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Mix News for December

News December 16 - 31 (read December 1 - 15 news) Bill Porter Speaks at New AES Student Section Opening More than 100 people attended the inaugural event

News December 16 – 31 (readDecember 1 – 15 news)

Bill Porter Speaks at New AES Student Section Opening
More than 100 people attended the inaugural event of therecently created Webster University Student Section of the AudioEngineering Society in St. Louis on November 6, 2003.

“The students did an incredible job pulling all this together,” saidfaculty advisor Gary Gottlieb. “They booked the space, promoted theevent, arranged for refreshments, dealt with all the logistics and,most importantly, booked Bill Porter as the speaker. They even thoughtto honor Bill with a plaque to commemorate the event, as well as hislongstanding service to the university and the music business. Icouldn’t be prouder.”

Entitled “Bill Porter Live: An Evening With a Legend,” the event washeld in the conference room of the brand-new Emerson Library at WebsterUniversity where Porter reminisced about the music business during the’50s and ’60s for two hours.

In addition to being a member of Webster’s adjunct faculty for theaudio production program, Porter has engineered and produced some ofthe most prominent artists in the music industry, including ElvisPresley, Roy Orbison, the Everly Brothers, Barbara Streisand, DianaRoss and Sammy Davis Jr. More than 7,000 career sessions have resultedin almost 600 charting records. He was the first engineer inducted intothe Audio Hall of Fame, and his work at RCA’s Studio B in Nashvilleearned him accolades as the man who created the Nashville Sound. Healso started the first four-year audio program at the University ofMiami in 1975.

Meyer Sound MILOs Used During Holiday Parade
At the recent Toys “R” Us holiday parade, two compact 7-foot-high MeyerSound MILO arrays—each with only three MILO high-powercurvilinear array loudspeakers—were used to provide sound up anddown a mile of New York City streets.

“MILO proved to be the perfect tool for the job,” said the event’ssound designer Jim van Bergen of Audio Art Sound says. “I was askedonly to cover about a quarter mile on either side of Times Square, butwe easily doubled that distance. My clients were surprised at the smallfootprint of the rig, yet the sound was superb. I received numerouscompliments on the quality of the sound.”

The two ground-stacked arrays were rolled out into their positionsin New York’s Times Square only minutes before the parade started. Onestack pointed north, projecting up Broadway as far as 52nd Street,while the other fired south and was heard clearly about 10 blocks inthe other direction, below 35th Street. Each array comprised three MILOcabinets stacked on top of an M3D-Sub directional subwoofer, with theentire assemblage rolling on the stock M3D transport dolly. At theconclusion of the parade, the MILO-based system provided primaryreinforcement for an hour-long entertainment program featuring numerouscartoon character puppets, musical excerpts from hit Broadway shows anda performance by the Radio City Rockettes. Supplementary sound for theimmediate performance area (bleachers, in-fill) and monitoring wassupplied by 22 UPA-1P compact wide-coverage loudspeakers.

Van Bergen’s sound design also encompassed the parade itself, with14 self-powered Meyer Sound loudspeakers incorporated into variousfloats and vintage vehicles. The event’s producers stipulated that allaudio systems must be completely independent of the vehicles and usingonly their own power sources. On most vehicles, the Meyer systems werepowered by special Gaia Power Cube battery packs. However, for onevehicle with particularly tight space restrictions, van Bergen s a pairof UPM-1P ultracompact wide-coverage loudspeakers powered by arechargeable power that measured 4×6 inches and weighs just over twopounds.

“I contacted Meyer about this particular problem, and Meyer’sengineering delivered a spectacular prototype, two custom UPM-Ps eachwith a rechargeable battery power supply,” said van Bergen. “They arecompact, robust units built with to the high standards of John Meyerand they performed flawlessly. The children’s TV character Clifford theBig Red Dog rode on the back of a tiny, cherry-red MG convertible withtwo bucket seats. I barely had room to get the two UPMs in the vehicle,but still the battery packs were small enough to squeeze in on theside. They fired up and out to the sides of the vehicle at near fullvolume, putting about 94 dB into the crowds on the sidewalk.” VanBergen said that he wasn’t concerned about the UPM loudspeakers runningout of juice, as his earlier shop tests had them working constantly formore than eight hours.

All of the Meyer Sound system components were provided by One DreamSound of New York, with general supervision and coordination by ownerDave Ferdinand and COO John Petrafesa. Company president Tim Coylecontributed to development of the Gaia Power Cubes, and “A2” systemsengineer David Chessman managed on-site support. “One Dream was myprimary vendor and both their equipment and support were first rate,”said van Bergen.

For more information, visit Meyer Sound online at

TC Works Enters Second Phase of Integration Strategy
TC Electronic has announced the next phase of its plan to merge itshardware and software divisions. Earlier this year, TC Works-brandedcomputer products were brought under the TC Electronic umbrella. WhileTC Works continues as a development arm of the company, all operationswill be managed from the company headquarters in Denmark. With thisannouncement, Ralf Schluenzen will step down as CEO of TC Works at theend of this year.

“It is very hard for me to leave this seat,” said Schluenzen, “butit is the right thing to do as far as what’s best for the company andthe computer recording product line. Tight integration of developmentefforts in Hamburg and Denmark will ensure that TC continues to providesuperior software and hardware solutions.”

Anders Fauerskov, CEO of TC Group, commented about Schluenzen’sdeparture: “It is with sadness that we now see Ralf leaving theorganization. In the past seven years, Ralf has built TC Works from amere startup to a company that continuously delivers superior-qualityproducts to the computer recording market. He built a very strongengineering team, which will continue to work closely together withtheir colleagues in Denmark. I would like to take this opportunity tothank Ralf for his many contributions, and wish him all the best in thefuture.”

For more information, visit TC Electronic at

Angel Mountain Works on Universal Music Releases
During the past few months, Marvin Gaye’s Let’s Get it on andthe Allman Brothers’ Live at the Fillmore East have bothreceived 5.1 remixes at Angel Mountain Productions & Sound inBethlehem, Penn.

The 5.1 projects were spearheaded by Universal’s senior director ofstudio operations east, Jeff Glixman. A veteran producer (Kansas, theGeorgia Satellites, Black Sabbath and Yngwie Malmsteen), Glixman choseAngel Mountain because “the equipment and the sound of the room arealways an important consideration, and Angel Mountain certainlydelivers in that regard. However, the most important aspect to me isthe people, and the staff at Angel Mountain not only performs to thehighest professional standards, but interfaces transparently with mystaff and me.”

For Gaye’s album, Glixman and Angel Mountain’s chief engineer CarlCadden-James took great care to stay true to the original record whileshaping the surround mix, even going so far as to fly in the album’soriginal engineer Cal Harris to join the team. “Harry Weinger [Motownre-issue producer/VP of A&R] and I wanted to take the originalalbum and turn it into 3-D, so there was a lot of referencing back tothe original mix,” Glixman said. “We found a lot of previouslyundetectable glitches that became apparent as we started repositioningitems across the 5.1 spectrum. Carl and I worked to correct theseglitches when necessary, and then replicate the original mixes in the5.1 landscape. The end result is much cleaner and more listenable thanthe original. I think it puts the album in broader perspective.”

