Wednesday, November 07, 2012

Audiofile Engineering Launches Triumph Audio Editing Application

Redefines Wave Editor with new interface, features and functionality

Audiofile Engineering has introduced Triumph, the sequel to the popular Wave Editor audio editing application, available as an app for Mac OS X and sporting a newly redesigned interface and a host of new features and functionality.

Triumph is more than just a new version of Wave Editor, which is also the reason for the new name. “Our goal is to always be on the cutting edge of technology and interface design. We completely rewrote Wave Editor. We rethought everything, not only how to improve on what we built in Wave Editor, but how we could bring the concept of an audio editor forward”, says Matthew Foust, founder of Audiofile Engineering, “Triumph takes full advantage of all of the latest technologies Mac OS X has to offer.”

Users of Wave Editor will take note of Triumph’s single window and full screen support, as well as the completely rewritten audio system and the significantly improved arrangement and mastering features, all fully 64-bit.

Triumph provides a unique and patented method for editing audio: Layers. It’s similar to image editing in technique, but is specifically tailored for audio. The Layers method is an innovative way to create combinations of sounds. It saves time by keeping everything live and editable until the final product and results in less guesswork and more speed.

The new FHX effect in Triumph solves a number of the issues often associated with listening to music on headphones. FHX creates a more spacious, natural sound stage over headphones — enabling an improved listening experience.

Audiofile Engineering has teamed up with iZotope and now includes iZotope Restore & Restoration as well as the advanced iZotope MBIT+ and 64-bit SRC options for disc burning in Triumph.

New features include:

—Redesigned Meters inspired by the UI from the Spectre, Audiofile’s real-time analysis application
—Auto Save & Versions - automatically save projects with browse history
—Multi-Touch Gestures
—Full Apple Script Support for complex workflows, automation and interacting with other applications
—Actions for a clean, uncluttered interface and intuitive workflow
—Effects Groups - save a group of Effects including their settings for use on future projects
—Effects Automation – new Shapes feature can automate the parameters of an effect
—High performance scrubbing and innovative FHX headphone listening plug-in
—Hardware Output & Channel Mapping for greatly improved system configuration
—Full Support for iXML
—Support for Retina displays
—Analog Simulation

When it comes to mastering in Triumph, audio professionals can streamline their workflow with greatly improved layout tools, DDP 2.0, and Red Book CD burning.

Triumph requires Mac OS 10.7.0 or higher (10.7.5 recommended). It is available via Audiofile Engineering’s online store and is on sale for $59.99, 25 percent off the regular price of $79.99, through November 16. Users who purchased Wave Editor 1.5 on or after May 1, 2012 may request a license key for Triumph 2.0 at no charge.

Learn more about Triumph here.

Audiofile Engineering

Posted by Keith Clark on 11/07 at 10:00 AM
Live SoundRecordingNewsProductDigital Audio WorkstationsProcessorStudioPermalink

In The Studio: Five Best Audio Editing Apps?

What computer literate people consider when it comes to their audio editor of choice
This article is provided by Bobby Owsinski.


Lifehacker recently ran a survey trying to find the five best audio editing tools, and it turned up some interesting and surprising choices.

Granted, Lifehacker is not a site with a core audience of audio professionals, but it’s still interesting to see exactly what computer literate people consider when it comes to their audio editor of choice.

So here we go:

1. Audacity
(56% of the votes) - I can see why this was chosen since it’s a fairly powerful audio app and the price is right (free). Plus, it’s cross platform.

2. Adobe Audition
(14%) - I think that a lot of people use this because it’s included as part of the Adobe Creative Suite.

3. Avid Pro Tools (10%) - The big daddy in the pro world, Pro Tools has dominated music, film and broadcast for the last decade. If you’re going to be a real-world pro, use anything else at your own risk.

4. Reaper
(10%) - Here’s a DAW that’s coming on strong. The price is only $60, and so many people rave about it that I can see it taking over as the top dog if Pro Tools should ever falter.

5. Ableton Live (10%) - If you’re making or working with electronic music, then Ableton Live is the center of your universe. If electronic music isn’t on your radar screen, then probably neither is Live.

There was also honorable mention for Goldwave, which I wasn’t even aware of, and Soundforge, which has now come to the Mac after a long run as a PC-only app.

Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog.


Posted by Keith Clark on 11/07 at 09:43 AM
RecordingFeatureBlogDigital Audio WorkstationsProcessorStudioPermalink

Tuesday, November 06, 2012

Performers Using Sennheiser Score Big At 46th Annual CMA Awards

Roster of Sennheiser users performing included Blake Shelton, Miranda Lambert, Lady Antebellum and Zac Brown Band

During the 46th Annual Country Music Association (CMA) Awards last Thursday, Sennheiser users including Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band were at the fore, delivering performances through Sennheiser transmitters, capsules and wireless systems.

Shelton took home the coveted “Entertainer of the Year” and “Male Vocalist of the Year” awards and also took part in a “Lifetime Achievement Award” performance honoring Willie Nelson along with Lady Antebellum. Lambert was also recognized with “Female Vocalist of the Year.”

“Song of the Year” also went to Shelton and Lambert - the first married couple to ever win the award. The duo wrote the song in memory of Shelton’s brother, who passed away many years ago.

