Wednesday, October 08, 2014
Antelope Audio Unveils Pure2 24/192 kHz AD/DA Converter & Master Clock
Leverages top-quality Burr-Brown converters and same Acoustically Focused Clocking (AFC) technology present in Antelope's Trinity master clock
At the 137th AES Convention in Los Angeles later this week, Antelope Audio is introducing Pure2, a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock.
New Pure2 employs an all-new design that leverages top-quality Burr-Brown converters and the same Acoustically Focused Clocking (AFC) technology present in Antelope’s high-end Trinity master clock. It also offers Antelope’s low-latency USB circuit on both Mac and PC, which is in use in thousands of studios inside the Orion32 and the new Zen Studio.
Pure2 comprises five distinct components:
• An A/D converter with optimized overloads handling
• A D/A converter with dual DAC architecture
• A high-end headphone amplifier with a dedicated D/A
• A relay-based analog volume control for accurate monitoring
• A master clock with 4th generation of Antelope’s AFC jitter management
In addition to its conversion and AFC technology, the unit also includes Antelope’s analog circuitry, which is driven by a proprietary, multi-stage linear power supply. When monitoring through loudspeakers, Pure2’s relay-based stepped attenuator ensures transparency and L/R balance, even at low listening levels.
Additionally, Pure2’s dual-DAC technology — with separate DAC chips for left and right channels —guarantees excellent stereo separation and imaging.
“As digital devices and software-based tools become more and more ubiquitous in recording and playback environments, advanced clocking and conversion technology is now a prerequisite towards getting great sound,” states Igor Levin, founder and CEO of Antelope Audio. “Pure2 puts world class mastering functionality within the reach of just about anyone, at a fraction of what it would have cost just three years ago.”
The device includes an intuitive software control panel (compatible with both Mac and PC), enabling users to manage all facets of its operation from a computer. The front panel of the unit also includes user-definable presets for added routing convenience and efficiency.
With several Word Clock outputs, Pure2 can function as the master clock for an entire studio and can also be locked to Antelope’s 10M Atomic Clock for even greater clocking stability. Further, Pure2 can be connected via S/PDIF, TOSLINK, AES and USB, making it suitable for nearly any studio environment.
Pure2 is scheduled to ship in late Q4 of 2014 and will be priced at $2,195.
Dharma Studios Finds Balance With Audient ASP4816 Small-Format Console
Provides key features of a large console packed into an ergonomic footprint for studio in northern Italy
Dharma Studios owner Paolo Tubia is a fan of the hybrid set up. “I like analog outboard—a tasty compressor and some boutique preamps—to be a part of the mix. So I needed a centerpiece to manage the various control room components effectively and creatively,” he explains, describing the studio he has aspired to—and, with the arrival of his new Audient ASP4816 small-format console last month—ultimately brought to life.
“The Audient definitely has the ‘wow’ factor,” Tubia says. “A real analog console at the heart of a control room, surrounded by mystical and esoteric machines full of LEDs and gauges really helps customers get into the mood. It encourages them to do their best in the professional environment.
“We all know how hard it is to stay in budget when looking for a reliable and high-quality analog mixer,” he adds. It wasn’t just the competitive pricing of the console that was attractive, however.
“What I love about this console is the clean punch that comes out when you start to push it a bit, allowing me to have 16 clean preamps—incredibly useful for recording acoustic instruments without adding color,” he says. “Thanks to the routing design, with balanced inserts everywhere, it is still possible (if necessary) to color tracks, stems and even the mix bus with my outboards.”
With all the key features of a large console packed into an ergonomic footprint, the ASP4816 comprises fully-featured in-line architecture, well suited to this small studio based in northern Italy in the town of Vercelli.
“The foldback section is also useful and intuitive,” he notes. “I don’t have to waste time creating strange ways to allow musicians to listen to what they are playing, The compressor does a great job of gluing the whole mix together and above all the build quality is exceptional, right down to the smallest component.”
Posted by Keith Clark on 10/08 at 01:59 PM
Middle Atlantic Names Marco Colindres As Western Regional U.S. Sales Manager
Territory includes Pacific Northwest, Northern California, Northern Nevada, and the Rocky Mountains for all market segments.
Middle Atlantic Products has appointed Marco Colindres as regional sales manager for the western region of the U.S., including the Pacific Northwest, Northern California, Northern Nevada, and the Rocky Mountains (Wyoming, Montana, Colorado, Utah and New Mexico) for all market segments.