Glixman returned to Angel Mountain with the 5.1 mix of the AllmanBrothers’ album, where the overriding goal of Bill Levinson [re-issueproducer/ VP A&R] and Glixman was to preserve the feel of theoriginal record when making the move to 5.1. Glixman and Cadden-Jamesonly retained the crucial elements and ambience of the performance, butalso restored the feel of a continuous live concert by eliminating thefades that appeared between each song on the original mix. They alsosharpened the focus of the sound, particularly the guitar interplaybetween Duane Allman and Dickie Betts.

“There were several open mics onstage that really detracted from theimage of the recording and the tonality of the guitars,” Glixman said.”Carl and I were able to take advantage of automation and eliminatethose sound sources from the panorama, which really improves the mixes.With this mix, we are able to provide guitar tones that are much truerto what Duane and Dickie played, as well as compensate for limitationsin the original recording. I’m very, very pleased with the way it cameout.”

Both of the mixes were done in Angel Mountain’s “A” room, whichfeatures a Solid State Logic XL 9000 K console. “The XL is my consoleof choice,” said Glixman. “I like the ergonomics and the sound. Certainconsoles require a lot of outboard gear to achieve the sounds I want,but the XL just sounds terrific. It’s very versatile, it’s transparentwhen I want it to be, but if needed it can get aggressive sonically, aswell.”

Each album will be initially released as an SACD hybrid featuringSACD 5.1 and SACD stereo, with Redbook audio on a second layer forlistening in a standard CD player. The SACD releases are slated to befollowed approximately 90 days later by DVD-A versions. Glixman saidthat he plan on returning to Angel Mountain for future projects,including the Allman Brothers’ Eat a Peach, which is in theworks. “From a 5.1 and large-format mixing standpoint, I consider AngelMountain my home studio,” Glixman concluded. “Different places work fordifferent people, and this one works for me.”

For more information, visit Angel Mountain at

ATC Loudspeaker Part of Cleveland Institute of MusicUpgrade
The Cleveland Institute of Music’s director of audio services AlanBise, who also serves on the faculty, has been part of a project toupgrade the Institute’s new recital all, which is scheduled to becompleted in 2006. The new facility will embody top-of-the-linerecording and sound reinforcement equipment, including 24-bit/96kHz PCMand DSD capability. Among the gear on the assembled purchased list is acomplete ATC (Acoustic Transducer Company) Loudspeaker 5.1 surroundsystem. Unwilling to wait three years to begin using ATC monitors, Biseand his staff recently purchased a pair of ATC SCM100-ASL Proloudspeakers for use in their control room.

“Working at CIM is a real pleasure,” said Bise. “With 37 members ofthe Cleveland Orchestra serving on the CIM faculty and 33 CIM alumnicurrently holding positions in the orchestra, there is a very closerelationship between the two institutions. The quality of theperformances we hear on a daily basis is quite phenomenal.

“Performances in Kulas Hall, CIM’s main primary venue, span anenormous range in terms of the number of forces and the styles ofmusic. While we record roughly 65 performances a year, most of thoseare student performances, ranging from solo classical guitar to a110-piece orchestra. Our professional audio engineering staff includesmyself and Jennifer Shope, along with 30 or so work-studystudents.”

Bise said that his decision to purchase a pair of ATC loudspeakersfor CIM was “a simple choice. I’d been aware of these monitors sinceBruce Leek, noted recording engineer, mentioned them to me severalyears ago. Then Telarc purchased a full set of ATCs a year or two ago.Since Telarc is only about 20 minutes away from us, I went down thereand listened extensively to them. By the way, Jack Renner, a multipleGrammy Award-winning engineer at Telarc, is an adjunct faculty memberat CIM.

“I immediately noticed that the ATCs were amazingly accurate anddetailed. Since we installed them at our Kulas Hall location, they’veforced us to work harder on our microphone positioning. We use veryhigh-quality microphones and mic preamps. With the ATCs, there is nodoubt whether a microphone move of an inch makes a difference. Ratherthan make our recordings sound pretty, the ATCs reveal both the goodand the bad. What you hear is exactly what you’ve captured. I do nothave to make any compensation. We have no excuses to make poorrecordings, and that’s good!”

Recordings at Kulas Hall are done using a Ramsa WRS-4416 consolethat was custom-modified by John Windt. “The board was installed a bitbefore my time, but I know that John Windt redid the power supply andreplaced many of the electronics in the board. Other gear we useincludes Millennia Media mic preamps and Apogee converters, along withhigh-end microphones from B&K, Schoeps, Sennheiser, Neumann andAudio Technica. We try to keep our front-end very high in quality, andright now we’re catching up on our data resolution while auditioningconverters, microphones and DAWs to complete the system. When the newrecital hall is completed, our recording equipment will bestate-of-the-art. The one item we won’t have to replace is our ATCmonitors. They’re gorgeous, and we’re looking forward to working with acomplete 5.1 system from ATC.”

For more information on the monitors, visit its distributor,Transamerica Audio Group, at For more information onthe Cleveland Institute of Music, visit

Broadjam Offers Former Members Free Membership, WebPages
Broadjam Inc. has issued an invitation to’s recentlydisenfranchised members: Free memberships, free Web pages and anInternet portal to host musicians’ songs. The offer allows eight songsto be uploaded and registered in the Broadjam catalog, eligibility forthe Top 10 lists, eligibility, for song reviews and the opportunity tolisten to and review music.

“The thousands of songwriters and music executives who already useour Website absolutely love it, and we’re extending the powerfulbenefits of Broadjam membership to all the musicians who no longer havea home at,” said Broadjam founder and CEO Roy Elkins.

“I encourage displaced users to check out Broadjam and discovertheir remarkable tools and services,” said former CTO DelonDotson. “Broadjam’s site is fabulous, head and shoulders above what’sout there for independent musicians.”

Musicians can signup at

Philip Tallman Picks Design FX at Todd-AO for ‘TheNotebook’
Independent music editor Philip Tallman chose Los Angeles-based DesignFX Systems to provide him with the complete Pro Tools system he isusing on Todd-AO Radford’s Stage S for post-production on TheNotebook. Tallman worked closely with composer Aaron Zigman inpreparation for post-production with re-recording mixers Jon Taylor andBrad Sherman. The film is slated for release in spring 2004.

“I am actually running everything except for video off my FireWiredrives,” explained Tallman. “This is a first for me, because I havepreviously always put the material on removable drives, but FireWire isat the point now that I trust it completely.” Design FX provided24-tracks of Pro Tools, a Mac G4, Cinema Display and a Mackie mixer forthe project. “I’m running the entire show off of a 200GB drive with an8MB buffer, including the mix downs of all the cues, source materialand anything I might need from the temp material.

“I’ve worked with Design FX for several years now and what they giveme is pure peace of mind,” Tallman continued. “There is never aquestion about the equipment: It’s on time, it works properly and onthe rare occasion where I have a technical question, it’s a phone callaway and the response is lightning-quick. When you’re working on thestage with the director, the composer and the mixers, there is no roomfor error and I can concentrate completely on the creative work withoutany technical worries. In this business, they don’t pay you to try,they pay you to deliver.”

For more information on Design FX, visit

Native Bundle Updated With Sonic Destructor Plug-In, NewPrice
TC Electronic announced that Native Bundle Version 3.1 is now availableand includes the Sonic Destructor plug-in and a newly reduced price ofMSRP $295.

The Sonic Destructor plug-in allows Native Bundle users to”vinylize” or otherwise “dirty-up” audio recordings. With an innovativeuser interface, the plug-in uses extreme compression and downsamplingand by narrowing the frequency range. Eight lo-fi effects areavailable: BandPass, Bitter, Clipper, Crackle, Fuzzer, Noise, Rumbleand Squeezer. Sonic Destructor also features a preset randomizer withdynamic parameter knobs, which change depending on the effect loaded.All effects can be used simultaneously, and each module may be loadedmultiple times. Additionally, about 80 presets previously available toNative Bundle users as a separate download called the “Artist Kit” arenow included in the Version 3.1 software.

