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Mix News for December 2002

Threshold Opens New Mastering Suite

Construction on Threshold Sound + Vision's (West Los Angeles) newmastering suite is almost complete, and preliminary work on the new MixRoom has begun with designer George Augsperger and contractors BlairConstruction. The Mix Room will feature Threshold's beautifullyrestored vintage Neve 8078 and have full surround capabilities. The MixRoom is set for a February opening and a party is in the works.

Threshold has also been busy with recent music and video projects.On the audio front, chief mastering engineer Stephen Marsh completedfinal mastering for Terri Lyne Carrington's Jazz Is a Spirit,which features the talents of Herbie Hancock and Kevin Eubanks, amongothers. The album was released last month on the ACT music label.Mootroo/Interscope artists Campfire Girls also mastered theirlong-awaited Delongpre with Marsh at Threshold. Recent videoprojects include a series of Alanis Morrisette TV spots promoting hernew DVD Feast on Scraps for Maverick Records with videomastermind Mikey P. In with editor Marc Schrobilgen was director DanielEzralow and producer Ian Point posting a music video of  "Gira ConMe Questa Notte" for Warner Brothers artist Josh Groban.

Visit Threshold online at www.thresholdsound.com.

Endless Noise Creates New Nike Spot

Award-winning commercial music and sound design company EndlessNoise (Los Angeles) announced details of its music composition,arranging and production work for the new Nike Golf Ball Go Far SuperSoft TV Series of television spots, which were directed by Gary Noltonfor Limbo Films and produced for Wieden + Kennedy in Portland.

The first of the spots debuted on the Golf Channel and ESPN onNovember 20, with more scheduled to air during sports programmingduring the next few months.

For this third extension of the "Ball Go Far" idea, which was created by project creative director and copywriter Jim Riswold,Endless Noise's creative director Jeff Elmassian composed originalmusic for duets that treat the phrase "Super soft ball go super far."For the campaign's three spots, the talents of former Monkey Davy Joneswere aligned with British rock icon Marianne Faithfull for "PostModern," legendary blues/rock guitarist Dave Edmunds was reunited withfrequent collaborator and deep-rooted country-western artist CarleneCarter for "Rockabilly," and Michael Jackson collaborators SiedahGarrett and Dorian Holley teamed for "Afro-Vegas."

During recording, only Garrett and Holley appeared in the samestudio (L.A.'s Westlake Audio) to record their performances. Jones'performance was recorded at West Palm Beach's Saturn Sound Studios,while Faithfull was connected via ISDN to L.A.'s The Complex Studiosfrom Studios Guillaume Tell in Paris. Edmunds was recorded at CapitolStudios in Hollywood, while Carter's ISDN feed from Audio Productionsin Nashville was recorded at Westlake Audio. The mixes came together inWestlake Audio's Studio D, The Complex Studios' Studio B and CapitolStudios Studio A.  For "Post Modern," musicians included AndyRehfeldt on acoustic and electric guitars, Mike Valerio on electricbass and Jimmy Paxson on drums. In addition to Edmunds' guitar work on"Rockabilly," Rehfeldt also played acoustic and electric guitars, NickAriando played accordian and Paxson played drums. "Afro-Vegas" againfeatures Paxson on drums, as well as Rick Baptist and Wayne Bergeron ontrumpets, Tom Evans and Brandon Fields on sax, Alex Iles on tromboneand Tom Evans on clarinet.

The musical pieces were composed and produced around Jim Riswold'slyrics by Jeff Elmassian and arranged by Andy

Rehfeldt and the rest of the Endless Noise team at their L.A.-

based studio. Key contributors included producer Kacy Palmieri,orchestrator Chris Guardino and engineer Barry Goldberg. In addition toJim Riswold, Wieden + Kennedy's project team also included art directorTim Hanrahan, producer Ben Grylewicz and account executive EricGabrielson. For production company Limbo Films, Pamela Standley servedas line producer.

Portland-based Joint Editorial's Corky Devault edited the

spots with the assistance of post producer Patty Brebner. Visualeffects and titles were supplied by Portland's Downstream digital andA52 in Los Angeles.

For more, visit www.EndlessNoise.com.

Sony Music Studios (New York) Selects Neve Console

Sony Music Studios New York recently installed an 84-channel Neve88R analog console in its Studio B. It will be used for surround mixingon Super Audio CD, music recording and feature film mixing. Inaddition, an archive of existing material will be remixed from itscurrent analog form to Super Audio CD on the 88R.

"The 88R has been optimized for surround from its initial designphase," said David Smith, VP of engineering at Sony Music. "It has agreat versatility of operation in surround, with subgroup capability,stem management, surround panning, routing and monitoring capabilities.We've always had great experiences with our VR console, and this is asonically improved VR. I'm confident of its future success at SonyMusic Studios."

AMS Neve Eastern regional sales manager Gerard Fiocca said thisabout the effect the 88R will have on East Coast feature film and musicmixing: "The 88R has already been very positively received in the U.S.market, where it has proven its sophistication and sonic brilliance atpremiere studios like Conway Recording and The Village. With the 88Rnow headed for Sony Music Studios, our A-list clientele will continueto grow, not only on the East Coast, but worldwide. This console joinsour roster of fully booked 88Rs already mixing at PLUS XXX Studios inParis, Sony Music Entertainment in Tokyo, Sphere Studios in London andStudios 301 in Sydney."

Air Studios in London and Chalice Studios in Los Angeles have alsorecently selected the Neve 88R.

For more, visit AMS Neve online at www.ams-neve.com.

Steinberg Intros HALion String Edition, Volume 1

HALion String Edition Vol. 1 is Steinberg's first complete stringorchestra for computer-based music production in the form of acomprehensive string library, as well as a versatile virtual instrumentfor VST and Direct X systems such as Cubase SX, Cubase SL and Nuendofor the Mac or PC. The eight double basses, 10 cellos, 12 violas and 16violins provided offer a solid foundation to create the next Hollywoodsoundtrack or a classic rock symphony.

HALion String Edition Vol. 1 is a complete string orchestra with a5GB sound library that comes with an integrated player. Well-knownmusician and composer Claudius Bruese, who made an importantcontribution to the development of the legendary VST piano, The Grand,co-produced the HALion String Edition.

Features include: complete orchestral strings; playing styles suchas legato, tremolo, pizzicato or spiccato; suitable for all forms ofmusic, from classical to popular; warm and defined tones, as well asperfectly balanced bow sounds; expressiveness, full dynamic range andup-and-down bowing; and natural room ambience and authentic notedecay.

HALion String Edition Vol.1 is now available for $299 MSRP. Furtherinformation on HALion String Edition Vol. 1 can be found at www.steinberg.net.

System requirements for PC: Windows PC, minimum Pentium II 400MHzprocessor or comparable AMD processor; minimum 256 MB of free RAM (512MB recommended;, free hard disk space of 5 GB; Windows 98/ME/2000/XP;Cubase VST 5.1 or higher, Cubase SX/SL, Nuendo or other VST 2.0 orDXi-compatible host application; and PC configuration according to thehost application.

System requirements for Mac: minimum 500MHz/100MHz bus; minimum 256MB of free RAM (512 MB recommended); 5 GB free hard disk space; Mac OS9.x or OS X Version 10.2; and Cubase VST 5.1 or higher, Cubase SX/SL,Nuendo or other VST 2.0 or DXi-compatible host application.

Digital Bear Entertainment Revamps Image

As part of its recent expansion, Boston-based production andartist-development company Digital Bear Entertainment has a new companylogo, a completely revamped Website and acquired new studioequipment.

