Wednesday, October 09, 2013

Canal+ Group Implements All-SSL Audio Infrastructure For New Studio Complex

CANAL+ Grouphas implemented a complete, end-to-end audio infrastructure based entirely on SSL equipment for its new studio complex.

Solid State Logic is pleased to announce that CANAL+ Group has implemented a complete, end-to-end audio infrastructure based entirely on SSL equipment for its new studio complex.

This new facility was created to produce content for the CANAL+ free DTTV channels: Itélé, a 24/7 news operation; D8, a general entertainment channel and D17, primarily focused on music with additional documentaries, concerts, special series and movies rounding out the offerings.

The two main studio audio control rooms feature SSL C100 HDS consoles, supported by C10 HD consoles as backup and to provide a uniform interface and audio quality when used as a submixer.

Three other studio control rooms feature the C10 HD as the main console with a second C10 HD as backup in two studios, for a total of seven C10 HD consoles throughout the facility.

Beyond the consoles, the big story concerns the routing infrastructure based on the SSL MORSE Router and MORSE Stagebox to handle microphone and line I/O via MADI and multiple Alpha-Link LIVE-R MADI/AES/Analogue format converters to connect to the consoles.

This is the first instance where a major broadcaster has opted for an all-SSL audio infrastructure.

“We already had a successful standing relationship with SSL when we first took a look at building the new facilities,” said Jean-Marc Delage, project manager/engineer for CANAL+ Group. “Beyond the equipment itself, one of the major costs for building a facility is wiring.

“We needed to put together five audio control rooms in such a way that all audio assets could address any console. SSL’s solution was efficient and cost-effective, as the entire hookup was through redundant fiber, so we enjoyed minimal wiring to yield maximum flexibility.”

The audio control rooms were configured such that each console only receives its input information via an associated MORSE Router or Stagebox.

All external rack-mount equipment and CD players, for example, are fed to the MORSE Stagebox associated with a particular room.

In this way wiring was straightforward and easy to accomplish, while delivering a truly powerful and flexible system that could take a mic input from any studio and route it into any console.

CANAL+ Group is the forerunner in the provision of premium-content and themed networks, as well as in the bundling and distribution of pay-TV offerings.

Solid State Logic

Posted by Julie Clark on 10/09 at 11:27 AM

Long Island’s Beach Street Music Renovates After Hurricane Sandy With Argosy Consoles

Beach Street Music installs Argosy Console workstations in newly renovated space.

When Hurricane Sandy flooded television production music house Beach Street Music, located on the south shore of Long Island, owner Dave Catalano converted two spare rooms in his home into a studio, installed a Dual 15 Keyboard Workstation from Argosy Console, Inc., and continued working.

Ten months later, Beach Street Music, who has created music packages for NBC and CBS, is fully restored and renovated, and equipped with a variety of new equipment, including with a second brand new Argosy Dual 15 Keyboard Workstation.

The Beach Street facility is situated within a former carriage house that was built in 1902 and was relocated from the Gold Coast on Long Island’s north shore to Babylon in 1939.

When Sandy made landfall on October 29, 2012, the studio was inundated with three feet of salt water, destroying equipment and patchbays in the outboard racks, guitar stomp boxes, two drum sets and two Hammond organs.

“After the storm we had a beautiful striped bass right in the studio,” he reports. “But we’re still here, and we didn’t lose anybody.”

After studying the options for studio furniture, he says, “I was taken by what the Argosy console afforded me in terms of working space for something that’s not overly large. When I took those two rooms at home to use as a studio, I brought in the Argosy workstation, which I fell in love with.”

Replacing the building’s original oak wall panels was cost prohibitive, so Catalano renovated with a more modern vibe, at the same time replacing all the plumbing and electrical wiring. He also added a couple of iso booths and raised the control room floor to accommodate new studio cabling.

Catalano and the team moved everything back into the refurbished facility over the Labor Day weekend, including the second Argosy workstation.

“What really drew me to the Argosy Dual 15 Keyboard Workstation first and foremost was that it could accommodate an 88-note keyboard right in front of me,” says Catalano, who established Beach Street Music in 1995 and, with a roster of composers and musicians on both coasts, produces music for major broadcast and cable channels. “It accommodates my visual monitors as well as my audio monitors very well, and I have everything available without having to spin around to access everything. So ergonomics had a lot to do with it.”

