News July 16 – 31(Read Julynews 1 – 15)
Studio Secrets to be Revealed at Skywalker Sound
The San Francisco Chapter of the Recording Academy will host”Digital Workstations: From the Garage to the Grammys,” A GrammyProfessional Education Series event. Held at Skywalker Ranch onSkywalker Sound’s Scoring Stage on Saturday, July 19, 2003, from 1 p.m.to 5 p.m., the event will give studio pros, home recordists and musicfans an in-depth look into the technical processes involved in puttingtop-name acts on the top of the charts.
Atlanta-based engineer Phil Tan (Alicia Keys, Mariah Carey, TheClipse, TLC, Usher) will demo a custom Pro Tools system fromDigidesign. Jean-Marie Horvat will share the techniques and tricks onEmagic’s Logic Platinum rig that were used on releases by J.Lo, *N Syncand Britney Spears. Working on Steinberg’s Nuendo platform, Larry Seyerwill show his approach to mixes for country stars the Dixie Chicks andAsleep at the Wheel. After the demonstrations, all three engineers willbe challenged to mix down an unknown track on the spot.
More than a dozen pro audio manufacturers will also be on hand totalk about their latest gear and digital audio workstations on themarket. Scheduled to appear are representatives from Apogee, Antares,Apple Computer, Cakewalk, C-Tec, Digidesign, Dynaudio, Emagic, GuitarCenter Professional, HEAR Technologies, KRK Systems, Mackie, Monster,PreSonus, Shure, Steinberg, Tannoy, TC Electronic, Universal Audio andWaves.
Advance tickets are required for this event: $15 for RecordingAcademy members and students with ID, and $20 for the general public.For advance registration, call the San Francisco Chapter at415/749-0779.
Amendments to IEEE Network Standards Announced
The Institute of Electrical and Electronics Engineers StandardsAssociation’s (IEEE-SA) standards board approved two amendments to IEEE802 wired network standards. IEEE 802a allows vendors to assignEthernet-type numbers without depleting the number space, and IEEE802.3af addresses how to supply power to low-power data-terminalequipment with local-area network (LAN) connectivity.
IEEE 802a, “Ethertypes for Prototype and Vendor-Specific ProtocolDevelopment,” gives vendors a small number of Ethernet-type values thatthey can assign as protocol identifiers for prototype and experimentaluse. Previously, vendors applied for values from the limitedEthernet-type number space for both development and the finalprotocols.
IEEE 802.3af, “Carrier Sense Multiple Access With CollisionDetection (CSMA/CD) Access Method and Physical Layer Specifications:Data Terminal Equipment (DTE) Power Via Media-Dependent Interface(MDI),” defines how to feed power over balanced cabling todata-terminal equipment having IEEE 802.3 interfaces. The power levelis limited by cabling physics and regulatory considerations. Thestandard specifically addresses a new class of low-power devices havingIEEE 802.3 LAN connectivity.
These projects were sponsored by the IEEE Computer Society. Formore, visit standards.ieee.org.
AMPAS Purchases Bryston Amps
The Academy of Motion Pictures Arts and Sciences has purchased anumber of Bryston amplifiers for its facilities in Beverly Hills.
With-in the facilities, the Academy has an on-site movie screeningroom that is used to evaluate and decide which movies, soundtracks,actors, etc., receive nominations for Academy Awards each year. TheBryston amps were installed in the in-house theater sound system.
For more, visit Bryston online at www.bryston.ca.
Neutrik to Show New Line of RCA Phono Connectors at AES2003
At AES 2003, Neutrik will display its new line of RCA phonoconnectors (jacks and plugs). The new RCA jacks feature isolatedrecessed sockets in nickel or black-chrome D Series-style housings.
Either connector can be ordered with black, red, yellow, blue, greenor white ID rings. The new NYS 373 plugs feature gold-plated contacts.”These new plugs increase the range of options and the level offlexibility for our customers,” said James Cowan, president of NeutrikUSA. “The new RCA jacks are part of our ongoing efforts to continuallydevelop new products suited to customer needs.”
The new RCA phono jacks feature a rated current and voltage of 1Aand 50 volts, respectively, with an insulation resistance of 5 GW,contact resistance of 10 mW and dielectric strength of 500 volts. Theshell and contacts are brass with gold plating, and the D-style housingfeatures ZnAI4Cu1, gal nickel or black-chrome plating. The products areoptimized for use between -25 degrees to +70 degrees Celsius.Individual colored models available in the nickel D-shell include theNF2D-BLK, NF2D-R, NF2D-Y, NF2D-BL, NF2D-GN and NF2D-WT. The jacksavailable in black D-shell include the NF2D-BLK-B, NF2D-R-B, NF2D-Y-B,NF2D-BL-B, NF2D-GN-B and NF2D-WT-B.
For more, visit www.neutrikusa.com.
Rat Sounds Takes L-Acoustics Rig out With Red Hot ChiliPeppers
The Red Hot Chili Peppers have been bringing their own brand ofpumped-up alternative funk to the masses for nearly 20 years now andOxnard-based Rat Sound Systems Inc. has been along for much of theride. Although the sound reinforcement company has traditionally optedto put up its signature Rat Trap 5 System for the band in the past,this year finds the crew carrying an all-new L-Acoustics V-DOSC/dV-DOSCrig out on the road in support of the Peppers’ latest album, By theWay.
Rat Sound’s Dave Rat said, “With our own proprietary system alreadyhired out on a tour this season, we were faced with the task of findinganother suitable world-class rig. I chose the V-DOSC rig for severalreasons. First and foremost, it sounds terrific; not only at standardoperating levels but throughout the entire volume range. The Peppersare very dynamic and musically diverse, so having a system where theresponse remains balanced at both low and high volumes was critical.Furthermore, thanks to L-Acoustics’ partner companies like MSI [Japan],Jands [Australia], Gabbison [Brazil] and Dispatch [Europe], I am ableto spec nearly identical V-DOSC systems worldwide, giving usshow-to-show consistency regardless of the continent we’re on. Thisenables the sound of the tour to consistently progress rather thanstarting over with each leg or show.”
Jon Monson, who heads up systems and tours for Rat Sound, said thatthe company added 50 V-DOSC, 28 dV-DOSC and six ARCS® loudspeakersystems to its inventory in April, most of which quickly went out onthe first U.S. leg of the Peppers’ worldwide tour. The loudspeakercomplement for the recent second U.S. leg, slightly paired down forshed venues, consisted of two primary loudspeaker clusters eachcomprised of 12 V-DOSC cabinets, plus three dV-DOSC hung underneath forfront fill. A center cluster of four dV-DOSC also addressed the areajust in front of the stage, while two additional side clusters, bothmade up of six V-DOSC plus six dV-DOSC, covered the left- andright-wrap areas.
