dynamic handheld transmitter. The S4.16-RX2-LL is the dual lapel system that comes with the dual receiver and two body pack transmitters and two lapel mics and finally, the S4.16-RX2-HL comes with the dual receiver and bodypack/lapel mic and a handheld system. You can obviously add headsets to these systems if you require.


rx2 dual wireless system
Whatever your wireless microphone needs, give us a call or drop us an email and we will be happy to chat it through with you.

LD Systems OXID Powered PA Speakers Now Shipping

LD Systems have announced that the new OXID range of active speakers are now shipping. The range consists of the OXID 12A and the OXID 15A and very much look good on paper for the price. They are both rated at 500w RMS and come complete with three selectable DSP pre-sets that optimize the frequency response.

oxid front

We can really see these being very popular with gigging musicians due to the price point. The 15A comes in at just over £400 which sits them nicely in-between the lower end Alto/Behringer Active speakers but just under the Yamaha/dB Technology mid-priced speakers.


They are both relatively lightweight at around 18kg and have a multifunctional design which makes them perfect for both front of house speakers and monitor wedges. They have some nice touches to them such as a ground lift switch and digital limiter and a decent frequency response.


EAV are LD Systems dealers and happy to help with any questions you have on these speakers. Take a look at the videos below to see all the features of the speakers

JBL PRX700 Active PA Speakers

The new JBL PRX700 series of high power active PA speakers are now live on EAV Pro Audio. They truly look the part and the specs seem to suggest they are speaker worth hearing. As yet, we have yet to try them out due to some UK stock issues however, we are excited to see what these speakers can deliver.


The PRX700 speakers are certainly a step up from the old PRX600 and come priced in the same bracket as the Yamaha DSR series, and HK Pulsar, both popular ranges of active speakers here at EAV Pro Audio. The

The range consists of;








Looking at the above, they have made a comprehensive range that will cater for many applications. Solo artists, acoustic acts, full bands and DJ’s have all been thought about and there is a speaker combination to suit. The high 1500w power allows these speakers to fill some pretty large venues and although not the lightest active speaker to come out in recent years, they sure won’t break anyone’s back.

Stock is set to hit the UK any day now

Christmas Opening & Delivery Dates

EAV Pro Audio – Christmas Information


First off, The team at EAV Pro Audio would like to wish you all a Merry Christmas and Happy New Year.

Pre Christmas Delivery Times
We will do our best to deliver all order placed before Friday 20th December before Christmas. If it cant be done due to stock issues, we will try to call you and at the very least email you with an ETA. Once an order has left us, you will receive an email with a ParcelForce tracking number on.

Office Opening and delivery details over Christmas & New Year
Our sales office and warehouse will be closed from Midday December 23rd and re-opening at 8:30am on January 2nd 2014. Any orders placed during this time may be processed but not despatched until our return.

Once again, Merry Christmas and a Happy New Year

Team EAV

Line 6 Wireless Microphones – Cashback Deal

Line 6 wireless microphones have only been on the EAV Pro Audio website for just under a year and we have had great success with them. They have some features that are extremely unique and set them apart from any other system on the market. The biggest feature is the modelling that is built-in to the units. This basically allows you to have the sounds of all the leading vocal mics available to you within the handheld units and the ability to auto EQ your belt pack systems allow you to get the best out of your headset, guitar or lapel system.

Up until a few months back the Line 6 systems were the only 2.4GHz systems, at a reasonable price, on the market. Audio Technica have now joined the party with their ATW-1101 and ATW-1102 system. Still, Line 6 are the only ones to offer the modelling technology and this still gives them the edge.

On November 1st Line 6 announced a cashback scheme with their V55 and V75 systems. This gives you either £30 or £50 back when you buy one of these systems between now and December 31st 2013. It is a cracking deal and we are expecting many of you to take advantage of this.


There are a couple of conditions;

1) Purchase a qualifying XD-V series product* from EAV PRO AUDIO between 1st November 2013 and 31st December 2013.

2) Cut out the UPC code from the product box (no photocopies)

3) Submit the UPC code together with the rebate coupon (see link below) and a copy of the original purchase receipt (keep the original receipt) to the address below.
Submissions must be postmarked no later than 31. January 2014. You will receive your rebate via email within 8 weeks from the date we receive your hard-copy submission at Line 6.

* Eligible products include XD-V55, XD-V55L, XD-V55HS, XD-V75, XD-V75L and XD-V75HS

Download the terms and conditions along with the rebate coupon here

Check out the whole range of Line 6 wireless microphones.

Microphone Polar Patterns – Choosing the Right Microphone

Microphone polar patterns are essentially what determines the type of environment a microphone is best suited for. Every microphone has a polar pattern and you can see from the images below that the pattern is represented on circular graphs and it basically shows you the sensitivity of the microphone in different directions.
The most common microphone polar patterns available are;

Omnidirectional Microphone Polar Pattern


As you may expect from the name, an omnidirectional microphone picks up from all round the microphone. 360 degrees of pick-up make it perfect for picking up natural or ambient recordings. They are often used with lapel microphone systems and boundary style mics as they allow the user to move their head and still be captured.

