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Archive for December 6th, 2011

Revolabs at ISE 2012

Revolabs
ISE 2012
Stand 12B92

Revolabs, Inc.
144 North Rd, Suite 3250
Sudbury, MA 01776 USA

Revolabs Contact:
Alyson Savelle
Director, Global Channel Marketing
Tel: +1 (978) 610-4010
Email: Asavelle@revolabs.com
Website: www.revolabs.com

Media Contact:
Joshua Carlson
InGear PR
Tel: +1 (408) 892-6771
Email: josh@ingearpr.com

Company Quote:
“At ISE this year, we will showcase the Revolabs FLX(TM) wireless conference phone, which has recently been introduced to the European market,” said JP Carney, chief operating officer at Revolabs. “Visitors to our booth will be among the first to experience its exceptional audio performance and flexibility for small and mid-sized conference rooms, executive and home offices, and more. Stay tuned for announcements of additional FLX versions, which we expect to introduce at ISE. In addition, we will highlight Revolabs HD(TM) wireless microphone systems.”

Revolabs at Integrated Systems Europe (ISE) 2012:

Revolabs FLX(TM) Wireless Conference Phone
Showing for the first time at ISE, the Revolabs FLX(TM) wireless conference phone is designed specifically for small and mid-sized conference rooms, executive offices, and SoHo environments. Based on the Revolabs’ wireless audio technology that for years has delivered superior sound quality for audio and video conferencing to large conference rooms and boardrooms, the FLX brings exceptional performance to smaller settings at an affordable price. Combining wireless operation, high-quality wide-band audio, 128-bit encryption, integrated Bluetooth(R), support for analog and IP, and a competitive price point, the FLX redefines the conference speakerphone.

Available with a variety of compatible Revolabs microphones, the FLX includes a lapel microphone worn by one person; an omni-directional tabletop microphone that captures the sound of six to 10 participants; and a directional tabletop microphone that enables audio capture from two to three people. Because the FLX dialer operates like a telephone for handset calls and enables the setup of conference calls, there is no need for a separate desk and conference phone.

The Revolabs FLX can also serve as the audio interface with virtually any major brand of video conferencing equipment, providing the same high audio performance within video calls. Callers without Internet access can have their phone calls bridged into the video session anytime.

Revolabs expects to debut additional versions of the FLX product at ISE. Be sure to visit Revolabs’ stand for the latest in wireless conference phone solutions!

Image Link: http://www.ingearpr.com/Revolabs/FLX.zip

Revolabs HD(TM) Wireless Microphone Systems
The Revolabs HD(TM) line of wireless microphone systems includes the Single/Dual Channel; the rack-mounted, dual-channel Venue; and the four- and eight-channel Executive HD. The HD systems utilize Revolabs’ “Designed for Speech” technology, which provides wideband frequency to improve the intelligibility and presence of speech. Support for bandwidths of 50-14,000 Hz allows these systems to pick up the entire human voice spectrum.

Ideal for broadcasting applications, the Single/Dual Channel supports one or two HD wireless microphones, while the Executive HD supports up to eight microphones for executive boardrooms and large conference rooms. The Venue provides support for up to two wireless microphones, and offers a rack-mounted design for video conferencing or voice reinforcement applications.

The HD systems can be mixed and matched with a variety of wireless microphones, including a lapel microphone worn by one person; an omni-directional tabletop microphone that captures the sound of six to 10 participants; and a directional tabletop microphone that enables audio capture from two to three people. In addition, the systems can be used with the XLR adaptor for handheld microphones and the Countryman(R) microphone adaptor.

All Revolabs wireless microphones are rechargeable, providing up to eight hours of talk time on a full charge. In addition, RF Armor(TM) technology enables the microphones to operate even when in direct contact with other wireless electronic devices known to cause unwanted audio interference, such as GSM mobile phones and smartphones. Fail-safe security is integrated using 128-bit encryption, preventing people from listening in on conversations.

