News April 1 – 15 ( see news April 16 – 30 )
Meet Your Beat Debuts Online With Top Artist
Meet Your Beat, www.meetyourbeat.com, a provider of loops, sound effects and music, has announced the debut of its first library, MYBVolume One. Available for preview and download exclusively at Sonomic (www.sonomic.com), MYBVolume One features the talents and imagination of reggae percussionist Larry McDonald.
For the MYBVolume One collection of 50 loops and one shots, McDonald used conga, shaker, tambourine and cajon„a highly danceable drum from Peru„as the basis for authentic reggae beats. His work with more specialized percussion instruments such as agogoblocks, afuche and the Flexatone result in embellishments and one shots that will spice up any soundtrack with island-born musicality, and can also serve as attention-getting, often humorous sound effects for TV, film and multimedia.
MYBVolume One was produced by Meet Your Beat founder David Weiss. Weiss is the New York City editor of Mix magazine and a long-time contributor to Drum! magazine. He produces and performs electronic music in and around the East Coast as Impossible Objects. “We’re extremely excited to officially launch Meet Your Beat,” says Weiss. “Today’s music and visual media producers have a constant need for fresh content, and these loops and one-shots by Larry McDonald answer the demand for easily accessible reggae grooves.”
To immediately access Meet Your Beat MYBVolume One, visit www.sonomic.com and click on the Samples tab on the upper left. Then do a keyword search in “production company” for Meet Your Beat, or “artist” for Larry McDonald.
Singer/Songwriter Regan on Tour With ‘Almost Home’
Rising star Jon Regen put his trust in Neumann microphones on his new seven-song EP, Almost Home, and it paid off with a very special recording.
For the EP, Regen, who most recently toured and recorded with vocalist Jimmy Scott, assembled a new band featuring electric bassist Jonathan Sanborn (son of saxophonist David Sanborn) and drummer Eric Addeo.
Almost Home features music and lyrics penned by Regen. In the tradition of singer/songwriters like Randy Newman and Billy Joel, the recording finds Regen singing, playing piano and Hammond organ, and assuming production duties. As on his previous critically acclaimed release Tel Aviv, the new recording showcases the unique strengths of Neumann microphones.
“The initial demos for the new record were recorded in a stripped-down way, with just me, my Neumann KMS 105 and my Steinway Grand,” Regen says. “I cut the songs live into my home Pro Tools rig, attempting to capture the essence of the songs. Later, after I formed the new band with Jonathan and Eric, I tried to find a balance between the sparseness of the demos, and the fully realized arranged sound that the band could bring to the music.”
For the Almost Home sessions, Regen chose industry veteran and friend Daoud Shaw at Radio Active Productions in Philadelphia. “Daoud is one of the few engineers out there who not only has musical ears, but can also respond with lightning precision to any given situation,” Regen says. “He brings a tremendous sense of history and honesty to the control room. The result is a sonic environment that packs a modern punch, but at the same time, captures the magical quality of records from the past. His recordings have both detail and warmth„a rarity in today’s times.”
Regen relies on Neumann microphones both in the studio and on tour. “We cut the vocals on Almost Home on a vintage Neumann M269 tube microphone,” Regen notes. “It has a presence and immediacy that matched the story I wanted to tell on this project. On the road, I continue to use and be amazed by the KMS 105. It has a clarity and detail that is unmatched. After spending years singing through whatever microphone a venue would supply, having a KMS 105 with me has elevated my live shows to an entirely new level. Every syllable comes through in the mix. As a singer, that kind of freedom and support is irreplaceable.”
Regen will soon launch a world tour in support of Almost Home with initial dates planned for New York and London. “Wherever we go, you can bet that the KMS 105 will be close at hand,” Regen says. “It’s like another member of the band, working hard every night to make each show a success.”
Crystalphonic Installs m906 5.1 Monitor Controller
Crystalphonic Recording Studios, located in Charlottesville, Va., is a world-class studio complex that caters to music clients on the local and national level. The multiroom facility is equipped with the finest in digital and analog technologies, and now includes a recently installed Genex m906 5.1 monitor controller as the primary monitor control system for the studio’s B Room. The m906 is used in a 5.1 configuration and is primarily sourced from a large Digidesign Pro Tools|HD rig.
The m906 is a stand-alone, high-fidelity 5.1 surround monitoring system and is comprised of three system components: a 2U, 19-inch rackmount I/O and processing main frame, a remote-control unit and an external half-rack linear power supply. Multiple analog and digital inputs are provided for both 5.1 and stereo sources. Digital formats include AES3, ADAT, S/PDIF and Optical, and incorporates Grace’s latest-generation, ultralow-distortion 24-bit, 192kHz D/A converter technology. Two 5.1 control room outputs and up to three stereo pair outputs are provided with individual channel solo/mute capability. Comprehensive system calibration tools allow users to fine-tune input levels, individual interchannel balance and control room output levels. Other features include a built-in reference headphone amplifier with dual outputs and a talkback mic input with an associated TB switch for communicating with talent in the studio.
“Crystalphonic initially chose the m906 based on the high quality of Grace’s other products. We own a number of Grace pieces and find them to be without measure. I figured the m906 would be a very flexible and convenient surround monitoring system, but what I discovered after installing it simply blew me away,” noted Crystalphonic owner Kevin McNoldy. “The system, when combined with a great set of speakers, gives an entirely new dimension to recorded music. I give the m906 the best compliment I can possibly give to a piece of pro audio gear: I simply refuse to mix without it. As with all our Grace equipment choices, Crystalphonic will end up owning multiple units.”
For more information on Crystalphonic Recording Studios, visit www.crystalphonic.com. For more information on Genex, visit www.genexaudio.com.
Sennheiser Sponsors MS Fundraiser
Sennheiser was one of the main sponsors of a VIP reception and award ceremony honoring Jim Koplik, president of Clear Channel Entertainment-CT Music, as the MS Connecticut Citizen of the Year. The fundraiser, in support of the National MS Society Greater Connecticut Chapter, was preceded by a concert by Sennheiser endorsee Sting.
Held at the careerbuilder.com Oakdale Theatre in Wallingford, Conn., on Wednesday, March 17, 2004, the gala began at 5 p.m. followed by the concert at 7:30 p.m. The honoree received the MS Hope Award, the highest honor bestowed by the National MS Society.
The MS Connecticut Citizen of the Year Gala annually honors an individual who exemplifies extraordinary business leadership, outstanding civic and community service and a longstanding commitment to humanitarian endeavors. Koplik is a highly respected and accomplished Connecticut leader whom the National MS Society is honoring for his outstanding contribution to the community in the state.
Koplik has been producing concerts in the state for more than 30 years, and currently oversees the shows at the careerbuilder.com Oakdale Theater, ctnow.com Meadows Music Centre, Mohegan Sun Arena and most concerts at the Hartford Civic Center. The music mogul has produced all of the state’s most significant concerts, including The Eagles at the Yale Bowl in 1980, the Rolling Stones in all their Connecticut appearances, Paul McCartney, Billy Joel, Elton John and many, many more.
Most recently, he was instrumental in bringing Bruce Springsteen to East Hartford’s Rentschler Field, the new University of Connecticut football stadium.
Proceeds from the fundraiser will provide necessary local programs and services and fund vital research to find the cause, new treatments and a cure for multiple sclerosis.
John Falcone, president and CEO of Sennheiser Electronic Corporation, comments, “As a Connecticut-based company, Sennheiser joins the National MS Society in applauding Jim for his tireless humanitarian work and community leadership. His contributions to the economic and cultural life of this state over the last three decades are immeasurable.”
For more information about Sennheiser, go to www.sennheiserusa.com.
Guitar Center’s New Pro Sales Division Serves Commercial Recording Market
Guitar Center announced the launch of GC Pro, a new sales division of Guitar Center, which expands the company’s services to customers using its products in professional applications. GC Pro provides personalized service through regional account managers to commercial recording facilities such as churches, live music and dance clubs, post-production studios, broadcast facilities, education facilities and mobile recording studios, as well as to project studio owners, professional musicians and producers. Services offered by GC Pro include analysis of a customer’s studio and product needs, on-site equipment installation, upgrades and others.
