Article

Friday, July 31, 2009

Universal Audio Announces FATSO Powered Plug-In For UAD-2 Platform

Developed in partnership with Empirical Labs, the FATSO Jr. & Sr. plug-in delivers analog tape, transformer and tube sounds for computer-based mixing

Universal Audio has announced the release of the Empirical Labs FATSO powered plug-in for its popular line of UAD-2 DSP Accelerator Cards for Mac and PC.

The original EL7 FATSO hardware’s design and creative feature set gives users the warm sound of magnetic recording tape, Class-A transformers, and tube circuits.

The FATSO Jr. & Sr. Powered Plug-In for the UAD-2 recreates these distinctive sounds with great accuracy, and can be downloaded for $299 from Universal Audio’s Online Store.

The FATSO Jr. & Sr. Powered Plug-In is endorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs.

Its condensed feature set includes:
* Recreates the warm, musical qualities of magnetic recording tape, tubes, and class A transformers on digital audio workstations
* Clipping, Warmth, Tranny and Compression Select for a wide variety of distinct analog tonal shaping possibilities

“Empirical Labs is honored and thrilled to collaborate on our first plug-in with Universal Audio, especially since Universal’s products from the 1960s and 1970s inspired some of our earliest products, including the Distressor and Fatso Sr.,” commented David Derr of Empirical Labs. “The arrival of their UAD-2 card finally made it possible to emulate our incredibly complex FATSO Jr., using high-speed DSP processing.”

“Empirical Labs’ contributions to record-making with products like the FATSO and Distressor are obviously huge, and our customers have been frenzied with anticipation at the prospect of having these modern classics available as Powered Plug-Ins,” said UA Product Manager Will Shanks. “FATSO’s release is a high-water mark for UA’s ability to mimic the behavior of analog circuits, and Dave Derr’s involvement in the FATSO plug-in development not only brings the highest degree of accuracy, but a greater assurance to our customers that we sweat the details with every single product we do.”

Click here for more information about the FATSO Jr. & Sr. powered plug-in.

The FATSO Jr. & Sr. powered plug-in is available as part of the new UAD software version 5.4.0 release.

.

In addition to the FATSO Jr. & Sr. Analog Tape Simulator, EMT 250 Classic Electronic Reverberator, and Neve 31102 Console EQ plug-ins, UAD software v5.4.0 provides significant RTAS improvements for Pro Tools, integrated support for the new UAD-2 SOLO/Laptop, and enhancements for Windows-based UAD users.

UAD Software version 5.4.0 is available for free download by users worldwide at http://www.uaudio.com/support/uad/downloads/index.html

Universal Audio Website

{extended}

Newtech Systems Selects EAW Loudspeakers For Recent Projects In Kentucky/West Virginia Region

Loudspeaker manufacturer, area sales representative and noted systems integrator work together to provide the high-quality audio system solutions

Eastern Kentucky and West Virginia have recently experienced a swell of A/V installation activity, thanks to Ashland, Kentucky-based Newtech Systems (also with offices in Lexington, Kentucky, and Dunbar, West Virginia).

Newtech’s Bill Banfield takes particular pride in a number of recent “small but great” projects which have taken place at a variety of schools, churches and community theaters, all with EAW components, with support from EAW sales rep firm North Coast Marketing of Erie, Pennsylvania

“Our installations take on all number of shapes and sizes, and EAW has the best solutions for just about every application we encounter,” stated Banfield. “Ashland, Kentucky’s Christ United Methodist Church’s install was short and sweet: two EAW VR62 compact full-range loudspeakers.

“However, working with Mercer County High School in Harrodsburg, Kentucky, was a different story. There, we installed a multi-zoned system in the gymnasium, featuring six MK5396 two-way full-range installation loudspeakers and 10 MK2366 two-way full-range installation loudspeakers. Additionally, we installed a new auditorium system featuring one MK5326 two-way full-range installation loudspeaker, one MK5364 two-way full-range installation loudspeaker, four VRM12 full-range loudspeakers/stage monitors, eight CIS80 ceiling loudspeakers and two SMS5 surface mount loudspeakers.

“Of course that’s not a huge install as these things go, but it was huge for the school, and it sounds great. EAW loudspeakers provided exactly what those projects needed.”

EAW’s MK Series loudspeakers are a particular favorite of Banfield’s: “The MKs are the most flexible boxes in their product category. They have consistent voicing in the crossover region and give the installer a lot of versatility on installation. I’m able to mix and match horn patterns to achieve the best seating coverage as needed.”

Aside from the products themselves, Banfield notes that working with EAW and North Coast has been an overwhelmingly positive experience: “I enjoy working with North Coast Marketing, and I know that Dennis Cray is always willing to exhaust every resource to make things happen to support his dealers. And the support that EAW gives is always top notch - EAW’s Joe Fustolo and the Application Support Group always do a tremendous job when called upon.”