Image Links: http://www.ingearpr.com/Revolabs/Exec_HD_8.zip

http://www.ingearpr.com/Revolabs/HD_Dual.zip

http://www.ingearpr.com/Revolabs/HD_Venue.zip

About Revolabs
Revolabs Inc. is the premier provider of wireless audio solutions for unified communications, enterprise collaboration, and professional audio applications across a wide range of markets. Offering unmatched audio quality that allows users to “hear every word,” the company’s wireless conferencing and microphone systems are utilized across the globe for a variety of applications, from webcasts and video conferencing to podcasts and broadcasting. Combining the ultimate in flexibility with sleek, stylish form factors, Revolabs solutions cut the cord, facilitating natural mobility by allowing participants to move about a workspace and still be heard, without being held back by wires. Leading the way in innovation, the company continues to add to its portfolio of value-added audio systems with products such as the new Revolabs FLX(TM) wireless conference phone, which provides superior performance for video and audio conference calls, public address systems, and more. Revolabs systems are secure (encrypted), rechargeable (environmentally friendly), and GSM-impervious. The company is headquartered in Sudbury, Mass., and can be reached at +1-800-326-1088 or www.revolabs.com.

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MLA Makes Spectacular Albert Hall Debut

MLA System at Royal Albert Hall

Sound rental company RG Jones has been producing sound reinforcement infrastructure for the challenging Raymond Gubbay Classical Spectaculars at the Royal Albert Hall since 1993.

With a production harnessing cannons, pyro and lasers in a festival type ‘Proms’ atmosphere, it has taken all of FOH engineer Simon Honywill’s expertise to keep the show’s audio fidelity evolving with each generation of new technology.

Honywill is no stranger to Martin Audio proprietary line array platforms, introducing W8L Longbow systems to the Glastonbury Pyramid stage, and taking the new MLA (Multi-Cellular Loudspeaker Array) system on tour with Jeff Wayne’s War Of The Worlds.

Rigging the MLA at the Royal Albert Hall for the first time ever this month, he knew the Classical show would experience the same dynamic range and sudden transients as War of the Worlds––and in a venue notoriously difficult to control, he also knew it would clean up the room’s inherent reflections. But the performance, he said, was breathtaking, and even beyond his expectations.

“We’ve made a massive leap forward with the MLA … the results were remarkable,” reported Honywill.

At the RAH, the two front arrays comprised 16 element MLA hangs per side, with no downfill enclosures, since the rig’s trim height was 40 ft. (from the lowest box) to accommodate the huge lighting rig. Side hang arrays of nine Martin Audio W8LM mini enclosures were balanced with a single W8LMD underneath to bring coverage down as far as possible; at the same time, a central sub-bass array of six WLX was recessed under the stage apron, which was electronically curved to optimize coverage.

Martin Audio’s Nigel Meddemmen became de facto systems engineer, walking the entire room to verify uniform sound balance. “The challenge was to match the warmth and smooth response of the MLA, a tricky task particularly on some of the operatic pieces with shrill soprano vocals which have a tendency to really show up deficiencies in the high frequency of a system.”

Meddemmen recounted that the design software was critical in ensuring optimum performance. “The calculations were based on Simon’s model of the slice through the venue, and with the advantages of the new Display 2.1 software, Ambrose [Thompson, Martin Audio Electroacoustic Engineer] was able to design a system with the correct splay angles.”

Stated Simon Honywill, “The fact that it sounded so astounding is testament to the software. In fact I have never heard a system [in the RAH] that sounded so similar upstairs as down. Ambrose was also able to rationalize the coverage to effectively reduce the amount of energy hitting the balcony fronts––other systems have claimed it but this is the first to deliver.”

The design prediction created ‘voids’ precisely where necessary––including the elimination of any stage spill, as Simon Honywill was quick to attest. “You could stand under the MLA on stage and not hear a thing!

“But at the same time this is the loudest I have been able to drive a system here without the orchestra moaning!”

The program combined the traditional ‘greatest hits’ from the classical canon with new works such as Karl Jenkins’ Benedictus from The Armed Man; A Mass For Peace. The latter swings from the gentlest of solo cello to five percussionists hitting a variety of drums extremely hard and the choir adding weight to a huge sonic picture.

“We had ten mics on the choir and I found I could keep opening them up massively, with no coloration whatsoever,” noted Honywill. “We’ve never had the amount of level, definition and control––particularly with the low strings––as we achieved with the MLA, and that is what makes it sound really fat. It was a pleasure and absolute joy to mix.”

