Recording

Thursday, July 24, 2014

Audio-Technica Names Alliance Audio Visual Group Rep Of The Year

Audio-Technica has recognized Los Alamitos, California-based Alliance Audio Visual Group as its Rep of the Year for the 2013/2014 fiscal year.

Audio-Technica has recognized Los Alamitos, California-based Alliance Audio Visual Group as its Rep of the Year for the 2013/2014 fiscal year.

The award was presented to Alliance’s Matthew Jensen, General Manager and Account Executive. Alliance represents Audio-Technica in the region of Southern California and Nevada. 

Audio-Technica held the awards ceremony to honor its dedicated force of manufacturer’s representatives during the InfoComm Expo on June 18, 2014, in Las Vegas, Nevada. The A-T Rep of the Year recipient was congratulated for outstanding sales performance and bestowed with Audio-Technica’s traditional Samurai doll award. Alliance Audio Visual Group was acknowledged for its consistent success in the areas of sales, marketing and customer service.

David Marsh, Audio-Technica director of sales, professional markets said, “We are proud to once again honor Alliance Audio Visual Group as our Rep of the Year. The Alliance team has continually distinguished itself with a high level of service and support. We appreciate the attention and level of service they give to their customers, and their knowledge of the A-T product line.” 

Audio-Technica

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Posted by Julie Clark on 07/24 at 02:34 PM
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Open Labs Releases Stagelight 2.0

The art of DJ now belongs to everyone with Open Labs Stagelight 2.0.

Open Labs, LLC today announced Stagelight 2.0 with new enhancements and features. 

Stagelight 2.0 is a free update for all registered owners and is available for download immediately. Stagelight 2.0 delivers exciting new enhancements such as LoopBuilder, a radical new looping feature that allows for fast and simple music creation for any novice, DJ or professional. Stagelight 2.0 also includes a fully functioning in-app store where you can browse, audition and purchase additional sounds, loops packs, exclusive artist bundles and other advanced features.

“Stagelight 2.0 is here and is ready for the world to create and play with music.” said Cliff Mountain, president and CEO of Open Labs. “It is our most captivating version of Stagelight so far thanks to our team and the amazing participation and feedback from our community of music enthusiasts all around the globe.

“Stagelight 2.0 truly delivers on our promise to make music creation and performance accessible to anyone regardless of wealth, education or experience.”

LoopBuilder is a loop-style production feature that allows users to mash-up and record performances in a single touch. Musicians can experiment with the hundreds of free loops included with Stagelight 2.0 or import their own custom sounds for a unique mash-up of different styles and genres.

It doesn’t matter if the user is just beginning to make music, or a seasoned DJ or professional music producer, LoopBuilder delivers the fun and excitement required for all types of music creation and performance. LoopBuilder, however, is only one of the many new feature enhancements found in Stagelight 2.0.

Stagelight 2.0 introduces its brand new Electro Instrument Series, native FX and classic features such as Key Lock, the piano that can’t play wrong notes. Users can easily explore new genres of music, take step-by-step lessons and learn other advanced features and tips all within the app’s SongBuilder engine. Share songs with friends and family with Stagelight’s onetouch publishing to the cloud and connect with other musicians in the Stagelight artist community.

Also, Stagelight 2.0’s streamlined interface and optimized touch-friendly editing suite provides an even more intuitive touch screen experience than ever before.

Stagelight’s all new in-app store offers professional loops, exclusive bundles and other advanced features to add to a sound library at a price that is affordable. Stagelight’s in-app store is designed to assist users in finding world-class sounds and features when needed without leaving the app. The in-app store also provides exclusive content from Open Labs partners Timbaland and Linkin Park.

All of these enhancements come with a smaller footprint, faster load time and added performance making Stagelight the most desirable music creation app available for mobile and desktop PCs.

Stagelight’s ease of use, cutting edge functionality and low price has allowed Open Labs to capture customers in more than 121 countries worldwide and has unlocked countless possibilities for musicians, creators and educators alike. And at the price of $9.99, Stagelight is the most incredible value in the industry.