“We developed and introduced GC Pro to expand our services to the commercial market while continuing to serve the professional and aspiring professional musician in our Guitar Center stores, as well as the aspiring and hobbyist musician through Musician’s Friend,” stated Marty Albertson, president and CEO of Guitar Center. “Through GC Pro, we have assembled a network of seasoned industry professionals that will offer a wide variety of services focusing on audio recording, live sound and lighting, and will tailor equipment purchases to meet the specific needs and budgets for our professional customers in the commercial market.”
In conjunction with the launch of the company’s new sales division, GC Pro has also introduced its Website, www.gcpro.com, which provides additional resources and information for its clients. The new site provides music/audio industry news, product and purchasing information, and feature stories on artists and facilities. The site also provides in-depth interviews with the company’s advisory board, which includes expert mixers, producers, engineers, composers and film scorers. Current advisory boardmembers are Joe Barresi, Rob Chiarelli, Husky Hoskulds, Eddie Kramer, Marcus Miller and John Paterno.
Disc Makers Celebrates Indie Music With Southeast Showcase
Disc Makers, the independent CD manufacturer, is kicking off the latest installment of the Independent Music World Series (IMWS), the premier music showcase series for independent musicians. The Southeast showcase finals will take place at 3rd and Lindsley on July 22, 2004, and will feature the top six acts as selected by Billboard magazine performing for $35,000 in music gear and prizes.
Bands and artists can log onto www.discmakers.com/imws to register for the Southeast showcase and find out more information about the IMWS. The competition is open to all musicians not currently signed to a major record label and to all styles and genres of music. To be eligible for the Southeast showcase, at least one bandmember must reside in Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina or Tennessee.Submissions must be postmarked by May 20, 2004. Each artist that submits an entry will receive a free copy of Billboard’s Musician’s Guide to Touring and Promotion and Electronic Musician magazine.
A&R company TAXI will select 100 semi-finalists, and the six performing finalists will be hand-picked by Billboard magazine to perform at the showcase finals.
The $35,000 prize package features a complete CD manufacturing package, post-production sweetening and promotional posters from Disc Makers, a full array of recording gear and the QS 8.2 Digital Keyboard from Alesis, a complete set of DJ gear from Numark, professional Shure microphones, Fender guitars and amplifiers, a 5-piece drum kit from DW Drums, EXL110 Electric Guitar Strings and EXL170 Electric Bass Strings from D’Addario, a free copy of METAJAM” from Broadjam, Remo drumheads, a Sabian cymbal package, a one-year membership to TAXI and one year of Web hosting from CD Baby. Additional event partners include Music 123, XM Satellite Radio and Nashville Scene.
“We are delighted to again join forces with our sponsors to help promote indie artists in the Southeast,” says Tony Van Veen, VP of sales and marketing at Disc Makers. “These artists keep the music industry energized and thriving. The IMWS is one of the ways we at Disc Makers recognize their talent and effort, and reward the artists for their hard work.”
For more information on Disc Makers Independent Music World Series, visit www.discmakers.com/imws.
Spectrasonics’ Atmosphere is G.A.N.G. Award Winner
At the second-annual Game Audio Network Guild (G.A.N.G.) Awards, held March 26, 2004, at the yearly Game Developers Conference in San Jose, Calif., the organization’s members voted Spectrasonics’ Atmosphere Dream Synth Module the Best Audio Software of 2003.
“We are thrilled to get awarded this recognition for Atmosphere from such an important organization,” said Spectrasonics founder and creative director Eric Persing. “And we’re especially pleased since this is the first North American award that we have received that was voted on by our customers directly. Audio professionals in the game industry, including sound designers and composers, are a key group that we design our products for. We plan to continue to support them with exciting new products in the future.”
G.A.N.G. is a non-profit organization (www.audiogang.net) that serves the $10 billion game industry by supporting audio professionals. The organization offers resources and a forum to discuss ideas and educate the interactive audio community. G.A.N.G. promotes the creation of better-sounding audio to advance interactive industries by helping produce more competitive and entertaining products.
Spectrasonics’ Atmosphere Dream Synth Module plug-in is a sample-based, dual-layer synthesizer module with more than 1,000 unique sounds and layer elements that can be manipulated with its intuitive interface for shaping new textures. Over 1 million layer combinations are available for an extraordinary range of sonic colors. Spectrasonic’s also offers two other virtual instrument plug-ins, the Trilogy Total Bass Module and the Stylus Vinyl Groove Module. All three plug-ins are compatible with leading Macintosh- and Windows-host music software.
For more information on Spectrasonics’ plug-ins, visit www.spectrasonics.net.
Gibson’s Guitartown Takes a Stand for Public Arts
Gibson Guitar CEO and Guitartown honorary chairman, Henry Juszkiewicz, presents the first two 10-foot-tall Fiberglas guitars to world-renowned fashion designer Manuel and Hatch Showprints artist Jim Sherraden in Nashville.
Guitartown is a public arts project that will feature 50 of the giant guitar sculptures„„25 Gibson Les Paul models and 25 Gibson Chet Atkins Country Gentleman models„to be artistically designed by local and nationally acclaimed visual artists and placed throughout Nashville in front of the city’s landmarks and businesses for one year. Manuel’s Les Paul and Sherraden’s Chet Atkins are the first two to be placed. A special unveiling of the completed sculptures will take place later this year.
For more information about Guitartown and Gibson Guitars, go to its Website at www.gibson.com.
DTS Announces Lossless Digital Sound for Cinema
DTS (Digital Theater Systems) announced the development of a system for delivering lossless digital soundtracks into movie theaters. With DTS lossless technology, a soundtrack played in the cinema is bit-for-bit identical to the original master. Demonstrations of the system to distributors and exhibitors will take place during the second quarter of 2004.
DTS lossless technology works with all film specifications used in exhibition, including 16 mm, 35 mm, 70 mm and any pulldown or frame rates, as well as digital preshow, alternate content and digital cinema sources. Sampling rates include 44.1, 48 and 96 kHz at 16 to 24 bits.
DTS lossless coding is made possible by a new extension to the DTS Coherent Acoustics codec, which is used in applications including home theater, car audio, PC and game console products, DVD-related software and broadcast. With this new development, Coherent Acoustics is able to offer a single comprehensive system that can deliver quality levels from Internet streaming up to high-definition and lossless.
For more information, please visit www.dtsonline.com.
Musikvergnuegen Springs Forward With New Film, TV Projects
Music and sound design company Musikvergnuegen is expanding its repertoire of work with the opening title sequence and 5.1 surround mix for the recent thriller Taking Lives, starring Angelina Jolie and Ethan Hawke, and a network redesign for TBS.
For Musikvergnuegen founder Walter Werzowa, the main title had to capture the intrigue and suspense of Taking Lives in a conceptual, narrative manner. To achieve this, Werzowa drew upon the ominous feel of the film and reinforced the plot of changing identities through the music and sound design, completed within a very tight schedule.
Musikvergnuegen is currently working on a network redesign for TBS by creating its new audio identity. Werzowa and his team studied the philosophy and identity of the network, and scored a piece that complemented its comedic programming.
To find out more about the Hollywood-based studio, visit www.musikvergnuegen.com.
SoundStorm Adds Prefab 6.1 Mix Room
Hollywood-based post-production engineer Bruce Black and studio designer Lawrence P. Swist recently completed a new 6.1-capable mix room housed at the site of Burbank, Calif., editorial house SoundStorm.
Black and Swist provided a turnkey installation, while Swist designed the room, its acoustics and the interior, and Black designed the technical systems and infrastructure and supervised the construction and integration.