Other EAW/Newtech installs include Ripley Elementary in Ripley, West Virginia; Frank’s Community Center in Boyd County, Kentucky; several churches in Ashland, Kentucky; Our Lady of Fatima Catholic Church in Huntington, West Virginia; Elliot County Performing Arts Center in Elliot County, Kentucky; and several more.

Banfield continues: “Some integrators might not make it a priority to cater toward these smaller installs, but the way we see it, local schools, churches, theaters and community centers need crisp, clear and powerful audio just as much as anyone, if not more. And sometimes all they need is the right set of two or four loudspeakers. It’s up to us to install that right set, and EAW and North Coast Marketing are there with us, providing the loudspeaker solutions that make the difference.”

EAW Website

{extended}

Digital Services Upgrades Studio With 48-Channel Solid State Logic Duality Console

Duality replaces aging SSL 6000 Series console

Digital Services Recording Studio enjoys a long history of providing a professional recording environment to top artists as varied as The Rolling Stones, Barbra Streisand, the Houston Symphony, Destiny’s Child and Chamillionaire, to name a few.

The studio recently replaced their aging SSL 6000 series console with a new 48-channel Solid State Logic Duality console. The Duality gives the studio SSL’s signature SuperAnalogue sound, while providing on console control of the Pro Tools system.

“The studio got a lot of great service out of the old SSL 6000, but the time had come to move into the modern age,” says Charles Ray, who acquired Digital Services Recording Studio in 2007. “Upgrading to a Duality let us retain the lineage of SSL while addressing the way musicians create and record today.

“The Duality provides huge advantages over every other console we considered.  Besides the great sound, it’s smaller than our old 6000, it runs on much less power and it doesn’t need a machine room. The Duality is also a real professional console and not just a control surface for a DAW. We are in the business of high level sound production and the Duality delivers.”

The Duality control room services sessions in Studio A, which has four live rooms. It is not unusual for Digital Services to employ all four rooms to capture a performance. As the studio is working regularly with Rock, Hip Hop and Latin artists, the Duality sonically handles every genre equally well.

“Our Duality has been in service for several months and everyone who has used it has been extremely happy,” Ray explains. “The first session on the Duality was with the Grammy Award winning artist Chamillionaire and the sound was fantastic. We have a lot of major acts in Studio A and the results of the sessions have been very impressive.”

According to Ray, when recording rock bands, Digital Services typically uses three microphones to capture the sound of a particular guitar amplifier. The Duality allows Ray to adjust the levels on Pro Tools without ever leaving the audio sweet spot.

“I really appreciate working with the Duality because I have level control of our extensive Pro Tools rig right next to the analogue signal on the console, so my attention can be focused on the music and not the technology. I also really like the option of using either the E or G series EQ’s and the dynamics are great.

“The Duality really complements our outboard gear as well, providing a solid sonic foundation for every project. Working with SSL on the installation was easy.  We moved the Duality in, plugged in our existing wiring and ran test audio within hours. The engineers were comfortable recording and mixing on the Duality within a day. The entire experience has been great.”

Solid State Logic Website

{extended}

JBL Announces Fall Training Dates For Worldwide VERTEC System Users Group

Program is appropriate for VERTEC system owners and technicians, performance-venue audio staff who work with VERTEC system products in permanent facilities, and independent system engineers who encounter VERTEC systems in touring situations

JBL Professional has announced upcoming training dates for the worldwide VERTEC system owners group, with upcoming sessions slated for September 23-25, October 21-23 and November 18-20 at the JBL factory in Northridge, California

The program is appropriate for VERTEC system owners and technicians, performance-venue audio staff who work with VERTEC system products in permanent facilities, and independent system engineers who encounter VERTEC systems in touring situations.

The intensive three-day program provides attendees with a hands-on learning experience, resulting in formal qualification of VERTEC system use. The sessions integrate line array theory, product-line applications, and practical knowledge and skill in the areas of system design, setup and optimization.

Established in 2007 to provide detailed technical information for JBL’s growing worldwide system owners’ group, the program has served hundreds of registered attendees coming from varied locations such as Canada, Spain, Turkey, India, England, Singapore, France, Iceland, Japan, Switzerland, Norway, Belgium, Sweden, Venezuela, Thailand, Russia, South Africa, Tunisia, the United States and more.

“Our road engineers are definitely benefiting from the integrated knowledge available in this training program, linking scientific theory to practical hands-on skills in the field,” confirmed Jon Overton, Concert Operations Manager for Audio Analysts of Colorado Springs. “It has been well worth the investment in time and travel.”

Attendees are exposed to line array theory, VERTEC passive and powered system model attributes, and system power formats along with JBL’s acclaimed V4 DSP preset data, the VERTEC line array calculator and advance modeling techniques, array assembly and suspension practices, JBL DrivePack technology and HiQnet™ System Architect software, subwoofer arraying techniques and VERTEC field-application case studies.

Each session includes a technical tour and listening session at a VERTEC -equipped high-profile performance venue. Lunches, course documents and software are provided along with a certificate of completion.

