Monday, July 13, 2015
Hull University Installs PMC Loudspeakers In New 5.1 Studio
The company's IB2S-A & AML2s speakers have been selected for the University's School of Music, Drama and Screen.
The University of Hull has recently completed work on a new 5.1 recording studio, part of a larger expansion of music facilities in the School of Music, Drama and Screen, designed to ready the University for Hull’s year as the UK City of Culture in 2017.
PMC supplied all the reference monitoring in the new studio, including a pair of IB2S XBD-As and AML2s to handle the 5.1 audio.
The University began a program to unite its traditional on-site music facilities with its Creative Music Technology studios two years ago, the aim being to provide facilities for musicians of all kinds on the main Hull campus, whether in the tradition of classical or contemporary music, or performing arts.
Prior to this, all music technology courses were taught on the University’s Scarborough campus, over 40 miles from Hull.
As part of the move, the existing Salmon Grove music studio in Hull was refurbished last year in collaboration with audio consultants The Studio People, and two new studios were planned and built from scratch: an Ambisonics studio and the 5.1 facility now containing the PMCs and an SSL Duality mixing console.
Working with direction from Dr Andrew King, the University’s Senior Lecturer in Music & Technology, the Studio People were also responsible for executing the design and construction in the two newly built studios.
This is the first time PMC monitoring has been installed at Hull. “We have many kinds of speakers here,” explains Andrew King. “We try to give our students access to as many different types as possible, and we wanted something new. Also, we had made the decision to put our funding into a small number of very high-specification facilities rather than spreading it thinly over a larger number of studios. We already had one studio with an SSL console in, for example, and we decided we’d have another, the Duality. And then Mike Banks of SSL recommended we try some PMCs to go with it.”
King contacted PMC and asked to audition some loudspeakers, which resulted in Ian Downs bringing up a pair of AML2s.
“I tried them in one of our existing studios, replacing a pair of monitors that I had never been happy with,” continues King. “They sounded superb, so we then went down to Metropolis Studios to hear some of the larger monitors. The level of detail is the first thing you notice, both with their smaller and larger speakers. They just seemed to have such life and clarity to them.”
Following the Metropolis session, the University elected to install the full-range IB2S XBD-As as main monitoring in the surround studio, with the AML2s providing the 5.1 monitoring in conjunction with an SB100-A subwoofer. Everything was installed by The Studio People and tuned by PMC.
“We are very happy with our choice,” concludes Andrew King. Meanwhile, Peter Keeling, managing director of The Studio People, was so impressed by the sound of the new studio at Hull that he recommended that PMC speakers accompany another SSL console at another installation his company were just starting work on, which became the recent installation of PMC’s innovative new QB1 large-scale reference monitoring at Westminster University, London.
Following completion of the Ambisonic and Surround studios at Hull, the next phase of upgrades in the School of Music, Drama and Screen is getting underway, involving a comprehensive refurbishment of the Middleton Hall auditorium, including further mixing and live rooms, state-of-the-art cinema, film and TV production facilities, and learning and teaching space. Once complete, students will have access to the music studios 24 hours a day, seven days a week. The work is scheduled to be completed in Summer 2016.
Russia’s Gnessen Academy Of Music Chooses Renkus-Heinz IC Squared
The new 150-seat performance venue includes recording facilities and IC2 digitally steerable line arrays with IC212S-FR subwoofers.
Russia’s Gnessen Academy of Music was formed in 1946, with the original Gnessen Institute founded in February of 1895 and has alumni that includes Boris Berezovsky, Aram Khachaturan, Alla Pavlova, and t.A.T.u.‘s Julia Volkova.
Audio/video integrators Avallon designed and installed systems for the new 150-seat performance venue, including recording facilities and a sound system featuring left and right Renkus-Heinz IC2 digitally steerable line arrays, each paired with IC212S-FR subwoofers.
“The Renkus-Heinz IC2 system was the ideal choice for this venue,” explains Avallon’s Sergey Vashchenko.
“Because of the hall’s low ceiling, hanging a line array would have been impractical. With the ICONYX steered beam technology, we were able to ground stack the system at the sides of the stage and still aim and focus the sound precisely on the audience, minimizing reflections from the walls and other surfaces.”