During the past five months, DBE has added several new staff membersand created an innovative talent scout program. The company is nowoffering new services including fee-for-service production andrecording for the first time in DBE's history. A whole host of new gearis being added to the studio to improve its recording capabilities andto accommodate the increase in business, including a new Yamaha 02R96mixing board, several Summit and Millennia preamps, AKG C12 microphonesand an upgrade in recording software. As a result, the facility will beable to track larger ensembles and accommodate a wider base of clients.To mark these exciting changes, a new logo is being adopted alongsidethe new site by the end of this month.

"After all of the changes we've been making, we want our clients tofeel our evolution. The new logo is more modern and sleek, but stillkeeps the friendliness and warmth that people associate with us," saidcompany president Jordan Tishler. "Digital Bear Entertainment hasalways been a great company doing outstanding work. We've always takena very boutique approach to it, but since we're growing, we want thesechanges to reflect our higher profile."

For more, visit digitalbear.com.

Airshow Mastering Releases SACD Guide

Airshow Mastering (Boulder, Colo.) has published a comprehensiveguide on producing Super Audio CDs (SACDs), The Artist's andProducer's Guide to SACD. Intended to help artists and producersmake optimal use of the high-resolution format, the guide is availablefor free at the Airshow Website, www.airshowmastering.com/sacd.html.

"We saw a need to help producers understand how making an SACDdiffers from making a CD," said David Glasser, Airshow's chiefengineer. "Quality control, getting reference discs for approval, themanufacturing timeline and even test pressing are some of the importantthings that are different. Plus, there are entirely new dimensions ofmultichannel audio, text publishing and authoring. So, we combined theexperience of our engineers with that of our SACD clients to produce asoup-to-nuts guide to creating SACDs."

Airshow has released 80 SACDs to date, including a surround reissueof Mike Oldfield's Tubular Bells, as well as mastering SACDreleases for the Telarc, Delos and Groove Note labels. In 1999, Airshowwas one of the first studios worldwide to install Sony's Sonoma DSDworkstation, and has continued to beta test new DSD and SACD productiongear. Airshow plans to update the guide as new equipment appears on themarket.

Producer/Engineer Bill Smith Favors Summit Audio

Grammy-nominated engineer/producer Bill Smith--whose 20-year-pluscareer has seen him working with Yes, Toto and John Fogerty, DianaKrall, Barbra Streisand, and many others--has come to rely on theSummit Audio TLA-100A classic tube-leveling amplifier and the MPE-200processor to achieve balance, clarity and efficiency whenrecording.

"First and foremost for me is sound quality," said Smith. "I loveSummit's sound. Their products are in almost every control room. TheTLA-100A has the same style and characteristics of an old tube-stylelimiter, but with a sound unto itself.

"The quality of the Rupert Neve Class-A preamps in the MPE-200 isfantastic," Smith continued. "That combined with 4-band EQ per channel,switchable peak-shelving, variable-Q settings and a host of othergoodies make this a very versatile piece of gear.

"One of the best things about the MPE-200 is that it is a digitallycontrolled analog unit. It gives you the ability to store presets, andI am really enjoying that a lot. This way, I can recall my EQ andpreamp levels without having to notate everything on the dial with anassortment of colored markers. This saves me time and, in reference tothe cost of studio time, it also saves the client money. Anotherfeature that I love about the device is that the digital controls allowme to leave the unit out in the live room. This means that I can run ashorter cable from the microphone to the preamp, which gives me animproved signal-to-noise ratio. At that point, I can control anyparameter on the unit via MIDI from the control room without having torun out there every two minutes. The MPE-200 basically gives me a40-foot arm."

For more on these products, point your browser to www.summitaudio.com.

ATC SCM20s Monitor "The Ring" Trilogy

John Kurlander, who signed on last year to record the score for NewLine Cinema's The Lord of the Rings motion-picture trilogy,recently completed sessions in England for the highly anticipatedsecond part of the Middle Earth saga, The Two Towers. In orderto maintain the consistency of the music score throughout the series,Kurlander reported that very little was changed from the scoringsessions for the initial installment, The Fellowship of theRing, including the choice of venues for the orchestral recordingsand the choice of audio equipment, which once again included a set ofportable ATC Loudspeaker SCM20A active near-field monitors.

The principal recording venue this time around was once again CTS inLondon. The new CTS Studio, a semi-permanent setup in Watford Town Hallin the Northwest suburbs of London, utilized much of the company'sequipment from its now defunct Wembley location. Although the studioowns a 5.1 ATC monitor system--which includes three SCM150s for LCR,two SCM20s for surrounds and SCM 0.1/15 subwoofers--Kurlander chose touse his own personal system at CTS and for additional scoring sessionsat AIR Lyndhurst and Abbey Road.

"My three monitors traveled with us wherever we went," saidKurlander. "I just used the sub and surrounds of whatever room we werein. Because so many people needed to be in the control room, that toconserve space we didn't install the CTS LCR system at all. My threemonitors sat on the top of the desk: We had some special tables madefor the AMS Neve Capricorn and my 20A's matched in really well withCTS' ATC surrounds and subs."

Kurlander was also concerned that directors and producers of bigaction movies like The Lord of the Rings would demand to hearthe score "very big and loud on a heavy-duty system. But that hasn'tturned out to be the case. Filmmakers realized it isn't just thetheatrical experience but also DVD. If it sounds that good on anear-field 5.1 system and they know it is translating well onto the dubstage, then they can relate to the music and its vital relationshipwith dialog and effects."

ATC Loudspeakers are distributed by Transamerica Audio Group, whichcan be found online at www.transaudiogroup.com. Check out the January 2003issue of Mix for a more in-depth look at sound for the secondinstallment of The Lord of the Rings.

Future Sonics Offers Wireless Package Deal

Future Sonics (Pineville, Pa.) announced a special limited-time"PowerPack" offer that includes the latest universal-fit professionalmonitor earphones, Future Sonics Ears (model EM3) and a product"bundle" for ease of use and affordability for most performers.

Future Sonics' PowerPack contains two sets of Future Sonics Earsuniversal-fit monitor earphones, one Sennheiser Evolution Series 300wireless system, two Future Sonics Ears carrying cases, and twouniversal-fit foam-sleeve sample packs, all priced at $799(approximately a $1,800 retail value).

The offer is valid for direct orders only via its Website at www.futuresonics.com or the toll-free customerphone number at 877/FSI-EARS. Orders must be received by March 1,2003.

Chalice Recording Opens, Installs Neve Console

Chalice Recording Studios (Los Angeles) recently opened its doorsand immediately put an 84-input Neve 88R console to work. Though ownerBen Tao sees his new 7,000-square-foot facility primarily catering toR&B artists, he welcomes all projects. The first act to use theconsole was From Zero, a nu-metal band signed to Arista Records.Producer/engineer Warren Riker spent two weeks mixing the album inStudio B, for an expected release late this year.

"The 88R was fantastic," said Stacey Dodds, manager of technicaloperations at Chalice Recording Studios. "Nothing out there sounds likeit, and the automation system was easy to bring up and get onto withouthitting a huge learning curve. It's a superb console in every sense, aclassic blend of that rich old Neve sound, modern features and instantrecall."

The new desk, with a 33609 compressor, is the centerpiece ofChalice's 1,200-square-foot Studio B, an exotically appointed spacewith rich fabrics and deep-stained walnut trim. Designed by Gary Starr,Studio B provides an abundance of outboard equipment.

For more, visit the 88R online at www.ams-neve.com or Chalice Recording at www.chalicerecording.com.

Hit Factory Orders Third SSL XL

The Hit Factory (New York City) purchased its third Solid StateLogic XL 9000 K Series SuperAnalogue Console for Studio 3. The growingdemand from The Hit Factory's clients reinforced the decision topurchase the console, which adds to the recently installed XL 9000s inStudios 6 and 7.