“A primary goal of JBL’s VERTEC Training Program is to blend theory and practice in a meaningful way for entry-level technicians and veteran system engineers alike,” notes Paul Bauman, lead course instructor and JBL’s Director of Tour Sound Product and Application Engineering. “Attendees will gain a better understanding of how to communicate about, plan the use of, and optimize JBL VERTEC line array system products.”

Having earned a B.Sc. in Physics and a Master’s Degree in Electrical Engineering from McMaster University (Canada), a Master’s Degree in Physics from the University of Waterloo (Canada) and with Ph.D. candidate studies at Chalmers University of Technology’s Department of Applied Acoustics (Sweden), Bauman has 25 years of professional audio and global touring industry experience. His professional work has included key positions at a leading international concert sound rental firm, and at respected loudspeaker system manufacturers.

VERTEC Training Program Sessions are open to the professional audio industry on a reservation basis, with preference shown to VERTEC system owners. Space is limited for the upcoming 2009 sessions, and attendees are advised to plan for early registration.

The 2009 attendance fee for the VERTEC Training Program is U.S. $900, with discounts available for existing VERTEC system owners and multi-person registrations.

Contact the VERTEC Training Program registrar directly at .(JavaScript must be enabled to view this email address).

JBL Professional Website

{extended}

The Tennessee Performing Arts Center Revamps Its Sound With Soundcraft Vi Series Digital Consoles

TPAC, Nashville’s leading theatrical venue, purchases two Soundcraft Vi6 consoles for its Jackson and Polk Theaters, and a Soundcraft Vi4 console for the Johnson Theater

The Tennessee Performing Arts Center (TPAC) has been Nashville’s link to the world of Broadway and off-Broadway theater for nearly 30 years, with TPAC’s four theaters home to as many as 500 productions annually.

When the decision was made to upgrade three of the theaters’ sound systems, all were outfitted with new Soundcraft Vi Series digital consoles. The Andrew Jackson Hall, which seats 2,472, now has a 64-input Soundcraft Vi6 for FOH mixing; the James K. Polk Theater, which seats 1,075, now also has a 64-input Vi6 FOH console; and the Andrew Johnson Theater, a black box-type venue that seats 256, is now equipped with a 48-input Soundcraft Vi4 at FOH.

“The core of this upgrade was our move from analog to digital consoles,” explains Larry Bryan, TPAC’s Chief Audio Engineer, who operates the audio systems at the Center along with Mac Whitley, Senior Audio Engineer, and Jeff Ent, Assistant Audio Engineer.

Bryan adds that the previous analog consoles, “couldn’t take us where we wanted to go for the future. There was too much signal loss, something that a digital console would resolve, and we wanted to improve the overall sound of the performances and have as user-friendly an interface as possible.”

The Soundcraft Vi Series consoles met all those criteria and then some. “The layout of the consoles is incredibly intuitive – as soon as you get behind the board it makes immediate sense,” he says. “It was designed for the way we think.”

The flexibility of the Soundcraft Vi series consoles was also a major factor - both Vi6 consoles can accommodate a second 32-input stage box, increasing input capacity to 96 inputs.

“When we did a production of ‘Sweeney Todd’ earlier this year, with 10 RF body pack microphones and a 12-piece band, that’s when we realized we did the right thing choosing the Soundcraft consoles,” Bryan says.

However, those kinds of capital expenditures for a private, non-profit corporation dedicated to providing and supporting the presentation of the performing arts are crucial decisions.

“Studer, whose consoles are used in top theatrical venues around the world, is Soundcraft’s sister company,” Bryan explains. “It really appealed to us that the Soundcraft consoles share a lot of the Studer research and approach to live mixing consoles, but that we could access the Soundcraft boards at a more cost-effective price.

“That’s very important because an organization like TPAC has to fund major upgrades like this using grant proposals. The efficiency and cost-effectiveness of the Soundcraft consoles, along with their great sound and user-friendliness, made them the only real choice for us.”

Soundcraft Website

{extended}

Northwood Baptist Church Selects Allen & Heath’s iLive-T For New Worship Center

With its (iLive-T) exceptional sound and virtually unlimited on-board DSP effects, Northwood Baptist Church now has a system capable of handling the needs of touring artists

The planning and construction of Northwood Baptist Church’s new worship center in North Charleston, South Carolina, took nearly four years – and the church couldn’t be happier.

“It took a little longer than we had originally hoped, but the patience paid off,” admits worship pastor Michael Bell. “But by taking the time to get it right, we got way more than we ever thought we could have. Our new Allen & Heath iLive-T console is a perfect example.”

Design-build integrator Signature Sight and Sound handled the audio, video and lighting for the new facility.

“When the T Series was announced,” recalls Mark Gladden, president and chief systems designer for Signature, “it had everything we had hoped for. It’s got that Allen & Heath sound quality, with great EQ and mic preamps, plus virtually all the capabilities and ease of use of the full iLive, but at a very comfortable price point. We approached the church and said, ‘this is what you wanted,’ and they agreed. After that, it was just a matter of timing.” In fact, the timing was so good that Northwood Baptist received the very first iLive-T in the U.S., with serial number 3 engraved on the back panel.