Summing up, the sound engineer said, “To get the sonic quality and level required by the promoters you can’t afford for the system to be in any way obtrusive. It has to sound really sweet when loud, warm and powerful––and intelligent and delicate at the same time. MLA was all of these things and more.”

For more about Martin Audio, please click to www.martin-audio.com.

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

KM Productions Upgrades Inventory With HARMAN’s Soundcraft Vi1™ Consoles

ALBERTSON, New York — In order to fulfill the demands of a variety of events, Kevin Mignone, President of Albertson, New York-based KM Productions, recently purchased two HARMAN Soundcraft Vi1 consoles. Mignone felt it was necessary to upgrade to more reliable, cost-effective consoles that could provide greater flexibility for his clients, which includes Vali, a high-end event band.

Vali, an exclusive performance band that typically plays at large wedding events weekly, including Chelsea Clinton’s wedding in July 2011, relies on KM Productions to provide its audio systems, and front-of-house and monitor mixing.

After using a demo model of the Vi1, Mignone was pleased with the results and purchased two consoles in order to allow one console to permanently travel with Vali.

“In venues of all sizes, it is great to have the flexibility and the option to do anything. Even lighting companies can integrate with the console easily,” explained Mignone. “There is so much capability in such a small package; it definitely is one of the more loaded consoles for the price point without sacrificing any features. The Vi1 has everything that we need and more, allowing us to be as flexible and reliable as possible.”

Some of the challenges when servicing high-end events such as weddings include providing the proper sound while being hidden from guests and viewers. It is extremely important that the technology be as discreet as possible. “The footprint is so convenient and is small enough that it can be used in a closet to be kept out of the way,” Mignone said.

“Overall the user interface is excellent,” Mignone continued. “Some venues can be unpredictable, and the Vi1 allows so much more instantaneous flexibility to do whatever is required to get the job done. It’s great that any engineer can pick it up so easily and be ready to go. Our purchase of the second desk not even a month after the first one goes to show how much we rely on it.”

For more information on KM Productions, please visit: http://www.km-productions.com/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,000 people across the Americas, Europe and Asia, and reported sales of $3.8 billion for the twelve months ending September 30, 2011.

Guitar Tech Geno Bishop Introduces Queensryche To HARMAN’s AKG WMS 4500 Wireless Microphone System

VIENNA, Austria – With decades of experience as a guitar tech, working with notable acts such as Prince, Timbaland and Edwin McCain, Geno Bishop has upgraded the progressive heavy metal sounds of Queensryche with HARMAN’s AKG WMS 4500 wireless microphone system. Working with the band’s lead guitarist Michael Wilton, Bishop integrated AKG’s wireless solution into the band’s equipment rack after numerous technical issues stemming from previous transmitters.

Utilizing two stand-alone WMS 4500 units for Queensryche shows, Bishop keeps the wireless channels busy by assigning one channel for the main feed, one for a backup, one open with a cable and one dead – always ready for anything a performance or venue throws at him.

“When we started having issues with our previous wireless system, we knew we could do better and the AKG WMS 4500 is proof,” said Bishop. “It’s a great piece of technology – perfect for guitar and vocals – and I can’t imaging using any other transmitter/receiver system after the success we’ve seen from the WMS 4500.”

Wilton and Bishop have taken the WMS 4500 all around the world, from Japan and Australia, to Russia and the Middle East and both continue to rave about the sound and reliability. “It’s the pro’s choice,” stated Wilton, who has played guitar and bass for nearly four decades. “I’ve been using AKG wireless from the early days of the 700-series and it never disappoints.”

Currently on its 30th Anniversary Tour, Queensryche continues to be one of the most notable metal bands in the industry, with 11 studio albums, totalling more than 20 million sold and a strong fan base around the world. Ensuring its sound is perfect is a crucial aspect during live shows for Bishop.

“There have been a few times where we’ve forgotten the AKG wireless in racks when we performed and had to use alternate systems,” Bishop continued. “Those nights were definitely not as happening. We have zero issues with the WMS 4500, no matter what venue or country we play. Impressing the fans is the number-one priority and AKG allows us to provide the perfect sound.”

For more information on Queensryche, please visit http://www.queensryche.com

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.

