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Wednesday, June 02, 2010

TC Electronic Cuts Plug-In Prices For Two Weeks In June

From now until midnight on Tuesday June 15th TC Electronic is lowering the price on all of its plug-ins for PowerCore and Pro Tools by 50%!

The 50% discount applies not only to TC Electronic’s own plug-ins, including the LM5D Loudness Meter for Pro Tools, but also to Access Virus for PowerCore and the Tube Tech CL1B compressor.

All PowerCore plug-ins are available in VST and Audio Units versions, and the Pro Tools plug-ins are in TDM format. All plug-ins support both PC and Mac.

The plug-ins will be available through TC Electronic’s regular network of dealers as well as on http://www.TC-Now.com.

The campaign prices may vary slightly depending on location, so users should contact their local dealers for exact pricing information.

TC Electronic’s Website

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My iPhone Is A Sequencer!

Not only can you record music with your iPhone, but you can also edit and produce music. It's a DAW in your pocket!

 
In this overview, we’ll take a look at some of the most prolific sequencers available on the iPhone OS.

We’ll start with Music Studio by Alexander Gross, a pretty comprehensive MIDI sequencer, especially considering that it runs on a mobile phone.

It features 128 MIDI tracks, 4 FX sends (reverb, delay, EQ, amp simulation) and 21 instruments – more than enough to get you started…

However, while the instruments will cover most of your needs as will the programs editing capabilities, don’t expect too much from their sound.

The quality is on the same level as an old wavetable Sound Blaster sound card, in other words cheap-sounding, but usable, Soundfonts.

On the other hand, the sequencing functions are pretty comprehensive including a dual, virtual MIDI keyboard for real time control of two instruments, a piano roll view, an arranger window, velocity management, and all necessary sequencing functions like cut, copy, paste, transpose, etc.

You can also set the volume and pan for each track and, more importantly, you can export your work as a WAV or MIDI file.

Did You Say MPC?
Intua’s BeatMaker was conceived for electronic music, hip-hop and trip-hop, but is a sequencer/sampler with MPC-like pads. It, too, provides WAV/AIFF and MIDI export functions.

It also includes 16 pads to trigger your samples and a comprehensive FX section (synchronizable delay, 3-band EQ, Bit-Crusher, and multi-mode filter assignable to two FX busses) whose FX send level can be set for each pad.

To record parts you can use the pads or a relatively comprehensive step sequencer. To arrange your songs you have a pattern-based system with volume, pan, groove, and pitch control for each step.

However, it’s also well suited for sampling because it provides several ready-to-use sample banks and it allows you to create your own, either by importing your samples (8 to 24 bits plus Noise.io support) or recording them with the iPhone mic to share them with the community.

Editing is possible through a compact audio editor that provides the ability to set, for each pad, the sample start and end points, volume, pan, pitch, fade in and/or fade out, and transpose (1/2 tone or octave).

For live applications you can play up to five pads simultaneously, mute and invert samples on the fly and control several sample or FX parameters using a nice X/Y pad.

Insight’s BeatSequencer BoomBap (not available in the USA) is strikingly different in design yet very interesting as it includes a 60-pattern step sequencer and a sampler that allows you to record directly with your iPhone or use any other sample.

A song can include up to 20 groups of 16 pads/samples each.

The software also provides effects like a “puncher”, delay, reverb, and chorus plus a mixer that gives you access to the 16 volume controls of the groups and also lets you assign the six effects for each sound.

With a more buttoned-down look and multi-platform capability (it is also available for Windows, Linux, Mac OS X, Windows Mobile, and PalmOS), SunVox is a powerful App combining a modular synth/sampler and an Amiga-like tracker for sequencing.

It has WAV export capabilities and provides possibilities by combining the plentiful modules available: FM synth, sound generator (saw, triangle, square, and noise waveforms), kicker, sampler, SpectraVoice (an FT-based synth), delay, distortion, echo, multi-mode filter, flanger, LFO, loop, reverb, vocal filter, and vibrato.

From Tenori to GrooveBox

For sequencing you’ll find many of basic applications inspired by Yamaha’s Tenori-On like PaklSound1, SoundMatrix II, Tripper, or Melodica.

