Friday, March 20, 2015
Ryan Mauer Joins Full Compass As National Sales Manager
Brings a range of sales leadership and recruitment experience to company sales team
Full Compass Systems has named Ryan Mauer as the new sales manager heading up the company’s National Sales Division.
Mauer brings a range of sales leadership and recruitment experience to the Full Compass sales team. Previously he served as director of marketing and sales operations for RenewAire, where he was responsible for the strategic and tactical execution of the company’s go-to-market initiatives.
He also served as director of national accounts at Conney Safety Products, where he oversaw the national sales channel for the company in addition to bringing on and working with dozens of business development managers to support an aggressive sales expansion.
“I’m very excited to have such a talented individual joining our sales management team,” states Michelle Grabel-Komar, VP of sales at Full Compass. “Ryan’s sales leadership, training, and coaching skills will be a valuable asset to the advancement of our company’s overall goals.”
Allen & Heath iLive And GL Installed In Korea’s Incheon Asiad Stadium
Stadium officials required a stable but flexible multi-purpose audio system which would satisfy demands for both digital and analog technology.
Allen & Heath’s iLive digital system and GL2800 analog mixer were installed in Korea’s new Incheon Asiad stadium, built to host the 17th Asian Games.
Taking 3 years to construct, the gigantic stadium is capable of holding up to 62,000 people and was used for the Games main sporting events, as well as events before the Games, such as Korean Pop (K-POP) concerts. As many as 13,000 athletes from 45 countries competed.
The organizer was looking for a stable but flexible multi-purpose audio system, which would satisfy the need for both digital and analog technology. Allen & Heath’s South Korean distributor, Sama ProSound, suggested an iLive-144 Control Surface with iDR-48 MixRack to serve as the main system, with a GL2800 as the sub system.
“iLive was chosen because it has both the capability and flexibility to manage the audio system, and it can be controlled remotely with the MixPad app, enabling the user to roam around the huge stadium while monitoring and controlling the system, so it delivers a time-saving convenience,” said Carl Park, principal engineer at Sama ProSound Co. Ltd.
The iLive-144 surface is connected to the iDR-48 mix rack and its 24 outputs are connected to the network system to distribute the input sources to the entire speaker system in the stadium, as well as broadcasting duties.
For smaller events, the venue required an analog console for less experienced users who are more comfortable with analogue desks. A 48-channel GL2800 was selected for its great audio quality and intuitive design. It also connects to the network system to distribute the audio.
“The stadium is huge and manages a lot of important large scale events so we needed a digital console that can handle its demands. That is why we chose iLive and GL, which are very flexible, easy to use and have a great sound quality at a reasonable price range,” comments Jungchan Lee, Director of Desco Co. Ltd.
Multi-Platinum Producer Jake Gosling Adds An Audient ASP880 To His Sticky Studios In Surrey
Analog gear fan devotes much of his energy to developing fresh, new musical talent
Multi-platinum selling music producer and songwriter Jake Gosling has added an Audient ASP880 to his already gear-packed Sticky Studios in Surrey (UK), where he devotes much of his energy to developing fresh, new musical talent.
Noted for his work with a young Ed Sheeran back in 2007, Gosling confirms that, “This is something I’ve always been passionate about, and will continue to do.” And as a vintage analog gear fan, he already owns ASP008s and didn’t need persuading to add the latest 8-channel mic pre and ADC from Audient.
“The ASP880 has a wonderful true clarity to its sound,” Gosling says. “I find it incredibly transparent, there is a depth of frequency there, but this doesn’t seem to complicate the true nature of what I am recording.
He adds that the unit is “very ergonomic in design and nature” and “simple to use. It’s important for me to record quickly especially with regards to writing. I like to keep recording seamless, and to keep it simple. The ASP880 allows me to do this.”
Working on many of the tracks on Sheeran’s current album, X, getting nominated for a Grammy and hearing the track he produced, Thinking Out Loud, play on the radio are just some of Gosling’s proudest moments. “The fact that my dad is playing on the record meant so much,” he adds.
“More recently I have been approached by more established artists, but as a rule it always has to be something that I really like.” With James Bay, Tom Odell, Mr Probz, Jake Isaac, All Time Low and many other new acts in his current work schedule, it doesn’t leave much space for anything else. Having said that, Gosling has still found time to create STICKY HUB, which he explains as “a new online platform for like-minded people to come and share their music and creative experiences.”
In the world of multichannel audio, connectivity has always been one of those subjects that’s too dull to spend much time talking about, but too important to ignore.
Everyone has found themselves in the unenviable position of having the wrong “gozouta” for their “gozinta,” and Murphy’s Law dictates that your drawer full of adapters will contain six of everything but the one you need, including at least one that’s maddeningly close.
As more and more technology becomes wireless, the jungle of cable linguini in our studios is becoming a bit more manageable. At the same time, there’s still no shortage of cable and connector protocols to mix, match, and keep track of.
