Weeks of August 1-15
Neutrik Lends a Helping Connector
When Paul Braun, the Chicago Street Theatre’s director ofsound, began renovating the theater’s new home, an old churchparish hall, he contacted Neutrik for a possible donation. Neutrikresponded with a box full of goodies.
In 1997, the Chicago Street Theatre purchased the new facility,which was then renovated into an ideal theater setting. Thus began themetamorphosis of the building into a thriving theater, complete withmain stage area seating 140, office, classroom and lobby space, as wellas a second-floor rehearsal hall. This move, according to Braun,necessitated a complete overhaul of the existing sound system andwiring scheme.
“As with all groups like ours, an extremely tight budget is the wayof life,” said Braun, a 20-veteran of the community theater group.”When we first purchased the building, there was an old stage snakeleft behind that needed serious repair. We received some donated cable,so I started investigating which connectors to employ. I read a lotabout touring pros that were using Neutrik and raving about how theconnectors are indestructible and easy to put together. So I decided tocall Neutrik.”
“The story of the Chicago Street Theatre really resonated with us,”said James Cowan, president of Neutrik USA. “We get many requeststhroughout the year for product donations. However, after talking withPaul and learning more about how the theater got started, theircommitment to community matched our vision. Neutrik’s history is basedon the concept of community involvement, and so is the Chicago StreetTheatre’s. It was just a perfect opportunity for us to help givesomething back to their community.”
Braun was pleasantly surprised at the level of support he receivedfrom Neutrik. “I called Neutrik, explained our situation, and they saidthat they would donate the XLR connectors to fit the box on the stageand the fan at the mixer. Remarkably, they asked to have us supply themwith a Neutrik wish list to set up the entire system. So, I asked themfor enough Speakon connectors to wire the amplifier rack and speakers.We were so impressed when a box soon arrived that contained everythingwe asked for. All that was left to do was roll up our sleeves and getto work.”
P&E Wing Presents Master Recording Delivery Recs
The Recording Academy’s Producers & Engineers Wing presented onJuly 19, its Master Recording Delivery Recommendations during theNational Association of Music Merchants Summer Session inNashville.
The recommendations were created by members of the P&E Wing’sMaster Recording Delivery Recommendations Committee, which is comprisedof producers, engineers, as well as record company executives,archivists and studio owners, among others, in conjunction with theNashville Chapter of the Audio Engineering Society.
The intention of the 12-page Master Recording DeliveryRecommendations document is to provide recommendations for securebackup, delivery and archive methodologies, both near-term and far.
“It was our objective to provide a common solution where previouslythere was none,” said Leslie Lewis, director of the P&E Wing. “TheCommittee crafted a context for communication in order to preventfuture loss. We want everyone to benefit from the shared experience andexpertise of all of those in the recording community.”
Committee co-chair George Massenburg stated, “We feel that theP&E Wing and the members of the Master Recording DeliveryRecommendations Committee——comprised of different, andsometimes contentious and opposing forces——has been the bestforum to address these critical issues and, subsequently, to reach asolid consensus.”
“Cyril Connely, a former literary critic at the London Timesonce said, ‘Art is man’s attempt to preserve imagination from time,’and I can’t think of a better reason for us to engage in thisextraordinary and complex issue,” said committee co-chair Kyle Lehning,a producer and engineer. “Ensuring the proper preservation of the artcreated in today’s music recording technology is not only a practicalconcern, but a moral obligation. We believe that the Master RecordingDelivery Recommendations are a positive step toward preserving thefoundation of the creative process, and it is in the interest of allparties involved to endeavor and make them as accessible as possiblefor as long into the future as possible.”
The Master Recording Delivery Recommendations document itself isbroken down into three specific parts: the recorded deliveryspecification, the media identification label and the recording map.The primary purpose of the recorded delivery specification is to ensurethat a digital recording can be completely and reliably recovered, bothin the short-term and in the long-term if the technology used duringthe initial recording sessions becomes unavailable. The media ID labelprovides a form of identification for each and every element that isbeing delivered. Finally, the recording Mmap is provided–with therecommendation that it be maintained throughout the project–toaccompany the physical deliverables in order to catalog and track theinformation contained in each file.
Because the recommendations were established by experts on bothsides of the issue, it is the P&E Wing’s hope that in addition togarnering a favorable response from individual artists, producers andengineers who will begin incorporating the procedures into their dailyroutine, the record companies will adopt the recommendations andimplement them as their standard for master delivery.
In order to create this document, the Master Recording DeliveryRecommendations Committee has met at the Recording Academy’s NashvilleChapter as often as every other week since September of 2001. Uponcompletion, the Master Recording Delivery Recommendations were reviewedby the P&E Wing Advisory Council and members of the P&E Wing,with a request for frequent feedback as to its relevance. In thefuture, the Committee will review the Recommendations semi-annually toincorporate the feedback received from members of the recordingcommunity and record company executives, and to ensure its continuedrelevance within commonly accepted industry standards.
The Committee is co-chaired by Lehning and Massenburg. Committeemembers include Chuck Ainley, Jeff Balding, Steve Bisher, Alison Booth,Tony Brown, Barry Cardinael, Eric Conn, Sharon Corbitt, Tom Endres,Garth Fundis, Scott Hendricks, Steve Marcantonio, Pat McMakin, BetsyMorley, Jake Nicely, Gary Paczosa, Mike Purcell, Traci Samczyk, KaySmith, John Spencer and Bil VornDick.