However, as they include no MIDI or audio export functions they can generally only be considered toys. Even the option of connecting the iPhone/iPod Touch headphones output to the input of a mixer isn’t good enough compared to raw audio export.

Soundgrid which provides a Tenori-On-like matrix sequencer but which is much more comprehensive than most of its competitors features sample import, management of eight layers with eight patterns each, real-time FX (delay and multi-mode filter)... enough to entertain yourself for a while.

What about grooveboxes? They also have their place on the iPhone/iPod Touch platform.

Again, while many of them are excelent, they lack WAV or MIDI export functions. That’s why we won’t talk about them in much detail. 8Bitone is one of the most well thought out in this category, though it’s not the most versatile App.

Conceived by the developer of the RecTools recording application, it provides you with Commodore 64/128-like sounds and an excellent sequencer with piano roll view.

It’s sometimes hard to know if the synth is hosted by the sequencer or the other way around. Whatever the case, don’t miss the Noise.io Pro Synth, which can certainly be considered one of the most powerful synths available on the market for the Apple gadgets.

Combining FM and subtractive synthesis, it provides automation of every single parameter, a pitch sequencer, a trance gate, and a velocity-sensitive keyboard! It also offers a WAV export function and is compatible with BeatMaker, which is a highly rated virtual MPC for the iPhone… only lacking sound synthesis!

Loop the Loop
To wrap up this overview of iPhone sequencers, let’s take a look at loop-based production tools inspired by Acid/Garageband.

With a unique design, IK Multimedia’s Groovemaker is available for different music styles, but you cannot import your own loops, which is a major drawback.

That’s why we prefer Looptastic’s Producer version, because it allows you to import your own WAV, AIFF and OGC files.

It can synchronize up to 20 files at the same time and allows you to export your mix.

It’s unfortunate that you cannot record, as that’s the whole point of loopers and loop samplers. They come in very handy to record song ideas on the spot and loop the loop with our previous report about iPhone audio recorders.

StompVox, which lacks an export function, provides six 30-second samplers, a mixer, a loop editor, delay and reverb effects, and a 12-pattern sequencer. Everything for only $9.99.

On the other side, some of you will appreciate the simplicity of Everyday Looper. The oddness of this 4-track looper is the GUI with no buttons: you can slide both ways using 1, 2 or 3 fingers to start or stop the recording, toggle between different tracks, and export the result of your work via WiFi.

For more audio/sound related content and resources, go to Audiofanzine.

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Extron Power Supplies Reach Demonstrate Exceptional Mean Time Between Failures

The MTBF milestone of 1,000,000 hours highlights Extron's commitment to product quality.

Extron Electronics has announced that Extron designed and manufactured power supplies have reached the 1,000,000 hour mark in demonstrated MTBF, Mean Time Between Failures.

This was accomplished by exposing the power supplies to extreme testing through an in-house heating chamber that supports elevated temperature as well as constant temperature conditions.

While most manufacturers utilize off-the-shelf switch mode power supplies that can be subject to variations in quality and reliability, Extron designs and manufactures their own power supplies.

Extron subjected their power supplies to testing that lasted more than two years.

They simulated an accelerated operational life span by placing a sample quantity of power supplies in a heat chamber at an ambient temperature of 85°C. This produced a demonstrated MTBF rather than a less reliable calculated MTBF that is based on the stated specifications of the individual components.

“This one million hour MTBF milestone highlights Extron’s commitment to product quality,” says Casey Hall, Vice President Sales and Marketing for Extron. “We are not aware of any other company that has gone to such lengths to guarantee power supply reliability.”

Both the Extron PS Series of Desktop Power Supplies and Extron internal power supplies were tested. The energy efficient desktop power supplies are ENERGY STAR qualified, and Extron internal power supplies consume less energy and generate less waste heat than conventional power supplies.

Extron Electronics Website

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Tech Tip Of The Day: Boom Mic Tips

How to keep a boom mic out of the shot.

 
Q: I’m working on a low-budget film and our make-shift boom operator needs to know how close to get the mic to the actors.

What should we do?

A: Some of this, of course, depends on the microphone itself.

Saying that, the shot and composition of the shot is God when it comes to filming (or video taping).