With extensive sales and marketing experience in the consumer electronics, custom install and commercial markets, and special expertise in the power category, Colindres has held key positions at CORE Bands, including ecommerce sales manager, national sales training manager, and special products marketing manager, prior to joining Middle Atlantic.
Colindres also served as national sales manager and product area manager-cable for Monster Products and headed up his own sales rep firm, Pride of Hawaii Sales Group in Honolulu. His educational background includes an MBA in Business Administration from San Francisco State and a BS in Business Administration Marketing from the University of San Francisco.
“In addition to his extensive sales and marketing background and technical expertise in key market segments, Marco’s energy, passion and commitment to our customers is what really sets him apart,” says Middle Atlantic sales director Whitt Adams. “The fact that he’s become such a valuable asset for Middle Atlantic and our team in a such a short time comes as no surprise.”
Middle Atlantic Products
Posted by Keith Clark on 10/08 at 12:25 PM
PreSonus Introduces Installation Versions Of StudioLive 328AI Loudspeakers
Available in two cabinet versions along with companion accessories designed specifically for installation
PreSonus has introduced new StudioLive 328i loudspeakers, available in two cabinet versions along with companion accessories designed specifically for installation.
Available in white and black, StudioLive 328i models—based upon the company’s StudioLive 328AI Active Integration loudspeakers—have cabinets that are built for flown installations without handles and pole mounts. Internal grille cloth masks the drivers so that they blend into their environments.
A companion yoke mount is also available, as is an update to PreSonus’ SL Room Control loudspeaker management software that allows the user to turn off the front-panel blue power-status LED.
In all other respects the new StudioLive 328i-W (white) and 328i-B (black) are identical to the StudioLive 328AI. The compact, powered, 3-way loudspeakers rely on a custom-designed, 8-inch coaxial driver, a 1.75-inch titanium compression driver to reproduce the mid and high frequencies, and dual 8-inch ferrite con drivers for low-frequency reproduction. Triamplified, Class D power amplifiers deliver a combined 2,000 watts of power.
Also included is a USB Wi-Fi LAN adapter as well as the SL-Control-SPK option card to connect to SL Room Control software over a wireless network. SL Room Control is a system-configuration application for Mac OS X, Windows, and iPad that provides both individual and grouped loudspeaker control, along with graphic and parametric EQ, eight notch filters, muting, soloing, and level control.
SL Room Control also supplies performance monitoring (real-time temperature, click detection, and excursions). All parameters are automatically stored in the User layer onboard the loudspeaker. A network setup wizard is included to quickly connect each speaker to a wireless network. An included SL-Control-SPK option installed in each loudspeaker can be replaced with the SL-Dante-SPK Dante option card (available October 2014) or an AVB option card (expected Q2 of 2015).
I/O capabilities include a combo XLR/TRS line input and an XLR microphone input with an XMAX Class A mic preamplifier and 12-volt phantom power, as well as an XLR audio throughput. All enclosures are made of lightweight plywood construction and include M10 fly points.
The 328i-W and 328i-B will have a MAP price of $1,699.95. The SL-Dante-SPK option card has a MAP price of $199.95.
Community R Series Enhances The Experience At The Troy Fair In Pennsylvania
New system incorporates two clusters comprised of four Community R.5HPT loudspeakers and three R2-52 loudspeakers
Billed as the “Largest Event in Bradford County,” the 139th Troy (Pennsylvania) Fair recently opened with a new grandstand sound system provided by Gelnett & Associates of Northumberland, PA that’s headed by Community Professional R Series loudspeakers.
The new system replaces a 1970s-era paging horn system that was inadequate for modern fair events and had prompted last year’s tractor pull announcer to complain, “We’re not coming back unless you fix this!”
After interviewing several integrators, the Troy Fair board chose Gelnett & Associates to design and install the system, with company president Scott Gelnett reporting that a deciding factor for the board was an impressive on-site demo. The team implementing the new solution also included project manager Gary Young, installation foreman Keith Hummel, and DSP programmer David Shumaker.
The system incorporates two clusters comprised of four Community R.5HPT loudspeakers covering the grandstands and three R2-52 loudspeakers covering left, center and right field areas. All loudspeakers are powered by DSP-equipped Crown Audio amplifiers, with a variety of mix functions supplied by a Biamp 601 mixer.
Gelnett also specified an Audix headworn announcer microphone as well as a handheld mic for a second announcer in the press booth, with additional Audix wireless headworn and handheld wireless mics for use from the field. Music can be played via a new Tascam CD200i CD player with iPod input.