To read the P&E Wing’s Master Recording DeliveryRecommendations, visit www.grammy.com/recommendations.pdf. A copy of thedocument is also available on Massenburg’s professional Website at www.GeorgeMassenberg.com.
They’re back!!! Individuals in Indonesia have returned to their oldploy of contacting high-end audio dealers and manufacturers in NorthAmerica, trying to buy expensive music and audio gear direct, under theguise that there is no local dealer/supplier. Communications with theseller is via e-mail, and fradulent, stolen or fake credit card numbersare used. Certainly, there are legitimate overseas customers who mayhave trouble obtaining gear, but use extreme caution and common sensewhen dealing with such transactions!
Sequerra Audio Labs Dissolved, Ambient Audio Labs Created
Mark Conese and Dick Sequerra, the two principals behind SequerraAudio Labs (Stamford, Conn.), have dissolved the company to pursueother professional interests, it was announced today. The company’snewly released 1070-A microphone preamplifier will continue to bebrought to the market through Conese’s new company, Ambient AudioLabs.
An accomplished musician and audio equipment designer, Conesedesigned and built Ambient Recording Company in 1989, a Stamford,Conn.-based recording studio, which has become known for makingaudiophile recordings and beta testing cutting-edge technologies. In1999, Conese founded Ambient Records, a boutique record label.
“The incredibly positive reaction I got from high-end users and thepress with the introduction of the 1070-A at AES New York and AESMunich convinced me that I just couldn’t let this die as a product withthe dissolution of Sequerra Audio Labs,” Conese said. “The 1070-A isthe first of several ultra-high-end pro audio products that I have onthe drawing board. With the creation of Ambient Audio Labs, I cancontinue to get this and other high-end products into the hands ofengineers and artists who strive for the very best there is.”
Contact Ambient Recording at email@example.com.
HD Video-Editing Gear Seminar Announced
Apple announced its free seminar, “Video’s Continued Revolution: TheLatest Wave in HD Video-Editing Gear,” which will be held on Wednesday,August 14, 2002, from 7 p.m. to 9 p.m., at the Los Angeles Film Schoolin Hollywood. Doors will open at 6:30 p.m.
The seminar will include discussions, demonstrations and Q&Aabout Shake 2.5, Cinema Tools, Xserve, Kona 10-bit, Final Cut Pro 3 andMac OS X. The company will also demonstrate how Apple-compatible proproducts can help solve day-to-day production problems.
Snacks, juices and soft drinks will be served starting at 6:30 p.m.Seating is limited; register at www.promax.com/events/shake/.
Le Mobile Tracks, Mixes Bonnie Raitt at Red Rocks
When Bonnie Raitt’s Silver Lining summer tour stopped atColorado’s Red Rocks Amphitheater in June, Le Mobile was on handto record the entire concert. After the show, Le Mobile owner and chiefengineer Guy Charbonneau mixed one song that will be featured on hernewest release, Fool’s Game, which is slated for release on aforthcoming promotional/benefit CD sponsored by the Cities 97 radiostation in Minneapolis.
Charbonneau gave a reference CD of his mix to Raitt of hisinitial mix and, after returning to Le Mobile’s home base inCalifornia, he did a second mix incorporating some slight changesrequested by the singer. Other tracks from the concert are beingarchived for possible later mixing and release.
The Cities 97 CD will be released in September. Other artiststentatively scheduled to be on the release include Natalie Merchant,Suzanne Vega, Train and Coldplay. Net proceeds from sale of the CDwill benefit charities selected by the station in consultation with theartists.
For more, visit Le Mobile on the Web at www.lemobile.com.
Royal National Theatre Sign Design Contract with MunroAssociates
Specialist studio building company Form & Funktion have signed acontract to build and install new recording facilities at the RoyalNational Theatre on London’s South Bank. The contract for the newfacilities’ design was awarded to UK acoustic consultancy MunroAssociates. The Munro team will work closely with Form & Funktionto transform space in the theater’s basement into two production roomsand a live area, with audio and video tie lines to the three NationalStages. There will also be Foley facilities to create soundeffects.
The sound studios will be used to record music and sound effects forvarious productions and audio-based marketing and promotional materialfor the theater itself. The studios will also handle the video andaudio recordings of productions that are made for the theatre’sarchives.
Work on the project began last month and is expected to be completedin three months.
Form & Funktion’s managing director Clive Glover said, “TheRoyal National Theatre has waited 30 years for these facilities; theywere designed into the original plans but when the theater was builtback in 1976, there wasn’t enough money to install them. However,thanks to National Lottery funding and a donation from the RoseFoundation, the theater now has the budget to complete the project. Weare delighted to have been chosen to handle the building work andacoustic installation.”
Equipment lists for the two production rooms are still beingfinalized, but are likely to include a Yamaha 02R console, Genelecmonitoring and Pro Tools.
Visit Munro Associates online at www.munro.co.uk.
Turbosound Appoints Sennheiser for U.S. Market
Sennheiser Electronic Corporation (Old Lyme, Conn.) announced itsappointment by Turbosound Ltd, the British-based manufacturer of liveperformance and installed-sound loudspeaker systems, as its exclusivedistributor for the United States. The distribution agreement alsocovers selected Latin American territories including Argentina, Braziland Mexico.
Turbosound’s Paul Giansante, who until recently managed thecompany’s U.S. office, has been appointed Turbosound product manager atSennheiser, ensuring continuity of customer contact, service and designsupport. Giansante will be responsible for all aspects of Turbosoundsales and marketing in the U.S.