So, the best rule of thumb is to have the microphone at the end of your boom be a low as possible without entering the shot.

How can you do this? Place a strip of white tape on the tip of the windscreen of your microphone (or somewhere in that area), have your boom operator dip the microphone completely into the shot, then slowly raise it up until the camera operator tells you that he can no longer see the microphone or the white tape.

Most camera operators will not be concerned with your microphone, but the white tape will be their guide to communicating with the director and boom operator.

Finally, if the camera intends to move at all in a given take, be sure your boom operator practices his movements in concert with the camera operator.

 
For more tech tips go to Sweetwater.com

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Fulcrum Acoustic Expands Las Vegas Presence At The Wynn Encore

The hotel’s newest pool and nightclub, full of Fulcrum gear, opened Memorial Day weekend.

Las Vegas is known for its nightlife, however a growing trend is its reputation as a destination for daytime beach parties.

The Wynn Encore hotel has tapped into this trend with the opening of the $67 million Beach Club adult pool and Surrender Nightclub, all housed in the same 60,000 square foot megaplex and packed with mains and subwoofers from Fulcrum Acoustic.

The megaplex, which also houses a restaurant, is meant to capture guests’ imagination and easily transition the party from day into night.

The Beach Club features the best in poolside entertainment, with tiered pools, 40-foot palm trees, lounges and couches, private cabanas, and a high performance sound system featuring the Fulcrum Acoustic weather resistant Prophile M loudspeaker and the weather resistant Prophile US212 subwoofer.

“Aesthetics are very important in Las Vegas installs, so the interior designer insisted on compact loudspeakers that blended into their designated install locations,” said David Gunness, chief technology officer for Fulcrum. Gunness also lent his expertise to commission the system prior to the official opening.

“The sound system also had to deliver nightclub level, high fidelity sound. Because of its natural horizontal orientation and high output to size ratio, the M is the perfect solution for the balcony fronts and sides of buildings. The US212s were compact enough to be hidden in concrete recesses that fit within the smooth lines of the architectural features.”

Fulcrum’s Prophile M loudspeaker is flexibke enough that a pair of them is were pressed into service as a mobile DJ monitor in the pool area.

Indoors, the Surrender Nightclub occupies a 5,000 square foot space that can be opened to integrate with the Beach Club. The club features a full complement of the Fulcrum Acoustic Prophile product line, specially created with aesthetics and performance in mind.

“In the Surrender Nightclub, the L loudspeakers provide the sound levels needed in a club of this type without overwhelming the fine architectural elements,” says Gunness. “And just three US221 subwoofers provide a bonafide dance club experience while occupying very little floor space.”

In addition to the pool and nightclub, Fulcrum Acoustic products are also installed at XS nightclub in the Wynn Encore. John Lyons Systems was the sound and lighting contractor for the new entertainment megaplex as well as for XS.

Fulcrum Acoustic

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Tuesday, June 01, 2010

Church Sound Files: Getting The Right Balance Between House & System Levels

Lowering SPL is one of the few ways to get something for nothing, so lets consider the benefits. The list goes on and on!

A good house sound reinforcement system starts with a controlled stage monitor system, and a controlled monitor system starts with managing the on-stage levels.

Simply, excessive sound pressure levels (SPL) on stage can often lead to excessive levels from the house system.

This leads to two suggestions. Monitor levels should be set after house levels, and monitor levels should be sufficiently low in order to not interfere with the house system.

Let’s proceed with the assumption that the goal of the exercise is to produce the optimum listening experience for the audience, not the band. Some compromise is usually in order to keep everyone happy.

The overall goal is to reduce monitor levels without alienating musicians or impairing their ability to play. One key ingredient to keeping stage levels down is to control the level of the drums.

Bang The Drum
As young drummers develop their skills, dynamic control is often ignored in favor of practicing drum licks with a higher “wow” factor.

But the output level of a drum kit can be reduced by 10 dB or more by simply playing softer, and this is often the easiest (and cheapest) solution to keeping stage levels under control. Therefore, encourage drummers to develop the necessary skills to play at lower levels.

Another idea: consider putting the drums in a cage. Plexiglass panels around the drum kit can reduce SPL on stage by reflecting sound back. Personally, I don’t think this does much for the sound quality of the drums, but it does reduce the direct level on stage and in the house.