“We did quite a bit of initial research and ultimately chose V-DOSCbecause of its sound quality, size, coverage and global acceptability,combined with the fact that it has a similar sonic footprint to our RatTrap 5 System,” Monson said. “With versatility, predictable coverageconsistency, smooth sound quality, high power handling, ease of setup,sightline considerations, overseas availability and system-to-systemconsistency from the various vendors all being important issues, V-DOSCgives us more successful outcomes than any other internationallyavailable touring system.”
For more on the systems, visit www.l-acoustics-us.com.
Composer Marty Davich Scores With ILIO
As an Emmy-winning television composer for two of NBC’s hitseries, ER and Third Watch, Marty Davich has enjoyed asuccessful career writing music for television. Davich has composedscores for TV dramas since the early 1990s and has worked on everyepisode of those two series since they began.
Davich began his career as an on-air piano player for long-runningsoap opera Days of Our Lives. He was soon given the opportunityto serve as the music supervisor for the daytime drama series, aposition that he held for nearly 10 years. Davich made the leap toprime-time television, composing for such high-profile programs such asBeverly Hills 90210, Trinity and Presidio Med. Hereceived an Emmy award for his theme to Trinity, as well as Emmynominations for his score to the miniseries Jackie, Joan and Ethel:The Women of Camelot.
Among the products Davich sometimes employs to create his originalcompositions are sample libraries from ILIO Entertainments. “I remembercalling ILIO and discussing the projects I was currently working on,”said Davich. “They were very helpful and recommended a few titles basedon those programs, and that was the beginning of a solid professionalrelationship that is still ongoing. For the most part, I use ILIO’spercussive libraries because they give me access to so many differentsounds simultaneously, especially with the Giga Studio. The extensivemenus that their libraries have also put a lot of information at myfingertips. This helps me to not be confined to the same loops over andover. I’m able to mix and match and add in many different sounds sothat my compositions are always fresh.
“What I like to do is combine sounds from several different mediumswhen creating a score. That way, it’s just not one little loop takenfrom one sound library,” Davich continued. I’ll take a reallyelectronic sound and then add a sound from an African library and alsoa shaker. Right there I’ve put together a new and unique piece of work.Basically, these products are just components of my overall work.”
For more on the libraries, visit ILIO online at www.ilio.com.
Neumann 150s Star in NYU Film-Scoring Program
For the past three years, New York University and ASCAP havehosted the Buddy Baker Film Scoring Workshops as part of the NYU FilmScoring Program under director Dr. Ron Sadoff. This year, “The 2003NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker” hosted 22participating composers who recorded their scores using numerousNeumann microphones.
Sadoff and the veteran independent engineer, JimAnderson—recently appointed to professor of NYU’s Clive DavisDepartment of Recorded Music—depended on three Neumann M 150 Tubemicrophones in a Decca Tree configuration to capture the 20-pieceorchestra, which included members of the Metropolitan Opera Orchestra.Additional Neumann spotting microphones supported the M 150s.
“When you’re doing that kind of work, the M 150 is the goldstandard,” said Anderson, a Grammy winner who worked for NPR during the’70s. “That’s certainly what you start with. I always find that whenyou’re looking for that beautiful bottom-end orchestral bloom, that’sthe microphone to use.
“The M 150 gives you that beautiful spread and the bottom end thatthe orchestra just sits right on top of,” Anderson continued, notingthat additional Neumann microphones were used as spotting mics to helpbring out certain sections of the orchestra. “We had U 87s and TLM170s, as well. The 170s were on the cellos and the piano, and the U 87swere on the woodwinds, flutes and clarinets.”
The nine-day workshop featured Terminator 3 composer MarcoBeltrami and X-Files composer Mark Snow. Sessions addressedclick tracks and free-timing, orchestration techniques andconducting.
For more information on the mics, visit www.neumannusa.com.
Radian Audio Adds 8-Inch Floor Monitor
Radian Audio Engineering has added the compact yet powerful andrugged RMW-1108 to the company’s MicroWedge Series of ultracompact,ultralow-profile coaxial floor monitors.
The Radian RMW-1108 comprises an 8-inch woofer with 1-inchcompression driver that is capable of delivering 400 watts (program).The smallest of the MicroWedge products, the RMW-1108 weighs in at just21 pounds.
Although it is only half of the size of the 12-inch RMW-1122, theRMW-1108 maintains the same sonic signature of the larger MicroWedgesystems, offering a smooth frequency response, low distortion, and aneven, wide dispersion from a single coherent point source. The 8-inchaddition to the MicroWedge Series delivers 200W RMS with a sensitivityof 95 dB (1W/1 m) and provides uniform coverage through its nominal90-degree conical0dispersion characteristic. The frequency response ofthe new wedge monitor is 100-20k Hz. The RMW-1108 incorporates a frontport for concealed cable management, with two parallel Speakonconnectors. An additional, rear-mounted Speakon connector allows it tobe used as a meterbridge-mounted speaker on FOH and monitorconsoles.
Like all Radian Professional Series loudspeaker systems, the newRMW-1108 is made of 3/4-inch, 13-ply Baltic birch and is finished withRadian’s rugged, scratch-resistant and waterproof Duradian finish.Overall dimensions are 9×11-3/4×14 inches (HxWxD).
For more, visit Radian online at www.radianaudio.com.
New Extender From Gefen
Gefen’s new ex-tend-it USB-500 is engineered to enable USB devicesto be operated up to 1,650 feet from the computer. The USB-500 usesextreme USB technology, has a four-port USB hub built-in and employsfiber-optic cables to connect the sender and receiver units. The senderis connected to the computer, and the receiver is connected to the USBperipheral. Both units are connected with fiber optics in lengths up to1,650 feet. Each unit measures approximately 5×5 inches, weighs lessthan two pounds and comes with a 15-volt power supply.
The USB-500 is the latest USB extension solution from Gefen. Otherproducts include the USB-400, which extends multiple USB devices up to330 feet; the USB-200, which extends two USB ports up to 330 feet; andthe USB-100, which extends one USB peripheral up to 330 feet.
For more, view the products online at www.gefen.com.