So here’s a short – and by no means complete – rundown of some of the current array of connectors in use today. In the interests of space, we’re leaving aside most of the older, lesser-used protocols like TDIF and SCSI in favor of technologies currently in use.
Originally invented for manual telephone switchboards, the standard 1/4-inch plug has been around since the late 1800s and is still the most common type of connectors for musicians.
1/4-inch TRS stereo cable.
The TRS acronym stands for “Tip-Ring-Sleeve,” representing the three parts of the connector (Tip = positive, Ring = negative, and Sleeve = ground) and carries a balanced signal. Balanced signals are needed for longer runs of cable, as unbalanced signals can create noise over long distances.
The TS (Tip-Sleeve) version is a two-wire, unbalanced version. Due to their similar appearance and physical compatibility, it’s easy to confuse a TRS connector with a two-conductor unbalanced 1/4-inch plug — and if you’re only hearing one side of your stereo field, chances are that’s exactly what you’ve done.
1/4-inch TS mono cable.
Standard 1/4-inch TS plugs are most commonly used for guitar and other electrical instrument cables. The stereo versions are common on headphones, insert cables, and inputs and outputs on audio equipment that don’t need long runs of cable to connect — like studio mixers, compressors, and preamps.
If you’ve spent any time in a traditional recording studio, you’ve likely seen another variation of the TRS plug. The pro audio and telecommunications industries have long used TT (tiny telephone) connectors in patch bays.
Slightly smaller than a standard quarter-inch connector, TT patch bays have been fairly ubiquitous in the racks and consoles of recording studios, their size allowing up to 96 jacks to fit into a standard 19-inch space.
In the past decade or so, smaller variations of the TRS/TS connector have become increasingly popular, including the miniature (eighth-inch) and subminiature (3/32-inch) versions now used by most phones and MP3 players.
XLR (Audio, Digital Audio)
Introduced by Cannon Electric (now part of ITT), XLR is sometimes still referred to as a cannon connector, or colloquially as “Extra Long Run,” referring to the extra long cables that can be used with this balanced connection.
The connectors are circular, with anywhere from three to seven pins. Most commonly, the balanced three-wire version has been the de facto standard for microphones for many years. Three-pin XLRs are also used for loudspeaker connections, low-voltage power supplies, lighting controllers, and a host of other applications. They also carry digital audio signals through the professional-grade AES/EBU protocol.
Male and female XLR cables.
Unlike an analog XLR microphone cable, AES/EBU digital connections run two channels of digital audio over a single cable. Depending on the gear, common sample rates between 44.1 kHz and 96 kHz can usually run through this standard “Single Wire” mode.
However, “Dual Wire” mode is sometimes needed in order to run at higher sample rates for ultra high-fidelity audio, such as 176.4 kHz or 192 kHz. This is where only one channel of audio can run over a single XLR cable.
Other variations of XLR connectors include four-pin versions, which are used as the standard for 12-volt power in the broadcast, film, and television industries. Five-pin XLR connectors are used for some stereo microphones, like the Shure VP88.
Six-pin versions are used for some stage lighting applications and intercom systems, while seven-pin models are sometimes found on older condenser microphones which use their own power supplies (as opposed to phantom power).
Sometimes referred to as phono or cinch connectors RCA is a two-conductor, unbalanced protocol commonly found on “prosumer” gear, as well as on turntables and consumer electronics. The RCA name comes from the electronics giant Radio Corporation of America (now a part of BMG), who introduced the design in the 1940s.
RCA left and right cables.
RCA connectors can also carry digital audio signals using the S/PDIF (Sony/Philips Digital Interconnect Format) protocol. They are also found on a wide range of computer audio interfaces and video equipment. Unlike an analog RCA cable, S/PDIF digital connections typically run two channels of audio over a single cable.
MIDI (Musical Instrument Digital Interface) cables have been used since the mid-1980s to interconnect computers, sequencers, keyboards, drum modules, effects boxes, and other devices, controlling them via MIDI data commands. MIDI connections also carry MTC (MIDI Time Code), which is used to synchronize DAWs, sequencers, instruments, and other MIDI-equipped devices.
DIN-style connectors used for MIDI protocol.
These DIN-style connectors come in a variety of formats and pin configurations, but the five-pin MIDI variety is probably what you’re most accustomed to seeing. Unlike the other connectors we’ve talked about thus far, MIDI cables are strictly for data.
ADAT Lightpipe (Digital Audio)
ADAT Lightpipe began on the Alesis ADAT digital multitrack tape machines introduced in 1992. Lightpipe carries eight channels of uncompressed 24-bit digital audio (at a 44.1 kHz or 48 kHz sample rate) over a fiber optic cable, and was originally used to transfer audio between ADAT recorders.
While the ADAT recorder itself has found its way into the history books, its Lightpipe format has become a ubiquitous standard, used in digital mixing consoles, converters, audio interfaces, effects devices, and more.
ADAT Lightpipe cables.
In recent years, more engineers are preferring to track and mix at higher sample rates for ultra-high fidelity audio production. To allow higher sample rates of digital audio to pass through Lightpipe, “Sample Multiplexing” support, or S/MUX, was conceived.