Like Catalano’s console at his home studio, Beach Street’s new Argosy workstation includes twin 8RU bays, into which he has installed three ten-slot API 500VPR racks loaded with microphone preamp and signal processor modules from companies such as A-Designs/Erickson Montessi, API, Burl, Chandler, Grace Designs, JDK Audio, Lindell Audio, Radial Engineering and Rupert Neve Designs, plus three 96-point patchbays.

In addition to the three flat screen monitors — for the MOTU Digital Performer DAW — and Mackie Big Knob monitor controller positioned in the center of the workstation, Catalano has a pair of Genelec monitors located on top of each 19-inch rack bay.

The team working out of the Babylon studio comprises a core group of six composers and musicians, says Catalano. “We do more of the live performing with guitars and keyboards and drumming, and then we have a couple of guys on the West Coast that pretty much specialize in hip-hop and pop, and do more of the MIDI. I do more of the cinematic stuff, a lot of classic rock stuff, and anything with an overdriven guitar.”

Beach Street Music has created music packages for the four shows that NBC Universal produces out of its Stamford, CT studios, including “The Jerry Springer Show.” “We’re always doing work for CBS,” he adds. “We just did a couple of projects for MTV. We do a lot of syndicated and cable work. As far as prime time, it’s more news-oriented.”

Over the next 12 months or so, he hopes to expand Beach Street Music to also include a facility in Vermont.

“We’re probably going to open up two rooms, one for me when I’m up there skiing, because I’m up there all winter long.” In the New York area, the proliferation of home studios makes studio time very competitive, he comments. “Up in Vermont, I believe there is still plenty of demand for studio time, so I’m going to do two rooms up there—and I’ll probably outfit both rooms with Argosy console.”

Posted by Julie Clark on 10/09 at 11:02 AM

Tuesday, October 08, 2013

History Getting Its Due At The Upcoming 135th Audio Engineering Society Convention

Presenting audio problems and solutions reached by history’s greatest audio minds

At the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), the annual Historical Events lecture series will help illuminate the past, present and future of the craft of audio engineering.

AES Convention Historical Events Chair, Harry Hirsch, a veteran of 50-plus years as musician, engineer, producer, studio owner and studio designer, has assembled a winning collection of presentations. These range from “The Art of Recording The Big Band, Revisited” to a look deep into the restoration and remastering of the classic Peggy Lee and Nelson Riddle LP Jump for Joy and more.

Hirsch, who has guided the AES Convention’s Historical Events series numerous times in the past, worked closely with AES Historical Committee co-chair Bill Wray and technical advisor John Chester on these new presentations, just as he has collaborated with them for years on the highly successful “AES Oral History Project.”

Each presentation will reveal intricacies and nuances of key events and technologies from pro audio’s past, and in one case will offer a chance to see a decades-old riddle finally solved: as part of “Restoring Peggy Lee’s Capitol Records Album Jump for Joy,” presenter Alan Silverman of Arf! Mastering and the NYU Steinhardt Dept. of Music Technology will examine the answer to a mystery uncovered during the restoration and remaster of the 1959 release, which was one of the first records released by Capitol as a stereo LP.

Additionally, one particular presentation will honor the recently departed. On Friday, Oct. 18 at 1 p.m., Ioan Allen, an Academy Award-winning cinema sound pioneer and 44-year veteran at Dolby Laboratories, will present “A Tribute to Ray Dolby.” Allen will review the singular achievements of Dolby, who passed away earlier this year at the age of 80, as well as his recollections of working closely with Dolby during his lengthy career at the company.

135th AES Convention Historical Events
Friday, October 18, 5:00 pm — 6:30 pm
The Art of Recording the Big Band, Revisited

Saturday, October 19, 12:15 pm — 1:15 pm
Restoring Peggy Lee’s Capitol Records Album “Jump for Joy”

Saturday, October 19, 5:00 pm — 7:00 pm
The 35mm Album Master Fad

Sunday, October 20, 1:00 pm — 2:00 pm
A Contribution to the History of Field Tape Recording, 1939-1940

Friday, October 18, 1:00 pm — 1:45 pm
A Tribute to Ray Dolby

Audio Engineering Society

Posted by Keith Clark on 10/08 at 04:06 PM
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AKG Unveils New K812 Reference Headphones

Offers open-back design optimized for pristine and natural sound

At the ongoing PLASA show in London, AKG has introduced new K812 reference headphones, offering an open-back design optimized for pristine and natural sound.

The K812 offers an over-sized 53mm driver for the highest dynamic range ever in an AKG headphone. A copper-covered aluminum voice coil extends sounds beyond the limits of human hearing, hitting a full spectrum of frequencies. 