The press booth, which hangs below the grandstands roof, is difficult to access and as a result, Gelnett provided a remote volume control in a utility room below the grandstands for events with field announcements. However, Scott Gelnett says the microphones seldom need adjustment and he reports that he did “very little tweaking” on the R Series loudspeakers during system commissioning.
The fairgrounds also host local high school football games, the Endless Mountain Maple Festival, and other sporting events as well as the yearly Troy Fair. Gelnett & Associates has also updated systems serving other areas of the fairgrounds, including exhibit halls, the cattle barn areas, and a small arena.
Gelnett & Associates
Soundcraft Consoles Help London FolkFest Artists Cross Barriers At The Bedford
Three consoles selected with simplicity and small footprint in mind
Director of music Tony Moore again utilized Harman’s Soundcraft consoles on three stages for the recent London FolkFest at The Bedford.
An event that crosses cultural barriers, the London FolkFest was created in 2011 to generate inspiration through music, culminating in an ever-expanding concept that is rooted at a beautiful venue.
The program offers spontaneous and varying styles of music, allowing for a maximum capacity of 500 people per day. The venue consists of a small theater, ballroom and acoustic space, able to accommodate 250, 150 and 80 people, respectively.
Each console was selected with simplicity and small footprint in mind: a Soundcraft Vi1 console was used in the theater, an Si Expression 3 console was the right companion in the ballroom, and an Si Performer 3 remained well out of sight in the acoustic space.
“Having a long and successful relationship with Soundcraft products, it made sense for us to use their consoles for the fourth year of the London FolkFest,” says Moore. “The secret to running this show successfully is to keep all the gear as simple and as invisible as possible. Bands don’t get a sound check, so they needed to get on stage, plug everything in and start. Because our engineers needed to work quickly and efficiently, we have come to love Soundcraft, which allows for instinctive and intuitive operation.”
The three Soundcraft consoles provide flexible controls and features like the Soundcraft FaderGlow, all of which are designed to complement creative hubs such as the London FolkFest. For example, the Vi1 was a convenient solution for the Elizabethan theater, taking care of both monitors and front of house positions while maintaining a low profile throughout the show.
“We wanted to make sure our base sound is very high in quality for everything that we’re trying to do here, and I’m glad we have accomplished that with Soundcraft,” Moore states. “We were sold out most nights, and all the artists as well as the audience enjoyed the experience. We asked for small footprint and amazing sound, and that is what Soundcraft delivered.”
Tuesday, October 07, 2014
Yamaha QL5 Console & Dante Facilitate Fast-Paced Reality TV Audio
Audio team for Ink Master juggles 40 audio inputs for the contestants, judges, and human canvasses, plus 16 plant mics and four boom operators, and more
Ink Master, an American reality competition on Spike TV in which 17 tattoo artists from around the country compete in challenges, is served by a specialized system utilizing Dante networking protocol and a custom control surface formulated by Peter Schneider, co-owner of Gotham Sound and Communications (NYC).
The specialized design facilitates all of the show’s audio being successfully managed and networked, with the mixes pulled together by a new Yamaha Commercial Audio QL5 digital console provided by Scharff Weisberg/Worldstage of New York.
Schneider is also responsible for the show’s entire audio system design, in collaboration with the show’s film mixer and sound supervisor, the late Martin Kelly, who passed away shortly after the new season began.
Shooting reality TV is a complicated, fast-paced process that requires precision. The audio team for Ink Master juggles 40 audio inputs for the contestants, judges, and human canvasses, plus 16 plant mics and four boom operators, the show’s host, not to mention producer mics, stage manager mics, cameras, etc.
“The control room essentially never gets powered down, and shooting takes place around the clock,” states Schneider. “Marty’s (Kelly) main concern was that the system be absolutely rock solid. We both felt that the Yamaha QL5 and Dante networking could provide that inherent reliability.”
Schneider provided an overview of the signal flow that also includes wireless mic sources for the 16 tattoo artists and “human canvasses,” judges, and boom operators. (Judges for the show include by rock legend Dave Navarro and tattoo icons Chris Nunez and Oliver Peck.)
“With all of these patch points, we needed an audio transport technology that wasn’t an after-thought to the mixer, but rather integrated into the very heart of the mixer,” Schneider says. “In this way, audio could be converted one time and then distributed, mixed, and processed to all of the needed destinations, all without leaving its native transport stream.