If panels aren’t enough, a “lid” will control/contain levels further. Because the lid is parallel to the floor, it can be made absorptive rather than reflective. After all, no one is looking through it.

While a lid might produce some lighting problems, it will help sound immensely.

Some go to the extreme of building an on-stage room for the drum kit, complete with ventilation (hopefully). The cage method can let the drummer play at a higher level without overpowering the stage.

Alternatively, there are some excellent electronic drum kits on the market.

But if you’re going this route, do it right. Don’t be cheap, and make sure that a good house sound system is available to reproduce the kit.

This approach puts the drum sound completely in the hands of the sound operator. A good one can do amazing things with the extra control. A bad one can completely ruin the drum sound and have the drummer going back to the acoustic kit.

It’s also vital to give the drummer an adequate monitor system, which will ideally be a headset as opposed to stage monitors.

Again, do it right. Provide a good stereo mix. Something else that can further help is a feed from an audience microphone to keep things realistic.

Done properly, this is perhaps the best of all approaches. It’s just all-too-rare
that it’s done right, so the drummer, band or both can be less than excited about it.

While the look and feel may not be the same as a live kit, 99 percent of the audience won’t know the difference and will be perfectly content with the drum sound.

Like it or not, musicians must constantly evaluate whether what they’re doing benefits the audience or is just pleasing to themselves. With drum level under control, we can go to work on other instruments.

Guitar Blues
Like the drummer, guitarists are often after a certain sound.

Unfortunately, some of the popular sounds are achieved by intentionally driving a guitar amplifier(s) into distortion.

A 100-watt guitar amplifier is going to be awfully loud before it sounds “right.” So, number one on the list of ways to control guitar level is, “get a small amplifier!”

There are a variety of small solid stage or tube amplifiers that can deliver that warm sound at lower levels.

Now, it may not sound exactly like your Marshall stack, but again, the vast majority of the audience won’t know the difference.

If a guitar is still too loud, point the amplifier toward the back of the stage or into an absorptive block of material.

If the amplifier has an open back, make sure that there is an absorptive wall or a free-standing panel behind it.

Put a good omni condenser mic in very close proximity to the amp’s loudspeaker to get the sound into the house system.

Try some different mic placements, as long as all of them are very close to the amp - if it’s not touching the grill cloth, it’s not close enough!

Bass players generally rely less on the sound of their “rig” than guitarists do. As such, a small on-stage amp may be sufficient for stage sound, with a balanced feed sent to the house system for reinforcement.

Because bass is comprised of low frequencies and therefore very long wavelengths, it’s easy to be fooled when setting the playback level on stage.

Room modes can make certain notes louder at remote distances than up close, so it’s not unusual for bass players to be unable to hear themselves when everyone else can.

It’s also important not to confuse loudness with definition. Sometimes use of a pick rather than fingers will allow the bass to “cut through” more in a large space, allowing the playback level to be reduced.

What about keyboards? This one’s a bit easier. Electronic keyboards don’t have any acoustic output, so 100 percent of the sound comes from the PA.

A monitor is still needed, of course, but use a near-field unit to keep levels down. Or, because keyboardists are often stationary, a closed-ear headset can provide the monitor mix.

Monitor Myths
The key ingredient in keeping monitor levels under control is to consider what monitors are and what they’re for.

Musicians have to play in time and on pitch, and to do this they need to hear themselves and those around them. But they only need enough information to play in time and on pitch.

My experience has been that the better musicians can make due with less monitor level. Don’t let someone’s lack of experience force excessive monitor levels.

It’s a mistake to try to give a musician a concert experience on stage because it comes at the expense of the balance between the stage sound and the house.

The keyboard player may not need the background vocals in his or her monitor. And choir mics through monitors? I don’t recommend it. Music track only, please.

A key word in the vocabulary of a good sound operator is “no.”

Since monitors are all about balance, you can reach the same balance by turning things down rather than turning them up. Subtractive mixing is a powerful technique that simply achieves balance by reduction.

In other words, don’t tell me what to turn up, tell me what to turn down!

One of the most powerful and useful developments in recent years is the in ear personal monitoring (IEM) system.