"Obviously, we believe in the product if, in less than nine weeks ofpurchasing the first two, we are already buying a third," said TroyGermano, CEO of The Hit Factory. "Our clients love the console, thespeed of the mixing features and its inherent SuperAnalogue sound,which were major factors in our purchasing decision. Anothersignificant reason was SSL's announcement at the AES Convention of theconsole's ability to export mixes back to the J Series, which now givesus true compatibility between all six 9080 J and XL 9000 rooms.

"After Studios 6 and 7 opened with the two SSL XLs in them, we soonrealized the need to start changing the Js to XLs, and this purchase ofa third XL console is the next logical step."

Studio 3 is primarily used for stereo mixing and 5.1 projects, andGermano believes that the new XL 9000 K will be as successful in Studio3 as it is in the new Studios 6 and 7. Studio 3's console change-overwill begin late this month, and the room plans to open on January 6,2003.

For more, visit SSL online at www.solid-state-logic.com.

MIDI Celebrates 20 Years

The MIDI Manufacturers Association (MMA, Los Angeles) announced that a MIDI 20th-anniversary celebration will be held at theWinter NAMM music products show, January 16-19, 2003, in Anaheim,Calif. The MMA promotional activities will be based in Booth 1385 inHall E of the Anaheim Convention Center.

The event will include a silent auction of new and "vintage" MIDIgear (donated by MMA members) used by famous artists, as well asproduct give-aways and 20th-anniversary memorabilia. MMA members arealso providing MIDI productsfrom keyboards and lighting rigs to cellphonesto display at the booth.

Sponsors include: Yamaha and Korg (Platinum); Cakewalk and Edirol(Gold); Analog Devices, BitHeadz, MadWaves and Steinberg (Silver); andpromotional partners NAMM, Music Player Group and GilesCommunications.

"Our goal in celebrating this milestone is to really highlight thecommercial impact that MIDI has had on the music products industry,"said James Grunke, event program director. "We want manufacturers anddealers alike to be aware of the benefits MIDI technology offers as weall strive to create new music makers, and to show everyone the newmarket opportunities that arise as MIDI continues to develop andthrive."

Proceeds from the auction will help fund MMA initiatives to increasethe market for music makers. Interested parties who want to learn moreabout the MIDI 20th Anniversary Celebration at Winter NAMM can contactMMA program director James Grunke at 408/828.0993 or by e-mail atmapleinc@earthlink.net. For more information about the MMA, visit www.midi.org.

Advantage Audio Installs Studer Vista 7

Advantage Audio Post-Production (Burbank, Calif.) has recentlyupgraded both of its studios to include Studer Vista 7 digital mixingconsole. The two consoles include 40 faders each and both are equippedwith two empty bays, one at each end of the consoles. Both studios wereput into commercial operation immediately after the installation of theconsoles.

The upgrade to the Vista consoles was part of an overall expansionof Studio A and Studio B recording stages. Four enlarged Pro Tools|HDsystems and a RADAR II recorder in each studio are connected to theVista 7.

For more, visit www.vista7.com.

Euphonix Presents "Digital Transition" Solutions at SBEMeetings

Miami was the latest stop on the Euphonix Max Air Broadcast Tour,where solutions to help broadcasters make the transition to digitalwere discussed at the local Society of Broadcast Engineer's (SBE)meeting by Euphonix representatives.

Euphonix has partnered with other audio and video manufacturers tocreate an integrated broadcast-operation vehicle that demonstrates thelatest in digital-broadcast technology. Main sponsors include Accom,Miranda and Pioneer; other sponsors include 360 Systems, Clear-Com,DK-Audio America, Dolby Laboratories, Genelec, NVISION, TC Electronic,TerraSonde and Wohler Technologies. In some cases during the SBEpresentations, the tour sponsors will be available to give a shortpresentation on the transition to digital along with Euphonix.

"This was our seventh presentation of our ideas about the transitionto digital audio at SBE meetings," said Andrew Wild, VP of marketing atEuphonix. "We have about 20 more demonstrations planned across the U.S.through March, ending up at the NAB show in Las Vegas. We feel thatEuphonix has a lot to offer broadcasters on the audio side of theequation."

The presentations to SBE meetings are part of the 37 U.S. city MaxAir Broadcast Tour, offering engineers hands-on experience with newdigital audio and video technology. The Max Air digital broadcast audioconsole is the centerpiece of the demonstration and was designedspecifically for regional TV and on-air news applications. Max Airbuilds on the System 5's DSP, redundancy and I/O technology, whileoffering a new, lower cost-control surface.

Upcoming SBE meetings that Euphonix will attend include Birmingham(Wednesday, December 19, 2002); Nashville (Thursday, January 2, 2003);New Orleans (Monday, January 6, 2003); and Houston (Tuesday, January14, 2003). A complete schedule for SBE meetings and other Max Airpresentations is available at www.euphonix.com/tour.

M-Audio Releases Ableton Live 2.0

M-Audio (Arcadia, Calif.) introduced Live 2, a major upgrade to itsLive audio sequencer, which provides musicians with a new creativeenvironment to record, import and arrange multiple audio loops intocomplete songs--in real time. Live 2 develops the original concept bymaking the program into a full-blown multitrack and editing suite.

In Live 2, pitch and tempo are completely malleable. Users can setor tap the tempo of audio recordings completely independent of pitch atany time during recording, performance or playback. (Live 2 also allowsrecording and editing tempo as a continuous curve.) Other featuresinclude key changes independent of tempo and application of timestretching to any kind of audio material via new algorithms.

Live 2 also allows for the user to record unlimited takes of audioon an unlimited number of tracks directly into the Arranger or Sessionview. Additions to Live's onboard processing include effects presets,new gate and redux effects, and new filter modes for the Auto Filter.(As with its predecessor, Live 2 also supports VST to extend theprogram's processing abilities.) A host of other new features include:Rewire support for seamless integration with Reason and other programs;automation enhancement; both traditional solo and pre-fader listeningmodes; input gain settings; mono/stereo selectors in Bus view; improvedfile management; and multiport MIDI reception.

New performance-related features include: refined MIDI and computerkey mapping for playing sessions; assignable scene advance andtrack-launch buttons to help navigate large sets via a MIDI controllerbox; and free assignment of all transport and tempo controls.

"We're excited to bring musicians a completely new way of workingcreatively that frees them from technology hassles," said AdamCastillo, M-Audio's marketing director, "and we think people are readyfor a program like this. Just think of how many times people have hadto re-record their tracks because they were at the wrong tempo or inthe wrong key. Live 2's ability to change those parameters on-the-flyis huge."

M-Audio is the exclusive distributor of Ableton Live in NorthAmerica, Latin America and the UK. Live 2 will be available this monthand carries an MSRP of $399. Upgrades for users of Live 1.0 through 1.5are available for $69 (download) or $89 (boxed). New users to Live 1.5or 1.0 after November 1, 2002, are eligible to download a free upgradeto Live 2.0.

For more, visit www.m-audio.com.

Sony/Tree Studios Rely on SNS A/V SAN PRO

Nashville-based Sony/Tree Studios has installed an A/V SAN PRO fromStudio Network Solutions to streamline all of the digital audio data.According to studio manager Pat McMakin (also anengineer/producer/mixer), the installation has eliminated "sneaker-net"through the ultrahigh-speed Fibre Channel networking of three Pro Toolssystems, one of which is located in a separate building.

The studio is currently working on linking the A/V SAN PRO toanother facility several blocks away via fiber-optic cable.

