Tuesday, September 24, 2013

New AmpliTube Release For iPhone, iPad Adds iOS 7 Support

The most popular guitar-playing and recording-studio app adds iOS 7 support and Inter-App Audio functionality

IK Multimedia is pleased to announce a new version of AmpliTube for iPhone, iPad and iPod touch.

The new full-featured guitar studio and recording app for mobile musicians adds iOS 7 compatibility as well as the ability to use AmpliTube as a filter app in the new iOS 7 “Inter-App Audio” feature.

The new version of AmpliTube (version 3.1) is fully compatible with iOS 7, the new operating system for iPhone, iPad and iPod touch, which means you can create music on the go with the latest mobile functions and features available, including the new Inter-App Audio routing feature.

Inter-App audio allows audio apps to communicate with each other and stream the audio output from one app to another. This feature is extremely handy for adding effects, and processing the audio stream from one app and sending it to another.

AmpliTube can be used as a “filter” app in iOS 7 for processing the audio from other apps, allowing musicians to use all of the stompbox and amplifier effects with any live (real-time) or recorded material. This feature is similar to AudioBus functionality, but provides the opportunity for more complex routing.

AmpliTube is fully AudioBus compatible as well, making it the most flexible audio-processing and recording app for iPhone, iPad and iPod touch.

AmpliTube for iPhone, iPad and iPod touch is a full-featured and expandable playing-and-recording studio for guitarists and bass players, vocalists and producers/engineers.

It features a complete instrument signal chain, including stompbox effects, amplifier head, cabinet section and microphone, just like a traditional guitar or bass stage rig.

It also features a recording studio, and multi-track-DAW editing-and-sequencing tools. AmpliTube is also expandable with collections of gear from the world’s top manufacturers like Ampeg and Fender, and from artists like Jimi Hendrix and Slash.

Now musicians can capture their ideas and performances on the go on their iPhone, iPad and iPod touch, with a comprehensive suite of creative tools, all from the leader in mobile music-creation apps and accessories.

AmpliTube is the perfect companion app for IK Lightning-compatible accessories such as the new iRig PRO universal audio/MIDI interface, and the iRig HD audio interface.

The latest AmpliTube update for iOS is free for existing AmpliTube iOS users.

AmpliTube is available on the App StoreSM ( for iPhone and iPad for only $19.99/€17.99. A free version is also available.

AmpliTube effects and functions can be expanded via in-app purchase with gear from Ampeg, Fender, Soldano, Slash and Jimi Hendrix, and a complete multi-track recording studio with drummer and DAW-editing features.

IK Multimedia

Posted by Julie Clark on 09/24 at 02:03 PM
RecordingNewsDigitalSoftwareSound ReinforcementStudioPermalink

Yusuke Asada Cranks A Steady Stream of Hits With PreSonus Studio One

Asada credits his adoption of Studio One, the DAW from PreSonus, as a major factor in helping him pick up speed in the studio.

As a composer and producer, Yusuke Asada brings an upbeat, unbridled enthusiasm to crafting his infectious dance tracks, and the talented artists he collaborates with, like Japan’s fast-emerging Yun*chi, have kept his productions at the top of the international charts.

Asada’s prolific output and his uncommonly fast production techniques have added to his high-profile success.

Asada credits his adoption of Studio One, the DAW from PreSonus, as a major factor in helping him pick up speed in the studio.

“When I’m immersed into a project, I use Studio One,” Asada says from his Tokyo-based studios. “Studio One is the only DAW I’ve used that enables me to complete the entire project - composing, producing, mixing, and mastering - all within a single environment.” 

The prolific producer discovered Studio One after years spent with other DAWs. When a growing portfolio of composing and production projects made it a necessity for him to move at top speed, the fast and efficient workflow of PreSonus’ Studio One caught his eye - but not before it caught his ear.

“Comparing the sound quality between other DAWs, Studio One just sounds better to me,” notes Asada. “The sound of Studio One is wider and more open. It has a better depth of sound, with greater resolution.”

But Asada cites Studio One’s streamlined workflow and drag-and-drop simplicity as his most essential reasons for being drawn to the platform.

“The Song page is laid out so intuitively, with everything right there, easy to see,” he observes. “Pulling up an effect or an instrument is as easy as dragging it into the track, and I can fine-tune it just as quickly. And I can do everything - from the first idea of a song, all the audio, all the instruments, all the way through the entire production and mastering - right in the same window.” 