Avallon reports that the school’s faculty and students have been exceptionally pleased with the new system. “The IC2 system delivers excellent, full-range performance with more than enough power,” says Vashchenko.
In this video, Joe provides a unique spin on a classic bass mixing trick that can be done with any DAW but is made even easier to attain in new PreSonus Studio One 3 (version 3).
So it’s both a mixing tip and a Studio One 3-specific tip.
Using a track, he takes you through the process, including a discussion of using distortion on bass (not new) as well as using it in a parallel processing sort of way (also not new), but that’s where the twist comes in, providing a way to get further definition from the bass track when desired.
Essentially it involves a new splitter function tied into Studio One 3’s distortion plug-in that allows taking the effect further, making it even more effective (pardon the pun). Joe provides an explanation of this new frequency function, as well as what’s happening and how to best employ it.
Stockholm Band Records Album In Public With ASP4816
The temporary studio in the Scandic Malmen hotel allows passers-by to watch and listen to their sessions through headphones provided.
Electronic dance musicians Join The Riot are recording their debut album for all to see in a glass box in the middle of the Swedish capital this month, using an Audient ASP4816 analog mixing console.
The five-piece band have commandeered the display window of a hotel situated on the corner of one of Stockholm’s busiest streets, built a studio in it, and are spending the whole of July working on the album, in what they have aptly named ‘A Glass Cage Of Emotions’.
Throughout the month passers-by can watch what’s going on through the many windows and even listen to their sessions via headphones on the street.
“We’ve been working on the album for a little over a year, and figured that when it came to recording it, collaborating with the Scandic Malmen hotel to promote its music profile at the same time as our new album, would be much better than renting an expensive studio,” says vocalist Henrik Ljungqvist. It’s certainly getting them noticed.
The temporary studio is centred around British company Audient’s ASP4816 desk, kindly supplied by Sweden’s largest music store, Deluxe Music.
“It’s brilliant. It’s really cool to have such a professional desk in our studio,” adds Henrik, indicating the Audient ASP4816. “We’ve never worked with this kind of stuff before,” he admits. “Our sound engineer came in for a couple of days and gave us a few lessons on the mixing desk (it was new for him too), but when he’s not here we’ve been learning new things about it every day.” A credit to the tenacious nature of the band as well as the console’s well-known intuitive design.
“The cool thing is we’re not only using it for recording,” continues Henrik, explaining about their forthcoming gig showcasing some of their new tracks, including their latest single Us against the wall. “We already have a mixer that we use for gigging, but we realised that the Audient has way more channels than ours, so we decided to use it for the live mix as well as recording.”
Loaded with the key features of a large format recording console, the compact, cost-effective ASP4816 features Audient’s legendary analogue circuitry, and fits neatly into the Join The Riot temporary studio set up.
In addition, the bandmates are planning a live streaming concert especially for Brazil, where they have a burgeoning fan base. “We’ll set up some cameras in the studio,” says Henrik, who’s also been working on promoting everything and clearly energised by what they’re doing. “The other day we had a spontaneous gig. There’s a door in the corner of the ‘studio’ so we just opened it! We became street performers, but indoors - so we still had that great sound.”
So the people of Stockholm are being treated to free entertainment, but it turns out they are contributing to the vibe of the album too. “We get to feel the pulse of the city here. We’re usually sitting in a dark room making music, and this is totally different: it’s light and you can hear sounds outside when people are passing, so you get inspiration that way as well.”
Without a label behind them, the band have had to do everything themselves. “That’s something we’re very proud of,” says Henrik passionately, despite the learning curve having been steep on occasion. “Sometimes the things you want have to take a bit longer. At least then you’ve created something exactly the way you wanted it.” An excellent philosophy from the five upbeat ‘Stockholmians with a passion for pop.’
The new album is due out in September after their impressive stint in the Glass Cage, with a good chance that it’ll be named after this month’s experience. The last EP Buckle Up was described as ‘a pop album with substance’, so we look forward to more euphoric, sugar-coated dance tunes, transporting us to warm summer nights with this one. Good luck in your Glass Cage Of Emotions, guys.