Each K812 is built for comfort with a fast, adjustable headband and extremely soft ear pads to ensure comfort in any application, for extended periods of time.

“The AKG K812’s are not only our newest reference headphones, but they are the very pinnacle of technological innovation to which we’ve aspired in our 65 years of innovation,” stated Kent Iverson, director of marketing and product development, AKG. “K812 is the result of an intensive 5-year research and development program to achieve, as near as possible, the perfect headphone.

“The level of technology and engineering invested in K812 exceeds the industry standard, resulting in truly the best sounding headphones AKG has ever released.”

AKG’s long-standing tenure in the headphones industry begain with the original K120 in 1949, and also includes the iconic K1000 head speaker system for advanced, binaural reproduction for hi-fi purists and studio pros, as well as flat-wire technology K701s for studio professionals.

Harman Professional

Posted by Keith Clark on 10/08 at 12:10 PM
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In The Studio: An Engineer Analyzes His Mix Process

Decisions made, directions pursued, imagery, sounds achieved, and overall production approach
This article is provided by

I’ve come to realize that many of my mixes follow a specific approach. The decisions made, directions pursued, imagery, sounds achieved, and overall production approach in each mix will vary greatly based on the musical genre and even my mood. The vocal on a lush ballad will most likely sound and feel very different from the “hype” vocal in a rap song. 

Regardless, I will have probably used some or all of the following approach to get both sounds to their final state. Of course, there are always exceptions where I approach the mix in completely different ways, but for the most part this seems to be my pattern:

1. I usually start by trying to understand the overall feeling of the song (or at least my own interpretation of that feeling). This means listening to the song over and over again with general levels that let me feel the vocal and the groove. If I don’t have any clue as to what the song is supposed to feel like, I can’t do anything more than go for a basic “band” image.

I will often spend time working on the vocal sound first in order to define and understand the space I want for the entire mix.

Sometimes I will think of something interesting to do with a particular track that can push the song in a specific direction. A good example is adding a delay to the drums to add a side-rhythm that pushes the song in an interesting way. The delayed room that ET Thorngren put on the kick of “Hyperactive” from the “Riptide” album changed the whole song. 

Once I was mixing a song for a band that was intended to be a Country Western mix, but I felt it would work like a Phil Specter mix.  I added tremelo to the melody guitar by automating a fader going up and down quickly, and that defined the direction of the mix.

2. Once I get an idea about where to go with the mix, I break it down and spend some time with the drums, getting them appropriately punchy, transient, bright and ambient for the mix direction. I then toss up the bass quickly and then get the vocal back up. While I adjust the basic vocal sound, I may tweak the bass more. I have to be able to feel the song at this point.  If not, then I started wrong. Some mixes must start with the vocal, or vocal and piano/guitar in order to be right to the feeling of the song.

3. I may add background vocals at this point, but nothing more than a rough sound.

4. Otherwise, I will fill in main rhythm instruments such as piano, guitars, keyboards, etc. This is the part where I go for more depth as I process and place things in the stereo image. Here is where it’s possible to obtain depth that appears to sound from behind (or on the sides of) the loudspeakers. I like lots of movement in volume and stereo placement, as if all the sounds were either breathing in place, shifting positions to make a better statement, or outright dancing.

5. Don’t forget to keep going back to how this whole thing relates to the vocal. Sometimes a great sound by itself will interfere with the vocal when heard in the mix. Be careful of building up in midrange frequencies and be sure to use stereo placement to help keep things clear. I personally like to try to leave a space in the middle for the vocal and solo instruments.

6. Once the overall band is up (drums, bass, vocals, rhythm instruments), it’s time for the solo stuff. I like to go for a sound on the solo instruments that will stand out, because I will want them to grab the attention of the listener when the vocal is not the main focus. If the solo instrument is also playing when the vocal is singing, I expect them to fight until I get a chance to automate the level of the guitar (starting with “down when it should be in the background”).

The same goes for other instruments. Very often I must automate instrument levels just to get them to make their important statement then back off a little to make room for others.

Once they’re under control, I can fine tune sounds and then levels. Sometimes I’ll automate instruments for creative reasons (so the dynamics of the instrument follow and exaggerate what I perceive to be the dynamic of the song or vocal). Remember the breathing, shifting and dancing mentioned in step 4.

7. Back to the vocal. Vocal processing and riding is very important. A small ride change can make a big difference. I ride vocals for several passes on a variety of loudspeakers in order to be sure of how things feel.