While ADAT Lightpipe typically allows for eight channels of digital audio to pass through at 44.1 kHz or 48kHz, S/MUX enables four channels of digital audio to pass through at 88.2 or 96 kHz, or two channels of digital audio at 176.4 or 192 kHz.
S/MUX technology over Lightpipe is why you may often see four ADAT ports on a lot of current gear — two for input, two for output. However, not all audio equipment with ADAT Lightpipe ports support S/MUX, so it’s important (as always!) to check the manual.
The BNC (British Naval Connection) coaxial protocol is used in the studio to carry Word Clock, a signal used to synchronize DAWs, digital tape machines, and other devices connecting via S/PDIF, AES/EBU, ADAT, or other digital audio formats.
BNC cables for Word Clock.
USB (Audio, Data, Connectivity)
Universal Serial Bus has become an industry standard since its introduction in the late 1990s. It was designed as a connectivity protocol for computers, and is used today for everything from keyboards, printers, smartphones, and hard drives, to audio interfaces, MIDI interfaces, and other audio devices. It’s rare these days to find a computer or device that is not equipped with at least one USB port.
USB 3.0 can carry up to 5 gigabits of data per second.
The original USB 1.0 spec only supported a maximum data throughput rate of 12 Mbps (megabits per second), making it impractical for carrying more than four channels of audio. The introduction of USB 2.0 in 2000, with a throughput of 480 Mbps, upped the ante considerably, opening the floodgates for multi-channel USB devices.
In late 2008 the USB 3.0 spec was released, capable of up to 5 Gbps (gigabits per second) throughput, breathing new life into the USB protocol.
FireWire (Audio, Data, Connectivity)
FireWire is the trade name created by Apple for the IEEE 1394 high-speed serial bus protocol. Introduced on Apple computers around 1999 (and on some Sony computers as i.Link), FireWire is a contender with USB for video and multichannel audio communication, as well as for hard disks and other computer peripherals.
FireWire 400 and 800 cables.
Six-pin FireWire 400 connections can be found on a majority of audio interfaces made over the last decade. A four-pin FireWire 400 connection used to be common on Windows-based operating systems, but now are not as prevalent.
Today, the most commonly found Firewire connection on modern Macs and the latest FireWire audio interfaces is a 9-pin FireWire 800 connection. The biggest differences between FireWire 400 and 800 is the amount of data throughput. FireWire 400 supports 400 Mbps, while FireWire 800 supports 800 Mbps. So, you can run more channels of audio on FireWire 800.
Thunderbolt (Audio, Data, Connectivity)
Thunderbolt is ideal for high bandwidth audio, and connecting for multiple bandwidth-hungry devices.
Developed by Intel with collaboration from Apple, Thunderbolt is the latest high-speed cable protocol for connecting computer peripherals such audio interfaces, hard drives, display monitors, video equipment, and more.
Thunderbolt is ideal for high bandwidth audio and connecting for multiple bandwidth-hungry devices.
Thunderbolt has a unique flexibility because it can run multiple formats, simultaneously, over a single Thunderbolt cable. At its core, Thunderbolt supports native PCI Express (PCIe) and Apple DisplayPort protocols, but can be adapted to just about any protocol that would typically run on a PCIe card — FireWire, USB, HDMI, Ethernet, you name it. However, with Thunderbolt, you don’t need any PCIe slots, just a Thunderbolt port on your Mac or PC.
Many computer manufacturers are embracing Thunderbolt technology, and many new computers will be sporting Thunderbolt ports in the coming years.
Daniel Keller is a musician, engineer and producer. Since 2002 he has been president and CEO of Get It In Writing, a public relations and marketing firm focused on audio and multimedia professionals and their toys. Despite being immersed in professional audio his entire adult life, he still refuses to grow up. This article is courtesy of Universal Audio.
AES President Andres Mayo Presenting & Chairing Audio Panels At South By Southwest (SXSW) 2015
Joined by several top professional, topics include focus on mastering and well as technology and trends
At the upcoming South by Southwest (SXSW) festival in Austin (March 13-22), Audio Engineering Society (AES) president Andres Mayo has been invited to host two English and Spanish-language panels as well as participate as panel member of another.
The presentation will address both opportunities and difficulties that have arisen from today’s do-it-yourself technologies that allow for numerous facets of record production to be done at home, while pointing attendees toward using these advancements in the most efficient and productive ways. It will be presented in English and Spanish.
The following day at 2:00 pm, Mayo will host the “AES Platinum Producers & Engineers Panel” featuring Grammy Award winners Rafa Arcaute, Eduardo Cabra, Tweety González, along with Hugo Manzi and Stefano Vieni. The panel will bring together top producers and engineers from the Latin music scene to discuss current technologies and trends in the industry, as well as to lead open discussion and Q&A from the audience. It will also be presented in English and Spanish.