Following an intense week of rehearsals and technical preparations with its sponsored artists and their production teams, Sennheiser microphones and wireless systems performed flawlessly for the duration of the awards ceremony, which was broadcast live from Nashville to an audience of over 13 million viewers.

RF Consultant James Stoffo reports that 12 Sennheiser EM 3732-II receivers were used for the show, along with Sennheiser SKM 5200 and SKM 2000 wireless transmitters.

Shelton, Lady Antebellum and the Zac Brown Band all chose an SKM 5200 transmitter and a Sennheiser MD 5235 dynamic capsule combination to help their vocals cut through the often-loud stage volumes, whereas Lambert opted for a customized pink SKM 2000 and Sennheiser MMD 935-1 capsule combo. Throughout the evening, hosts also used a SKM 5200 paired with a MD 5235 capsule.

Stoffo states that he appreciates the ease of set up and flawless performance of the Sennheiser wireless: “In the EM 3732-IIs, the ability to align the audio processor to work in multiple modes is a really useful tool. Also, the wide frequency tuning over the entire 470-698 MHz band made finding the cleanest frequencies available easier than it has ever been since the invention of wireless microphones.”

In addition to being the wireless transmitter of choice for Shelton, Lambert, Lady Antebellum and the Zac Brown Band, a full complement of Sennheiser evolution wired mics was also in constant use on the backline and other vocal applications over the course of the evening.

This broad range of microphones included:

· 20 e 935 (vocals)
· 20 e 840 (vocals)
· 5e 901 (inside kick drum)
· 5 e 902 (outside kick drum)
· 5 e 905 (snare)
· 20 e 904 (toms)
· 10 e 906 (guitar amplifiers)
· 10 e 914 (overheads)
· 30 e 602-II (bass / kick drum / floor toms)
·  5 e 614 (high hat)

“Everything about my mixes starts with drums, and I specifically request Sennheiser evolution series microphones all over the kit,” comments John Harris, music mixer. “In particular, the e602-II on the toms and kick drum allow me to get the crisp sound I need much faster with little or no equalization. Also, the balanced frequency response of the MD 5235 and MMD 935-1 wireless mic capsules allow me to capture an honest, natural sound from the vocals.”


Posted by Keith Clark on 11/06 at 02:09 PM
Live SoundRecordingNewsConcertMicrophoneSound ReinforcementStageWirelessPermalink

XILS-lab Introduces Rotary Speaker Emulation Plug-Ins

Incorporates proprietary algorithm to evoke rotating speaker characteristics

Music software company XILS-lab has announced the availability of the new LX122 and LX122 Premium rotary speaker effects plug-ins.

LX122 and LX122 Premium are Mac OS X 10.4 (32-bit PowerPC and Intel) and OS X 10.6 (32- and 64-bit Intel) or later- compatible (VST, AU, RTAS — Pro Tools 7.0 or later) and Windows XP, Vista, and Windows 7-compatible (VST, RTAS Pro Tools 7.0 or later) rotary speaker emulation plug-ins, both with XILS-lab’s proprietary True Stereo Dynamic Engine (TSDE).

Until now, a classic rotary speaker system simply comprised a stationary treble unit with spinning horns and a stationary woofer with spinning rotor (or drum), together with two filters to divide the frequency spectrum between the horn and woofer; both the horns and the sound baffle for the bass are rotated to create Doppler effect-based vibrato, tremolo, and chorus effects, while the rotating elements can be stopped, switched between slow (chorale) and fast (tremolo), or transitioned between the two settings.

All are effortlessly emulated in LX122’s core modules alongside an authentic recreation of tube-based amplification — one of the most important characteristics of the original concept, which inadvertently paved the way for the heavier rock tones pioneered by the likes of Deep Purple’s Jon Lord, together with three reverb types, and MIDI-controllable SLOW and FAST mode buttons (for individually controlling the horn, drum, or both by keyboard inertia) for added flexibility.

XILS-lab recognizes that the true sound of a rotating speaker rests principally in how it reacts to the room in which it resides; to that end, the TSDE algorithm adeptly evokes this physical phenomenon.

Moreover, the angle of the two “recording” microphones can be tweaked within LX122 and LX122 Premium to allow varying amounts of room effects into the resultant mix, while internal cabinet reflections are also emulated to faithfully capture that much-loved mellowing side effect.

It is even possible to increase or decrease speaker positioning from far away to directly within the cabinet itself — impossible with real rotary speakers.

As implied by name, LX122 Premium is fundamentally the same as its LX122 software sibling, yet offers much more sonic scope to the discerning user, including control over microphone movement, room choice, room size, cabinet speed, horn diameter, diffuser removal, speaker configuration, ribbon age, horn and drum balance, rotation direction, and more besides.

Its additional Studio Panel allows users to position the microphones anywhere within five different room models, for example, while different cabinet configurations can be chosen within the Cabinet Panel, as well as randomly rotating the horn and drum.

LX122 features 14 factory presets to get users started, while LX122 Premium boosts that number to 75.

LX122 and LX122 Premium are available to purchase from the dedicated XILS-lab online store () for a special introductory price of €29 EURO/ $37 USD (LX122) and €45 EURO/$58 USD (LX122 Premium) until December 5 (respectively rising to €39 EURO/$49 USD and €69 EURO/$89 USD thereafter).

Note: these are serial number-protected products — no iLok required.

Listen to LX122 audio examples here.