8. I then re-ride all of the background instruments to support and exaggerate the automated-vocal’s enhanced expression.

9. Next, I re-ride the solo instruments to work around the automated-vocal.

10. Almost done! The next step is to tweak the vocal rides by going through them carefully and improving what I can based on the automated background instrument tracks. This includes background vocal rides.

11. After an ear break and listening for obvious things to change on different loudspeakers and in different listening situations (next room, car, etc), I make any final changes I think the song needs. Usually at this point I’m listening for problems rather than creating new images.  Sometimes I’ve made drastic changes at this point.

12. Finally, the fade. I find the places where the song feels like it should start to go and where it should already be gone. I then go back and try to start the fade so people do not notice (due to either the fade start time or the gradual initial slope of the fade) and fade the song out in a way that it continues to pull people in while it drifts off. Sometimes I’ll change some rides due to the fade so certain parts are the very last things heard.

Then I send it off and hope that the client does not disagree with the direction I went in during step 1. Sometimes I think that the song needs to go in a direction that is obviously different from what the artist had intended. In those cases I’m obligated to give the artist “Take 1” in which I use everything in the obvious way and also “Take 2” in which anything goes. In all my decades of mixing, “Take 1” was chosen only a few times. “Take 2” usually involves going back to step 1 and making drastic changes. Although sometimes you can salvage work from Take 1, often you have to start over…even with the vocal sound.

Mixing is an art, and can be an emotional rather than technical process. Mixing is about creating an illusion, regardless if the illusion is of a band on stage or something never heard before. I know when a mix is going well if I’m believing the illusion as I’m building it, and each new thing inspires the next.

Final word: Although different styles and songs will require completely different approaches, never forget that most listeners will never get past “hearing” only the vocal. The entire mix should support the vocal in every way possible, regardless of whether that means making a hard rhythm to push it or a lush rolling carpet for it to ride on.

Bruce A. Miller is an acclaimed recording engineer who operates an independent recording studio and the BAM Audio School website.

Posted by Keith Clark on 10/08 at 09:14 AM
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Monday, October 07, 2013

In The Studio: Four Effective Ways to Use Parallel Processing (Includes Video)

A way to isolate and fine tune an effect, and then blend it as needed
This article is provided by the Pro Audio Files.

When I write articles and make tutorials I really want to focus on being “process oriented.”

For me, mixing isn’t about techniques and signal chains, but about a thought process. I decide what I want and then use techniques or experiments to get that result.

My growth as an engineer doesn’t come from building a catalogue of techniques, it comes from broadening my musical awareness and refining my sense of feel and emotion. In the ever-forward quest of getting folks to think about music, I’d like to re-exam parallel processing.

Parallel processing on its most literal level means making a mult/duplicate of a sound source, processing the duplicate in an independent way, and balancing/blending the duplicate with the original. I like to view parallel processing as a way to isolate and fine tune an effect, and then blend it back into the signal as needed.

I also view it as a way to be more versatile or extreme with effects. You can distort the living beejeezus out of a tuba, but as long as the dry:parallel ratio is something like 90:10 it can still work really well. You can also customize the effect by using conjunctive processing — compressing, EQ’ing, distorting, adding a touch of reverb — whatever.

Let’s look at some common parallel processing situations and examine some possibilities.

1) Drum Bus: Parallel Compression
A common place people use parallel compression is a drum bus. At this point I think some people just do it because that’s what engineers do. But let’s look at the reasoning behind it.

First and foremost, in regular compression the whole of the signal is affected. It’s difficult to beef up the sustain of the drums without also rounding out the attack, particularly on a group bus. Parallel compression allows you to use lower threshold settings and really fine tune that attack time to allow for just the right amount to poke through.

Second, you can get a more extreme form of compression going. This means you can really make the parallel signal pump, and by fine tuning the release time and using a compressor with the right release curve, you can get the drums to swell and move with the groove. If that groove compliments the feel of the record this will subtly but profoundly reinforce the movement of the record.

Lastly, it allows you to correct any unwanted tonal shift that results from the compression. There’s no law saying you can’t EQ your parallel drum bus. In fact, sometimes it’s necessary.

2) Individual Drums: Parallel Compression
Another common place for parallel compression is on individual drums.

Here you can actually use parallel compression in different ways. You can squash the parallel signal and really boost the sustain.

But you can also set the compressor to exaggerate the attack. I demonstrate this in the video tutorial at the bottom of this post.