"Prior to the installation of the A/V SAN PRO, my assistant engineerspent most of his time moving and managing hard drives throughout thethree-room facility," said McMakin. "Now that we can access any drivein any room, my assistant engineer can go back to being an assistantengineer. Plus, with SCSI's maximum cable length of about three feet,we never would have been able to link studios that were blocks apart.But now, with Fibre Channel's ability to reach some seven miles, thatidea can become a reality."

For more on the A/V SAN PRO, visit SNS at www.studionetworksolutions.com.

Sacred Noise Composes Johnson & Johnson Campaign

Composer Peter Rundquist of music and sound-design company SacredNoise (New York City) recently wrote the score for a new two-spotbranding campaign for Johnson & Johnson.

"What mattered most was finding the musical accompaniment for thosetouching, honest moments between a mom, dad and newborn," saidRundquist. "We didn't want the score to be overly pretty or do asweeping Hollywood orchestra type of thing. I wanted to enhance theintimacy of the moments without stepping on them. The emotional aspectis captured in the visuals; it didn't need heavy-handed music.

"Because we got involved months in advance of the filming, the musicactually helped conceptualize the spots," Rundquist continued."Although our initial musical ideas evolved as the project movedforward, the involvement we had with the creative team helped make thespots great. They trusted us and our instincts to take the concepts toanother level and that's exactly what we did."

Credits include: Aaron Jaffee, composer/sound designer; Sound Lounge(New York City), audio post; and Tom Jucarone (at Sound Lounge),engineer.

Check out the clips at www.sacrednoise.com.

Les Paul Donates Custom Guitar to eBay

Legendary guitarist and innovator Les Paul has donated one of hispersonal custom Gibson Les Paul model guitars to raise funds for theUniformed Firefighters Association Widows and Children Fund. PeterOrtel, a retired New York City fireman from Rescue 3, painted apoignant September 11 scene on the guitar. Beginning today, Wednesday,December 11, through Saturday, December 21, this guitar will be up forbid on eBay. All proceeds will be donated to the FDNY fund.

A photo of the Les Paul Firefighter guitar can we seen on the GibsonWebsite at www.gibson.com/whatsnew/pressrelease/2002/sept9b.html.To bid, visit eBay.com.

Digital Audio Denmark Converters Available Through Sascom

Digital Audio Denmark (Oakville, Ontario) has announced U.S. andCanadian market availability of AD/DA converters at factory-directprices through Irving, Texas,-based Sascom Marketing Group Inc.

The fully modular, field-expandable ADDA 2408 boasts these features:8-channel 24-bit, 96kHz A/D converter, D/A converter and D/Dsample-rate converter; A/D sampling with anti-AID filter forelimination of Alias Intermodulation Distortion; digital interfacescompatible with AES/EBU, S/PDIF, TDIF, ADAT and Pro Tools; eightlow-noise microphone preamplifiers with 0.5dB/step gain control from 0to 99 dB, phantom power, +48 volts and low-cut filter; built-in8-channel digital mixer to monitor  A/D, D/D and D/A input;monitoring in L/R or M/S stereo; optional D/A outputs for 5.1 / 7.1monitoring and solo monitoring for all channels; psychoacoustic ditherselectable for A/D and D/D inputs to 16, 18 and 20-bit; 21 LED digitalpeak meters on all eight channels to monitor A/D, D/D or D/A inputs;line-input level adjustable from +12 dBu to +27 dBu; and remotecontrolled via MIDI or USB.

Visit www.sascom.com for more.

Bearsville Studios Reconfigures Operations

Bearsville Sound Studios (Bearsville, N.Y.), for the first timesince its founding over 30 years ago, is undergoing a radicaltransformation with all studio services centered around Turtle Creek.Key components that were part of the separate Studios A and B have beenreallocated to Turtle Creek with some notable exceptions, including the40-input custom Neve 8088 console, which had been built in 1977 for TheWho's Ramport Studio. The building that houses Bearsville A and B, aswell as the console, is slated for eventual sale, as the transformationinto Bearsville at Turtle Creek is made final.

This one-time barn was the brainchild of Albert Grossman, manager ofBob Dylan; Peter, Paul & Mary; Janis Joplin; Paul Butterfield andothers. Grossman also managed The Band whose Robbie Robertson and GarthHudson were involved in the creation of Turtle Creek. Muddy Waters andThe Band inaugurated it as a world-class recording facility in 1975with The Muddy Waters Woodstock Album; prior to that, The Bandrehearsed for and recorded parts of their Stage Fright albumthere the previous year.

According to Sally Grossman, Bearsville owner and CEO, "All of ourefforts are now being devoted to providing the kind of qualityrecording environment, brought up to date and sensitive to contemporaryneeds and current realities, that has always been our hallmark.Bearsville at Turtle Creek represents an innovative response to currentconditions and expectations; we're delighted to share it with thecreative community."

Housed in a century-old rough-hewn barn, Bearsville at Turtle Creekhas been outfitted with the latest Pro Tools 192k units as well tocomplement the popular API Legacy console with its rack of 16 Nevemodules, all housed in an extension of the original barn. Bearsville atTurtle Creek offers a residential recording situation with threesoon-to-be upgraded duplex units on-site, as well as livingaccommodations within Turtle Creek barn itself. The facility also hostshigh-speed Internet access, gourmet meals and a helipad. Bearsville atTurtle Creek's equipment cabinet includes vintage microphones from thevacuum tube era, classic Studer A-800 Mark 3 2-inch tape machines andthe latest cutting-edge gear. Bearsville at Turtle Creek is fullystaffed under studio manager Chris Laidlaw, who has been with thestudio for over 15 years. Other key members include full-timemaintenance guru Victor Segal and resident recording engineer BillSynan (Steely Dan, Cheap Trick, Branford Marsalis, matchbox twenty,Keith Murray, Jeff Watts).

For more, visit www.bearsvillestudios.com.

Clark Wire & Cables Lowers Price During December

Clark Wire & Cable announced that it has put its "ChristmasCable" (all analog and digital stereo cables) on sale. Visit www.clarkwc.com/specials.htm.

SADiE Retouches Grateful Dead Track

When Jeffrey Norman, mixer and mastering engineer for the enormousarchives of Grateful Dead recordings, encountered an audio glitch on arecording made in 1972 at a concert in the United Kingdom, he foundthat SADiE's CEDAR Retouch software was the solution.

The track, "The Greatest Story Ever Told," appears on theSteppin' Out four-CD album released last summer, anotherinstallment of Dead archive recordings that Norman has mixed and/ormastered. However, while working at the Dead's private studiofacility--Club Front in Novato, Calif.--on this particular track, hefound that a guitar part had bled into the piano pickup, creating asonic problem that would render the track unusable. "Usually, the way Ipan the band is the same as they would be onstage, with the piano onthe right and the guitar on the left," Norman said. "But with thisbleed, you could hear the guitar part in the piano track, and it wassmearing it in the midrange area. It really was unusable the way itwas, and it would have been a shame to lose the track."

Norman transferred the piano track along with time code onto a CD-Rand sent it to SADiE U.S. VP Gary Rosen, who applied the Retouch. "Whenit came back, it was pretty amazing," Norman said. "It had been madeusable. Without what the Retouch software on the SADiE was able to do,I wouldn't have been able to use the song.

"We do a lot of archival work here," Norman continued, "and many ofthe tapes are showing signs of needing corrective surgery. Based onthis experience with SADiE and Retouch, I would say they're leadingcontenders when the time comes."

For more, visit SADiE online at www.sadie.com.

Stephen Arnold Music Hits the West Coast

Stephen Arnold Music (Dallas), a provider of original and syndicatedmusic to television stations and TV networks throughout the UnitedStates, has expanded into the West Coast by naming Alice Smith, head ofnew business development for the West Coast.