The mix room is designed around a Euphonix System 5 console. The room also features Pro Tools|HD systems and processors from Lexicon, Cedar, Dolby, dbx and others. Speakers and amplifiers are provided by JBL and Crown, while Stewart provided a perforated screen for true theatrical performance. Black also wired the room to accommodate 24-bit/96kHz digital audio.
The new room resides inside a freestanding metal structure, which was prefabricated by IAC (New York), shipped to California and assembled in an open space at SoundStorm’s facility. The structure’s panels feature the same amount of sound isolation as 12 inches of concrete blocks on the ceiling and floor, as well as the walls. Additionally, a system of rails and isolation discs under the enclosure floats the facility so that no structure-borne sound can enter or leave.
But these prefabricated studios can reportedly handle the work just as well as conventional construction. According to Swist, “The best part is that you would never know the mix room is a floating, prefabricated enclosure just by looking at it or working in it. It has all the performance, amenities and looks of a conventional room, yet it is a faster, easier, cleaner installation. And there is one more incredible advantage for studio owners: The room can be disassembled and moved to a new location! You certainly will never be able to do that with conventional construction. Facility owners can no longer be held captive by their landlords; they can take their room with them if they need to relocate! This represents enormous savings and options.”
To find out more about the studio, visit www.soundstorm.com.
Steinberg V-Stack 1.2 Now Available
Steinberg Media Technologies GmbH recently released the V-Stack, the latest version of its virtual instrument rack. The rack contains up to 16 simultaneous virtual instruments, eight send effects, four bands of EQ and 32-bit internal processing for both live and studio performances.
V-stack gives the user access to master keyboard functions like Transpose, Layer and Splitting of VSTis, up to five insert effects and up to four subgroups. In the studio, V-Stack can be used with many common controllers and can receive ReWire audio channels from a compatible application for effects and EQ processing.
V-Stack 1.2 is available for both XP and OS X users, and is available for download purchase at www.steinberg.net, for a MSRP of $59.99.
116th AES Convention Webpage Goes Live
The 116th AES Convention Page is now live. Information on the conference, which takes place in Berlin, Germany, from Saturday, May 8 to Tuesday, May 11, 2004, can be found at www.aes.org. Users can access a calendar of events, list of presenters, hotel information, exhibitor information and sign up for e-mail updates through the site.
Prior to the convention, registrants can attend a one-day Symposium on Friday, May 7, titled, “The Effect of Multichannel on Radio.” This preliminary program is designed to help guests plan their trip to the convention.
Musicmatch Jukebox Hits the Top 10
Musicmatch Inc., which specializes in personalized music software and services, recently announced that its Jukebox software was one of the Top 10 most-used online applications in February 2004, according to new usage numbers from Nielsen/NetRatings.
February 2004 Nielson/NetRatings data, which includes customer usage of both digital music software and online applications, confirms that Musicmatch continues to be a popular music-focused media player among PC users, reporting nearly nine times more users than Apple iTunes. With a 32-percent increase in market share during the past six months, Musicmatch says that it has achieved its all-time market share high.
The widespread use of Musicmatch Jukebox is augmented through key distribution agreements with blue-chip partners such as Dell, EarthLink, Gateway, Philips and RCA, among others. In 2003, Musicmatch Jukebox was distributed on more than 40 million hardware units.
For additional information, visit www.musicmatch.com.
BBC Radio & Music Orders Studer Vista 6
BBC Radio Resources recently ordered three Studer Vista 6 digital broadcast consoles for its Broadcasting House facility in London, as part of the West One project. Two of the consoles will be installed in a general-purpose studio suite on the fifth floor, and the third is for a “Super GP” studio on the eighth floor, which will be capable of small music and drama productions.
Each Vista 6 console, incorporating Studer’s Vistonics” technology integrating controls within flat-screen color displays, will be accompanied by a Studer OnAir 3000 digital mixing console configured as a submixer with six faders to be used for compilation and editing. This combination follows the successful introduction of a similar pairing of Studer digital consoles using an OnAir 2000M2 Modulo with a Vista 6 in the BBC’s drama studio in Manchester, installed in 2003.
All three Vista 6 consoles will feature custom control surfaces housing special metering, plus space for integrating additional displays and controls for the BBC’s VCS hard disk play-out system and Delec intercom system.
For more information on the Vista 6, visit www.studer.ch.
Tannoy Launches New In-Wall Model Loudspeakers
Tannoy recently launched the easy-to-install iw6TDC and iw6DS in-wall loudspeakers. The units feature a six-clamp mounting system and slim profile, which reportedly ensures performance-enhancing rigid acoustic coupling with the wall surface. A termination block is provided to enable quick connection with optimum input signal integrity.
To safeguard the high-frequency unit against being overdriven, both models are equipped with a progressively acting thermal-protection device. Additionally, the white perforated metal grille and discreet mounting frame can be painted to blend with most environments.
The iw6DS utilizes a discrete driver configuration combining a 6.5-inch bass driver with a Wideband” SuperTweeter. The use of an extended frequency tweeter in this model provides audible improvements, even when using conventional bandwidth limited analog or digitally recorded software.
The latest fully re-engineered version of the Tannoy 6.5-inch Dual Concentric and SuperTweeter are employed in the iw6TDC. The time coherent and constant directivity dispersion characteristic inherent in the dual concentric makes it suitable for in-wall use. The high level of linear cone excursion of the dual allows increased bass power output with excellent transient behavior at all power levels.
Both models are now shipping.
For more info, please visit www.tannoy.com.
Mackie Introduces Onyx 800R Mic Preamp
Mackie recently introduced a new rackmount mic preamp, the Onyx 800R. Benefiting from the same premium mic pre developed for the new small-format Onyx mixers, the 8-channel 800R is suitable for professional and project studios seeking a mic preamp with 192kHz digital output, and engineers needing additional, high-quality mic inputs for analog or digital mixing consoles.
The Onyx 800R features low-noise circuitry based on the legendary XDR mic pre found in Mackie’s compact mixers. The 1U rackmount Onyx 800R features simultaneous analog and 24-bit/192kHz digital connectivity via ADAT Lightpipe, AES/EBU and S/PDIF to work with both analog and digital systems. The front panel provides easy access to features such as selectable mic/line inputs per channel and two instrument input jacks, replacing the need for an outboard DI box.
The Mackie Onyx 800R will begin shipping in Q2 2004.
For more information, please visit www.mackie.com.
Yamaha Debuts AD8HR AD Converter
At the recent NSCA Expo 2004, Yamaha debuted the AD8HR AD Converter. The 8-channel AD8HR provides head amplifier circuitry inherited from the Yamaha PM5000 analog mixing console and supports sampling rates of up to 96 kHz for smooth integration with digital mixers.
The 1RU AD8HR contains a full range of analog and digital interfaces, plus all of the functions required for effective and flexible live mixing. The front panel provides quick operation and instant recognition in live situations, while each channel contains integrated highpass filters and phantom power supplies.
With the Head Amp Remote-Control function, phantom power and highpass filter cut-off frequencies may be switched on and off by remote control, making it possible for the AD8HR to be used as a stage box. This function also allows the unit’s mic preamp to be remotely controlled in 1dB steps from digital mixing consoles (such as the Yamaha DM2000 and DM1000, with software upgrades to Version 2). Up to 255 AD8HRs can be daisy-chained together using a standard 9-pin RS422 and a digital connection via AES/EBU.
Rear panel connections include eight XLR inputs, BNC-type input/output connectors for word clock and two D-SUB25 pin AES/EBU digital output terminals. Remote control can be accessed by using a switchable PC/RS422 9-pin terminal. MSRP: $2,200.
For more information, visit www.yamaha.com/dmi.
Audio-Technica Rocks Hall of Fame
For the seventh year in a row, Audio-Technica microphones were chosen for the VH1 broadcast of the Rock & Roll Hall of Fame induction ceremony, held March 15 at the Waldorf Astoria Ballroom in midtown Manhattan.