New version is back ported for use with existing venue receivers and offers detailed spectrum scan and frequency coordination.
Lectrosonics announces the availability of the latest version of its Wireless Designer Software, v1.1.
Originally designed to work with the DSW (encrypted) system, the new version is now back ported to allow use with existing Venue receivers and offers a detailed spectrum scan view and frequency coordination page for improved ease of use.
Wireless Designer is a software package developed to enhance setup and operation of studio and rack receiver systems.
The software provides an overall view of Lectrosonics wireless systems, including all receiver mainframes which are connected.
A summary of each channel is displayed with real time indications for essential levels and settings on each installed module within the system. With multiple receivers, the main display window can be scaled and zoomed for the desired viewing, and several color themes are provided.
The Wireless Designer software includes a spectrum scanner and coordination package for ultra-fast and confident setup. The receiver can be tuned across the available bands (via the modules) and presented in a graphic display. The data from the scan can then be incorporated into the frequency calculations for an accurate, real-world channel coordination.
When individual carriers are moved manually, compatibility is instantly recalculated and displayed, including any warnings for potential intermodulation problems or other conflicts. The powerful spectrum scanning and walk test recorder features make site surveys easy.
Three different user-selectable viewing modes are included for daylight, indoor, and dark conditions. All that is required is a PC or Mac running Silverlight (a free download from Microsoft) and a connection via USB or RS-232.
Dutch rock band Golden Earring was founded in 1961 but came to international fame in 1973 with “Radar Love,” a song still played on classic rock radio. The song started around an idea for the title and grew from there, eventually becoming a cut on the band’s US debut album Moontan.
The song was chosen as a single more through the process of elimination, since it was the only one on the album that lent itself to a radio edit. Ironically, the band never considered the song hit material and were always surprised at the notoriety it brought them. Here’s an excerpt from the upcoming Deconstructed Hits: Classic Rock Volume 2 that provides an inside look at the song.
“Radar Love” has a lot of sections, including two intros and two bridges, as well as an elongated last verse and chorus. This accounts for the 6:22 album length, but it also enables some easy editing to bring it down to the 3:41 running time that most of us are familiar with on the radio.
The song doesn’t really have an instrumental hook other than the driving beat, but the melody is strong as are the lyrics, which take the point of view of an automobile driver rushing to see his lover. During the drive he communicates with her via telepathy as he listens to a rather obscure Brenda Lee hit from 1963 called “Coming On Strong.” The form looks like this:
intro | intro 2 | verse | B section | chorus | interlude | verse | B section | chorus | bridge | bridge 2 | intro 2 | verse | B section | chorus | outro
For the most part, the arrangement for “Radar Love” is generally sparse but very dynamic. The song begins with an 8 bar intro that gives way to a second intro built around the galloping snare drum play, then the main bass riff. A tambourine also enters on the right side that continues through the verse.
The verse begins with the vocal punctuated by a guitar on the left side that plays in between the phrases. Background vocals enter on right during the B section, which leads into the chorus, where the vocal is doubled, the left guitar is doubled with a synth and a lead guitar plays fills on the right.
On the second verse the left guitar plays a different riff but in a higher register, with a lower vocal added during the last two phrases. The second B section and chorus are identical to the first.
On the first bridge there’s a new synth bass line and drum pattern, and it begins with a high synth line that leads to a new guitar entering on right side. As the bridge progresses, the lead guitar enters at the end of the phrases on the left. This bridge then builds with a synth to accents at the end
Bridge 2 begins with repeated tom pattern, with the bass and guitar playing the same symphonic line (the guitar panned to the left), with the synthesizer building on the right.
The last verse begins with 8 bars of the bass and drum intro that increases in intensity as it builds to the vocal verse. On the last verse two guitars panned left and right play fills in octaves. This verse is twice as long, although the B section is the same length as all other B sections of the song, and the chorus is also twice as long, with the synth entering on the second one.
The song ends with the bridge bass and drum riff, as the guitars and synth build to a hard ending.