And, Mayo will aserve as a panelist on SXSW’s “Demystifying Mastering” panel on Saturday at 12:30 pm along with other mastering engineers, including Grammy Award winner Gavin Lurssen and Grammy-nominated engineers Michael Romanowski and Andrew Mendelson. The program will highlight aspects of mastering workflow at the highest level, while shedding light on technical and creative ideas of interest to all musicians.
“It´s extremely meaningful that the Audio Engineering Society has been invited to present technical panels at SXSW for the first time,” states Mayo. “Our vision is that the AES needs to be wherever the musicians are. We are integral parts of the same industry, and we provide the technical backup for anything they may need. I see this as just the beginning of an increasingly strong collaboration between the AES and one of the top music events in the world.”
Berlin’s TrueBusyness Recording/Mastering Studio Expands With SSL AWS 948 Console
Co-owner and chief engineer Sascha "Busy" Bühren particularly likes the AWS's integration of Pro Tools and other applications
Sascha “Busy” Bühren, co-owner and chief engineer of TrueBusyness in Berlin, one of Germany’s premier recording and mastering studios, is getting down to “busyness” with a new Solid State Logic (SSL) AWS 948 console.
The 48-input AWS is the centerpiece of the facility’s new recording/mix studio, dubbed “New York” in homage to the birthplace of Bühren’s favorite music. Bühren, who owns TrueBusyness with his wife, Laura, is a longtime DJ, his nickname inspired by his days as a “battle DJ” in events such as Disco Mix Club’s World DJ Championship.
He established a production company more than 20 years ago, soon after his first major label release, and has served as producer and mix engineer for dozens of German hip-hop artists. He has also built a reputation as a mastering engineer, putting the finishing touch to numerous releases in a wide variety of genres and artists, such as SEED, Unheilig, Max Herre, Gentleman and Rea Garvey.
Last year, Sascha and Laura expanded TrueBusyness by an additional 190 square meters into a neighboring studio and built a comprehensive new recording/mix studio. “We knew the rooms, their sound and the vibe,” Sascha says. “It was the perfect match to blend with our mastering house. After that, choosing a console was easy. From the time I started as an audio professional, I wanted to own an SSL console; there could be no compromise. The AWS is the perfect pairing of a great-sounding console in a well-treated control room.”
Bühren particularly likes the AWS’s integration of Pro Tools and other applications. “Now, I can work in-the-box outside,” he says, “which gives any digital production a 100-percent analog feel.” Sonically, the AWS surpasses his previous methodology of combining a digital audio workstation with a summing mixer. “Summing on a real console with 48 channels totally blew me away,” he says. “You cannot compare it to the old method-I just don’t want to go back, period.”
The total control allowed by the AWS, he adds, was essential. “Fast decisions in critical situations can be a lifesaver, and with the size of the console, you can reach all knobs and faders quickly, without leaving the sweet spot.” The studio also offers an SSL X-Rack stocked with E and K Series EQ and dynamics.
“Basically,” Bühren concludes, “we wanted a high-class facility for anyone that wants the SSL sound, surrounded by a friendly atmosphere where creativity comes before business. The sound of SSL tells a story like no other console in the world and our clients agree. The first reaction is always wow. Sometimes they just sit and listen, as though they had never heard music before.”
As I was preparing for our recent OptEQ workshop in Dallas, a few things crystallized for me, the most fundamental being “what is equalization?” If you ask 10 audio practitioners this simple question, you’re likely to get 10 different answers.
In the most literal sense, equalization means to “make equal.” But make what equal? Here are some thoughts for consideration.
In the strictest use of the term, equalization applies to the correction of minimum phase aberrations in the transfer function of a device (usually electro-acoustic) using minimum phase filters. This could be called “corrective” equalization, because the anomaly is removed, as though it never existed.
This is an “audio world” definition. Unfortunately, we don’t have exclusive rights to the term. Even so, some practitioners want to limit the term “equalization” to this use of filters only.
The filter banks, analog or digital, that precede the power amplifiers are called “equalizers.” Graphic or parametric, they’re used for spectral shaping of the response. These filters may be used with no regard as to whether they’re “corrective.”
The channel strip of a mixer includes filters for “program equalization.” These can be technical, such as a high-pass filter used to band-limit a microphone, and they can also be artistic, used to change the sound of a vocal or instrument microphone. This is always done by ear, and it is subjective, yet “program equalization” is a very important part of the operation of a sound system. It gives the system operator some control over the way things sound without touching the “house EQ,” which should only be used to establish a neutral system response.
Some equalizers have intelligence and can establish their own response curve based on an ongoing measurement. “Adaptive equalization” is very much a part of modern communications, and is used to compensate (not correct) for the dispersion (time smearing) of signals in a communications channel. This may be the most common form of equalization that most of us encounter, given the proliferation of cell phones and digital communication links.
Dr. Boner applied notch filters to compensate for room resonances. A resonance is a frequency that a room stores longer than others, providing some natural amplification. This in turn produces tonal coloration for the listener. The use of room resonance compensation filters is probably the origin of the term “room EQ.”
