Tuesday, April 07, 2015
Hal Leonard Publishes “Create Music With Notion” By George J. Hess
Music technology professor works with PreSonus to develop training program
Notion is a program from PreSonus that combines notation, sequencing, and live performance into one package.
This book, from Hal Leonard, shows all types of users - amateurs, teachers, and professionals - how to use the program and how it fits their needs for music production and performance. Learn the fundamentals of Notion’s interface, develop a workflow, and discover how to integrate your desktop computer and iPad so that your productivity can continue whether you’re at your desk, in the studio, or on the road.
Create Music with Notion includes project and supporting session files for all experience levels, along with focused video tutorials that demonstrate many of the creative techniques presented in the text, while revealing how to get the most out of the included sessions.
Music technology professor George J. Hess has been extremely close to the PreSonus development team as they have elevated this application to a new level.
Eventide H3000 Factory Plug-In $150 Off For The Month Of April
A re-creation of several algorithms from the H3000 combining pitch, delay, modulation, and filtering in a modular interface
Eventide announced an update of its H3000 Factory plug-in for AAX, VST, and AU that delivers improved performance and has been re-factored to better emulate the DSP processing of the rack-mount hardware. H3000 Factory is a re-creation of several algorithms from the H3000 that combine pitch, delay, modulation, and filtering in a modular interface.
For the month of April, it’s available at a discount.
“The H3000 Factory plug-in now sounds closer to the original than ever before.” said Ray Maxwell, vp of sales and marketing.
This plug-in offers creative possibilities by virtue of a combination of Harmonizer effects in a UI that allows the user to patch together any combination of 18 effects, including the H3000 Function Generator with 19 waveshapes.
“There’s such a specific sound that nothing else sounds like,” said Andrew Scheps (Red Hot Chili Peppers, Adele, Black Sabbath, Jay-Z, Michael Jackson, Metallica, Linkin Park, Weezer), “I use the plug-in very much like I use the H3000 (hardware), but I tweak a lot more with the plug-in than I ever did with the hardware. It’s as easy as using a preset at this point - which is awesome. I’m a fan.”
H3000 Factory features over 500 presets including over 100 Artist presets from Alessandro Cortini (Nine Inch Nails), Chris Carter (Throbbing Gristle), Colin Newman (Wire), Damian Taylor (Bjork), Dave Darlington (Bass Hit Studios), Kerry Leva (EDM Producer), Richard Devine (Sound Designer), and Scott Martin Gershin (Soundeluxe). It also includes over 100 presets from the original H3000 rack processor.
Roland M-5000 Live Mixing Console Set To Debut Broadcast Features At NAB 2015
Up to 300 inputs and 296 outputs at 96kHz, 5.1 surround mixing and monitoring, Mix-Minus busses, GPIO triggers and delay
The new Roland M-5000 will make it’s NAB debut to showcase it’s broadcasting features. The M-5000 based on the O.H.R.C.A platform delivers definable audio paths, supporting multiple audio formats protocols, plus 96 kHz sound quality throughout the system. Because of the architecture of the M-5000, the 128 audio paths can be freely defined including 5.1 surround mixing and monitoring, Mix-Minus busses, GPIO triggers and delay important for broadcasting applications and OB Vans.
OB Vans today require lots of features in a small footprint and flexibility to handle a variety of remote broadcast events such as sports, concerts, newscasts, and awards ceremonies.
The 5.1 surround functions can be accessed to change pan positions via the built-in touch panel or free downloaded remote control software. For 5.1-channel monitoring, individual delay and alignment functions can be adjusted to speaker levels and delays. When using 5.1surround mode, you can select output destinations and a simultaneous stereo downmix. Delays on every input and output with several different frame rates allow broadcasters the ability match the output.
The M-5000 features a Mix-Minus function, for recording and relay feeds, ideal for location or mobile broadcasts to remove a reporter/talent mic channels from the mix. M-5000’s architecture allows you to assign the desired number of outputs for your Mix-Minus setup.
