Studio

Wednesday, October 30, 2013

DPA Microphones Restructures Management Team

Moves enable better support of customers and dealers by providing a bridge between product development and sales

DPA Microphones has restructured its management team in order to maximize resources and consolidate international sales activity around future new product launches.

“These changes enable us to better support customers and dealers by providing a bridge between product development and sales,” states Christian Poulsen, CEO of DPA Microphones. “They also allow us to create a DPA Microphones community, through which we can connect directly with DPA end users and industry opinion formers. They, in turn, will be able to influence future product development and R&D decisions.”

Specifically, Mikkel Nymand has been appointed to the newly created position of product manager. Reporting directly to Poulsen, he will be responsible for the entire product management chain, from conception right through to development, testing, launch and after sales maintenance.

Nymand’s role is also to ensure smooth communication, internally and externally, about the status of new and existing products and to provide a link between sales, marketing and development. He will play an active role in new product development and is responsible for operating products during launch events.

In addition, Bo Brinck has been appointed to the position of global sales support manager, another new post that was specially created to capitalize on his industry connections and extensive technical expertise. In conjunction with DPA’s area managers, he will arrange product demos, open house meetings with end users, seminars and training, as well as supporting similar initiatives orchestrated by DPA distributors and resellers.


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Responsibility for sales within the Nordic countries now falls to Kim Nedertorp, who has been appointed arena manager for the entire region, and Nils Vinding has been named area manager for the U.K., Switzerland, Central America and South America. He joins the company from PPS, DPA’s largest reseller in Denmark.

DPA’s sales team in the Far East has also receives a boost with the appointment of Francis Lai to the position of sales manager at DPA Microphones APAC in Hong Kong. Lai has 16 years experience in the pro audio industry, having previously worked for Sony Broadcast & Professional Asia, Shure Asia and Sennheiser Hong Kong.

Finally, Ole Moesmann joins the company, named to the position of research and development manager.

“This is a very exciting time for DPA Microphones, and we are confident that these changes will bring enormous benefits to our company and to our customers,” adds Poulsen. “We have always had a committed management team, but taking advantage of each individual’s energy, talents and creativity will help DPA accomplish so much more in the future.”

DPA Microphones

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Posted by Keith Clark on 10/30 at 01:45 PM
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In The Studio: The Keys To A Great Sounding Drum Kit

Beyond tuning, what makes the most difference?
This article is provided by Bobby Owsinski.

 
As the heartbeat of almost every song in music today, the drums have to sound great in order to really give the song the punch it needs.

Unfortunately most engineers and musicians, and even a surprising number of drummers, aren’t sure what makes drums sound the way they do.

Of course tuning is most important in getting a great drum sound, but just like a guitar or bass intonation, there are certain aspects to the drums themselves that really make a difference in the ultimate sound.

As noted in this excerpt from the 3rd edition of The Recording Engineer’s Handbook, there are a great number of factors that make the drums sound the way they do.

It’s true that different people have different ideas of what constitutes a great sound kit, but in the studio it usually means a kit that’s well-tuned and free of buzzes and sympathetic vibrations.

Free of sympathetic vibrations means that when you hit the snare drum, for instance, the toms don’t ring along with it. Or if you hit the rack toms, the snare and the other toms don’t ring along as well.

The way to achieve this is all in the tuning and the kit maintenance, which we’ll check out in depth later in the chapter, but first, lets learn a little bit about drums themselves, since it helps to have a basic idea of why they sound the way they do.

Drum Construction

Here are the things that affect the sound of a drum.

Shell Size has the most impact on the natural pitch of a drum. The larger the diameter, the lower the natural pitch, although you can obviously change this a bit by tuning the heads.

Shell Depth is mostly responsible for how loud the drum will be and to some degree, the articulation of the sound. This means that a shallow shell (say a 9” tom) doesn’t have as much surface area as a larger one, so the sound doesn’t ring as long and has a sharper attack. 

Shell Thickness is usually overlooked as a contributing factor to the sound of a drum.  Thinner shells actually are more resonant since they’re easier to excite because they have a lower mass than a heavier, thicker shell. 

Shell Material used to make the drum shell is the most responsible for the tone of the drums. Here are the most commonly sued drum shell materials.

Maple is the most prized construction material by drummers, primarily because the sound is so even across the drum frequency spectrum. 

Mahogany sound warmer than maple since the low end is increased.

Birch is very hard and dense, which results in a brighter drum with a lot less low end than maple.

Poplar has a sound very similar to birch, with a bright top end and less bottom.

Basswood exhibits an increased low end that’s similar to mahogany.

Luaan has a warmer sound with less top end, similar to mahogany.