With a massive library of virtual instruments and effects plug-ins, Asada points to Studio One’s integrated, searchable browser as another plus.

“I can find any instrument, any plug-in, so quickly. And setting up an instrument track in any other DAW requires creating a track and setting up channel routing - it’s an unnecessary complication. With Studio One, I just drag the instrument into the arrangement, and it’s all there.”

The efficiency of Studio One was essential for his latest production with J-Pad Girls. The animation project required him to assemble vocal tracks recorded around the world by 42 different female singers, from multiple cities and multiple sources.

“We’re collaborating with them all using Studio One,” Asada says. “They’re recording in their homes, then sending it back to me to mix.

“The files are in lots of different formats, from different computer systems and audio programs. A project with a scope like that could get out of hand, but with Studio One it was simple to import all the files and get to work creating a mix.

“The Studio One workflow is so easy to understand, it feels right. I don’t have to think about it - I can just create.”


Posted by Julie Clark on 09/24 at 01:54 PM
RecordingNewsDigital Audio WorkstationsSoftwareStudioPermalink

Monday, September 23, 2013

HHB Provides Avid S5 Fusion Consoles And Genelec Loudspeakers For New IMG Studios

HHB provides Avid S5 Fusion consoles and Genelec louspeakers for new IMG studios.

HHB Communiations Ltd. recently supplied three Avid S5 Fusion consoles and numerous Genelec loudspeakers to broadcast System Integrators TSL for IMG Productions new Stockley Park facilities (to be known as IMG Studios).

The new purpose-built production centre will see IMG Productions relocate to a 107,000 square foot facility comprised of 13 production galleries, four sound dubbing suites, 72 edit suites, five radio stations, five transmission suites and a master control room.

Almost 50 per cent of the equipment installed by TSL at IMG Studios was newly purchased, which includes Avid S5 Fusion consoles in three 5.1 surround sound post production suites, in addition to five Genelec 1238CFM speakers and a 7271A subwoofer per room, all supplied by HHB.

The S5 Fusion offers a powerful, dedicated Digital Signal Processing engine and EUCON Hybrid control to record and mix EUCON-enabled Pro Tools projects. Over 70 per cent of the monitors at IMG Studios are new Genelecs provided by HHB, with all editing suites containing either new or previously purchased models.

IMG Production is a division of IMG Worldwide, the global sports, fashion and media company. IMG Studios will be used for sports broadcast production services including the Barclays Premier League, the Football League and UEFA Champions League, in addition to work for the fashion and media industries.

“Our audio editing suites all run on Pro Tools, so the inclusion of the S5 Fusion consoles in our 5.1 mixing suites bolsters the fact that these are truly world-class facilities with the best equipment available,” explains IMG’s SVP Global Director of Engineering and Technology David Shield. “The S5 consoles give our operators unprecedented control and flexibility over the audio mixed in these rooms and helps us to continue delivering the exceptional work that our clients have come to expect.”

TSL Project Manager Keith Warrender comments: “The choice of equipment was a collaborative effort between TSL and IMG.

“TSL often quote Genelec loudspeakers for the TV control rooms because they are the industry standard for broadcast audio. HHB has proven once again that they have the knowledge and experience to provide us with large amounts of equipment required for this job without interruption and we are very happy with their service.”


Posted by Julie Clark on 09/23 at 09:54 AM

Friday, September 20, 2013

Engineer Richard Chycki Uses Audio-Technica Mics In The Studio

Audio-Technica is proud to be an integral part of the recording setup for progressive metal superstars Dream Theater as they record their highly anticipated upcoming self-titled twelfth studio set, scheduled for release on September 24 from Roadrunner Records. 

The band’s engineer on this album and past projects, Richard Chycki (whose credits also include Rush, Aerosmith, Needtobreathe, Our Lady Peace and others), has been a longtime fan of Audio-Technica microphones.

“I regularly use several models of Audio-Technica mics for their sound quality as well as their innovative design, consistency and reliability,” Chycki explains. “And I’ve used them for years, starting with a pair of AT4050’s or AT4060’s for the ambient portion of recordings.

“Regardless of the mic design, there was always a distinct open quality to all the Audio-Technica mics I’ve used, and they’ve performed very well in all applications. For the new Dream Theater album, by pairing the right mic with the source, we captured some pretty amazing audio with a minimum of outboard trickery.