Using the O.H.R.C.A. platform found in the M-5000, a typical broadcast setup might include 84 mixing channels, 5.1 + LR output mix, 6 Mono Auxes, 8 Matrix, 5.1 +LR monitor setup, 2 Downmixes, Talkback, headphone monitoring and talkback channel.
The M-5000 has two built-in REAC ports, plus two expansion card slots with seven expansion card options that include Dante, MADI, Waves SoundGrid, or more REAC ports, as well as future formats. The additional XI-Expansion Card options also include XI-SDI to mix 16-channels in/out of embedded audio off an SDI cable. It also includes XI-DVI for mixing up to 2-channels and the XI-SFP card for Fiber Optics and Gigabit Ethernet communications with up to 16-channels in/out for broadcasting applications.
The back panel includes 16x16 analog I/O, 4x4 AES/EBU, a 16x16 USB audio interface, connection for control via an iPad connected or wireless, and control ports including footswitches, GPIO, RS-232C and MIDI. All of this capability enables the console to see up to 300 inputs and 296 outputs, all at 96kHz and even more at 48kHz.
The M-5000 will be on display at Roland’s booth C2635.
iZ Technology Now Shipping RADAR Studio Integrated DAW (Video)
Integrates optimized hardware with popular DAW software in a native recording, mixing, and playback environment
iZ Technology is now shipping RADAR studio, which integrates optimized hardware with popular DAW software in a native recording, mixing, and playback environment.
RADAR studio is an integrated audio appliance, ready to run Pro Tools out of the box, and shipping with Harrison Mixbus. Potential users can work directly with iZ Technology to tailor the unit to their specific needs and budget, with configurable I/O, drive bays, external media, DSP cards, and peripherals.
A key component behind RADAR’s sonic quality is the iZ Adrenaline DR recording engine, which houses iZ’s proprietary and time tested Trinity Chip with its frequency synthesized digital PLL to provide an near-zero jitter clock, low-latency audio routing, and real-time crossfades on all channels during punch in/out at all sample rates up to 192 kHz. The Adrenaline DR recording engine also frees up the host processor to provide better DAW/plug-in performance.
“The RADAR studio is free of unnecessary bloat ware and it runs beautifully with its high speed SSDs and massive RAM capacity,” says Dan Brace of Sonic Farm Recording Studio in Buffalo, NY, an early adopter of RADAR studio. “The converters are providing the same sweet sound we experienced with RADAR 6, but with the added editing power Pro Tools provides.”
RADAR studio is designed for simplicity, with the user needed to just arm tracks and press record. iZ Session Controller and Meter Bridge can be integrated for a traditional studio feel. It comes with 10 years of free customer support.
“And it goes without saying, iZ tech support is second to none, they made sure our system was everything it was promised to be,” Brace adds. “We have run it 12-14 hours at a time without a single error and I know I can count on this system day in and day out.”
Cymatic Audio Announces MADI Module Expansion For uTrack24
Add 24 channels of digital audio to your uTrack24 through optical or BNC coaxial connections
Audio interface developer Cymatic Audio announces that it is planning to release the uTrack24 MADI Module, a user-installable MADI (Multichannel Audio Digital Interface) option card for its 19-inch rack-mountable uTrack24 24-track recorder, player, and interface…
Cymatic Audio’s uTrack24 24-track recorder, player, and interface handles recording and audio playback without computer constraints. It records directly onto USB media plugged into the front panel. 24 three-colour LEDs show the level of each channel while the same LEDs can be used as a 24-segment level meter for one channel individually. An LCD screen shows additional information and allows editing of parameters via a push encoder. Lastly, large illuminated front panel-positioned transport controls help with recordings and overcoming onstage and off-stage lighting conditions.
Integration of the uTrack24’s multichannel audio I/O with MADI-based audio systems will soon be reality with the release of the uTrack24 MADI Module, making it possible to record 24 separate audio tracks from the output of MADI-equipped digital consoles and stage boxes. 24 channels of uTrack24-delivered pre-recorded digital audio can be output to a digital console’s inputs. Integration and interconnections are made through the uTrack24 MADI Module’s onboard optical in and out and (BNC) coaxial connectors. The uTrack24’s 24 analogue outputs (on standard 25-pin D-Sub connectors) can still remain active while using the uTrack24 MADI Module’s digital outputs.