Shell Interior has a lot to do with the pitch of the drum. A rough interior produces a less resonant drum, since the roughness breaks up the interior reflections. A smooth interior results in a more resonant drum, which means it’s easier to tune and control.

Bearing Edges means the cut at the edge of a drum shell where the hoops are attached. The way the bearing edge is cut can not only affect the pitch of the drum, but how well it tunes as well. The sharper the cut, the brighter the drum.

Hoop type and the number of lugs used to seat the drum heads determines how the drum will sound as well. In general, the thicker the hoop, the easier the drum will be to tune.

Fewer lugs provide more complex overtones. Stamped hoops get a warmer tone than from die cast hoops. Aluminum gives a high pitch while brass provides more overtones. Die cast hoops are generally both thicker and stronger than stamped hoops, so the drum becomes easier to tune. There are fewer overtones as a by-product.

Wood hoops come in different thicknesses, so they can be made to sound like either a stamped or a cast hoop, only brighter.

Drum Heads

If there’s one simple action that you can take to improve the tone of the drums it’s to replace the old heads with fresh new ones. Even normally good sounding drums will sound wimpy and dead when played with old heads that have dings and dents in them.

Tip: The single biggest improvement to the tone of a drum is a set of fresh heads.


Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. Get the 3rd edition of The Recording Engineer’s Handbook here.

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Posted by Keith Clark on 10/30 at 11:00 AM
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Tuesday, October 29, 2013

In The Studio: Zombie Survival Farm

Upgrade YOU as you upgrade your gear
Article provided by Home Studio Corner.

 
I’m so excited that The Walking Dead is back on TV. It’s one of two or three shows I pay attention to.

(Quick summary if you’ve never see the show: Zombie apocalypse. There, done.)

The new season started last weekend, and it’s getting gooooood already.

One of the things the characters have done is start up a small “farm” to grow crops and raise animals for food. See, a few years after the world comes to a screeching halt, it gets harder and harder to find food, so you have to grow it yourself.

My wife and I were talking about it, and we’re fairly certain if we survived the initial onslaught of zombies, we’d starve to death pretty quickly.

Because we have NO survival skills. We wouldn’t know how to set traps for animals, much less grow and maintain a garden. Take away Target, and we’re hosed.

What about you?

Specifically, what about you and your mixes?

What if I took away all your fancy plug-ins? What if I left you with just a single, boring EQ plug-in. Could you make good mixes?

What if I took away all your microphones and preamps and left you with just one mic and the stock pre on your interface. Could you make great recordings?

What if I took away your studio monitors and handed you Apple earbuds. Could you get great mixes?

If your answer is “no,” then I suggest rethinking your approach. If your success in the studio depends more on the “stuff” than on you, you might be in trouble.

Hone your skills. Upgrade YOU as you upgrade your gear. It’s the only way to get better.

And if you’re looking for a “training camp” to hone your mixing skills, you might try Dueling Mixes.

Joe Gilder is a Nashville-based engineer, musician, and producer who also provides training and advice at the Home Studio Corner. Note that Joe also offers highly effective training courses, including Understanding Compression and Understanding EQ.

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Posted by Keith Clark on 10/29 at 04:17 PM
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Gov’t Mule Picks TELEFUNKEN for New Double LP “Shout!”

Warren Haynes Belts It Out with the M80; Copperhead for Drums

Gov’t Mule’s new album “Shout!” is the tenth studio album from the acclaimed power blues group, and a departure from all their previous releases.

Their first album for Blue Note Records is a double-album—one set collecting 11 new tracks, and the other featuring an all-star line-up of artists interpreting those songs.

The album features guest appearances from Ben Harper, Elvis Costello, Dr. John, Jim James, Grace Potter, Toots Hibbert, Glenn Hughes, Ty Taylor, Dave Matthews, Myles Kennedy, and Steve Winwood.

“No one’s done this before, which is exciting,” says Gov’t Mule’s singer, guitarist and co-founder Warren Haynes. “But it’s even more exciting actually listening to these artists sing our songs,” he continues. “Their performances bring new ideas, energy, and sometimes even different meanings to every number.”

“Warren prefers to track lead vocals with dynamic mics,” explained recording engineer Steve Holroyd at his and Jorgen Carlsson’s LA private studio (Roger’s Boat Studios). “We tried all the usual dynamics and TELEFUNKEN’S M80 blew them away.

“Stunning detail and presence with a tight low end. The Copperhead is a great utility mic and sounds open and warm.  We used it on drums and percussion, and believe me, Matt Abts (Mule Drummer) was very happy.”

“It’s hard to believe but the new Telefunken mics are on par with Telefunken mics of old,”  added Warren Haynes.