“For instance, the AT5040 [Studio Vocal Microphone], with its amazing sensitivity and ultra-low noise floor, was an absolute joy to use, on acoustic guitar in particular. We also used the AT4080 ribbon microphones as part of the main guitar tone.”

The full A-T mic list for the project included AT5040 Studio Vocal Microphones on all acoustic guitars and some vocal tracking; AT4080 Phantom-Powered Bidrectional Ribbon Microphones for electric guitars, rear ambience for drums and the strings room (in a Blumlein pair);  AT4081 Phantom-powered Bidrectional Ribbon Microphones as spot mics for cellos and a string session; and an AT4047/SV Cardioid Condenser Microphones as a spot mic for contrabass and a string session, as well as for “B-cabinet” electric guitars.

Chycki is particularly fond of Audio-Technica’s AT4080 and AT4081 ribbon microphones.

“We used an AT4080 for the rear drum kit ambience, placed very low behind [drummer Mike] Mangini,” he states. “The AT4080 captures a lot of the low end push from the kit without a lot of excessive top end. Another AT4080 was used as a predominant part of John Petrucci’s guitar tone.

“The AT4080 can take a lot of SPL, so it was placed close to the speaker cone and adjusted to find the driver’s sweet spot. For the string sessions, I used a Blumlein pair of AT4080’s about three meters above the players, as well as AT4081’s as spot mics for the cellos.”

All in all, the A-T mics were a home run for the sessions. Chycki recalls, “I can say that John [Petrucci] had a very specific image of his guitar sound in his mind, describing its multi-layered depth as ‘chocolate cake.’ The AT4080 and AT4047/SV were very helpful in achieving our goal, and both John and I were very happy with the results.”


Posted by Julie Clark on 09/20 at 02:17 PM

Riedel And Studer Join Forces To Deliver High-Capacity Audio Routing System

Riedel Communications and Studer team up to deliver a routing system with I/O capacities in excess of 10,000 x 10,000.

Riedel Communications and Harman’s Studer have announced a joint development which promises to deliver Studer customers a unique and highly scalable audio routing system offering I/O capacities in excess of 10,000 x 10,000 inputs and outputs, and providing direct integration with the Riedel MediorNet system over Studer’s new proprietary A-Link digital interface.

Studer is the first company to enter into a distribution agreement with Riedel, whereby Studer will be able to supply complete systems including consoles and routers.

A-Link, developed by Studer, is a point-to-point topology similar to MADI, but is much faster and with a potential capacity of 1,500 channels per connection.

The two companies have worked closely to develop A-Link interface cards for Riedel’s MediorNet and Studer Vista and OnAir DSP engines.

A single MediorNet 2U box fitted with six A-link cards can deliver a matrix of 4608 x 4608 inputs and outputs, connected to A-Link cards in Studer’s SCore Live DSP systems using optical cables. This provides an elegant, redundant routing system.

This configuration provides a highly cost-effective and powerful routing system in just 2U, at a lower cost than many lower-capacity systems.

The MediorNet system also allows for further expansion and integration possibilities, since the system may be configured to provide a video and audio routing solution, with de-embedded audio from the SDI streams being sent to the Studer consoles, and the return signals embedded back onto the video.

For larger-scale applications, the MediorNet system may be configured with several networked frames in a unique distributed routing network, complete with redundant-ring topology.
Andy Trott, Studer’s VP and General Manager, is understandably enthusiastic about the partnership and its results.

“We’ve been working with Riedel for 2 years on this, and this solution is simply amazing,” Trott said. “The power of the combined systems is unrivalled in the audio market and we see great opportunities for our customers from these developments. To have such a massive I/O capacity in such a small amount of hardware would have been unimaginable only five years ago.”

The partnership also means Riedel expands the capabilities of its network backbone since existing customers can now integrate Studer consoles very simply and cost-effectively.

Riedel Communications

Posted by Julie Clark on 09/20 at 11:29 AM

iZotope Announces Nectar 2

iZotope's Nectar 2 brings the best of digital innovation and analog character into a complete set of tools specifically for voice.

iZotope has announced the next version of iZotope’s award-winning vocal processing technology, Nectar.

Coming in October 2013, Nectar 2 will bring the best of digital innovation and analog character into a complete set of tools specifically for voice.