Posted by Keith Clark on 11/06 at 12:01 PM
Live SoundRecordingNewsProductDigital Audio WorkstationsProcessorStudioPermalink

In The Studio: Mixing Acoustic Guitars

Handling several factors that affect how you approach recording/mixing acoustics
This article is provided by Audio Geek Zine.


Acoustic guitars are one of the most dynamic and expressive instruments used in modern music.

They have a broad frequency range covering almost the entire audible spectrum.

The instrument can serve many different roles in an arrangement as a harmonic, melodic, or percussive element.

All of these factors will affect how you approach both the recording and mixing acoustic guitars.

The first thing to do is think about its role in the song/mix. Is the guitar the main harmonic instrument?

Is it supposed to enhance or thicken other harmonic instruments like electric guitars? Is it enhancing the melody, playing arpeggios or single notes? Is it a percussive element more like a shaker just to fill out the rhythm section?

Figure out the goal, then you can begin processing.

Tone Control
Depending on the guitar, microphone, pick, player and role in the arrangement, acoustic guitars always require at least a little equalization to fit in a mix.

Cutting of nonmusical sub frequencies (everything below 100 Hz) is a must. A low shelf may be required to tame the remaining low-end.

In the midrange, take out any unflattering frequencies causing ‘boxiness’ or anything that might mask the vocals.

A broad, gentle high shelf boost can enhance articulation and an overall more sparkly sound. The general strategy is to remove what you don’t need, then enhance what you do.


An acoustic guitar performance is often extremely dynamic, which is often a problem. A compressor will even out the differences between loud and soft notes and help keep the level more constant throughout the track. It’s easy to take it too far, so keep the gain reduction to no more than 3-4 dB.

The compressor’s attack control will allow you to clamp down on the beginning of the notes, or when set slower (about 20-50ms) will enhance the transient which helps it stand out more in the mix.

At this point you may want to adjust the sound envelope further though use of a transient shaper. This tool can increase or decrease pick attack, and separately adjust sustain.

Sending your acoustic track(s) into a stereo reverb will add space and distance to the sound. The trick here is to not wash out the sound in a ton of reverb, but just to move the move the mics back a bit into an imaginary room.

Usually, a short room type verb with the highs rolled off is the best bet. Try to make the reverb sound like an office or large bedroom – short decay with and a bit of early reflections. The predelay control will separate your source from the room.


And so, following the above strategy you should now have an acoustic guitar track with a balanced frequency response, even dynamics and sense of space around the instrument, (if that was what the track required).

The track is ready to be put in the mix with the other instruments. Tweak the EQ in context with the other tracks, adjust the reverb send amount, and even EQ the reverb if needed.

Jon Tidey is a Producer/Engineer who runs his own studio, EPIC Sounds, and enjoys writing about audio on his blog To comment or ask questions about this article go here.


Posted by Keith Clark on 11/06 at 11:38 AM
RecordingFeatureBlogStudy HallConsolesDigital Audio WorkstationsMicrophoneMixerSignalStudioPermalink

Monday, November 05, 2012

Harman Professional Institutes Direct Product Distribution In India

Move includes opening of new regional sales offices to enhance support, and more

Harman Professional has announced the immediate implementation of a direct distribution model in India, following an extensive investment in India-based R&D, operations sales and support.

According to Harman Professional president Blake Augsburger, the move reflects his determination to serve customers with the best products, the best programs and the most appropriate channel strategy for that market.

“Having invested so much time and resources into developing a strong product offering for the India market, we are determined that as many potential customers as possible get access to this winning lineup,” Augsburger states. “Our distribution strategy is to act as the market dictates and, in doing so, to provide a broad array of professional customers with the best possible systems and support.”

Harman’s switch to direct distribution includes the opening of new regional sales offices to support audio professionals with application engineering and sales support; new service centers across the subcontinent to ensure optimal deployment and customer service; project design and application support to address increasing convergence system sophistication and comprehensive warehousing to ensure availability of the right products in the correct region at the appropriate time. 

The net gain to customers in the Indian professional audio community is that HARMAN will be easier to work with and there will be greater availability of product and better, more expansive support.

Leading Harman Professional operations for India is David McKinney, who was recently appointed senior director, India Operations for the Professional Division. McKinney, a 12-year veteran of the organization, previously established Harman Professional’s Asia regional sales office in Kuala Lumpur, where he achieved significant success at establishing the organization and growing the business.

Harman Professional

Posted by Keith Clark on 11/05 at 02:52 PM
AVLive SoundRecordingNewsProductProductionAudioAVBusinessManufacturerSound ReinforcementStudioPermalink

iZ Technology Corporation Launches RADAR 6

Updates flagship multi-track recorder with the ultimate sound quality, higher speed, extreme reliability, and modern flexibility

iZ Technology Corporation, manufacturer of innovative music and audio products, has launched RADAR 6 at the 133rd AES Convention in San Francisco. RADAR, the premier choice for hard disk multi-track recording and playback employed by recording studios, scoring stages, theaters, and post production houses around the world, has been updated with new features and improved speed, storage technology, editing, audio performance and user interface.

RADAR has long been the recording platform that offers the highest sound quality on the market. Built with world-class converters, Adrenaline DR technology, dual digital/analog power supplies, near-zero jitter, and near-zero latency up to 192kHz, RADAR systems transcend the digital barriers of sonic quality.

