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Friday, June 05, 2009

Wireworks To Debut Highly Flexible BG Unisex XLR Cords At 2009 InfoComm

Couples Wireworks cabling with Neutrik convertCON connector

Wireworks will introduce adaptable BG Unisex XLR cords at the upcoming 2009 InfoComm 2009 show in Orlando (booth 5221). 

The highly flexible BG Unisex XLR cords match up the company’s MusiLUX microphone cable or AES/EBU digital cable with Neutrik’s convertCON connectors, ensuring proper connection.

The cords can be used in both microphone and line level applications and are ideal for system designers, integrators, sound engineers and sound techs that require the ability to connect a variety of gear without worrying about XLR connector gender issues. 

Neutrik’s convertCON is a new three-pin male and female cable connector in a single housing ─ by simply sliding the housing back and forth, convertCON is transformed from a male to female connector.

Wireworks BG cords are available in four configurations: convertCON to convertCON, convertCON to XLR3 male, convertCON to XLR3 female and convertCON to quarter-inch TRS.  The new cable assemblies are offered in a variety of colors and standard lengths with custom lengths available upon request.

“By offering Neutrik’s state-of-the-art convertCON connector with our best-selling cabling products we are able to offer the ultimate in convenience to any install,” says Gerald Krulewicz, president of Wireworks.  “Both the installer and user will truly benefit from this product, as they do not need to worry about gender issues associated with setting up typical microphone cords on both large- and small-scale installation projects.”

Wireworks Website

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Thursday, June 04, 2009

Benchmark Media Systems Introduces MPA1 Ultra-Low Distortion Microphone Preamplifier

The MPA1 maintains superb noise performance across the entire gain range (74 dB) by utilizing precision-matched, low-noise, transistor quad-arrays

The new Benchmark Media Systems MPA1 is a two-channel microphone preamplifier designed to provide transparency, ultra-low distortion, and ultra-low noise performance, making it a great choice for stereo pairs, ribbon microphones, and other critical applications.

The input stage of the MPA1 is designed with high-voltage headroom (+29 dBu) and single-stage gain control to maximize signal-to-noise ratio.

The MPA1 maintains superb noise performance across the entire gain range (74 dB) by utilizing precision-matched, low-noise, transistor quad-arrays. A servo-controlled circuit minimizes DC-offset and maximizes headroom.

The MPA1 exhibits exceptional low-frequency performance with a dual-capacitor AC-coupling design. This dual-capacitor design defeats the limitations of single-capacitor AC-coupling designs, achieving an exceptionally low corner-frequency with excellent subsonic phase-accuracy.

The gain control of the MPA1 is completely unique. The gain is controlled via a 38-position, switched resistor ladder, set up in a continuously rotating orientation via relay control.

This gain control circuit offers 2 dB per step, 0-74 dB of gain without attenuation, and inter-channel gain precision of +/- 0.03 dB. A make-before-break scheme creates a silent switching circuit.

The transistor stage is protected from phantom power surges with an ultra-fast, multi-stage protection circuit. This circuit utilizes the high-speed capabilities of low-capacitance Schotky diodes and the high-current capabilities of TVS diodes to absorb the phantom power surges caused by shorts and plugging/unplugging microphones with +48V on.

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This circuit is pre-biased so that it is isolated from the circuit in normal operation and activated when a surge occurs.

Benchmark Media Systems Website

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Focusrite Liquid Saffire 56 Audio Interface Now Shipping

The Liquid Saffire 56 marries Focusrite's Liquid technology with its new generation of Saffire interface technology

The Focusrite Liquid Saffire 56 flagship Firewire interface is now shipping and widely available in stores across the U.S.

The Liquid Saffire 56 has generated a great deal of excitement as it marries Focusrite’s Liquid technology with its new generation of Saffire interface technology (pioneered by the critically acclaimed Saffire Pro40).

The Liquid Saffire 56 features two Liquid mic-pre-amps evolved from the original award winning Liquid Channel.

Each Liquid pre-amp offers a choice of 10 different classic pre-amp emulations including the API 3124+, Neve 1073, Pultec MB-1, Telefunken V72, Focusrite’s own Red 1, and more.

In addition to eight mic pres, Liquid Saffire 56 includes 10 analog outputs, 16 channels of ADAT i/o, stereo S/PDIF or AES i/o (on RCA phono), MIDI i/o, 2 virtual ‘loopback’ inputs, for routing digital audio between software applications, and BNC wordclock i/o.