The rock band Gov’t Mule (pronounced Government Mule) was co-founded in 1994 as a side project of The Allman Brothers Band by guitarist Warren Haynes. Gov’t Mule has become a staple act at music festivals across North America, with both its members and frequent guests boasting members from other notable bands, adding various funk and blues rock elements to the band’s sound.

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Posted by Julie Clark on 10/29 at 08:18 AM
RecordingNewsMicrophoneStudioPermalink

Griffin And Hal Leonard Enter Into Exclusive Distribution Deal To The Music Trade

Hal Leonard to distribute (exclusively) Griffin Technology music products and accessories to the MI trade in the U.S.

Hal Leonard Corporation has signed a deal to exclusively distribute Griffin Technology music products and accessories to the MI trade in the United States and Canada starting November 1, 2013.

Hal Leonard Senior Sales & Marketing Manager Brad Smith reached the agreement with Andrew Biddle, audio product manager at Griffin.

Founded on inventor and innovator Paul Griffin’s kitchen table in 1992, Griffin Technology has evolved into one of the world’s foremost creators of accessories for home, mobile and personal technology. The privately held company is based in Nashville.

While making an extensive line of Griffin’s products available to its expansive retailer network, Hal Leonard will focus on distributing Griffin’s high-quality music recording, playback and performance tools designed with musicians in mind.

Using Griffin’s intuitive and functional interfaces that connect instruments or microphones to Apple iPads, iPods and iPhones, users can create music, produce podcasts, DJ a party and more.

StudioConnect with Lightning, GuitarConnect Pro, GuitarConnect Cable, and MicConnect are perfect for musicians who want to practice, record and perform anywhere, using the power of an iPad or iPhone. Griffin’s WoodTones headphones and earbuds, also ideal for sale into the MI channel, work with any audio device with a 1/8” jack (or an adaptor).

“With the rapidly changing face of technology today, anyone with a smartphone, tablet or laptop has a powerful recording studio at their fingertips,” said Smith. “Griffin has a long and successful history of working with Apple, and produces superb products for musicians looking to make music on their iOS devices.”

He added, “This line gives musicians on the go high-quality, useful products at an affordable price. Griffin is a shoo-in for the MI channel, offering everything from powerful interfaces to hip Survivor iPhone cases perfect for point-of-purchase sales. We’re happy to be working with them.”

Biddle, at Griffin, said, “Our Apple iOS music accessories offer easy connectivity so artists can capture and build on their ideas whenever inspiration strikes. We’re hoping such inspiration will also now strike in music stores across the continent. Partnering with Hal Leonard will put our products in front of a huge new market of musicians, and we’re thrilled about the possibilities.”

Griffin Technology
Hal Leonard

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Posted by Julie Clark on 10/29 at 08:07 AM
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Monday, October 28, 2013

Earthworks Now Shipping 521 ZDT Preamp

The solid state Earthworks 521 ZDT Preamps features switchable phantom power, polarity invert, and peak amplitude clip detection.

The Earthworks 521 ZDT Preamps for 500 series racks are now in stock and shipping.

Based on the ZDT Preamp technology designed by David Blackmer, the Earthworks 521 brings the exacting standards of the ZDT Zero Distortion Preamplifiers to the convenient 500 series format, providing a amplification option to the 500 series rack.

“Earthworks is continually developing precision audio products that elevate the audio chain,” says Heidi Blackmer Robichaud, President/CEO of Earthworks.  “We are thrilled to introduce the new 521 preamp, our first ever 500 series preamp, giving recordists an Earthworks ZDT Preamp option for their 500 series racks.”

The solid state 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original ZDT Zero Distortion Preamplifiers. The transformerless output stage of the 521 will easily drive long cable runs without loss of quality. Transparent gain is switchable from 5dB to 60dB in 5dB steps.

The Earthworks microphone preamplifier topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra-wide bandwidth of the ZDT Preamps (1Hz to 200kHz ±0.5dB) and distortion of less than 1 part per million (0.0001%). This exceptional level of performance is maintained over an extensive range of impedances applied to the input, making the 521 suitable for practically any microphone – ribbon, dynamic or condenser.

The Earthworks 521 has a MAP of $999.

Earthworks

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Posted by Julie Clark on 10/28 at 12:25 PM
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Friday, October 25, 2013

RE/P Files: Signal Feed Techniques For Electronic Instruments

The conventional wisdom in 1970 for recording instruments, amplifiers, and effects

From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature is an interesting look back at techniques for recording electronic instruments. This article dates back to April / May of 1970. (Volume 1, Number 1). The text is presented unaltered, along with all original graphics.