Thanks to RADAR 6’s new storage architecture, recording and moving files is fast and easy. You can record 24 tracks at 192 kHz to a 64 or 128 GB SD card and plug it directly into your laptop for use with your favorite DAW. Record and/or copy and deliver tracks in seconds on a USB 3.0 thumb drive. Or record directly to RADAR’s high-speed solid-state drives for maximum performance. RADAR’s open storage architecture gives you the most options.

New features of RADAR 6:

  • Sound Quality: World-class Classic 96 and Ultra Nyquist converters and the new Adrenaline DR technology
  • Speed: Direct SATA recording for over 2 times faster cueing editing and data transfers
  • Storage: Solid state SATA, USB 3.0, thumb drives and remote network access make recording and file transfer fast and flexible
  • Portability: nearly 40% shorter and 14 lbs lighter than RADAR V
  • Improved user interface: full front panel controls with tactile transport keys and a comprehensive high resolution multi-page touch screen supporting industry standard wide screen resolutions
  • Editing: Comprehensive editing from the front panel touch screen as well as a virtual meter bridge, touch-screen macro keys, multiple mark in/out markers for batch exports and audio CD creation from a single project
  • Acoustic Noise: control room ready with super quiet low speed power supply fan and all solid-state storage drives
  • With choices of 3 different converter card designs available in 8, 16, or 24 channel configurations, 4 multi-channel digital I/Os, and a wide variety of backup and recording drive options, RADAR is the most configurable multi-track recorder available today.

    Pricing and Availability: Starting at under $8,600 USD.

    iZ Technology Corporation


    Posted by Keith Clark on 11/05 at 02:01 PM

    Marty Stuart And Engineer Mick Conley Get Back To Their Country Music Roots With JBL LSR4300 Series

    Since Studio B is now a museum, they had to get special permission to record there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer.

    Marty Stuart was born a country music traditionalist who has always embraced the styles and sounds of pure country—right down to recording with his Fabulous Superlatives band in Nashville’s iconic RCA Studio B with the help of Stuart’s longtime engineer Mick Conley and his JBL LSR4300 Series studio monitors.

    “Marty is as old school as I am when it comes to the sound he wants to get on his records,” said Conley, who has worked with greats such as Kathy Mattea, Patti Page, The Blind Boys of Alabama, Suzy Bogguss and many others. “We want to achieve a rich, full sound with plenty of detail. JBL LSR Series studio monitors are a big part of helping us achieve that.”

    For his most recent release, Nashville Volume 1: Tear the Woodpile Down, and his 2010 release, Ghost Train, Stuart sought out the prestigious confines of Studio B. 

    “Studio B was one of the places where the legendary Nashville Sound of the 1960s was created,” Conley noted. “Some of the greatest country music recordings of all time were made there and it was the first place Marty ever recorded. Marty and his band wanted to feel that vibe.”

    However, since Studio B is now a museum, they had to get special permission to record there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer. 

    “Studio B might be hallowed ground for recording industry pros—but let’s not forget that it was designed on the back of a napkin,” Conley said. “It’s always had acoustic challenges. I needed monitors I could trust.

    “We use JBL LSR monitors everywhere—at my studio, and at [Marty Stuart’s bassist] Paul Martin’s studio in both stereo and 5.1 configurations, for The Marty Stuart Show and for a recent broadcast of a live concert on SiriusXM. I know can rely on them in any situation.”

    “In any kind of recording, the hardest thing is to get the bottom end right,” Conley continued. “With the LSR’s, I can trust what I’m hearing, whether I’m using a stereo or 5.1 monitoring setup.

    “Their RMC Room Mode Correction enables me to factor out the influence of the room on the low-frequency response and make subtle or major adjustments to the bottom end. Depending on the project, I might or might not use a subwoofer, but even without the sub I know there’s no guessing.”

    “When Marty and his band record, we just like to go in and do it—get in there and cut those tracks as a complete performance. For Ghost Train and the newly released Nashville Volume 1: Tear the Woodpile Down, each song was tracked live with minimal overdubs to finish it—then on to the next song.

    “It would be hard to do that if I don’t know what I’m hearing on the monitors is what it really sounds like where the musicians are performing. And of course, The Marty Stuart Show is recorded ‘live’ with a ‘Who’s Who” of country music starts, so I have to meet Marty’s high standards and his guests’ high standards also. That’s why I rely on the LSR Series studio monitors.”

    With a variety of projects on the horizon for the rest of 2012 and beyond, Conley will take his LSR studio monitors wherever he goes. “I don’t want any surprises,” he said. “When it comes to trusting what you’re hearing, your monitors are your only comfort factor.”

    JBL {extended}

    In The Studio: Getting A Vocal Recording Setup Started

    Getting workable, decent results without breaking the bank
    This article is provided by the Pro Audio Files.


    Whether you’re a voiceover artist, songwriter, or rapper, chances are at some point you will be interested in setting up a personal recording system.

    For some people, simply getting the idea in a recorded fashion is enough. Others may want to actually release or sell the results.

    But getting started can be a little daunting. Have no fear, I’m here to help.

    The goal here will be two fold – to get workable, decent results, and to not break the bank.

    Here’s what you basically need:

    1) Voice

    It all starts here. A rich, strong vocal tone will translate well even on a low budget setup.

    2) Space

    You exist in a physical environment, and there’s no way to take that out of the equation. The most common error people make here is to record in the smallest space possible.