Saffire Mix Control software provides ultra flexible control over routing and monitoring, which includes presets for immediate set up of commonly used mixing situations, and full metering across all inputs, outputs and submixes.

Focusrite Website

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Euphonix Grows & Strengthens Sales Team Serving Europe

Growing pro audio sales coupled with the UK office assuming the UK distributorship the Artist Series media controllers prompted the need for a larger sales team

Euphonix announced that Chris Hollebone has been appointed to Operations Director, Mark Hosking has been promoted to Director of Sales, and Devin Workman has been hired as a full-time Product Specialist for Euphonix Europe Ltd.

Growing pro audio sales coupled with the UK office assuming the UK distributorship the Artist Series media controllers prompted the need for a larger sales team.

In his new role, Hollebone will focus on sales development in Russia and CIS, Baltic States, Poland, Hungary, Romania and the former Yugoslavian countries as well as retain responsibility for Italy and France.

“The increase in business triggered all these appointments,” explained Hollebone. “As my managerial responsibilities increased, it made sense to appoint Mark to take a strategic view of the total sales operation in our region.”

Hosking joined Euphonix in 2003 as Sales Manager and was instrumental in the successful development of business in the United Kingdom, Ireland, India, the Middle East and Africa. After 18 successful months in that role, his territory was expanded to include India, the Middle East and Africa.

In March 2008, Hosking assumed responsibility for Germany, Scandinavia and Benelux regions. handing over responsibility for India, Middle East and Africa to Dominic Jacobson. who joined Euphonix at that time.

In February 2009, Hosking took responsibility for the Artist Series distribution in UK and Ireland.

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“For the past year, Devin Workman has been working with part-time with us and in that time, he has established a great rapport with our dealers and end-users. We are proud to have him aboard full-time,” Hollebone further explained. “Devin’s vast experience working as a mixer makes him the ideal candidate to evangelize the Euphonix Artist Series.

“The overwhelmingly successful debut of Artist Series media controllers last year and now the introduction of our newest controller, the MC Transport, leads me to believe Devin will be extremely busy in this new role.”

Euphonix Website

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Tuesday, June 02, 2009

MTV Canada Selects Lawo mc²56 Digital Console For Revitalized Audio Control Room

Selecting a mixing console that not only met MTV Canada’s current broadcast production conditions, but also one that could grow and adapt to meet their evolving requirements

In its quest to overhaul Audio Control Room 1 (ACR1)—the larger of its two main control rooms housed in its Masonic Temple location— and equip the facility with a full digital path, MTV Canada, a subsidiary of CTV, faced numerous technical and logistical considerations.

Chief among them was selecting a mixing console that not only met MTV Canada’s current broadcast production conditions, but one that could grow and adapt to meet their evolving requirements.

After an extensive series of evaluations, those most closely involved in the selection process made their decision and chose a new mc²56 digital console from Lawo.

The new Lawo mc²56 console, equipped with 64 faders, 144 DSP channels, a remote microphone stage box, and a DALLIS frame for local I/O with roughly 72 channels of analog I/O capacity, was installed in early April 2009 and placed into service almost immediately afterward.

The challenges of upgrading ACR1 with a new mixing desk were multifold, as Kent Ford, MTV Canada’s Audio Supervisor, who is responsible for all audio elements pertaining to MTV’s shows, explained.

“ACR1 handles a broad range of production tasks,” notes Ford. “From this room, we mix MTV | Live and The After Show, which encompasses programming for MTV’s The Hills, The City, and other big properties.  In the process of evaluating mixing systems, we looked very closely at how the console handled stereo—our current production format—and surround sound mixing, which is where we’re headed in the very near future. The mc²56’s modular design enables the console to be very flexible, making it fast and easy to reconfigure the board for different types of production.”

Shawn Hughes, Production Engineering Manager for CTV - MTV Canada, supervises an engineering team in support of MTV Canada and other CTV clients coming through the Masonic Temple facilities, such as Bravo, Discovery Channel, and CTV News. He also serves as the building’s technical producer.

Hughes is equally enthusiastic about the new mc²56 and was quick to embrace the benefits of the console’s snapshot automation and its ability to seamlessly integrate into MTV Canada’s production environment.