These are available in wired and wireless versions, and many allow the musician to have control over their own mix.

With IEM, the same advice applies as to the electronic drum kit – if you go this route do it right. A half-hearted, low-budget attempt at IEM will only alienate musicians and make it less likely that they’ll ever try it again.

Done properly, musicians can have their own acoustic environment complete with audience sounds, etc.

The combination of IEM and electronic drums can drop stage levels to
virtually nothing, dramatically improving the house system.

Be sure to allow an adequate transition period from stage monitors to IEM. And squeeze in some practice sessions before trying it in front of an audience.

Humans are remarkably adaptive, but adaptation takes time. We’ve all experienced a new computer keyboard that was impossible to type on at first, but after a few days, it’s our keyboard of choice.

IEM and electronic drums can require the same break-in period, and those that endure it are gonna love the results.

Posted SPL Limit
Establish an absolute maximum for monitor level and stick to it. Do this after setting the maximum level of the main system. You can do both with a CD track.

Set the mains to the highest level that is comfortable for the audience. If the gain structure of the system is correct, this level should drive the main meter on the mixer to the vicinity of “meter zero,” providing some visual feedback as to the operating level of the system.

If you’re way below meter zero, it may be necessary to turn down the amplifier levels in order to turn up the mixer.

While the music is still playing, bring the monitors up until you can just hear them from front-of-house and then turn them down by at least 10 dB.

This represents the maximum possible level of the monitors, and should represent “meter zero” on the monitor bus meter.

If there isn’t one, it can be added as an outboard unit. This should allow the mains to swamp out the monitors in the house for all but the closest seats to the stage.

Use the visual metering on both mains and monitors to maintain these levels, and don’t go higher no matter what your ears tell you and no matter what pleas come from the stage.

The human hearing system is easily deceived when exposed to high levels over time.

Monitors are often run as loud as they’ll go without feedback, not as loud as they need to be.

It’s O.K. to have some extra headroom, but you’re doing musicians a favor by controlling their exposure, and they’ll likely be playing much longer because of it. Take levels to the “edge” all of the time, and musicians will become conditioned to expect it.

Why Not Win?
Lowering SPL is one of the few ways to get something for nothing.

Consider the benefits: lower cost, less hearing damage, and a happier audience. And the list goes on and on.

Pat & Brenda Brown lead Syn-Aud-Con, conducting audio seminars and workshops around the world. Synergetic Audio Concepts (Syn-Aud-Con) has been a leader in audio education since 1973. With nearly 15,000 “graduates” worldwide, Syn-Aud-Con is dedicated to teaching the basics of audio and acoustics. For more information, go to http://www.synaudcon.com

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Martin Audio Used By SACPS For Cinco de Mayo Concert

Martin boxes provided coverage within the weight constraints of the venue.

Sponsored by KSFM/CBS Radio, the yearly Cinco De Mayo Concert featured a lineup including Expose’, Jason Derulo, Baby Bash, Three 6 Mafia, Taio Cruz, Amanda Perez and Frankie J.

Held in Discovery Park, the event featured audio and staging by Sacramento Production Services Inc. with Production Manager Keith Wackford, FOH Engineer Greg Mahler, Systems Engineer Chris O’Brien, Monitor Engineer Rick Stansby, and Assistant Monitor Engineer & Stage Tech Dwaine Wise.

SACPS used a Sound Craft MH4 for FOH, a Yamaha M7CL for monitors and a lineup of Martin Audio loudspeakers that included 2 x 14 W8LCs, 2 x W8C for front fill, 8 WLX fly subs and 14 W8LS ground stacked.

The arrays were complemented by Martin LE1500 and LE12J stage monitors, W8Cs and S218 subs for side fills, and a Martin WT3 for drum fill.

Amplification for the Martin boxes was provided by QSC Audio.

Commenting on the show’s sound, Wackford said, “This was the first year SACPS provided support on this show. The past company had both mains and subs flown off the roof.”

“Due to the increased size of the event and sound system, flying a full sub array was not possible alongside the mains due to weight limits on the roof system. By putting four WLX subs in the air, we gave the client to look and feel they wanted with out being over weight on the roof.”