Bill Woods, sales director of Turbosound Ltd, said, “We aredelighted by this development and excited about working with such aprofessional and well-structured organization as Sennheiser. Our U.S.customers have reacted enthusiastically to this new distributionarrangement, welcoming the fact that Paul Giansante will be playing akey role in the venture. We’re all looking forward to working alongsideSennheiser at the forthcoming AES Convention in Los Angeles, which willrepresent an important opportunity to meet our U.S. customers underthis new structure and introduce them to the many new productsscheduled to make their U.S. debut at the show.”
Sennheiser will be distributing all of Turbosound’s product rangesinto the U.S. market, including the recently introduced, multipurposeTQ-300 Series, as well as the Flashlight® and Floodlight®systems. Activity will also be focused on the company’s forthcomingseries of specialist compact systems for the install market.
Universal Audio 2-610 Presents Number 1,000
Universal Audio (Santa Cruz, Calif.) presented chief analog designerJohn Hinson with the 1,000th 2-610 stereo tube microphone andinstrument preamplifier. The unit, which was presented at a companyevent celebrating record sales in the second quarter of 2002, wasautographed by Peter Frampton, who is currently working on a new album,Peter Wade and Bruce Swedien, who respectively are producing andengineering Jennifer Lopez’s next release, Led Zeppelin and RollingStone engineer/producer Andy Johns, singer/songwriter Ben Folds andbassist/producer Jack Cassidy.
“John’s clever design and attention to detail yielded aterrific-sounding product,” Universal Audio co-founder Bill Putnam Jr.remarked as he made the presentation. “It’s no surprise that we’vereached this 1,000 unit milestone so quickly.” In accepting the unit,John thanked the other members of the 2-610 design team as well as thedesiginer of the original 610 console, the late Bill PutnamSr., “for providing a design framework and sonic standard for meto work from.”
For more, visit Universal Audio online at www.uaudio.com.
Soundcraft Enters the ‘Big Brother’ House
The new UK series of Big Brother, channel 4’s blockbuster”Reality TV” series, is having its sound mix performed on the firstSoundcraft MH4 to be deployed out in the field. Supplied byBirmingham’s Showcom Audio Ltd to Event Technical Support Ltd, thedesk is part of a rental package that went to client Roll ToRecord.
The 48-mono/4-stereo-channel frame, fitted with eight stereochannels, has gone into Elstree Studios in Borehamwood, England, andwill remain there for three months, during which time it will be usedby a number of sound engineers under the direction of Oliver France. Itis backed up by a newly purchased 48-channel Soundcraft K2, which isacting as a secondary desk.
Co-owned by Malcolm Whittall and John Hooker of Event TechnicalSupport, the duo had been seeking a multifunction, highly specifiedconsole, and the arrival of the MH4 meant that they could meet theperformance criteria and stay inside their budget.
Event Technical Support previously supplied P.A. equipment for liveaudience broadcast to the Three Mills Island “house” before the BigBrother show relocated to Elstree. However, this is the first year ithas supplied the broadcast desks, which, in the past, have been sourceddirect by Roll To Record.
According to Whittall, “Roll To Record approached me to see whetherI had any suitable equipment I could hire them. At the time, I wasexpanding my event support business and looking for broadcast equipmentfor large derig sets and flyaways. I became aware of the multifunctioncapabilities of the MH4, which is suitable for event production.
“In this instance, Big Brother was looking at a large number ofchannels and large aux-routing capacity,” explained Whittall. “So wehave provided a 52-channel console, which is 48-frame and four stereos,optioned for another eight stereo inputs.” The MH4 will largely be fedfrom VT and different sound sources.
Visit Soundcraft online at www.soundcraft.com.
Pro Audio Industry Lines Up To Sponsor 18th Annual TECAwards
The Mix Foundation for Excellence in Audio (Emeryville, Calif.)announced that over 30 leading companies in the professional audioindustry have enlisted as sponsors of the 18th Annual TechnicalExcellence & Creativity Awards. The event, which honors outstandingtechnical and creative achievement in professional recording and soundproduction, will be held on Monday, October 7, at the Wilshire GrandHotel in Los Angeles. The show will be hosted by comedian HarryShearer.
The TEC Awards Sponsorship Program was created to help underwritethe cost of the awards ceremony and to increase the level of fundingavailable to charitable and educational organizations. There are fourlevels of sponsorship: Platinum, Gold, Silver and Bronze. Platinumsponsors for 2002 include: AMD (Advanced Micro Devices), which is alsothe official sponsor of the 17 categories of Technical awards, GibsonMusical Instruments (exclusive sponsor of the Les Paul Award), JBLProfessional (a sponsor since the first awards show), founding sponsorMix magazine and Shure. Gold sponsors include AKG Acoustics,Audio-Technica, EAW/Mackie, Electro Voice, Ex’pression Center for NewMedia, Kurzweil Music Systems, Sennheiser, Solid State Logic, TCElectronic and Yamaha. In addition, Guitar Center Inc. will sponsor thespecial VIP reception just prior to the TEC Awards dinner andceremony.
“In the tough economic climate we’ve experienced lately, we’regratified that pro audio and high-technology companies are steppingforward to support this year’s show,” said Hillel Resner, president ofthe Mix Foundation and executive producer of the TEC Awards. “Thegenerosity of our sponsors not only allows us to salute the besttechnical and creative achievements, but underscores their commitmentto hearing safety and the education of future audio professionals.”