“Unlike other CTV facilities,” explained Hughes, “which are primarily news oriented, we’re one of only two production-based facilities for CTV. We handle a wide range of projects and, as a result, we required a console that could readily adapt from broadcast production to music mixing to live programming. The mc²56 can easily be re-configured for different types of mixing projects and we already have a good number of snapshots that enable us to recall settings for a variety of production tasks.

“Equally important, the console can readily adapt to evolving production standards without extensive engineering efforts and it met our technical requirements in terms of integration with the overall facility. We genuinely believe the Lawo mc²56 represents the best bang for the buck.”

Kent Ford was particularly complimentary of the Lawo mc²56’s audio quality and the fact that CTV has embraced Lawo’s approach to mixing and audio networking.

“Many digital consoles have a digital sound to them,” says Ford. “By comparison, the mc²56 is extremely transparent. It sounds incredible. Lawo equipment is found in several CTV facilities and the choice of this console reflects what, I believe, is a move to standardize on Lawo’s strengths throughout its various production centers. I see this as an important strategy to streamline workflow throughout the entire organization.”

Lawo Website

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Monday, June 01, 2009

Todd-AO Hollywood Unveils New Euphonix System 5 Digital Consoles

The addition of these new Euphonix consoles brings the total to eight Euphonix consoles for Todd-AO overall

Euphonix has announced that Todd-AO, one of the world’s leading audio post production companies, has installed two dual-operator Euphonix System 5 digital audio mixing systems at their Hollywood facility.

Both of the new Euphonix System 5 consoles have 80 faders, include over 400 DSP channels and come with EuCon Hybrid that enables the console to control not only the Euphonix DSP channels but also external ProTools HD DAWS that are installed on Stage 1 and Stage 2 of Todd-AO Hollywood.

ProTools channels and Euphonix DSP channels can be placed anywhere on the console surface and mixed simultaneously – a unique feature of the System 5.

With the installation of the two stages complete, Todd-AO also announced that three-time Academy Award-winning Re-recording Mixer Michael Minkler will move to the freshly upgraded Stage 1 at the Hollywood facility. Currently Minkler, along with Re-recording Mixer Tony Lamberti, is mixing Quentin Tarantino’s Inglourious Basterds on the Euphonix System 5.

“One way Todd-AO maintains a dominant position in Hollywood’s high-end feature film market is by being able to respond decisively to the evolving needs of our clients. Euphonix consoles help us to do that,” said Bill Johnston, SVP Engineering CSS-Studios. “Euphonix consoles’ combination of integrated DSP and native workstation control gives us a unique edge.”

Specifically configured for motion picture mixing, the System 5 digital film console offers an uncompromising digital audio system that is easy-to-learn and designed for fast access to film-specific mix controls. The system can be fitted with a film style monitoring panel including pec-direct switched and joysticks.

“Todd-AO’s commitment to the art of film is a testament to their success. That is why it is a privilege to have such a well-respected post production house committed to Euphonix as well,” said Mike Franklin Executive Vice President of Worldwide Sales for Euphonix. “With eight Euphonix consoles installed so far, Todd-AO is an overwhelming endorsement to the sound quality and performance Euphonix film mixing consoles offer.”

In the last eight years dubbing teams mixing on Euphonix System 5 consoles have been nominated for the Oscar in sound mixing nine times and have won the coveted award six times, including Black Hawk Down, Dreamgirls, and The Bourne Ultimatum which were all mixed at Todd-AO facilities.

Since the installations, projects completed on the new Euphonix consoles at TODD-AO Hollywood include Crank: High Voltage and Gamer.

Euphonix Website

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Thursday, May 28, 2009

Full Sail Announces 30th Anniversary Scholarship Fund & Tuition Savings

The new fund is one of many scholarship opportunities offered to students

Currently celebrating its 30th year of educating students for successful careers in entertainment media, Full Sail University has announced the new Full Sail 30th Anniversary Scholarship Fund.

The Scholarship Fund provides awards of up to $8,000 to eligible campus degree students who start on July 7, 2009, and who meet specific criteria based on financial need.

The Full Sail 30th Anniversary Scholarship is just one of several scholarship opportunities currently available to prospective students.