Broadcast Pix Strengthens Management to Exploit New Leadership Products

Former President Ken Swanton Named CEO, Rob Flory Becomes Board Chairman, Ron Gruner Added as Board Member

Billerica, Massachusetts – Following several new innovations that enhance its leadership product line of integrated video production systems, Broadcast Pix™ today announced a series of personnel changes to strengthen the management of the company. Broadcast Pix President Ken Swanton has been promoted to CEO, financier Robert H. Flory, Jr. is now Chairman of the Board of Directors, and entrepreneur Ron Gruner is now a member of the Board of Directors.

Broadcast Pix recently introduced and began shipping: Mica systems – powerful integrated HD production system from $16,900; Granite 6000 systems – the largest integrated production systems; and VOX – innovative voice-automated production systems. These products are now being used by leading customers in broadcast, internet, radio and projection applications.

“Rob Flory and Ron Gruner bring tremendous expertise in managing rapidly growing businesses,” said Swanton. “Broadcast Pix has grown every year, and now with our new HD product family that’s used by leading customers worldwide, Rob and Ron will help raise Broadcast Pix to the next level.”

Swanton’s career in the video and computer industries has helped him combine the two in today’s Broadcast Pix live production systems. He has led Broadcast Pix since co-founding it in 2002, and previously served as president of Echolab for five years. For the sixteen years before that he was at Digital Equipment Corporation, which was the world’s second largest computer company, where he served as vice president.

Flory has been president of Flory Investments, Inc., a privately owned investment company, since 1995. Since 2004, he has also been chairman of portfolio company, Chemogen, Inc., which created a patented antigen-specific test for the diagnosis of tuberculosis in HIV patients. In addition to playing an active role at Chemogen and now Broadcast Pix, he also oversees some of the sales and marketing activities of Eberle Winery, a portfolio company since 1996.

Gruner is chairman and co-founder of Sky Analytics. Previously he founded Shareholder.com (originally Direct Report Corporation) in 1991 and served as its president until 2006, when it was purchased by NASDAQ. Before that, he co-founded and was president of Alliant Computer Systems which became a public company. Gruner holds 24 patents from his extensive work in the computer industry.

About Broadcast Pix Broadcast Pix is the leader in integrated live video production systems. Its systems provide the best control surface for combining cameras, clips and graphics to create compelling live video. These surfaces enable total control of the built-in multi-format switcher, clip store, graphics system with a Harris or Chyron CG, and device controls. Its Fluent™ workflow enables files and data to be easily incorporated from other parts of the studio. Broadcast Pix systems are a fraction of the cost of a conventional control room to buy, staff and operate. System range from small systems controlled by a touch-screen or voice-automation to sophisticated 2 M/E control panels. Customers include leading broadcast, corporate, education, religious, government, webcast, entertainment and mobile studios in more than 90 countries. Learn more at www.broadcastpix.com.

Broadcast Pix and Fluent are trademarks of Broadcast Pix, Inc. Patented.

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High Resolution Systems Introduces New Modular Online Pricing Structure for UDC Software

High Resolution Systems LLC has begun selling its popular UDC (Universal Device Controller) software online using a new modular pricing structure that enables customers to pay only for the features they truly need.

“With this a la carte shopping experience built right into our website, customers will have the ability to pick and pay for just the features they want. The pricing model gives us the ability to better serve our customers and provides a very cost-effective entry to the control systems market,” says sales engineer Drew Taylor.

“We’re also making upgrades easier to obtain by integrating our online shopping cart into our software so customers can add more features right from the UCD software or buy online through our new purchasing terminal,” he reports.

The base cost of UDC software, which offers powerful functionality in the core product, is $995. Features included at this price point include the ability to configure up to 30 devices, choose from system command sets, build custom command sets to control any device, add as many virtual UDC 400 controllers as desired, and take control of an AV system via a simply configured GUI. Also available in the base cost are matrix router functions to control multiple routers with a common XY panel; the ability to create macros for device control; and the use of TCP, UDP, RS232 serial, Contact Closure, IR and other protocols for device control.

Numerous add-ons and upgrade features are also available for $995 each. They include web-enabled device control; listen & learn capabilities; scheduling for automated control solutions; protocol translation for ArtNet, Sony -9pin and more; the ability to build custom control interfaces; a security package; and the ability to turn a PC into a controlled device.