Today, Stagelight is available for PCs and tablets that have Windows 7 or Windows 8, a minimum of 2 GB of RAM and at least an i3 processor or equivalent. Stagelight is available in English and in simplified Chinese.

Download a FREE trial of Stagelight 2.0.

Open Labs

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Posted by Julie Clark on 07/24 at 01:44 PM
RecordingNewsProductDigitalSoftwareStudioPermalink

Sound Devices 970 Takes Ride With Richard Lightstone

Sound Devices' digital recorder provides Richard Lightstone with 64-track Dante and MADI-equipped multi-track audio capabilities.

When sound mixer Richard Lightstone decided to upgrade his audio cart with a Dante-compatible digital recorder for his work with Disney XD’s semi-animated children’s program Kirby Buckets, he invested in Sound Devices’ new 970.

The Sound Devices 970 is the company’s first-ever audio-only rack-mounted solution that also boasts an impressive 64 channels of Dante and MADI.

“I am familiar with Sound Devices’ reputation with their earlier products,” Lightstone explains. “I had originally looked at their Video Devices PIX line and was considering it, but once I heard about the 970, which was strictly devoted to audio, I jumped at the chance to get a hold of it.

“The great advantage of using the 970 with Dante is that I can remove a huge amount of cable from my sound cart. Also, the sheer capacity of the 970 in terms of its high track count really made it stand out from the other products I looked at for this project.”

For his audio recording needs, Lightstone networks the 970 with his Yamaha O1V96 via Dante, which allows him to record up to 16 channels.

“I’m recording an average of about eight tracks a day on this project and have even gone up to 13 on a couple of episodes,” he notes. “The 970 can handle this and so much more. While I’ll probably never get to the 64-channel max on this particular project, it’s great to know I can, if needed.

“Also, as this is a kids’ show, we only have the child actors for a short amount of time each day of shooting, so having the ability to have as many ISO tracks as possible is a real benefit.”

Lightstone’s cart also includes two Lectrosonics Venue wireless racks and a range of microphones, including Schoeps CMIT5U shotgun microphones, COS-11D lavalier mics and the DPA d:screet 4071 and 4081 microphones.

He simultaneously records to both an SSD and CF card which are mounted via the Sound Devices PIX-CADDY and PIX-CADDY CF respectively. As with the majority of TV programming today, Kirby Buckets is shot in HD. This requires Lightstone to hand over the CF card at the end of each session to the digital technician for transfer onto the master hard drives that go to editorial. The 970’s simultaneous multi-drive feature is a significant benefit in terms of streamlining on-set workflow, while being able to continue to record throughout the transfer process.

“I also have the benefit of Sound Devices’ excellent customer service,” concludes Lightstone. “They are quick to address any potential issues and their software updates are easy to download. They really work well with their users to make sure that they are at the cutting edge of current technology. They really understand the marketplace, and consistently build top-of-the-line gear.”

Sound Devices’ 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. Inputs available include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital.

The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording, including drama and reality production, and live concert recording. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock.

The Sound Devices 970 features an embedded web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names, and reel folders can be done during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also acts as a bridge between analog, AES digital, MADI and Dante interfaces. Sound Devices 970 is designed with a large five-inch screen for metering of up to 64 tracks and fast and intuitive menu control. It also features the Sound Devices proprietary PowerSafe and FileSafe technologies.

Sound Devices

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Posted by Julie Clark on 07/24 at 12:54 PM
RecordingNewsDigitalStudioPermalink

Wednesday, July 23, 2014

Waves Unveils New SoundGrid Studio System (Includes Video)

Real-time processing and networking platform offloads plug-in processing, streamlines performance with fast processing and low-latency monitoring, and integrates with all DAWs and SoundGrid-compatible I/Os

Waves Audio has unveiled the new SoundGrid Studio System, a real-time processing and networking platform that allows user DAWs to offload plug-in processing, streamlines and maximizes performance with fast real-time processing and low-latency monitoring, and integrates with all DAWs and SoundGrid-compatible I/Os.