Pricing: update from Native Bundle Version 1.0/2.0, $149; updatefrom Native Bundle Version 3.0, free download.

For more information, visit TC Electronic at

Sennheiser, Neumann Used on Shania Twain TV Special
Shania Twain’s latest network television special, UP! Close andPersonal, which featured the singer backed by multipleGrammy-winner Alison Krause and Union Station, was performed and filmedbefore a small audience in Nashville-based Citation Studios in earlyNovember.

“It was all acoustic instruments with no wireless, so it lent itselfto quality microphones,” reported Steve McCale, Shania’s live sounddesigner and the monitor engineer on the TV special. McCale also workswith Faith Hill, Stevie Nicks and Chris Isaak. “It sounded really goodand was very tastefully done.”

The one-hour show, mixed for the broadcast by Shania’s husband,producer Mutt Lange, featured two dozen Neumann and Sennheisermicrophones in all. In addition to Twain’s trademark Evolution Series935, Krause and four of Union Station’s five bandmembers also used thehigh-output cardioid vocal mic. Drummer Larry Atamanuik used theEvolution Series mics, with an E 602 on the kick drum, an E 903 on thesnare, and E 604s on the rack and floor toms. A pair of Neumann TLM193s were positioned overhead, with a Neumann KM 184 on hand to pick upthe sound of his brushes on the snare, and a TLM 103 for percussion.Front-of-house mixing was handled by Nigel Green, Brad Maddox and DaveSkaff.

Krause and Union Station were miked with a variety of Neumann andSennheiser gear. Neumann KM 184s were used on mandolin and one of theacoustic guitars, a KM 140 on the second acoustic guitar, TLM 170s onKrause’s fiddle and the upright acoustic bass, and a TLM 103 on thedobro. Three Sennheiser MD 441 supercardioid dynamics were also used onfiddle and the two guitars. All of the performers wore SennheiserEvolution 300 Series wireless monitors.

For more on the mics, visit Sennheiser at or Neumann at

McDSP Ships Chrome Tone Plug-In
Chrome Tone, McDSP’s sixth plug-in for the Pro Tools platform, is acollection of effects that includes distortion, compression, gating,chorus, flange, EQ, wah, tremolo, spring reverb and tape delayeffects.

Chrome Tone’s initial release is TDM-only for Mac OS 9 and OS XPanther with a retail price of $495.

In other company news, McDSP is now shipping Mac OS X Panther andPro Tools HD Accel-compatible versions of its entire product line,including Analog Channel Version 2.2.1, Chrome Tone V. 1.0.1,CompressorBank V. 3.2.1, FilterBank V. 3.2.1, MC2000 V. 2.2.1 andSynthesizer One V. 3.0.

In addition, many new features have been added, including FilterBankoffering four new variable Q modes. New features in Synthesizer One V.3.0 include up to 22 voices and six separate FX sections per DSP chipon HD Accel; new OSC filter modes (pass only even, odd or otherharmonic multiples); a new user interface; fine control now availablein popup sliders; and additional anti-aliasing modes. Analog Channelnow has “virtual analog” meters, which are selectable and displayinput, output and the virtual circuit’s gain reduction.

More information on Chrome Tone and the updates (including freedownloads) are available at

Canadian Broadcasting Corporation Purchases Euphonix System5-Bs
The Canadian Broadcasting Corporation (CBC) Radio, Canada’s nationalpublic broadcaster, has again selected Euphonix’s System 5-B digitalaudio console. The decision to purchase a second console came shortlyafter its first System 5-B console, which was up and running this pastsummer for production work in its world-class Toronto Radio Dramastudio.

The 48-fader System 5-B, with 130 channels of processing, will beinstalled in a new remote truck used for recording and live showproduction. Radio Network operations manager, John McCarthy, said, “Thenew System 5-B will be put to heavy use over the next several years tosatisfy the demand for our new fully digital remote recording truck. Wemade the decision to purchase the first Euphonix System 5 due to itspowerful and intuitive control surface. We ordered a second System 5-Bafter discovering how easy the console is to use and understand, andour engineers also love the sound.”

Euphonix’s executive VP of sales for the Americas, Rich Nevens,commented, “CBC has very stringent requirements for their digital audioconsoles and we are delighted that the corporation has chosen Euphonixonce again. We have a successful track record of System 5s operating inmobile trucks and are fully confident that the capabilities willcomfortably handle any show they throw at it.”

For more information, visit Euphonix online at

Barber Shop Studios Installs SSL Board
New studio the Barber Shop (Lake Hopatcong, N.J.) will install a newSolid State Logic XL 9000 K Series SuperAnalogue console as thecenterpiece of its facility. Co-owners Scott Barber and Mark Salamoneplan to offer a cutting-edge, high-power recording facility located inan historic early-1900s church for a perfect creative environment.

“The XL 9000 K Series, outfitted for surround sound mixing, willprovide the studio with the superior sonic performance and powerfulautomation necessary to attract top-shelf talent,” said Salamone. “TheXL 9000 K ensures industry interest because of its tremendouspopularity with top-end talent.”

The Barber Shop Studios occupies a stone church that was built inthe early 1900s. In the early 1970s, the church was converted into alive music venue called the Lighthouse and hosted a number of prominentperforming artists. The 6,000-square-foot facility, with an additionalmarina and restaurant, provides a relaxing creative environment with anincredible view that is accessible to New York City.

“We have assembled a group of professionals including executives,producers, engineers, designers and consultants with over 150 years ofcombined experience in the music industry to work with us,” saidBarber. “The goal of this amazing team is to create one of the mostimpressive and unique recording facilities in the world, and the XL iscritical to this goal. SSL has established itself as the maker of theworld’s premier recording consoles. We feel the XL Series console isthe best choice for our clients. We were particularly impressed withthe Ultipan function in the 5.1 section of the console.”

Fran Manzella is supervising the acoustic design of the studio,while the electronic design encompass both new and old recordingtechnologies. The studio, due to open this spring, will offer a vastcollection of vintage microphones, outboard gear and instruments, alongwith up-to-date digital equipment and tools. The studio will alsofeature full-service analog and digital recording and post-production,including 5.1 and 7.1 digital recording, editing, mixing and masteringservices.

For more information on the SSL console, visit Stay tuned to Mixfor more information as the studio gears up to open.

Trillium Lane Labs Ships TL EveryPhase Version 1.1
Trillium Lane Labs announced the immediate availability of TLEveryPhase 1.1, an update to the recently launched Pro Tools phasereffects plug-in. TL EveryPhase delivers classic analog phaser effects,ranging from subtle modulation and tremolo to extreme filteredfeedback. Offering complete phaser models with up to 18 stages, TLEveryPhase combines the sound of outboard phaser units with the latestplug-in power to provide rich phaser effects in any Pro Toolssession.

New features include a new Resonance control for enhanced feedbacktweaking, extended depth controls for different phaser tones, supportfor 5.1 surround sessions on Pro Tools|HD Accel and more than 120presets in eight categories. TL EveryPhase is available for Mac OS 9/Xand Windows XP in both TDM and RTAS formats. TL EveryPhase iscompatible with the new Pro Tools|HD Accel hardware and Mac OS X 10.3(Panther).