Of course, these filters are not corrective, and those that see equalization as only corrective are greatly distressed by the suggestion of electronic room equalization. Since the term “room EQ” isn’t going away, expanding the definition of equalization to include “compensation” makes the term work.
In light of these facts, a general definition is in order. Audio equalization is the application of filters, either analog or digital, to the audio signal.
“Equalization” can be made more specific with a descriptor, such as corrective, program, or adaptive equalization. So, there are many forms of equalization. This is one case where Wikipedia gets it mostly right: “Equalization is the process of adjusting the balance between frequency components within an electronic signal.” This “balancing” can include magnitude, phase, or both. The target response may be flat or it may be a curve, such as the “EQ” setting on a media player.
To limit the term equalization to any one of these specific applications causes confusion, as we are then required to create new terms for the others.
SynAudCon recognizes the “application of filters” as equalization, and filter banks as “equalizers.” We teach the specific uses of equalizers in our seminars, and we encourage audio practitioners to make their intended meaning of the term clear by the context in which they use it.
Editor’s Note: We present this discussion both as a means of offering clarity on a much-discussed topic as well as a lead-in for an upcoming report on the OptEQ workshop by Kent Margraves.
Pat & Brenda Brown lead SynAudCon, conducting audio seminars and workshops online and around the world. For more information go to www.prosoundtraining.com.
The Vista 1 is now available for demo, along with accompanying studio monitors and outboard gear, at Dale Pro Audio’s Queens location.
Harman’sStuder has announced that Dale Pro Audio has expanded its product offerings with the addition of Studer’s Vista 1 digital console as a new customer solutions option.
The addition of Vista 1 consoles to Dale Pro Audio’s inventory is part of a new relationship between the companies to better serve the audio community, which also underscores Dale Pro Audio’s long-term commitment to the broadcast market.
The Vista 1 is now available for demo, along with accompanying studio monitors and outboard gear, at Dale Pro Audio’s Queens location.
Based in New York City, Dale Pro Audio has served the broadcast, live sound, contracting, and studio and post-production markets for more than 50 years. Dale Pro Audio co-owner, Valerie Lager, commented, “We are proud to be associated with the Studer brand, and our new relationship comes at a perfect time. The Studer Vista 1 console fits in well with our current initiative to further expand our offerings and service to the broadcast market, and we’re confident it’ll serve our clients well.”
The Studer Vista 1 digital console is highly suited to both fixed and portable systems, while its compact size makes it a natural choice for OB and ENG vans. It is equipped with Studer’s exclusive Vistonics™ user interface and Vista control surface, plus features such as true broadcast monitoring, talkback, red light control, GPIO, N-x (Mix Minus) busses, snapshot automation and DAW control. Capable of over 100 channels, the Vista 1 can handle mono, stereo and 5.1 inputs with ease. The Vista 1 features 32 mic/line inputs, 32 line outputs and also comes with Multi Mode MADI, while an additional Dual MADI card is available for remote stage boxes.
Michael Descoteau, Dale’s Broadcast Sales Director, added, “Studer’s reputation for stellar products is evident in the Vista 1. The design of its control surface caught our eye—it’s extremely innovative and intuitive, which provides an opportunity for new users to grasp it quickly and easily. It will also serve many of the markets we reach, such as broadcast, live, and post.”
“The worldwide adoption of Studer Vista consoles has been growing rapidly and Dale Pro Audio’s addition of the Vista 1 to its inventory is a major step forward in the United States,” said Rob Lewis, US Sales Director, Studer. “Dale Pro Audio’s heritage and reputation for excellence is well-known throughout the professional audio industry and we are looking forward to a very successful relationship!”
New White Paper Focusing On The Present & Future Of Audio Networking Now Available
Examines current state of audio networking market and trends among the various networking solutions
RH Consulting has released a new white paper examining the current state of the audio networking market and trends among the various audio networking solutions.
The report, titled “The Death of Analogue and The Rise of Audio Networking,” was commissioned by Audinate and takes a detailed look at the number of audio networking products presently available, the growth rate for various protocols, and the market forces affecting their adoption.
“This white paper is the most comprehensive analysis of the audio networking market to date,” states Roland Hemming, principal audio consultant for RH Consulting. “Rather than just focus on technical differences, our goal was to provide a deep dive from the overall market perspective. We analyzed the products that are really shipping and the factors that are driving the growth, or lack thereof, of the various protocols.”
The report notes that Audinate Dante audio networking has had significant growth in licensees over the last 24 months, nearly four times the next largest protocol. It further states that more than 700 networked audio products are currently available, with the number of Dante-enabled products introduced in the last 12 months significantly outpacing all other networking protocols. And, it forecasts that the number of Dante-enabled products is expected to grow by 75 percent in 2015 and 130 percent by 2016.
In addition to looking at the total available networked products on the market, RH Consulting examined the factors contributing to the rapid growth of Dante and where audio networking sits on the technology adoption curve.