In her new post, Smith will be responsible for directing thecompany's strategic marketing operations throughout the Western U.S.,with an emphasis on seeking new clients from the broadcast, film,production and multimedia arenas.

Regarding the company's expansion, Arnold said, "For 10 years, wehave been extremely fortunate to establish relationships with keymarketing and promotional executives throughout the U.S. from our homebase in Dallas. However, we felt that now is the time that would beright for us to expand our presence by pursuing new projects emanatingfrom the West Coast and Hollywood, including non-news-orientedtelevision programming and network IDs. Alice is the right person atthe right time living in the right place, and we are delighted towelcome her aboard!"

Prior to joining Stephen Arnold Music, Smith was director of newmedia and entertainment for SabreMark Inc. (Los Angeles).

Stephen Arnold Music/West Coast, 27439 Freetown Lane, Agoura Hills,CA 91301; 818/889-2456; www.stephenarnoldmusic.com.

DaleProAudio.com  Announces CD-R/RW Price Break

In conjunction with New York City-based www.DaleProAudio.com's newly renovated Website, itis offering a price break on the Sony CDR-W33 CD-R/RW recorder for$439.

Every CDR-W33 ships with a free CD-R media sample pack containing anassortment of blank discs.

M-Audio Releases 7.1 Sound Card

M-Audio (Arcadia, Calif.) announced Revolution 7.1, the firsthigh-definition 7.1 surround sound card providing up to eight channelsof professional 24-bit/192kHz audio with consumer-oriented features.Specs include 107dB signal-to-noise (SNR) ratio and THD rating of0.0031%, as well as an intuitive control panel that provides access tobass management, speaker optimization and input metering.

Revolution 7.1 offers outputs for up to seven speakers and asubwoofer; whereas a 5.1 format places speakers beside the listener,7.1 places them both beside and behind them for a much more immersivesurround sound experience.

Revolution includes over $200 worth of high-quality bundled softwarewith full versions of Tony Hawk Pro Skater 3, MixMan Studio, Vjay Liteand the Dolby Digital EX Version of WinDVD 4. Also included areaward-winning music-creation programs with over 100 sounds and loops,as well as a free sampler CD of music from M-Powered artists who useM-Audio products. Also included are a Dolby Digital EX DVD player andbuilt-in SRS Labs' Circle Surround II and TruSurround XT technologies.Revolution 7.1 fully supports stereo, 4.1, 5.1 and 6.1 formats, as wellas full support for Microsoft Windows Media Audio 9 Professional todeliver high-quality, discrete multichannel audio over the Internet;for gamers, Revolution 7.1 supports today's popular technologies suchas Sensaura, EAX, DirectSound and A3D.

"Revolution is the first consumer audio card to offer the samehigh-quality Circle Surround II technology found in many home theaterreceivers around the world," said Ted Franceschi, executive VP,marketing and sales. "SRS Labs is excited to partner with M-Audio inproviding PC and Macintosh users the ultimate surround sound experienceon a computer."

"Revolution 7.1 earns its name as a truly revolutionary product bysimultaneously delivering fully immersive 7.1 surround sound andamazing high-definition 24-bit/192kHz audio," said Jason Ivan, directorof product marketing for M-Audio's Consumer division. "And where mostcards sacrifice audio quality for surround sound playback, Revolutiondelivers all eight channels at full 192kHz fidelity. Listeners canfinally enjoy movies, music and games the way they were meant to beexperienced. Revolution 7.1 delivers serious audio performance andquality with ease of use designed to appeal to a wide segment of theconsumer market."

Revolution 7.1 is scheduled to ship in January 2003, and will bedistributed in major retail stores throughout North America. It will bereleased shortly thereafter in Japan and Europe. Estimated street pricefor Revolution 7.1 is $99.99.

To find out more, click on www.m-audio.com.

Kampo Sells Video Gear, Welcomes New ProductionTeam
In an effort to consolidate its efforts on audio-recording facilities,Kampo Studios has eliminated its "Audio/Video" moniker and has madeavailable for sale its entire inventory of video gear. Kampo Studioswill retain its lock-to-picture capabilities in its twostate-of-the-art SSL console-equipped studios: Studio A and StudioC.

With the renovation of Kampo's video suite into a Pro Tools suite,Kampo is proud to welcome the newly formed production team ofproducer/musician Dougie Bowne (Chris Whitley, Marianne Faithful, CiboMatto, Lounge Lizards) and producer/engineer Patrick Dillett (TheyMight Be Giants, Marisa Monte, Mary J. Blige, The B-52's, RyuichiSakamoto). The innovative pair is currently in pre-production for theforthcoming solo disc from former Soul Coughing frontman MikeDoughty.

Also in were producer Bill Laswell and longtime engineer RobertMusso in Studio C for a 5.1 surround mix for African world music singerGigi, with assistant engineer Alan Ford.

Guitarists Arto Lindsay and Marc Ribot were at Kampo with engineerPatrick Dillett laying down tracks for French artist Sebastian. Lindsaywas back in Studio A wearing the producer hat with Dillett engineeringtracks for an upcoming release from bassist Melvin Gibbs (John Zorn,Rollins Band, Sonny Sharrock) with assistant Alan Ford.

Sessions@AOL continues to bring talent to Kampo for its liveperformances and interviews. This season has seen the likes of DavidGray, Tonic, Kenny G, Ryan Adams, Shaggy, Badly Drawn Boy, The Donnas,Sean Paul, Andrea Bocelli and Lou Reed, with Kampo engineers GregThompson, Alan Ford and Michael Bowden at the helm.

Kampo engineer Michael Bowden has mixed the critically acclaimeddebut solo album History That Has No Effect (JMZ Records, www.jmzrecords.com) from Tyondai Braxton. He iscontinuing work with Braxton (who is the son of experimental composerAnthony Braxton) on his forthcoming band project. Bowden also recordedand mixed the debut from Parts and Labor, who are releasing theirBowden-engineered full length this coming spring.

New York bassist/composer Brad Jones (Marc Ribot, Jazz Passengers)recorded and mixed an as-yet-untitled forthcoming quartet album withengineer Kenji Shimoda and assistants Michael Bowden and HidekiNishino.

Check out Kampo at www.kampo.com.

Meyer Powers "Prune Danish"
Venerable comedian Jackie Mason returned to Broadway this fall for hissixth one-man show, Prune Danish, which was also a return engagementfor Christopher Cronin, sound designer for this current production, aswell as Mason's previous Broadway outing, Much Ado About Everything.For this show, Cronin chose a Meyer Sound M1D Ultra-Compact CurvilinearArray system.

Even though it's a one-microphone show, Cronin pointed out thatMason's offhand banter and quick-release punch lines made reinforcementof his voice a deceptively challenging task. "Clear enunciation ishardly Jackie's trademark," Cronin said. "Also, quick follow-up jabsare part of his style, which means he's talking over laughter. That'swhy consistent coverage and very high system intelligibility arecrucial to making this show work in a theater setting." Also on handwas veteran theater mixer Eileen Macdonald.

For the center cluster in the 1,068-seat Royale Theater, Croninspecified an array of 10 M1Ds, flown with a maximum eight-degree splayangle for even, single-point coverage of most seating areas. "The M1Darray covers from the last seat in the balcony down right up to thefifth or six row of the orchestra," said Cronin. "Also, the widehorizontal coverage is great, since you don't need multiple boxesarrayed horizontally to get your coverage."