There are variations of three basic methods which seem to satisfy most requirements…that is, those requirements which don’t demand instant audio annihilation…for getting a signal out of an electronic musical instrument and its amplifier.

Assuming that the sound to be picked-up is generated by a fundamental electronic instrument, say, an electrified guitar, one without built-in reverberation, wah-wah or the like.

Then, there is no particular problem in coming directly off of the magnetic pick-up on the instrument into a mult-jack, with the dual feeds then going, on the one hand, to the guitar amplifier, while the other line, then, goes to the microphone input of the mixing console through an impedance matching transformer . . . Direct Box. (See figure 1)

The obvious advantages, here, are that the player has complete monitoring capability through his own amplifier in the studio, while the mixing engineer retains complete control of the output volume of the instrument in the control room.

Electronic instruments with built-in special effects; the fuzz tones, wah-wahs, reverbs, etc. are picked up directly in two additional ways.

Figure 1

If the amplifier being used by the musician in the studio has either a line-output or a pre-amp output the mult-jack approach is still where the process starts. 

One line from the jack goes out through the impedance matching transformer (sometimes called a bridging transformer) straight to the microphone input of the control console. The mult feed from the jack goes back into the amplifier.

As in the previous example, the player still has complete liberty to monitor his own performance at any volume level in the studio. The use of any of the special effects originating in the instrument or the amplifier remains the choice of the artist. The engineer, on the other side of the glass, still has absolute control of the volume of the sound being recorded.

Although less desirable from the control-of-volume point of view of the engineer, the third method of direct pick-up is used because of its simplicity. This method looks pretty much the same as the immediately preceding set-up, except that a pair of clip leads are used to clip onto the voice coil of the amplifier speaker before going back into the bridging transformer and then on into the microphone input of the mixing console.

In this situation the player has the opportunity of “playing” with the amplifier volume controls, thus affecting the volume of sound fed to the mixer. To the degree that the performer might want to do this, the absolute control over the volume being fed to the tape machines is no longer vested completely in the engineer doing the mixing.

These techniques can be applied to almost every electronic instrument; electronic piano, electronic harpsichord, etc. In each case the signal must be fed through an isolating or bridging device (impedance matching device) into the mixing console, while at the same time allowing the musical signal to also get to the performer’s amplifier in the studio.

Direct signal pick-up eliminates distortion from both the amplifier and the speakers, which in musical instrument amplifiers are nowhere near the quality or balance of the studio monitoring system. Too, the recording system is not exposed to any extremely high sound power levels. Those remain safely isolated out in the studio.

Conventional Micing
Especially as it applies to ‘rock’, the biggest problem in picking-up an amplified instrument sound through conventional microphones is that the acoustical power coming out of the amp speakers can very easily overload the microphones.

However, in order to record the electronic instrument and its amplifier as faithfully as possible to the sound which the combination is putting out, using conventional micing methods would mean that the microphone must be placed only inches from the amp speakers.

Where this is attempted, the use of dynamic microphones is recommended because of their ability to withstand extreme sound pressures, of between 110 and 140 dB before ‘CO’

Still, there may be times when the producer/mixer might want the best of both the direct and conventionally miced sound.

If there are enough inputs in the console, then both the microphone line and the one coming in from the ‘Direct Box’ (bridging device) can be run into separate ‘pots’ for recording on the common track.

As the engineer seeks the brilliance and clarity of the instrument sound fed direct, or the sound of the instrument plus the ambient of the room (studio) as the sound comes from the conventional micing procedure, he can switch from input to input, or blend both of the signals together.

The Direct Box
The primary impedance of the matching transformer should, of course, be high enough so that it does not disturb the match of the output of the magnetic pick-up from the instrument . . . and, so that it attenuates the high end, or doesn’t drop the level too much ... so that the signal comes out of the ‘Direct Box’ at approximately microphone level.

Direct Box

It should be a nominal impedance of, say, 30,000 ohms to 50,000 ohms. The primary impedance should be high enough so that it doesn’t disturb or load the instrument’s magnetic pick-up and delivers enough signal at the console for control.

The matching transformer should be mounted in a small, well-shielded box. Careful attention should be given to ‘grounds’ or shielding of both input and output cables. Appropriate connectors on each cable should be compatible with the output of the magnetic pickup-on the instrument, and the input connector to the mixing console.

At the time of publication, William Robinson was engineering director at Sunset Sound Recorders in Hollywood, CA.

 
Take the PSW Photo Gallery Tour of audio equipment ads appearing in RE/P magazine, circa 1970

Editor’s Note: This is a series of articles from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day. Our sincere thanks to Mark Gander of JBL Professional for his considerable support on this archive project.