Steven Klein Completes Two New Project Studios
Steven Klein SCR, a designer and builder of commercial recordingstudios, project studios and post-production facilities, recentlycompleted two new creative spaces for a talented musician/producer andan actor who is developing a voice-over business. Damian Dragici hasconverted a spare room in his home into a music production area withcompanion control room, while Wayne Thomas Yorke has converted garagespace into a self-contained production area with a soundproofedvoice-over studio. Both projects were designed and supervised by StevenKlein.
“These new spaces presented their own unique challenges,” Kleinsaid. “But the end results are flexible, cost-effective environmentsthat enable Daman and Wayne to concentrate on the creative process ofmaking music and preparing commercials.”
Damian Dragici is a Rumanian-born film-score composer and musicproducer who specializes in world music and related music styles. “Iwanted to convert a second-floor bedroom into a 350-square-foot controlroom and tracking space,” the producer said. “We ended up with twoequal-volume connected areas with a windowed wall between them.” Theproject included the installation of sound-isolation materials, doors,windows and acoustical treatments.
Insulation was blown into the wall cavities, a layer of vinylbarrier placed onto the wall and ceiling, and then capped with anadditional layer of 5/8-inch drywall. Steven Klein installed isolationdoors, windows were retrofitted with Quiet Windows, and a customcontrol room window was constructed. “The acoustic treatment wasdesigned to fit a defined aesthetic and budget, and was custom-designedfor the use of the space,” Klein explained. Recording equipmentincludes a Digidesign Pro Tools|HD digital audio workstation andApple’s Emagic Logic software running on an Apple Macintosh G4,connected to self-powered Genelec Model 1031 A control room monitorsand subwoofer. A piano is housed in a nearby loft. Initial recordingsat the new facility include a Chinese ensemble and Cuban music. “It isa great job. The construction is excellent and the sound quality isvery, very good. I couldn’t be happier,” enthused Dragici.
Wanting to branch out into the voice-over market, Wayne Thomas Yorkerecently contracted Steven Klein SCR to design and build a compactvoice-over booth in his garage. Steven Klein SCR consulted and providedspecifications for the voice-over build out, including isolation,electrical, ventilation and installation of acoustical treatments.”Small spaces are challenging, especially for voice,” said Klein. “Anelaborate 7-inch-deep absorber fills the back wall, floor to ceiling. A1.75-inch system is on the walls above the chair rail, and a 1-inchsystem on the ceiling. Upholstered walls hide the acoustictreatments.”
“They were the perfect people for me,” Yorke said. “As a beginner, Ihad called friends for advice. They said I should call Steven Klein.His assistant, Jon [Schlesinger], came to see the space and had lots ofideas for me. It was everything I needed as a beginner. The projectfell into place and we completed the conversion in one week. It was anexcellent experience!” Yorke also worked with a local equipmentretailer, RSPE Audio Solutions, which supplied the production equipmentand ISDN unit, and Pat Schneider of P.S. Tech, who set up and wired theentire system.
For more, visit Steven Klein SCR online at www.soundcontrolroom.com.
Chromasonic Version 1.1 Now Available
Soundart announced that Chromasonic Version 1.1 multi-effectsprocessing application, or “soundskin” for the Chameleon platform, isnow available.
With Chromasonic loaded, the Chameleon becomes a powerful workhorsemulti-effects processor for use at the heart of the studio or live rig.It boasts flexible routing; crisp, clean reverbs; and a host ofindustry-standard features and effects.
Chromasonic features now include: three simultaneous audio effects,including two-tap delay, 5-band parametric EQ, compressor, limiter,noise gate, tremolo, chorus, flanger, phaser, reverb, autopanner, wah(manual, envelope, LFO with tempo sync) and four-voice pitch shifter;tempo sync (external MIDI or internal with auto detect) for all time-based effects, with tap-tempo control; enhanced saving and storingmechanism with reset/compare/name copy functions; assignablefront-panel real-time controllers for performance control of almost anyinternal parameter (nine per preset three sets of three with twooperating modes: Catch or Free) and real-time controllers can send MIDIcontroller data; master volume, input level and global wet/dry mixcontrollable from the real-time controllers for instant access;assignable Expression controller to almost any effect parameter; input,output and gain-reduction signal meters (for dynamics FX types only);multiple flexible routing configurations between theeffects—series, parallel, dual-mono configurations—forendless permutations; 128 user presets with a factory bank of 64 widelyvaried examples ready for use; and comprehensive MIDI automation andbulk dumps.
Chromasonic 1.1 is available now as a free download for Chameleonusers on its Web site: www.soundart-hot.com/english/user1_3.htm.
Recent Sessions at Cutting Room
Sanctuary Recording artists Living Colour locked down CuttingRoom’s (New York City) Studio A for a few weeks to work on material fortheir new record.
Independent label Healing Rhythms brought the Chris Berry Project(based in Colorado) for a few days of tracking on the SSL 9000 J. AndyMcEwen engineered the sessions with Rakidzioski assisting. Producer RonBrowze laid down some tracks for Ludacris in studio B on the YamahaDM2000. Marco Bruno assisted. Cutting Room regulars Pharoahe Monch, DeLa Soul and Talib Kweli all worked on new tracks with engineer JoeNardone. Sony artists The Bravehearts returned for some more writingand tracking in the A room. After just completing his new record, MosDef returned to do a commercial spot for Converse.
Contact the Cutting Room by dialing 212/260-0905.
APM Distributes Ded Good Music
Associated Production Music (APM), a provider of production musicfor use in film, television, advertising and new-media production, hasacquired exclusive North American distribution rights to the Ded GoodMusic library (London), known for its collection of dance, house,techno-pop and electronica music.
“By tapping into London’s urban-underground music scene through theacquisition of Ded Good Music, we’re making sure our clients haveaccess to the most current popular genres and formats,” said AdamTaylor, president of APM. “Our clients want the most current commercialmusic styles and Ded Good has built a name for itself by continuallydelivering the most authentic, cutting-edge dance and electronica musicavailable.”
Launched in 1996 by former studio musicians and BBC composers PeterOldroyd and Gary Scargill, Ded Good Music creates and licenses anever-growing music library comprised of 26 pop/electronica CDs. Inaddition to composing and recording cues for the collection, Oldroydand Scargill also acquire and remix tracks from emerging artists.
For more, visit www.apmmusic.com.
M-Audio Appoints New UK General Manager
M-Audio has promoted Isabelle Alran to the position of generalmanager for its UK office. Located in Hemel Hempstead, just north ofLondon, the UK office distributes M-Audio products to French dealersand European distributors in addition to the UK reseller channels.Alran has assumed the P&L responsibilities of running the UKoperations and overseeing the sales and marketing activities for boththe UK and France.