The Foundation: bass and drums
The Rhythm: tambourine
The Pad: synth in chorus
The Lead: lead vocal
The Fills: background vocals, guitar fills
“Radar Love” is engineered very well, with excellent bass and drum sounds, and makes great use of panning that you just don’t hear today. The song opens with a guitar on the left that’s balanced out with a reverb on the right. This effect is never heard in the song again.
During the first and second verses, the guitar answers the lead vocal on the left side, and is then balanced out by background harmony vocals on the right during the bridge. During the bridge the left guitar is doubled with a synth on the right. On the third verse, there’s an answer guitar on each side but they’re playing in different registers.
There isn’t much in the way of effects on the song, as it falls to a delayed reverb that’s used mostly on the vocal with a touch on the snare as well. The guitars use either a short reverb, or more than likely, were recorded with a lot of room ambience to set them apart from the rest of the track.
1. To the intro guitar with the dry sound on the left and reverb on the right
2. To the off-mic vocal during the second intro
3. To the lead guitar sneak in at the end of the phrases on the bridge
4. To the delayed reverb on the vocal and short reverb on the guitars
Here’s another example of a band producing themselves successfully, and once again a record that was made to be played live. There’s some sweetening, especially with the synthesizers on the bridge, but mostly the parts are laid down just like they were performed on stage.
Contrast that to most of the songs today that are heavily produced, where parts are doubled and tripled to make them sound bigger, and multiple layers of effects are added. The simplicity of production of “Radar Love” made it a hit and has kept it on the radio 40+ years later. Maybe we should use this as an example of how production should be done.”
You can read more about how the hit songs that you love were created in Deconstructed Hits.
The original article can be read on Bobby’s site here. Comments and questions may be posted there.
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. You can read more about how the hit songs that you love were created in Deconstructed Hits.
Country Music Hall Of Fame And Museum Adds API BOX To Studio B
RCA studio B has a long-standing partnership with API—housing everything from a custom 1971 console to a new eight-slot lunchbox.
In the music industry, it’s equally as important to respect the past as it is to look forward into the future.
Perhaps studio manager Justin Croft knows this better than anyone else—he manages the Historic RCA Studio B in Nashville, TN, operated by the Country Music Hall of Fame and Museum.
The Studio chose API’s newest product, a BOX console, for their control room.
This choice mirrors the dichotomy RCA has struck between preserving the legacy of country music stars, and moving forward with new chart-toppers and record-breakers every year.
Croft spoke with API about RCA’s long-standing tradition of keeping one ear on the past and the other on the future.
Croft says it was important the new console fit in aesthetically with the classic vibe at RCA Studio B: “We wanted the BOX in an enclosure from the famous WSM radio station in Nashville, the station that broadcasts the Grand Ole Opry.”
RCA studio B has a long-standing partnership with API—housing everything from a custom 1971 console “filled with API parts, including 2520 op amps and Melcor 1731 op amps” to a new eight-slot lunchbox.
Croft talks at length about how many different purposes the BOX serves, and how its versatility has changed the way the studio functions. “The BOX has solved so many problems. We had no signal routing going on.” Now, he continues, the BOX “is running the studio loud speakers. We mix on it live to two track, use it for reverb returns, we use its preamps and EQs…we’ve recorded vocalists, choirs, orchestras, jazz bands, and concert bands.”
Croft says even though he expected great things from the BOX, he was still pleasantly surprised by how extensive its abilities are, noting in particular “I love the compressor, that’s something I wouldn’t expect to find on a unit like this. I use it all the time; it’s awesome.”
All of this means Historic RCA Studio B can do an even better job at running the programming for which it has become famous, including educational recording projects “for middle schools, high schools, and colleges. We educate students about studio recording. We also do group tour recording packages, where the public is invited to be a ‘star for a day’ singing along to a hit song that was originally recorded at the studio.”
Of course, “we also record special projects that have historical relevance to the studio.” RCA Studio B’s association with the Country Music Hall of Fame and Museum means the ties to historic preservation are as crucial to the studio as educating and inspiring future Country stars—and the BOX is an important element in both.