In addition to the UDC Software category on the High Resolution website, there are product categories for the UDC 400, UDC 210 and UDC Touch Controllers, all of which require UDC software; and all other Touch Controllers, which run standalone on embedded systems and do not require UDC software but work with UDC software to display controllers via the web server feature.

An Accessories category has also been included and will feature third-party products that act as accessory items to UDC software as they become available.

About High Resolution Systems
High Resolution Systems, a member of the Society of Broadcast Engineers is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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THE RECORDING ACADEMY® PRODUCERS & ENGINEERS WING® AND THE NASHVILLE CHAPTER HOST “THE HANG WITH HARMAN”

Product Demonstration and Networking Gathering at Nashville’s Legendary Sound Stage Studios Showcases HARMAN Professional Division’s AKG Acoustics®, JBL® and Lexicon®

SANTA MONICA, Calif. (December 5, 2011) — The Recording Academy® Producers & Engineers Wing®, together with The Academy’s Nashville Chapter, partnered with HARMAN Professional Division’s audio brands AKG®, JBL® and Lexicon® to present an exclusive event titled “The Hang with HARMAN,” on Tuesday, November 15, 2011, at Nashville’s famed Sound Stage Studios. An eclectic gathering from Nashville’s professional audio community, ranging from top engineers and producers to studio personnel and music recording students, gathered for a cocktail reception featuring live recording demonstrations highlighting the latest microphone, signal processing and monitoring technologies from HARMAN Professional Division.

With three-time GRAMMY Award®-winning engineer /producer Chuck Ainlay (Mark Knopfler, Miranda Lambert, George Strait) behind the 9000 J Solid State Logic console in the George Augspurger-designed and recently renovated Front Stage, a musical group performed, consisting of Jim Long on acoustic guitar along with wife Cherrill and daughter Betsey on vocals, and attendees were able to experience various models of JBL studio monitors, AKG headphones and AKG microphones in action. Concurrently, in the control room of Back Stage, new Lexicon PCM Native Reverb software plug-ins were demonstrated throughout the evening.

“The Hang with HARMAN was a very successful event,” stated Maureen Droney, Sr. Executive Director of the P&E Wing. “Our members appreciate being able to audition, and get hands-on with, the latest audio equipment in a great acoustical environment like Sound Stage. Our partnership with HARMAN is consistently win/win. They share our goal to raise awareness of the value and importance of high quality audio and those who create it.”

Peter Chaikin, Senior Manager, Recording and Broadcast Marketing for JBL, commented, “We have been working with the P&E Wing for several years, and we always find these kinds of events extremely valuable. The Hang with HARMAN was a wonderful opportunity to showcase our products and exchange information with the uniquely qualified and talented Nashville P&E Wing members.

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Korg Releases Kronos System Version 1.5

— First EXs Expansion Sample Series Library also now available —

MELVILLE, NY, December 1, 2011 — Korg has released System Version 1.5, a free update for their flagship Kronos Music Workstation. Downloadable from Korg’s website, this update offers users access to the first EXs Expansion Sample Series Sound Library, which is also now available.

Kronos Music Workstation System Version 1.5 adds seven new Program Banks with 896 new locations for storing sounds. Version 1.5 also allows users to install additional memory, doubling their available sampling RAM memory to roughly 2 GB, with additional index locations to allow larger sample loads. The convenient connection of USB MIDI controllers – such as Korg’s nanoSERIES2, microKEY and padKONTROL – is also possible with Version 1.5.

Korg is now offering two types of Kronos Sound Libraries. The EXs Expansion Sample Series take advantage of Kronos’ built-in SSD, providing large amounts of PCM data. The KRS Professional Sound Series were created by pro musicians and programmers who are intimately familiar with each of the Kronos sound engines. These libraries contain skillfully crafted programs, combinations, and drum patterns with infectious grooves, all designed to maximize the nine sound engines that power the Kronos.