More than 80 A-T mics were used to capture audio for the event, which aired on March 21, and honored Jackson Browne, The Dells, George Harrison, Prince, Bob Seger, Traffic and ZZ Top. Mics used include the AE2500 (bass guitar amps), AT4041 (ride cymbals), ATM25 (toms), AT4055 (brass), AT4050 (overheads and guitar amps, and AT4047/SV (guitar cabinets for Billy Gibbons of ZZ Top). The AT4054 was used for front-line vocals for Browne, Steve Winwood (Traffic), Seger, Tom Petty, Jeff Lynne, Dhani Harrison (George’s son) and The Dells. A-T’s Artist Elite 5000 Series UHF Wireless System was used for vocals by Paul Shaffer.
Mitch Maketansky served as audio coordinator; John Harris was appointed lead engineer for remote recording company Effanel Music, which recorded the program and mixed the broadcast; and Jay Vicari served as mix engineer.
For more information on A-T mics, visit its Website at www.audio-technica.com.
Cover Your Ceiling With Clouds
Adding to the current Cloud Series, Community recently debuted the new CLOUD 4 and CLOUD 6 loudspeakers. The self-contained, coaxial bass-reflex systems are designed for ceiling-mounted applications and employ proprietary Air Gap Technology (AGT) cooling.
Outfitted with 4- and 6-inch woofers, both the CLOUD 4 and CLOUD 6 feature a 3/4-inch aluminum tweeter, aluminum mounting dogs, white powder-coat finish, a split-ring for blind mounting and T-bar supports. Enclosed in an all-aluminum bezel assembly incorporating a sealed back can, each loudspeaker system comes with a removable non-Fiberglas damping material inside and a rear compartment enclosing a smart connect plug, wire restraint and removable cover plate.
When flush-mounted, the entire installation sequence can be performed from below the ceiling grid. Using the split ring, the loudspeakers can be pushed up into the mounting hole and secured with four machine screws found under the grille, which clamp down the dogs. When flush-mounted isn’t an option, each loudspeaker’s four hang points can be used.
Optional support hardware includes a drywall rough-in plate, speed saw and input plates. MSRPs: CLOUD 4, $150; and CLOUD 6, $198.
For more information, visit www.loudspeakers.net.
Peavey, Architectural Acoustics Debut New Monitors
Architectural Acoustics, a division of Peavey Electronics Corp., recently announced the new FMW 12 and FMW 15 floor monitors.
The two-way floor monitor loudspeaker systems, available in either black or white, are designed for use in houses of worship, theaters, auditoriums, nightclubs, performing arts centers and other entertainment venues. These enclosures can be situated at either 30- or 45-degree angles for greater pattern control and flexibility onstage.
Both the FMW 12 and FMW 15 utilize a BWX woofer with a Kevlar¬-impregnated cone and an RX 22 compression driver coupled to a CH¬ 3 constant directivity horn, and can be driven in full-range mode by sending signal to one of two Neutrik or 1/4-inch input jacks. The FMW floor monitors are painted with off-white or scuff-and scratch-resistant textured black paint.
A cloth-covered, powder-coated, expanded metal speaker grille protects the drivers from damage, while Sound Guard III, the exclusive Peavey circuit for high-frequency driver protection, protects the RX 22 compression driver.
FMW Series monitors are currently available.
To find out more, visit aa.peavey.com.
EAW Arrives to New York MOMA
The New York City Museum of Modern Art recently installed a new sound system in its Grace Rainey Rogers Auditorium, based around EAW’s Digitally Steerable Array (DSA) monitors.
New York-based consulting firm Cerami Associates worked with SPL contractors to design and install the 400-seat auditorium’s new DSA rig, which was augmented by a portable EAW KF Series linear array to address specific musical program needs, according to the SPL senior project engineer, Bruce Manning.
The original Kennedy-era analog design gave way to a CobraNet-based system, which will facilitate interconnection with the museum’s smaller Uris Auditorium.
Grace Rainey Rogers Auditorium, opened in the late 1950s, hosts a wide-ranging and eclectic roster of performances, lectures and seminars on a near-nightly basis.
For more information, visit www.eaw.com.
Yamaha Unveils Riedel Artist 1D
Yamaha recently debuted the Riedel Artist 1D, a fiber-optic-based, long-haul cable solution for the Yamaha PM1D digital mixing system. Developed and manufactured by Riedel (Germany), Artist 1D is produced in collaboration with, and will be distributed solely by, Yamaha.
Housed in a 19-inch rack-mountable 1RU space, the Artist 1D system requires a local (front-of-house) and distant (stage) unit for operation. Users can run a cable length up to 500 meters using multimode fiber and a length of up to 20 meters from the Artist 1D to the PM1D’s CS1D or DSP1D unit.
Targeted for delivery in June 2004, the Artist 1D includes an internal redundant power supply and redundant fiber-optic cable capable of carrying control, word clock and RS232 information, and provides a bi-directional link of up to 80 channels of audio. Connections include an RJ-45 connector for firmware updating (10Base-T, TCP/IP protocol); SCSI for FOH inserts using AI-8/AO-8 or DIO-8; and word clock I/O. The Artist 1D can function as word clock master or slave, and is compatible with the PM1D Mirror Mode for DSP redundancy.
For more information on the Artist 1D, visit www.yamaha.com/dmi.
PreSonus Central Station Shipping Now
PreSonus Audio Electronics Inc. is now shipping the Central Station, a comprehensive control center featuring five stereo inputs and outputs (two digital and three analog) and a street price of less than $500.
The main audio path of the Central Station is completely passive. This mastering-level signal path has no amplifier stages, including op amps, active ICs or chips, eliminating coloration, noise and distortion. The unit is also equipped with 34 sealed relays, which utilize a minimal signal path design so that the audio does not pass through extraneous electronics.
Accompanying three sets of monitor outputs, each with their own set of trim pots, are three sets of analog stereo inputs to accommodate DAW/mixer, tape/CD or keyboard/sampler. Two of these inputs feature balanced TRS jacks and the third has RCA inputs with trim control for matching signals at different levels. It also accommodates two digital inputs via S/PDIF or Toslink, providing D/A conversion up to 24-bit/192 kHz.
Dual fast-acting, 30-segment digital LEDs provide high-resolution metering of input level and calibration to external equipment. The Central Station also offers a talkback omnidirectional condenser microphone that is routed through the cue outputs for communication between artist and engineer. When the talkback feature is used, the cue mix is automatically dimmed for optimal communication.
Other features on the Central Station include two headphone outputs, mute, dim, mono, input select, cue select and output select. An optional remote control (CSR-1) is available including talkback, mute, dim, mono, input and output selection, as well as level adjustment.
For more information on the Central Station visit www.presonus.com/html/products/centralstation.html.
USAF Museum First to Acquire Lake Pro26D
Washington Professional Systems (WPS) has installed the first two Lake Contour Pro26D digital loudspeaker processors at the USAF Museum at Wright-Patterson AFB in Dayton, Ohio. The new Lake Contour Pro26D incorporates a stereo AES/EBU digital input and output as standard.
By maintaining a fully digital audio signal path all the way to the speaker processing stage, this latest Lake Contour model claims to offer improved overall audio system quality through the elimination of an unnecessary DA/AD conversion stage at the console, which can otherwise color the sound.
The two digital Lake Contour Pro26D units at the USAF Museum each operate in four-way linear phase crossover mode, are integrated with a Yamaha PM1D console and a flown JBL Vertec system that covers an audience area of more than 50,000 square feet in the large hanger, one of three at the museum. A Lake Contour is also installed on a supplementary small event system that incorporates smaller JBL Vertec speakers.
The 2- input, 6-output Lake Contour and new Lake Contour Pro26D incorporate a set of DSP-based equalization and processing tools, including crossovers, dynamics and delays, that allow the optimization of performance sound speaker systems.
Lake Technology recently announced a series of new enhancements for the Lake Contour digital loudspeaker processor in the release of Contour Controller Version 2.1 software. New features include full integration with the new Lake SmaartLive” Controller software, which is also now shipping and available as a 30-day, fully functional demo at www.contour.lake.com.