In March 2002, Alran joined the M-Audio UK office with sales andmarketing responsibilities for France, and in one year, has grown theterritory over 500% from the prior independent distribution.
Woody Moran, M-Audio’s VP of sales and marketing, said, “Isabellehas proven her capacity to grow and support the French market, which isno small task. Manuals, sales literature and packaging all had to betranslated, advertising placed, dealers visited, as well as artistdevelopment to oversee. Isabelle’s energy and commitment to excellenceare infectious, and we could think of no one better suited to lead ourUK sales and marketing operations.”
For more, visit M-Audio online at www.m-audio.com.
Apple to Release Soundtrack as Stand-Alone
Apple announced that Soundtrack, the royalty-free music productiontool previously available only with Final Cut Pro 4, will be availablein August as a stand-alone product for $299 (U.S.).
Soundtrack includes more than 4,000 royalty-free, professionallyrecorded audio loops and sound effects. Soundtrack scales to meet theneeds of audio producers, DJs and remix artists who start theirprojects in Soundtrack and then migrate to a digital audio workstation,such as Logic or Pro Tools, for the rest of their work.
“Soundtrack is a huge hit with Final Cut Pro 4 users and has enabledvideo editors without music backgrounds to save time and money byproducing their own high-quality, royalty-free music scores,” said SinaTamaddon, Apple’s senior VP of applications. “Customers tell us theneed for producing original, royalty-free music is everywhere, and wethink that other creative professionals such as Web developers and DVDauthors are going to find Soundtrack the easiest and most affordabletool for musicians and nonmusicians alike.”
“Soundtrack is so intuitive and powerful that within minutes ofsitting down on a plane, I created temp tracks for some upcomingprojects that would have otherwise taken hours to do in a studio,” saidrecording artist and producer, BT (aka Brian Transeau). “Soundtrack isalready one of my most important audio production tools and is set tobecome a staple for serious composers and hobbyists.”
“I’m totally blown away by the extreme music-creation abilities ofSoundtrack,” said Charlie Clouser, producer, keyboardist and remixerfor artists such as Nine Inch Nails, David Bowie, The Deftones and RobZombie. “From the way it automatically blends musical elementson-the-fly to its super-intelligent loop searching, Soundtrack is morepowerful than any other loop-based audio software out there.”
Within Soundtrack, each loop is treated as an audio building blockthat users simply drag and drop into a composition. Regardless of themusical key or tempo in which the loop was originally recorded,Soundtrack will match the audio loops and sound effects within acomposition in real time. Soundtrack’s search engine gives users themeans to quickly locate desired sounds by instrument, genre or mood.This advanced search engine works with a new open audio format called”Apple Loops” or any .AIFF, .WAV and Acid format audio files.
Soundtrack also ships with over 30 professional, high-quality audioplug-ins from Apple and Emagic. Plug-ins like Platinum Verb,SpectralGate, Multiband Compressor and AutoFilter allow users tocombine effects with individual tracks. Also, Soundtrack’s support forMac OS X’s Audio Units plug-in architecture allows users to furtherexpand their capabilities with additional third-party audio effectsdeveloped through Apple’s open-standard plug-in format.
Full system requirements and more information on Soundtrack can befound at www.apple.com/soundtrack.
Sterling Sound Remasters Bob Dylan
On September 16, 2003, Columbia/Legacy will release 15 classicalbums by Bob Dylan in the Hybrid Super Audio CD (SACD) format.Sterling Sound’s Greg Calbi mastered all of these discs, with fivetitles being mastered in 5.1 surround by Sterling Sound’s GeorgeMarino.
Calbi worked from a variety of master tape formats, dating from 1962to today. Working from these analog masters, the whole of the Dylanproject remained in the analog domain. “The analog signal processing inmy room is ideally suited for SACD. It does a great job of taking theanalog signal and transferring it into the best digital data that’savailable,” said Calbi. “The low end and all of the rhythmic elementsare working in such a way that the combination provides a much moremusical experience.”
Recently, some new features were added to Calbi’s room, includingcomplete new console wiring (featuring Wireworld cables), all tubesignal processing and a new patchbay to minimize signal path. “Thosethree elements created an immediacy of the sound on the Dylan projectthat just blew away anything that existed on the market before,” saidCalbi. “On all of the releases, the vocal quality, clarity andexpressiveness is much more intimate than it ever has been.People arereally going to hear things in [Dylan’s] vocal that they have neverheard before. SACD is much a marked improvement over the PCM Digital,in terms of smoothness, clarity and fullness.It is a much morepleasurable and satisfying experience that has made me a completebeliever in SACD.”
Earlier this year, Sterling Sound completed the development of acustom analog surround mastering suite for George Marino, which giveshim the ability to master multichannel audio for DVD-A, DVD-V and SACDformats. “You have to create proper balance and imaging so thattheaudience will appreciate the desired effect,” said Marino. “Thisway, they can experience something refreshing and different from whatthey’re used to in the stereo environment.” Marino worked mainly frombrand-new multitrack mixes by mix engineers Michael Brauer and ChrisShaw, along with senior VP of A&R at Sony Legacy, Steve Berkowitz.”It was a pleasure to work from the Dylan mixes brought in by Michael,Chris and Steve,” said Marino. “They are faithful to the original2-track stereo mixes while adding a whole new element that Dylan fanswill find very interesting.”
Bob Dylan albums that have been recently mastered include TheFreewheelin’ Bob Dylan, Another Side of Bob Dylan,Bringing It All Back Home, Highway 61 Revisited,Blonde on Blonde, John Wesley Harding, NashvilleSkyline, Planet Waves, Blood on the Tracks,Desire, Slow Train Coming, Infidels, OhMercy, Street-Legal and Love and Theft.Marino hasmastered the following titles in 5.1 surround: Blonde on Blonde,Love and Theft, Slow Train Coming, Bringing It AllBack Home and Another Side of Bob Dylan.
For more, visit www.sterling-sound.com.
Gepco to Show X-Band Cable at AES 2003
Gepco International will be showing its X-Band analog audio cableat AES 2003. Available in single, 4, 8, 12 and 16-pair versions, theX-Band is an ultraflexible, sonically transparent, low-noise anddurable balanced audio cable for use in critical studio applications orlive sound venues.