It serves any set-up, from a single DAW with one SoundGrid I/O, to an entire network of host computers, I/Os, and SoundGrid DSP servers.

With its real-time processing and low-latency monitoring, the SoundGrid Studio System can run a nearly unlimited number of plug-ins, allowing users to track and rehearse with near-zero latency. It enables users to connect all components through a centralized hub, as well as to connect multiple DAWs using the SoundGrid ASIO/Core Audio driver.

And, it’s also compliant with SoundGrid-compatible Waves and third-party plug-ins and comes with a line of DSP servers that provide substantial offload capabilities.

The SoundGrid Studio System includes the SoundGrid Studio Application, which manages the SoundGrid network on a host computer; the eMotion ST mixer, which runs plugins in real time for recording, mixing, and low-latency monitoring while tracking or rehearsing; and StudioRack, which runs plug-in chains, saves and loads their presets, and offloads their processing to a SoundGrid DSP server. A SoundGrid ASIO/Core Audio driver connects any DAW to the SoundGrid network as a software I/O.

Combined with DiGiGrid I/Os, the SoundGrid Studio System enables users to process plug-ins in real time, monitor and network with near-zero latency, take advantage of old DigiLink interfaces, and expand their studio by connecting everything through one central I/O.

All DiGiGrid I/O interfaces come with the complete SoundGrid Studio System software. Current owners of DiGiGrid MGB and MGO units can receive the complete SoundGrid Studio System software free of charge. DiGiGrid IOS comes with a $500 (U.S.) voucher for Waves SoundGrid plugins (valid 60 days from licensing; applicable toward non-discounted SoundGrid products).

StudioRack Native is free for Waves plug-in owners covered by the Waves Update Plan (WUP). For non-WUP owners, StudioRack SoundGrid + eMotion ST mixer is sold for a U.S. MSRP of $450.
 

 

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Waves Audio

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Posted by Keith Clark on 07/23 at 02:44 PM
Live SoundRecordingNewsProductDigital Audio WorkstationsInterconnectNetworkingProcessorSoftwareStudioPermalink

In The Studio: 9 Items That Can Save A Drum Session

This article is provided by the Pro Audio Files.

 
1. Drumsticks
Don’t assume the drummer will show up with a variety of drum sticks.

The weight and tip of a stick can greatly affect tone. If the drummer is using nylon tip sticks and the sound is too bright on the cymbals it would be great to try some wood tip sticks. A thin stick vs. a fat stick will affect the drum differently as well.

And it’s not only the weight of the stick, but the mass that can give you more depth or attack. Remember my mantra, the first stage of EQ is at the instrument.

What if you’re on a session and an artist spontaneously wants to try banging on a drum? If you have some drums lying around but no sticks it can be a real creative bummer. This doesn’t mean you have to stock drum shop’s selection of sticks. Simply have a few that cover a few bases.

2. Brushes
Not every drummer is going to show up with brushes. Yes, they should, but they may not. If you have a pair stashed away, you could save the day for some soft brush overdubs.

3. Clamps
Some drummers show up with all kinds of percussion they like to mount. Sure they might have a few clamps on them, but if you also have a few, it can allow for more flexibility when creativity hits.

When you’re doing percussion overdubs, it allows for easier use if you create a percussion station.

4. Shakers
Not all shakers are created equal. Find some that work in your room.

You should have at least three options: soft, medium and gritty. I’ve gone through many shakers to find the ones that work great on recordings.

Tip: An unopened container of Norton’s Salt is a really nice sounding shaker. Note, I said unopened. Don’t open it for your margarita and think it will still work as a shaker.

5. Extra Cymbal Cushions & Wing Nuts
You’d be surprised how things disappear on a session. Wing nuts and cymbal cushions can disappear into the abyss right in front of your eyes. Always keep a few spares around. It’s likely it will show up again when you don’t need it. It’s likely they’re in the same place as all those missing socks.

Make sure to inspect the drum kit when people are leaving. Make sure nothing accidentally walks away. This has been known to happen to hi-hat clutches. Which brings up the point that you should have an extra clutch as well.