MediaMatrix/Peavey Introduces PCU 2100 Power Supply
MediaMatrix, a division of Peavey Electronics Corporation, recently introduced the PCU 2100, a load-sharing redundant power supply designed for ControlMatrix field paging components.
The PCU 2100 is designed to provide redundant or passive operation from its two independent power supply modules, or “banks.” Each bank is capable of simultaneously powering up to eight ControlMatrix PCU Series stations and 10 remote-control panels, and each is a fully independent power supply, internally protected against load faults. Additional protection is provided for each output circuit, and an auto-reset enables users to restore power to protected output loads.
The PCU 2100 can operate in either redundant mode or dual mode. A rear panel switch allows the system integrator to determine the operating mode, while a front panel LED provides visual status for the user. When operating in redundant mode, the PCU 2100 provides fully supervised redundant power supply outputs for up to eight PCU Series paging stations and up to 10 remote-control panels. In this mode, any primary supply module failure will automatically engage the second supply module without interruption. In dual mode, the second bank can be fully loaded, doubling the capacity of the PCU 2100 for applications that do not require redundancy. Each bank includes a Form C fault output connector for interfacing external alarms or signaling equipment. Additional connectivity is provided for terminating the data lines from ControlMatrix devices. Each bank includes a wiring bus that allows for easy interface to head-end equipment.
The PCU 2100 features rear panel connections for all supply circuits. Removable Euro connectors provide easy termination and service for all outputs and fault contacts. A removable IEC line connector is provided for the AC line. The PCU 2100 is available for domestic (120VAC) and export (230/240VAC) use.
For further details, visit mm.peavey.com.
Yamaha Unleashes PM5D
At the recent Musikmesse convention in Frankfurt, Germany, Yamaha announced the new PM5D Series live performance digital mixing console, a “mid-priced” board that combines the features and self-contained design of the DM2000 with the operating style of the PM1D.
“The PM5D has been engineered for those applications that require high-quality digital audio and complete recall, but where budgetary limitations may be a consideration,” states Larry Italia, general manager of Yamaha Commercial Audio.
Featuring a “one-box” design„including the mix engine„the PM5D offers 64 input channels (48 mono and four stereo analog inputs, four internal stereo returns) of dynamic 96kHz audio with 32-bit internal processing. All onboard A/D and D/A conversions make use of true 24-bit/96kHz converters. Outputs include 24 mix, two stereo (ST A and B, or L/C/R), eight matrix, eight mute groups and eight DCAs (Digitally Controlled Amplifiers). The PM5D functions without the use of a meter bridge.
Engineers can choose from two front-end configurations: Model PM5D includes 48 XLR analog mono inputs with manual mic preamps based on the circuitry found in the Yamaha DM2000, each with balanced TRS insert I/Os and with an additional four stereo line-level inputs.
Model PM5D-RH includes 48 XLR analog mono inputs with recallable mic preamps, derived from the head amplifier design of the Yamaha PM5000, with four stereo inputs that will accept mic level signal.
The PM5D is targeted for a June 2004 delivery. For more information, please visit www.yamaha.com/dmi.
O’Connell Now Sound Director, Sony Pictures Entertainment
Kevin O’Connell has been promoted to sound director in the post-production facilities at Sony Pictures Entertainment (SPE). With his expanded duties, O’Connell will oversee the technical implementation of the sound department’s digital future and assist in shaping the future development of mixing.
“Kevin’s vast experience in sound is invaluable,” said Michael J. Kohut, president of Sony Pictures’ post-production facilities. “I’m certain that his visions will help reshape the future of digital sound and heighten the level of work we do for our clients.”
“Kevin O’Connell’s career experience enhances one of post-production’s most talented management teams,” said Gary Martin, president of Sony Pictures’ studio operations.
“I;m looking forward to working with Kevin as we meet the digital challenges of the future,” said Richard Branca, executive VP of sound, video and projection operations. “He will be an important factor in creating synergy of post-production sound.”
“Kevin’s creativity and his knowledge of the sound industry is truly an asset to our department,” says Tom McCarthy, executive VP of theatrical and television sound editorial. “I look forward to working with him in the implementation of new technologies in both sound mixing and sound editorial. As our facility continues to grow, Kevin’s strong background in sound will be instrumental as we structure and standardize the use of new technologies.”
O’Connell started in the industry in 1978 as a machine room operator at Samuel Goldwyn Studios. He was promoted to sound mixer in 1980. He received his first Academy Award¬ nomination in 1983 for his sound mixing on Terms of Endearment when he was only 26. Since then, he has received an additional 15 Oscar nominations.
O’Connell joined Sony Pictures in 1993 as a supervising sound mixer in the Cary Grant Theatre, the theater he now considers a second home. His numerous projects include Tombstone, Crimson Tide, The Rock,Armageddon,Pearl Harbo, and Spider-Man. His most recent project was The Passion of the Christ.
In addition to sound mixing, O’Connell is a member of the Academy of Motion Picture Arts & Sciences and represents the sound branch on the Board of Governors.
For more information about this announcement or Sony Pictures Entertainment, please refer to its Website, www.sonypicturespost.com.
Hilton Americas-Houston Installs Soundweb System
The new $285 million Hilton Americas-Houston, which opened its doors in December of last year and served as the host hotel for Super Bowl XXXVIII, boasts one of the largest Soundweb installations on record, making use of 68 BSS 9088ii DSP devices on a single network.
HFP Acoustical Consultants Inc. of Houston provided the audio-visual and acoustical design specifications for the new 1,200-room, 24-story Hilton Americas-Houston, which is connected via a double-deck skyway to the George R. Brown Convention Center. Ford Audio-Video Systems Inc., under the direction of project manger Kevin Compo, served as the systems integrator, with Gary Ewald from Ford’s Austin office primarily responsible for the project’s Soundweb programming.
HFP senior design consultant Bill Schuermann comments, “With 22 miles of conduit running throughout the hotel and 187 miles of fiber just to support audio-visual alone, this was by all rights an enormous project. Consequently, I knew we needed a DSP and routing solution that would sound good, be extremely reliable and be backed by a highly experienced support team that had dealt with many other large-scale installations. Soundweb was that solution. And this was nearly three years ago when I initially specified the products. Soundweb has only gotten better since then.
“We’re using the BSS 9088s to provide delay, EQ, comp/limiting, leveling, TOC, room combining„pretty much everything you’d expect,” he continued. “They really offer an excellent-sounding DSP, which can sometimes be a bit of an oxymoron in this business. In fact, when Ford first fired up the system in the Hilton’s Grand Ballroom, which is just under an acre in size, even untuned, it was the best-sounding ballroom system in a hotel that any of us had ever heard.”
Aside from the 68 BSS 9088ii devices, the Hilton Americas-Houston also employs a myriad BSS 9000 network hubs and 9014 fiber-optic interfaces, as the entire system is distributed via fiber lines. “By using the 9014s and going with an all-fiber backbone, we dramatically reduced the traditional copper infrastructure and eliminated the potential for ground loops,” he adds.
Setup and master control for the audio system is provided via a resident PC in the control room running Soundweb Designer, while user control is accomplished via nearly 60 Crestron TPS-3000 touch screens located throughout the facility. Schuermann points out that the integration between Soundweb and Crestron has been “absolutely invisible.”
Schuermann sums the project up by adding, “Soundweb delivered everything that BSS said it would on this install. I can’t even tell you how happy I am with the decision I made.”
For more information about BSS Audio/Harman, go to www.bss.co.uk.
Sennheiser Mics a Regular on ‘Rockline’ Radio Show
The nationally syndicated Rockline radio show is bringing interviews and in-studio performances by rock artists to music lovers across the country with the help of Sennheiser. Broadcasting from the Premiere Radio Networks studios in Los Angeles, Rockline airs live twice weekly, with presenter Bob Coburn showcasing new music on Mondays and classic rock on Wednesdays.