Croft is highly enthusiastic about his new console and API. “We’ve noticed a big jump in audio quality since acquiring the BOX—API rocks.” While the BOX epitomizes variety, Croft’s feelings about it and about API are of a singular nature: “I just love API. The BOX is a great unit. We’re overjoyed with it.” That joy stems in part from the knowledge that API and RCA will continue working together to weave the past, present and future into a wide tapestry of possibility.
ABOUT HISTORIC RCA STUDIO B
Historic RCA Studio B is the Home of 1,000 Hits, where artists like Eddy Arnold, Roy Orbison, Dolly Parton, Charley Pride, Elvis Presley, and many others recorded some of American music’s most enduring songs. Preservation of Historic RCA Studio B made possible through a partnership between the Mike Curb Family Foundation and the Country Music Hall of Fame and Museum.
Its centerpiece, a MacBook Pro 13” is loaded with software, now including iZotope, capable of on the go multi-track recording.
This laptop in conjunction with CRAS’ school intranet, CRAS Connect, assures that our curriculum is up to date and standardized.
“Every student at CRAS will now receive the latest in technology from iZotope to complement their in-classroom studies,” says Kirt Hamm, administrator at CRAS.
“RX, Insight and Ozone play integral parts in various areas of our broadcast, post, music, and commercial curricula.”
“iZotope’s educational purchase programs have provided many schools with affordable ways to grant students access to industry-standard tools,” says Scott Simon, business development director at iZotope. “We’re thrilled to enable creativity and promote professional education among students at CRAS by offering school-wide access to our technology.”
Since classroom materials are “all electronic” CRAS’ Laptop Recording Package is more easily changed and updated than standard textbooks to reflect advancements while providing 24/7 access to class materials on and off campus. The Laptop Recording Package provides CRAS students the ability of being “industry ready” at a moment’s notice.
In addition to iZotope’s award winning audio software Ozone, RX and Insight, the package includes Native Instruments Komplete Audio 6, Latest version of Pro Tools, Logic Pro 9, Audio-Technica ATH-M20 headphones, ATM410 microphone, Waves Certification Bundle and a CRAS Backpack.
CONVERT Reference DACs From Dangerous Music Now Shipping
The new CONVERT one-space rack units support all standard sample rates up to 192k, with inputs for AES, SPDIF, ADAT, Optical SPDIF (Toslink), and USB.
Dangerous Music launches the ‘CONVERT-2’ and ‘CONVERT-8’ 2-channel and 8-channel reference D-to-A converters.
Based on end-user demand, Dangerous set out to to design the next generation of converters as stand-alone units, incorporating the design ethic of ‘Transparent yet Musical.”
The new CONVERT one-space rack units support all standard sample rates up to 192k, with inputs for AES, SPDIF, ADAT, Optical SPDIF (Toslink), and USB.
Bob Muller, president of Dangerous Music, states, “We needed to answer our customer’s requests for standalone and multi-channel D-to-A converters based on the reference DACs built into our monitoring products that they have come to depend on.”
“It was time for a new generation of Dangerous converters so we ignored cost considerations, as we always do when developing a new product and set out to make the best sounding D-to-A converter that we’d ever heard. After more than 2 years of development the consensus from all of us within Dangerous as well as a select group of very discerning world-class engineers is unanimous: Mission accomplished! We are very excited to share the new CONVERT-2 and CONVERT-8 with the world.”
Dangerous Music worked throughout the development process to assure the new CONVERT series exceeds engineer’s needs and expectations by having them used in real projects.
Todd Whitelock, audio engineer for Chick Corea, Wynton Marsalis, Christian McBride and others, says of the CONVERT-8, “Finally a converter that puts clarity in the bottom end. Basses and kick drums articulate naturally, finding their own space in the mix. It was the clearest, widest, most detailed stereo field I’ve ever mixed in.”
Mike Wells, mastering engineer for clients such as Green Day, Prince, DJ Earworm, and Apple Computer, says about the CONVERT-2, “This converter redefines spatial imaging, depth, and detail. It crushed my primary reference converter in a shootout. The CONVERT-2 is the new standard of excellence.”