“We were excited to revisit what made Nectar so ideal as a vocal processing plug-in,” says Brett Bunting, Product Manager for iZotope Inc. “We’ve spent a lot of development time incorporating new ideas designed with our users in mind. Nectar 2 users won’t believe how quickly they’ll be able to recreate classic vocal sounds or invent brand new ones.”

With Nectar 2, add character to tracks with modeled plate reverb, harmonic saturation, and new creative effects. Stay in tune, remove distracting breaths without the need for audio editing, transform a single vocal take into a harmonized ensemble, and much more.

Highighted Features:

● Add harmonies to vocal tracks with the new Harmonizer.

● Play with intelligent automatic settings or define your own with a MIDI controller.

● Add space and character to vocals with the EMT 140-modeled Plate Reverb module, featuring a unique saturation control to emulate the original plate’s preamp.

● Finesse vocal takes quickly with the new Pitch Editor and Breath Control plug-ins.

● Explore seven new creative effects in the new FX module.

● Dive in with a streamlined Overview panel for simple adjustments and added metering for visual feedback.

● Choose from 150+ new presets in styles that range from classic to modern.

Customers who purchased Nectar after August 1, 2013 will receive a free upgrade to Nectar 2 upon release.

Special upgrade pricing will be available for all previous Nectar and Nectar Elements customers upon release.

Nectar 2 can be used as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.


Posted by Julie Clark on 09/20 at 11:13 AM
RecordingNewsDigital Audio WorkstationsSoftwarePermalink

Thursday, September 19, 2013

PreSonus Acquires Notion Music

PreSonus is delighted to announce it has acquired the assets of Notion Music Inc., a leading developer of music-notation software located in Greensboro, North Carolina.

PreSonus is delighted to announce it has acquired the assets of Notion Music Inc., a leading developer of music-notation software located in Greensboro, North Carolina.

Notion Music’s products include the award-winning Notion 4.0 composition software (Mac/Windows), Notion for iPad, Progression 2.0 guitar-tab editing software (Mac/Windows), and Progression for iPad.

“We will, of course, continue to develop and sell all of Notion Music’s current products,” observes PreSonus CEO Jim Mack. “Notion is a strategic part of our increased commitment to the education market.

“And, at the same time, there are powerful natural synergies between Notion and our Studio One DAW, so it’s reasonable to expect that all PreSonus customers will see additional benefits from this acquisition in the future.”

Education Market Manager John Mylnczak notes, “Music educators, students, and composers rely heavily on notation software, and Notion is much easier to use than most such programs. Furthermore, iPads and other mobile products are increasingly favored by students and teachers.

“So our ability to include Notion products for Mac, Windows, and iOS in our educational packages will be of great value to music teachers and students.”

Adds PreSonus Executive VP of Product Management John Bastianelli, “We already have demonstrated our iOS expertise with QMix-AI, SL Remote-AI, and SL Room Control. With Notion 4 and Progression for iPad, we’re clearly doubling down on our investment in mobile computing.

“We’ve also emphasized integrated solutions with all of our software, so it makes sense that we would incorporate Notion and Progression into new solutions for composers and educators.”

Notion Music Inc.

Posted by Julie Clark on 09/19 at 10:39 AM
RecordingNewsBusinessDigital Audio WorkstationsEducationManufacturerSoftwarePermalink

Transform Your Mind: Chapter 4 Of White Paper Series On Transformers In Audio Now Available

An interview with managing director Per Lundahl and the fascinating history of the company

Chapter 4 of PSW’s ongoing free white paper series in now available. (Get it here.)

The white paper series is presented by Lundahl, a world leader in the design and production of transformers, with the new chapter featuring an in-depth interview with managing director Per Lundahl as well as the fascinating history of the dynamic family-founded company. The series of papers is authored by Ken DeLoria, senior technical editor of ProSoundWeb and Live Sound International.

Note that Chapter 1: An Introduction to Transformers in Audio Devices, Chapter 2: Transformers–Insurance Against Show-Stopping Problems, and Chapter 3: Anatomy Of A Transformer, are also still available for free download.

Several more free white papers on transformers and related audio topics will be posted here on PSW and available on a regular basis.

Again, download your free copy of chapter 4 of the white paper series, entitled An Interview With Managing Director Per Lundahl, And The History Of The Company, by going here.