The new worship center, which seats 1,000, is a large square with a theater-style stage set in the back corner and seating arranged on the diagonal. Live video is projected on three large screens, while the primary sound system is a left-center-right system featuring three clusters of EAW AX Series loudspeakers.

Stage monitoring is a combination of truss-mounted speakers and floor wedges for the vocalists, with an Aviom in-ear system for the contemporary worship band.

The MixRack for the iLive-T112 resides offstage, handling 48 mic inputs from the stage and a dozen wireless systems. Auxiliary inputs for CD, DVD and computer audio are handled at the iLive-T control surface, FOH position. System outputs include three for the main PA clusters, 16 channels for the Aviom hub, four monitor mixes, plus a separate stereo output for video.

“We knew we had a huge learning curve with all the lights and video and everything else as well. But surprisingly, the console was probably the easiest transition for us,” notes Michael Bell. Training was provided by Sterling Coleman, partner and director of installation for Signature.

“Sterling’s an amazing guy,” says Bell. “Here we had a brand new console, the first one ever, and he seemed to know it like the back of his hand. I can’t say enough about all the things he did to make this project a success, everything from training to troubleshooting, audio, video and electrical. He’s so much more than an installation guy.”

Northwood offers both traditional and contemporary services requiring very different setups, something the iLive-T handles with ease.

“For our traditional service, our engineer is a school principal who had very limited audio background. She was so nervous about the new console, she was thinking about quitting,” relates Bell. “So we brought her in, taught her how to power the system, how to pull up the right scenes and presets, and what to do in an emergency, like if a wireless goes down, and she was ready. It took about two hours - amazing!” 

For the contemporary service, head sound engineer David Geddings and his team have a more formidable task. With a full drum kit, four guitars, three keyboards and 6 to 8 vocalists, plus brass, woodwinds and strings, there can be up to 20 people on stage – not counting the choir. But with the iLive-T, the team handles it with similar ease. In fact, with its exceptional sound and virtually unlimited on-board DSP effects, Northwood Baptist Church now has a system capable of handling the needs of touring artists.

“In September, we’ll be hosting the group Rush of Fools,” notes Bell. The concert promoter looked at our new system and told us it would be perfect for them. We won’t have to rent any gear, and the band won’t have to bring anything but their guitars and amps. It was an awesome feeling to hear that.”

Allen & Heath iLive-T Website

{extended}

Thursday, July 30, 2009

White Spaces To Green Touring: AES Announces Live Sound Events For 127th Convention In New York

Wireless advice, loudspeaker design, microphone dressing, and much more

Reflecting the exponential growth of live sound as an increasingly significant component in the health of the pro audio industry, 127th AES Convention Live Sound Co-Chairs Henry Cohen and Mac Kerr have devised a broad program of critical events designed to keep the “Road Warriors” fully on top of their game. 

Presentations run the gamut from an assessment of the White Spaces issue to innovations for meeting the increasingly urgent need for compliance with the Green Movement. 

Live sound programs include:

The Greening of the Band - Green Touring Solutions for the Live Engineer: AES Education Committee Vice Chair John Krivit – The Dave Matthews Band, John Mayer, Guster, Jack Johnson, Barenaked Ladies, Sheryl Crow and many other top artists are incorporating practices to reduce the environmental impact of touring.

White Spaces & TVBD Update - Chris Lyons, Joe Ciaudelli, Edger Reihl. While the DTV conversion is basically complete, the impact of this and related FCC decisions remains of great concern to wireless microphone users. Exactly what is the status of the 700MHz spectrum and equipment? What types of interference will the proposed Television Band Devices create and what are the proposed methods of mitigation? Will there be an FCC crack-down on unlicensed microphone use?

Practical Advice for Wireless System Users - James Stoffo. From houses of worship to wedding bands and community theater productions, hundreds of thousands of small to medium-sized wireless microphone systems and IEMs are in daily use around the country. Unlike the Super Bowl or Grammy Awards, these smaller systems rarely have benefit of dedicated technicians, sophisticated frequency coordination, or even basic attention to system setup. This panel will address the elements of successful component selection, designing systems, and setting them up to minimize potential interference and maximize performance.

Microphone Dressing - Mary McGregor. Fitting actors with wireless microphone elements and wireless transmitters is a detail-oriented art form. Challenges range from ensuring the actor is comfortable and the electronics safe, to providing optimal sound with minimal muddle while maintaining the visual illusion.  One of the most widely recognized artisans in this field will provide hands-on demonstrations of basic techniques and share some time tested “tricks of the trade.” 
                                                                                 
State of the Art Loudspeaker Design for Live Sound – Tom Young. The loudspeakers we employ today are vastly improved over what existed back in the ‘60s when rock-n-roll pushed the limits of existing technology. Along with advances in design and fabrication, system engineering, ergonomics and rigging, have come various methods to improve overall performance. Many of these advances are directly related to the use of computers as a design tool. This presentation will clarify the capabilities of modern day loudspeakers/systems and consider where they need to go.