TL EveryPhase is available for $249 (U.S.). Further information andfree seven-day downloadable demos are available from

In other company news, Trillium Lane announced its products(including TL EveryPhase V. 1.1, TL Metro V. 1.3, TL InTune V. 1.3 andTL Fauxlder V. 1.2) are compatible with Pro Tools|HD Accel and Panther;these updates were tested for use on Pro Tools 6.2 on Macintosh G5hardware. An update for TL MasterMeter V. 1.1 will be availablesoon.

Spectrasonics Virtual Instruments Updated for Apple G5,Panther
Spectrasonics has released new updates to its virtual instrumentplug-ins Trilogy, Stylus and Atmosphere. The updates add enhancedcompatibility for the Apple Macintosh G5 and OS X Version 10.3,Panther. All Mac OS X plug-in platforms have been updated, includingSteinberg VST, Digidesign RTAS and Apple’s new Audio Units plug-informat. The updates also support the previous OS X version, Jaguar V.10.2. The plug-ins are available for registered owners as a freedownload from the Spectrasonics Website.

Spectrasonics’ Trilogy Total Bass Module plug-in is a virtualinstrument plug-in kind that specializes in powerful realizations ofall three categories of bass sounds: acoustic bass, electric bassguitar and synthesizer bass. Unique features include True Staccato,Release Triggering and Trilogy’s dual-layer architecture. The company’sAtmosphere Dream Synth Module plug-in is a sample-based, dual-layersynthesizer module with more than 1,000 unique sounds and layerelements that can be manipulated with its interface to shape newtextures. More than 1 million layer combinations are available for arange of sonic colors.

The Stylus Vinyl Groove Module plug-in integrates a massive corelibrary of thousands of cutting-edge groove elements, loops andsamples, with a powerful user interface to create completely newgrooves. Stylus uses Spectrasonics’ “Groove Control” feature, whichoffers dynamic pitch, tempo and feel changes to mix and matchgrooves.

All three 32-bit plug-ins offer massive 3GB core libraries and havepowerful and intuitive interfaces to customize sounds with onboardmultimode resonant filters; envelopes for pitch, filter and amplitude;matrix-style modulation routing; multiple LFOs; parameter automation;and more. Each plug-in has total recall of all settings using a hostsequencing program.

Updates are available at

Denon Debuts DN-X1500 DJ Mixer
Denon DJ’s new DN-X1500 4-channel 12-inch mixer is designed tocomplement the company’s DN-S5000 and DN-S3000 tabletop CD/MP3 players,and features a built-in sampler, matrix switching, effects and a USBport.

The DN-X1500 offers four full-featured channels integrated with an8-channel input matrix control. Each channel features 45mm channelfaders, gain control with PFL levels and 3-band EQ (on/off switchable)with parametric frequency adjustment, as well as a studio-quality 45mmP&G multichannel assignable crossfader with contour control. Mainmic and aux mic inputs (one XLR and two 1/4-inch TRS) are included withmain and aux/sub level control and EQ; on/Off talk over and postswitches are also provided.

The DN-X1500 comes with a host of onboard digital effects andfeatures such as an eight-second sampler, nine effect types and anauto/tap/manual bpm counter. The sampler uses audio from any of sixmixer sources (channels1/2/3/4, mic, master), and offers edit optionsincluding loop, reverse, reverse loop and single playback, with overallpitch control adjustment of up to +/-100 percent. Effects include DSPprocessing, along with delay, echo1, echo 2, filter 1, filter 2,flanger, auto pan, trans and key %.

An external stereo send/return effects loop is provided and can beused in conjunction with the internal effects. Aux out options includeREC out (stereo, RCA) and booth out (unbalanced, RCA) with levelcontrol, which offers a unique and practical assign switch to monitorany channel and effects beforehand. The digital (coaxial) output usesaudiophile-quality 24-bit Burr Brown converters. The DN-X1500’s masterout section has separately attenuatable balanced (stereo, XLR) andunbalanced (stereo, RCA) outputs with master balance VR control andstereo/mono-select switches on all XLR and RCA jacks. A stereoheadphone output with preset selectable EQ features headphone cue,effects cue, mono/split/stereo and cue/PGM/pan controls.

The DN-X1500’s feature set is further enhanced with easy-to-readindividual PFL input meters and a highly luminescent FL Tube display tocontrol effects. Denon has also outfitted the unit with a USB port foronboard software and effects upgrades, which are created in response touser input and offered free of charge via Web download. An optional19-inch rackmount kit will also be available.

The Denon DN-X1500 will be available January 2004 with an MSRP of$999.

For more, visit Denon DJ at

Tony Maserati Uses SSL Board on New Beyonce Album
Using Solid State Logic’s XL 9000 K Series SuperAnalogue console forthe first time, Tony Maserati completed the production on Beyonce’srecent Number One album Dangerously in Love at the Hit Factory,Studio 3.

Although Maserati has worked on Solid State Logic consoles since1985, he was still surprised by the ease of his transition to mixing onthe SSL XL 9000 K. “I was really amazed at how quickly I was able tostart mixing on this console,” said Maserati. “In the blink of an eye,I was going back and forth between Pro Tools and the XL 9000 K’s newfaster console computer, helping me to take the creative ideas that Ihad in my head and seamlessly integrate them through the console.Overall, working on the ‘K’ made the entire mixing process better andfaster. One of the other features on the XL 9000 K that I reallyappreciated was the mix bus. I like a big wide-open two bus with a lotof headroom so I can hear the depth of field and imaging better. Also,the XL 9000 K’s improved bandwidth leads to the console’s overallenhanced sound.

“When you are mixing an album, there is a challenge every day andevery minute,” he continued. “The XL 9000 K enabled me to overcome thechallenges associated with every song quicker than any other consoleI’ve ever worked on. The ability to have Pro Tools in the centersection of the console was clearly a significant upgrade that led tothe console’s increased functionality for me.”

For more information on the SSL console, visit

SpinAudio Releases RoomVerb M2 V. 2
Version 2.0 of the RoomVerb M2 VST/DX audio plug-in offers a redesignedinterface, all plug-in controls are now grouped into eight view pages,an added easy page where the user can control essential reverbparameters without going deep into editing and a completely newpreset-management system that allows the user to search presets bycategories and keywords.

The reverberation engine has been enhanced with two new uniquetechnologies and highly optimized for using SSE/SSE2 instructions.Other features include: a virtual room acoustics modeler; plate andoutdoor acoustic space simulation modes; unique time and spectraldomain spatial decorrelation technology; reverb modulation with achoice of random LFOs; comprehensive control of early and latereflections; separate 3-band parametric equalizers for early and latereflections; acoustic space environment modeling through air andmaterial frequency-dependant absorption simulation filters with a setof more than 40 presets; two built-in gates with true stereo RMSdetection; 200-plus factory presets; and highly optimized code formodern processors.

System requirements are Windows 98/ME/2000/XP; RoomVerb M2 versionsfor Mac OS X, TC PowerCore FireWire, Soundscape Mixpander are underdevelopment and will be announced in the year 2004. To find more aboutthe product, visit Free demoversion is available for download from and audiodemos are available at

Megatrax Production Music Lands Radio Promo Deal
Megatrax Production Music, a Hollywood-based supplier of high-qualityproduction music for film, broadcast, advertising and multimedia, haslanded a radio ID package for Premiere Radio Networks/Clear Channel inconjunction with the new American Top 40 syndicated radioseries, starring Ryan Seacrest, who is replacing Casey Kasem.