Some other scholarships include:
• The Full Sail Merit Scholarship, based on academic performance in your previous schooling
• The Full Sail Star Scholarship, available for students enrolling in Full Sail University’s online degrees (Web Design & Development Bachelor’s Degree ineligible for the Full Sail Star Scholarship)
• The Full Sail Entertainment & Media Industry Scholarship for Women, available to any female Full Sail campus degree applicant 18 years of age or older
• The Full Sail Education Media Scholarship for Teachers, a $12,000 scholarship for eligible K-12 teachers to use toward the online Education Media Design & Technology Master’s Degree

To determine initial eligibility, all applicants must complete a Free Application for Federal Student Aid (FAFSA) (www.fafsa.ed.gov) and review their Federal Student Aid Report with a Full Sail Financial Aid Advisor.

In addition, students who enroll and start any of Full Sail’s Campus Programs on July 7 can save up to $3,000 by taking advantage of a program to utilize 2008’s lower tuition costs.

For more details regarding the Full Sail 30th Anniversary Scholarship, to enroll, and for more information, call an Admissions Representative at 800.226.7625. (Note that all scholarships subject to eligibility requirements and funding availability.)

Full Sail Website

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Wednesday, May 27, 2009

Cakewalk Releases Rapture 1.2 Update;  Available As Free Download For Registered Users

Includes new Envelop Generator, internal Tempo option, extended Vista x64 support and more

Cakewalk has announced the availability of the free 1.2 Update for Rapture wavetable synthesizer, available as a free download for registered customers at: www.cakewalk.com/Support/Instruments/Rapture.aspx.

Features & enhancements include:
• New Envelope Generator functionality includes the ability to retrigger envelopes using the Step Generator; saving and loading EG presets; drag and drop EG presets; an alternate Zoom mode; and auto-scroll when programming, a useful feature when working with extended or zoomed-in waveforms
• New Internal Tempo option, with a built-in Tap Tempo. Use this option to create syncopated rhythmic effects when using Rapture in a host DAW, or use it in stand-alone mode to ensure that Rapture’s tempo-based effects and modulations are in time with the music
• DC offset blocker to remove distortion that can occur when loading some waveforms with unwanted DC offset
• Extended Vista x64 support, including the ability for both the 64-bit and 32-bit versions of Rapture to be installed on the Windows Vista x64 operating system ensuring access within 32-bit DAWs that may be running on the 64-bit OS
• Selectors added to multiple parameters for quicker access to desired settings
• Knobs Focus Indicator to help users identify which knob is currently in focus

Rapture is the winner of the 2008 MIPA award, Keyboard Key Buy Award, Mix TEC award nominee, and recipient of Computer Music’s Top Ten Software Synthesizers of all time.

Cakewalk Website

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Studio Engineer Bernie Becker Deploys Lucid Master Clocks For Neil Diamond Concert Tour

The mic preamps, the console, miscellaneous outboard digital effects, and the digital loudspeaker manager all received word clock from the Lucid GENx192s

Bernie Becker began working with Neil Diamond in the early 1990s as a recording engineer, and subsequently, Diamond and Stan Miller, Neil’s longtime sound designer, asked Becker to join them on tour.

The studio engineer brought a unique perspective to live sound, including a felt need to regulate all of their digital gear with a master clock.

“Live sound engineers shy away from word clock because it’s one more box to haul around and necessitates a lot of cable interconnects,” explains Becker.“They’re always looking for ways to set up faster and more reliably. They see word clock as moving in the wrong direction.”

However, Becker argues persuasively that obvious improvements in fidelity and “solidness” make the extra setup time more than worthwhile.

For Diamond’s 2008 tour, Becker and his peers traveled with ten Yamaha eight-channel AD8HR digital mic preamps on stage, two Yamaha PM5D digital consoles, additional processing by Yamaha, Dolby/Lake and Aviom. (The main PA had JBL VerTec line arrays driven by Crown amplifiers.)

To keep all of that digital signal in synch, they used two Lucid Audio GENx192 ultra-low jitter studio master clocks. The mic preamps, the console, miscellaneous outboard digital effects, and the digital loudspeaker manager all received word clock from the GENx192s.

Part of Becker’s duties, and some might say part of his obsession, involves “proving” all of the tour’s equipment in his Pasadena mastering studio. “You can really hear the nuances that add up to big qualitative differences, and we’ve proven everything from mic pres to cabling,” he states. “It’s difficult to express in words, but different word clocks have different ‘sounds.’ I don’t think anyone would characterize the sound of the higher-end clocks, including the Lucid, as necessarily good or bad… just different, akin to the qualitative differences you might hear among high-end mic pres.”