Microphone Selection and Techniques For Live Sound - Dean Giavaras. While countless factors contribute to a good sounding live event, microphone selection, placement, and use can make the difference between a pleasant event and a sonic nightmare. A panel of experts from mic manufacturers and sound reinforcement providers will discuss tips and tricks for getting the job done at the start of the signal path. Conventional and unconventional techniques will be discussed, and cautionary stories from the trenches will be shared.

Other live sound events programs include:
• Sound System Design and Installation Considerations for Churches and HOWs: Bill Thrasher
• Exploring the Low End – Measuring and Aligning Subwoofers: Sam Berkow
• Ten Things to Get Right with Sound Reinforcement Systems – Peter Mapp
• Automixing for Live Sound – Michael “Bink” Knowles
• Networking Digital Audio In Live Sound – Jim Risgin
• AC Power, Grounding & Shielding - Bruce Olson with Bill Whitlock
• Innovations in Live Sound – Ken Lopez

“We are extremely pleased with this year’s Live Sound Events schedule,” remarked AES Executive Director Roger Furness. “It is comprehensive, authoritative and boasts a particularly strong line up of high-level presenters. The recommendations made by Co-Chairs Henry Cohen and Mac Kerr echo the invaluable insights they have acquired during their own years on the road. The program reflects an enormous amount of labor intensive work for which we are most appreciative.”

The 127th AES Convention will be held at the Javits Center in New York City, October 9-12, 2009.

AES Website

{extended}

T.C. Furlong Sharpens Competitive Edge By Expanding Meyer Sound Inventory

With the recent purchase of 20 MICA line array loudspeakers, eight 700-HP subwoofers, as well as additional processors for the Galileo loudspeaker management system and MG-MICA QuickFly rigging tools, T.C. Furlong now has an expansive Meyer Sound inventory

Lake Forest, Illinois-based T.C. Furlong recently added a self-powered Meyer Sound MICA line array loudspeaker system to sharpen its competitive edge in the event rental market.

The MICA integrates smoothly with T.C. Furlong’s other Meyer Sound systems, including the M’elodie line array loudspeakers, and has equipped the 36-year-old audio provider with a new range of tools for the steady flow of projects that require high-quality sound reinforcement.

The company’s success story can be traced back to owner T.C. Furlong’s vision to grow the business by establishing long-term customer relationships with high-quality tools and comprehensive support services, and less on marketing and sales to convert new customers.

“We take a full system approach with our projects and make sure that we’re supplying customers with the right tool for the job,” says Furlong. “Meyer Sound systems are reliable, easy to work with, and above all, they sound great.”

As observed by Furlong, A/V projects have persisted despite the economic slowdown, and so has the need for top-rate audio support. Combining superior sound with the self-powered advantages of reliability and ease of reconfiguration, the new MICA system has been kept busy since delivery.

“The MICA has now been deployed at the commencement ceremony at Northwestern University and a major U.S. summer festival,” says Furlong. “And like other Meyer Sound products, the MICA is consistent from box to box, and has excellent vocal intelligibility.”

With the recent purchase of 20 MICA line array loudspeakers, eight 700-HP subwoofers, as well as additional processors for the Galileo loudspeaker management system and MG-MICA QuickFly rigging tools, T.C. Furlong now has an expansive Meyer Sound inventory, which also includes UPJunior and UPJ-1P VariO loudspeakers, UPA-1P, UPM-1P, MSL-4, CQ-1, CQ-2, DS-4P, and MM-4 loudspeakers, USW-1P and 650-P subwoofers, and UM-1P and MJF-212A stage monitors.

“Meyer Sound has been right there for us every step of the way, with great products and fantastic customer service as well as superb education and optimization tools like MAPP Online Pro (acoustical prediction program) and SIM 3 (audio analyzer),” adds Furlong. “We attribute a large part of our success to these very things.”

On August 18, T.C. Furlong will host a Meyer Sound open house in the Chicago area and will feature its new Meyer Sound MICA system, as well as M’elodie and other products in its inventory. The event will include presentations and demonstrations on the latest technologies and products. For information on the open house, please contact T.C. Furlong at .(JavaScript must be enabled to view this email address)

Meyer Sound Website

{extended}

JBL LSR Studio Monitors Help Eddie Kramer Bring The Sound Of Woodstock To The Next Generation

For the project, Kramer utilized a 5.1 surround system comprised of JBL LSR6300 series studio monitors during his mix sessions

Celebrating the 40th anniversary of arguably one of the most significant musical event in history, Warner Home Video has released “Woodstock: 40th Anniversary—Ultimate Collector’s Edition” on Blu-Ray disc. The release features a re-mastered director’s cut of the original film, including many previously unreleased performances.

Producer/engineer Eddie Kramer, who engineered the original recordings that captured the 1969 event, was called by Warner to mix this wealth of previously material. For the project, Kramer relied on a 5.1 JBL Professional LSR6300 studio monitor system to bring the tracks to life in Capitol Records Studio C control room.