6. Snare Drum Wires
It’s rare when snare drum wires break, but if it does during a session you’re cooked. It takes a long time to get a great snare sound tuned and jiving in the mix.

Take a close look at your snare wires too. Do they all use the same connectors? Some connect via a chord, some via a strap. It’s good to have a strong knowledge of your instruments.

7. Bass Drum Pedal
A lot of drummers like to bring their own bass drum pedal. Don’t expect that someone is going to bring their own though. Some people like to walk into a fully furnished studio. If a pedal breaks in a session, you’re…well, you know.

Some pedals are chain, some use a strap. Both of which can fail. Some fail in a way that can’t be repaired. I had a new Speed King pedal that failed. It broke in the shaft and couldn’t be fixed.

Having a backup doesn’t mean you have to buy the $600 DW double chain pedal. Just something reasonable as a backup.

8. Drum Heads
You never know when a head is going to break. If you have a house kit that drummers will be using, it’s important to have some extra heads.

The reason for a broken head isn’t always from hitting the drum. There could simply be an imperfection in the head.

9. Moon Gels
Drums resonate. Duh, right? There might be all kinds of weird resonance that comes from the drums on any given day. You can’t expect the incoming drummer to have a toolkit for tone shaping. I find Moon Gels to be an irreplaceable part of a session.

You can even use them on cymbals to affect the sustain. Console tape works in a pinch, but Moon Gels do a better job. It’s not a bad idea to have a few containers.

Tip: They’re non-edible. If you see the drummer putting them in their mouths, stop them immediately.

Conclusion
It may look like you’re doing the drummer’s job supplying these extras. In reality, it’s making your job easier. Killing unwanted resonance is going to save you time at mix down. You won’t have to be spending your time hunting down and trying to EQ a pesky resonance.

In the modern age, more and more studios have a nice instrument selection. A lot of studios even use this as an attraction. With that offering comes some other responsibilities that one wouldn’t expect.

These small touches will not only keep people coming back, but save a session from impending danger.

 
Mark Marshall is a producer, songwriter, session musician and instructor based in NYC.

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

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Posted by Keith Clark on 07/23 at 11:51 AM
RecordingFeatureBlogStudy HallBusinessEngineerSignalStudioTechnicianPermalink

SAE Dubai Selects Primacoustic For Studio Treatment & Training

Four recording studios treated with 32 Primacoustic Control Columns and 50 Broadband panels

Founded in 2005, Dubai’s SAE Institute offers expert training and education in the fields of audio and film in the Middle East. SAE incorporates an acoustic training component in its curriculum, and recently installed a wide range of acoustic treatment in its studios to support the program.

The products selected came from Vancouver, CA-based Primacoustic, which is distributed exclusively by Dubai based Melody House. According to SAE’s audio course coordinator Randula de Silva, “The brand provides easy accessibility to treat room problems without having to invest in custom and expensive treatment, given the limited budget students have.”

The four recording studios were treated with 32 Primacoustic Control Columns and 50 Broadband panels. Both are made with high density 6lb per cubic foot glass wool and fabric wrapped with resin hardened edges.

To treat the ceilings, 40 ThunderTile ceiling tiles were installed; bass frequencies were treated with two MaxTrap Corners and one FullTrap. Sixteen Cumulus Tri-corner traps capture sound as it migrates in corners.

Further, eight RX9 Recoil Stabilizers eliminate disruptive loudspeaker resonance by isolating the loudspeakers from hard surfaces which assume vibrations.  Four FlexiFuser pitch diffusers eliminate flutter echo and standing waves. The school also incorporated two Flexi-Booth Wall mount vocal booths and three VoxGuard ambient field controllers.

“Providing this solution into our studios, students can practice their acoustic studies and evolve their listening experience,” de Silva notes. “It’s also very easy to cover acoustic concepts. When we teach acoustics in our curriculum we have several stages where we measure room responses, with and without treatment, having this brand that employs impalers to place and remove them from walls makes this easy to adopt into our teaching.

“Having this facility we are not obliged to have one static setup in the various studios, we can move them around and have different options based on our teaching requirements.”