Posted by Keith Clark on 09/19 at 10:05 AM
AVLive SoundRecordingChurch SoundNewsBlogTrainingWhite PaperAVEducationMicrophoneProcessorSignalTechnicianPermalink

Wednesday, September 18, 2013

IsoAcoustics Now Shipping New Acoustic Isolation Stands For Subwoofers

IsoAcoustics is now shipping the new ISO-L8R200SUB Stands, which is are specifically designed for subwoofers in both the professional, project and home studio environments.

IsoAcoustics Inc. is now shipping the new ISO-L8R200SUB Stands, which is are specifically designed for subwoofers in both the professional,  project and home studio environments.

The IsoAcoustics ISO-L8R200SUB is designed to work with all types of subwoofers in delivering more punch and articulate sound. 

Like all the IsoAcoustics models, the ISO-L8R200SUB is designed to clean up acoustic issues with the subwoofer, allowing it to literally float on axis, while reducing the low frequencies from being driven into the supporting surface. The ISO-L8R200SUB reduces structural vibrations, cleans up bass smear and other acoustic issues.

““IsoAcoustics is continually developing acoustic isolation products which bring out the very best in any sound system,” says IsoAcoustics Founder Dave Morrison. “We are thrilled to introduce the new ISO-L8R200Sub stands for subwoofers, giving professionals and all music lovers the ability to bring out the very best in their subwoofers.”

Measuring 7.8” wide by 10” deep and 5” high, the ISO-L8R200 Sub is designed to accommodate most subwoofers, and can be used as a single unit, or combined with additional units for larger subwoofers.

They are available at retailers throughout the U.S., Canada and many other countries worldwide.

The IsoAcoustics ISO- L8R200SUB stand has a MSRP of $64.99 U.S.


Posted by Julie Clark on 09/18 at 01:28 PM

Recording: EDM—Where Producing And Mixing Collide

Electronic Dance Music needs certain critical elements if you want to make the people dance.
This article is provided by the Pro Audio Files.

If you’re reading this article you might already know that EDM stands for Electronic Dance Music.

The styles range over a wide gamut of music, from House to Dubstep, Drum-n-Bass, and IDM (Intelligent Dance Music).

While the specifics of each style are extremely diverse (even within different styles there are dozens of sub-styles) – certain attributes remain consistent.

If you are just getting into EDM, or just want a fresh perspective on it, this article should offer some great food-for-thought.


The purpose of EDM is to make people dance. Period. The rhythmic elements and the movement of the record are sacrosanct.

Once you find the pulse of the record, you make that as clear as possible. That means pushing the rhythm elements way up, exaggerating any kind of pumping movement and articulating the attacks of anything that is outlining that rhythm.

In addition, it’s best when people not only hear what they want to dance to, but feel it as well. One of the biggest challenges with EDM is packing that heavy bass into the mix. The first key is to remember that physical bass is a much wider range than just the sub.

In fact, club systems tend to be very unreliable when it comes to the sub range. Pay special attention to what’s happening between 80 Hz and below 300 Hz. There’s a still a lot of physical bass there, and a little love in that zone can go a long way.

In fact, most instruments have “physical” ranges. For a snare, you might be looking at 300 Hz – 500 Hz. For a hi-hat you might be looking at 1 kHz. To say exactly where the physicality of a certain sound exists is almost pointless – it varies widely. But when you feel it, you know.


The difficulty in physical sound, and I know a lot of engineers are going to shoot me for saying this, but the difficulty is that club music needs to be loud.

Only so much energy can fit into a limited space, so picking and choosing how to maximize your bang-for-the-buck in terms of headroom is one of the biggest challenges in EDM.

Sometimes it’s a lot more productive to trigger a sine wave or use a bass enhancer on a kick drum, rather than simply boosting the low end – as you can get a little more “perceived” bass without running the headroom. And equally over extending compression or distortion to gain perceived size is also worth experimenting with.

Ideally all club systems would have tons of clean amps with DJs who know how to not overload the speakers, who could then turn the club amps up and keep there mixers down. But that’s not the world we live in.

So until then, club music does fall under the jurisdiction of the loudness police.

Sound Design

Sound design is extremely important in EDM.

Producers work tirelessly to craft new and exciting sounds and textures. So pay special attention to that!

A really cool sounding, catchy lead line will make or break a record – so if you are mixing someone else’s stuff you have to acknowledge and compliment those textures.

If something sounds weird or off, catering the rest of the mix around that sound is better than suppressing what the producer worked very hard to create.