According to Kramer, “The original recording during the festival was pretty scary in the sense that there was no communication between the stage and myself in what was essentially a tractor-trailer,” Kramer said. “We had to mix everything on the fly, so the first song in each set was basically an experiment in identifying where everything was in the mix.”

Thanks to modern recording technology, Kramer has been able to restore and improve the quality of the recordings from those historic three days.

“Interestingly, with the technology that is afforded us today, one can now repair things that were irreparable even 15 years ago,” Kramer said. “It’s great, because where a lot of things weren’t working in those first songs, we’ve salvaged a lot of great performances and literally raised tracks from the grave.” The project includes unreleased performances of Creedence Clearwater Revival, the Band, Santana, the Grateful Dead and other iconic acts.

For the project, Kramer utilized a 5.1 surround system comprised of JBL LSR6300 series studio monitors during his mix sessions. “For the longest time, I have been looking for a set of monitors that I can feel comfortable with, at high volumes as well as low volumes, because I do a lot of my mixing at low volume,” Kramer said.

“Anybody can turn a speaker up. But when the volume comes down and the relative quality and definition does not change as you pull the monitor fader down, that is a very key element in what I’m doing. I want to hear the detail, and I can hear tremendous detail in these JBL monitors. I think JBL is really doing it right these days.”

In addition to the detail, the neutral and even coverage of the LSR monitors has also proven advantageous for Kramer. “I love the LSR monitors because they’re so smooth and the top end doesn’t take my head off,” Kramer said. “I can sit in the studio all day long, for 12 or 14 hours, and my ears don’t fatigue.

“I needed to get this to sound as good as it possibly could,” Kramer added. “When people are listening to this on a 5.1 system in their living rooms, I want it to feel like they’re dead center in the middle of the crowd, they can smell the smoke, feel the mud and get the vibe.”

JBL Professional Website

{extended}

Audio-Technica Stereo Shotgun Microphones Deliver Sound Throughout 2009 Tour De France

Camera-mounted stereo shotgun microphone picked up the nuances of the most famous bicycle race in the world

Viewers of the 2009 Tour de France saw hundreds of racers cover over 2,200 miles in July, each vying for the finish line on Paris’ Avenue des Champs-Elysées, and they also heard an amazing soundscape thanks to Audio-Technica AT835ST M-S stereo shotgun microphones mounted to the cameras on five motorcycles that cover the miles-long pack of racers.

The AT835ST microphones were provided by the Societé Française de Production (SFP), a division of the Euro Media Group, which has been a longtime supplier of broadcast technology and services to the Tour de France and other major sporting events.

Throughout the race, the motorbike crews covered the action from top to bottom, pacing the riders and collecting crowd reaction effects. The audio, embedded with the video signal, was sent via low-power broadcast to a pair of helicopters and two circling airplanes. They, in turn, relayed the signals to three ground relays in trucks, which sent it via satellite or terrestrial links to outside broadcasting (OB) vans located near the finish line.

“We chose Audio-Technica stereo shotgun mics because they are good-quality microphone solutions for this application,” explains Luc Geoffroy, CTO of the Euro Media Group. “The mics are robust, with excellent sonic characteristics to pick up sound in a mobile situation, and they can do it with exceptional directivity, providing good rejection of unexpected wind and other noise.

“They’re lightweight and small, making them a good fit for how we use them on the motorbikes, and they also give us a good stereo image with excellent separation. And they’re very easy to use and highly reliable.”

Audio-Technica Website

{extended}

Yamaha Commercial Audio Systems Appoints Kevin Kimmel As Mixer Product Manager

Kimmel will be responsible for product training, the implementation of marketing and support programs, and recommendations for mixer product design from the North American market

Yamaha Commercial Audio Systems has appointed Kevin Kimmel to the position of mixer product manager, effective immediately.

In his new position, Kimmel will be responsible for product training, the implementation of marketing and support programs, and recommendations for mixer product design from the North American market to the research and development team in Japan.

He will report to Marc Lopez, marketing manager, Yamaha Commercial Audio Systems.

For nearly three decades, Kimmel has been an audio mixer, system designer, recording engineer, and most recently held the position of assistant technical director at Disneyland.

He was also the monitor engineer for Tower of Power and Luis Miguel on his “Aries” and “Segundo Romance” world tours.

Kimmel served as production mixer on several shows for ESPN, and worked as a free-lance front of house/monitor mixer in the television industry on a multitude of shows including Jimmy Kimmel Live, Dr. Phil, several Survivor Finales, The Jerry Lewis Telethon, and the Wayne Brady Show.

Kimmel’s recording credits include recording/mixing engineer for many artists including Three Dog Night, Bobby Caldwell, Tower of Power, Ray Charles, and film credits include Raging Bull, The Blue Lagoon, First Blood, Rocky III, and Jaws 3D.

“Kevin’s vast mixing experience in many of the commercial audio market segments will be a real asset for our team,” states Lopez. “His caliber of expertise will provide a responsive level of support to our customer base.”