“Audio networking is following the same pattern as most new technology,” adds Hemming. “The success of Dante is consistent with easy-to-use, end-to-end solutions driving the market when technology is in the early growth phase. Over time networking has become less about specifying a protocol and more about specifying products that work together.”
The report indicates that the uptake of Dante and audio networking in general is an indication that the market is undergoing a dramatic shift. “History has shown us that when a digital technology comes within 20 percent of the price of its analogue equivalent, the latter dies,” according to Hemming. “While audio networking is not to that point yet, the rapid growth we are seeing now would indicate that analogue’s days are numbered.”
RH Consulting is an independent audio consultancy offering system design, compliance, product development and project management services. In his 28-year career, Roland Hemming has managed the two largest audio projects in Europe, and has presented papers to the Audio Engineering Society and been an advisor to InfoComm. He is a regular speaker at industry conferences, a judge for many industry awards and regular author of articles for industry magazines. And, he’s a member the AES and ISCE and sits on the British and European committees for voice alarm systems including EN54 and the IET committee for Connected Systems Integration in Buildings.
Vintage King Audio Names Shivaun O’Brien As Traffic Manager At LA Location
Brings more than three decades of in-studio knowledge to the position
Vintage King Audio has announced the addition of Shivaun O’Brien in the newly created role of traffic manager at its Los Angeles location.
As the former studio manager of the venerable Sound City Studios, O’Brien brings more than three decades of in-studio knowledge to the position, where she will work towards creating an ever-expanding pro audio experience.
“My job as studio manager involved booking the studio, making sure the sessions ran well and keeping the equipment well-maintained,” says O’Brien, who spent nearly 20 years at Sound City. “My main focus is using this experience to boost in-store customer service and support the sales team here in LA.”
Getting her start in the industry with an Associate’s Degree in Music and two-year degree in Electronics, O’Brien’s past in the studio far surpasses her years at Sound City, working in nearly every position, from receptionist to engineering major sessions.
While O’Brien has worked on a number of heavyweight projects over the years, including sessions with Johnny Cash, Tom Petty, Metallica and Weezer, her love of gear is what shines and makes her integral to the Vintage King Los Angeles team.
“I’ve worked with young artists on their first projects, as well as with multi-platinum seasoned pros.” says O’Brien. “I really enjoy the entire recording experience, but above all I have a love for the gear, both vintage and brand new. And that’s what Vintage King is all about.”
RE/P Files: Producing A Controllable Phasing Effect
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature offers an interesting look back at techniques for recording electronic instruments. The article dates back to September, 1970. (Volume 1, Number 1). The text is presented unaltered, along with all original graphics.
Everyone who listens to pop music has at some time heard that weird swishing effect swooping down through a drum solo or a vocal group making them sound rather like a long-distance short wave broadcast.
Most engineers will tell you that this is caused by phasing, yet most have only a vague idea of the mechanics involved and few still are able to produce a controlled effect.
Let’s take a quick look at what happens to produce this effect and then show some ways to accomplish it.
Phasing effects, like the sound of short wave broadcasts, are created by the addition of multiple signal paths, some of which are slightly delayed from the original. When the quantity of this delay causes the two signals to be phased 180 degrees from one another, cancellation occurs, causing a notch to be formed in the spectrum. This notch varies in depth and width, randomly (unless controlled) causing the swoosh as it travels up and down the spectrum.
In the case of audio phasing, a delay is introduced by speeding up or slowing down a tape machine in one of the information channels. The enables the two signals to be lined up electronically.
As the signals at the gaps of the playback heads begin to line up in relation to time, a point will be reached for each frequency when it is 180 degrees out of phase with the original signals, thus canceling them. The particular frequency depends on the playback head hap width, and also the degree of displacement of the two signals. The farther apart, the higher the notch frequency and the narrower the notch.
As the two signals approach 180 degrees delay the notch becomes wider and deeper. This is why fixed bandwidth tunable notch filters have been generally unacceptable for this use.
The block diagram of Fig. 1 shows a simple but effective way to produce a controllable phasing effect. These effects are usually added when combining to the finished product.
They may also be added during live recording, but since the adjustment is rather critical, most engineers prefer to wait until dub-down when they can give more attention to obtaining the desired effect.
The delay recorder “A” of Fig. 1 may be eliminated if the source recorder is equipped with “sel-sync” operation and you have an unused track available. Simply re-record the track or a mix of the tracks you wish to phase on the available track. Then place this track in “sync” position (playback from record head) and connect as shown in Fig. 2.
By speeding or slowing the delay recorder, the track can be positioned so that it phases with the original tracks. Since the amount of delay necessary to produce the desired phase shift is very small, close speed regulation is essential.
Control of oscillator frequency must be smooth and precise. It should be accomplished in such a way that fractions of a cycle may be adjusted. One way to do this is to use a vernier knob on a stable oscillator. 360 degree rotation of this knob should change the frequency one of two cycles at the most. This will enable you to accurately align the two signals for the proper effect. Many kit type oscillators can be adapted to this use.