Connect a uTrack24 MADI Module-equipped uTrack 24 to a MADI-equipped digital console for 24-channel virtual soundcheck playback or 24-channel soundcheck recordings — all at the push of an illuminated button.
The uTrack24 MADI Module will be shipping in Summer 2015 and available to buy from Cymatic Audio’s global network of dealers and retailers with projected pricing significantly lower than €400.00 EUR/$400.00 USD.
Jack Joseph Puig Uses DiGiGrid DLS To Overcome Processor Limitations
Waves Audio and DiGiCo collaborate to create powerful processing solution for Pro Tools users
Producer/mixer Jack Joseph Puig (U2, Lady Gaga, Black Eyed Peas, John Mayer) uses the DiGiGrid DLS audio interface to enhance his networking capabilities and increase his processing power.
DiGiGrid DLS (a collaboration between Waves Audio and DiGiCo) is a processing and networking hub that bridges Pro Tools and the Waves SoundGrid system. With its built-in SoundGrid DSP server, network switch, and two DigiLink ports providing as many as 64 digital inputs and outputs, DiGiGrid DLS gives users more processing power and lets them take advantage of their existing Pro Tools system. By providing full plugin integration inside users’ DAWs, DiGiGrid DLS lets users track, monitor and mix while running hundreds of SoundGrid-compatible Waves and third-party plugins in real time—all with low latency of only 0.8 milliseconds.
Jack Joseph Puig notes, “Sessions have become larger in size, and almost everyone is using higher sampling rates. If you also include virtual instruments, the CPU and your internal memory start reaching their capacity, even when you are using a sizable computer and lots of RAM. DiGiGrid DLS solves the issue of me not being able to create with as many plugins as I choose and need to use. DiGiGrid has saved me more then once from running out of processing power. Digital is really still in its infancy. Waves is the only company that I feel provides me, as a record maker, with a first-class digital audio experience. Growing up in the high-fidelity Los Angeles era, with its massive commitment to sonic excellence, has made me a tough customer. With DiGiGrid and with Waves’ audio quality, I don’t have to go to an analog device to accomplish the desired sound. This means I’m immersed in creating without losing the ability to catch creative magical moments.”
Puig adds, “With the home studio becoming the most common recording and mixing environment, and with the future of the connected home and the connected person, I believe DiGiGrid is the needed and essential technology for the future—I believe it will become the new norm. Nothing will destroy your workflow like having to settle for second-best decisions because you don’t have the processing power to fulfill your desired path to a final mix. In other words, DiGiGrid DLS enables me to create away without a worry. ‘Worry-free mixing’ is what it offers.”
Brooklyn Studio Hosts First East Coast Event For API’S BOX Console
Product specialists and sales team will be available to answer questions about the BOX and API’s entire line of products
API is hosting its first ever East Coast BOX event at Strange Weather studio. Following this week’s demo event in Los Angeles at the Westlake Pro studio, the BOX team will trek across the country to Brooklyn, where API’s compact console will be given a debut.
Strange Weather, in conjunction with API partners Dale Pro, Alto Music, and Audio Power Tools, will host an open house on April 9th from 6pm to 9pm. The open house will follow a day of private demonstrations on the BOX and 1608 consoles. Our product specialists and sales team will be available to answer questions about the BOX and API’s entire line of products. Contact Dan Zimbelman or Mark Seman at API to book one of the remaining available demo time slots.
Owner Marc Alan Goodman had this to say about the upcoming event, and API’s relationship with Strange Weather studio: “API is the only company I know of that maintains the integrity of 1970’s designs while still updating them for the modern environment. At Strange Weather we could not be happier with our console, and neither could our clients.”
“We are very excited to add Studer consoles to our offerings and be able to integrate them into our clients’ projects,” says Dave Van Hoy, president of Advanced Systems Group, which is based in Emeryville, CA.