Primacoustic
Radial Engineering

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Posted by Keith Clark on 07/23 at 08:47 AM
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Tuesday, July 22, 2014

IK Multimedia Releases VocaLive 2 Vocal Performing/Recording App

Record, process and edit pro-quality vocals now with a full built-in DAW on your iPhone, iPad and iPod touch

IK Multimedia is proud to announce the new version of the highly acclaimed VocaLive app for iPhone, iPad and iPod touch, which now adds a flexible new multitrack studio with digital audio workstation features.

Now singers, songwriters and musicians of all kinds can benefit from advanced editing features like timeline audio editing, waveform visualization, touch-and-drag looping and more.

When used with the IK Multimedia iRig line of microphones and mic interfaces, like the upcoming iRig Mic HD or the popular iRig PRO, iRig PRE, iRig Mic, iRig Voice and iRig MIC Cast, VocaLive provides an all-in-one solution - with superb sound quality, recording flexibility and ease-of-use - for the professional singer on the go.

The newest feature in VocaLive 2 is its Studio section. Designed to compliment VocaLive’s Recorder section, it allows for a full degree of editing and composing flexibility with recorded tracks.

Now musicians can see and manipulate their audio tracks (up to 4 on iPhone and 8 on iPad) as waveforms on a timeline grid, just like on a computer digital audio workstation.

Clips can be easily moved and adjusted with a simple gesture. Its grid feature provides “snapping” of regions to the timeline for precise and easy positioning. Audio regions can be manipulated with a full set of standard commands and controls: cut, copy, paste, delete, normalize, split, crop and more.

With VocaLive 2 it’s never been easier to record, edit and arrange complete songs while on the move.

t its core, VocaLive continues to be all about outstanding vocal processing effects. VocaLive includes 5 “Vocal Effects”: Pitch Fix (for pitch correction or stylized quantization), Choir (a 3-part harmonizer), Morph (a pitch and formant shifter that changes the tonal quality of the voice from subtle deepening to radical gender bending), DeEsser (a sibilance remover) and Double (a voice doubler). It also includes 7 “Studio Effects”: Reverb, Delay, Parametric EQ, Compressor, Chorus, Phazer and Envelope Filter.

VocaLive features 3 effect “slots” on iPhone and 4 on iPad, where users select the effects they want to use and chain them together.

VocaLive’s intuitive interface makes it easy to reconfigure effect chains to explore your creativity and make wildly new sounds. Favorite chains can be saved to a user preset bank or assigned to one of four “favorites” buttons for fast recall. VocaLive’s full MIDI compatibility allows its presets to be controlled by compatible foot controllers like IK’s wireless iRig BlueBoard.

VocaLive 2 is a free update for all existing users and it’s available now on the App Store both as a free or paid app for iPhone/iPod touch or iPad for only $11.99/€10.99 for new users.

The new studio feature is available as an in-app purchase for $9.99/€8.99 on iPhone and iPod touch and $14.99/€13.99 on iPad for users who have already purchased the multitrack Recorder, or at a special “Total Studio Bundle” price of $17.99/€15.99 on iPhone and iPod touch and $26.99/€23.99 on iPad that also includes the multitrack recorder.

IK Multimedia

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Posted by Julie Clark on 07/22 at 02:12 PM
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In The Studio: The Four Families Of Compressors

This article is provided by Bobby Owsinski.

 
Ever wonder why there are so many different compressors and why they all sound different? That’s because back in the analog days there were a number of different ways to achieve compression depending upon the type of electronic building block that you used.

Here’s a brief excerpt from The Mixing Engineer’s Handbook that covers the four families of compressors that we generally use today.

In the days of analog hardware compressors, there were four different electronic building blocks that could be used to build a compressor. These were:

Optical: A light bulb and a photocell were used as the main components of the compression circuit. The time lag between the bulb and the photocell gave it a distinctive attack and release time (like in an LA-2A). Optical compressors don’t react very fast to the oncoming signal, but that actually makes then sound pretty smooth, which is why they’ve become a favorite on vocals and bass.

