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Articles Tagged Effects

  • Wednesday, May 18, 2016
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    PSW Staff 05/18/16 03:03 PM,
    Peavey Electronics announces the immediate availability of the XR-AT powered mixer. The XR-AT powered mixer incorporates a nine-channel mixer and 1,000 Watts of power (1,500 Watts peak) into a unique, portable design. The mixer also includes Antares Auto-Tune pitch correction technology. This technology can literally help anyone sing in key and is used on professional recordings and live performances throughout the world. Ideal for use in small to medium sized venues, the feature-packed XR-AT comes equipped with on-board digital effects… View this story
    Filed in: AVNewsProductAmplifierAVMixerMonitoringProcessorSound Reinforcement

  • Friday, May 06, 2016
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    Barry Rudolph 05/06/16 06:13 AM,
    Many studios built in the 1970’s were designed not to have any acoustic influence on the recorded sound produced in them. This was accomplished by over-deadening walls, floors and ceilings so no sound waves (leakage) would reflect and add (or subtract) from the instrument’s original sound waves. Bass traps were purpose-built for controlling sound from electric bass amps, small isolated (and dead sounding) drum booths were mandatory and heavy gobos or baffles were used around all musicians separating them and… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsInstallationMeasurementSignalStudioSystem

  • Tuesday, April 26, 2016
    dynamic processing
    PSW Staff 04/26/16 05:52 AM,
    Dynamic range can be defined as the distance between the loudest possible level to the lowest possible level. For example, if a processor states that the maximum input level before distortion is +24 dBu and the output noise floor is -92 dBu, then the processor has a total dynamic range of 24 + 92 = 116 dB. However, the average dynamic range of an orchestral performance can range from - 50 dBu to +10 dBu on average. This equates to… View this story
    Filed in: Church SoundFeatureStudy HallProcessorSignalSound Reinforcement

  • Tuesday, April 19, 2016
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    Curt Taipale 04/19/16 06:09 AM,
    This article is provided by Church Soundcheck.com.   If you pay attention to sound at all, you love to hear a great echo. Think about standing next to someone at the edge of a large canyon, listening to him shout and waiting to hear the reflection off the other side of the canyon. As we stand beside him, we will first hear the sound of his voice on a path directly to our ears. Moments later, we will hear his… View this story
    Filed in: Church SoundFeatureBlogStudy HallConsolesEngineerMixerProcessorSignalSound Reinforcement

  • Wednesday, March 02, 2016
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    PSW Staff 03/02/16 10:46 AM,
    Audified announces availability of its second-generation Audiffex inValve Effects — an affordable plugin suite simulating valve processing hardware with modelling of analog circuitry and valve characteristics as part of its Hybrid Valve Series — as of March 2… Now in its second generation, Audiffex inValve Effects has history, dating back to the company’s beginnings well over a decade ago as DSound, developing its VL2 Multichannel Valve Interface plugin exclusively for TC Electronic’s proprietary Power|Core platform as a direct result of… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsProcessorStudio

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    Bobby Owsinski 03/02/16 07:03 AM,
    This article is provided by Bobby Owsinski.   Like many other aspects to mixing, the use of reverb is frequently either overlooked or misunderstood. Reverb is sometimes added to a track to create width and depth, but also to dress up an otherwise boring sound. The real secret is how much to use and how to adjust its various parameters. Let’s look at some of the reasons to add reverb in this excerpt from my book, The Audio Mixing Bootcamp.… View this story
    Filed in: RecordingFeatureBlogSlideshowEngineerProcessorStudio

  • Wednesday, February 24, 2016
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    M. Erik Matlock 02/24/16 07:19 AM,
    As a large human, you can rest assured that I know a few things about food. Following a similar train of thought, after more than twenty years in professional audio, I know a little about sound. I guess my ears serve a similar purpose as my taste buds. They know what they like. That concept hit me after a shopping error, when unintentionally purchased a box of artificially flavored instant grits. Not just any artificial flavor, either. This packaging claimed… View this story
    Filed in: Live SoundFeatureBlogOpinionStudy HallConcertEngineerProcessorSound ReinforcementStage

  • Monday, February 15, 2016
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    PSW Staff 02/15/16 03:33 PM,
    Waves Audio announces that the Waves Abbey Road Reverb Plates plugin is now shipping. Introduced over half a century ago, plate reverbs have been a fixture of recorded music ever since. Used most prominently in the ‘60s and ‘70s by pioneering bands, including the Beatles and Pink Floyd, Abbey Road Studios’ original reverb plates — four EMT 140 units — were first installed in 1957 to complement the fixed reverberation times of the studios’ echo chambers. These beautiful-sounding plates, with… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsSoftwareStudio

  • Tuesday, February 02, 2016
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    PSW Staff 02/02/16 03:12 PM,
    iZotope announces the re-release of Vinyl, their free vinyl simulation plugin. By emulating the characteristics of vintage records and record players, Vinyl is a lo-fi weapon for anyone looking to add the dirty, dusty feel of a different era to their sound. The new version of Vinyl has been updated to support modern operating systems and audio editing software: the plug-in is now 64-bit compatible on both Mac and PC and supported formats now include AAX and VST3. Vinyl also… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsProcessorSoftwareStudio

  • Friday, January 22, 2016
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    PSW Staff 01/22/16 03:23 PM,
    Waves Audio (Booth 6620, Hall A) announces the Waves Abbey Road Reverb Plates plugin. Introduced over half a century ago, plate reverbs have been a fixture of recorded music ever since. Used most prominently in the ‘60s and ‘70s by pioneering bands, including the Beatles and Pink Floyd, Abbey Road Studios’ original reverb plates — four EMT 140 units — were first installed in 1957 to complement the fixed reverberation times of the studios’ echo chambers. These beautiful-sounding plates, with… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsProcessorSoftwareStudio



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