    This is done because (a) you don’t hear as much reverberation in smaller spaces, and (b) because that somehow came into fashion. This is rarely the best setup.

    You’re much better off using a medium sized room and creating some kind of gobo system. That could be those overpriced Auralex gobos, or you can make your own. The cheapest way is to mount up some moving blankets using mic stands or any other support system.

    For just a hair more money and a little more effort, you can do it using Owens Corning 703 fiberglass wrapped in fabric or burlap. The trick here is that you don’t put the gobos behind the mic. You put them behind yourself, generally in some kind of triangle configuration. This takes the most effort to get right – but for around $100, you’ll get much more distance from even a cheap setup.

    A cheap mic in a room with gobos will sound better than an expensive mic in a closet, 9 times out of 10. So take the time, do some research, and get this step right!

    3) Microphone

    You need to turn your acoustic voice into voltage. If you are doing voice over or rap I recommend going with a condenser microphone. Even in the $300 price range, there are some very good options.

    My personal favorite is the Audio-Technica 4033a. This is a microphone that holds it’s own against microphones that cost 10x as much. You can get very professional results on this mic.

    But there are a number of options in this range that are good. I’m not a fan of the Rode NT1-A, which seems to be among the most popular picks. They give good results, but they tend to require a little more skill on the mixing end to get the best out of them. Also, microphone placement matters.

    If you’re a singer, you may want to try a dynamic microphone like a Shure SM7 or an Electro-Voice RE20. These microphones have been used on countless classic albums and give killer results that rival high end condenser mics.

    The only reasons I hesitate to recommend these microphones to voiceover artists and rap artists is that they don’t have the most open/natural top end (important for a voice over, to hear the “reality” of the voice), and they tend to round out the transient sounds hitting the diaphragm (not as much articulation for fast rap vocals).

    That said I’ve record rap vocals with an SM7 quite successfully, so these things are fairly negotiable.

    4) Preamp

    The what?? A microphone signal is very low. It requires an amplification stage before it goes through your interface.

    A good preamp is imperative to a good sound. Even if you have enough cash to get a high-end mic, I would recommend getting a less expensive mic with a decent preamp.

    The average computer interface will have preamps built into them. Depending on your interface those preamps might not be so good.

    You’re better with a dedicated external one. Some good choices are the GAP73, UA Solo 610, or Focusrite ISA 1. None of these preamps will blow you away, and I might even say that the 610 and ISA 1 are a bit overpriced — but they get the job done.

    5) Interface or Converters

    Converters turn your continuous electric signal into a discreet signal that a computer can understand. “Interfaces” are devices that include preamps, converters, monitoring routing – several steps in one. Though there are cheap stand alone converters as well that skip this stuff.

    For an interface, I recommend the Apogee Duet or the Mbox 3. These have the best sound overall to my ears. Stand-alone converters tend to be very expensive — however — the Behringer converters are very inexpensive and actually fairly decent (one of the better makes for their general product line).

    6) DAW

    There are a million DAWs out there. Pro Tools, Logic, Ableton Live, Digital Performer, Nuendo, Cubase, Garage Band, Reaper, Acid, and the list goes on.

    All of these things will do the most basic function of getting your voice recorded. The one you choose to work with depends a lot on what you are trying to accomplish and is somewhat outside the scope of this article. Good workflow is important.

    7) Monitors

    You’re going to need to hear your recording. While recording you will need headphones. Again there’s a lot to choose from, but my pick on the inexpensive side is Sennheiser HD280s. There are many options though.

    For loudspeakers, again, lots of options. If you plan to do a significant amount of mixing, your best bet is a pair of Yamaha NS-10s and an Adcom amplifier (like the GFA series). This may be a bit pricey and might not be appropriate for your needs.

    A cheaper but decent alternative would be a pair of active loudspeakers like Event 20/20 series. TR-5 through TR-8 all make for a good choice. Yamaha HS series is also fairly good. KRK Rockits are pretty popular, but I personally don’t care for these monitors. I find that while they sound fairly neutral in terms of frequency balance, they don’t provide much detail to the sound.

    Assuming you already have a computer – a complete, decent recording setup can be had for under $2,000. If set up properly, this will provide a set up that could allow for perfectly usable vocal recordings on an album or for voice over performance.

    The other factor, of course, is your know-how in terms of using your equipment.

    Matthew Weiss is the head engineer for Studio E, located in Philadelphia. Recent credits include Ronnie Spector, Uri Caine, Royce Da 5’9” and Philadelphia Slick.

    Be sure to visit the Pro Audio Files for more great recording content. To comment or ask questions about this article go here.

    Posted by Keith Clark on 11/05 at 01:14 PM
    RecordingFeatureBlogStudy HallDigital Audio WorkstationsMicrophoneMixerStudioPermalink

    The Recording Academy Producers & Engineers Wing Announces 2012-2013 Steering Committee

    To tackle issues including sound quality, performance and intellectual property rights, metadata and more

    The Recording Academy Producers & Engineers Wing has announced its 2012-2013 Steering Committee, the leadership group of the P&E Wing, which researches and recommends solutions for technical and economic issues facing today’s music production professionals.

    The newly seated committee, consisting of an array of music engineers, producers and audio professionals, will build upon the legacy established by prior Steering Committees and work to identify and evaluate key issues confronting music production professionals, with the goal of finding meaningful solutions and suggestions for the industry moving forward.