FET: A Field Effect Transistor was used to vary the gain, which had a much quicker response than the optical circuit (a Universal Audio 1176 is a good example). FET compressors are often used on drums because of their quick response.

VCA: A Voltage Controlled Amplifier circuit was a product of the 80s and had both excellent response time and much more control of the various compression parameters (the dbx 160 series is an example of a VCA-type compressor, although some models didn’t have a lot of parameter controls). VCA compressors can be very aggressive, which is why the dbx 160 series have long been a favorite on rock kick and snare.

Vari-Gain: The vari-gain compressors are sort of a catch-all category because there are other ways to achieve compression besides the first three (like the Fairchild 670 and Manley Variable Mu). You might think of a vari-gain as the ultimate smooth sounding compressor because it was originally made for a radio signal chain, something that had to be as transparent as possible. That said, it’s hard to beat a vari-gain compressor across the mix bus for the added “glue” that’s difficult to get any other way.

As you would expect, each of the above has a different sound and different compression characteristics, which is the reason why the settings that worked well on one compressor type won’t necessarily translate to another.

The good thing about living in a digital world is that all of these different compressor types have been duplicated by software plug-ins, so it’s a lot easier (not to mention cheaper) to make an instant comparison on a track and decide which works better in a particular situation.

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 go here for more info and to acquire a copy of The Mixing Engineer’s Handbook.

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Posted by Keith Clark on 07/22 at 07:59 AM
RecordingFeatureBlogStudy HallDigital Audio WorkstationsProcessorSoftwareStudioPermalink

Monday, July 21, 2014

CADAC Sets Up New Jersey Sales/Distribution HQ; Appoints Mitch Mortenson Technical Support Manager

Mitch Mortenson CADAC US & Canada Technical Support Manager

CADAC US and Canada has secured premises in Hoboken, New Jersey that will house the new North American division’s sales, distribution and service operations, headed up by general manager Paul Morini. Currently under refurbishment, the new HQ will be fully operational by the end of August.

At the same time, the company announced the appointment of console engineer Mitch Mortenson as technical support manager. Mortenson is a renowned pro audio industry personality having spent some 20 years in the industry in recording studio and sound touring engineering, and technical sales. His background includes nine years in front line technical support roles for Midas consoles in North America.

Morini, who worked alongside Mortenson at Midas, describes him as “uniquely qualified within our industry to take on this role for CADAC.”

“He is long associated in the US as Midas’ technical trouble-shooter, in providing pre and post sales support, and as the in-the-field concert touring tech; as well as establishing comprehensive training programs,” Morini adds. “He is going to be a very major asset to our new operations in the US and Canada.”

Mortenson adds, “I am honored to have the opportunity to work with a company with such a legendary status in professional audio. The release of the CDC eight console, and the potential to put the brand at the very forefront of the live sound industry, is exciting. After a two-year break working outside of the industry, it is great to be coming back to join such a fantastic team.” 

CADAC

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Posted by Julie Clark on 07/21 at 02:22 PM
Live SoundRecordingNewsAnalogConsolesDigitalInstallationSound ReinforcementStudioPermalink

Nashville’s Historic Sound Emporium Studios Installs API Legacy Plus

Nashville studio installs API console in historic room.

Sound Emporium Studios is a go-to destination for artists including Willie Nelson, Kenny Chesney, and Alison Krauss, not to mention major projects by T-Bone Burnett. The facility was built by “Cowboy” Jack Clement in 1969.

To meet the growing needs of its diverse clients, Sound Emporium consulted Rob Dennis at API Audio reseller Rack-N-Roll, who directed the studio towards a 48-channel Legacy Plus console.

“Our clients have long requested an API in that room,” said studio manager, Juanita Copeland. “The flexibility, build and sonic quality, along with the reputation of API made it an easy decision.

“It just brings together a lot of great API sonic solutions into one user-friendly package. Having the 2500 bus compressor is the icing on the cake.”