Nevertheless, two factors contributed to the tour’s long-standing reliance on the Lucid GENx192s.

First, the Lucid has, in Becker’s estimation, a “generic-ness” that’s missing from other clocks. “I won’t pretend to explain why,” he says, “and the engineers would probably tell me it’s impossible, but the GENx192 seems to work nicely with gear from any other manufacturer. Everything improves by locking to it. With other clocks, some gear seems to improve and some doesn’t.”

Second, the Lucid GENx192 has proven itself road-worthy. “We shook a lot of other clocks apart, literally,” Becker laughed. “The GENx192 is rock-solid and has worked without fail night after night after night.”

Despite Becker’s insistence, many of the sound professionals who either traveled with the tour or helped set it up thought the clock was just dead weight. “A lot of those guys just said, ‘Bernie’s crazy,’ which I am, especially about sound,” he admits. “But there’s nothing like a true A/B test to settle matters. Without doing a true A/B, it’s easy to fool yourself into thinking things that aren’t true. Points of reference change.”

So Becker took his naysayers head-on. They had a recording of every mic and the capacity to play back a “virtual” show. He switched back-and-forth between simply slaving each piece of gear to their AES input signal and using the Lucid GENx192 word clock.

“It’s one thing to hear a difference in a quiet control room, but to hear it in a big, noisy arena, that’s something else,” Becker says. “It was obvious to everyone present that in a blind A/B, the clocked audio had less digital harshness, greater imaging, and greater depth of field. It was not subtle. It was no longer up for debate.”

Becker summarizes, “Our Lucid GENx192s are absolutely road-worthy and make Neil’s live sound qualitatively better. For just a few more cable interconnects, the musicians can tell the difference. Many don’t necessarily claim that it sounds better, but rather that it feels more solid, like they’re more connected to their instruments. For just a few more cable interconnects, the audience gets a better show.”

Lucid Audio Website

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Tuesday, May 26, 2009

Radial Purchases Komit Compressor From Manufacturer Burgin–McDaniel

“This is much more than the simple acquisition of an exceptional product design. The opportunity to have two of the world’s leading audio designers join our team was an opportunity we could not resist." - Pater Janis, Radial Engineering

Vancouver, BC-based Radial Engineering has announced the recent acquisition of the Komit Compressor from boutique manufacturer Burgin-McDaniel.

For more than10 years, Kevin Burgin and Drake Williams of Burgin-McDaniel played central roles at Rupert Neve Designs before leaving to start Burgin-McDaniel.

Burgin worked under the stewardship of Rupert Neve as primary circuit designer, where he designed the entire Portico range, including the TEC Award wining 5042 Tape Emulator. He also developed the electronics for Taylor Guitars Expression system and Legendary Audio’s Masterpiece.

During this period, Williams played a key role as circuit layout and mechanical designer for Rupert Neve and was responsible for taking product concepts and turning them into reality.

According to Radial President Peter Janis: “This is much more than the simple acquisition of an exceptional product design. The opportunity to have two of the world’s leading audio designers join our team was an opportunity we could not resist.

“So as part of the deal, we agreed to purchase the Komit design and roll it into our soon to be released LunchBox series. Kevin and Drake are already hard at work developing a complete range that will compliment API’s popular 500 series and you can be sure that we will add a bit of ‘Radial spice’ to bring it to another level.”

The Komit Compressor is currently going through a redesign so that it will integrate switches, LEDs, and connectors that are currently in use in the Radial production line. This will make it easier and more cost effective to produce, which in turn will make it more affordable for the end user.

“We are very excited about having Kevin and Drake join our team and are looking forward to developing exciting and innovative products for years to come,” Janis adds.

Radial Engineering Website

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Sweetwater Launches GearGift Donation Program

The program encourages musicians from across the country to donate old instruments and recording and performance equipment

Sweetwater Sound has launched a donation campaign designed to provide music gear and instruments to people of limited means who have a genuine interest in music.

Sweetwater regularly receives requests for donations of gear from soldiers overseas, disaster victims, foster parents, and nonprofit organizations.