3) Vocals: Parallel EQ & Compression
This technique is really cool. Let’s say you’ve created a frequency pocket where your vocals can really live clearly. If your mix is dense, simple EQ might not be enough to get the vocal to really stand out without making the vocal sound strange. A common technique here is to create a parallel vocal signal, and EQ it so that primary frequency range is focused on.

It might be a presence thing, 2 kHz to 4 kHz. It might be a treble thing. It might be that tricky “body” range around 400-600 Hz. Whatever it is, you contour your EQ to really exaggerate that zone and then compress the EQ’d signal.

How you compress it would also depend on context. Maybe you want to preserve a “round full” tone — so a softer knee/gentler compression might be the way to go. Ultimately you make a context decision.

But no need to be easy on the effect! Since it’s parallel, you can blend it back in however much you want.

The end result of the EQ -> Compression chain is that the selected frequency area stays more consistent in the vocal, which gives the vocal more presence in that pocket you created.

4) Bass And 808s: Parallel Distortion
Low frequency elements often need higher frequency content in order to stay present in a mix. Or just to stay present on small speakers. A little distortion often works very nicely. A lot of distortion blended in parallel can be a more creative option.

Try this: On a parallel track, grab your bass guitar, or 808, and run it through a distortion plugin until it sounds like someone lit the damn thing on fire. Then throw on a low pass filter and cut away all of the harsh harmonics – might be as low as 400 Hz or lower.

Then, with the whole song playing, blend the parallel signal back in with the dry. Listen for the presence of the bass/808 to suddenly become much thicker and apparent. Find that sweet spot and rock out. Often times I’ll err on the heavier side with this as I usually dig the character it adds.






Matthew Weiss engineers from his private facility in Philadelphia, PA. A list of clients and credits are available at He’s also the author of the Mixing Rap Vocals tutorials, available here.

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

Posted by Keith Clark on 10/07 at 01:04 PM
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Goby Labs Announces New Tablet Frame Thingy Deluxe For Newer iPad & iPad Mini

Base makes new unit suited for stage and desktop use

Goby Labs has introduced the Tablet Frame Thingy Deluxe, which includes new clip kits that enable its tablet frame to hold second-generation or newer iPads or the iPad mini, as well as a base that makes it well-suited for stage or desktop use.

As with the original Tablet Frame Thingy, the new Deluxe version incorporates a patent-pending closed-loop pole grip that ensures tight, secure placement.

And to place the tablet on a desk or similar surface, simply bolt the open end of the steel tube to the included desktop base and adjust the orientation using the thumb-release ball joint mechanism for precise placement.

“We always insist that our engineers listen to the input of our customers and, in doing so, I believe we’ve created an exceptionally useful second generation tablet support system,” says Jonathan Pusey, vice president of sales and marketing for Hosa Technology, which distributes Goby Labs products.

“With the addition of the new base attachment, iPad users can now have one stand that easily traverses the gap between use at home and on stage,” he adds. “And with the new clip kits for iPad mini in addition to the current iPad clip kit, this system presents a strong, sure-footed stand solution that is supported by steel components throughout, further ensuring rock solid stability.”

The Goby Labs Tablet Frame Thingy Deluxe (Part Number: GBX-310) is available now and carries an MSRP of $54.95.

Goby Labs
Hosa Technology

Posted by Keith Clark on 10/07 at 08:58 AM
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Friday, October 04, 2013

Strange Weather Studios New Space Features Ideal Acoustical Environment And 48-Channel API 1608

Brooklyn's Strange Weather studios moves to new locale and upgrade API console.

With an API 1608 console, a jaw-dropping collection of analog equipment, and a straight-up rock ‘n roll recording vibe, Brooklyn’s Strange Weather studio is growing at an incredible rate.

A move to a larger space with custom acoustical design by Wes Lachot of Wes Lachot Design is destined to help Strange Weather thrive in the years and decades to come.

In addition to Lachot’s accurate acoustic design and owner Marc Alan Goodman’s ever-growing collection of gear and his valued partner Daniel Schlett, the new space benefits from an expanded API 1608 analog console with 48 fully-automated channels and 24 expansion slots for API 500 Series modules.

But beyond the particulars, the studio’s greatest strength derives from the cohesion of its acoustical, electrical, and creative environments.

Lachot takes a broad and balanced perspective to studio design and recognizes that a lot of what makes Strange Weather successful is out of his hands.

“The most important component of a successful recording studio is the talent, and Marc is at the hub of a vibrant creative community,” he said. “They have the songs, the instruments, and the performances that have the potential to become enduring recordings.