Megatrax composed and produced a new show main title/opener andcloser, as well as five other musical and vocal cuts. Regarding the newmusic package, Jim Cook, Clear Channel VP of creative services, said,”Our creative challenge for this project was to take a highlyrecognizable and famous audio logo and update it by giving it a21st-century sound warp. They made it happen.”

According to Benjamin Trust, Megatrax general manager, “Megatrax ispleased to now be offering our clients custom radio music packages. TheAmerican Top 40 ID package is a notable, high-profile projectfor us. It represents the beginning of another phase of new productsand services that our rapidly growing and highly successful radiodivision can regularly offer to radio stations and syndicators acrossthe country.”

For more information about Megatrax, visit

Ableton Offers Free Sample Downloads
In conjunction with M-Audio, Ableton has selected 100 samples from itsProSessions Sound and Loop Library collection that until December 30,2003, can be downloaded free of charge by registered Live users (fullretail versions of Live only).

If you are a Live user and wish to get this collection of samples,then visit to obtain your holiday gift.

Meyer Marketing Expands Operations
Meyer Marketing, one of the leading manufacturer’s rep firms for theprofessional A/V, musician and security markets, announced the openingof a new and expanded 50,000-square-foot headquarters, administrationcenter and warehouse in Wellington, Fla. According to company founderand president Larry Meyer, the expansion underscores his group’songoing commitment to provide manufacturers, dealers, integrators andcustomers with more comprehensive, value-added support services.

“The definition of a manufacturer’s rep firm in 2003 is radicallydifferent from that when we started the company,” Meyer explained. “Thedifference lies in the ability of rep firms to partner manufacturersmore effectively and in doing so, to provide dealers and customers withadded value. By creating a more integrated supply chain frommanufacturer to end-user, rep firms can help share intelligence,improve efficiency and increase responsiveness. Our new facilities herein Wellington will significantly enhance Meyer Marketing’s ability toprovide this depth of support.”

Meyer Marketing has served the Florida, Puerto Rico and theCaribbean sales territories since 1964, and represented suchmanufacturers as Middle Atlantic Products, JBL Professional, CrownInternational and Allen & Heath. “Our ability to consistentlyprovide manufacturers and dealers with business-building resources andservices has largely been a function of the high quality of peoplewe’ve had join our firm,” company VP Larry Boscarino added. “Now withthe expansion of the central office in Wellington, we’re positioned totake that service to an even higher level with better inventorycapabilities, more advanced training facilities, and superioradministration and market support.”

For more information, visit or call 800/352-8346.

Margarita Mix de Santa Monica Chosen for DVD Project
Margarita Mix de Santa Monica, a post-production sound facility that isa subsidiary of The L.A. Studios Inc., recently completed the 5.1 DVDsound design and mix for the Stone Temple Pilots Thank YouCD/DVD. The project was given to the facility by Dean Gonzalez of rOOm(formerly The Cutting Room), who edited the three-hour DVD.

A part of the DVD was an hour’s worth of bootleg footage contributedby fans. Gonzalez sifted through 12 years of VHS and Beta concertfootage for this section of the DVD. “Some of the footage was bootleg;the producers reached out to fans to obtain this, letting them knowthat no legal action would occur. This footage, as well as some livepieces, had bad audio and we wanted to make sure it was mixed reallywell,” said Gonzalez. “I’ve worked with Jeff Levy at Margarita Mix deSanta Monica several times and I know he is an amazing mixer.”

One of Gonzalez’ concerns was the 5.1 mix: “I knew that Jeff hadexperience with 5.1, as well as mixing long-form,” Gonzalez said. “Ireally like his style and sensibility toward clients, so I knew he’d beperfect for this project.”

Levy, who has been with L.A. Studios since 1985 and with MargaritaMix de Santa Monica since its 1999 inception, came to the project withexperience mixing high-end commercials, including Super Bowl spots,film trailers and music videos for major hip hop and rap artists.

On the mix, Levy worked closely with STP guitarist Dean DeLeo, whomhe described as “having the best ears I’ve ever encountered.” The majorchallenge, recalled Levy, is that the original material was all instereo, which he had to format for the 5.1 surround sound mix. “We EQ’dall of the tracks in one way or another to try and bring out differentelements in the stereo mixes.”

Working with the Postation by DSP Levy spent three weeksmeticulously going from song to song, balancing out levels. “As we wereworking, the project evolved,” he said. “We wanted things to flowseamlessly so the locked picture was important.”

The resulting DVD includes an hour of music videos and an hour oflive footage from the fans. “There’s talk right now of doing anotherSTP documentary,” said rOOm’s Gonzalez. “If we do that, we willdefinitely be returning to Jeff and Margarita Mix de Santa Monica.”

University of Michigan Installs Grace Design Mic Pre’s
The University of Michigan School of Music recently installed threeGrace Design model 801R 8-channel remote-control microphonepreamplifiers and an 801RCU remote-control unit. The sale was handledby Grace Design dealer Vintage Loop in Shelby Twp., Mich.

The School of Music is in the process of constructing a new5.1-capable Goff Smith Recording Studio within the 4,000-seat HillAuditorium concert hall, which was originally built in 1913. Recording,mixing and editing will be accomplished via both PCM and DSD formatmultichannel recording systems for subsequent release in 5.1. The newfacility will primarily be used for live concert recording and teachingaudio engineering to undergraduate students. The 24-channel 801R systemwill function as the primary microphone preamplifiers and will beremotely controlled directly from engineers in the control room.

“Much of the music we’ll be recording in Hill Auditorium will beacoustic and recorded to-high definition PCM and DSD systems for 5.1release,” noted assistant professor of audio engineering Dr. JasonCorey. “We chose the Grace model 801R mic preamps to ensure we’dcapture the high level of detail, clarity and transparency that weneed.”

For more information on the gear, visit Grace Design online at

Allen & Heath Launch New DJ Mixer
A collaboration with cutting-edge artists, Allen & Heath’s newXone:92 is a 6-channel (four phone or line with two mono/mic or stereoreturns) mixer that will be available in either rotary or linearVoltage-Controlled Amplifier (VCA) fader options.

With more DJs now incorporating live elements and digital effects totheir performances, one new feature, a MIDI controller output, offersusers the ability to manipulate virtually any piece of outboard MIDIequipment from controls on the mixer surface. For additional soundmanipulation, the Xone:92 also incorporates two LFOs with a tap-tempofeature and two independent filter systems. LFO depth, filter resonanceand frequency can be adjusted. Channels can be assigned to either ofthe two filters, and the VCF controls can be linked together for thesimultaneous manipulation of both filters. Each filter can also becontrolled by the crossfader with the LFOs still interacting.

The Xone:92 also features a new 4-band +6dB EQ with infinite cut onHF and LF and -30 dB available on both hi- and lo-mids. The mid-EQprovides a wide cut but narrow boost to prevent cumulative gain withall controls at maximum. Furthermore, VCA faders and filters are usedthroughout, so that no audio signals pass directly through the faders.As a result, there is no risk of the sound being degraded by worncomponents.

Other features include an active crossfader, which can be variedusing a rotary control from smooth to scratch mix; two headphoneoutputs, 1/4-inch and 3.5mm jack; two auxiliary sends with selectablepre/post-fader and crossfader; extensive channel output and cuemetering; an intelligent cue system allowing pre- or post-EQmonitoring; and a talkover facility on mono/mic channel that attenuatesmusic by 20 dB.