Named GearGift, the donation program encourages musicians from across the country to donate old instruments and recording and performance equipment. Sweetwater plans to refurbish the donated gear and ensure that it finds a new home with a deserving individual.

Those making donations to the program will be encouraged to designate the kind of recipient - a soldier, a child, a nonprofit, etc. Recipients, in turn, will be asked to respond with a thank you note and a photo or two. These responses will be forwarded to the donor.

For more information, call 800-222-4700 or visit the Sweetwater GearGift page online at http://www.sweetwater.com/geargift/.

Sweetwater Founder and President Chuck Surack said, “This is just one small way for Sweetwater to give back, and it makes our customers all across the country our partners in that effort.”

Sweetwater Sound Website

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Friday, May 22, 2009

Barry’s Toolkit: Thumbs Up Or Down For The Marshall MXL V89 Studio Condenser Microphone?

It looks pretty. It's priced right. But how does the V89 actually sound? Studio veteran Barry Rudolph provides an in-depth look at this condenser mic.

The Marshall Electronics MXL professional microphone line has evolved with the introduction of the V89, a fully pro condenser microphone whose performance belies its $599 MSRP (U.S.).

The V89 is proof positive; a perfect example of the way Marshall has “dialed in” quality control of their own overseas manufacturer to produce an instrument worthy to be called “professional.”

The V89 starts with a custom body design made of brass that minimizes body resonance while the chromed tuned grill cavity helps to eliminate standing waves and reduce harmonic distortion around the capsule itself.

The brass tube mic body cover is held in placed by a heavy chrome-plated, decorative bottom cap. A threaded protruding shaft at the bottom of the mic mates with a captive knurl nut on the included shock mount. The XLR mic connector/cable plugs then into this shaft.

The V89 is a cardioid only mic with a 32-mm diameter capsule suspended within an internal shock mount. It uses a center-tapped, 6-micron thick gold-sputtered Mylar diaphragm. The pre-amp design uses an FET (Field Effect Transistor) and has an electronically balanced or transformerless output.

The internal circuit board is ruggedly made using first class construction techniques—mostly surface mount technology.

The mic weighs 1.85 pounds and requires 48-volt phantom power pulling just 5.4Ma of current. The mic comes in a sturdy wood case and besides the shock mount includes a foam windscreen (pop filter).

Its impressive size and look point its use at vocals, acoustic instruments and pianos.

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So How Does It Sound?
My first introduction was for recording acoustic guitar and vocals. The hefty V89 requires a good and sturdy mic stand with either a heavy base or (as I use) a sandbag or two.

I had no trouble aiming the mic using the stand/boom and the supplied shock mount. No non-shock mount is included.

My musician has a nice Martin D-28 and I found aiming the mic at the bridge from about ten inches away to be the sweet spot. I was surprised at the low frequency warmth I got even at this usually bright end of the acoustic guitar.

The wide pickup pattern captures the entire sound of the guitar—the mic was picking up a lot of tone coming from the soundhole.

In general, the sound of the V89 is forward sounding, not overly bright but crisp in this application. Strumming chords and fingerpicking were both well defined with the loud chords coming across especially clear with no noticeable harmonic distortion.

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I found little need for equalization.

Vocals also sounded forward and warm. Whether singing loud or softly it didn’t make any difference in clarity—both were super clear. The V89 is a very quiet mic and able to take the loudest moments without “folding up” and compressing.

Using the proximity effect (singing within one or two inches) on this mic worked well when I wanted a fatter sound from my usually thin-sounding singer.

Of course you’ll need a pop filter screen.

I liked that even at six inches away, I started to hear proximity—good news for singers in general.

The cardioid pattern is very wide making for a wider area for acceptable pickup for a singer who moves around the mic!

Drums and percussion sound very warm using the V89. A diaphragm this large will not respond as quickly to transients as a small diaphragm condenser so the sound is thicker and less spiky.

I also prefer the larger pickup pattern of large diaphragm condensers like the V89 for drum kit overheads.

You get the whole picture of the kit and not just some quadrant of cymbals—wish I had two of them for L/R.

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All This And You Won’t Break The Bank!
I was pleasantly surprised by the sound, look, and build quality of the V89. I’ve had clients come into my Tones 4 $ Studios and immediately appraise the V89 as an “expensive” mic—I probably could have sold my review sample for twice the $599 MSRP ($399MAP)!