“The Yamaha QL5 digital audio console met our requirements, and more, including integrating analog I/O that can be seamlessly combined with the Yamaha Rio input/output box preamps and other Dante audio sources,” he continues. “In the Ink Master situation, our 16 plant mics were input via a Rio1608 that was remotely located 200 feet away in the studio. These outputs were used for IFB feeds and LTC time code.”
Since season two of Ink Master, the show has relied on Yamaha for mixing, starting with an LS9-32 (using MADI), followed by a CL5, and now the QL5. “We all loved the rock solid reliability of Yamaha’s products, and moving up to the new QL5 was really the only logical choice for the mixing console,” Schneider concludes.
Gotham Sound and Communications
Yamaha Commercial Audio
Foo Fighters Headline With Martin Audio MLA At Invictus Games
Serving two simultaneous large-scale events in London on either side of the capital.
Martin Audio’s MLA (Multi-cellular Loudspeaker Array) PA system recently enjoyed its busiest weekend of the year with two simultaneous large-scale events in London on either side of the capital.
While rental/production company Capital Sound was fielding 170 enclosures at the perennial Proms in the Park (Hyde Park), over in the east at the Queen Elizabeth Olympic Park, the Prince Harry inspired Jaguar Land Rover Invictus Games Closing Concert also featured an MLA system.
The five-hour extravaganza combined a celebration of medallion presentations to the wounded, injured and sick servicemen and women who competed in the games, backed by a concert line up with Foo Fighters headlining and supporting acts Kaiser Chiefs, Ellie Goulding, Ryan Adams, Bryan Adams, The Vamps, Rizzle Kicks and James Blunt.
A crowd of over 25,000 heard Prince Harry deliver a speech that roused the spirits of the crowd, culminating in a Mexican wave, before introducing the Foo Fighters for their return to London.
The event was promoted by AEG Live, with Capital working for site managers, Loudsound, with whom they have enjoyed a long relationship (most recently at British Summer Time in Hyde Park).
But unlike Hyde Park where sound leakage is at its most sensitive, there was optimism MLA would be able to produce bigger sound. “This was a totally new situation and the promoters were keen to see what we could get out of it, sound wise,” commented Paul Timmins, Capital Sound Account manager. “[Loudsound site production manager] Dan Craig really understands audio and was confident he could achieve proper rock and roll levels.”
With the closest residence still within 850 feet of the stage and with Vanguardia measuring propagation at four separate off site locations, the production team was still able to hit the front of house sound pressure levels demanded by the Foo Fighters, playing at well over 100 dB(A) as the level ramped up incrementally through the day; at the same time the sound comfortably tapered off below the offsite restriction of 75 dB(A) at the nearest measurement point — and recorded values as low as the mid 60s.
The main front facing PA comprised two hangs of 14 MLA per side and two MLD Downfills, while for side fills, because of the site topography, Capital was able to field 12 MLA Compact modules on one flank and 16 on the other—an asymmetric solution that worked particularly well. This enabled the shorter hang to fire into the VIP grandstand without straying beyond into the large block of apartment buildings behind.
Two Martin Audio W8LCs were deployed for center front fills and there were two masts of delays, set 245 feet back from the stage (midway from the site perimeter), each containing eight Martin Audio W8L Longbow enclosures. Meanwhile, 12 Martin Audio LE1200 wedge monitors were provided as floor monitors.
The real customization came in the 32-enclosure MLX sub array. In order to meet the Foo Fighters tour spec, they deployed Philip Reynolds, who has worked extensively with Martin Audio U.S. partner Delicate Productions and is familiar with MLA.
Along with Martin Audio R&D director Jason Baird and Capital Sound technical manager Ian Colville, Reynolds adapted the sub array into a left/center/right design, which included cardioid elements to contain coverage, while bringing even more low-end transient attack to the central section.
Having been involved with the Foo Fighters since their Wasting Light album back in 2011, Reynolds states: “That sub design was exactly as I wanted and for the band it delivered the high impact in the mix” — a mix that was delivered by veteran sound engineer Craig Overbay, piloting a DiGiCo SD10 console.
Planning of the event was to throw a final curve at the Capital Sound team, as Timmins explains: “Although we had designed the audio for the closing concert, since we had the infrastructure already in place, at short notice we were asked to also handle the Invictus Games Opening Ceremony. We had to come up with a system we could change in a day, and throughout the opening ceremony there was an element of rapid reconfiguration as we had to make it work for every dignitary on stage.”