Now available is the first of the EXs Libraries:

EXs10 Ricky Lawson’s “West Coast” Drums
Content: Approximately 650 MB of PCM samples, 16 Programs, 4 Drumkits
Drummer Ricky Lawson is a founding member of The Yellowjackets, and is known for his playing with internationally famous artists and groups. In addition to Ricky’s drumkits, this collection includes numerous variations of snare drum, providing the exact sounds of his playing. Also included are ambient sounds that add realism and depth, delivering a studio-quality sample set that covers a wide range of genres from pop to many other styles.

In addition, the following KRS Libraries were previously released and remain available:
KRS Professional Sound Series
KRS-01 “Pro Grooves” by David “Fingers” Haynes
Contents: 200 Patterns, 8 Songs
David “Fingers” Haynes is famous as the master of finger drumming. This set includes 200 realistic drum patterns that – unbelievably – he played with his fingers. His grooves are famous from his appearance with top-rated musicians, and are now available as performance-ready backing for your own songs using the Kronos’ RPPR function or Drum Track function.

KRS-02 STR-1/MOD-7 Phase II
Contents: 128 Programs
This library digs deep into the two complex sound engines whose possibilities have never been exhausted. Created largely by legendary sound programmer Katsunori Ujiie, this collection of sounds for the STR-1 and MOD-7 is destined to become a new standard. Classic electric pianos and basses from the MOD-7 and unprecedentedly new synth sounds from the STR-1 reflect his deep sound design talents and skill. Enrich your songs with wondrous sounds reflecting a strange realism.

KRS-03 Nu Electro
Contents: 128 Programs, 120 Patterns, 3 Songs
This is a collection of the “electro sounds” that in recent years have been appearing in a wide range of styles including pop, R&B, and hip-hop. The simple synth sounds valued in electro house and dubstep are also included. In addition, you receive a deep collection of phrase patterns, sure to stimulate your songwriting ideas.

KRS-04 Pro Splits and Layers
Contents: 128 Combinations
Created by some of the best sound designers available, this collection focuses on realtime live performance, providing a great set of split and layer combinations that concentrate on in-demand keyboard sounds such as gorgeous pianos, electric pianos, clavinets, and organs. The splits are ideal for solo performances or for backing a vocalist and the layers are the perfect rich accompaniment for ballads.

All Kronos Libraries can be purchased and downloaded at Korg’s Website. Introductory pricing on the KRS libraries ranges from $19.00 to $49.00; the EXs10 library features an introductory price of $199.00.

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Slang Musicgroup Looks to Guitar Center Professional for Products and Support as They Upgrade Their Production Studio

WESTLAKE VILLAGE, CA, December 1, 2011 — Vince Lawrence has packed more into three decades in the music business than some achieve in a lifetime, initially as an artist, entrepreneur and innovator who helped introduce house music worldwide, then as a composer, producer and remixer who has come to effortlessly straddle the worlds of music and brand marketing. Lawrence’s Slang Musicgroup recently turned to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, as they were upgrading the company’s production studio. Chicago-based Dan Scalpone, GC Pro Regional Manager, South Central U.S., was Lawrence’s primary contact on the project.

A studio owner for many years, Lawrence, founder and CEO of Slang Musicgroup and a Chicago resident since birth, has amassed an extensive collection of recording hardware and instruments, but with so much now being produced in the box, the facility’s main computer needed an upgrade. “We wanted to take advantage of some more horsepower in other programs that we were using outside of Pro Tools,” he says. “Since we were making the upgrade we said, what else could we do at the same time, since we were going to take some time off? So we also took the opportunity to isolate some of the noisier equipment.”

Scalpone, another longtime resident of Chicago, spearheaded the project for GC Pro. “I gave Vince all the options, and we sat down with the Avid product specialist and had some good meetings and demonstrations to narrow down what he needed. He wanted to update his Apple OS to Leopard, and naturally he had to upgrade Pro Tools, and he wanted to upgrade his computer. He bought a 12-core Mac and a bunch of hard drives with a Magma chassis. He also got some extra RAM, plus the additional cards for Pro Tools.”

Having access to the fastest computer available and 30 GB of RAM is critical for a studio that runs so many software instruments, not to mention the various applications, such as Logic and Reason, preferred by the team’s composers, according to Lawrence. “We got Vienna Ensemble to use as a bridge so that we could load the other synths into different RAM or even different computers that are elsewhere on our network, so we could maximize our composition palette. We wanted to have as many different things running virtually as possible,” he explains.