    The P&E Wing 2012–2013 Steering Committee includes the following music industry professionals: Chuck Ainlay (Nashville), Carlos Alvarez (Miami), Eric Boulanger (Los Angeles), Richard Burgess (Washington, D.C.), Ed Cherney (Los Angeles), Mike Clink (Los Angeles), Bob Ludwig (Portland, Maine), James McKinney (Washington, D.C.), Phil Nicolo (Philadelphia), and Dan Workman (Houston).

    Steering Committee co-chairs Mike Clink and James McKinney will remain in their current positions as the P&E Wing continues to advocate for excellence in sound recording, audio technologies, education in the recording arts, and the rights of music creators overall.

    “We owe a great deal of gratitude to all of our past Steering Committee members, including John Alagia, Jeff Balding, Jimmy Douglass, Nathaniel Kunkel, Glenn Lorbecki, Sylvia Massy, Keith Olsen, Phil Ramone, Elliot Scheiner, Tommy Tallarico and Eric Schilling,” states Maureen Droney, senior executivedDirector of the P&E Wing. “They laid the groundwork and continue to be involved in our initiatives as we more forward.

    “Many would agree that this is a trying time in the industry, and we need the talents of all of our members to face these challenges, find solutions and proceed with new paradigms.”

    Member biographies:

    Chuck Ainlay is a multiple GRAMMY Award-winner, one of Nashville’s top recording and mixing engineers, a pioneer in using surround sound technology, and a leading advocate for high quality audio. He has worked as a producer or engineer for such diverse talents as Dire Straits, Emmylou Harris, Taylor Swift, Miranda Lambert, and many more. Ainlay was the ACM Engineer of the Year in 2009 and 2011.

    Carlos Alvarez’s engineering and production career has taken him around the world working with a variety of artists including, Marc Anthony, Ricky Martin, Carrie Underwood, Juan Luis Guerra, and Julio Iglesias among others. He’s won three GRAMMYs and seven Latin GRAMMYs for his work with and including, Alejandro Sanz (El Tren de los Momentos, Best Latin Pop Album 2007), Jose Feliciano (Senor Bachata, mixer-Best Tropical Album 2008), Luis Enrique (Ciclos, mixer-Best Tropical Album 2009). Serving on The Recording Academy’s Florida Chapter Board of Governors since 2002, he lives, plays the bass, and operates his studio in South Florida.

    Eric ‘V’ Boulanger of The Mastering Lab is a classically trained violinist who has performed at some of the most celebrated venues in the country. Eric holds a degree in electrical engineering from Carnegie Mellon University, and has mixed and/or mastered records across a variety of genres with credits including Colbie Caillat, The Bravery, Kate Bush, and Chris Botti. With the P&E Wing, Eric has taken a lead role in Apple’s “Mastered for iTunes”, which aims to improve the quality of current and future downloaded music.

    Richard James Burgess Ph.D. has produced, recorded and/or performed on numerous platinum albums with such diverse artists as Spandau Ballet, America and New Edition. He authored The Art of Record Production in 1997 and the second and third editions entitled The Art of Music Production, now being updated for a fourth edition on Oxford University Press. He is also known for his pioneering work with synthesizers, computers and sampling. Recently, he produced the six-disc box-set release JAZZ: The Smithsonian Anthology.

    Ed Cherney is a GRAMMY-winning producer/engineer known for his work with a variety of artists, among them Eric Clapton, Bob Dylan, Bonnie Raitt, and the Rolling Stones. Over the years, he has amassed six GRAMMY nominations and two wins, in addition to seven TEC Award nominations and five wins, as well as three EMMY nominations. A founding member of the Music Producers Guild of America, the P&E Wing’s direct forerunner, Cherney has also served as Governor of the Los Angeles Chapter of The Recording Academy and is a board member at McNally Smith College. He has recently completed a Latin Jazz album for Alejandro Fernandez, along with a new Matthew Morrison (Glee) project, both with Phil Ramone producing. He is currently producing tracks for the band Honey Honey.

    Mike Clink has produced projects that have sold more than 70 million records worldwide. Known for working with legendary rock acts such as Aerosmith, Guns N’ Roses and Metallica, Clink also specializes in developing new talent for his label, No Relief Records. A pioneer in live recording and distribution, he started a new media company that specializes in the instantaneous fulfillment of CDs with added value content available immediately after a concert event. Clink frequently speaks on panels for The Recording Academy and the Audio Engineering Society (AES).

    Bob Ludwig is a multi-GRAMMY and Latin GRAMMY-winning mastering engineer with degrees in music education, performance (trumpet) and music literature from the Eastman School of Music and an honorary doctorate from the University of Southern Maine. He was the first person to be honored with the Les Paul Award for “consistently outstanding achievements in the professional audio industry,” as well as the TEC Award for “Outstanding Creative Achievement, Mastering Engineer” an unprecedented 15 times. He served as co-chair of the P&E Wing from 2004-2008.

    James McKinney
    is committee co-chair and an accomplished pianist/keyboardist, vocalist, musical director, songwriter, arranger, producer, educator, businessman and philanthropist. Since relocating to Washington, D.C. in 1988, McKinney has performed for three U.S. presidents and has performed with the likes of Kenny Burrell, Kenny Lattimore, Stevie Wonder, and more. McKinney serves on the board of the Washington, D.C. Chapter of The Recording Academy and is also a National Trustee.