But even at twice the money, there is no other mic that comes close to its great sound. It’s a big keeper for me!

V89 Specifications
Type: Pressure gradient studio condenser mic
Capsule size: 32mm/1.26 in.
Diaphragm: 6 micron gold-sputtered
Frequency Range: 20 Hz - 20 kHz
Polar Pattern: Cardioid
Sensitivity: -32 dB re 1 V/Pa
Impedance: 150 ohms
Max output into 1K load: +13 dB
Equivalent Noise: 14 dB (A-weighted IEC 651)
S/N Ratio: 80 dB (Ref. 1 Pa A-weighted)
Max SPL for 0.5% THD: 138 dB
Dynamic Range: 124 dB
Power Requirements: Phantom Power 48V +/- 4V
Size: 64mm x 185mm
Weight: 1.85 lbs
Metal Finish: Grey
3-year warranty
Marshall Electronics MXL Website

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Barry Rudolph is a veteran L.A.-based recording engineer as well as a noted writer on recording topics. Visit his website at www.barryrudolph.com

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More Reviews & Articles By Barry Rudolph On PSW:
Inside The Peluso P12 Tube Condenser Microphone
Barry’s DAW Toolkit: Review Of The Novation Nocturn With Automap 3 Pro
Barry’s Recording Tips: Figure Of Eight Royer For Electric Guitars
Review Of The X-Tempo Pok DAW Wireless Footswitch Controller
Barry’s Toolkit Of Handy DAW Products
Recording Gear Hits At The 2009 Winter NAMM Show
Working At Recording Success: Taking Elemental Steps Can Make All The Difference
Recording Tip: Successfully Dealing With A Dead Room

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Larrabee Studios Adds New Production Room Featuring Solid State Logic Matrix Console

Matrix room brings project studio intimacy to a professional environment

Larrabee Studios, a high-end commercial recording studio for decades that has hosted everyone from Fleetwood Mac and Prince to Dr. Dre and Sheryl Crow, has opened a production room centered on a Solid State Logic Matrix console.

Responding to client interest, the Matrix production room allows artists and producers to have a smaller room available for composing, working on a part or experimenting with a sound, thereby alleviating time pressure on Larrabee’s three very busy SSL XL 9000 K series rooms.

“We are a commercial studio of the highest order servicing clients who want to work in a professional environment,” states Kevin Mills, the owner of Larrabee Studios. “The home or project studio working model is very popular across all levels of the industry offering artists the opportunity to work in an intimate environment for their creative flow. We wanted to provide a room that addresses this way of working within a commercial studio and Matrix was the console of choice for the project.”

Matrix provides the interface between a Digidesign Pro Tools system and a large selection of classic and contemporary outboard gear available through Gearworks Pro Audio Services, a company associated with Larrabee. The availability of such a wide range of equipment allows the artist and producer to explore sonic possibilities, with Matrix maintaining uniform quality with the rest of the facility.

“We are using Matrix with Pro Tools, so that all work done in the production room can immediately be made available to one of the larger rooms,” Mills explains. “The Matrix room is also great for the producer who may have one project in the production room in the development stage and another down the hall in one of the large studios. This concept allows for better and more productive creative flow.”

Mills believes that there is a synergy that occurs between the producers and artists, and the engineers, studio management and the physical studio itself that keeps the big acts coming back. The commercial studio, therefore, offers a level of quality and service simply not found in a private environment.

“Anyone can build something small in their bedroom or garage, but there is no substitute for controlled acoustic environments and high level microphones and electronics,” says Mills. “We have always been able to offer clients the amenities of a commercial studio, and now, with Matrix, we can offer the measurable quality of our large studios in an intimate environment.”

Phil Wagner, President SSL Inc., comments, “Larrabee’s relationship with SSL extends back decades. We are extremely pleased to see Larrabee continue with the SSL sonic legacy in their new production room.”

Solid State Logic Website

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SoundField Now Shipping UPM-1 Processor, A Stereo-To-5.1 Converter

The UPM-1's processing is adaptive, changing with the input signal, rather than remaining constant irrespective of input

SoundField has begun shipping the first quantities of its latest product, the UPM-1 stereo-to-5.1 converter, a 19-inch rack processor designed to create 5.1 content from old program material that only has a stereo soundtrack. (SoundField products are distributed in the U.S. by the TransAudio Group.)