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Posted by Keith Clark on 10/25 at 03:34 PM
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Wednesday, October 23, 2013

How to Make Your Hip-Hop Beats Stand Out (Includes Video)

New tutorial by noted engineer and author Matthew Weiss now available

Producers and beatmakers looking to elevate their hip-hop beats to the next level, to make them really hit hard and stand out, can take advantage of a new tutorial that shows exactly how to do that.

Today marks the release of the second tutorial in the Mixing Hip-Hop series from Matthew Weiss (Snoop Dogg, Gorilla Zoe, Gift of Gab): Mixing Hip-Hop Beats.

In Mixing Hip-Hop Beats, Weiss spends over 80 minutes walking you step-by-step through his hip-hop mixing workflow, mindset, and techniques — including:

—Setting levels
—Emotional automation
—Making drums and 808s hit hard
—Mixing synths
—Home mastering tips

As the follow-up tutorial to Mixing Rap Vocals, we have a special bundle price (30 percent savings) for both tutorials. There’s also a 30-day satisfaction guarantee, so the worst that can happen is you learn a lot and people ask you how you leveled up your production quality so quickly.

Regular PSW readers know Matthew Weiss has contributed numerous articles that help further the art and science of engineering and production, including several focusing on hip-hop. Check them out here.

Also check out this video to learn more about Mixing Hip-Hop Beats:

 

 


Click here for more information and to acquire your own copy of Mixing Hip-Hop Beats

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Posted by Keith Clark on 10/23 at 06:09 PM
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Tuesday, October 22, 2013

Shure Launches SRH1540 Premium Closed-Back Headphones

Lightweight and Durable Headphone Design Uses 40 mm Neodymium Drivers for an Expansive Soundstage with Clear, Extended Highs and Warm Bass

Shure Incorporated has announced the introduction of its SRH1540 Premium Closed-Back Headphones.

Featuring an expansive soundstage for clear, extended highs and warm bass, the lightweight headphones extend Shure’s established SRH headphone portfolio, offering a comfortable   circumaural design for professional critical mastering and audiophile listening.

Powered by 40 mm neodymium drivers, the SRH1540 headphones have a unique sound signature, delivering the most superior acoustic performance available in a closed-back headphone model from Shure.

A design developed with aluminum alloy and carbon fiber construction as well as Alcantara ear pads, the SRH1540 is built to withstand the rigors of everyday use, while still ensuring maximum sound isolation and comfort for hours of listening.

The Alcantara ear pads are integral to the headphones’ acoustic tuning, positioned to optimize driver performance. An innovative and lightweight design, the SRH1540 was inspired by the recently released SRH1840 Open-Back Headphones. 

“The SRH1540 offers a pronounced bass response and the widest overall frequency range, while retaining the same level of craftsmanship as our open-back SRH1840, making the SRH1540 an ideal choice for engineers, musicians, and audio enthusiasts,” said Matt Engstrom, Category Director for Monitoring Products at Shure.

The SRH1540 headphones feature a steel driver frame with a vented center pole piece to improve linearity and eliminate internal resonance. The ergonomic dual-frame includes a padded headband that is fully adjustable and light enough to wear through hours of listening. An extra cable, replacement ear pads, and storage case are included.

The SRH1540 headphones are now shipping at an MSRP of $624.00.

Shure

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Posted by Julie Clark on 10/22 at 02:39 PM
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Engineer Frank Filipetti Lends His Ears To Development Of JBL Reference Monitor

Recently Frank Filipetti played a significant role in the development of Harman's JBL M2 Master Reference Monitor.

Since the 1980s, producer, recording and GRAMMY award winning mixing engineer Frank Filipetti has worked with Carly Simon, Luciano Pavarotti, Billy Joel, Elton John, Korn, Barbra Streisand, Meatloaf and countless other top artists.

Recently he played a significant role in the development of Harman’s JBL M2 Master Reference Monitor, a 2-way large-format loudspeaker designed to set new standards for sonic accuracy and dynamic range in professional monitoring environments.

In developing new loudspeaker systems, JBL has always welcomed input from recording engineers and producers. In the development of JBL’s new flagship M2 master reference monitor, JBL turned to Filipetti for his critical review and astute feedback.

Like many industry pros, he’s used a number of JBL studio monitors, including his go-to system, the LSR6300 series monitors. When JBL went into production of the M2 in the spring, Filipetti installed a pair in his studio and has been mixing projects non-stop.

“About two years ago JBL invited me to listen to a new studio monitor concept they were excited about,” said Filipetti.

However, after listening for more than two hours, the loudspeakers didn’t win him over. Filipetti came away from the initial audition thinking this early iteration of the M2 was good, but not special, and encouraged the JBL team to work hard to elevate it to the next level. His comments did not go unheeded by the JBL team.