Likewise, designing the ambiance is also extremely important. It’s important to create a sense of space and environment, as long as it isn’t impeding other things in the mix.

Taking a little extra time to really analyze the texture and timing of your reverbs and delays is well worth it.


Do not fear automation! EDM = automation. Half the arrangement is based on the changing of textures, sounds, and levels. Moving filters, rising pads, pumping bass, any and everything constantly morphs from one thing to the next.

If you are producing, change those dials in real time. If you are mixing, think of the music as a kid and you are helping it cross the road. You lead each moment into the next.

Frequency Sharing

Another way to help the song cross the street is a technique I call “frequency sharing.” As one element drops out, another may come up in its place.

Through EQ you can match the new element to the old one – and so the energy of the former is handed to the new like a baton. If that makes sense. If something bright suddenly drops off, and nothing picks it up, the result will not feel like a cohesive transition.

Sometimes that’s what you want, but usually not. If you do want to move into a section that strips down, it’s often better to have elements fade away, rather than clean stop.

So if you are moving from a bright section to a dark one, a fading white noise might be smoother than simply a jolting change.

Mono Mixing

In terms of image, MIX IN MONO. Not all club systems are stereo – so if your mix doesn’t work in mono, it won’t work in a club with mono playback. This isn’t to say you need to bow to mono functionality – but lay off the wideners. If you need a sound to be wider, don’t fake it or force it. Use another element panned out one way.

Wide stereo synths are much narrower than separate mono elements that are panned apart. If you want wide, you have to produce it that way, not mix it that way. Let your leads live in the center.

Use reverb, delay, and other elements to fill out the side information – this way if you lose it, you haven’t killed your record!


This article is very stream of consciousness. I hope people comment and ask questions below as there is probably a million more things that could be said on this subject.

But in the meantime, this should provide a few basic concepts that will step up your game when producing EDM.

Matthew Weiss engineers from his private facility in Philadelphia, PA. A list of clients and credits are available at To get a taste of The Maio Collection, the debut drum library from Matthew, check out The Maio Sampler Pack by entering your email here and pressing “Download.”

Also be sure to visit The Pro Audio Files for more great recording content.

Posted by Keith Clark on 09/18 at 01:10 PM
RecordingFeatureConsolesDigital Audio WorkstationsEngineerProcessorStudioPermalink

Sennheiser’s Mentorship Program In Full Swing With Help From HBO And Fox Sports

Students Brad Bacon and Eric Heikkila Take Classroom Knowledge into the Real World, As Sennheiser Helps Build a Bridge into Careers in Broadcast Audio

Sennheiser originally launched its Mentorship Program back in 2009 to help encourage the next generation of audio engineers to enter the exciting field of televised sports.

The company has since built collaborations among a variety of higher education institutions and top professional broadcast networks, such as HBO and Fox Sports.

For its most recent mentorship program, Sennheiser selected students Eric Heikkila from Emerson College, and Brad Bacon from the Conservatory of Recording Arts and Sciences near Phoenix.

Heikkila shadowed A1 and A2 professionals during HBO Sports’ broadcast of a Light Heavyweight Title Bout between Chad Dawson and Adonis Stevenson while Bacon did the same during the NASCAR’s Coca-Cola 600 race by FOX Sports.

Randy Flick, senior audio mixer, HBO Boxing, took Heikkila under his wing during the nationally televised boxing match, which took place at the American Airlines Center in Dallas, TX on June 15th.

“Eric had a chance to go out into the field and work with different members of the audio staff,” says Flick. “He helped change out RF microphones on the trainers, and tailed the stage manager to see how she handles the event itself.”

The experience was rewarding for the Heikkila who gained unparallelled insight into a world-class broadcast audio operation.

“Until now, everything I had learned about audio was in a textbook,” Eric says. “Sennheiser’s Mentorship program put it all right in front of me in the real world. It is such an honor being selected to participate in this.” 

“We have been honored and extremely fortunate to continue our involvement in the Sennheiser Mentorship program,” commented Jason Cohen, director, sports production at HBO. “We have already had tremendous success stories since the inception of the program such as students becoming regulars on our technical crew.

“The immediate payoff of helping grow the industry and young mentors is just one of many reasons why we would like to remain part of this tremendous initiative.”