Because the rigging position was further into the house thanoptimum, leaving some front corner seats outside the M1D's 90-degreepattern, Cronin added single UPA-1P Compact Wide-Coverage loudspeakersat each side of the proscenium. For front-fill, six MM-4 Ultra-CompactWide-Range loudspeakers were mounted on the stage lip.

"I had heard the M2D some time ago, when Peter Fitzgerald wasprepping the system in the shop for Movin' Out, and I was blown away,"Cronin said. "So when the Jackie Mason show came out, I thought thiswas the perfect opportunity to hear the new baby brothers. I checkedwith Pro Mix and found out that they were getting their first M1Ds. Iheard them there, and the next day they loaded in for our show."

John Petrafesa, manager of special projects for Pro Mix/Electrotec,coordinated the system installation and performed final alignment usingSIM System II FFT Analyzer. He also consulted with Cronin on the M1Dcluster configuration, using the Meyer Sound MAPP Online (MultipurposeAcoustical-Prediction Program): "We looked at the room and used MAPP todetermine the proper hang," Petrafesa said. "When we did the SIM-ing,the coverage pattern and sonic response were dead-on accurate."

For more, visit Meyer online at www.meyersound.com.

KVUE Austin Orders Euphonix Max Air
Austin, Texas,-based KVUE has ordered a Euphonix (Palo Alto, Calif.)Max Air digital broadcast console, which will be used for the station'slive news broadcasts.

"KVUE auditioned a lot of consoles before choosing Max Air," statedMike Franklin, Euphonix director of sales for Southeastern and CentralU.S. "Max Air has a depth of operational features that the competitionjust doesn't offer. System modularity and remote microphone preampsalso contributed to the switch to Euphonix. I feel that people are moreeducated about digital consoles today and very confident in our priceperformance offering with Max Air. That's why Max Air is taking offreally fast."

KVUE is owned by Belo, one of the nation's largest media companieswith a group of market-leading television, newspaper, cable andinteractive-media assets. Belo's Broadcast division comprises one ofthe country's largest and most successful television station groupswith 16 network-affiliated television stations, including six CBSaffiliates, four NBC affiliates, four ABC affiliates, one independentstation and one FOX affiliate.

View the Max Air at www.euphonix.com.

Steinberg to Be Sold to Pinnacle Systems
Pinnacle Systems Inc. announced today that it has entered into adefinitive agreement to acquire all of Steinberg Media Technologies'(Hamburg, Germany) stock. The companies expect to close the transactionin early January 2003 and have agreed on a total purchase price ofapproximately $24 million, consisting of $8.2 million in cash and $15.8million of Pinnacle Systems common stock. At closing, Pinnacle Systemswill acquire all products, software and intellectual property rights,along with all other assets and liabilities of the company. Pinnaclewill account for this transaction as a purchase in Pinnacle Systems'fiscal Q3, ending March 31, 2003. The company will host a conferencecall at 2:00 p.m. (Pacific Time) on December 18, 2002. The call innumber is 800/634-1569, no password required.

J. Kim Fennell, president and CEO at Pinnacle Systems said, "We aredelighted to welcome Steinberg's customers and employees into thePinnacle family. Steinberg is a recognized industry leader in digitalaudio and this transaction significantly broadens Pinnacle's digitalmedia offerings. By adding the talent and technology of Steinberg toour company, we believe we can bring our customers an even strongersolutions portfolio."

"Steinberg is pleased to be joining forces with Pinnacle Systems.Our customers and products will benefit greatly from the combinedresources of the two companies, and we look forward to bringing audioproduction expertise to the award-winning Pinnacle Systems' productlines," said Manfred Rürup, president of Steinberg MediaTechnologies AG.

Other information was not made available. Visit Steinberg at www.steinberg.netor Pinnacle Systems Inc. at www.pinnaclesys.com for more.

NFL Fox Mixer Relies on Sennheiser Mics
Michael Del Tufo, senior audio mixer for the NFL on
FOX's studio shows, is using Sennheiser microphones, transmitters andreceivers for FOX's NFL coverage since the 1994 football season.

The majority of the in-studio banter between hosts James Brown, NFLalumni Terry Bradshaw, Howie Long and Jimmy Johnson is captured withSennheiser MKE 2 sub-miniature lavalier mics; their small frame allowDel Tufo to easily hide them on FOX's on-air talent. "We hide the micson our guys, which is the unique thing about our show," Del Tufo said."So we need a mic that can be put under clothing and sound like it'sout in the open. The MKE 2 does the job and sounds totallynatural."

Del Tufo also relies on the Sennheiser Evolution E 835 to handleon-field interviews; he said that capturing high-fidelity sound is nocakewalk with the screaming fans and hustle and bustle of thesidelines. "It is the best interview mic ever made," he said. "I usethem for all the interviews in loud stadiums. I use them for TerryBradshaw's interviews on the field or in the locker room."

It was during FOX's coverage of the 2000 NFC Championship game thatDel Tufo appreciated the sonic clarity afforded by the E 835: TerryBradshaw, interviewing the victorious coach of the New York Giants, JimFasell, talked away with the mic pointed directly at Fasell instead ofhimself. Still, the E 835 picked up crystal clear audio from Bradshaw.According to Del Tufo, "It was amazing; you wouldn't even know thatBradshaw wasn't on the mic."

Regarding RF interference, Del Tufo can place his Sennheiser SK 50and SK 250 body pack transmitters, and EM 1046 and EM 3032 receivers upto 100 yards apart. "We use the RF for on-field interviews, and I haveto firmly believe it will work since I don't have a chance to hear itbefore air time," commented Del Tufo. "And 99 percent of the time, theydo!"

A three-time Emmy Award winner, Del Tufo has mixed audio for FOXSports' NFL coverage for the past four years, including all of FOX'spre-game, halftime and post-game NFL shows, as well as on-locationshows for the playoffs and the Super Bowl.

Check out the gear at www.sennheiserusa.com.

Ableton Releases LIVE Delta
Ableton, a Berlin-based music software company, announced LIVE Delta,a entry-level version of the popular LIVE program for Mac 0S 9, 0S Xand Windows that is being bundled with M-Audio's Delta Audio cards(part of the company's Maximum Audio Tools bundle). Users can upgradeLIVE Delta to the full version of LIVE 2 to gain the more advancedfeatures such as Rewire support and MIDI sync.

The Delta line includes the Delta Audiophile 2496 and the Delta1010. M-Audio's Delta cards feature high fidelity, qualityconstruction, low latency, 36-bit internal mixers and impressive driversupport.

"We are very happy to enter into such an exciting deal withM-Audio," said Gerhard Behles, CEO of Ableton. "We have been workingwith M-Audio as our distributor for the U.S. and UK market for a yearnow, and have got to know them as a company that has an amazingcustomer focus. The fact that every Delta user will now be able to playwith LIVE Delta creates a huge added value, not only for the Deltaproducts, but also for Ableton as it expands the amount of peoplegetting in contact with LIVE."

Said Adam Castillo, M-Audio's marketing director: "The ability totreat audio elastically to create entire productions in real timewithout ever hitting the Stop button is nothing short of incredible.This bundle allows musicians to explore the amazing creative freedomthat LIVE provides in the comfort of their own home or studio."

For more, visit www.m-audio.com.

Alan Lomax Named NARAS Trustees Award
Alan Lomax has been selected by the National Academy of Recording Arts& Sciences' (NARAS) Board of Trustees as one of this year'srecipients of the Academy's Trustees Award. This merit award ispresented to individuals who, during their career in music, have madesignificant contributions, other than performance, to the field ofrecording.

Anna Lomax Chairetakis will accept the award on behalf of herfather. The award ceremony will take place at the nominee banquet onSaturday, February 22, 2003, in New York City. Excerpts from theceremony will be broadcast the following night at the 45th AnnualGrammy Awards telecast.