The Studer Vista 1 comes complete as a single chassis, with control surface, I/O connections and DSP all integral, reducing weight and footprint. It’s based largely on the Vista 5, with all the functionality of the Vistonics user interface and Studer Vista control surface, plus features such as true broadcast monitoring, talkback, red light control, GPIO, N-x (Mix Minus) busses, snapshot automation and DAW control.
With the impending release of his new album next week, Joe offers an insight on something he picked up while working with one of the songs.
The lesson: sometimes allowing things to go against what you think you should do, in order to get the best performance and make the most of a song, is the right way to go.
The song is “Forgiveness,” a simple, soft, intimate piano ballad-type track. Joe shares what it sounded like at the beginning of the recording process when he first started working on the album, creating the scratch tracks using an automated click track.
As he explains (and you’ll quickly hear), the click wasn’t working with this song; in fact, quite the opposite. It seems in direct opposition, working against the song and performance. How did he resolve the issue? Check out the video to find out.
Line 6 Announces New Leadership With Marcus Ryle Named President
Appointment completes planned organizational changes following the company's purchase last year by Yamaha
Line 6 announced that Marcus Ryle has assumed the role of president of the company, effective April 1. His appointment completes some planned organizational changes following the purchase last year by Yamaha, coordinated and led by president & CEO Paul Foeckler.
“I have been privileged to lead Line 6, especially through the most important transition period in its history, all while keeping innovation alive and at the core of the company,” states Foeckler. “I’m especially proud of the company’s launch of AMPLIFi that revolutionized the amplifier market, as well as our first collaboration with Yamaha – the Variax Standard.
“We have continued to build on a great brand, and Line 6 is extremely well positioned for the future now as a part of Yamaha,” he continues. “I’m confident that Marcus will lead the organization to even greater heights.”
Ryle, a co-founder of Line 6, has most recently been working as chief strategy officer, and has been instrumental for over 30 years in the development and launch of some of the company’s most innovative products.
“I’m delighted to take on the responsibility of president for Line 6, now as a part of Yamaha. I want to thank Paul for his leadership and strategic vision as President & CEO,” Ryle says. “As a founder I feel very passionately about Line 6 and its history of innovation for musicians. These are exciting times, and I look forward to working with our dedicated team of employees to take the company to new levels of innovation and growth.”
dbx Professional Is Fundamental For SAE Instructor Jason Munn In The Classroom and Studio
dbx products earn loyal user with performance and intuitive features
Jason Munn currently serves as the lead audio technology instructor at the SAE Institute in Nashville. Throughout Munn’s teaching and his work as a freelance engineer, one constant is Harmandbx compressors, crossovers, and limiters.
As a musician, Munn had been using dbx gear since the late 1990s, but it wasn’t until moving to Nashville to pursue a career as a professional Audio Engineer did he become well versed with the brand. As an instructor at SAE, Munn currently teaches subjects such as signal flow, live sound, audio post production and multimedia.
For Munn, there is a certain clarity and functionality about how dbx products are designed that make using them for teaching extremley intuitive. In one of the introductory courses at SAE, compression and limiting concepts are taught using the dbx 1066. Because the 1066 is a stereo gate/expander, compressor and limiter, the students learn to gate the signal, then compress it, and finally limit the signal to attenuate any remaining transients that might result in clipping. “The metering is clear, everything is labeled with industry standard terminology, and the knobs and pots are durable; plus, if you need to look something up, the manuals are thorough and well written,” added Munn.
“I love the dbx 160 for compressing drum mixes; its a classic piece of gear. With the dbx 160, I can have the drum mix lightly compressed or absolutely crushed. It’s simple to use and it just sounds awesome, especially the attack and release for drums. This is just one of those pieces of gear I will always have a soft spot for.”
Munn continues to mix in some freelance work when he can and of course always stays current with what is coming down the line from dbx. “I’m really excited about the new 500 series products that are going to be available soon. I have a feeling they will be in my personal home studio.”