The unique construction of the X-Band Series makes it extremelyflexible, flaccid and will not retain kinks and bends when flexed,while still maintaining ease of termination. Key features of the X-BandSeries include: finely stranded, oxygen-free conductors; reducedhigh-frequency absorption; special foam dielectric allows for easycutting and stripping with minimal wickback when soldering; 95% braidshield, which will not open through repeated flexing and compromise;excellent RF and EMI rejection (in conjunction with consistent andtight twisting of balanced pairs); quick ground termination with drainwire and easy-to-trim braid; new G-Flex ultraflexible jacket; and pairson multi-pair are color stripped and printed for easy ID and attractiveappearance when visible after installation.
For more, visit Gepco online at www.gepco.com.
First TL Audio VTC Console Install in Norway
The first VTC console to be shipped to Norway has recently beeninstalled in Gunnar Tønnesen’s Klepp Lydstudio, located in thesouthern coastal town of Egersund. The sale and installation washandled by local TL Audio distributor Lyd Systemer, based in Oslo.
The 32-channel valve console is being used in conjunction with bothdigital and analog multitrack machines, and has already been employedon a variety of projects including jazz, folk, choral and brass bandmaterial through to pop and, most recently, a debut CD of traditionalCuban acoustic music.
Tønnesen said, “I must say that I am very impressed. The mixeris so pleasant-sounding and also reveals qualities in the equipmentconnected: Not only high-quality microphones and outboard, but alsomodest stuff like dynamic microphones, cheaper processors and myvintage keyboards now show new sides that I never knew existed.”
For more, visit TL Audio online at www.tlaudio.co.uk.
Echo Announces Indigo io
Coming in late July or early August 2003, the Echo Indigo ioportable recording system for Windows and Macintosh notebook computersoffers the same high-quality hardware and software as the originalIndigo, but with the addition of a stereo analog input for professionalaudio recording. With Indigo io, users can record 24-bit 96kHz audiowith low-latency monitoring powered only by a notebook computer.
Indigo io has one stereo 1/8-inch analog input, one stereo 1/8-inchanalog output, a high-quality headphone amp with volume knob, eight”virtual” outputs through software and a six-foot audio adapter cablefor RCA and 1/4-inch connections. MSRP: $229.
For more Indigo io information, visit Echo’s Web site at www.echoaudio.com.
Jim Anderson Appointed Visiting Professor
Jim Anderson, AES VP for Eastern Sections U.S. and Canada, hasbeen appointed visiting professor in the newly created Clive DavisDepartment for Recorded Music in the Tish School for the Arts at NewYork University.
The Clive Davis Department of Recorded Music offers a course ofstudy leading to a Bachelor of Fine Arts that is designed to educatestudents in all aspects of contemporary recorded music. There is aspecial focus on the art of identifying musical talent and developingcreative material within the complex range of recorded musictechnologies. The program recognizes the creative record producer as anartist in his or her own right, and musical recording itself as acreative medium.
Anderson has been active on the New York recording scene for thepast 23 years; prior to that, he was on staff at National PublicRadio.
Mackie to Outsource Select Product Manufacturing
Jamie Engen, president and CEO at Mackie Designs, wrote:
The purpose of this letter is to make you aware that Mackie hasentered the final stages of an important transition. We believe thistransition will further our position as a world-class developer,designer and marketer of professional audio products.
For several years, Mackie has been laying the groundwork tooutsource the assembly of a number of high-volume products currentlyproduced in our Woodinville, Wash. headquarters. This transition willallow Mackie to bring more cost-effective and competitive products tomarket than ever before, while also allowing us to invest moreresources in key areas such as product development, engineering andindustrial design.
As a result of this new focus, Mackie has issued notices toapproximately 200 employees in Woodinville manufacturing who will bedirectly affected by this transition. It is important to understandthat cessation of Woodinville manufacturing is the next phase in a veryimportant and deliberate transition, and not a scaling of workforce torevenue, as industry rumors may suggest.
Manufacturing employees affected by this change will receivecompletion bonuses and severance packages based on years of service.They may also be eligible for federal help in the form of extendedunemployment benefits and retraining benefits.
As we move forward, Mackie will seek out the best possible resourcesaround the world to provide manufacturing expertise equal to our owndesign and engineering talents. In some cases, these resources will beinternal; in some cases, they will be subcontractors carefully selectedfor their ability to meet our world-renowned quality-controlstandards.
In the coming months, Mackie will introduce an unprecedented rangeof new products. These products aim to redefine the pro audio industrywith truly amazing features and value. These new products are also aclear indication of what we will be able to accomplish as a result ofour new structure.
Mackie remains committed to the creative horsepower of ourengineering, product development, industrial design and marketingteams, as well as the pace-setting standards of our sales, sales admin,support and service teams. All of these functions will remain fullyactive at the company’s headquarters in Woodinville.
We feel that we have turned a significant corner at Mackie and areonce again on the path to growth. We look forward to building on thepassion and product development talents that have made Mackie anindustry leader for nearly 15 years.
Oh, and yes, Greg Mackie is still directly involved in productdevelopment at Mackie.
For more, visit Mackie online at www.mackie.com.
WEDU to Install Euphonix Console
After demo’ing the Euphonix Max Air, WEDU’s VP of engineering andoperations, Frank V. Wolynski, immediately purchased the board, with aSeptember install in its high-definition control room that connects thethree large studios.
Wolynski said, “The power and ease of use that Max offers have beensome of the greatest attributes that the console has to offer. Ourfocus was to find a console that performed extremely well and that waseasy to adapt to. Max fit that bill. Tedious setup of patching andgroups are basically eliminated with Max Air. The console can flip froma complex configuration to another in moments, restoring all inputs andoutputs for any particular show. This will be especially important inreplicating sound setups in Dolby AC-3 mixes.”
WEDU plans to use Max Air for broadcasting shows such as “live”election debates, Tampa Bay Week, a news panel discussion, newsuplinks for FoxNews, CNN, CNBC, Court-TV and many more.
For more, visit Euphonix online at www.euphonix.com.
Tommy Vicari Relies on Neumann Mics
Grammy and multi-Emmy Award-winning recording and mixing engineerTommy Vicari reported that the Neumann M 149 is among the most used onhis sessions, which have recently included recording and mixing severalfeature film and cable television projects with scoring engineer ArminSteiner.
“I frequently use the Neumann M 149 for vocals, various instrumentsand room sounds,” said Vicari. “The M 149 is one of the best mics madein a long time. It sounds great and it has a lot of gain. I reallyenjoy it.” Recent scoring collaborations with Steiner have includedDisney/Pixar’s animated feature, Finding Nemo and the upcomingAngels in America for HBO. Vicari also used Neumann mics forrecording the main title for the HBO series, Six Feet Under.