Some type of frequency meter will be very helpful (but not absolutely necessary) in adjusting the frequency of the oscillator.
The methods suggested here are not the only ones that can be used, but are among the simple to implement. Some very complicated lash-ups can be used, but will not produce any better effects while being much harder to adjust. Remember, the simpler you can keep any hookup, the easier it is for you to control.
(Go to next page for sidebar)
An Easy Variable Speed Oscillator (VSO) by Brian Ingoldsby
The VSO (variable speed oscillator), sometimes called VFO (variable frequency oscillator) has become a widely used studio tool. Phasing, vocal enhancing, and adjustable echo (tape delay) are but a few of the many effects available with this simple device.
Using equipment normally found in most recording studios, set up as is shown (below), a basic VSO can be constructed.
The output from a standard oscillator (at least +4 dBm output) is connected to the input of an audio amplifier (minimum 75 watts mono). The amplifier must have 70-volt output terminals (standard on most PA amps), which are connected directly to the capstan motor.
By bridging the amplifier output with a VOM, as shown in the accompanying diagram, voltage to the capstand motor can be maintained at line voltage (110—120 volts).
Now, varying the oscillator frequency in the neighborhood of 60 Hz will alter in capstan velocity, which is the desired effect.
The degree of flexibility required in the oscillator controls depends on the VSO application. Usable tape delay effects can be achieved with oscillators equipped with step-type frequency controls. Phasing and other more complicated effects require more fine tuning capabilities.
Editor’s Note: This is one in a series of articles we’re featuring from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day.
Noted Producer/Engineer Jack Miele Utilizing Daking EQ & Compression
Mic Pre/EQ, FET II Compressor and Comp 500 all big contributors to work at Music Shed Studios and his own project studio
Noted New Orleans-based producer/engineer Jack Miele (Blues Traveler, Zac Brown Band, John Oates, Better Than Ezra, Ani DiFranco) works out of Music Shed Recording Studios as well as his own project studio, both of which are now well stocked with Daking equalizers and compressors, both distributed in the U.S. by TransAudio Group.
Also a multi-instrumentalist with several Grammy nominations and Emmy and Silver Telly wins to his name, part of Miele’s success derives from his ability to clearly articulate his goals.
“My goals as a producer are different from my goals as an engineer,” he says. “When I’m producing, I’m almost working as a psychologist to get the artist to forget about the stress and technology of the studio so that they can deliver an authentic performance that will connect with listeners on an emotional level. It’s all about believability and honesty, and when you get it right, you allow the artist to transfer a message to the listener.
“As an engineer, I’m trying to find a recording chain with gear that complements the artist. Just as everyone’s voice is different, everyone’s playing and performance is different. Their attack, their release, how hard they hit the strings or the drums or their own vocal cords. It’s all touch and feel and it’s all different for every artist. Somewhere out there exists a piece of gear with electrical characteristics that work best with a particular artist’s nuances.
“So in my view, a big part of being a good engineer is knowing the characteristics of the tools I use. Just as a carpenter or a surgeon knows which particular tools are best for a particular situation, the engineer has to size up the talent and build a signal chain that will bring out their best qualities.”
Mastering engineer Bruce Barielle introduced Miele to the Daking Mic Pre/EQ. “Bruce said that Daking had come out with an EQ in the spirit of the Trident A-Range, and so I obviously got excited,” ye says. “The minute I turned the knobs, I knew I had to have it. Nothing else in my collection, which includes API, Neve, SSL, Universal Audio, Summit, Empirical Labs, had the same sound. The Daking Mic Pre/EQ is a unique tool.”
Miele often uses the equalizer and mic pre sections independently. “The mic pre is brilliant and modern-sounding,” he notes. “It’s very open and fast. I find it works great on acoustic instruments – guitar, cello, or grand piano – and female vocals – or really anything that I want to capture with a beautiful, open top end.”
Because he has two Mic Pre/EQs, Miele frequently adds their equalizer sections to the mix bus on his Amek console. “I add or subtract a few frequencies and it just snaps the whole mix into place,” he explains. “The equalizer section has a beautiful, smooth color. It adds brilliance without being harsh, and the number of bands and their range of parameters makes it tremendously versatile.”
Based on that success he explored the rest of the product line and came to choose both the Daking FET II Compressor and the Daking Comp 500, which fits the 500 series module form factor. “They’re both great, and they’re very different from one another,” he says. “The FET II is my favorite vocal compressor – there are very few vocalists that it isn’t perfectly suited for. In an act of due diligence, I tried 10 compressors on John Oates’ vocals, and the FET II – more than any other – brought them to life. The fixed release times are useful and I often dial them in, but the auto-release feature is special. It’s very pleasing to the ear and can get a whole track breathing organically. I love it.”
Studio Bohemo Enjoys Analog Advatages In Switching Over To An Audient ASP4816 Console
Facility in rural New Hampshire that provides project services to songwriters and musicians transitions over from a digital approach
Studio Bohemo, located in the White Mountains of New Hampshire, recently incorporated an Audient ASP4816 compact analog recording console in switching from a digital approach.