The first releases from Alan Lomax's vast body of work issued sincehis death are the new anthology CD The Land Where the Blues Began andbook of the same name, which are drawn from his legendary trove oforiginal field recordings of rural blues, country and other Americanroots music. The disc was released by Rounder Records and the book wasreprinted by the New Press; it was originally published in 1993.

The book The Land Where the Blues Began is based on Lomax's accountsof extensive travels through the rural South in search of singers andplayers who had maintained the precious legacy of Afro-America'sdeep-rooted "folk" music traditions, unsung and unknown, includingartists like Leadbelly, Muddy Waters, Honeyboy Edwards, Son House andMississippi Fred McDowell, to name a few. The CD includes landmarkmusical performances, as well as compelling spoken material by theartists. Most of the tracks are discussed in the book and appear incorresponding order.

For more information regarding this release, or other
Alan Lomax Collection releases, please contact Howard Wuelfing atHowlin' Wuelf Media: 215/428-9119 or www.howlinwuelf.com.

Trinity Sound Company Chooses XTA SiDD, Series2
Trinity Sound Company (TSC) in Ontario, Calif., has purchased an XTA(Farmingdale, N.Y.) Series 2 C2 compressor and SiDD (SeriouslyIntelligent Digital Dynamics) multifunction signal-processing system.TSC covers music recording, live sound mixing and remote recording.

"I was looking for a product that I could use in my rack in everyapplication," said Devin DeVore, owner of TSC. "I found exactly thatwith the XTA gear. I use them in the studio, live and remote soundwork. The XTA gear gives me studio-quality processing without theartifacts you get from analog filters and VCAs. Many times, theartifacts of analog gear can mask the pure tone. What I can achieveusing the XTA gear is to capture the true tone first, and then processit digitally with far less phase artifacts or distortion to color theoriginal sound."

The XTA SiDD system has become DeVore's "kick and snare" combinationin a single box when recording and mixing music, as well as hisde-esser, EQ and a range of other processing functions. In addition,the SiDD performs well in live applications, such as processing theaudio from lavalier microphones on a recent MSNBC remote project.

Visit XTA on the Web at www.g1limited.com.

Audio Rents, Cedar Audio to Co-Host ProductLaunch
Audio Rents (Hollywood) and Cedar Audio (Cambridge, England) will hostan open house on Wednesday, January 22, 2003, to introduce Cedar's newCambridge System; Cedar's DNS 1000 will also be on display.Demonstrations will be presented throughout the day from 10:00 a.m. to5:00 p.m. and refreshments will be served.

The demonstrations and reception will be held at Audio Rents, 1541 NWilcox, Hollywood, CA 90028. Please contact Traci Bradford at AudioRents (323/874-1000) to confirm attendance and schedule a demonstrationtime, as attendance for each presentation will be limited.

Cedar's Cambridge, the newest addition to the family of audiorestoration and noise-suppression devices, is a multichannel, 24-bit,96kHz system that will remove more noise and more types of noise thanbefore, without damaging the audio or introducing unwanted side effectsor artifacts.

Now Disc Installs Otari CD-R Unit
Now Disc (Boise, Idaho), one of North America's CD-R duplicators,doubled its manufacturing capacity overnight with the acquisition of anOtari CDP-64 Large-Scale CD-R Duplication system; the installation tookplace in mid-October 2002.

Now Disc serves a diverse array of corporate, insurance, advertisingand software clients for their CD-R needs, including General Motors,FreightLiner, Hewlett-Packard and Extended Systems. In addition toincreasing manufacturing output, the CDP-64 also brought with it othereconomic and ergonomic benefits. For example, according to MikeArmstrong, director of operations for Now Disc, "We had been using fourlines of 32-bay duplication systems, which we had developed ourselves.The CDP-64 was able to interface with the same workstation we use tocreate masters; as a result, we now have double the capacity, and theentire duplication operation can be run by a single operator.

"The CDP-64 was up and running the same day it arrived, and ourstaff was ready to run it at the same time."

Visit www.otari.com to find out more on the CDP-64.

Gibson J-200 Celebrates 65 Years
This year, Gibson Montana celebrates the 65th year of the J-200alongside its 15th year of making acoustic instruments in Montana.

"The older Gibsons sound great, but the new ones already soundgreat, right out of the factory," said Tony King, who plays guitar withcountry-music artists Brooks & Dunn. "Those guys at Montana lovetheir instruments."

Kelly Jones of Stereophonics agreed: "We've been using the GibsonMontana acoustics for a while on the road now. They're very versatileand work on a whole range of different types of songs and stages."

Gibson's flat-top acoustic guitars were famous from the 1930sthrough the '60s, played by everyone from cowboy movie stars to countrymusic legends, from the Everly Brothers to Elvis. But by the mid-1980s,Gibson was near death, and the J-200s and J-45s that trickled out ofthe Nashville plant were no longer worthy of the Gibson name. Newowners Henry Juszkiewicz and Dave Berryman took over in January 1986,and immediately brought Gibson's electric guitars back to life inNashville, but the acoustic line needed something different.

In 1988, on the 50th anniversary of the J-200, Gibson began toolingup the newly acquired Flatiron mandolin company in Montana to makeGibson acoustic guitars. "Montana is a long way from Nashville, andfrom an administrative point of view, it was a very risky move to havea factory so far away," Juszkiewicz said. "But the ‘patient' wasvery sick, and the best guitar ‘doctors' were in Montana."

The J-200, which was introduced in 1938 as the Super Jumbo, remainsthe flagship model of a wide range of Gibson flat-tops made in Montana.Familiar Gibson models such as the Hummingbird, the Dove, the SouthernJumbo and the J-160E (the John Lennon model) also carry on Gibson'stradition.

For more, visit Gibson online at www.gibson.com.

Ilio Revamps Website
ILIO Entertainment (Malibu, Calif.), manufacturer and distributor oflicense-free audio sample libraries, has unveiled its new Website (www.ilio.com), featuringinfo and demos of ILIO's products, Spectrasonics Virtual Instrumentsand libraries, Sonic Reality, the Vienna Symphonic Library, as well assoftware patches and informational tools for producers, composers andremixers.

Each product features a detailed text description, including linernotes, reviews and multiple high-quality MP3 demos. The home pageprovides direct access to detailed product information, as well asonline ordering, company news and a new "Tips and Tricks" columncreated especially for the site by music writer Jim Akin.

According to ILIO principal Mark Hiskey, the new site will alsoprovide ongoing customer support, from product patches and updates toprofessional tips.

Joe Strummer, 1952-2002
Joe Strummer, frontman for the seminal British punk band The Clash,died on December 22, 2002, at his farmhouse in Somerset, southwesternEngland.

Strummer had most recently been touring with his band, TheMescaleros. Since The Clash disbanded in 1986, Strummer has dabbled infilm music (Sid & Nancy), acting (Walker, Mystery Train, Straightto Hell), sat behind the producer's desk for The Pogues and got backbehind a mic as a solo artist (Earthquake Weather, Rock Art and theX-Ray Style, Global A-Go-Go).

"Joe's more of an intuitive guitar player," engineer Bill Price toldMix ("London Calling," Classic Tracks, November 2000). "He used to bashthe living daylights out of his guitar when the song demanded it. Healso had a sort of unconscious way of damping the chord with his righthand, which used to produce this incredibly urgent, clanging andclashing sound, which I've never heard any other guitarist everproduce. Joe always played a Fender, unless it was broken, and thenhe'd play anything. Joe's strumming was so intrinsic to him that weused to do his vocals with him strumming an unplugged Fender, becauseit was the only way he could get into it. And if he didn't have aguitar there for some reason, Joe would beat his chest with his rightfist."