“I’ve been working with Sennheiser since 1997,” reports chief engineer Jimmy Rash. “For the most part, we use the MD 421. I’m a huge fan. It’s a great all-round microphone. You can use it on almost anything„from a kick drum to a guitar amp to a vocal.”
Rash explains that, although a radio show, the challenges of broadcasting live rock performances on-air requires what is essentially a recording setup in the studio. “It’s kind of a hybrid show. We do it from a recording studio and use a recording console, the Euphonix CS 2000,” he elaborates. “Yet, since it broadcasts on radio, there are some applications we have to do to get it on the air.”
Sennheiser Evolution Series microphones are also in abundance in the show’s performance space. “I use the Evolution 602 and 604,” reveals Rash. “The 602 is a great kick drum mic„the best ever, I think. The dynamic range is so great. I like the 604s because they clip onto the drums. And I use the Evolution 609 Silver on guitar amps. For my drum overheads and acoustic guitars, I use Neumann KM 184s.”
Sennheiser headphones are provided throughout for visiting bands, says Rash. “Something else that Bob uses is the Sennheiser HMEC25 headset with the electret condenser capsule, which is fantastic. It’s an amazing microphone.” Rash has compared the performance of the electret capsule to studio microphones costing several times more. “If you EQ the HME correctly and add a little bottom, you can’t tell the difference.”
Rash, who has a long relationship with Sennheiser, comments that, “We experimented with the HMEC25 in the early days when it was first coming out. We were sort of the beta tester. Now you turn on the television and you see Al Michaels and Pat Summerall wearing them on Monday Night Football!”
For more information, go to the Sennheiser Website at www.sennheiserusa.com.
Nord Electro 2 a Favorite With Musikmesse’s International Press
On April 1, 2004, at Musikmesse (Frankfurt, Germany), the 5th Annual Musikmesse International Press Award (M.I.P.A.) ceremony took place. The ceremony is the musical instruments manufacturers’ fifth major award ceremony and is a collaboration between the music trade fair and the international music press. Fifty-eight specialist journals from all over the world gathered to select the M.I.P.A. award winners. The jury presented awards for outstanding products in more than 40 categories, ranging from drum sticks to high-end digital mixers.
Among the great manufactures of organs/portable keyboards, Clavia was chosen and received the prize for the Most Outstanding Organ/Portable Keyboard of the Year for its Nord Electro 2. Last year, the Nord Electro 2 also received a M.I.P.A. prize in the Stage Piano category.
For more information on the Nord Electro 2, visit www.clavia.se/. For more information on the M.I.P.A. Awards, visit www1.mipa-award.de/.
TerraTec Develops Producer Product Line, BeSonic.com Online Success
TerraTec continues to develop its product lines, marrying Axon technology with its Producer product line. With more than 50 international patents, “Axon technology fits in superbly with the TerraTec Producer product line,” notes TerraTec Electronic general manager Heiko Meertz.
“TerraTec is focusing on continuing to develop Axon technology as well as providing ongoing support for all legacy and future Producer products featuring Axon algorithms. This year, computer-based music recording and production has moved up a notch,” he continued. “Where in the past, keyboardists and studio people were the principle customers for recording products, the computer, as a music machine, is becoming an ever more appealing prospect for new target groups. And so it goes with guitarists.”
Be it an acoustic or electric, a western steel-string or a bass guitar, Axon turns guitars into MIDI instruments. A notable feature of Axon is its ability to address external sound modules as fast as it triggers the optional internal soundboard. Blue Chip’s engineers have succeeded in developing an early recognition system that analyzes impulses generated by the plucking of a string. The system recognizes pitch before the sound of the string is fully audible. The dynamics and duration of the tone are computed on the basis of the string’s vibration. Now available, the AX 100 and AX 100 SB inclusive Soundboard prices can be found at TerraTec’s Website, www.terratec.com.
In more TerraTec news, BeSonic.com presents music on the Internet. At BeSonic.com, artists have the opportunity to share their music with the world„and get paid for their music!
If BeSonic.com’s numbers are any indication, the trend toward artist-controlled media channels is on the rise: 4,600,00 page impressions a month; some 590,000 visits; and 355,000 registered artists and music fans. More than 210,000 people receive the BeSonic newsletter twice monthly. With 80,000 songs waiting to be heard, the music selection on BeSonic is significant.
By leveraging new marketing, cooperative and promotional concepts in 2004, the new team and the new owner of the platform, TerraTec Electronic GmbH, are taking a decisive step to make BeSonic.com even more attractive to and better known among musicians and music fans.
MediaComm Truck Captures N.C. Grand Prix
The American Grand Prix Association (AGPA) returns the United States original equestrian stadium jumping tour to one of its first venues.
When Charlotte Bobcats owner Robert Johnson presents his Charlotte, N.C., Jumper Classic, he will re-establish the “Queen City” as a host to top-flight equestrian competition. As one among the 33 national events that constitute the annual AGPA Grand Prix Series, 42 riders will compete and/or demonstrate indoors from April 9 to 11, 2004, at Charlotte’ s latest Coliseum. Mary Silcox, director of publications for Stadium Jumping Inc., attributed the hiatus of the AGPA from Charlotte to insufficient indoor facilities, especially given the trend toward international level competition, which is traditionally staged indoors for cultivating both World Cup and Olympic riders.
“Charlotte,” reminisces Silcox, “was one of the first cities to host AGPA events. Naturally, the association’s excited about returning.” Johnson further exalted the return as, “an example of the diverse types of events we will be bringing to Charlotte as operators of the new arena.”
Television taping of the event will be supplied by MediaComm’s mobile production truck. Based in Charlotte, the company’s truck is one of many services it offers. Remote units manager Jay Shennum enthusiastically welcomed the AGPA event, calling it “an excellent opportunity to diversify [MediaComm’s] live sports resume.” Reiterating this enthusiasm, MediaComm president Chris Cates states, “Recent modifications we’ve made to our truck will definitely enhance the production value of the event, which, in turn, will bring attention to both this sport and the city of Charlotte.”
With plans for airing the Classic annually on his recently announced Carolina Sports and Entertainment Network (C-SET), Johnson feels confident that it will be successful. Proceeds from the Classic will be donated to the Bobcats Charitable Fund, the philanthropic arm of Johnson’s new NBA franchise.
MediaComm Mobile is a “straight” truck, providing live and taped television production services to ESPN, the NBA, the WNBA, SPEED Channel, NASCAR Images, the Inspiration Networks and many others since 2001.
For more information, go to the MediaComm Website at www.media-comm.com.
Romanian Radio Broadcasting Calls on Studer Consoles
Studer has received an order from the Romanian Radio Broadcasting Corporation for a further six OnAir 1000 digital mixing consoles for its Bucharest studio center, adding to the 25 Studer digital consoles already installed. During the past few years, Romanian Radio has been implementing the introduction of digital technology into all of its studios, and many of its production and transmission studios are already equipped with Studer OnAir 1000 and 2000 M2 digital consoles.
Romanian Radio deputy general director Mihai Ilie comments, “All of these consoles work very well with the Studer Digimedia system for both broadcasting and production, and this is a major reason that Romanian Radio is purchasing more of the same. The advantages for both technical and program staff are self-evident.”
The design of the studio systems and installation of all the consoles and Digimedia systems were carried out by the technical department of the Romanian Radio Broadcasting Corporation.
For more information about Studer, go to its Website at www.studer.ch.
Sennheiser Appoints Frank as Marketing Communications Manager
The marketing team at Sennheiser Electronic Corporation (SEC) continues to grow with the recent appointment of Brigitte Frank to the position of marketing communications manager.
In her new role, Frank will oversee all marketing and communications-related activities for SEC. This includes the execution of marketing plans for all business channels, distributed brands and telecommunications by managing the internal and external creative resources. Working with her four-person staff, she’ll also manage Web development, graphic design, tradeshow and event administration, media placement and inventory distribution.
Frank comes to Sennheiser from Stamford, Conn.-based META Group, where she held the position of senior marketing manager, creative services. Her 17-year background in marketing project management and creative direction also includes direct marketing and promotion strategy, media management and publishing.