The first unit was delivered to the Commodore Ballroom, a music venue in Vancouver. “The new stereo JDI allows the Commodore to offer yet another high quality Radial DI option to our visiting engineers and artists,” states Paul Way, front of house at the Commodore. “A stereo solution in a single package, very useful on a crowded stage or pedal board.”
The JDI stereo passive direct box includes input and thru-put 1/4-inch connectors plus a -15 dB input pad on each channel. This is supplemented with a ground lift switch that lifts pin-1 on the two XLR outputs to further reduce hum and buzz caused by ground loops.
Built to handle the abuse of live touring, the JDI Stereo employs a 14-gauge steel I-beam inner frame and a book-end outer shell. The design eliminates stress on the PCB, reducing opportunity for solder joints to go ‘cold’ while the outer shell creates a protective zone around the switches and connectors.
The steel enclosure also works with the transformer’s mu-metal cans and internal Faraday shield to protect the inner workings from magnetic fields such as those generated by stage amplifiers, keeping signal transfer quiet and free from hum.
Radial Engineering president Peter Janis: “We have spent countless hours on top, behind and below concert stages, discussing the needs of today’s most demanding technicians. One of the reoccurring themes is the use of two direct boxes to handle a stereo source. And although Radial has been producing stereo direct boxes such as the Duplex for years, the move towards compact setups to lower the cost of air travel has become an important attribute whose time has come. The JDI Stereo is simply the solution to a new problem that is based on economics.”
Yamaha Unifies Under New Professional Audio Division
New division will market all Yamaha commercial audio products, as well as all live sound, NEXO, recording and CIS products
Yamaha Corporation of America (YCA) has announced that it is forming the Professional Audio Division to provide a stronger, more unified presence in the live sound, recording and sound installation markets.
Alan Macpherson, a 27-year Yamaha veteran with a solid background in marketing a broad range of Yamaha musical instruments, commercial audio, live sound and recording products, will lead a dedicated team of professional and commercial audio specialists in the new division. He will report directly to Tom Sumner, senior vice president of YCA.
The Yamaha Professional Audio (PA) division will market all Yamaha commercial audio products, including the CL and QL consoles and the recently announced flagship PM10 Rivage, which are currently marketed by Yamaha Commercial Audio Systems (YCAS). The PA division will continue to provide the same high level of service to dealers and customers currently provided by YCAS, and has no plans to change the current distribution strategy. The division will also continue to serve commercial audio markets in Canada as well as the U.S.
In addition, the new division will represent all Yamaha live sound products, including the MG mixer line and DXR powered loudspeakers. The new division will continue to represent NEXO loudspeaker products, including the STM system. Recording solutions are also integrated, including the Yamaha Nuage post-production system, Steinberg software and hardware products including Cubase, and the best selling Yamaha HS series of powered monitor loudspeakers. Yamaha’s new commercial installed sound (CIS) products round out the broad range of quality products the new Professional Audio division offers.
“We believe this new structure will empower us to get closer to our customers,” notes Hitoshi Fukutome, president, Yamaha Corporation of America. “With this focus we can grow our business, grow our dealers’ business and delight our customers with innovative, quality products, service and solutions.”
YCAS will be merged into YCA as part of this initiative and Larry Italia, another Yamaha veteran who most recently has served as vice president/general manager of YCAS, will be leaving Yamaha. “We wish to acknowledge Larry’s years of loyal and valuable service to the company,” states Fukutome. “Larry has made significant contributions and helped Yamaha achieve many milestones during his tenure. We wish him the very best in the future.”
Macpherson is currently general manager of the Pro Audio and Combo division, and previously led Steinberg recording products in the U.S. He began his career at Yamaha Canada Music in 1987. In 1999, he was promoted to national sales and marketing manager of the Pro Music and Audio Division and, in 2001, he was named marketing manager, Combo and Music Production Division. His responsibilities were further broadened in 2006, when he was named manager of the Corporate Planning and Communications department at Yamaha Canada. He became director of Steinberg North America at YCA in 2008.
YCA will rename its current Pro Audio and Combo division the Pro Music division, and it will now focus on marketing Yamaha guitars, amps, acoustic and electronic drums and music production products.