Wackford and crew created a 2D Model using Martin Audio Display software to “confirm that 14 boxes per side was safe and could hit the 300ft + seating distance, while making sure we were within our weight limits.”

Keith summed things up: “With a few smaller events under our belt for this client,” said Keith, “they were very happy that we can excel in not only there small multi stage shows but their large productions as well.”

“So happy with Sacramento Production Services that another event has been booked in June featuring the Bare Naked Ladies.”

Martin Audio Website

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Crown Audio Calculators: Constant Voltage Transformer Delivery

A useful calculator for designing audio systems with Crown amplifiers.

A transformer labeled for use with a specific voltage will work just as well at other voltages.

This calculator provides power delivered from a transformer tap when driven with other than the rated voltage. 

Example:

You are installing a distributed system with very long lines.

To overcome line loss, you select a 140-volt system.

Which transformer tap will feed 10 watts to a loudspeaker with a 70-volt transformer?

1. Enter values for both “Voltage Rating of Transformer” and “New Voltage” 

2. Either:

- Enter a value for “Tap Rating” to calculate the power output from the tap at the new voltage.

- Enter a value for “Power from Tap” to calculate the correct transformer tap to achieve the desired power at the new voltage.

Equation used to calculate the data:

Pactual = (Vnew squared / Vrated squared) * Prated

Where:
Prated = transformer tap value
Pactual = new power from tap
Vrated = voltage rating of transformer
Vnew = new voltage

 

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One Systems Introducing 112IM-Sub Subwoofer At 2010 InfoComm

Can be used as a “true” subwoofer with small and medium-format full-range systems, and also as a bass module with larger, higher-output full-range systems

One Systems is introducing the 112IM-Sub, an injection-molded, all-weather subwoofer at the 2010 InfoComm show (Booth C-7706).

The 112IM-Sub utilizes a single 12-inch (305-mm), high-output, low-frequency driver, and can be used as a “true” subwoofer with proper filtering and amplification with small and medium-format full-range systems, and also as a bass module to deliver additional sonic impact with larger, higher-output full-range systems.

The low-frequency driver utilizes the company’s patent-pending Inside/Only (I/O) design, in which the voice coil is wound on the inside of the woofer’s bobbin structure.

The design enables high magnetic system displacement and increased thermal transfer that greatly minimizes power compression and improves reliability.

The injection-molded trapezoidal enclosure is made with a special resin that enables it to withstand extended exposure to the elements.

Stainless steel rigging points and internal structural supports improve weather-resistance. The grille uses a 3-layer “rain shield” design that minimizes direct rain contact with the system’s transducer.

The enclosure and grille’s design are rated to IEC 529/IP 45 (solid object penetration and water jets from any direction), and the enclosures and components are also designed to Mil Spec 810.

To prevent moisture intrusion through the connectors, the 112IM-Sub has a weather cover equipped with an internal gland nut protecting a stainless steel barrier strip input. There are also two locking 4-pin Neutrik Speakon input connectors for indoor use.

To increase its applications flexibility, the 112IM-Sub can be used in a number of different configurations. It can be flown or mounted vertically or horizontally via 17 x M10 rigging points and a vast selection of optional array brackets, mounts and eyebolt kits. It can also be ground-stacked singly or with a full-range system on top. 

One Systems Website

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Lexicon PCM96 Update Brings Snow Leopard Compatibility

Update improves audio drivers, performance, and stability.

Lexicon has announced its latest software update with Mac OS X 10.6 Snow Leopard compatibility for the PCM96 and PCM96 Surround Reverb/Effects Processors. 

The release also updates the networking stack and audio drivers which increases performance and stability, reducing the latency when controlling the processors through the plug-in interface and streaming audio over FireWire.

The PCM96 and PCM96 Surround processors features a wide range of reverb algorithms with related delays and effects and can function as a control-only DAW insert or FireWire streaming hardware plug-in.

“Lexicon is committed to providing the highest level of signal processing available to meet the platform needs of the changing studio environment,” said Rob Urry, President of Harman Music Group. 

The PCM96 offers two channels XLR analog and AES/EBU digital I/O while the PCM96 Surround offers six channels analog and AES/EBU I/O, as well as MIDI, Wordclock, Ethernet and FireWire connectivity.