Vicari has been using the M 149 large-diaphragm tube mic ever sinceits debut, recording a variety of singers. “It virtually works on everysinger I’ve put it in front of. For instance, on projects for theDisney theme parks, when I am faced with a wide variety of vocals, frombaritones to sopranos, this microphone seems to work on everyone. In aperfect world, when recording a vocalist, you can put up several mics,experiment and pick the best one. But in most of my recording sessions,there is no room or time for experimentation. However, during a scoringsession, I will set up an array of microphones on different instrumentsso that the musicians can immediately move from one instrument toanother.”
In addition to the M 149, he said, “I use the Neumann U 67 forpercussion and piano. I also use the TLM 170 on woodwinds and vibes. Onrecent big-band recordings for Gordon Goodwin’s Big Phat Bandand Sammy Nestico’s This Is the Moment, I used vintage U 67s onsaxophones.”
For more on the mics, visit Neumann online at www.neumannusa.com.
M-Audio Ships Luna Condenser Mic
M-Audio’s new Luna (MSRP: $249.95) professional condensermicrophone is now shipping.
Geared for first-time purchasers and more experienced recordists,this large-diaphragm, cardioid condenser design is well-suited toprofessionally capturing vocals, guitar, piano and most sound sources.Luna also sports a solid brass capsule. The 1.1-inch diaphragm ismetallized in a proprietary evaporated gold process. Luna uses Class-AFET electronics; all Luna microphones are also +/- 1 dB from thestandard reference microphone and from each other.
“Luna addresses the needs of a wide range of recordists,” said AdamCastillo, M-Audio’s marketing director. “We specifically designed themic to accommodate the budget of just about anybody who is seriousabout recording. It has a great sound that is very reminiscent ofclassic vintage microphones, yet also has a unique character all itsown. And there’s no getting around the fact that it’s one veryhot-looking microphone. Luna makes a statement both visually andaurally.”
For more information, visit www.m-audio.com.
Liz Phair at the Village
Liz Phair and her band were recently in The Village’s Studio Aperforming live for an on-air broadcast on Los Angeles radio stationKCRW’s “Morning Becomes Eclectic” program. Phair and company performedin support of their latest CD, this year’s Capitol release, LizPhair. Phair will spend the summer months of 2003 touring the U.S.in support of her new CD. The Village session was engineered by JasonWormer and assisted by Greg Imler.
Los Angeles-based rockers The 88’s were also in The Village’s StudioA recently, recording a high-energy, live set of music, also for KCRW’smorning program. The 88’s performed in support of their debut CD,Kind of Light. The 88’s will spend this summer playing showsaround Los Angeles. The Village session was engineered by Dan Monti andassisted by Darren Frank.
KCRW’s Ariana Morgenstern produced both of the live sessions.
DMOD Ships DMOD WorkSpace Version 3.0
DMOD Inc. (Burlington, Mass.), a provider of secure digital mediaworkflow and distribution solutions, announced that it has releasedVersion 3.0 of DMOD WorkSpace, an upgrade to its software-only solutionthat helps the entertainment industry prevent piracy during theproduction and distribution of new releases.
DMOD WorkSpace incorporates industry-leading encryption technologyand persistent media-access controls that define an individual’s rightto playback and/or export media. Version 3.0 features an enhancedarchitecture that allows project team members anytime/anywhere accessvia a standard Web browser. WorkSpace 3.0 is available as aclient-server enterprise edition and a DMOD-hosted ASP service that canbe rented on a month-to-month project basis.
Enhancements in DMOD WorkSpace 3.0 include: no desktop softwaredownloads, installations or complicated security configurations; thenew features are instantly available to all users via the browserinterface; latest Web-enabling technologies such as Java and PHP, ascalable Web server database and integrated QuickTime support; andflexibility for customization to support co-branding or function-basedusage, such as “Send Only” or “Receive Only” browser interfaces.
Pricing for DMOD WorkSpace Version 3.0 ASP averages $3,500 per monthfor 10 users, with no additional charges and unlimited 24×7 use. Atypical DMOD WorkSpace Version 3.0 enterprise solution averages $60,000per year for one server and 50 users. Both solutions come with anintroductory offer of a 30-day money-back guarantee. Maintenance andsupport are additional. DMOD products support Microsoft Windows2000/XP, Apple’s Mac OS X and Linux platforms.
In other DMOD news, the company and Activated Content Corporation, aprovider of watermarking and other audio technology service offerings,announced a strategic relationship to more tightly secure the musicproduction process from pre-release piracy.
Under the terms of the agreement, the two companies will market andsell a bundled offering of the DMOD WorkSpaceSM ASP-hosted service andActivatedAudio” Watermarking Suite—effectively, offeringencryption, digital-rights management and watermarking features in onepackage. The DMOD/Activated Content bundle is available now.
For more information, visit DMOD at www.dmod.com.
Le Mobile Keeps Truckin’ Despite Servicing
At the same time that one of Le Mobile’s truck was on its was toreceive a complete engine transplant, company owner/engineer GuyCharbonneau was seated behind the Neve console in the truck, mixingtracks for a television special starring country music luminary KennyChesney.
After 25 years and nearly a half-million miles, Le Mobile’s enginewas ready for major servicing. However, in keeping with Le Mobile’smaintenance philosophy, Charbonneau eschewed a partial rebuild andinstead opted for an all-new replacement under the hood.With solidbookings looming ahead, and a desire by Chesney to mix in the samefacility that had recorded the tracks, Charbonneau looked for a way tokeep his truck working while this major “engine surgery” wasunderway.
“I asked Doug Case at G&R Truck Repair if he could install thenew engine right here in the garage at Le Mobile headquarters,” saidCharbonneau. “He said he could do it, though making some of theconnections did require a certain amount of gymnastics.”
The brand-new engine—a 325-horsepower, turbocharged DetroitDiesel—is the latest in a series of recent mechanical upgrades tothe remote truck. Within the past year, Le Mobile also has received newchrome equipment compartments and a fresh coat of glossy blackpaint.
During the diesel transplant procedure, Charbonneau continued mixingtracks that were recorded by Le Mobile at a concert in Knoxville,Tenn., on June 7. Dubbed The Back Where I Come From Party, theconcert—recorded at Neyland Stadium before over 60,000fans—will be featured in a broadcast special scheduled to air onCMT later this year. Charbonneau also completed pre-production work forpossible future DVD (5.1 surround) and CD releases.
For more, visit Le Mobile online at www.lemobile.com.