“I was expecting quite a lot from this converters. It’s not my fault, it’s just that Dangerous has set the bar pretty high with units like the D-Box, Monitor ST, Bax and Compressor,” says Ryan West, recording/mixing engineer for Jay-Z, Eminem, Usher, Kid Cudi. “Super solid and light on it’s feet, the DAC definitely feels and sounds like a Dangerous product: punchy, open, musical, and accurate. Setup is really simple and the clocking is rock solid.”
Rueven Amiel, a Grammy winning mixer/producer for Pony Asteroid, Sarah Packiam, Susana Baca, states about the CONVERT-8, “It’s so important to make a song feel right, and I feel like I bypassed hours of work by just plugging in the CONVERT.”
Producer/mixer Fab Dupont, concludes, “With the CONVERT Series, Dangerous Music managed to beat their own DAC-ST as my favorite Reference D-to-A.” Dupont has worked with Toots and the Maytals, Kirk Whalum, Jennifer Lopez, Shakira (ft. Freshlyground), Marc Anthony, and many other top recording artists.
The two new CONVERT DACs are now available through dealers worldwide, street prices are: CONVERT-2 is $2499 US; and CONVERT-8 is $3,499 US.
The PV AT series mixers are equipped with Antares Auto-Tune pitch correction, a technology that can literally help anyone sing in key and is used on professional recordings and live performances throughout the world.
Features such as Bluetooth allow connection to almost any “smart” device.
Multiple direct outs per channel allow easy connection to most DAW interfaces for recording.
In addition, these mixers can stream audio directly to a PC. MP3 playback is also available via USB A port and LCD display.
With a slim, low-profile design, PV AT series mixers are ideal in small to mid-size venues.
Key features include 4 channels of Antares Auto-Tune, 8 channels of reference-quality mic preamps, 8 direct outputs for recording, Bluetooth wireless input, and built-in digital effects with LCD display.
PV 14 AT / PV 10 AT Mixer Features:
● 4 Channels of Antares Auto-Tune
● 8 Channels of reference-quality mic preamps
● 8 Direct outputs for recording
● Bluetooth wireless input
● Built-in digital effects with LCD display
● USB to PC for recording and playback
● MP3 playback via USB A input
● KOSMOS audio enhancement
● Global 48 volt phantom power
● Dual selectable control room outputs
● 4 channels of compression
● High impedance guitar preamp
● 3 -band EQ per channel with bypass
● Channel mute buttons
● LED clip, signal, mute indication
● Master level LED meter bridge
● Precision 60mm faders on input channels and stereo master outputs
● New slim, low-profile design
● Convenient tablet cradle
PreSonus Unveils New DigiMax DP88 Preamp/Converter
Eight digitally controlled XMAX Class A preamps employ true analog circuitry, with a separate digital volume control circuit.
The PreSonus DigiMax DP88 8-channel microphone preamplifier and A/D/A converter combines eight remote-controllable mic preamps with advanced remote control features and integration with the new Studio 192 audio interface.
The newest member of the DigiMax series, the 24-bit, 96 kHz DigiMax DP88 delivers a clean audio path provided by Burr-Brown A/D/A converters with 118 dB of dynamic range.
Eight digitally controlled XMAX Class A preamps employ true analog circuitry, with a separate digital volume control circuit.
Phantom power is individually switchable for each preamp. Each channel is equipped with an eight-segment LED input meter and a phantom power indicator.
In addition to offering front-panel control, the DP88’s preamps use simple MIDI CC messages to control level, phantom power, and direct ADC input, allowing MIDI management from any DAW.
When connected via ADAT Optical to a PreSonus Studio 192 audio interface, the DigiMax DP88’s preamp controls also are accessible from PreSonus’ Studio One DAW and UC Surface control software for Mac OS X and Windows. No additional setup is required; the DigiMax DP88 becomes a natural extension of the Studio 192 inputs and outputs.
All inputs and outputs are on the rear panel, making it easy to incorporate the unit into any studio. The DP88 provides eight channels of ADAT Optical I/O at up to 96 kHz (using dual SMUX). Mic inputs are on XLR and DB25 connectors. Eight direct, analog-to-digital, line-level inputs are available on DB25 and can be accessed per channel with a front-panel button, allowing you to keep all of your gear connected at the same time.