“After the talent, the acoustics are most important. That’s coming from an acoustic designer of course, but if the acoustics aren’t there, then the musicians don’t feel right and the performance suffers. The accuracy of the acoustics on both sides of the glass also impact how well a performance is captured and how well it translates.

“After the acoustics, the console is the next critical component because everything will travel through it multiple times.”

Goodman acquired Strange Weather’s original API 1608 in 2008.

“The idea of having something new and reliable with an honest vintage sound was very appealing,” he said. “I love the simplicity of the API 1608. It has eight aux’s, eight busses, and no crazy routing.

“Unlike everything else that’s being made today, it’s not overbuilt. And of course the sound is very attractive, especially to our mostly rock-based clientele.”

Lachot regularly recommends API consoles to his clients.

“Our rooms are very quiet and very accurate,” he said. “When we’re finally done and we fire up the tunes, the quality of the console is obvious. And if the quality of the console isn’t there, it can be a brutal realization.

“API’s all-discrete analog consoles have a hugeness, clarity, and depth that’s unbeatable. And the people at API are great to work with. They stand behind their products.”

Because the API 1608 is expandable, Goodman was able to grow his console to its current 48 channel form, and even included an additional bucket to accommodate 16 additional 500-Series slots.

“If anyone can fill those slots up fast, it’s Marc,” Lachot joked.

API Audio

Posted by Julie Clark on 10/04 at 11:14 AM

CADAC Appoints The Audio Specialists UG For Germany And Benelux

CADAC has appointed new German based distributor, The Audio Specialists UG, to distribute its console range exclusively in Germany and Benelux.

CADAC has appointed new German based distributor, The Audio Specialists UG, to distribute its console range exclusively in Germany and Benelux.

The newly formed distributor is an independent subsidiary of the Dutch TAS group and is headed up by leading professional audio sales manager Hans-Juergen Heitzer (aka Age-jay), formerly with Mega Audio.

Based in Wittlich in Rhineland-Palatinate, close to the Belgian border, The Audio Specialists UG opened for business at the beginning of this month with a portfolio of leading international brands. CADAC joins a line-up that includes Clair Brothers, Outline and RPM.

“It is our objective to serve our client base with high quality products from internationally recognised brands,” states Age-jay. “CADAC is a perfect fit, with a heritage based on the best sounding, best engineered live sound consoles ever made and a new product range that is extending that reputation into digital, delivering major advances in performance and operation.

“Products like the CDC four and CDC eight provide a definite advantage across a wide of live sound applications, both for touring and fixed installations.”

CADAC International Sales Manager Ben Milson adds, “We are very excited at the prospect of The Audio Specialists bringing its highly regarded business model, with its focus on a very high level of support for the brand, to the distribution of CADAC in Germany and Benelux.

“It will be a winning combination of The Audio Specialists’ enthusiasm and CADAC’s unique product line. Age-jay brings years of experience in working with many highly regarded brands in these markets and we are really looking forward to working with him on building our business in such important European markets.”


Posted by Julie Clark on 10/04 at 10:56 AM
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Avid Announces Pro Tools 11 Compatibility For EastWest Catalog Of Virtual Instruments

EastWest Software Engine PLAY 4 provides full AAX and 64-bit support for Avid Pro Tools 11

Avid and EastWest announce compatibility with Pro Tools 11 for the entire catalog of EastWest award-winning virtual instruments.

EastWest released the newest version of its proprietary software, PLAY 4, to support all of its collections with the new Avid AAX format.

EastWest/Quantum Leap virtual instruments enable musicians to create, compose and perform using the most realistic sounding samples, from rock to classical with many other genres in between.

A number of top composers and producers in the television, film and music industries rely on EastWest/Quantum Leap virtual instruments for audio production including James Newton Howard (“The Dark Knight,” “King Kong”); Danny Elfman (“Spiderman,” “Nightmare Before Christmas,” “Terminator”); Mark “Spike” Stent (Coldplay, Lady Gaga, Bruce Springsteen, Muse); and Herbie Hancock (12 time Grammy winning pianist & composer); Teddy Riley (producer of Michael Jackson’s “Dangerous” and “Invincible”).

More than 30 EastWest/Quantum Leap award-winning collections are now Pro Tools 11 compatible, including EastWest’s famous Hollywood series.

Avid Pro Tools 11 redefines professional music and audio production for today’s workflows. From all-new audio and video engines and turbocharged 64-bit performance, to expanded metering and new HD video workflows, Pro Tools 11 enables users to take on the most demanding sessions and maximize creativity.