Copeland also mentioned having 48 inputs, 48 returns, and 12 aux inputs is a huge improvement to the studio’s former setup. The room can also be used for mixing now thanks to the Uptown 2 automation.

Since commissioning the console early this summer, it’s been used for tracking, overdubs, and some mixing. The Legacy Plus is already booked for major clients in the coming months, including one of the top 100 guitar players of all time, and a critically-acclaimed alternative country artist.

Recordings for the hit ABC show Nashville are also booked for when filming resumes this month, as well as several rock projects later in the year.

“We are just thrilled to finally have such an amazing console in that historic room!” adds Copeland.

API Audio

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Posted by Julie Clark on 07/21 at 01:40 PM
RecordingNewsAnalogConsolesEngineerStudioPermalink

PreSonus Capture For iPad Puts Multitrack Recording At Your Fingertips

Capture for iPad and Capture Duo are two new recording apps from PreSonus.

PreSonus has introduced Capture for iPad and Capture Duo, two new audio-recording apps for Apple iPad that are based on the company’s lauded Capture live-recording software for StudioLive mixers.

Capture for iPad can record up to 32 tracks simultaneously, with up to 24-bit, 96 kHz fidelity. The app provides basic mixing and editing features. Free Capture Duo lets you record and play two stereo tracks and is otherwise identical to Capture for iPad.

With either app, you can record and save multiple songs on an iPad, then wirelessly transfer them directly to PreSonus Studio One (Mac or PC, version 2.6.3 or later), where you can edit and mix. Songs and individual tracks can also be copied using iTunes if the iPad is connected to the computer with a USB cable.

Capture for iPad has a lean and easy-to-use design: When you create a new Session, all tracks are record-enabled automatically; just tap the Record button to start recording. Tapping the “?” button launches an interactive Quick Start Guide that shows you how to get around the app and how to transfer sessions to Studio One.

Although designed primarily for sound acquisition, Capture for iPad/Duo supports essential event editing for basic cleanup. Editing audio is simple and intuitive, using basic finger gestures. Recordings are saved in the compact Apple Lossless format to save iPad memory and reduce transfer times.

The two apps require a second-generation iPad or newer, iPad Air, or iPad Mini; iOS 7 or higher; and any iPad-compatible audio interface, including the built-in microphone.

Capture for iPad is available from the Apple App Store for an expected price of $9.99. Capture Duo is free from the Apple App Store.

PreSonus

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Posted by Julie Clark on 07/21 at 01:34 PM
RecordingNewsDigitalSoftwareStudioPermalink

Artspace Studio Buys Prism Sound Titan Audio Interface

The boutique studio made its choice on the basis of the interface's high end clarity.

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.

“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed!

“I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”

Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.

“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”

Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.

Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.

“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.

Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”

For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.

“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”

Gillieron recently remixed PHORIA:

Prism Sound

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Posted by Julie Clark on 07/21 at 01:20 PM
RecordingNewsDigitalStudioPermalink

SAE Mexico Installs Allen & Heath QU-24 For Education

SAE offers audio education using Allen & Heath console.

SAE in Mexico recently opened a new live audio engineering degree course, installing Allen & Heath’s new Qu-24 compact digital mixer as the teaching console.

Supplied by Allen & Heath’s Mexican distributor, Audyson, students will learn to mix using Allen & Heath digital mixers, starting with the Qu-24 and progressing onto larger consoles, such as the GLD-80.

The course will also include practical sessions, placing students in real situations with live bands, where they will also mix using A&H consoles. One such session has already taken place with a Qu-24 at FOH, with additional IO provided by an AR2412 audio rack, and a ME personal monitoring system for the musicians.

“We are using the Qu-24 and GLD-80 with SAE students because we want the new generation of sound engineers to know about the excellent sound quality and ease of use, and way to mix of the Allen & Heath range,” comments Audyson’s audio specialist, Marco Acevedo Mena.

Allen & Heath

 

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Posted by Julie Clark on 07/21 at 01:10 PM
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Friday, July 18, 2014

Equator Reference Monitors Produce For David Kahne

Equator Audio studio reference monitors are integral to producer/composer/engineer David Kahne's recording efforts.