“Sennheiser Electronic Corporation offers a recognized high-end product line and premier brand positioning backed by energetic, dedicated and highly experience employees,” Frank says. “My goal is to help each business channel deliver the most effective promotions, advertising and collateral for their respective product lines. I look forward to working with all areas of the organization, delivering well-planned and well-executed communications during this exciting time of corporate growth.”
Frank will be based at the company’s Old Lyme, Conn., headquarters where she’ll report to Stefanie Reichert, VP of marketing. “Brigitte has more than simply the professional qualifications for this position,” Reichert says. “She has the energy, enthusiasm and ideas to ensure SEC’s marketing communications provide that crucial link between our product lines, our growing channels and our valued customers throughout the country. We’re excited to have her as part of our team.”
For more information about this and other Sennheiser news, go to its Website at www.sennheiserusa.com.
Redesigned Website, New Location Announced by Ultrasone of America
Ultrasone of America (formerly EARS Audio Distribution), the United States distributor for German headphone manufacturer Ultrasone AG, has officially launched its new corporate Website at www.ultrasoneusa.com.
The Website, designed by Miami-based Max Borges Marketing Solutions, showcases the company’s high-end headphone products with dramatic 3-D Flash presentations and a fresh design.
“We are excited about the launch of our new Website,” says Cathy Kelly, COO for Ultrasone of America. “The site is an important component in our overall communications and marketing strategy and will lead our introduction to the U.S. market.”
In addition, the site features individual 3-D product Flash presentations, a detailed technology section highlighting the company’s patented S-Logic and PROline technologies, extensive industry reviews and testimonials, a downloadable media kit and an interactive dealer page (sign-up and current listings).
Please make note of the following address change for Ultrasone of America: 220 2nd Avenue South, Franklin, TN 37064, 615/599-4719, [email protected].
Meyer Mixes Court TV’s ‘The Chase’
hsr/ny’s George Meyer mixed the Court TV thriller pilot, The Chase: Track Down, which had its network premiere on April 11; the segment will repeat on the network.
The Chase: Track Down features a new concept in reality television, a 21-mile desert man hunt of two contestants playing the role of runaway fugitives chased by a team of four professional trackers. The scenario dramatically demonstrates the tracker’s ancient skills, use of modern-day forensics and footprint analysis employed in typical man hunts. It’s a real-time, 24-hour escape and track-down played out over the harsh terrain of Southern Nevada.
Red Brick Entertainment’s Rob Dustin, creator and executive producer of the pilot, said, “I have collaborated with George Meyer for 15 years and he is not only the best mixer I have worked with, he is also the quickest. And in terms of audio post, that is crucial. The audio I heard in the editing suite sounded great to me, but once I got into hsr and George’s studio and he cleaned it up and brightened the sound, it was a totally different show. Great coming in, but absolutely unbelievable when he finished with it. There really was a stark difference in the quality.”
“The Cedar DNS1000 digital equalizer was invaluable in cleaning up the very noisy dialog tracks as the audio was recorded in the middle of the desert on the fly,” added Meyer. Both Pro Tools and Audiofile were also used to mix the pilot.
For more information, visit hsr/ny at www.hsrny.com.
Peavey’s New Sanctuary Series S-14 Mixer Announced
Peavey Electronics Corporation introduced the new S-14 mixer, part of its Sanctuary Series, a line of all-new audio products dedicated to making pro audio easy to use and cost-effective for worship centers.
The Sanctuary Series S-14 mixer is a 12-channel, Rackmountable mixing console. One of this mixer’s innovations is Automix technology, an automatic mixing function provided on the first four channels. Once engaged, Automix monitors the levels on these channels and automatically turns down unused or low-priority inputs to give dominance to the main microphone, minimizing ambient noise and feedback. The S-14 also includes a built-in Feedback Ferret¬ automatic digital feedback elimination system on the main and monitor 1 outputs. The Feedback Ferret applies a narrow notch filter on specific problem frequencies to eliminate feedback without sacrificing tonal quality. The device continuously checks and rechecks the designated problem frequencies and then releases the filter(s) when it no longer detects feedback.
Another feature is Mid-Morph equalization, which is actually two EQ controls in one. When the knob is cut, it pulls out low-mid frequencies that muddy the sound; when boosted, it shifts to an upper-mid frequency that brightens the vocal range. Every channel includes Mid-Morph EQ, as well as normal, low and high EQ.
The stereo line channels also accommodate split-accompaniment audio tracks. The accompaniment can be played to the main system in stereo or from the left or right inputs, while the Monitor Blend control allows any mix of vocals and accompaniment to be sent to the monitors.
In addition, the S-14 features digital reverb with four presets and a mute, vocal enhancer, compression, phantom power and more.
The Sanctuary Series S-14 is now available.
For more information about Peavey Electronics, go to its Website, at www.peavey.com.
Holophone Debuts H2-PRO Surround Sound Microphone
Holophone, a division of Rising Sun Productions Ltd., formally announced the introduction of the Holophone H2-PRO Surround Microphone. This new microphone is capable of recording up to 7.1 channels of discrete surround sound for all professional audio applications (standard television, DTV, HDTV, radio, music, project studios/engineers and film location recording) and will be launched at next week’s National Association of Broadcasters (NAB) conference in Las Vegas. Holophone is partnering with SRS Labs at NAB (located at booth N1502, just inside the door to the North Hall off the main concourse of the LVCC), where Holophone representatives will showcase the H2-PRO from April 19 to 22, 2004.
“We are thrilled to be launching our new Holophone H2-PRO at this year’s NAB,” stated Jonathan Godfrey, CEO of Holophone. “The H2-PRO is a very cool surround sound audio-capture device, and it is the culmination of years of development and an intense beta-testing period with leading broadcasters and audio professionals around the world.” Godfrey further commented, “We’ve worked hard to introduce a product that meets the growing needs of all markets to record and distribute high-quality surround sound. It appears that the time is right for the H2-PRO.”
The H2-PRO Surround Sound Microphone improves upon Holophone’s beta system with a sleek new design that maintains the patented “head” shape, adds eight channel recording capability (5.1 channels, top channel and a center-rear channel) and has an improved connector and handle. The easy-to-use Holophone H2-PRO is a stand-alone surround sound microphone designed for audio professionals to capture up to eight channels of discrete surround sound. It features eight XLR microphone connectors, which are entirely compatible with all multichannel I/O devices such as hard disk recorders, preamplifiers and mixing boards that supply phantom power. Users can plug the Holophone H2-PRO directly into their own equipment. Priced at $6,000 MSRP, the Holophone H2-PRO will begin shipping by July of this year.
To find out more about Holophone, go to www.holophone.com.
Neither Cold Nor Beast Can Stop Krause From Recording
After more than 35 years of field recording, during which he has built the largest private library of animal sounds, Bernie Krause has yet to find a microphone to surpass Sennheiser’s MKH Series in sound quality and performance. Krause can also attest to the ruggedness of Sennheiser microphones, having not only used them in environments of extreme temperature and humidity, but also having witnessed his setups survive being mauled by both a jaguar and a black bear„and he has the recordings to prove it.
“I’ve recorded in Alaska and the Antarctic when it’s been 50 or 60 below, I’ve recorded in temperatures hovering around 120 degrees,” says Krause, who owns three M-S (mid-side) pairs of Sennheiser MKH 30 and MKH 40 microphones. “The advantage of working with that kind of mic system in humid conditions and tropical rainforests, and in deserts where it’s very dry, is having the reassurance that you’re going to get most of what you’re there for.”
Krause and his Wild Sanctuary sound and media design company have amassed an immense library of animal and habitat recordings. “We have about 3,500 hours of material from every representative habitat on the planet [terrestrial and marine] and about 15,000 creatures. We’re actively looking for a sponsor to fund the transfer of this library to an academic institution,” he says.