EastWest joins more than 50 Avid third-party developers who have released more than 300 64-bit AAX plug-ins for Pro Tools 11 compatibility.

With a clientele that spans the who’s who of the music, film, television, games, multimedia and performing arts industries, EastWest provides professionals with the very best music creation tools available, now ready to be used with AAX and 64-bit support. The new 64-bit Avid Audio Engine in Pro Tools 11 allows customers to freely compose with large numbers of EastWest virtual instruments with practically no limits on RAM for sample buffers, which has not been possible before.

The newest version of Play 4 software is now available.


Posted by Julie Clark on 10/04 at 10:39 AM
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Jane’s Addiction Picks TELEFUNKEN Mics for Touring

New Telefunken M82 and M81-SH Dynamic Mics Boost Drum Power of Jane's Addiction.

Jane’s Addiction FOH engineer Jamie Rephann picked two new TELEFUNKEN microphones for the triumphant national tour of the band that launched the perennial alternative Lollapalooza rock festival.  He chose the new M82 and the M81-SH mics for drummer Stephen Perkins’ drum kit.

Rephann, who has worked as FOH engineer with ZZ Top, The Mars Volta, Tower of Power, and Papa Roach, among many others, spoke about the new TELEFUNKEN mics on tour with Jane’s Addiction: “The best thing I can say about the TELEFUNKEN M82 is that hands down it outperforms any kick drum mic I have used to date. Its like TELEFUNKEN just pressed the ‘ease your life button’ with the response of the M82.”

The new M82 dynamic cardioid microphone follows the same design approach as TELEFUNKEN’s other popular Dynamic Series microphones, and was created to provide a superior alternative to familiar large diaphragm dynamic microphones designed for kick drum. 

Rephann continues, “The M80 has been my vocal mic for about 5 years now, and with the addition of the M80-SH & 81-SH low profile mics for drums I couldn’t be a happier sound dude. I will never again do a show without my M82 and M81’s as well as M80 for vocals. It’s a pleasure to mix with these every night.”

TELEFUNKEN’s new M81-SH is a more compact version of the M81, which builds off many of the strengths of the popular M80, retaining the same minimal proximity effect, superior feedback rejection, and an articulate mid-range.  However, with the M81 (and subsequently the M81-SH), the top end is pulled back a bit, yielding a flatter overall frequency response. This combination results in a microphone with a wealth of body and clarity, making it a great tool for taming brighter vocals and guitar tones, and for fattening up toms, percussion, horns and thinner sounding sources.  The M81-SH also works well for singing drummers where isolation from cymbals is desired.

In addition to the microphones, Jane’s Addiction bassist Chris Chaney has been using TELEFUNKEN’s Graphite enriched Delrin guitar picks on stage and in the studio.  “Chris is a very popular session guy and he absolutely loves the picks,” added Rephann.

Jane’s Addiction was formed in Los Angeles, California in 1985. The band’s line-up features lead singer Perry Farrell, guitarist Dave Navarro, bassist Chris Chaney, and drummer / percussionist Stephen Perkins.  The band was one of the first to emerge from the early 1990’s alternative rock movement, and gain both mainstream media attention and commercial success. Their initial farewell tour launched the first Lollapalooza, which has since become a perennial alternative rock festival. As a result, Jane’s Addiction became icons of what founder Perry Farrell dubbed the “Alternative Nation.” The band was ranked 35th on VH1’s “100 Greatest Artists of Hard Rock” list.


Posted by Julie Clark on 10/04 at 09:57 AM
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Thursday, October 03, 2013

Aphex Ships New USB Mic With Analog Processing

The Aphex Microphone X offers podcasters, voiceover talent and vocalists studio-quality sound, complete with integrated analog optical compression, Aphex’s famous Aural Exciter and Big Bottom analog processing, and HeadPod 4 headphone amplifier technology in a single, easy-to-use package.

Aphex is now shipping the Microphone X, a high-quality cardioid condenser USB microphone that comes complete with integrated analog processing including optical compression and Aphex’s famous Aural Exciter and Big Bottom, and HeadPod 4 technology. 

The Microphone X is configured to put all of the key analog processing used for recording the voice before the conversion to digital, thereby ensuring the best possible recording quality. And all of this processing power is controllable, with input trim, headphone output level and individual controls for the Aural Exciter and Big Bottom levels.