Such ‘legacy’ programming is a problem for companies broadcasting in high-definition with 5.1 surround audio, because listeners find it distracting when modern HD shows are broadcast in 5.1 surround and then the audio narrows to a very ‘flat-sounding’ two channels for older material.

This kind of distracting switch can occur even within one show. All the modern content in an HD sports show will be in 5.1, but older clips of past sporting events usually have only a stereo soundtrack.

To modern HD broadcasters, this kind of repeated expansion and contraction of the audio soundscape is unacceptable. The UPM-1 provides a fast, easy-to-use solution.

The UPM-1 distinguishes itself from other available stereo-to-surround processes in several ways. It works not by adding reverb or using phase shifts to generate new material for the rear channels in a 5.1 soundscape.

In fact, the UPM-1 adds nothing ‘new’ to the audio at all. All of the material in the 5.1 mix that appears at the processor’s outputs is derived from spatial information present in the original stereo signal. What’s more, the UPM-1’s processing is adaptive, changing with the input signal, rather than remaining constant irrespective of input.

The UPM-1 generates 5.1 from two channels by analyzing the original stereo audio using a patented algorithm that separates the audio into its so-called Direct and Ambient components. The former encompasses the ‘dryer,’ less reverberant components in the original sound (for example those elements that would have been close to the microphone when the audio was recorded), while the latter refers to the more reverberant components (like those sound sources that would have been further away at the time of recording).

These elements can then be processed separately and routed in different proportions to the 5.1 mix if required, using the UPM-1’s simple front-panel rotary controls. In addition to discrete controls for the input level and individual 5.1 output channels, the level of the direct sound component in the original signal may be adjusted independently from that of the ambient sound in the rear channels, and the ambient component in the front three channels.

The UPM-1 also offers control over the perceived width of the front three channels, and over whether the material appearing at the front center of the 5.1 soundscape will be routed only to the center channel or equally to the left and right channels (‘phantom center’).

To take a practical example, if an archive clip of a sports broadcast in stereo is put through the UPM-1, it will be possible to alter the level of the acoustically dry commentary found in the phantom center of the stereo mix without affecting the reverberant crowd ambience.

Similarly, sending some of the reverberant crowd noise to the rear channels of the 5.1 mix is possible without also routing the sound of the ball being kicked on the pitch or the voice of the commentator to the surround speakers.

“There have been solutions for broadcasters who want to use archive stereo material on 5.1 HD transmissions before,” comments Ken Giles, managing director of SoundField, “but the UPM-1 really has something to offer broadcasters in terms of its unique approach, operational speed and simplicity.

“You plug it in, put stereo into it, and immediately you have broadcast-ready digital 5.1 audio that still sounds like the original signal, not swamped with extra reverb and processing. We’re certain this ease of use has been a key factor in the high level of interest and the healthy pre-orders the UPM-1 has generated.”

SoundField is distributed in the U.S. by TransAudio Group, founded by industry veteran Brad Lunde.

The new SoundField UMP-1 processor

TransAudio Group Website

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Universal Audio Appoints Erik Hanson As Director Of Marketing

Most recently, Hanson headed a Seattle-based advertising and web development agency, and previously was worked with LOUD Technologies and Roland Corporation US

Universal Audio, developer and manufacturer of professional audio recording hardware and software, has appointed Erik Hanson to the position of Director of Marketing. 

Having logged more than a dozen years at some of the audio and music industry’s top companies, Hanson brings a wealth of creative marketing communications experience to Universal Audio.

Most recently, Hanson headed 3dB Creative, a Seattle-based advertising and web development agency catering to the MI and Pro Audio industries. 

Previously, he was Creative Director for the Mackie, Ampeg and EAW brands at LOUD Technologies Inc, and before that was Communications Manager at Roland Corporation US.

“We’re extremely pleased to have Erik onboard as our Director of Marketing,” commented Greg Westall, Vice President of Product Marketing for Universal Audio. “He brings a unique blend of ad agency chops, online savvy, and a deep understanding of the pro audio and recording industries. Put simply, he’s the perfect guy to help take Universal Audio to the next level.”

“Frankly, the weather in Seattle kinda sucks,” says Hanson. “I’m looking forward to surfing and getting a tan in Santa Cruz. Oh yeah, and also helping build the legacy of the great Universal Audio brand.”

Universal Audio Website

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