Marty Beath, a seasoned MLA tech, was part of the crew, and this is where his experience and knowledge of the audience geometry in the MLA software was brought to bear. “The area that became the audience zone at the Closing Concert was set out like a military tattoo,” he notes. “We needed a new solution for MLA which covered the competitors’ section—set 20 feet in front of the stage—so we optimized the system in the software to use the bottom part of the main PA to cover the front.
“When Prince Harry was at a lectern in the PA zone I loaded a new snapshot in MLA which enabled us to get another 8 dB of gain before feedback,” he continues, “so by using MLA’s software to set a hard avoid I could direct the sound over the lectern, which was fantastic.”
The entire production seemed more than satisfied with the levels and quality achieved. Reynolds was enthusiastic: “I enjoy how far MLA has come. I was happy with the deployment, everything matched Foo Fighter specs, the PA did exactly as planned, and it’s been exciting hearing the band today playing through a full MLA for the first time.”
Craig adds, “Once again MLA displayed all we know and love about the system and delivered effective, even coverage. It’s my third major park event of the summer and yet again MLA has demonstrated its flexibility to create a system design network. Since I have been using the system it has solved three very different problems and I am happy to be working with Ian [Colville] and the Capital team to provide the solutions which MLA enables us to implement.”
Describing the concert as “a fitting end to an inspirational four days of Games,” Jim King, director of events for AEG Live concludes, “AEG are very proud to have played our part in producing the Invictus Games Closing Concert.”
Audio-Technica Presenting “Ask Me Anything” Sessions At 137th AES Convention
Informative for audiences of in-person AES convention attendees as well as online worldwide
Audio-Technica will be hosting several “Ask Me Anything” (AMA) question-and-answer sessions at its exhibition booth (1301) at the upcoming 137th AES Convention in Los Angeles later this week.
Sessions are scheduled for two days of the convention—Friday, October 10, and Saturday, October 11—with guests including Dave Pensado and Herb Trawick of Pensado’s Place, Joe Chiccarelli, Michael Beinhorn, Ryan Hewitt, Curt Bisquera, Joe Barresi, Matt McArthur and Frank Klepacki.
Schedule (All Times Pacific):
Friday, October 10
1 pm: Ryan Hewitt – Grammy Award-winning engineer, mixer, producer (Red Hot Chili Peppers, Sheryl Crow, Avett Brothers)
2 pm: Michael Beinhorn – producer, engineer (Hole, Soundgarden, Marilyn Manson)
3 pm: Joe Barresi – producer, mixer, engineer (Monster Magnet, Slipknot, Nine Inch Nails)
4 pm: Matt McArthur – executive director of The Record Company
Saturday, October 11
11 am: Joe Chiccarelli – Grammy Award-winning producer/engineer (Elton John, U2, White Stripes)
1 pm: Dave Pensado and Herb Trawick – co-hosts of Pensado’s Place
3 pm: Curt Bisquera – drummer (Bonnie Raitt, Sarah McLachlan, soundtracks for Bourne Supremacy and Despicable Me)
4 pm: Frank Klepacki – audio director, engineer, composer, performer (film and TV work for Lucasarts, Hasbro, Top Gear, Pawn Stars, others)
“Ask Me Anything” questions are fed to the presenters through a moderator during a 30-minute Q&A session. Questions can be submitted by individuals present at AES booth 1301; online at www.livestream.com (free registration); and by Twitter #ATliveAES.
In addition, individuals may watch during and after the event at www.audio-technica.com/AES2014 (also accessible from A-T’s website or Facebook page).
“This is our second year featuring live-streaming ‘AMA’-style sessions at AES. Past sessions have proven to be both educational and wildly entertaining. With the ability to ‘virtually attend’ the event, people at home can get a true taste of the show and have the ability to ask some of the most famous and infamous professionals in our industry literally anything. Well you can asking anything, but they don’t officially have to answer everything,” jokes Gary Boss, Audio-Technica marketing director.
More specifics are here.
PMC Announces New QB1 Large-Scale, High-Resolution Active Studio Monitors
Incorporates latest generation of PMC's driver designs, Class-D amplification, Advanced Transmission Line (ATL)technology, DSP control, and quartet of 10-inch piston bass drivers
PMC has announced the launch of the QB1 Active (QB1-A), large-scale, high-resolution main studio monitors with analog and digital (up to 192 kHz) inputs. It will be on display later this week at the 137th AES Convention in Los Angeles (booth 1628).