Eight balanced direct outputs are provided on a DB25 connector, as are eight balanced DAC outputs that expand your interface outputs for monitor mixes or speaker switching. You get MIDI I/O on a multi-pin connector and breakout cable and word clock I/O on BNC connectors. Use the DP88 as the master clock, or sync it externally via ADAT or word clock.
The DigiMax DP88 is expected to be available in the third quarter of 2015 with an expected street price of $699.
All presenters and comedians in the show are delivering their sketches and jokes via d:fine headset microphones.
Made in Sud is a primetime cabaret-style show performed by comedians, which is broadcast live every week from the historical RAI Auditorium, a large theatre in Naples.
With more than 40 artists playing several characters during a three-hour live television show that included at least 120 costume changes, Giacomo Ramaglia, sound engineer and technical and audio management team in RAI’s production division, knew he would need a very durable microphone to cope with such a punishing regime.
Given that the program attracts over 2.5 million viewers every week, sound quality was an important consideration,which is why he chose DPA Microphones’ d:fine Headset Microphones.
“In my opinion, sound quality should always be the first criteria when it comes to choosing a microphone,” Ramaglia says.
“DPA’s d:fines were perfect for this show because they deliver exceptionally high-quality audio. They have proven very robust and reliable, and we are more than happy with their performance. We chose the d:fines for all of the performers and found them very easy to set up, which was another important consideration.”
Ramaglia was familiar with DPA microphones, having used them on previous television projects, but it was the company’s Italian distributor M. Casale Bauer that suggested using the d:fine headset microphone range.
“It made sense because the d:fine headset microphones are extremely durable and easy to fit, and are therefore ideal for fast costume changes,” adds Bauer Product Manager, Salvatore Zocco.“The d:fines are also very comfortable to wear, so we knew the performers would be happy with them.”
Hill's version of “Swing” was mixed through a Metric Halo 2882 and has achieved 4x-platinum sales in Australia.
Ministry of Sound hired pro audio mercenary Klaus Hill to remix the song “Swing” by rapper Savage, for release on its compilation album, The Annual 2014.
For the latest incarnation of the frequently remixed song, Hill used a Metric Halo 2882 interface to mix the vocal and to perform stem mastering for “Swing”.
This version of “Swing” achieved 4x-platinum sales in Australia and won the 2015 Best Dance Record of the Year award from Australia’s APRA/AMCOS professional society, extending Savage’s legacy.
“Ministry of Sound is one of my regular clients,” Hill explained.
“I’ve been their go-to for mixing and mastering for many years now. Jeff Drake, the label’s head of A+R, asked me to take a look at “Swing” before they released it on their annual compilation album. I mainly worked on the vocal, which was taken a cappella from another Savage song. I used the 2882 to connect to my hardware and – along with MIO Console [Metric Halo’s mixing, routing, and DSP software] – to get everything in the mix sitting just right.”
Released in 2001, the 2882 was Metric Halo’s first interface – and the world’s first FireWire interface. True to its pledge to actually support and future-proof everything it builds, Metric Halo has provided upgrade paths to keep the 2882 as relevant in the world of pro audio today as it was when it was first released.
“The 2882 does all the things I need, and it does them well,” Hill said. “The converters sound great, and Metric Halo’s support is second to none. As usual, I mixed “Swing” through Metric Halo’s MIO Console in combination with Pro Tools and Logic. The summing on MIO Console sounds awesome.”
Hill processed the vocals with Metric Halo’s ChannelStrip, Character, and Precision DeEsser plug-ins.
“I used ChannelStrip’s EQ to clean things up, as the recording wasn’t the best to begin with,” he said. “It also needed a bit more compression. The effects that Joel had added gave the track the right spirit, but they came with a few problems of their own. DeEsser took care of them. Of course, Character [signal path modeling] goes on everything I mix; it’s amazing. All in all, I was able to get the right sound on a tight deadline without any second-guessing. With Metric Halo, I’m confident in my product.”
To achieve contemporary output levels for the final master, Hill boldly clipped the 2882’s inputs. “I love the sound of the 2882 clipped,” he said. “It’s clean and totally transparent. And I’m able to get so much RMS out of it – it’s crazy.”
After many years of development and testing, David S. Eley, owner of TGM Audio, has finally made this service available to the general public.