Olympic Studios Adds Two New Rooms
London’s Olympic Studios has continued its expansion plans at theBarnes facility by adding one new programming/pre-production room and asmall studio, increasing the total number of client suites to six.
Top record producers Stephen Street (Blur, The Smiths/Morrisey, TheCranberries) and Cenzo Townshend (Skin, Lightning Seeds and U2) havemoved into the larger suite, which boasts an adjacent overdub booth forvocals or guitars. Working on an Audient desk and recording to RADARand Pro Tools|HD, they have also incorporated a host of vintageoutboard equipment.
The second suite, dubbed “The Green Room,” is available for leaseand is currently housing a few short-term projects.
Siobhan Paine, Olympic Studio’s manager, said, “We are thrilled thatStephen and Cenzo are joining us here, and with the multitude ofstudios and mix rooms available at Olympic, the two new rooms add anextra dimension to the services we offer. Projects can make an easytransition from programming to production all under one roof.”
For more, visit www.olympicstudios.co.uk.
Soundtracs Launches New Web site
Soundtracs announced its brand-new Web site: www.soundtracs.com.
The new site, which opened with the newly launched DS-00 digitalmodular post-production and broadcast mixing system, features moredetailed product information, greatly improved navigation and visualdesign, and full technical support contacts.
Also included are the complete range of Soundtracs’ digitalconsoles, worldwide distributor listings, downloadable technical PDFsand details of trade shows where Soundtracs will be exhibiting.
Marketing director Dave Webster commented, “The pace of productdevelopment at Soundtracs continues to accelerate and we havecompletely redesigned the Web site to reflect this. People can access alot of information in a clear and easy-to-access format.”
Adobe Launches Audition
Adobe Systems announced Adobe Audition software, a completemultitrack recording studio for Windows-based PCs. Previously namedCool Edit Pro 2.1, this award-winning product was acquired fromSyntrillium Software in May 2003.
Delivering advanced audio mixing, editing, mastering andeffects-processing capabilities, Adobe Audition is a professional-levelaudio tool that allows users to edit individual audio files, createloops, import more than 45 DSP effects and mix up to 128 tracks. “Theintroduction of Adobe Audition into our digital video product family isan important step in providing a complete, high-performance workflowfor video professionals,” said Bryan Lamkin, senior VP of digitalimaging and video products at Adobe. “Going forward, Adobe Auditionwill continue to provide the advanced editing capabilities professionalaudio editors and musicians expect, while delivering close integrationwith the entire Adobe digital video product line.”
Audition provides a fully integrated audio editing and mixingsolution for music, video, radio and sound design professionals withintegrated multitrack and edit views, real-time effects, loopingsupport, analysis tools, restoration features and video support. Usersbenefit from real-time audio effects that allow them to hear changesand track EQ instantaneously. Flexible looping tools and thousands ofhigh-quality, royalty-free music loops are included to assist insoundtrack and music creation. In addition to support for .WAV, .AIFF,MP3, MP3PRO and WMA, can handle files with bit depths of up to 32-bitand sample rates in excess of 192 kHz.
Adobe Audition for Windows 98/2000/XP is expected to ship in theU.S. and Canada by the end of August 2003. Adobe Audition will beavailable for an estimated street price of U.S. $299. Registered usersof previous versions of Cool Edit Pro can upgrade to Adobe Audition foran estimated street price of U.S. $99; Adobe plans to offer a freeupgrade from Cool Edit Pro 2.x to Adobe Audition.
For more information, visit www.adobe.com/audition.
Summer NAMM: New Mic Clamp for Evolution E 604 Microphone
Responding to suggestions from the drumming community, Sennheiserintroduced the new and improved MZH 604 drum-mounting microphone clampat Summer NAMM 2003. The rim-mounting system, which has been designedfor the Evolution 604 drum microphone in consultation with a number ofdrummers, replaces the older MZH 504.
The clamp redesign has fine-tuned the previous version to ensurethat the E 604 microphone may be optimally positioned on any drumheadwithout the risk of the mic being struck by an errant drumstick.Featuring a new straight upright bracket that prevents the microphonefrom projecting too far into the center of the head, the new MZH 604 isavailable separately, allowing users to upgrade to the new version ifthey are already using the E 604 or the older MD 504 drummicrophones.
For more, visit www.sennheiserusa.com.
Cakewalk Announces VST Adapter 4.3.1 Patch
At Summer NAMM 2003, Cakewalk released a free 4.3.1 patch for theCakewalk VST Adapter, which allows access to hundreds of availablefreeware and shareware VST effects plug-ins and VSTi software synthsreadily available on the Internet. Additionally, Sonic Foundrycustomers can now use the Cakewalk VST Adapter to extend their studiosto include VST audio effects.
Earlier this year, Cakewalk acquired FXpansion’s VST adaptertechnology, which offers sample-accurate timing, full support for thelatest DXi and VST plug-in specifications, MIDI and DX8 envelopeautomation, and full preset-management implementation.
The Adapter is now available; registered Cakewalk VST Adaptercustomers can download the 4.3.1 patch for free at www.cakewalk.com.The Cakewalk VST Adapter download is available for $59 U.S. RegisteredSonar customers can purchase the Cakewalk VST Adapter for $39; there isa free upgrade for all registered FXpansion VST-DX adapter users.
DMT Rentals Offers Super Pro Tools|HD System for ‘Radio’Score
Leading music scoring mixer Simon Rhodes (A Beautiful Mind,The Mask of Zorro, the Harry Potter film, Angela’sAshes) once again turned to DMT Rentals for the high-precisionrecording systems used to capture James Horner’s lilting musical scorefor Revolution Pictures’ Radio, starring Cuba Gooding Jr. and EdHarris. Rhodes specified several Pro Tools digital audioworkstations—including a custom-designed DMT Super Pro Tools|HDSystem—while working at Todd Scoring, Studio City, Calif.
The DMT Super Pro Tools|HD System comprises a combination of eightchannels of Pacific Microsonics Model Two AD/DA converters working at192 kHz and 40 channels of Genex Audio GXA8 A/D converters running at96 kHz, with 40 channels of DMT-customized dB Technologies “Blue”M.DA824 24/44-96 units for D/A conversion. “We also used[DMT-customized] Prism ADA-8 8-channel, 24/96 A/D converters on themain 6-track surround mix,” said Rhodes.