Yamaha Commercial Audio Website

{extended}

Julliard Arts Conservatory Creates Multi-Use Performance Space With DiGiCo D5 Digital Console At Hub

“With permanent connections to the Music Tech recording room and a channel count of over 100 inputs with 16 channels of personal monitoring for our concerts, the D5T will fit in nicely." - Marc Waithe, Julliard Chief Audio Engineer

The new Rosemary and Meredith Willson Theater, a multi-use performance and event space at the renowned Juilliard School located at Lincoln Center for the Performing Arts in New York City, features a DiGiCo D5T digital console that will serve as the central hub of the control room, connecting the theater with the Music Technology Program’s new recording room.

Juilliard Chief Audio Engineer and veteran audio professional Marc Waithe specified a DiGiCo D5T system for the theater. In his 17-year tenure at the school, Waithe designed all of the main performance audio systems, as well as systems for The Museum of Modern Art and The School of American Ballet as a freelance consultant.

Altel Systems, a professional audio and video contractor based in New York State, engineered the electroacoustic systems for the new spaces at Juilliard, and installed all the equipment including the D5T. JaffeHolden Acoustics provided the wiring infrastructure and acoustic design.

“The DiGiCo D5T package is a significant part of the owner-specified equipment that we are installing,” says Altel Project Manager Tom Young, “which also includes a large number of speakers, microphones, processing, portable racks, personal mixing systems, portable cabling and miscellaneous hardware.”

During the planning stages, Waithe and Young had a meeting with Jack Kelly and Zac Jac Duax of Group One [the U.S. DiGiCo distributor]. “They were very instrumental in making sure we had the right board for what we wanted to do,” recalled Waithe. “Zac even helped inventory check the equipment during delivery, and will return once the install is completed in early July to give us two days worth of training. I had also e-mailed [DiGiCo’s] Tim Shaxson. He was very helpful answering my questions about the D5T.”

The wiring infrastructure (audio/intercom/video/Ethernet/fiber, patching systems and technical power) and supplemental production audio/paging and intercom systems, as well as base construction of the space, were completed in February, 2009.

“When Altel Systems became involved in interfacing the DiGiCo D5T system into the completed system of wiring, connection and patch panels in the Willson Theatre,” adds Young, “both Jack and Zac were extremely helpful in providing us with the necessary technical information needed to interface the D5T system with the installed fiber optic system. With Zac’s hands-on help, we set up the entire D5T system at our shop in Brewster NY, including the Aviom cards, and conducted complete testing prior to delivering the console to Juilliard. Jack and the folks at DiGiCo were also wonderful as far as meeting the fairly short lead time that was required in building and delivering the D5T console system.”

Some of the factors that specifically led Waithe to the DiGiCo D5T were its small footprint and large channel count, plus its inherent features and its superb sound quality.

“At the time the D5T was talked about, which was 2006, it was the only digital console offering both a redundant power supply and a redundant engine,” recalled Waithe. “With permanent connections to the Music Tech recording room and a channel count of over 100 inputs with 16 channels of personal monitoring for our concerts, the D5T will fit in nicely. The output matrix capabilities and the Aviom card make the D5T a powerful and sleek mixing platform. The large number of inputs available and the snapshot capabilities will hopefully greatly reduce change-over time between the many concerts and shows scheduled in this new space.

“Also, the D5T is still the only console that offers a fully functioning, standalone remote. Due to space, budget, time and personnel constraints, having a second mixer or moving the main mixer was impossible. This was a vital factor in picking this console. The presence of the D5T on many Broadway shows helped me realize it would be a stable and flexible platform for what we wanted to do.”

DiGiCo Website

{extended}

Cakewalk Announces New Line of USB Audio Interfaces

New UA-4FX, UA-25EX, and UA-101 provide Mac and PC-based users affordable options to capture high-quality audio via USB

Cakewalk has announced three new USB audio interfaces - the UA-25EX, UA-4FX, and UA-101, designed to quickly and easily connect and capture audio for Mac and PC.

“Today’s announcement reflects our continued efforts to work with Roland to introduce powerful, inexpensive hardware solutions for the consumer and pro-audio markets,” said Michael Hoover, Cakewalk’s executive vice president of products.

“From our SONAR V-Studio products to our new foray into audio and MIDI interfaces, the response from the marketplace has been very encouraging and we look forward to bringing additional hardware products to our customers.”

The UA-25EX, UA-4FX, UA-101 will be available at select music and sound retailers worldwide in September 2009.