“The system processes audio through a carefully crafted system involving years of experience mastering thousands of audio files,” says Eley.
Designed to meet the needs of home and project studios on limited budget, WAVibe presents a cost-effective solution for professional mastering.
Building upon the success of TGM Audio’s in-house mastering services, WAVibe opens the door for international access to quality mastering through online uploading of various file types.
Audio files are uploaded into WAVibe, which analyzes it, makes calculated decisions based on the audio file itself and the information input by the user, then renders a finished master; producing two finished masters as mp3 and a 24bit WAV files.
The mp3 reference version is automatically delivered back to the user free of charge after the process is completed. The high-resolution 24bit WAV is sent to secure online storage for purchase and download if the user is satisfied and chooses to purchase the final product.
TGM Audio does not make unrealistic claims about the use or limits of the product or service.
“It can’t repair a bad mix like a human mastering engineer might do, but if your mix is okay, I predict you’ll be quite pleasantly surprised with the results,” says TGM Audio owner David S.Eley.
“I don’t think a machine could ever trump a human at being an audio mastering engineer, not in our lifetime. But having studied the industry in order to market my tutorials and mastering services, I know there’s a group of people out there who this service is meant for.”
PMC Loudspeakers Help Deliver The True Sound of Michael Jackson
Jackson's sound engineer Brad Sundberg delivers a series of seminars highlighting the King of Pop's creative process.
Dierks Studios in Cologne – the facility where Michael Jackson recorded his 1997 hit Blood on the Dance Floor - recently played host to In The Studio With MJ, a series of seminars highlighting the experience of recording with the artist.
British loudspeaker manufacturer PMC supplied MB2S 3-way monitors to Dierks Studios to ensure that the music, sound effects and videos played during seminars were heard with transparency.
Organized and presented by Brad Sundberg who spent nearly 18 years working with Michael Jackson as a sound engineer and technical director, this four day event also included insights from Brad Buxer and Michael Prince, both of whom were part of Jackson’s recording team.
The three presenters gave in-depth and highly personal accounts of working with Michael Jackson in various recording studios and at his Neverland Valley Ranch where he had his own recording facility.
“Since Michael’s death in 2009, I have been presenting these seminars in various cities around the world, including the USA, Europe, Russia and the Far East.” Sundberg explains.
“The concept was born out a desire from Michael Jackson’s fans to know more about how his incredible projects came to life. People want to go back to the music, to where it all began - in the studio. During each seminar, guests are taken on a journey of music, stories, unseen studio footage and memories from my days of working with Michael. Most of my guests are not studio professionals, so this is a chance for them to be in a studio, feel the ‘vibe’ of a studio, and most importantly hear music the way I am used to hearing it. For many people, this is truly a highlight.”
“When I was working with Michael, we usually relied on massive Westlake SM-1s, Augspurgers or Boxers for our main monitoring requirements and it wasn’t until several years later that I first heard PMC speakers,” Sundberg explains. “As soon as I did, I loved them so much that I actually became a dealer for them. Now I use them for my seminars whenever I get the opportunity because they delivered all the clarity, punch and bottom that I need, plus they have a very open and airy top end. This makes them much easier to listen to for long periods of time than a horn-loaded system.”
Sundberg adds that guests often comment on the audio they hear through PMCs, especially those who are not used to hearing music through professional monitors.
“I can’t tell you the number of times that my guests have told me that they have never heard Michael’s music sound that way before. These are people that listen to MJ music every day, so that is very high praise. Listening to Michael’s amazing music, including uncompressed, raw mixes from the studio, on PMC’s incredible speakers helps elevate my seminars far beyond what a pair of PA speakers could ever do. I am always proud to have PMC on either side of me when we launch into a seminar weekend.”
Having completed his seminar program in Germany, Sundberg is now hosting similar events in Spain over the summer.
“Michael Jackson’s creative process was unlike anything I have ever been a part of, and if I can give people just a glimpse of what it was like, that’s very rewarding,” he explains. “From studio production to tour prep to Neverland Valley Ranch, I was there and I am very happy to share technical information as well as my own personal memories and stories.”
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