The DMT Super Pro Tools|HD System captured a 100-piece orchestra andvocals from India Irea, a second 64-track/96kHz system replayed varioussynthesizer overdubs and related elements, while a third recorded themain 5.1-mix bus outputs that will be delivered to the dubbing stage.”I was very impressed with the sonic performance of DMT’s Super ProTools|HD System,” Rhodes said. “Digital has come of age at last withthe advent of this system. In terms of outstanding audio quality andtechnical advances, DMT has really taken command of the high ground.The company is continually pushing the standard formats to make themfully accessible to the scoring industry.”
“Our custom-developed Super Pro Tools|HD System,” said DMT Rentalspresident Doug Botnick, “bypasses the normal Digidesign converters,operates at mixed sampling frequencies and combines all systemcomponents in a fully integrated rack-unit.”
To record the score, Rhodes used a conventional Decca Tree array ofhis five favorite Neumann M50 microphones as his main orchestralpickup, plus two AKG C 12s as string outriggers, two [B&K/DPA]4006s as dedicated surrounds and a Neumann KM130 as a dedicated “boom”mic, plus omnis on woodwind and cardioids on the other instruments.Various Messenger, Millennia and Avalon mic preamplifiers are featuredin Rhodes’s equipment array.
Normally based at Abbey Road Studios in England, the Radioscore was the first session in the United States during which Rhodestracked an orchestra to digital, using Digidesign Pro Tools and iZTechnology RADAR 24 hard disk as backup. “While I have used variousdigital systems in England, this is the first time I have been exposedto DMT’s high-tech systems. The company is really pushing out theboundaries of quality for scoring mixers and providing us with highlyaccessible tools.”
For more, visit DMT Rentals on the Web at www.dmtrentals.com.
Swiss Studio Hosts Top Acts
Swedish mix engineer/producer Niklas Flyckt,who owns Khabang private studio, recently installed an SL 9000 J SeriesSuperAnalogue console and has been hosting top acts such as Amy Studt,Britney Spears, Clay Aiken and S ClubÕs Rachel Stevens.
A mixer for 22 years with an establishedinternational reputation, Flyckt has spent the past 10 of them atKhabang, a studio built on top of a former psychiatric hospital in thesouthern part of Stockholm. In the control room, the 56-channel consolereplaced a Neotek desk. ÒWeÕre incredibly busy here,ÓFlyckt said, Òand I wanted a console that would satisfy theincreasing demand for high quality, as well as the ability to cope withan arduous workload. IÕm very familiar with SSL, having used an SL4000 Series for recording and mixing on manyoccasions.Ó
Used primarily for mixing, FlycktÕsstudio also features an 80-square-meter live area and an isolationbooth. A string of international hit albums and singles including, mostrecently, Dannii Minogue (Put the Needle on It), Ms. Dynamite (Put HimOut) and Sophie Ellis Bextor (Get Over You).
For more, visit www.solid-state-logic.com.
Broadjam Releases MetaJam
Broadjam Inc., a provider andlicensor of Internet-based search tools and metadata for theprofessional music industry, announced that it is now shippingMetaJamª, a desktop software application that allows bands andartists to manage and promote themselves, as well as distribute theirown music.
Using BroadjamÕs proprietarySong-Management System, MetaJam delivers metadata management toindependent musicians. Musicians can organize their songs, photos, gigsand events; build their own Web site and press kits; and batch uploadtheir music to the Internet. MetaJam also allows musicians to providepotential licensors with their proper information, whether for film,television, advertising or recording purposes.
ÒThe feedback on MetaJamÑfromartists, recording industry executives, retailers and Internet musicsitesÑhas been overwhelmingly positive,Ó said industryveteran and company founder Roy Elkins. ÒEveryone weÕve shownit to immediately gets it and sees that it successfully addresses ahuge need in the music industry.”
MetaJam has a MSRP of $199. The initialproduct is designed for the Windows platform, with a Macintosh OSversion to be released shortly after. For more information aboutMetaJam, visit www.broadjam.com.
Trillium Lane Offers Oversampling Digital Meter for ProTools
Trillium Lane Labs announced TL MasterMeter, a digital metersoftware, for the Digidesign Pro Tools platform.
TL MasterMeter digitally models the same conversion process thatoccurs inside the D/A stage of a consumer CD player, allowing mixingand mastering engineers to identify potential intersample peaks andensure that a final mix will not create undesirable digital clipping byproducing peaks that exceed 0 dB.
“Industry trends are demanding louder and ‘hotter’ mixes andmastering than ever before,” said Jared Vogt of Trillium Lane Labs. “Weare excited to announce the first plug-in for Pro Tools that enables anengineer to model how digital mixes are reproduced on a CD player, anduse that knowledge to avoid distorted mixes and deliver the bestpossible audio quality.”
TL MasterMeter features 2x, 4x and 8x oversampling DSP models anddisplays both regular and intersample peaks. A sample-accuratehistorical peak list allows an engineer to identify peaks anywhere in aPro Tools session. Peak lists can be saved to the clipboard for laterreview.
Trillium Lane Labs released a white paper outlining how digitaldistortion occurs and how oversampling meters can help engineersproduce better mixes. The white paper is available for download from www.tllabs.com.
TL MasterMeter is available for Pro Tools 6.x on Macintosh OS X, andhas a MSRP of $199; it is also available in a bundle with TL Metro andTL InTune for $349. Further information and free seven-day downloadabledemos are available from the company’s Web site.
TL Audio Adds to Ivory Series
The latest addition to TL AudioÕs Ivory 2 Series is the 5000Valve Condenser Microphone and Preamp, which starts shipping thisSeptember.
The microphone comes with its own matched power supply and preampunit; boasts a 1-inch, dual gold diaphragm; and offers nine variablepatterns, including omni, cardioid and figure-8, along with sixintermediate stages. Both low-cut filter and 10dB pad switches are alsoprovided on the microphone, and an elastic suspension mount and foamwindshield are supplied as standard.
The 5000 microphone comes with TL AudioÕs matching power supplyand preamp, which allow users to benefit from a first-class, discretemic preamp stage. The power supplyÕs output includes the heaterand 200-volt DC supply for the microphoneÕs internal 12AT7 triodevalve, while the preamp stage offers control of input and output gain,phase reverse and output level metering. The preamp provides a balancedline-level output on XLR, although this output can also be switched tobypass the preamp stage.
A separate monitor output is provided on 1/4-inch jack, and theoptional DO-2 digital output card can be fitted, providing a 24-bitS/PDIF output switchable between 44.1 and 48 kHz, along with anexternal wordclock input. “Link In” and “Link Out” sockets on thepreamp allow a stereo pair of mics to be set up and outputted digitallyon a single DO-2 card.
For more, visit www.tlaudio.co.uk.