John Shalhoup, who has a 16-year career with Yamaha, will lead the new Pro Music division. He currently is the company’s chief marketing director, guiding company-wide branding and marketing strategy. Shalhoup has broad experience including district sales, national account sales, sales management and administration with Yamaha’s Pro Audio and Combo and Band & Orchestral divisions. He started his musical instrument career with retailer Daddy’s Junky Music, serving as a salesperson, store manager and regional manager prior to joining YCA in 1998. Shalhoup will report directly to Rick Young, senior vice president of YCA.
McGill University Sound Recording Program Adds JBL Professional M2 Monitors
New monitors installed in left-center-right configuration in main studio utilized for teaching, recording and mixing
The Graduate Program in Sound Recording at McGill University in Montreal recently added Harman’sJBL Professional M2 master reference monitors at the Schulich School of Music.
At the school, area chair Richard King (a Grammy winner) and associate professor George Massenburg (noted recording producer/engineer and 4-time Grammy winner) both serve on the faculty for the Graduate Program In Sound Recording, one of the only programs in North America that offers both a Master’s and Ph.D degree.
The program covers all aspects of recording from old to new, and follows the European Tonmeister tradition of training musicians to become sound engineers.
“I go back a long way with Peter Chaikin of JBL, and a few years ago I heard what was then a speaker in development that blew me away,” explains Massenburg. “A few years later I found out the speaker had evolved to become the M2. Naturally, I wanted to hear the finished version. It was a transformative experience.”
Late last year, the Schulich School of Music purchased three JBL M2 monitors, which are installed in the school’s main studio in a left-center-right configuration. “One of the main reasons we picked the M2 is because this room is critical to our operations–we run it 24/7 here,” King notes. The room is used for a multitude of activities including teaching recording and mixing, conducting listening analysis measurements and advanced training programs.
“The first thing we teach our students is how to listen,” he adds, “so we need the most transparent loudspeaker available that lets them hear the most accurate representation possible of the mix. Now that we have the JBL M2 we know that’s exactly what they’re hearing.”
The facility does a lot of work in virtual acoustics and studying reverberation characteristics. “As you can imagine, being able to hear the most minute sonic detail is critical,” King says. “A monitor as accurate and revealing across the entire frequency spectrum as the M2 is invaluable for this kind of work.
“We don’t want the loudspeaker to get in the way of the mixing process, and the M2 gets out of the way more than any other speaker we’ve heard,” he continues. “We want to hear the most transparent playback possible so our students can properly choose everything else in the recording chain, and be confident that they’re hearing a faithful representation of the effect of that equipment chain. The M2 lets us hear the most exacting sonic aspects of the production.”
Massenburg concludes, “If our students’ mixes don’t sound good, we know it’s not because of the speaker.”
Engineers At Universal Mastering Studios Rely On iZotope Ozone (Video)
Mastering platform utilized to enhance a wide range of projects at diverse Los Angeles recording facility
Universal Mastering Studios (UMS) in Los Angeles, which provides diverse mixing and mastering services for records, TV soundtracks, and even ringtones, is utilizing the iZotope Ozone mastering platform for a variety of needs.
Key UMS staff members, including senior mastering/mixing engineer Peter Doell, senior mastering engineer Erik Labson, and engineers Warren Sokol and Gabriel Wallach, deploy several features contained in Ozone.
For example, Sokol works a lot with Ozone’s multiband compressor and Exciter to perform changes such as making the bass pump from the center by filtering out the sides. “I also like to use the Exciter to just do a tiny bit of harmonic enhancement,” he adds.
Exciter is designed for dialing in “analog warmth” as well as adding harmonic enhancement. As it’s name implies, it can be used to “excite” certain frequencies to allow individual instruments to stand out within a mix. “I haven’t had any other processor that did that in the same way. I really like the Exciter in Ozone a lot,” Sokol notes.
Wallach adds, “Specifically, the Limiter in Ozone is one of the best-sounding ones, and the Dither as well. I don’t overdo it, it just gives me the extra that I need at the very end.”
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