 

Lexicon Website

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Metric Halo ChannelStrip A Favorite Of Sean Gould

Gould a fan of ChannelStrip's small footprint and easy to use interface.

Engineer and guitarist Sean Gould works with some of the best up-and-coming and established acts in the music industry, with recent projects have that include Train Save Me, San Francisco, Boys Like Girls Love Drunk, Uncle Kracker Happy Hour, and much more.

For his mixes, Gould relies heavily on Metric Halo ChannelStrip, a plug-in that combines equalization, dynamics, and delay, to turn out his known results on short deadlines.  Gould, who prefers to mix in the box for portability, values ChannelStrip’s CPU footprint.

Gould runs multiple instances of ChannelStrip in a far smaller footprint than would be achievable with separate EQs, dynamics, and delays.  “ChannelStrip is always the first plug-in I go to when something needs a fix or a change to make it sit better in the mix,” said Gould.”

“The interface is easy to look at and use,” he said. “It’s all right there – gating, compression, EQ – and all with selectable pre- and post-arrangements. It’s very versatile.”  “I think there’s a tendency for people to collect as many plug-ins as they can,” he said.

“It can be a little overwhelming and ultimately, I think, counter-productive. It’s not like I have time to try out five different manufacturers’ EQs on a particular track!”

“For my way of thinking, it is better to have a few excellent plug-ins that I know backward and forward. It really speeds up the workflow. ChannelStrip is that plug-in for all the basic stuff that I need on just about every track.” 

Though surprising to some, when Gould finds himself stuck for a bit of inspiration he often turns to ChannelStrip – relying on the presets to set him off in a productive direction. “It’s funny, but I don’t even stick to the presets that are designed for the instrument I’m working on,” he said.

“I’ll scroll through the vocal presets for a bass track. I invariably find something that makes me say, ‘wow, I never would have thought to do that, but it works!’ With a few tweaks, I have something inspiring.”

Metric Halo Website

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Audio-Technica Selected For WKSU’S Mobile Folk Alley Studio

The popular Internet radio stream Folk Alley equipped its new mobile studio with Audio-Technica mics for live music capture, in-studio performances and voiceovers.

Audio-Technica was recently selected as the microphone of choice for the new mobile studio of Folk Alley’s live streaming web radio program by Kent, Ohio-based WKSU-FM.

The Audio-Technica microphones are used for announcement/voiceover applications, live music broadcast and in-studio guests/performances in the mobile broadcast vehicle, which has been up and running since August 1, 2009.

WKSU and Folk Alley Executive Director Al Bartholet stated, “When we first developed our plans for Folk Alley’s mobile recording studio, we put Audio-Technica microphones on the top of our wish list.”

“Music and radio are industries that revolve around audio, and having the ability to use mics of Audio-Technica’s outstanding quality makes it easier for us to do our job well.”

Included in the studio’s microphone cabinate are AE5400, AE5100, PRO 35, and AT875R Microphones.

Joe Gunderman, Folk Alley Production Coordinator and Senior Producer commented, “I’m very enthusiastic about the AE5400s.”

“We have in-studio guests, and in the past, we might normally have used a large-diaphragm with shock mount, but the AE5400 sounds just as great and is friendlier visually to put in front of our guests.”

“We’ve used AE5400s also in the studio and at live events, for recent performances by some really great folk artists – Madison Violet, Solas, The Greencards, Ann Heaton and Natalia Zukerman from Winter Bloom, and lots more.”

“Also, the AE5100s are great too – we use them in front of acoustic guitars, acoustic bass, bouzoukis, mandolins, and more, and they’ve always given us a real nice response.”

Added Linda Fahey, Folk Alley Director of Programming and Marketing, “We built the FolkAlley.com mobile studio to enable us to capture the best folk and roots music performances at venues and festivals around the country.”

“Using Audio-Technica mics – the best in the business – makes our final audio better and provides an enhanced listening experience for the thousands of people streaming Folk Alley’s interviews and concert recordings online.”

With its new Mobile Recording Studio, WKSU’s Folk Alley is now able to take its show on the road with the vehicle which was paid for through a generous grant from a Folk Alley fan. The show helps to promote FolkAlley.com and Kent State University.

Audio-Technica Website

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