Slang Musicgroup works on many different types of projects, including remixing; music for advertising; music licensing for commercials, web, games and other purposes; original music production; artist development; and studio rental to outside engineers and artists. Current remix projects include songs by R. Kelly and Wiz Khalifa, reports Lawrence, also noting that Canadian artist Mira Black, young four-piece Mindless Behavior, and rapper Jim Jones, working with local artist YP, have all visited recently. The Slang Music Group team also wrote the theme for TV’s “Dr. Oz” and works closely with McDonalds, a client for many years, on music-related initiatives.

In addition to the upgrade to Pro Tools 9, and shortly to Pro Tools 10, new software at the studio also includes Native Instruments Komplete & Maschine, Spectrasonics’ Omnisphere and Arturia’s collection of VST instruments. “Plus a few other interesting synth goodies that I’ll keep to myself for the moment,” laughs Lawrence. With the installation of Apple’s Leopard OS, he upgraded the studio’s Waves plug-ins (Mercury bundle) and added the Abbey Road Studios bundle. The processing plug-in collection was further expanded with iZotope’s Stutter Edit, Elysia’s mpressor and the SPL Tube Vitalizer. The upgrade included a single item of outboard processing hardware, an API 2500 stereo compressor.

With producers and musicians all working in the facility’s large control room, noise was an issue, so Lawrence also purchased a 20-unit IsoBox rack from Sound Construction. “Lowering the noise floor while keeping critical gear in the room was one of his objectives,” reports Scalpone.

Slang Music Group is also working with several artists on Atlantic Records, says Lawrence. Somehow the team has also found time to create a five-CD set of loops and one-shot samples, Chicago Fire, for Sony Creative Software’s Acid application. “It’s a good basic toolkit for anybody who wants to make good sounding house music and electro,” he says.

There is no denying that Slang Music Group is busy: “Our posted hours are 9 a.m. to 3 a.m. Not that I’m here for all of them,” Lawrence acknowledges, “but we’re willing to book a session between those hours. We really want to help out as much as we can, so there’s a pile of stuff going on around here.”

For more information, please visit www.gcpro.com.

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Former Bedroom Hatches World Class Control Room at The Nest

— Producer/Engineer Ryan McFadden transforms an unused bedroom into a stunning personal mix facility with the help of Carl Tatz Design and The PhantomFocus™ System —

Nashville, TN: “What’s really crazy is that, in this little bedroom studio, I now have one of the best monitoring systems in the world – it’s nuts. I have trouble believing it myself until every time I sit down in front of it – it hits me all over again,” waxes The Nest studio owner Ryan McFadden about his new PhantomFocus™ System (PFS).

“It’s a funny thing,” explains studio designer, Carl Tatz, principal of Carl Tatz Design LLC (CTD), “and I think it has to do with the fact that our aural memory is our shortest, but the same thing happens to me and that is that every time I sit down and listen to one of my systems it’s like I have forgotten how incredible it is. I have a repetition of the wow experience. This is probably why it is so difficult to explain in words to someone about how amazing the PFS performs without it sounding like hyperbole – you just have to experience it for yourself.”

Tired of suffering with inaccurate mixes, wasted time and loss of bookings in his bedroom control room, Nashville engineer/producer Ryan McFadden called on personal studio designer guru Carl Tatz to orchestrate a dramatic transformation from a bedroom of acoustic squalor into a control room of acoustic nirvana with CTD’s proprietary acoustic modules and the acclaimed PhantomFocus System monitor tuning protocol.

McFadden had a tight budget to work with but knew that the PhantomFocus System had to be the centerpiece based on the expert advice of teachers and friends, articles he read and ultimately his own PFS demo experience. What really helped his cost was the fact that he was not concerned about isolating the control room from the rest of the house and only required some extra glass in one window to the outside. This way the budget could be used primarily for the CTD acoustic modules and some custom application treatments along with the PFS.

McFadden goes on to say that since completing his CTD mix room, mixes happen much more quickly and are far more enjoyable, and his bookings have greatly increased. He notes that it is the best professional decision he has made.

Video URL: http://youtu.be/9ReNCAEWc5s

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