UA-25EX:
* 2 x 2
* USB Bus powered, no AC required—perfect for mobile use
* 24-bit/96 kHz recording
* 2 Neutrik XLR/TRS combo jacks that can accept XLR or 1/4-inch inputs for easy connections
* Professional-grade mic preamps with +48V phantom power
* One input with Hi-Z option for better sound when recording high impendence instruments like electric guitar and bass
* Built in compressor/limiter
* Optical I/O
* MIDI I/O with proprietary Fast Processing Technology (FPT)
* Headphone output
* Direct-box function for noise-free live use
* Ground Lift—eliminates hum
* Low latency drivers for Mac or PC (WDM, Core Audio, ASIO 2.0)
* Vista support includes both 32 and 64-bit
* Zero latency direct monitoring
* Cakewalk Production Plus Pack: SONAR LE and Dimension LE (Windows)

UA-4FX
* USB Bus powered, no AC required—perfect for mobile use
* 24-bit/96 kHz recording
* Roland COSM tube MIC preamp simulator
* 14 onboard effects, including chorus, delay, reverb, enhancer, multi-band compressor/limiter, and more
* XLR input with Phantom power
* 1/4-inch input with Hi-Z option for better sounding recording of high impendence instruments like electric guitar and bass
* S/PDIF optical I/O — provides highest possible sound quality when connecting digital devices
* 1/8-inch Electret input
* 5 segment stereo LED Meters for mixing and checking levels
* MIDI in/out ports for MIDI recording, playback, control, and sequencing
* Low latency drivers for Mac or PC (WDM, Core Audio, ASIO 2.0)
* Vista support includes both 32 and 64-bit
* Fast and stable MIDI transmission using proprietary advanced FPT technology
* Cakewalk Production Plus Pack: SONAR LE, and Dimension LE (Windows)

UA-101
* 10 x 10
* Record and monitor 6 channels simultaneously at 24-bit/192-kHz or all 10 channels simultaneously at 24-bit/96-kHz
* A wide variety of I/O for high-quality connections to all your gear and instruments:
* Pair of Neutrik XLR-TRS combo inputs with Hi-Z option for electric guitar/bass
* (6) 1/4-inch TRS balanced inputs
* (10) 1/4-inch TRS balanced outputs
* S/PDIF Optical I/O with Digital Sync Indicator
* Headphone out
* MIDI I/O
* Perfectly-matched premium analog components and internal 40-bit processing for optimal sound quality
* Two professional-grade mic preamps with independent sensitivity control and +48V phantom power
* Built-in analog limiter with indicator to prevent clipping
* Integrated low-noise, wide-range power supply provides for +4 or -10 dBu selectable balanced inputs with PAD switches
* Supports digital clock slave
* 5-LED level indicator on the front panel
* Zero-Latency, direct monitoring to hear the music without a delay as you record.
* Ultra low latency drivers (WDM, Core Audio, ASIO 2.0) for Mac or PC
* Vista support includes both 32 and 64-bit
* Software-controlled internal mixer and patch bay
* Solid metal construction in a half rack body
* Cakewalk Production Plus Pack: SONAR LE, and Dimension LE (Windows)

Cakewalk Website

{extended}

Signal Marketing Names Rocky Mountain Region Sales Rep By Symetrix

Signal Marketing has been serving the region since 1987 and has earned a reputation for providing stellar customer support

Symetrix has announced a new representative for the Rocky Mountain region - Signal Marketing, based in Midvale, Utah, will represent Symetrix, SymNet, Lucid, and AirTools products in Utah, Colorado, New Mexico, Wyoming, Idaho, eastern Montana, and El Paso, Texas.

“Looking at Symetrix, we were impressed by the comments we received from customers and even other reps,” said Steve Trump, principal at Signal Marketing. “Two things stood out. First, the equipment is designed and built well; Symetrix offers unparalleled value for the money. Second, Symetrix backs their equipment with customer support that really wins users over.”

Signal Marketing has been serving the region since 1987 and has earned a reputation for providing stellar customer support.

The company’s diverse line card provides solutions to customers in various aspects of professional audio, with Symetrix and its associated brands adding quality DSP to complement the existing mix.

“Signal Marketing was a natural choice,” said Paul Roberts, director of sales and marketing for Symetrix. “They’ve been in business for over two decades, a testament to the fact that they know how to succeed in this business.

“Much more than a warehouse for gear, Signal Marketing makes a proactive effort to travel the territory, visiting clients to really understand and address their needs.”

Symetrix Website

{extended}

Wednesday, July 29, 2009

Reserve Training With NSCA University & Receive A $500 Discount

NSCA University can also bring existing curriculum to your facility or build a new course specifically for your company

NSCA University is offering educational courses delivered directly to your workplace.

To help NSCA members reduce costs, NSCA University can also bring existing curriculum to your facility or build a new course specifically for your company.

The following courses are available for on-site delivery or as the basis for a new course:
—Project management and estimating training
—Technical Fundamentals of Audio, practical knowledge of the most important technical ideas found in audio
—Technical training based on NSCA’s Electronic Systems Technician Training Series

Contact NSCA to discuss unique training needs. The more employees to train, up to 12 participants, the more that can be saved by eliminating travel-related costs.

Companies that make their training reservations by August 31 will receive a $500 discount on the cost of the course.

“Employees with job-related training are more productive, knowledgeable and loyal,” said Norah Hammond, NSCA senior director of professional development. “These are the members of your staff who contribute to the success of the entire company, not just themselves. Properly trained staff gives your company the upper-hand by providing your customers with the most qualified and well-trained employees ready to work.”

For more information on NSCA’s on-site training program, go to www.nsca.org/education.

{extended}