Designed for either soffit-mounted or free-standing use, each QB1-A incorporates the latest generation of PMC’s driver designs, Class-D amplification, Advanced Transmission Line (ATL) bass-loading technology, DSP control, and a quartet of 10-inch carbon fiber/Nomex piston bass drivers.
With a stated maximum SPL of 132 dB at one meter, the QB1-A can produce level, but not at the expense of accuracy or increased distortion. Each channel has a 4,825-watt Class-D amplifier (275 watts on the HF driver, 550 watts on the mid-range, and 4,000 watts on the four bass drivers), and the latest iteration of PMC’s ATL technology to deliver faithful low-frequency response down to 20 Hz.
The onboard DSP provides driver unit optimization, EQ and crossover networks, while the wired RJ45 desktop control provides user-friendly access to user EQ settings via its backlit display and jog wheel, with the ability to store up to four user setup presets.
The physical dimensions have been carefully considered—at 32.3 (h) x 43 (w) x 20.5 (d) inches (820 x 1092 x 520 millimeters), the QB1-A will retrofit into almost all existing studio soffits. Alternatively, its ATL design means that free-standing use has no impact on its smooth bass response.
The QB1-A has its roots in the observation by PMC’s design team that there were no large-scale active studio monitors on the market taking advantage of the latest developments in loudspeaker driver analysis and design and DSP-aided control. This starting point, coupled with PMC’s own extensive research into driver performance, using opto-acoustic laser inferometry at the UK’s National Physical Laboratory (NPL), aided and honed the design of the QB1-A.
“We saw that there was a gap at the high end of the market,” explains Oliver Thomas, R&D project manager at PMC. “In the main, the current products on the market don’t offer the flexibility of analog and digital inputs, and suffer from giving listeners an insufficient sense of resolution, compared to what can now be attained with good Class-D amp design and DSP-aided crossover management.”
The QB1-A makes up this ground, additionally employing recent advances in PMC’s transmission line design concept, as used in the company’s IB2 midfields and twotwo nearfields, and the aforementioned NPL analyses, to achieve more efficient, high-performance designs.
Extra bracing and damping inside the loudspeaker cabinet prevents noise and reduces resonance to insignificant levels beyond the limits of human audibility, while the newly introduced vertical strakes in the transmission line add further bracing and simultaneously reduce turbulence in the throughput airflow, making it laminar and contributing to the QB1-A’s faster, more dynamic sound.
Each loudspeaker employs three carefully integrated proprietary driver types. PMC’s soft-dome 34 mm and 75 mm drivers deal with the high frequencies and mid-range respectively, producing a natural, transparent sound with low distortion. Depending on client requirements regarding the height placement of the QB1-A, the HF driver may be placed above or below the MF driver as needed.
Four handmade, individually matched low-frequency drivers handle the bass, employing PMC’s proprietary “honeycomb” carbon-fiber/Nomex design in an extensively vented, cast-aluminum chassis. The flat-faced 10-inch piston driver in each bass unit helps ensure a near-instantaneous yet highly accurate transient response, while providing power required to drive the QB1-A’s heavily damped, high-compression transmission line.
The QB1-A’s final form, how it works, and its feature-set, are the result of over a year of practical testing by and feedback from leading producers and engineers on both sides of the Atlantic.
“Many engineers record with one set of monitors to create a sense of excitement while tracking, but then use another set for the low-level, intensely detailed business of mixing and mastering,” continues Thomas. “The QB1-A is designed for both kinds of work, offering faithful, non-fatiguing reproduction for a beautiful general listening experience or for recording, but with microscopic detail when you need it.”
Meyer Sound LYON Deployed For Red Stage At Boston Calling Festival
LYON arrays for the Red Stage, MILO arrays for the Blue Stage, both supplied by Rainbow Production Services
Meyer Sound components played a key role at both main stages at the recent Boston Calling Music Festival.
At the Red Stage, a LYON linear sound reinforcement system made a big impression. “That rig really rocked,” says Carl Davino, front of house engineer for The Replacements. “LYON has transparent highs, broad and articulate mids, and adjustable low-mids to handle any desired punch. The band’s performance was outstanding as well, and with that combination I felt like I could take the audience anywhere I wanted.”
The Red Stage’s 24 LYON linear line array loudspeakers were augmented by 12 1100-LFC low-frequency control elements and three 700-HP subwoofers, plus four UPJ-1P VariO loudspeakers for front fill. A Galileo Callisto loudspeaker management system with four Galileo Callisto 616 and two Galileo Callisto 616 AES array processors provided system drive and optimization. Stage foldback was supplied by 10 MJF-212A and four MJF-210 stage monitors.