For more, check out the "Mix Interview" in the August 1997issue.

FirstCom Music Adds New Library
Dallas-based FirstCom Music Inc., a provider of production music viaCD and the Web, announced a long-term agreement with Noise Pump MusicLtd. to provide music for the FirstCom Music Library; Noise Pump'srepertoire will be featured in the FirstCom Music Library or theHollywoodMusic Library catalogs.

The Noise Pump series will debut in January 2003 with an initial 10volumes: New Jazz Incantation, a rarely heard combination of jazzinnovation and contemporary rhythmic structures; Dramascore, a fusionof contemporary orchestral scoring and sound design; OrchestralPhantasia, which host scenic atmospheres; The World Around Us, anorchestral suite focusing on Mother Earth; Jazz Misery In 12 Bars, afusion of contemporary styles; Spot the Difference, a collection ofambient textures with hypnotic, explorative beats and grooves; AsianBeets Culture, a new beat, new arrangements of Bollywood music/Indianpop; Technovibe, across the spectrum of house; Unload and Show Clear,vocal and instrumental ambient beats and grooves written and performedby Unloaded; and Garaged R&B Jam, urban vocals and instrumentalsreflecting our inner cities.

For more, visit www.firstcom.com.

Shakira Uses Wireless on Tour
In support of her latest album, Laundry Service, her first in English,Shakira has begun an extensive touring schedule that will take her intoNorth and South Americas and Europe. Monitor engineer on the world touris Vish Wadi; handling FOH is Robert "Cubby" Colby, aided by the ClairBrothers crew of Gene Phillips, Mike Mason and Tom Ford.

"She started with the Neumann/Sennheiser KK 105-S before I came intothe picture," said Wadi, whose has performed monitor engineering dutiesfor the likes of Sting, Lauryn Hill and Mary J. Blige. Shakira firstused the Neumann/Sennheiser hybrid microphone at VH1's Divas Las Vegas;according to Wadi, Shakira really liked the mic, and he has since beingkeeping it in his gig bag for the Latin artist.

Wadi's first introduction to the hybrid mic was when he beta-testedit with Sting during his Brand New Day world tour. "I like it; itsounds good," he said. "It's nice and breathy. It's a studio-qualitymicrophone." The hybrid pairs the new Neumann KK 105-S capsule head,based on the KMS 105 studio vocalist mic, with Sennheiser's SKM 5000 Nhandheld transmitter.

Shakira and her band are also carrying a Sennheiser Evolution 300Series wireless ear-monitor system. "When you look at the audioquality," noted Wadi, "the transmission and everything, I think thatthe Evolution 300 Series is the best ear-monitor system on the marketright now."

Wadi continued, "Altogether, including effects and stuff, I'mhandling 24 mixes on the Midas Heritage. Everybody is on ears, exceptone of the background singers; she's on wedges, she's just not anear-monitor person." Those using the EW 300 wireless system includeShakira, the two guitar players, the violin player and the drummer;everybody else is on hard-wired ear monitors.

For more, visit either Sennheiser (www.sennheiserusa.com) or Neumann (www.neumannusa.com).

Wave Arts Drops Challenge/Response CopyProtection
Wave Arts (Arlington, Mass.) announced that it will no longer usechallenge-and-response copy protection in its plug-ins, beginning withits next update release. The company will now use a simple serialnumber as its unlocking method of registration.

"Since cracked software and serial numbers are readily available,consumers are on the honor system when it comes to buying software,"said Bill Gardner, president of Wave Arts. "By purchasing legitimatecopies of the software they use, they've already chosen to beresponsible. As manufacturers, we should be rewarding these peopleinstead of making them jump through more hoops."

According to Gardner, some of Wave Arts' customers felt that thechallenge-and-response protection limited their flexibilities in thestudio, including the ability to effortlessly reconfigure their systemswithout fear of losing their registrations, and the ability to installthe software on their laptops in addition to their studioworkstations.

For more, visit www.wavearts.com.

Mackie Re-Organizes
Mackie Designs (Woodinville, Wash.) announced a new operatingstructure to weather the current economic downturn, as well asstreamline its communication channels and reinvigorate productdevelopment.

Changes include increasing overseas production; expanding managementaccountability with a broader team of functional leaders; andrealigning resources into three areas: front office (sales, marketing,customer service), operations (product development, engineering,manufacturing) and back office (finance, information systems, humanresources).

"This is a major realignment," commented Jamie Engen, president andCEO at Mackie Designs. "We carefully weighed our strengths andweaknesses, as well as the many challenges that we face today. We areconfident that we have set Mackie on the course to a prosperousfuture."

For more, visit Mackie on the Web at www.mackie.com.

RealNetworks Offers Source Code to SoftwareDevelopers
Seattle-based RealNetworks announced that its Helix DNA Producersource code is now available to software developers through the HelixCommunity at www.helixcommunity.org. Helix Producer is used tocreate RealAudio and RealVideo content. RealNetworks also announcedthat more than 5,000 software developers have registered in the HelixCommunity since the initial launch of the community this past July.Companies currently supporting Helix DNA Producer include PinnacleSystems, Virage, Envivio and CollabNet.

The source code will allow application and content developers tobuild multiformat content-creation products for PCs, Web cams, trafficcameras, personal video recorders, mobile phone and much more.Developers can use the code to build applications that support any fileformat from any operating system platform. App developers can alsointegrate RealAudio, RealVideo and Ogg Vorbis output, as well as expandthe outputs to any number of media formats, such as Windows Media,QuickTime, MPEG-1, MPEG-2, MP3 and MPEG-4.

Helix DNA Producer is currently available for Windows and Linux OS;a pre-beta release for Mac OS X is also available.

Cignal Open for Business
A new company named Cignal (St. Louis) opened its doors on December 1,2002. The company is targeted toward intermediate-size systemsintegration and design projects for audio, video and lightingsystems.

Gary Haselhorst, president of Cignal, was the former manager of thepro audio department at McMurray Music (St. Louis). Chip Self is VP ofengineering for Cignal and president of Logic Systems, a mid-sizeproduction company in St. Louis that provides integrated multimediaservices for corporate events and sound reinforcement. Brian Rice, VPfor Cignal, has 11 years of pro audio experience in retail sales atMcMurray's pro audio department and has served for the past 10 years asthe technical director of a 3500-member church. Jim Cutshall and D.J.Kent will both serve as technical supervisors for Cignal.

Cignal Systems Inc., 9535 Watson Industrial Park, St. Louis MO63126; fax 314/968-2599; www.cignalsys.com.

Telarc Chooses ATC Loudspeakers
To accurately monitor the ultrahigh resolution of DSD technology,Telarc has installed a multichannel monitor system from ATC at itsCleveland facility and has taken delivery of a portable ATC 5.1 systemfor monitoring while recording on location.

"We feel like we're finally hearing the detail of our work for thefirst time," said Telarc president Bob Woods. "As a professional studioproduct, we've never encountered anything quite like it. You wantsomething that's accurate, but to have a system that can handle alltypes of musical programming equally well is downright remarkable."

The installed system consists of five ATC SCM150A active three-wayspeakers and two 12-inch, 1,000-watt Sub1/12 Pro subwoofers. Five ATCSCM20ASL two-way near-field monitors and a 15-inch SCM0.1 subwooferprovide accurate monitoring for location recording. Telarc recordingengineer Michael Bishop said that he plans on using the SCM150s forfront-left and front-right monitoring and SCM20s for center andsurrounds on location.

For more, visit ATC online at www.atc.gb.net. Visit Telarc at www.telarc.com.