Approximately half of the proceeds of the TEC Awards are donated toorganizations working for the prevention of hearing impairment due toloud music, including the House Ear Institute of Los Angeles, andHearing Education and Awareness for Rockers (H.E.A.R.) of SanFrancisco. The balance of the proceeds goes to scholarships and otherassistance for students of the audio arts and sciences. To date, theMix Foundation has provided more than a half-a-million dollars to thesecauses.
For complete information, please visit www.tecawards.org.
SPL Coming to a Town Near You
Germany-based SPL (Sound Performance Lab) announced plans for aNorth American office to be set up in the Los Angeles area inmid-August 2002, which will be operated by Herb Quick. SPL hopes to befully operational by September.
“We’ve made several attempts to set foot in North America withvarious distribution partners,” explained managing director PeterWaschke. “A lot of people know about our products, but so far haven’tknown how to get information or buy our gear.” SPL partner Hermann Gieradded, “Nothing’s quite like having your own subsidiary. And with Herbon the front and a couple of incredible new products, we’re certainthat we’ll finally achieve the presence we need.”
SPL will announce further details this month, including contactinformation.
For more, visit www.soundperformancelab.com
Chiariglione to Give Keynote Address at October AES
The opening ceremonies of the AES 113th Convention, taking placeOctober 5-8, 2002, at the Los Angeles Convention Center, will feature akeynote address by Leonardo Chiariglione, director of the MultimediaDivision of CSELT, the research center of Telecom Italia Lab.
Known to many as the “father of MPEG,” Chiariglione has been at theforefront of a number of initiatives that have helped shape mediatechnology and business as we know them today. Dr. Chiariglione’skeynote address will suggest that science can be a two-edged sword. Interns of data compression and encryption schemes, he argues, it is timethat emergent technologies enabled creative opportunities for thecontent world, rather that fixate on proprietary technologies designedto establish a monopolistic control of digital media-deliverynetworks.
Dr. Chiariglione also suggests that there are almost limitless newexperiences that users can have, but technology also presents severaldrawbacks to artists and publishers. There is an urgent need for theexploration of new foundations on which media supported by newtechnologies can reward artists, businesses and users, and Chiariglionewill share his views on how the development of technology can betterserve the audio and music communities.
Chiariglione is the founder of several audio technology initiatives,including the HDTV Workshop, an international event to promote HDTVtechnologies beyond specific industry interests; Image Communication, aEURASIP journal for the development of the theory and practice of imagecommunication; ISO Moving Pictures Experts Group (MPEG) standardscommittee; and of the Digital Audio-Visual Council (DAVIC), a body withthe task of developing specifications of open interfaces and protocolsfor media delivery.
From February 1999 to March 2001, Chiariglione was the executivedirector of the Secure Digital Music Initiative (SDMI), amulti-industry group that developed specifications for secure digitalmusic delivery. He is the recipient of several awards, including LaureaHonoris Causa from the Technical University of Lisbon, the IBC JohnTucker Award, the IEEE Masaru Ibuka Consumer Electronics award and theKilby Foundation award.
For more, visit the AES online at www.aes.org.
AKG Offers Special Deals on Emotion II Series D 880 Mics
AKG Acoustics U.S. announced a $10.00 rebate on Emotion II Series D880 microphones purchased between July 1, 2002, through September 30,2002. The rebate is available only at participating AKG Acousticsdealers in the U.S.
At the time of purchase, the AKG dealer will access a suppliedcoupon that is accessible via www.akgusa.com. The dealer will enter theconsumer’s information onto the coupon. Once all of the information isentered, the coupon can simply be printed out. The consumer then signsthe coupon and the dealer will give the consumer an instant $10.00rebate at the cash register. The dealer will then submit the completedcoupon with an attached sales receipt to AKG U.S for reimbursement.
“AKG Acoustics continues to invest in the manufacturing technologiesthat allow us to deliver the highest quality and best performingmicrophones at consistently lower price points,” Tom Stotler, marketdevelopment manager, MI & Tour Sound, said.
In other related news, AKG Acoustics U.S. launched a yearlong,Internet-based promotion where users who surf to its Website have thechance to win one of two D 880 microphones or three posters that thecompany is giving away every week for the next 12 months. Everyone whoregisters at www.akgusa.com will receive a free AKG sticker.
Mini-Massenburg Helps Out Austin Powers Mix
Steve Kempster, a veteran recording and film scoring engineer, mixerand producer who works regularly with some of Hollywood’s topcomposers, recently completed the score for Austin Powers in Goldmemberusing the George Massenburg Labs (GML) 8900 Dynamic Range Controller.The GML 8900 compressor combines modern analog processing elements withsurface-mount construction in a unit that allows for accuracy,reliability and calibration stability.
“I have quite a few compressors and each one has its strengths,”said Kempster, who reported that the GML 8900 is a crucial component ofhis processing arsenal. “I use the GML when I’m looking to manage asonic situation and I want complete transparency. In other words, Idon’t want to know the compressor is on. I want it to function clearlywithout tampering with the sound.”
Working with composer George S. Clinton, who has scored all threeAustin Powers movies, Kempster said that the GML 8900’s transparencywas used to sculpt the sound of several musical elements in theGoldmember score. “I used it for several applications: some intracking, some during mixing,” he said. Most notably, he recalled, theGML 8900 was used on “some percussion elements that we wanted to havereally pop and not hear the effect of the compression.”