The Allen & Heath Xone:92 mixer will be available in February2004. Further information about the mixer and its features can be foundat

NHK Sapporo Installs SSL C200 Board
NHK Sapporo has become the latest facility in Japan to install SolidState Logic’s new C100 Digital Broadcast Console. The studio’s32-channel console replaces an old analog desk at the broadcaster’slargest T-1 facility in Sapporo, Hokkaido. It features 3-channel DSPcards (96 channels), 48 mic inputs, 96-channel analog line in/outs and128 channels of digital in/out.

With digital terrestrial broadcast due to start in Japan this month,NHK Sapporo said that the C100 console will prove highly efficient forthis application, as well as for surround productions. The broadcasterhas already been using its new desk to produce a daily magazineprogram, which is broadcast live to air every weekday, and to producetwo documentary programs and special programs such as general electioncoverage.

Tetsuo Ueno, chief engineer at NHK Sapporo, said, “The size of theconsole was a major consideration for us. The T-1 Sub control room isnot large and after looking at a number of different desks, we chosethe C100 because its 32-channel frame fitted so well into this verylimited space. We also saved space in the machine room by installingSSL’s new Centuri Core processor.” Ueno added that NHK Sapporo was alsoimpressed by the C100’s ability to offer 96-channel mixing, itscost-effectiveness and the fact that, at only 1.5KVA, it is veryeconomical to run. “The C100 offers a number of advantages, not leastthat we can graphically see both dynamics and equalization. It is veryflexible and easy to operate and, because it has a flexible signalrouter, our engineers don’t need to patch regular programs, thus savingan enormous amount of time. Another advantage is the C100’s ability tomix mono, stereo, surround and down mixes. We particularly like thefact that we can control 5.1 material in both directions using either asingle fader or a spread of six faders.”

For more information on the board, visit SSL at

Glenn Berkovitz Uses Sanken CS-1 on ‘Karen Sisco’
Production mixer Glenn Berkovitz, C.A.S., recently employed the newSanken CS-1 Short Shotgun microphone for the ABC series KarenSisco. “We used the CS-1 for dialog inside a van,” explainedBerkovitz. “We were using my favorite, the Sanken CS-3e shotgun, forexteriors but found ourselves in really cramped quarters and I swappedit for the CS-1. This new Sanken short shotgun worked perfectly, andthe dialog from the two mics matched beautifully.”

“Both the CS-1 and the CS-3e have a nice targeted range withoutbeing too pin-pointy like a hypercardioid shotgun where the mic reallyhas to be on a very tight target,” added Berkovitz. “The Sankenshotguns are ideal for episodic TV, film and ENG production sound.”

For more information on the Sanken mic, visit the company’sdistributor, plus24, at

LOUD Technologies Sells Italy-Based Operations
LOUD Technologies Inc. announced the divestiture, as of December 10,2003, of Mackie Designs (Italy) S.p.A. (formerly Radio Cine Forniture(RCF) S.p.A.) for a nominal amount.The divestiture occurred by means ofthe sale of all shares of Mackie Italy by Mackie Designs (Netherlands)B.V. The divestiture, which included the sale of the former RCF factoryand administrative office in Reggio Emilia, the RCF brand name and allItalian-based assets, also results in the immediate removal of morethan $23 million (U.S.) in related bank debt from LOUD’s consolidatedfinancial statements.

“This is the next step in the modernization and streamlining of ourworldwide manufacturing and product development resources,” commentedLOUDTechnologies’ CEO Jamie Engen. “In the last year, we’ve establisheda network of worldwide manufacturing resources and have addedsignificantly to our product development and engineering teams for boththe Mackie and EAW brands. This sale will allow us to better leveragethese resources, unencumbered, to bring the most innovative products tomarket in a timely manner.”

LOUD will continue selling products to the Italian market through anindependent distributor, and is planning to address the worldwidecommercial sound market with a new line of products under the EAWbrand. Ken Berger, senior VP of marketing and product development atLOUD Technologies, commented, “Over the last year, we’ve been focusedon developing a coherent brand strategy for all of our products andmarkets. The strength of EAW in the engineered systems market makes itthe natural brand under which to consolidate all of our commercialaudio products.”

The first products from the new EAW commercial systems group will beunveiled in early 2004. During the transition to EAW Commercial, LOUDwill continue to provide its worldwide network of dealers, distributorsand system designers with key commercial audio products.

For more information, visit

Southern Tracks Brings 1-Inch Analog to Atlanta
With the purchase of a new ATR-102 1-inch 2-track machine, SouthernTracks Recording (Atlanta) now offers clients “wide-track” analogmixdown to stereo. The ATR-102 was modified and completelyremanufactured by Michael Spitz of ATR Services in York, Pa.

“I’m a die-hard analog guy,” said Southern Tracks co-owner MikeClark, “and when I heard one of these at an AES show, I thought itsounded great.”

The first project (not yet released) for the new machine was forIncubus; sessions were produced by Atlanta-based producer BrendanO’Brien. The sessions were tracked on Studer A827 analog, overdubbedand edited on Pro Tools, and then mixed to the 1-inch ATR. “It soundedgreat,” said Clark. “Everybody was pleased with the results.”

For more information about ATR, visit For more information about thestudio, visit

UPJ-1P Gets EDDY Award
Meyer Sound’s UPJ-1P compact VariO loudspeaker has been selected toreceive an EDDY Award as Sound Product of the Year, according to theeditors of Entertainment Design magazine. Regarding the UPJ-1P,the panel of judges, which is comprised of internationally renownedsound designers, commented that the new compact loudspeaker “fills inthe gap between line arrays and single boxes, and sounds verymusical.”

Introduced earlier this year, the UPJ-1P is a powerful yet compactself-powered loudspeaker incorporating a 10-inch low-mid driver and a3-inch-diaphragm (0.75-inch exit) compression driver mounted on afield-rotatable 50°x80° horn. The rotatable horn, coupledwith the UPJ-1P’s various rigging options, provides mounting, flyingand arraying flexibility.

The EDDY awards will be formally presented during ceremoniesscheduled for June 18, 2004, in New York City, which coincide with theBroadway Sound Master Classes.

For more information about the UPJ-1P, visit For moreinformation about the EDDY Awards, visit

Surround Conference Used Grace Design Monitoring System
The recently held 5th annual International Surround Conference &Showcase (Beverly Hills) used a pair of the new Grace Design m906 5.1reference monitoring systems for the demonstration and discussion ofaudio program material.

“From a sonic standpoint, our primary goal was to provide a highlydetailed and transparent representation of the 5.1 music mixes beingpresented. Everything in the signal path was carefully considered,including the acoustic space, source playback systems, monitoringcontrol and monitors,” noted Surround Conference director ofengineering Curt “Catfish” Hoyt. “It was also important that presentershad an easy way to control and manage their source material. The m906swere invaluable in this regard, as they provided access to analog anddigital source switching, gain and dim control, as well as the abilityto solo or mute specific channels in the surround field. The Grace m906units turned out to be an indispensable tool to have at the conferenceand played a big part in its success.”

Grace Design VP of sales and marketing, Doug Wood, added, “TheSurround Conference is widely regarded as the most important event ofits kind during the year, and we’re absolutely thrilled that Curt andhis team choose to include our new m906 units as an integral part ofthe 5.1 monitoring system.”