Each of the processors has its own on/off control. Users record a perfectly optimized signal right into their DAW via USB. No other USB microphone combines this feature set. The Aphex Microphone X puts everything users need to make exceptional sounding spoken-word and vocal music recordings right at their fingertips.


Posted by Julie Clark on 10/03 at 11:29 AM

Wednesday, October 02, 2013

Yamaha CL5 Installed At NEP Studios In NYC

NEP Studios in New York City recently installed a Yamaha CL5 in Studio 47, and TheBlaze has made it their home for production of many of its shows.

NEP Studios in New York City recently installed a Yamaha CL5 in Studio 47, and TheBlaze has made it their home for production of many of its shows.

TheBlaze is a news, opinion and entertainment network dedicated to delivering high quality programming 24/7. 

TheBlaze is available on over 25 television providers including DISH and Optimum TV.  TheBlaze is also available as an online video streaming network.

The Yamaha CL is currently being used for production of Real News, Wilkow!, Liberty Treehouse and The B.S. of A.

The exclusive provider of Glenn Beck’s daily television broadcast, TheBlaze offers a full slate of thought-provoking original news and opinion shows, enlightening documentaries and original specials.

The Yamaha CL5 in NEP 47 is equipped with four Rio 3224-D input/output boxes.

“I had exhausted the analog console’s I/O,” states John Ariz, broadcast audio mixer for TheBlaze TV. “NEP and TheBlaze agreed to upgrade the studio and loved the cost-for-power ratio of the CL5.

“Having prior experience on Yamaha PM5D, LS9, and M7CL consoles, I could tell Yamaha had really listened to their user’s feedback and incorporated some of the best features in this model.”

Ariz cites features like the Dante Network’s ease of use, the console’s 24 mix busses, the ability to choose the direct outs and insert points, and its preamps. 

“The console sounds great. Lots of clean headroom, very dynamic and the new premium effects are exciting,” says Ariz.

“We had been looking for a digital console to replace the current analog console, and was pleased that Yamaha was able to provide an on-site demo of the CL5 and DANTE IO for our engineers and management,” adds Alex Joyce, Tech Manager for TheBlaze.

“After the decision was made, NEP’s talented engineers pre-wired all patch bays and remote IO during our normal production schedule to allow for the installation of the CL5 over a three-day weekend, replacing the current analog console.

“We were under a very tight deadline to resume full production, and Yamaha provided an experienced technical rep on the launch day to ensure it was a success.

“We are very pleased with the Dugan-MY16 card option, as this feature greatly improves the intelligibility of our productions. Our staff and freelance audio engineers have been quite happy with the ease of operation and robust features of the CL5.”


Posted by Julie Clark on 10/02 at 01:45 PM

Monday, September 30, 2013

In The Studio: The Power Of Subgroups (Includes Video)

A way of making the mix process more efficient
Article provided by Home Studio Corner.

If you’ve been mixing for any length of time, you probably know how useful (and cool) subgroups can be.

But recently, Joe Gilder has come up with a different take on doing subgroups—a small change, but something that’s definitely had a positive impact in his workflow and has helped speed his mix process.

Previously, he only subgrouped things he felt should go together—guitars, or vocals, or drums—but that approach has changed. In this video, Joe explains his new strategy on subgroups, offers additional specifics, and explains the reasons why it’s making things more efficient.


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.

Posted by Keith Clark on 09/30 at 05:40 PM
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Al Schmitt At Ocean Way Recording For New Yumi Matsutoya Album

Joined by guitar ace Dean Parks and engineer Steve Genewick

Multiple Grammy-winning engineer/producer Al Schmitt recently dropped in at Ocean Way Recording in Hollywood to work on the new album from Japanese superstar Yumi Matsutoya. 

Schmitt, who is tracking and mixing her 37th album, was joined by fellow engineer Steve Genewick for the recording of guitar overdubs by the virtuoso Dean Parks in the renowned Studio B.

Matsutoya is a hugely popular Japanese singer, composer, lyricist and pianist, with more than 42 million records sold and twenty-one #1 albums in her career.  She is the only artist to have at least one number-one album every year on the charts for 18 consecutive years.

Her husband, producer Masataka “Manta” Matsutoya writes arrangements that often involve classical strings and woodwinds, and was one of the first composers to use these instruments in J-pop music. He also frequently uses choruses in his arrangements, and many popular Japanese artists have made their debuts in the background choruses of Yumi Matsutoya’s songs.

Ocean Way Recording

Posted by Keith Clark on 09/30 at 09:56 AM
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