The LYON system helped solve an acoustical challenge at the Red Stage, according to Scott Tkachuk, CTO and touring operations director for Atkinson, N.H.-based Rainbow Production Services, and system designer for both stages.
“The stage was aimed at City Hall, 400 feet away, with huge reflective surfaces,” explains Tkachuk. “Yet the system still had to cover the VIP section in front of the building, almost 200 feet away. The way LYON handled it was amazing. The sound in the VIP section was clear and comfortably loud, with full bandwidth. We also had all the control we needed to minimize any annoying buildup from reflections.”
The Red Stage alternated performances with the Blue Stage, which featured 28 MILO loudspeakers, 24 700-HP subwoofers, four UPA-1P loudspeakers for front fill, and a Galileo loudspeaker management system with two Galileo 616 processors. Stage side-fill comprised two 700-HP subwoofers and three MICA line array loudspeakers per side.
Rainbow Production Services also supplied each stage with two Avid VENUE Profile consoles for FOH and monitors, as well as eight channels each of Shure UHF-R wireless microphones and Sennheiser ew 300 IEM G3 systems.
Along with The Replacements, performers on the Red Stage included Lorde and The 1975, while the Blue Stage featured headliners Nas with The Roots, The National, and Childish Gambino.
Antelope Audio Debuts M32 Microphone Preamp With Integrated Software Control
32-channel preamp designed to complement Antelope Orion32's conversion and ensure greater transparency while recording
Antelope Audio has announced the MP32, a new 32-channel, console-grade microphone preamplifier with integrated software control, and it will be on display at the 137th AES convention later this week in Los Angeles.
Housed in a 2U rack space, the MP32 is specifically designed to complement the Antelope Orion32’s conversion and ensure greater transparency while recording.
The combination of the Orion32 and MP32 — totaling 3U in rack space — make it a solution for studios and live recording where rack space can be a precious commodity.
The new MP32 expands on the analog preamplifier circuit design of the recently launched Zen Studio, which includes 12 studio quality mic preamps.
“With the MP32, the key idea was to incorporate an holistic approach,” says Antelope founder and CEO Igor Levin. “Instead of considering a mic pre to be a disparate element, it should be viewed within the framework of the overall structure which comprises the A/D converter, its drivers and the pre itself. The result is that the entire system works in harmony, ensuring sonic integrity throughout the entire recording chain: from recording, to conversion, and playback.”
Each of the class-A preamps on the MP32 have phantom power, and four of them can operate as Hi-Z instrument inputs. By using the MP32’s control panel (compatible with both Mac and PC), users can manipulate each of the unit’s input types and mic gain levels remotely.
Further, users are able to save and easily recall their own presets for various situations, making workflow more efficient. The individual V/U style metering provides instant signal confirmation at the glance of a computer monitor.
Each preamplifier on the MP32 was designed to be open and transparent. The unit offers very good headroom and up to 65 dB of gain in 1 dB steps: more than enough power for ribbon mics.
Because the MP32 is compact, it offers an economical solution for engineers and producers to increase both quality and channel count at the input stage, whether they are operating a DAW-based project studio, a commercial studio, a laptop-based live rig or a multi-channel remote recording truck.
The MP32 is scheduled to ship later in the fourth quarter of 2014 and will be priced at $2,995, with a special discount available for Orion32 owners.
Tony Shepperd Mixing Master Class Videos From Westlake Pro (Video)
Deconstructs his mix of Sheléa's hit single "I'll Never Let You Go" as he talks about workflow and vocal production technique
Westlake Pro has posted the first two videos in a new Mixing Master Class series with veteran mix engineer Tony Shepperd.
Shepperd, a prolific engineer who has recorded and mixed such music heavyweights as Take 6, Whitney Houston, Quincy Jones, Diana Ross, Madonna, Kenny Loggins, Boyz II Men and more, deconstructs his mix of Sheléa’s hit single “I’ll Never Let You Go” as he talks about his workflow and his vocal production technique, which have become his specialty over the past two decades.
“It was an honor for us to host Tony Shepperd,” says Peter Malick, director of Online Content for Westlake Pro. “The depth of knowledge that he shares with our customers and viewers is a testament to his willingness to further the craft of recording, mixing, and producing.”