For more information about the m906 system, visit

Producer Oliver Leiber Adds Soundelux Mics to Closet
On the advice from his engineer, producer and songwriter Oliver Leiber(Paula Abdul’s Forever Your Girl, guitarist for Rod Stewartwhile on tour, The Corrs, Fleetwood Mac’s Dreams, BB Mak, BethHart, Jennifer Paige) recently purchased two Soundelux ELUX 251microphones prior to production on new band Antigone Rising.

“With Silvertide and now Antigone Rising, I’m making muchharder-sounding records than I’ve been known for in the past. Believeit or not, this has heightened my awareness of the sounds of theindividual components of the recording chain—all starting withthe mic,” said Leiber. “The very first day in the studio, we did avocal mic shootout with Cassidy, lead singer from Antigone. We put upan ELUX 251, a very good-condition vintage Telefunken ELAM 251 and aNeumann M 49 all using the same Neve 1081 input module. The thing aboutthe Soundelux was that is was just really natural and open. The Tele251 had this ‘spikey’ quality that worried me. I didn’t know if I’d cuta whole record with it. The Tele might have worked on some songs whereCassidy wasn’t belting out and not in her upper register, but I wasreally concerned on the rock songs where she is pushing and I knew thesound would be piercing with the Tele. The Soundelux had all the warmthand openness we wanted, but it didn’t have that spike and it wasn’tdull either. It has plenty of top end.

“When recording, I am looking for transparency and naturalness. If Iclose my eyes, I have to feel like that instrument or that singer is infront of me in as pure form as possible, and I’ve discovered the ELUX251 gives me just that,” Leiber continued. The ELUX 251 also was usedfor all of Chynna Phillips’ vocals and her background parts. “Onceagain, on these demos, it was smooth sailing with this mic. Evenstacking up loads of vocal backing tracks, I never had a stridencyproblem. It always sounded ‘right!'”

During tracking sessions with Antigone Rising, Leiber used one ofthe ELUX 251s for live lead vocals and the other for all of theacoustic guitar parts. “For acoustic guitar, we just set it up incardioid 10 to 14 inches in front of the sound hole and it wasunbelievably woody. You could hear the warmth and feel the flesh on thestrings—wow! Myself, my engineer and my Pro Tools operatorall immediately agreed: Now that sounds like a record!”

For more information about the mics, visit Soundelux’s distributor,Transamerica Audio Group, at

AiRR Support Upgrades Mic Stands
AiRR Support, a division of Network Pro Marketing (Corona, Calif.),announced functional and aesthetic upgrades to its line of largeprofessional-grade boom microphone stands.

For extra stability, especially in applications requiring anextended reach of the boom arm, a second sandbag is now included foradditional counterweight. The larger, steel-reinforcedheight-adjustment crank has an improved gear ratio for smootheroperation, while the counterweight features a higher-quality set screwmechanism for greater sturdiness. The overall look of AiRR stands hasalso changed, with an all-black electroplated finish.

Available in three sizes, AiRR professional-grade boom stands areideal for overhead recording applications such as drums, backgroundvocals, string sections, brass sections, orchestral recording, leadvocal recording, location recording and a variety of broadcastapplications. Additional features include a removable three-wheeltripod base, telescopic adjustable locking legs, fast locking andunlocking of the boom angle, and a custom carrying bag.

For more information, visit

Clavia Releases Nord Modular G2
Clavia’s new Nord Modular G2 platform, designed with a focus on liveperformance, offers a fully assignable modulation wheel, pitch stickand rotary encoders to turn, bend and tweak. The four separate LCDs onthe front panel provide an overview on the user’s patch creation.

The G2 also provides features such as rotary encoders with circularLED graphs (the LED graphs instantly show the correct values of theparameters the user chooses), programmable parameter pages (which guidein sound editing work and patch creation), patch variations (which letsthe user create and store eight different complete parameter setups perpatch), a Performance mode (which allows the user to set upmultipatches from the four individual synthesizer slots) and the eightmorph groups per patch allows the user to control sets of parametersfrom single internal control sources and via MIDI.

The G2 also boasts four analog audio inputs including an XLR micinput with built-in amplifier to insert external signals and patchthem. To use the Modular G2 Patch Editor, users just need to hook upthe G2 to a PC via the USB connection. The logical architecture andvisual overview, including user-defined coloring of modules andcolor-coded module groups, make it easy to patch and “lay out” sounds.Thanks to the real-time USB communication, the G2 immediately respondsto patching and follows the user’s moves. Most of the modules areself-optimizing, meaning that they adapt their bandwidth to the patchedsignals. The flexible modules also make it easy to alter functionalitywithout needing to replace modules. The Modular G2 Patch Editor comeswith more than 150 modules, including oscillators, filters, envelopes,a vocoder, physical modeling, reverb, delay, frequency shifter, pitchtracker, sequencers, LFOs, MIDI modules and more.

For more information, visit

Microsoft, Loudeye Team Up to Offer Digital MusicSolutions
Loudeye Corp. introduced two customer-branded product offerings basedon Microsoft Windows Media 9 Series and the Loudeye Media Framework.Companies using the branded products on the Windows Media platforminclude AT&T Wireless and Gibson Audio, a new consumer electronicsdivision of Gibson Guitar Corp.

The Loudeye Digital Music Store is an outsourced digital music storethat can be integrated with customers’ existing technology, brandingand infrastructure to give them instant access to a digital musicbusiness. Features include digital music download delivery, brandedplayers to provide both live and on-demand audio and video content toend-users, digital rights management using Windows Media Digital RightsManagement, usage reporting and analytics, digital music royaltysettlement, streaming music samples and cover art, music metadata andrich media ringtones. The Loudeye iRadio Service offers 100 channels ofpreprogrammed music, which can be delivered to any Internet-connecteddevice supporting Windows Media 9 Series and Windows Media DigitalRights Management.

In related news, Microsoft Corp. announced that it is joining forceswith Loudeye to enable the rapid deployment of branded digital musicservices and stores using the combination of Loudeye’s new products andWindows Media 9 Series.

“Loudeye’s digital music solutions are important for helpingcustomers go to market with high-quality music offerings built usingWindows Media 9 Series,” said Dave Fester, general manager of Windowsdigital media division at Microsoft. “Loudeye’s industry leadership andtechnical expertise enable companies using Loudeye’s solutions torapidly build and launch a world-class branded music store or radioservices using the Windows Media platform.”

The Loudeye Digital Music Store and Loudeye iRadio Service provide ameans for any company to launch a digital music store and/or Internetradio service under their own brand rather than spending millions ofdollars to develop their own service utilizing a third-partyplayer.

“We’ve just seen the first wave of digital music stores and serviceshit the market and quickly demonstrate the potential of online music asa powerful marketing and branding tool, revenue driver and importantbusiness component,” said Jeff Cavins, Loudeye’s president and CEO. “Incoming months, we’ll see a second wave of deployments, this timeextending beyond online retailers and other core music companies to newindustries we’ve never thought to connect with digital music.

For more information on Loudeye’s Digital Music Store and iRadioservice, visit

LOUD Technologies, Universal Audio Announce New DistributionStrategy
Recently announced, Universal Audio is now marketing and distributingfuture versions of LOUD Technologies’ UAD-1 DSP card and PoweredPlug-Ins bundle. Since January 2002, the UAD-1 card has beendistributed by LOUD Technologies as a Mackie-branded product.