“You can really get into things and manage peaks, manage averagelevels, and not have the 8900 tamper significantly with the quality ofthe audio,” he continued. “That’s just a huge win in a compressor.”
Kempster works regularly with scoring composers such as Mark Mancinaand Trevor Rabin in addition to Clinton, and has recorded the scoresfor such blockbusters as Tarzan, Armageddon and Twister. He won twoGrammy Awards for Best Soundtrack Album for Tarzan and Best Cast Albumfor the Broadway cast recording of The Lion King.
This fall, Kempster will be using the GML 8900 on the score of anupcoming Disney feature animation and on Santa Clause 2, also withGeorge S. Clinton.
Weeks of August 16-31
A Designs Modifies MP-2
A Designs (West Hills, Calif.) announced that it has modified theMP-2 stereo-tube microphone preamplifier with the addition of aninstrument DI on the Neutrix Combo XLR/1/4-inch connector. This makesthe MP-2 function as a direct-in box, as well as a stereo mic pre. ADesigns will offer this modification to it existing MP-2 customers at acost of $75.00 USD, plus shipping.
The MP-2 is a pure tube-in/tube-out stereo microphone preamplifier.This zero-feedback design employs transformer-balanced input and outputto produce full bandwidth signal at the lowest possible noise level.Constructed with high-quality parts, including Jensen inputtransformers, this two-rackunit device is intended for demandingapplications such as vocals and acoustic instruments. It delivers thedetail and dynamic range suited for digital recording techniques, whilepreserving the warmth and richness of analog. Front panel includesindependent polarity, phantom power, level controls and large backlittrue VU meters.
Any information regarding sales should be directed to A Design’s newdistributor, X-Vision Audio at 241 Federal Plaza West, Suite 406,Youngstown, OH 44503; 330/747-3862.
Mackie Delivers Baby HUI
Mackie Designs (www.mackie.com) announced the arrival of Baby HUIinto its growing family of high-performance, touch-sensitive controlsurfaces. Baby HUI (U.S. $799 MSRP) is a control surface that supportsthe HUI/MIDI-mapping protocol, allowing it to work right out of the boxwith any HUI-supported digital audio workstation on PC or Macplatforms. The growing family of HUI-supported DAWs currently includesMackie Broadcast Professional Soundscape 32, Mackie Mixtreme,Digidesign Pro Tools and Digi 001, MOTU Digital Performer, SteinbergNuendo, Emagic MicroLogic and many others.
Baby HUI (3.4×14.6×10.1, HxWxD; 7.6 pounds) allows users to interactwith their favorite DAW through a familiar analog-style interfacerather than a mouse. “With Baby HUI, users will no longer have to relyon a mouse to delicately move a fader or rotate knobs on screen,”explained Keith Olsen, corporate director, global recording market andproduct development at Mackie Designs Inc. “These simple actions canbecome frustrating and even time-consuming when attempted with a mouse.Baby HUI provides the ‘human touch’ of analog faders and knobs. Actionsthat would require multiple mouse clicks can be accomplished with asimple push of a button, slide of a fader or a turn of a knob.”
Baby HUI features eight channel strips that each include a 60mmtouch-sensitive motorized fader, Mute and Solo buttons, and a signalLED. Multi-functional rotary encoders accompany each channel strip,which provide pan or send level controls along with channel select,record arming and automation arming functions. Baby HUI also supports afull automation assignment section, display buttons, undo, tape-styletransport controls and a shift modifier to double up with certaincontrols.
“Baby HUI is ideal for hobbyists and professionals alike and isperfect for just about anyone looking to improve the ergonomics oftheir studio without straining their budget,” commented Olsen. “And, ithas a marked advantage over similar products because it will work rightout of the box with a huge family of digital audio workstations thatalready support the HUI protocol.”
Promusic Library Endorses mSoft
The Promusic production music library has recently endorsedmSoft’s MusicCue system as the online music-delivery system theyrecommend to customers. Offering more than 2,000 CDs, Promusic is oneof the country’s largest independent production-music sources,including its own Abaco library and many popular European libraries forlicensed use in the United States.
“The success of mSoft with our customers and the ease of use of thesystem have made MusicCue an obvious choice for us,” said Alain Leroux,president of Promusic. “After the demonstration we had at this year’sNAB show, we were convinced.”
MusicCue was created to solve the growing problem of manageabilityissues for production music library users. mSoft offers the systempre-loaded with a facility’s libraries, and currently has over 12TB of music libraries available. “When you offer thousands of CDs to afacility like Promusic does, the subject of a management solutioninevitably comes up,” said Leroux. “We have been searching for a systemthat really works for our clients, and felt that mSoft’s MusicCuewas what we had been waiting for.”
The new MusicCue system can use the same server and SQL databaseengine that mSoft’s ServerSound sound effects system uses, and canbe used as a stand-alone product or as an add-on. Music can be searchedfor by any combination of category/sub-category, mood words, style,instruments, composer, library, CD number and title. Once a piece ofmusic is found, the user can hear other tracks that arecross-referenced to it.
Music can be saved as “projects,” which allow the producer to addremarks about how the track should be used, and even allows for a”favorites” project to save favorite tracks for future use. MusicCuewill also allow users to automatically create cue sheets documentingthe music used in a project. Each track can by classified by type ofuse and length, with the composer, publishing company and licensingsociety listed as well.