“I suddenly knew what I had been missing,” says studio owner Wes Chapmon, describing his initial reaction after running a mix on his new ASP4816. “The sound was alive, three-dimensional, revealing and much easier to work with.”
A small studio built on the side of a mountain, Studio Bohemo provides comprehensive project services to songwriters and musicians.
“The ASP4816 was a big shift for us,” Chapmon notes, having used a digital desk previously, running four 96 kHz I/O cards to two Lynx AES16 cards on the computer side. “We normally set this up in two layers for 24-24-bit/96k ins and 24-24-bit/96k outs.
“Before, we were locked in at 24-bit/96k,and honestly we usually worked at 24/48 for higher track counts, resources etc,” he explains. “Now we are not limited by the console and are running everything to and from two Lynx Aurora16 converters that are capable of much higher sample rates and fidelity.”
The time to revert to his “analog roots” had been approaching for some time, notes this son of an engineer and a classical pianist.
“I was always surrounded by music: two pianos going and a healthy diet of microphones and recording gear,” he says. “I grew up listening to works created on analog equipment; creating and mixing music on analog equipment.” The final straw came when re-listening to a couple of tracks he’d recorded years ago on an analog desk, which “... planted the seeds of discontent with our digital set up.”
Enter Audient and the compact ASP4816 desk, which with the features of a larger desk and fully-featured inline architecture, fulfilled his desire for his studio to have an analog heart.
“As soon as it arrived—after we managed to get it up the mountain—we ran some basic patches through it just to hear those gorgeous EQs,” he says. “I want a clear and audible shift in the sound so I can make clear and artistic decisions without second guessing or wasting valuable time with ‘maybe this plug-in or maybe that emulation.’ What makes a great EQ is one that with a well-recorded sound can twist it through all the bands and frequencies and shapes, make it sound radically different—yet musical—and potentially useful in every permutation. Maybe I’m just still on the honeymoon but I think that describes the ASP4816 pretty well.
“The inserts are also critical to digital recording,” he adds. “It can be important to have dynamics processing between the preamp and AD converters. A plugin after the fact just can’t do what this does. Audient is one of the few companies to understand this and get it right, as seen through the product line, especially the iD22 and ASP880.”
Studio Bohemo is a product of Chapmon’s dream “...to build an artist retreat/studio in a contemplative setting.” He continues, “We didn’t know anyone here or have a job and neither of us were from the northeast. We literally looked at properties online in various places that inspired us, took a few weekends to visit them and picked this place to relocate and build.”
Sixteen years on and this bold move is paying off. “We’ve worked with several local artists and a few artists have flown in for projects and a welcomed retreat. We have a few things on the go at the moment, including a multi-album release of restored and re-mastered material from jazz great and friend Betty Johnson who sang with Sachmo (Louis Armstrong).”
In Bohemian style, Chapmon is content living ‘in the now’ and is hugely driven by his latest endeavors with his new console. “Really, though I’m always most proud of the artists that put themselves in that personally vulnerable place behind a microphone because of some compulsion to bring art and beauty into the world. Whatever the outcome, that always blows me away.”
Fishman Debuts New Platinum Analog Acoustic Preamps
Both incorporate discrete, high-headroom Class-A preamps using precision high-speed circuitry to enhance fidelity while lowering distortion
Fishman has introduced the new Platinum Pro EQ and Platinum Stage acoustic preamps, designed to provide very accurate sonic detail with any acoustic instrument.
Redesigned from the ground up, the all-analog Platinum Pro EQ and Platinum Stage incorporate discrete, high-headroom Class-A preamps using precision high-speed circuitry to enhance fidelity while lowering distortion.
Classic Fishman tone centers with sweepable mid are combined with a switchable guitar/bass EQ mode, making Platinum preamps more musical for bass instruments and more universal for both recording and live performances.
The new preamps also include features such as adjustable volume boost and balanced XLR DI (direct) outputs housed in a road-ready design.
The Platinum Pro EQ is built to be stomped on with durable foot switches that activate either the adjustable volume boost or high-contrast chromatic tuner. It also includes an analog soft-knee compressor, effect loop and precision sweepable notch filter.
With an included belt-clip, the Platinum Stage is especially intended for mobile instrumentalists such as mandolin and fiddle players. It can also be powered via 48-volt phantom power, offering complete control without batteries.
U.S. MSRP: Platinum Pro, $399.99; Platinum Stage, $194.99.
This page has been viewed 0 times
Page rendered in 0.8165 seconds
Total Entries: 16866
Total Comments: 2200
Total Trackbacks: 0
Most Recent Entry: 04/27/2015 08:22 am
Most Recent Comment on: 01/19/2012 08:30 am
Total Members: 4923
Total Logged in members: 0
Total guests: 2
Total anonymous users: 0
Most Recent Visitor on: 02/10/2012 11:04 am
The most visitors ever was 774 on 02/08/2012 02:19 pm