Fast-forward to the summer of 2012, when Filipetti got a call to come back and listen again. Within the first 20 seconds of listening he realized he was hearing something very exciting.

“I’ve been listening to studio monitors all my life and they’re one of the types of products I pay closest attention to, as they’re so integral to my work.”

It took Filipetti less than a minute to realize this new speaker wasn’t like anything he’d heard before.

“The whole experience of the beauty of the music, the sound and the emotional content of the performance all came through to me in a way I had never heard before.”

The JBL engineers made a few final tweaks and the production-version M2 was born.

Filipetti attributes much of the special qualities of the JBL M2 to the new D2 dual diaphragm, dual-voice-coil compression driver and JBL’s new Image Control waveguide, a patent-pending horn design that delivers more musical detail and smoothness than he’d heard previously.

In his estimation, most horns sound “peaky” in the midrange and don’t provide the extension a soft-dome tweeter can deliver while the M2 has a smooth midrange, high-frequency response up to 40kHz and wide dispersion.

“You can stand halfway between two M2 loudspeakers and hear all the top end you’d hear when you’re sitting right in line with the drivers, along with a deep, strong, focused center image. I’ve never heard that from any speaker before,” Filipetti noted.

“Forget everything you know about horns and monitor speakers. The JBL M2 is different,” he emphasized. “I’ve had people that work in music, film and all different genres come by my studio and listen and they all hear what I hear: the closest thing to a universally accurate studio monitor speaker we’ve ever heard.”

Harman
JBL

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Posted by Julie Clark on 10/22 at 02:24 PM
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Sony Unveils PCM-D100 High Resolution Audio Portable Recorder At AES 2013

Sony's new PCM-D100 delivers high-sensitivity, wide range of recording capabilities to reproduce sound with extreme fidelity.

Sony’s new PCM-D100 audio recorder is designed to deliver high sound quality in professional audio applications including live music events, theatrical performances, and electronic news gathering. 

The recorder supports the latest high-resolution codecs and formats, including 192kHz/24bit PCM and DSD. 

The PCM-D100 recorder is part of Sony’s newly announced High-Resolution Audio initiative, a complete series of products designed to help music lovers conveniently access and enjoy the digital music they love in the best playback quality.

“This new model is Sony’s highest-quality portable digital recorder, designed to faithfully reproduce sound sources such as instrument performances and sounds of nature, as closely to the original as possible,” said Karl Kussmaul, senior product manager, professional audio, Sony Electronics.

The PCM-D100 recorder’s compatibility with the DSD format enables the recording of source sounds using digital signals, but in a format that closely resembles analog waveforms. Compatible with recording and playback in 192 kHz/24-bit linear PCM, the unit can reproduce ultra-high range, delicate music components with excellent audio quality from low to high range. Its broad playback frequency band easily exceeds the audible band of 20 Hz to 25 kHz.

A highly sensitive directional microphone uses a new 15 mm unidirectional mic unit. The mic’s sound collection range adjusts to suit various sounds, from performances with a small number of people to concert halls with a large group of performers. The highly sensitive, broadband recording functionality expresses frequency properties up to 40 kHz, to maximize the advantages of DSD recording.

Users can select the 90-degree ‘X-Y stereo position’ when the sound is in close proximity to the mic, or the 120-degree ‘wide stereo position’ in more spacious venues or for performances by larger groups.

The PCM-D100 recorder uses separate A to D converters for PCM and DSD recording. Compared to conventional 24-bit DA converters, the new Sony recorder uses a higher-class 32-bit converter to achieve accurate sound playback.

The headphone amp incorporates a high-capacity, ultra-low impedance 0.33F (330000μF) electric double-layer capacitor (EDLC), equivalent to 750 times the capacitance of conventional technologies. This stable power supply dramatically enhances the headphone power source, enabling more faithful reproduction of high-quality audio.

Internal noise when performing conversions from analog to digital is reduced by applying a unique digital limiter mechanism that uses two AD converters for a single channel. This functionality achieves low noise with a signal-to-noise ratio of up to 100 dB. A conventional digital limiter constantly secures normal audio, as well as low 12 dB signals. Even if input exceeds the maximum input levels, the recorder prevents sound distortion by automatically adjusting to the optimal level.

The individual left and right adjustable REC volume enables fine adjustments to the left and right channels. Users can quickly check recording levels on the recorder’s illuminated level meter, even in darkened venues. Compact built-in speakers also allow users to immediately play back and check the recorded audio, even without headphones.

Long recording times are possible with the PCM-D100 recorder: approximately 6 hours, 35 minutes when recording in Linear PCM (192 kHz/24-bit), or about 10 hours, 50 minutes in DSD (2.8 MHz/1-bit).