Manhattan-based Avatar Studios, formerly known as The Power Station, is one of New York’s legendary recording facilities. It is also home to producer / composer/ engineer David Kahne, who has a resume that reads like the music industry’s “Best of…” list.

Central to Kahne’s production efforts are studio reference monitors from Equator Audio.

For the uninitiated, David Kahne is a musician, composer, engineer, mixer, producer, A&R man, and music supervisor. In one or more of these capacities, he has worked with the likes of Bruce Springsteen, Lana del Rey, James Brown, Stevie Nicks, Cher, The Bangles, Paul McCartney, and many more artists. He also received a Grammy Award for Tony Bennett’s MTV Unplugged, which was the Album of the Year in 1994.

Kahne, already a user of Equator Audio D8 studio monitors, recently added a pair of the company’s D5 monitors.

“I have a studio at Avatar Studios,” Kahne reports. “It’s a good size room, and I also have access to the big rooms when I need a large acoustic space for recording drums, orchestra, loud guitars, etc. I’ve been using Equator Audio’s D8 monitors for roughly a year and a half at this point and have been very impressed with their performance, which is why I recently added a pair of D5s.

“I use the D8s for both mixing and recording. I do have a bigger speaker set, but I spend a lot of time on the D8s because they’re so easy to listen to. With these speakers, there’s no listening fatigue and everything I mix on them translates really well to other playback mediums.”

Kahne continued, “Currently I’m working on a project for Motown Records that requires a very different kind of listening, which is staying true to what was recorded in the 60’s.  Being coaxial design monitors, the D8s are great for this project, as most studios back then had coaxial monitors.

“I’m also using the D8s in my work with the rock band Walk off the Earth, a great group out of Toronto as well as Bad Rabbits from Boston, vocalist and instrumentalist Kate Davis from NYC, and vocalist Jena Rose from Dallas.”

Kahne notes that he particularly likes the way the midrange works with the D8s. It is clear and concise, and small changes are very audible.

“I must say that the bottom is really nice, too; it’s not hyped, so I’m not able to fool myself,” he adds. “As far as fatigue goes, I mentioned earlier that it’s very easy to listen to the Equator monitors for hours and not get tired. In my opinion, this is one of the great characteristics of coaxial speakers.”

Kahne made a point to add that they are not only great speakers with a unique character of their own, but they are also affordable.

“They not only sound good, but they’re sold at a price that makes sense for any professional or aspiring audio engineer,” he concludes. “With the Equator monitors, you get Cadillac performance at a price most anyone can manage. Thanks for making them!”

Equator Audio

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Posted by Julie Clark on 07/18 at 11:36 AM
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Modern Grooves From Black Octopus: A New BreakTweaker Expansion Pack From iZotope

New expansion pack for BreakTweaker plugin.

iZotope, Inc. and Black Octopus have released Modern Grooves, a new expansion pack for iZotope’s acclaimed drum sculpting and beat sequencing plug-in, BreakTweaker.

Featuring modern, clean, and crisp sounds with a dash of retro throwback, the expansion includes more than 300 sounds with 40 presets—all designed to have a timeless feel and work well with a wide range of material.

In an interview with iZotope, Black Octopus founder Toby Emerson describes his approach to creating Modern Grooves: “I hope the pack will provide something for artists of all skill levels. Users can start with the presets and then tweak the sounds to create something original.

“For people wanting to sketch ideas in the studio, I tried to lay out the patterns in a musically logical way—someone could jam out full tracks on the fly just by switching between the patterns using a keyboard or MIDI controller.”

Modern Grooves is available now at iZotope.com for $39.00.
BreakTweaker is on sale now through July 31, 2014 for $199 (save $50) or BreakTweaker Expanded for $249 (save $50).
BreakTweaker is available with demo content as a free 10-day trial at iZotope.com/BreakTweaker.

Visit the iZotope blog for more on Modern Grooves, including a full Q&A with Toby Emerson of Black Octopus Sound.

iZotope

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Posted by Julie Clark on 07/18 at 10:31 AM
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