    Phil Nicolo is a GRAMMY-winning producer/engineer who founded Studio 4 in 1980, a recording studio in Philadelphia where he and his brother established themselves as a force in all genres of music production, from rock to R&B, mainstream to cutting edge. In 1989, Ruffhouse Records was launched out of Studio 4 operations, and over the next ten years was responsible for the careers of Lauryn Hill, the Fugees, Cypress Hill, Wyclef Jean and Kriss Kross. Phil’s producing and engineering credits include Aerosmith, Billy Joel, Bon Jovi, Urge Overkill, Sting, among many others. Current projects include new releases from Rusted Root, Title Fight and Lauryn Hill. Nicolo is also president of the newly relaunched Ruffhouse Records.

    Dan Workman
    is president of SugarHill Studios, Houston, Texas, the oldest continuously operating recording studio in the U.S. He has engineered GRAMMY-winning, and platinum recordings for Texas’ most notable artists including Beyoncé, Destiny’s Child, Clay Walker, and ZZ Top. Workman now produces full time, is currently working with Kareem Salama, The Southern Backtones, The Wheel Workers, and opera chanteuse, Alicia Gianni.

    Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs.


    The Recording Academy Producers & Engineers Wing

    Posted by Keith Clark on 11/05 at 12:16 PM
    Live SoundRecordingNewsTrainingBusinessEducationEngineerStudioTechnicianPermalink

    AVID And Gobbler Announce Upcoming Integration

    Partnership to provide media creators with cloud-based sharing, storage, and collaboration

    Avid and Gobbler, the purpose-built cloud for digital media creators, have announced an upcoming integration with Avid Pro Tools, creating an easy and reliable way to exchange and back up Pro Tools sessions. 

    The Gobbler integration will enable the sending of files, mixes or entire sessions directly from the Pro Tools interface, reducing steps and eliminating errors.

    Other unique capabilities include:

    ●      Automatically locate and back up all of your local Pro Tools sessions to the cloud. You can sleep easier knowing you’ll never lose a session again.

    ●      Locate, back up and send all the media files your session requires, regardless of where they’re stored. You can be confident you’re sending complete sessions.

    ●      Continuous backup of sessions as you work. Your sessions will be ready to go when you’re ready to go home.

    ●      Gobbler knows when your Pro Tools system is working, so it never interrupts your creative flow.

    ●      Gobbler knows which files have already been uploaded and downloaded, avoiding wasted storage and minimizing transfer times.

    ●      With no file size limits, you can send any size session to anyone, as easily as sending an email.

    ●      Send the entire session, or just the media actually used in the timeline.

    Until full integration is launched, Gobbler continues to support fast and secure backup and transfer of Pro Tools sessions now.

    Free 5GB accounts are available at Larger plans from Gobbler are available on a monthly or annual basis.


    Posted by Keith Clark on 11/05 at 11:06 AM
    Live SoundRecordingChurch SoundNewsProductProductionAudioBusinessDigital Audio WorkstationsSoftwareStudioPermalink

    Universal Audio Debuts Precision K-Stereo Ambience Recovery Plug-In For UAD Platform

    Allows users to precisely enhance the stereo depth and imaging of mixes without unnatural artifacts

    Universal Audio has announced the impending release of the Precision K-Stereo Ambience Recovery Plug-In for the UAD powered [lug-Ins platform and Apollo Audio Interface.

    Created by Universal Audio in collaboration with noted mastering engineer Bob Katz, the K-Stereo Ambience Recovery plug-in extracts ambient cues from source recordings — allowing users to precisely enhance the stereo depth and imaging of mixes without unnatural artifacts.

    “The K-Stereo plug-in gives mastering engineers an easy, organic-sounding solution for excessively small mixes or mixes that need more space and depth — from classical to jazz, rock, or hip-hop,” says Katz. “Because we’re effectively ‘pulling out’ the ambience that’s already in the recording, the results sound much more natural. I’m happy to be working with UA to bring K-Stereo to the UAD platform.”

    Designed for critical two-track mastering or post-production applications, the K-Stereo plug-in offers a “do-no-harm” approach to adding depth and width to busy or narrow-sounding mixes.

    Using elements of the Haas effect and other psychoacoustic principles, the plug-in transparently enhances existing ambience and early reflections without adding artificial reverb or changing the ratio of center elements to side elements.

    Precision K-Stereo Ambience Recovery Plug-In Features:

    —Unique ambience recovery and stereo processing tool, created and patented by famed mastering engineer Bob Katz

    —Extracts ambient cues from the source material, naturally adding depth and width to the stereo field

    —Well-suited for fixing busy or “narrow” mixes at the mastering stage

    —Three-band Ambience Filter EQ for further shaping the effect

    —Mid/Side gain controls available to adjust the center-to-side balance

    —Left/Right Gain controls for final stereo image balancing and leveling

    —Custom user presets created by Bob Katz

    Available as part of the upcoming UAD Software v6.3.2 release, scheduled for early November, the Precision K-Stereo Ambience Recovery Plug-In will be available for $199 US via the UA Online Store.


    Universal Audio

    Posted by Keith Clark on 11/05 at 10:31 AM
    Live SoundRecordingNewsProductDigital Audio WorkstationsProcessorSoftwareStudioPermalink

    iZ Technology Introduces New RADAR 6 Multi-Track Recorder

    Offers improved speed, storage technology, editing, audio performance and user interface

    iZ Technology Corporation has launched RADAR 6 hard disk multi-track recording and playback system, updated with new features and improved speed, storage technology, editing, audio performance and user interface.