The recorder includes a high-speed USB port for uploading and downloading files to and from Windows® PC or Macintosh® computers. Recording formats include linear PCM (at 192, 176.4, 96, 88.2, 48 and 44.1kHz); DSD (2.8224 MHz) and MP3 (320 and128 kbps). Additional playback support is provided for FLAC, WMA and AAC files.

The PCM-D100 recorder has 32 GB of built-in flash memory and a combination SD Card/Memory Stick slot for expandable storage. The recorder’s lightweight metal aluminum body is built to withstand the demands of professional applications and offers long battery life via four AA batteries.

Other unique PCM-D100 features include a five-second pre-record buffer, digital pitch control, cross-memory recording, dual digital limiter, a low-pass filter, Super Bit Mapping®, built-in editing functions and a built-in speaker.

The PCM-D100 recorder, which replaces Sony’ previous PCM-D50 model, is supplied with Sony’s Sound Forge Audio software, a wireless IR remote commander, a microphone furry windscreen, carrying case, four AA batteries, AC adapter and a USB cable.

The PCM-D100 recorder is planned to be available in early 2014 for a suggested list price of $999.

Sony

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Posted by Julie Clark on 10/22 at 01:29 PM
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Hal Leonard Publishes Beyond Mastering

Hal Leonard releases Beyond Mastering, the highly anticipated second book by mastering engineer Steve Turnidge.

Hal Leonard releases Beyond Mastering, the highly anticipated second book by mastering engineer Steve Turnidge.

In his first book, Desktop Mastering, Turnidge gave readers a tour of his unique approach to mastering, all the while providing glimpses of his mind-set and resulting workflow. Now, in Beyond Mastering, he unveils the physics and philosophy that drives the mastering engineer.

He has found parallels between mastering music and mastering life, and he helps the reader to find the internal state required to achieve happiness and success.

Beyond Mastering is full of guiding principles gained from Turnidge’s 25-plus years in art and technology. He expresses universal truths with a mix of anecdotes, analogies and metaphors, and reveals ways to truly enjoy work and be more productive when fully integrating your profession into the rest of your life.

The book is written for the audio enthusiast who wants to get a better handle on deeper aspects of the art and craft of mastering. It is also for people who enjoy reading philosophical ideas that extend beyond routine education, and for those who want to better understand the world of audio, frequency, and amplitude.

“Steve was the first person to ever do mastering for me on my songs, and let me witness firsthand what his process could do to fix a multitude of sins on the original recordings,” adds Gordon Raphael, producer (The Strokes). “In this latest book, Beyond Mastering, the deeper part of Steve Turnidge’s mind comes out and shows incredible insight gleaned from this lifetime living inside of creative music and technology (technology that he not only owns and uses, but also has designed, invented, and sold around the world).” –

Steve Turnidge is a noted mastering engineer at UltraViolet Studios with vast professional experience, a history of service in the international audio community, an entrepreneurial outlook that utilizes all available levels of technology, an intellect that finds incredible keys to universal truths and insights, and scores of albums and thousands of licensed music tracks to his credit. Turnidge also has an electronics background as a designer for Rane Corporation, and he currently designs and fabricates modular hardware synthesizers at Synthwerks, as well as guitar pedals for Pigtronix.

Hal Leonard

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Posted by Julie Clark on 10/22 at 12:26 PM
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Monday, October 21, 2013

Neumann Unviles TLM 107 Microphone With Multiple Polar Patterns

Delivers balanced sound for five directional characteristics

At the recent AES convention in New York, Neumann unveiled the TLM 107 large-diaphragm microphone offering multiple polar patterns.

All of the microphone switch functions are controlled through a wear-resistant navigation switch. The contemporary, intuitive operating concept includes an illuminated pattern display in the chrome ring, with the pad and low cut status LEDs positioned to the left and right.

The switch and display are located on the rear of the microphone so as to not distract singers. After 15 seconds, the display is turned off automatically, allowing the TLM 107 to be positioned discretely on the stage. 

The newly developed double diaphragm capsule is inspired by one of Neumann’s top models, the D-01. With exceptional impulse fidelity, the TLM 107 is particularly suitable for percussion and the finest overtones of stringed instruments.

As a multi-pattern microphone, it delivers balanced sound for five directional characteristics: omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid.

For all polar patterns, up to 8 kHz the sound reproduction is almost linear, while a slight high frequency boost lends brilliance and freshness to recordings. Particular attention has been paid to the natural reproduction of the human voice, especially the critical “s” sound.