For more, visit www.msoftinc.com.
Sound Advance Systems Offers Free Freight on DomesticOrders
Sound Advance Systems Inc. (Santa Ana, Calif.) announced that it hasbegun to offer free freight on all U.S. orders that are placed andshipped during the remainder of 2002. All acoustical product ordersover $2,500 that are shipped to one location will qualify for freestandard UPS ground or common-carrier freight. Payments being madewithin 30 days are also eligible for the standard prompt paydiscount.
As part of the offer, freight charges may be deducted from theinvoice if payment is made to Sound Advance within 30 days of thebilling date. This discount applies only to the product and not to thefreight amount. Freight that is expedited is excluded from this offerand must be paid by the customer.
Visit Sound Advance Systems online at www.soundadvance.com.
Liquid Audio Files Lawsuit Against MM Companies and SteelPartners
Liquid Audio (Redwood City, Calif.) announced that it has filed alawsuit against MM Companies Inc. and Steel Partners II, L.P., in U.S.District Court for the Southern District of New York. Liquid Audio isasking the court to prohibit MM Companies and Steel Partners fromviolating the federal securities laws in connection with theircampaigns to take control of Liquid Audio, as well as seekingcompensatory and punitive damages as a result of their allegedviolations.
Liquid Audio’s complaint alleges that MM Companies has failed toregister as an investment company under the Investment Company Act of1940, and that its purchase of Liquid Audio shares and subsequent proxycontest to take control of Liquid Audio’s board of directors istherefore in violation of that Act. The complaint also charges thatSteel Partners is conducting an illegal proxy contest by failing tomake the proper filings with the Securities and Exchange Commission(SEC) and that, in the course of its contest, Steel Partners hasdistributed false and misleading statements to Liquid Audiostockholders.
Liquid Audio is seeking to enjoin MM Companies from continuing itscampaign to take control of Liquid Audio and from communicating withLiquid Audio stockholders. In addition, Liquid Audio is seeking torequire Steel Partners to comply with the SEC’s proxy rules, therebyretracting its recent press release concerning Liquid Audio’s proposedmerger with Alliance Entertainment and to disseminate correctivedisclosure.
According to Gerry Kearby, Liquid Audio’s president and CEO, “LiquidAudio’s board of directors remains committed to our combination withAlliance Entertainment. We simply cannot allow MM Companies and SteelPartners to continue to spread misinformation about the transaction. Webelieve that they should be required to play by the rules.”
For updates on the pending merger and this suit, visit www.liquidaudio.com.
Berklee College of Music, Line 6 Partner Up
Line 6 and Berklee College of Music announced today that they haveentered into an agreement whereby Line 6 will deliver Berklee’s guitarand bass curriculum through GuitarPort, Line 6’s computer-based jammingand learning tool.
Under the agreement, Berklee will provide Line 6 with a multitude ofits online musical-instructional programs and lessons for guitar andbass guitar to be used through GuitarPort. The interactive lessons weredeveloped by top instructors and include varying combinations ofplay-along audio files, lead sheets, tablature, notation and text.
“From the Berklee perspective, we are very excited to work with Line6 to reach an audience of aspiring guitar players through GuitarPort,”said David Kusek, associate VP for Berklee Media.
The instructional programs for both the beginner and advanced guitarplayer include: “Instant Guitar” (day one beginner); “Berklee PracticeMethod Guitar” (novice); “Jim Kelly’s Guitar Workshop” (intermediate toadvanced); and “More Jim Kelly’s Guitar Workshop” (intermediate toadvanced). Lessons for bass guitar include: “Instant Bass” (day onebeginner); “Berklee Practice Method Bass” (novice); “Rock Bass Lines”(beginner through advanced); and “Slap Bass Lines” (beginner throughadvanced).
In addition to traditional guitar instruction, the “Jim KellyWorkshops” teach guitarists how to play in the different styles oftheir favorite artists, including Wes Montgomery, Kenny Burrell, MikeStern, Pat Metheny, Joe Pass and Stevie Ray Vaughn.
“Line 6 is pleased to offer its GuitarPort users the opportunity ofa lifetime–the chance to take some of the best guitar lessons from oneof the world’s best music institutions,” said Doug Provisor, VP onlineservices for Line 6.
JBL Pro Intros AE Series Speaker Systems
At the recent NSCA Convention in Denver, JBL Professional(Northridge, Calif.) introduced the extensive Application Engineered(AE) Series line of installation range loudspeakers. Among the 33models in the AE Series are five compact AC two-way systems, which areall now available.
Developed during the past two years, the new Application EngineeredSeries loudspeakers incorporate the latest in loudspeaker technology.The wide selection of AE models in several formats and power rangesallow installation professionals more latitude to create venue-specificsound systems with predictable results, consistent appearance and soundquality. The AE Series loudspeakers are ideal for a wide range ofapplications including performing arts centers, sports facilities,houses of worship, theatrical sound design, auditoriums, live clubs andthemed entertainment venues.
The AC segment of the AE Series provides lower-powered, compact,two-way speaker systems. The AC2215 models are compact 15-inch, two-wayloudspeakers that are bi-amp/passive switchable. Available in threecoverage patterns: 90°x50°; 60°x40°; and100°x100°. Three AC2212 models are compact 12-inch, two-wayloudspeakers with the ability to be switched between bi-amp and passivemodes. The AC2212 speakers are also available with the same coveragepatterns as the AC2215 models.