    RADAR systems offer high-end converters, Adrenaline DR technology, dual digital/analog power supplies, near-zero jitter, and near-zero latency up to 192 kHz.

    New storage and recording facilities foster recording 24 tracks at 192 kHz to a 64 or 128 GB SD card and plugging it directly into a laptop for use with DAW.

    Recording, copying and delivery of tracks can be done in seconds on a USB 3.0 thumb drive. Alternatively, record directly to RADAR’s high-speed solid-state drives for maximum performance.

    New features of RADAR 6:

    —Sound Quality: Classic 96 and Ultra Nyquist converters and the new Adrenaline DR technology

    —Speed: Direct SATA recording for over 2 times faster cueing editing and data transfers

    —Storage: Solid state SATA, USB 3.0, thumb drives and remote network access make recording and file transfer fast and flexible

    —Portability: Nearly 40 percent shorter and 14 lbs lighter than RADAR V

    —Improved user interface: Full front panel controls with tactile transport keys and a comprehensive high resolution multi-page touch screen supporting industry standard wide screen resolutions

    —Editing: Comprehensive editing from the front panel touch screen as well as a virtual meter bridge, touch-screen macro keys, multiple mark in/out markers for batch exports and audio CD creation from a single project

    —Acoustic Noise: control room ready with super quiet low speed power supply fan and all solid-state storage drives

    —Cost: RADAR 6 has a lower retail price than RADAR V

    RADAR systems are also fully customizable, with choices of three different converter card designs available in 8, 16, or 24 channel configurations, as well as four multi-channel digital I/Os and a wide variety of backup and recording drive options.

    Starting at under $8,600 ( USD), RADAR 6 is available now from iZ Technology here.


    iZ Technology Corporation

    Posted by Keith Clark on 11/05 at 08:15 AM
    Live SoundRecordingNewsProductDigitalDigital Audio WorkstationsNetworkingProcessorSoftwareStudioPermalink

    Aphex Expands Distribution With New International Reps

    Covers Pac Rim, Europe, Latin America and more

    Aphex has expanded its international distribution network to include U.K.-based World Marketing Associates, under the direction of Francis Williams; and San Diego-based International Sales, under the direction of Joe Manning.

    In its new capacity with Aphex, World Marketing Associates will be serving as manufacturer’s reps for the territory of Europe, the Middle East and Africa (EMEA).

    International Sales, on the other hand, will serve Pacific Rim, India, Australia, Latin and South America.

    “The next year is going to be a big one for us, with many new product introductions and continued market penetration,” states Rick McClendon, Aphex gneral manager. “As we grow and evolve, our sales and support network will create vital links between Aphex and the marketplace, and we are really excited about our new international representation with World Marketing Associates and International Sales, and the geographical relationships made possible by these appointments.”


    Posted by Keith Clark on 11/05 at 08:07 AM
    Live SoundRecordingNewsAnalogDigitalProcessorSoftwareSound ReinforcementStudioPermalink

    Harman Professional Unveils Rebate Program For Numerous Brands

    Applies to select products from JBL, Soundcraft, dbx, AKG and Crown Audio

    Harman Professional has launched the “Fall Into Big Savings” rebate program on a wide range of audio technologies.

    The versatile program—available from November 1st, 2012 at participating retailers nationwide—rewards customers on individual Harman components from JBL, Soundcraft, dbx and AKG, or on Harman systems comprising those same brands.

    Retailers can similarly benefit from the program designed with them and their customers in mind.

    According to Mark Posgay, senior director of U.S. Sales for Harman Pro, the program offers deep savings such as a $40 mail-in rebate on the dbx DriveRack PX and a $50 mail-in rebate on the dbx DriveRack PA.

    In addition, the program includes a $50 mail-in rebate on the JBL PRX412M and a $60 mail-in rebate on the JBL PRX415X. The new AKG WMS4500 system features a $100 mail-in rebate, and the program includes a considerable $250 savings on the Soundcraft Si Compact 16, 24 or 32 digital mixing consoles.

    Finally, the rebate program also includes a $100 instant rebate on Crown XTi 4002 amplifiers and a $50 instant rebate on the Crown XTi 2002 and the Crown XLS 2500 amplifiers.

    “This program is an excellent opportunity for musicians, DJs, rental companies and venues to upgrade their kit with some of the most advanced audio components in the market today,” Posgay says. “We looked closely at the components with the most appeal in retail and the end-product is a program that could amount to over $600 in system-wide savings, but there’s also the liberty to pick and choose as a customer’s needs dictate”

    The Harman Professional Fall Into Big Savings rebate program runs for a limited time only, ending December 31, 2012. Customers simply fill out a form, attach the receipt and UPC code and mail by January 31, 2013 to receive a rebate check in the mail.

    “We worked with our retail partners in designing this program and as a result it’s the most inclusive and versatile that we’ve ever offered,” Posgay adds. “The timing is engineered to provide a boost for retailers and to put more great gear in the hands of great engineers, artists and DJs and to equip more small and mid-sized venues with the same technologies used on the world’s great stages.”

    Harman Professional

    Posted by Keith Clark on 11/05 at 08:01 AM
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