Meanwhile, half way across the country at the Charlotte Motor Speedway in Concord, NC, Fred Aldous, audio consultant and senior mixer for Fox Sports, was mentor to Conservatory of Recording Arts and Sciences student Brad Bacon during Memorial Day weekend.

Aldous, who has been working with Sennheiser on the Mentorship Program for several years, chooses the Coca-Cola 600 NASCAR race because it provides students with the opportunity to experience the entire broadcast infrastructure.

Bacon spent time in the audio room and the submix room before venturing out to the racetrack, where Aldous’ field A2s explained the processes of microphone selection, positioning and the art of capturing the sounds of the track.

Finally, Bacon learned about how the audio comes back to the truck for premixing and/or submixing before being sent to the network center for dispersion to affliate broadcast networks.

“The Coca-Cola 600 is the longest race of the year that Fox Sports does,” explains Aldous. “It therefore gives me more time to take the student around to see the different audio positions: from the announce booth, to the field set up to where the production mix happens.

“There are just so many things that go on here, that it is difficult to grasp unless it is actually experienced — especially on the magnitude of NASCAR.”

Bacon was astounded by the overall complexity of the operation and the overall professionalism of the staff.

“Fred has so many inputs that he is managing and has such a grasp on all the little problems that come up,” Bacon observes. “The whole experience was overwhelming, and it was a real pleasure to see him stay so cool under pressure.”

The Sennheiser Mentorship program is a win-win for students, sports broadcast networks and higher learning institutions looking to place students in lasting, highly rewarding careers.

“I love to be part of this program because it gives us a chance to build a bridge for students into the world of broadcast audio,” says Flick. “We are really giving them a chance to move ahead and see if this is what they like so they can make a great career choice.”

Aldous says he is proud to show off broadcast audio as a possible career avenue.

“We are very proud of what we do here,” he says. “We’ve won several Emmy Awards for Best Live Sound for NASCAR because of the size and scale of our infrastructure, and the quality of our mixes.”

Higher learning institutions such as Emerson College and the Conservatory of Recording Arts and Sciences value the Sennheiser Mentorship program as a way to expose students to a potential career path they might have not otherwise not considered.

“Most students come into audio program thinking about engineering or producing a certain kind of music they are interested in, but there are great opportunities in television sports broadcast,” says John Krivit, who teaches audio courses at Emerson College.

Robert Brock, digital department director of the Conservatory of Recording Arts and Sciences, concurs. “Broadcast television is one of the most exciting sides of audio production. How much more intense does it get than doing a live television broadcast? This is why we’re doing what we’re doing.”


Posted by Julie Clark on 09/18 at 12:38 PM

Monday, September 16, 2013

Eventide Announces 2016 Stereo Room And Omnipressor For AAX2, Native

The new plug-ins are compatible with Pro Tools 11 and no longer require an iLok.

Eventide has announced the immediate availability of the 2016 Stereo Room and Omnipressor 64-bit plug-ins for AAX2, AU, and VST Native. 

The new plug-ins are compatible with Pro Tools 11 and no longer require an iLok. 

“The legendary Stereo Room from the SP2016 and the ultimate dynamics processor, the Omnipressor, have never been so accessible to so many users.” said Ray Maxwell, Eventide’s VP of Sales and Marketing.

2016 Stereo Room Native retails for $199 is available now for a limited time for $79 and Omnipressor Native, regularly $149 is now $59.  This special introductory pricing is good through September 30, 2013.

Current owners of the Native versions of these plug-ins can download the new binaries on the support pages at at no charge.

“These studio standard tools are a must-have for any desktop production set-up,” Maxwell adds.

“I’ve been bugging any number of reverb manufacturers to emulate the 2016’s Stereo Room for over a decade,” adds George Massenburg, Engineer/Producer. “I’m excited to finally have one of my favorite reverbs available again.”


Posted by Julie Clark on 09/16 at 01:36 PM
RecordingNewsDigital Audio WorkstationsEngineerSoftwarePermalink

United Installs Studer Vista 1 In Dutch Villa For Commercial Television Station RTL4

United installs 32-fader Studio Vista 1 console installed television studio.

Housed in the music pavilion at Hilversum’s Media Park, United is a full service company, providing technical and creative support for various broadcast organizations on a national and international basis.

Part of the Euro Media Group since 2007, their clients include Endemol Sports and various public broadcasters. Recently the company purchased a compact Harman Studer Vista 1 all-in-one console for use on the daily Koffietijd (Coffee Time) program, broadcast by popular commercial station, RTL4.