Low sensitivity to pop sounds is ensured by an acoustically optimized grille. The capsule is designed to minimize sensitivity to humidity and other environmental influences. For example, the front and rear diaphragms are at ground voltage, thus preventing the electrostatic attraction of dust particles.

In order to ensure that no dust enters the interior, the sound transducer — like all Neumann capsules — is mounted in one of the best cleanrooms in Germany.

Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible. The maximum sound pressure level, specified as 141 dB SPL, can be increased to 153 dB SPL via the two-stage pre-attenuation, so that sound from even the loudest sources can be transmitted without distortion.

The switchable low cut with the settings Linear, 40 Hz and 100 Hz has been carefully adapted to practical recording situations: The 40 Hz setting eliminates interference noise below the range of fundamental tones, while the 100 Hz setting is ideally suited to speech and vocal recordings.

Wolfgang Fraissinet, president of Neumann.Berlin, explains, “The TLM 107 is a modern, high-resolution sound transducer with excellent reproduction characteristics that enable it to capture the original sound without any coloration, thus ensuring unlimited design freedom in mixing and post-production.”

The TLM 107 is priced at $1,699.95 and will be available in late November. It is supplied in the colors matte nickel or black, and includes a stand mount.

Neumann

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Posted by Keith Clark on 10/21 at 04:16 PM
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Avid Accelerates Momentum Of Pro Tools 11: More Than 600 Plug-Ins Now Available

More than 600 plug-ins now available in new 64-bit AAX format, allowing audio professionals to easily achieve the sound they seek and deliver higher-quality mixes, faster

Avid recently announced that more than 600 64-bit AAX plug-ins are now available for Avid Pro Tools 11.

Preeminent musicians, engineers, producers, and broadcast professionals across the industry are using Pro Tools 11 to deliver higher-quality, inspiring content more efficiently than ever.

“Avid development partners have adopted the new 64-bit AAX format at an unprecedented rate,” said Chris Gahagan, senior vice president of products and services at Avid. “By collaborating with the most respected developers in the world, we’re enabling our customers to easily create richer-sounding, more complex mixes faster than ever, using the most powerful audio workstation in the industry.”

Pro Tools 11 enables audio professionals to speed content creation thanks to its 64-bit architecture and new Avid Audio Engine, which delivers multiple times the processing power of any previous version of Pro Tools. With the new AAX 64-bit plug-in format, professionals gain more accessible RAM to boost performance and have hundreds of options to creatively take their music and audio production to a higher level.

More than 60 Avid development partners have embraced the new AAX format, including Waves, AIR, Antares, Sonnox, McDSP, and many other top audio developers.

AAX plug-ins ensure compatibility with previous sessions and enable Pro Tools users to add hundreds of virtual instruments, effects, and sound processors to their sessions while greatly enhancing the creative aspects of recording, editing, and mixing audio.

A wide variety of AAX plug-ins are available that emulate classic hardware sound processors or musical instruments, enabling customers to eliminate hardware investment and upkeep expenses.

With long-awaited industry favorites among the hundreds of AAX 64-bit plug-ins now available, audio professionals are confidently making the move to Pro Tools 11.

“Musicians and engineers are very excited about the performance and power that the new AAX plug-in format provides,” stated Butch Vig, Grammy-award winning producer (Foo Fighters, Green Day Nirvana). “The ability to accelerate workflows and create bigger, more complex mixes makes Pro Tools 11 an incredible value.”

“As an audio professional and business person, it’s essential for me to have the best tools available,” stated Dave Pensado, Grammy-award winning mix engineer (Christina Aguilera, Beyonce, Shakira). “Pro Tools 11 is an investment that will help me attract new customers, grow revenue, and differentiate myself from accelerating competition in the marketplace.”

Avid

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Posted by Julie Clark on 10/21 at 10:28 AM
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API Announces THE BOX Project Console

API debuts THE BOX project console at AES 2013.

API has announced the latest addition to its line of analog consoles, THE BOX project console, specifically designed for audio professionals with project or home studios who require a smaller format console with that “big” console sound.

THE BOX offers the same circuitry, performance and legendary API sound as the company’s l Vision, Legacy Plus and 1608 consoles. It just debuted at the recent AES convention in New York, and is now shipping from the company’s factory in Jessup, MD.

“THE BOX offers an easy, turnkey solution for recording and mixing,” says API president Larry Droppa. “It’s a great option for people who record a few channels at a time, but demand the warmth and punch that a large API console delivers.

“In addition to four inputs, full center section control, and 16 channels of API’s famous summing, the icing on the cake is a classic API stereo compressor on the program bus. Now you can truly record and mix in THE BOX.”

API Audio

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Posted by Julie Clark on 10/21 at 10:13 AM
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