Co-sponsored by A-Designs Audio, the master class was filmed at Westlake Pro in Los Angeles in front of a crowd of more than 100 local musicians, producers, and engineers and is divided into 14 videos that cover a wide variety of mixing topics. Shepperd’s relaxed presentation style demystifies complex mixing concepts and he takes questions from the audience throughout the series as well as during a Q&A at its conclusion.
Directly below is the first video, and the series can be viewed here.
Upcoming AES Convention Hosting Launch Of Media Networking Alliance Supporting AES67
Presenting "How the Newly Formed Media Networking Alliance Will Support AES67 Adopters" panel session
The upcoming 137th AES Convention will host the launch of the newly formed Media Networking Alliance (MNA), comprised of industry proponents, adopters, developers and suppliers of media networking technologies.
MNA will present a Networked Audio Track Event N7 panel session during AES in Los Angeles entitled “How the Newly Formed Media Networking Alliance Will Support AES67 Adopters” on Friday, October 10 at 4 pm, followed by its inaugural membership meeting at 5 pm.
The MNA has been formed to promote adoption and support adopters of the newly ratified AES67 standard. Twenty professional audio and broadcast technology companies are committed to membership, and the alliance’s activities during AES are intended to promote awareness and knowledge of the new audio-over-IP interoperability standard, and widen membership of the MNA throughout the professional audio and broadcast media industries.
The inaugural membership meeting will be hosted by the alliance steering committee members: Bill Scott, vice president, engineering & technology, Bosch Communications Systems; Terry Holton, general manager, Yamaha R&D Center; Stefan Ledergerber, director R&D, Lawo Group; Marty Sacks, vice president and executive director, Axia Audio; and Rich Zwiebel, vice president, Systems Strategy, QSC.
The same members will present the panel session, which will include the following topics: What is AES67? Why is AES67 important for our industry? What is the MNA mission? How will the alliance benefit its members? (Find out more about the panel session here.)
AES67 is a new Ethernet based networked audio-over IP interoperability standard. It is a layer-3 protocol suite based on existing standards, designed to enable interoperability between various IP based audio networking standards, such as RAVENNA, Livewire, Q-LAN and Dante. The standard was created to address the interoperable operation of different high-performance networked audio transport systems, compatible with live-sound reinforcement, broadcast and fixed installations.
AES67 provides comprehensive interoperability recommendations in the areas of synchronization, media-clock identification, network transport, encoding and streaming, session description, and connection management. The network performance to meet these requirements is available on local-area networks (LANs) and achievable on enterprise-scale networks.
Media Networking Alliance
Apogee Introduces New Ensemble 30 x 34 Thunderbolt 2 Audio Interface
Blends innovations from products like Symphony I/O, Duet, Quartet and JAM with additional features and the power of Thunderbolt technology
Apogee Electronics has introduced the new Ensemble – a 30 x 34 Thunderbolt 2 audio interface for home, project and professional Mac-based studios that represents a complete redesign of the original Ensemble.
The new Ensemble blends innovations from products like Symphony I/O, Duet, Quartet and JAM with additional features and the power of Thunderbolt technology for recording, editing, mixing and mastering audio on a Mac using Logic Pro, Pro Tools or any Core Audio based DAW.
At 1.1 ms, the new Ensemble offers very low round-trip latency, eight mic preamps with Apogee’s Advanced Stepped Gain circuitry, front panel Guitar I/O, built-in talkback functionality, and a comprehensive user interface. Ensemble’s proprietary Thunderbolt audio driver and full 32-bit playback path provide CPU efficiency, leveraging the capabilities of Mac to monitor through a DAW with native plug-ins, simplifying workflow.
—8 mic preamps with up to 75 dB of gain and Advanced Stepped Gain circuit
—2 front panel guitar I/O channels with class A JFET inputs, dual mode re-amp outputs
—16 analog outputs of premium Apogee conversion
—Proprietary Thunderbolt audio driver and ESS Sabre32 DAC offer full 32-bit playback
—Groundbreaking low latency (1.1 ms round trip at 96 kHz/32 buffer)
—Core Audio-optimized hardware DMA Engine frees your Mac CPU
—2 high-resolution OLED displays show levels and settings
—Input select buttons and controller knob for selection of parameters and settings
—4 assignable buttons to control: talkback mic (built-in or external); output settings such as loudspeaker set selection, mute, dim, sum to mono
—Complete input/output control with Apogee Maestro software
—AD/DA conversion for recording up to 24-bit/192 kHz
—Works with Logic, Pro Tools, Ableton or any Core Audio compliant app on Mac
—Designed in California, assembled in the USA
Price: $2,495; availability: October 2014.