Cardioid Microphone Polar Pattern


The Cardioid polar pattern is most commonly found on vocal mics such as the Sennheiser e835. They pick up at 120 degrees of the direction they face and perfect for capturing a specific sound source in a loud environment. Vocals aside, you may find them on guitar cabs and drums.

Hypercardioid & SuperCardioid Microphone Polar Pattern

hyper cardioid

The Hypercardioid pattern is similar to cardioid but with an even narrower pick up of around 100 degrees. They essentially give more sound rejection to the sides but also pick up a little from the rear. Again, very popular with vocalists. The Supercardioid gives you a little more pickup from the front and a little less at the rear. The AKG D5 microphone is a great example of this type of mic and has been very popular with our customers.

Figure of Eight Microphone Polar Pattern

fig 8

The Fig 8 mic or bi-directional microphone pick up from the front and rear but offer side rejection. This polar pattern is most commonly found in the broadcast world and sometimes it is used for recording. The Audio Technica BP4027 broadcast microphone uses this style.

Line and Gradient Polar Pattern

line grad

Once again, these Polar patterns are most commonly found in the broadcast world. The polar pattern is extremely direction and have extreme side rejection.


Whatever you need a mic for, give EAV Pro Audio a call and we can help make sure we get the best mic for the job. We have close working relationships with Sennheiser, Audio Technica, AKG, Rode, Electro Voice and other microphone manufacturers and have just about every base covered.

Sennheiser Tourguide Hearing System

A Tour guide audio system is designed to allow a presenter to talk directly to a group of listeners. Tourguide systems are usually portable wireless radio systems that allow the presenter and listeners the freedom to move around and still transmit/receive audio. They are commonly used in situations where it is hard for everyone to hear what is going on by just unaided speech alone or in environments where other people (not part of the group) are not wanting to be disturbed.

At EAV Pro Audio, we are keen users and sellers of the Sennheiser 2020 Tourguide system and have sold it in to many different environments such as museums, universities, conference centres and other tourist attractions.

The beauty of the Sennheiser Tourguide 2020-D system is that it is designed for ease of use and also allows for an undisturbed listening experience for up to 6 different groups simultaneously. You have multiple options at both the transmitter and receiver end. For the listeners, you can choose the HDE 2020-D-II stephoset receiver that allows for a comfy receiver with built in headphones. If you would prefer to use standard headphones, the EK 2020-D-II has a mini-jack input for use with any MP3 player headphones. When it comes to transmitting audio, your SKM 2020-D Handheld mic offers the presenter the familiar feel of a vocal microphone in hand. The SK2020-D belt pack transmitter allows you to plug in a headset or use a lapel mic to deliver a hands free tour in that manner.

There is also the SR2020-D transmitter which is a compact ‘high tech’ unit. It allows for events to be interpreted simultaneously in up to 8 languages. You can also connect other audio content such as CDs, DVDs or things from your IT network. You can also connect a microphone to the unit for announcements.

All the transmitters and receivers can be charged using the portable 20-way charger or the larger 40-way charger. This makes sure that you are always running on full juice and nobody misses a word.


If you wish to discuss your needs or would like a quote for a Sennheiser Tourguide hearing system, just give us a call on 0845 125 9409 or email us at Our team are happy to help and work closely with Sennheiser to make sure the system is right for you. We can offer a full demonstration or even an installation service of a tour guide hearing system if you would like however, these units are designed for ease of use and you may find that you will be up and running straight of the box.

Live Sound – Combatting Feedback in your PA System

We’ve all heard the familiar high pitched whistle that nearly blows our ear drums at gigs. Feedback is a nasty beast and can ruin a gig for musicians and fans. Essentially feedback is a loop of sound. Your microphone picks up sound that has come from your speakers and sends it back through creating a loop that gives off this high pitched nightmare. There are a few ways you can deal with feedback and hopefully these handy tips will help.

  • First things first, try turning down the speaker volume on your main PA (and floor monitors if used) so that the microphones doesn’t pick up any sound from them in the first place. I know turning down is never what a musician wants to hear but trust us, it’s better than a gig with unwanted whistles which detract from your songs. Also try moving the mics further away from the speakers if it is at all possible.


  • Ideally you want your microphones behind the main PA speakers on stage so that they are not pointing directly at them. Sometimes this isn’t possible on smaller stages but if you can move the speakers in front of the mics or point them away from the mics, it will help.


  • Choose the right microphone for the job is one sure way to help with combating feedback. By this we mean the polar pattern the microphone has. Below is a chart of Polar patterns. You can see that a cardioid mic has the best sound rejection at the back of a microphone. This is particularly important if you are using stage wedges. Make sure that the wedge is directly behind the best sound rejection point on your mic.



  • Get the microphones closer to the sound source and knock the gain back on the mic. Basically, sing closer to the mic or move it closer to the instrument it is mic’ing up. This way you can roll off a little gain and pick up less of what you don’t want.


  • If the feedback is still persisting through the stage monitors, you could always try using In Ear Monitoring system or IEM systems for short. This way you take the speakers out the equation and it also frees you up to move around a little. The LD Systems MEI100 G2 is our biggest selling product on our website at the moment and it wont break your bank. It is certainly cheaper than most floor monitors.