These new models incorporate JBL’s new PT Series ProgressiveTransition Waveguides, the latest in horn technology. PT waveguidesprovide smooth, low-distortion sound and uniform off-axis frequencyresponse to the entire intended coverage area. Speakon and CE-approvedbarrier strips are also available on all models. In addition,U-brackets are provided for these models. For long life and structuralintegrity, all AE models are covered with JBL’s exclusive DuraFlexfinish.
For more, visit JBL online at www.jblpro.com.
CEDAR Audio Helps Clean Up ‘Spider-Man’
CEDAR Audio Ltd (Portland, Maine) announced that Sony PicturesEntertainment has installed a DNS1000 Dynamic Noise Suppressor at itsCalifornia facility.
Deborah Coral, marketing manager at CEDAR Audio, said, “SonyPictures offers state-of-the-art studio facilities, and we are veryproud that the DNS1000 has been added to these. We were also delightedto learn that the unit was used to remove unwanted noise fromSpider-Man.”
CEDAR Audio has recently released the DNS2000 Dialogue NoiseSuppressor, a fully automated implementation of the company’snear-zero-latency Dialogue Noise-Suppression technology designedspecifically for users of Mac-based Pro Tools systems.
For more on the DNS1000 or the DNS2000, visit CEDAR Audio online atwww.cedaraudio.com.
Bruce Swedien Relies on Westlake Near-Fields
It takes a momentous event to impress legendary engineer/producerBruce Swedien. But when Glenn Phoenix of Westlake Audio brought in apair of Westlake Audio Lc3w12s at a recent Jennifer Lopez session atthe Record Plant (Los Angeles), that event happened–Swedien nowconsiders the Lc3w12 his new standard near-field monitor.
“Glenn Phoenix called me one day and said that he had just finisheda new speaker design,” Swedien said. “Glenn said it was called theWestlake Lc3w12 and suggested that I should give it a serious listen. Iwas a bit skeptical at first about trying any new music-mixing speaker,but I should have known better than to underestimate Glenn when itcomes to an audio-design issue. One mix using the Lc3w12s at RecordPlant in L.A. convinced me to keep on using them!
“To me, the mixing phase of my music projects is very personal andcan get a bit intense,” Swedien continues. “Music mixing is the lastphase of the project where I can make an artistic contribution to thesonics of the music, so the monitors are critical to the success of theproject. When I sat down to listen to the new Westlakes, I wasabsolutely amazed! The imaging detail is dynamic! I have never heardspeakers with more points of sound-source definition in theleft-to-right panorama. In addition, the low end is spectacular! Thescale of the soundfield is flawless. I am a very happy dude!”
Swedien is currently recording and mixing the new Jennifer Lopezalbum for Sony Music. The project started at the Record Plant and hasmigrated east to New York’s Hit Factory.
Visit Westlake Audio on the Web at www.westlakeaudio.com.
Mike Pappas to Host AES 5.1 Seminar
Mike Pappas, chief engineer at Denver’s KUVO Public Radio 89.3 FMand president of American Digital Recordings will be conductingreal-world demonstrations of 5.1 recording techniques at Demo Room 306Bat AES 2002 in Los Angeles. His presentation will focus on 5.1 surroundsound recording applications using Neumann and Sennheiser microphones.The presentations start every hour on the hour with aquestion-and-answer period following each session.
Pappas will feature his 5.1 recordings from the Count BasieOrchestra at the University of Michigan Power Center and the recent SanJose and Vail Jazz Festivals. “All of these recordings used SennheiserMKH 800s, Neumann M150s and a Neumann KU 100 in various combinations,”explained Pappas. “AES attendees will listen to the tracks and learnexactly how the mics were positioned during the various recordingssessions.
“Take the KU 100,” Pappas continued. “There are so many ways to usethis mic, ways that most people wouldn’t think of. It’s an expensivepiece of equipment, and unless you’ve really had an opportunity tolearn about it from a different perspective, one might never considerit.”
Pappas will also demonstrate how he uses Neumann’s M 150small-diaphragm tube microphone to record the LFE channel. “Thistechnique is somewhat unique to the way most people create thesubwoofer channel, which is to filter off the left/center/right andrears below a certain frequency,” noted Pappas. “That method penalizesrecording engineers using full-bandwidth speakers on all five channels,plus it tends to introduce phase shift and some other artifacts thatmuddy the recording. My answer to this problem is to use the M 150.This mic really delivers low frequency! It’s an elegant way to solvethe LFE without compromising the rest of the recording chain.”
In addition to Pappas’ 5.1 recordings, scoring mixer Casey Stonewill be playing some cues from Christopher Beck’s score for TheTuxedo. The cues will be presented in 5.1 surround from the master24-bit 96kHz source. The material was recorded at 20th Century Fox’sNewman Scoring Stage and was mixed at O’Henry Studio B.
Other equipment used in the demo includes Avalon Acoustics mixingmonitors powered by a Balanced Audio Technology’s 6-channel amplifier,a Genex Research Limited GX 8500 DSD recorder with EMM Lab DSDconverters. “By overlaying these 6-channel recordings over the entirerecording system, attendees can witness exactly what we did to achievethese effects,” Pappas said. “This is truly a ‘come see how it’s reallydone 5.1’ learning experience.”
Co-sponsoring the 5.1 recording seminar with Sennheiser are BalancedAudio Technology, Cardas Audio Ltd., Genex Research Ltd., Grace Designand EMM Labs.