The new 32-fader desk, which was supplied by Heynen, Studer’s Dutch distributors, is installed long-term in a permanent control room at a luxury villa in Eemnes, where the studio has been purpose designed for technical equipment and crew.

United has been using Studer platforms for at least 15 years, with the famous Studer 928 analogue console being their standard broadcast mixer (in fact two are still in operation).

In 2008 they moved up to Studer’s digital platform, purchasing two Vista 8’s for use in both their new and upgraded OB vehicles.

Explained Paul van den Heuvel, United’s Technical Manager Studio & Outside Broadcast, “For Koffietijd, we wanted to have a digital console that would fit within our two-brand strategy. Only Studer could deliver a compact, all-in-one mixer within the budget.”

He continued, “From using the Vista 8’s we are already familiar with the workflow and Vista platform, so we didn’t need to look any further than this cost-effective solution. It was an easy decision to make.”

With the control surface, I/O system, DSP and power supplies all contained within the console chassis, the Vista 1 is designed for applications where space is restricted or where the console needs to be moved with ease.

With a choice of 32 or 22 motorized faders, the Vista 1 contains the familiar Vistonics user interface, with 40 on-screen rotary knobs, as well as Studer FaderGlow, which illuminates faders in different colours according to their function.

Koffietijd itself is a daily morning show with four cameras, and besides the Vista 1’s standard I/O’s United are also using the MADI port. “We connected an RME MADI converter to insert and output AES signals to, for example, recording machines like EVS.”

The installation and technical training was supported by Heynen. The Vista 1 will remain in situ for at least a year after which will probably be redeployed in a newly upgraded studio.


Posted by Julie Clark on 09/16 at 08:06 AM

Friday, September 13, 2013

Celemony Update Melodyne With AAX Support

Celodyne has upgraded Melodyne to support the AAX plug-in interface and 64-bit operation under Pro Tools 11.

Celemony has announced an upgrade to Melodyne that supports the AAX plug-in interface and, with it, 64-bit operation of the software under Avid Pro Tools 11.

The update is available for free to registered users of the Version 2 software.

The multi-award-winning audio tool Melodyne is in use on many Pro Tools systems.

With the update to Version 2.1.1, Melodyne can now also be operated under the new AAX interface of Pro Tools 11, which employs 64-bit processing.

This makes clear gains in terms of both performance and reliability possible – primarily when correcting and optimizing longer recordings.

The update is free of charge for users of the current Version 2 of Melodyne editor, assistant and essential and is already available for download.

Besides AAX compatibility, it also contains a variety of bugfixes and optimizations, and is therefore recommended to all users.


Posted by Julie Clark on 09/13 at 10:56 AM
RecordingNewsProductDigital Audio WorkstationsSoftwareStudioPermalink

Thursday, September 12, 2013

AES Announces New Networked Audio-Over-IP Interoperability Standard: AES67-2013

The Audio Engineering Society (AES) has officially announced the publication of AES67-2013, a new engineering standard for networked/streaming audio-over-IP interoperability. 

High-performance media networks support professional quality audio (16 bit, 44.1 kHz and higher) with low latencies (less than 10 milliseconds) compatible with live sound reinforcement. The level of network performance required to meet these requirements is available on local-area networks and is achievable on enterprise-scale networks.

A number of networked audio systems have been developed to support high-performance media networking, but until now there were no recommendations for operating these systems in an interoperable manner. This standard provides comprehensive interoperability recommendations in the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management. 

The project was initiated by the AES in December 2010 under the project name AES-X192. In August 2012, the AES and EBU jointly announced an active collaboration to achieve interoperability of networked audio.

The intent was not to invent new technology, but to identify an interoperable subset of existing technologies to achieve this goal. Task Group SC-02-12-H, under the leadership of Kevin Gross, met regularly using web conferencing and email to refine and clarify the necessary parameters. 

To obtain a copy of this standard, go here. AES standards are available to AES members free of charge as a benefit of membership. Details of AES membership can be found here.

Audio Engineering Society

Posted by Keith Clark on 09/12 at 04:56 PM
AVLive SoundRecordingChurch SoundNewsAVDigitalInterconnectNetworkingSystemPermalink
Page 94 of 305 pages « First  <  92 93 94 95 96 >  Last »