On Wild Sanctuary’s Amazon Days, Amazon Nights CD release, listeners can get upclose and personal with a jaguar. “We could smell this critter, which was leaving its scent marks along the trail, but we couldn’t hear or see it because it was so dark that night,” recalls Krause. “My colleague went off to record and I set up my mics. I have a 10-meter cable, so I was 30 feet away and had just switched on my recorder when I heard this growl at the microphone. I realized the jaguar had been following me and had just stepped up to the mic. I had my earphones on so it sounded like it was right at my head. It was a life-affirming moment, as they say!”
Krause, who replaced Pete Seger in the world-renowned folk group, The Weavers, in the early ’60s, is also credited, together with his creative partner, Paul Beaver, with introducing the synthesizer to popular and film music at the Monterey Pop Festival in 1967. The following year, Beaver and Krause began recording their debut album, In a Wild Sanctuary, reportedly the first album to ever use natural sound, which Krause recorded around the San Francisco Bay Area and the San Francisco Zoo, as an orchestral component.
Initially adopting the X/Y mic configuration for his recordings, Krause recalls that he read an article about Sennheiser and M-S recording in the mid-’80s. The M-S configuration pairs a cardioid mic (the MKH 40) to record the mid component with a coincident figure-8 mic (the MKH 30) picking up the side signal. Using an M-S matrix, the apparent width of the stereo image may be controlled during recording or post-production and a very robust stereo mix is the result.
“I tried it and my life was changed,” he states. “In almost all cases, the M-S system was by far the most compatible and flexible for our work, so we stuck with it.”
On occasion, Krause admits, he’s allowed his Sennheiser microphones to get wet. “More often than not, they didn’t fail. But when they did, it took less than half-an-hour to become operational again. I beat the mics up all the time. I don’t keep them in boxes and I don’t keep them carefully protected as we’ve had to do with other systems. They’re just so rugged, and they typically just keep on working.”
His mics have also survived close encounters with a bear, he reports. “We were recording for the National Park Service in Sequoia National Park. We had set up three Sennheiser systems at different sites. At one of these locations, a colleague had just moved away from his rig when a black bear came up to the mic and completely engulfed the zeppelin [wind shield] with its mouth. I have the only stereo surround recording of what it’s like to be inside a bear’s mouth.”
For anyone seeking more information on Krause’s field recording techniques, his new book/CD, Wild Soundscapes: Discovering the Voice of the Natural World (Wilderness Press), includes a chapter on technology that is largely devoted to Sennheiser equipment. More contact information can be found on the Wild Sanctuary Website at www.wildsanctuary.com. For more information on Sennheiser’s products, go to its Website at www.sennheiserusa.com.
Axia Partners With Enco
Axia Audio, the new subsidiary of Telos Systems specializing in networked studio audio products, has announced a partnership with Enco Systems, makers of digital audio delivery systems for broadcast.
As an Axia value-added reseller, Enco will offer Axia audio networking components bundled with Enco systems, and will engineer these systems to provide their clients with equipment and accessories. Enco will also license the Axia IP-Audio Driver for integration into Enco DADPro32 application software, which will allow workstations and servers to send IP-Audio directly to the Axia network without the use of PC soundcards.
Says Don Backus, VP of sales and marketing for Enco, “We’ve been watching the Axia engineers develop this technology with a great deal of excitement. We think the synergy of the Axia audio networking system combined with our DADpro32 delivery system will provide an unbeatable combination to broadcasters. Telos is a great company and we’re proud to partner with them.”
“Enco is a first-class software company and we’re pleased to be their partner,” said Axia president Michael Dosch. “Together, we can offer significant improvements in studio audio functionality, and at the same time reducing overall infrastructure costs. How often does that happen?”
Axia and Enco will both be exhibiting at the 2004 NAB Convention in Las Vegas; visitors are invited to see Axia in the Telos booth, N1416, and featured in the Enco booth, N2426.
For more information about Axia and Enco, please refer to either of its Websites, found at www.axiaaudio.com/news and www.enco.com, respectively.
Vote to Decide the Winners of NAB’s Outstanding Technology Achievement Award!
Last year, the National Association of Broadcasters introduced a new awards program to recognize outstanding achievements in new technology. This year, NAB2004 attendees will again select 15 winners for the second-annual Awards for Innovation in Media (AIMs). All NAB2004 conference, exhibits-only and media badge holders are eligible to participate. For more information and to enter to win, go to the NAB Website at www.nabshow.com.
To select an outstanding product in each category for three AIM Editors’ Choice Awards, a panel of leading industry editors will review the winners in each area and other new technologies on the show floor.
Prizes include two tickets to Blue Man Group on the night of Wednesday, April 21, 2004, and one complimentary NAB2005 conference registration (grand prize); one complimentary NAB2005 conference registration (second prize); and $250 gift certificate redeemable at the NAB store (third prize).
Winners of the random drawing prizes will be notified on the morning of Wednesday, April 21; the Editors’ Choice Award winners will be announced on Thursday, April 29.
Nashville’s Bradley on Soundelux Mics
Nashville engineer and producer Bobby Bradley knows a thing or two about living up to, and leaving, your own legacy. The 30-plus-year veteran of the Nashville recording scene has worked with a who’s who of country music, building on that legacy started by his uncles Owen and Harold Bradley, widely considered to be the founding fathers of modern country recording. Working in the best rooms in Nashville, in addition to the famed Bradley’s Barn, Bobby helps continue and create a new legacy with Soundelux E47, ELUX 251 and IFET7 microphones along side and often replacing vintage ELAM 251s, U67s and U47s first used during the era of his famed uncles.
Currently, Bradley is dividing his time between Bradley’s Barn working with artists like Suzy Bogguss, Asleep At the Wheel, Mandy Barnett and others, and his work with 3ABN (Three Angels Broadcasting Network) founder Danny Shelton. Based in Southern Illinois, 3ABN has grown from humble beginnings to the second largest Christian television and radio broadcasting network in North America. Bradley and Shelton have worked together since the early ’80s, with Bradley most recently working out of 3ABN’s extensive recording and broadcast facilities.
Bradley’s first encounter with Soundelux was nearly six years ago with country recording artist Suzy Bogguss. Bogguss owned her own Soundelux U95 and brought it to every session, preferring it over anything else. Since then, Soundelux has replaced the U95 with its U99. Bradley next encountered the ELUX 251 shortly after its development with help from Soundelux product representative and friend of 25 years, John Downs of John L. Downs Associates. “The first time I used the Soundelux ELUX 251 was on Mandy Barnett out at Bradley’s Barn after using U67s on Mandy for years. She is a remarkable singer, so it’s hard not to make her sound good with a good mic, but I thought it sounded better than the U67 we’d been using,” said Bradley.
Shelton had originally worked with Bradley at Bradley’s Barn favoring a vintage Telefunken ELAM 251 used by Eddie Arnold and other greats. According to Bradley, of the two owned by the studio, Shelton chose the mic with the most pronounced and warm low end. Bradley went on to explain the course of events: “We had just started an album with Danny and I encouraged him to try the Soundelux E47 rather than his favorite ELAM 251 on his own vocal and it sounded great. I thought the E47 sounded more like Danny’s favorite vintage 251 than the Soundelux E251. After he built a nice recording studio at the 3ABN complex, I did so many sessions there I started leaving both the E251 and E47, which he eventually bought for 3ABN. Both of the Barn’s vintage ELAMs sound different, but the Soundelux E47 and ELUX 251 hold their own with all of them.”
While the ELUX 251 is meant to re-create the sonic beauty of the Telefunken ELAM 251 and the E47 that of the ’50s-era tube 47s, Bradley not only finds them to be wonderful vocal mics, but often more ideal than their counterparts on a number of instruments. “I use them all on vocal sessions, but the EFET7 also gets used on kick drum positioned right outside the head,” explained Bradley. “I also use the ELUX 251 on cellos and, in fact, any 251 is my favorite cello mic.”
For more information about Soundelux Microphones, go to distributor Transamerica Audio Group at www.transaudiogroup.com.