Euphonix Launches 37-City Max Air Broadcast Tour
Euphonix (Palo Alto, Calif.) announced that it is launching its newprice/performance-focused Max Air digital audio broadcast consolewith a nationwide tour. The 37-city demonstration begins September 25,2002, in Minneapolis and is scheduled be at the April 2003 NABconvention in Las Vegas after a cross-country journey. The speciallycommissioned demonstration vehicle is outfitted with a 96-channel MaxAir mixing system and is setup to simulate a local TV station digitalaudio control room.
“The Max Air Broadcast Tour is set to be one of the biggestmarketing and sales efforts Euphonix has ever put on,” said Andy Wild,VP of marketing at Euphonix. “We’ve spoken with a lot of engineersat broadcast facilities, and they are all very enthusiastic about usbringing the vehicle to their facility. The combination of the Euphonixteam and all of our sponsors who have integrated their digitalequipment with Max Air is very powerful.”
At each city, the vehicle will visit up to five TV stations to allowoperators, management and technicians to check out the Max Air. The MaxAir Broadcast Tour will also be present at Society of BroadcastEngineers local chapter meetings in most cities. Euphonix, and in somecases the tour sponsors, will be available to give a short presentationon the transition to digital.
A tour schedule and SBE meeting calendar can be found at www.euphonix.com/tour.
ILIO to Distribute Vienna Symphonic Library in theAmericas
ILIO Entertainments (Malibu, Calif.) announced that it has beenappointed exclusive distributor for the forthcoming orchestral samplelibraries from Vienna Symphonic Library in the Americas. The completeedition will comprise up to 1.5 million tones and tone sequences, whichare played by world-class musicians and captured with state-of-the-artrecording technology. The products are set to be unveiled at theOctober AES in Vienna Symphonic Library’s soundproof “symphonic booth.”The first offering, Orchestra Cube (price TBA), will contain 48Gigabytes with more than 54,000 samples.
Recorded at 96 kHz and 24-bit, this orchestral sample library willbe released initially for Emagic’s EXS24 and Tascam’s GigaStudioplatforms.
The first release on DVD-ROM will feature over 100,000 samples andwill be followed by editions on hard disk.
According to ILIO, the samples are devoid of background noise (80 to100dB signal-to-noise ratio) and have absolute clarity. Recorded instereo throughout with full mono compatibility, the release featuresorchestral sounds from epic Hollywood film music to chamberarrangements or solo pieces. Additionally, special mappings make iteasy for the user to adjust the timing and note lengths within theperformance elements and to manipulate them in real time.
On the Vienna Symphonic Library’s Website (www.vsl.co.at), userscan find technical hints, tips for arranging and guidelines on how toachieve the perfect mix, as well as demos of individual instruments,small ensembles and full orchestras.
Sony/Philips Choose ATC Loudspeakers for AES SACD Demo
ATC Loudspeakers (Gloucestershire, UK) has been chosen bySony/Philips to provide a multichannel monitoring system fordemonstrations of Super Audio CD (SACD) in Room 305 at AES 2002 in LosAngeles. ATC plans to supply SACD with a 5.1 system comprising fiveSCM300A three-way active monitors and four SCM0.1/15 subwoofers.
At AES, experts from Sony/Philips will be on hand to provide thelatest format news and demonstrate the newest software titles from avariety of record labels. In addition to its presence in the SACDdemonstration room, ATC will also be showcasing smaller monitoringsolutions on the AES show floor at booth #2128.
Legendary record producer/engineer James Guthrie will fine-tune theATC monitor system in the SACD demonstration room. Admission to thisdemonstration is by ticket only.
Former Chung King Studios Manager Opens TI Management
Tom Irre, longtime manager of Chung King Studios (New York City),announced that he has left that position to open TI Management, acompany that is designed to connect top engineers and producers withnew and established music industry talent.
It addition to this representation, Irre’s TI Management offersstudio booking services for major and indie labels, at no extraproduction cost to the label and the artist.
“The timing felt right,” Irre said. “Rather than sit around crossingmy fingers until business improved, I decided to take the opportunityand make something of it.”
Contact TI Management at www.timanagement.com.
Toshiba, NEC Propose New DVD Format
Toshiba Corporation and NEC Corporation today jointly proposed tothe DVD Forum a next-generation, high-capacity, blue-laser DVD formatthat will allow manufacturers to continue to use existing DVD plant andequipment, thereby minimizing the investment required for thetransition to next-generation DVD players and drives.
The format proposed by Toshiba and NEC covers both read-only discsthat are used to distribute high-definition movies, and read-and-writediscs. The format utilizes a short wavelength blue laser and the samedisc technology used in current DVDs: back-to-back bonding of two0.6mm-thick, 120mm discs.
The proposed format increases the capacity of read-only discs to 15GB for a single-sided, single-layer disc, and to 30 GB for asingle-sided, dual-layer disc, as well as increasing the capacity ofread-and-write discs, which currently are single-sided with asingle-layer, to 20 GB. Today’s single-sided, dual-layer, read-onlydiscs have a capacity of 8.5 GB, while read-and-write discs(single-sided, single-layer only) can store up to 4.7 GB of data. Theincreased capacity of the proposed format is achieved by employing ablue laser, and by utilizing the two companies’ new signal processingand phase-change media recording technologies.
In addition, Toshiba and NEC will shortly propose a 40GBsingle-sided, dual-layer, read-and-write disc to the DVD Forum.