“This is not the end of our relationship with Mackie,” stated MattWard, president of Universal Audio. “Mackie’s efforts in marketing theUAD-1 have helped to establish the Universal Audio brand throughout theworld. This relationship has been a part of Universal Audio’s growth asa company. We are now able to assume marketing and distribution effortsfor the UAD-1 while continuing to pursue new cooperative ventures withMackie.”

As part of this transition, Mackie will continue to sell theexisting Mackie UAD-1 card and Powered Plug-Ins bundle until remaininginventory is depleted in early 2004. In addition, Universal Audio’safter-market plug-ins, including the forthcoming Fairchild compressor,will be fully compatible with the Mackie UAD-1 card. On January 1,2004, Universal Audio will assume all sales of after-market plug-insfrom Mackie and will also assume technical support responsibilities forthe Mackie UAD-1 card.

“The current Mackie UAD-1 card remains an exceptional value and agreat way to take advantage of classic processors like the LA-2A and1176LN,” commented Ken Berger, senior VP of marketing and productdevelopment at LOUD Technologies. “We are very proud of ourrelationship with Universal Audio and are confident that Mackie UAD-1customers will benefit from their ongoing support and development forthe platform.”

In other Universal Audio news, the company will unveil a new UAD-1package, called the UAD-1 Studio Pack, at the upcoming NAMM show(January 15-18, 2004). The UAD-1 Studio Pak includes the existingplug-in bundle available in the Mackie UAD-1 with the addition ofDreamverb, Cambridge and Fairchild 670 plug-ins.

For more information, visit Universal Audio at or LOUDTechnologies at

PRG Announces Company Restructuring, Staff Promotions
Production Resource Group (PRG) announced that it is consolidatingequipment in three major offices that will effectively become thedepots in a “hub and spoke” inventory-management system. Inventory forlarger events will be maintained, prepared and shipped from thecompany’s depots. PRG’s smaller offices will continue to maintaininventory to support most local events, but will receive temporaryshipments of equipment from the depots as needed to support largerevents.

According to Kevin Baxley, PRG’s COO, “Concentrating our assets inregional depots will help us standardize both equipment maintenance andpreparation efforts. Using the depots, we can ensure that the bestpractices in the industry are utilized in preparing our equipment fordelivery to our clients. The depots will also enable us to maintaingreater control over the types of equipment our clients request themost. Concentrating those items in the depots, rather than leaving themspread out in small numbers among many offices, will ensure greaterclient access to them in large numbers when needed.”

PRG’s New Jersey, Orlando and Las Vegas offices will serve as thecompany’s regional equipment depots. Other PRG offices will continue tomaintain local inventories but will draw on the extensive additionalstock in the depots when needed. Portions of the inventory at PRG’sAtlanta location have recently been transferred to PRG’s Orlando depot,and the inventory at PRG’s Newbury Park (N.J.) location has beenconsolidated with the company’s inventories in Las Vegas and Burbank,Calif. PRG’s sales and account management teams in Atlanta and NewburyPark will not be affected by these changes.

PRG will be able to manage its inventory via TEAM, a proprietaryasset-management software developed internally by the company. TEAMenables PRG’s asset managers to instantaneously locate any item inPRG’s $250 million inventory of rental equipment and quickly route itto where it is most needed.

As part of the restructuring, several staff promotions wereannounced. Bill Campbell, formerly the general manager of PRG’slighting operation in Atlanta, will become general manager of PRG’slighting operation in Las Vegas. Cathy Gilligan, formerly the assetmanager for the Atlanta office, will become the asset manager for theLas Vegas office. Erin Byrnes, formerly the asset manager in Las Vegas,will assume a national asset-management responsibility at PRG. DavidPatton, formerly general manager of PRG’s Las Vegas lighting operation,will become the company’s national director of lighting operations.

For more information on PRG, visit

BIAS Updates Peak for Panther Support
BIAS has released Peak 4.0.2, an update to the company’s line of audioediting and mastering software that offers support for Mac OS 10.3(Panther). The 4.0.2 update is free to all Peak 4.0x owners and isdownloadable via

The new update is applicable to all versions of Peak, includingPeak, Peak LE and Peak DV. New features include in Peak 4 includesupport for Audio Units; ability to write 32-bit floating-point .AIFFfiles; ImpulseVerb sampling reverb with library of “hundreds” ofimpulse responses; redesigned interface; a new mastering compressorcalled Sqweez; integrated CD burning; and much more.

In other BIAS update news, BIAS Deck and SoundSoap plug-in are nowOS 10.3-compatible. The stand-alone version of SoundSoap will require asoftware update. The update will be a free patch for all SoundSoapowners and will be downloadable from

Arturia Reproduces Yamaha CS-80 With CS-80V
Arturia’s CS-80V is a reproduction of Yamaha’s CS-80, offering the samefeatures but adding new functions such as a multimode and modulationmatrix.

The CS-80V is based on a set of algorithms created by the company’ssound engineers and gathered under the name TAE, True Analog Emulation.It brings a high-quality sound when reproducing analog circuits; inparticular, TAE avoids any sort of aliasing and also emulates thetypical instability of hardware oscillators, bringing the warm sound ofvintage synths. The CS-80V is fully compatible with industry-standardprotocols and systems. It can be used as stand-alone software or as avirtual instrument, and with the ability to work at 32-bit/96 kHz, itoffers the same qualities of a hardware synth.

The CS-80V is loaded with more than 400 presets made by a selection oftop artists and musicians. Required minimum configuration on a PC orMac OS 9/X includes 128MB RAM with a 500MHz processor.

For more information, visit

Audio Ease Releases VST Wrapper 4.0 for DP 4
MOTU Digital Performer 4 users can now use Mac OS X VST plug-ins andinstruments with the VST Wrapper 4 from Audio Ease.

The VST Wrapper 4 supports multiple outputs for instruments, VST bankand preset saving and loading, sample-accurate MIDI timing, beat lockand parameter automation. OS X VST plug-ins are wrapped to become MASplug-ins, the original Digital Performer plug-in format.

The VST Wrapper has an MSRP of $69.95 online at, and includes Version 3, whichloads VST plug-ins and instruments in Digital Performer 3; upgradescost $39.95. However, the upgrade is free to anyone who has purchasedthe VST Wrapper after November 15, 2003.

Acon Digital Releases Acoustica 3.0
Version 3.0 of Acon Digital’s Acoustica audio editor is nowavailable.

New features include ultrafast audio editing based on a completelyrewritten nondestructive audio editing engine; unlimited undo/redolevels; create audio CDs or import audio tracks from CDs; support forsample rates with 24- or 32-bit resolution and 192kHz sampling rate;support for DirectX audio effect plug-ins; reads/writes many new fileformats, including Ogg-Vorbis, Windows Media Audio and MP3 (writing islimited to 56 k-bit/second); preset manager for all audio effects; andmultitask background processing.

Shown: wave editor

A fully functioning trial version is available for free for 30 daysat RegisteredAcoustica 2.x users can upgrade for $15.

For more information, visit

TOA Offers Speaker System Design Software
TOA Electronics Inc. is now offering new speaker system design softwareto help simplify distributed speaker system layout. The easy-to-usesoftware was developed by TOA’s speaker engineer, Ken Iwayama, andincludes all six of the company’s new F Series ceiling speakers withmore models to be available soon. Features include automatic layout,interactive frequency response plots, recommended power and more.

The new software can be downloaded by visiting

“As a follow-up to our popular Speaker Design Guide, the software isa great educational tool to help our customers design better systems,”commented Steve Mate, marketing manager at TOA Electronics. “However,there’s still no substitute for a qualified and experienced designprofessional.”