  • Get yourself an EQ unit or system management controller. Our install team always puts an EQ unit in to any PA system we install. Not only will it get the best out of your PA in any given venue, you can target the frequencies that feedback occurs and drop them out. Before a gig, do the ‘Ring Out’ method of placing a mic on a stand and increasing level until you get feedback. At this point you turn down the relevant frequency on the graphic EQ unit. Do it a couple of times put don’t over do it or else you will end up knocking every frequency out of the PA and it will sound useless. Using something like a feedback destroyer or system management unit can really help too.


If you have any great tips on combating feedback, Please let us know so we can share it with you all.

Wireless Microphones – What Frequency Should I Use?

Wireless Microphones – What Frequency Should I Use?

We have blogged about this type of thing before but with more wireless microphone systems coming out on the market recently, your choices as to what frequencies to use is slowly growing. I’m sure most people know about the frequency changes that took place over the last few years and for many people, it was and still is a confusing time. Hopefully this will help you decide which frequency range is right for you. If you want to check about existing wireless microphones you have or what future purchases you should make, check out our online wireless microphone frequency checker tool.

Channel 70 (865 -863Mhz) – AKA The FREE Band
Channel 70 has always been free to use for wireless microphone users. It is a very small band and you can only really run four systems together in that band. Sounds perfect for people only wanting to run a few systems however, channels 61-69 were recently sold off to mobile 4G networks and we have seen evidence that these may interfere with channel 70 and render that band unreliable. Couple that with the fact that channel 70 is now very crowded in most areas and you have a frequency band that is now less appealing. Our install team no longer install channel 70 wireless microphone systems in to churches or schools because of these reasons.

Channel 69 (854-862MHz) – the old ‘Overflow’ or The Old Shared Band
Channel 69 used to be the shared frequency band that was licenced in the UK (see channel 38 for the new one). It was also used by many as an overflow band for when they had one or two extra systems that didn’t fit in channel 70 (as it is directly below it). This whole band, along with channels 61-68, have been sold to mobile 4G networks and no longer available for wireless microphone use. In short, if you are running systems in this band, you are now illegal. Call us on 0845 125 9409 if you are unsure.

Channel 38 (606-614MHz) – AKA The Shared Band
Channel 38 is a block of frequencies that was newly made available to wireless microphone users a few years back. It is designed for people on the move and gigging from venue to venue. It is a licenced band and that will cost you approximately £75 a year and that covers you for the whole band anywhere in the UK. You can usually fit between 8-12 systems on channel 38 (depending on the make and model of the wireless microphone). If you’re a gigging musician or hire company then this is the band for you. It will cover you if you only ever use the systems in one fixed location however, anyone can buy a channel 38 licence and theoretically your next door neighbour could legally run 12 systems and you may run in to difficulties and for that reason a fixed site licence would be a better option in these cases.

UHF Fixed Site Frequencies / Coordinated Frequencies  – Channels 21 – 30, 39 -60
These frequencies are designed for fixed locational use. Basically schools, churches, music venues or anywhere that requires wireless mics permanently installed to their building and will never be taken on the road. You have the choice of buying individual frequencies or hole channel bands for your venue to use (subject to availability). Once you have secured the frequencies that are available to you, no one else is legally allowed to buy/use those frequencies in your area. It is a much safer option and this is the route we take with our fixed site installs. If you want help finding out what frequencies are available in your area, feel free to call us or fill in our frequency checker tool. An individual frequency costs about £28 and a whole band would be £168 a year

Wireless Microphones - standard UHF TV Band Frequency Chart


The UHF Wireless Microphone Frequencies


1.8GHz Wireless Microphone Systems
1.8GHz wireless mics are relatively new to the market. In parts of Europe this is a free to use frequency band however in the UK, you do require a licence. They work the same as the fixed site licences and they are subject to availability in your area. Call for more information if needed.

2.4GHz Digital Wireless Microphones
2.4GHz Wireless Microphone systems are slowly taking off in the UK and more and more people are moving towards them. They are free to use both in the UK and worldwide and this is something that is attracting people. The audio quality is superb and as they are digital, there are no companders in the systems unlike regular UHF wireless microphones. Line 6 lead the field with 2.4GHZ radio mics however, Audio Technica are now chomping at their heels with the release of their ‘System 10’ mics. It may sound that 2.4GHz is the solution to everyone’s problems (and wallets) however, they do run on the same frequencies as most peoples WIFI and this can cause some issues if not setup correctly or used in a massively saturated WIFI environment. If you want more information on 2.4GHz wireless microphone systems, please give us a call on 0845 125 9409 or email us at sales(at)


The EAV team do their very best to keep abreast of all things wireless microphones and we are happy to help with any questions you may have. We are main UK dealers for Sennheiser, Audio Technica, AKG, Trantec & Line 6 and have stock of their radio mic systems ready to ship. Because of our roots in installation, we know which systems work in different environments and happy to discuss this with you. So for any information on wireless microphones, just call us on 0845 125 9409