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Archive for October, 2012

Authentic Renkus-Heinz Sound for Authentic Irish Pub

New York, NY – October 2012….. Manhattan has no shortage of Irish-themed pubs, but Tir Na Nog on 39th Street is truly a cut above. Step in out of the bustling midtown traffic and you’re instantly transported to a High Street local in Galway or Cork. The décor is at once authentic and unconventional, right down to the LED-laden 300-year-old Irish rowboat, replete with fishing net, on the ceiling.

“The owner, Tony Colbert, owns several Irish pubs and takes immense pride in the design of each of them,” explains Rich Trombitas of Cornwall, NY-based Cardone, Soloman and Associates. “He imports woodwork that’s been salvaged from churches built in Ireland in the 1700s and 1800s, then they design the individual detail to fit the space, and the woodwork is all done by master carpenters. The architecture and décor is simply magnificent – it all looks like it’s been there for centuries.”

Trombitas says the owner was adamant that equal attention be paid to the pub’s audio system, which includes a cross-section of Renkus-Heinz TRX and CFX Series loudspeakers as well as PNX and BPS subwoofers. “Tony made it clear that he wanted more than just background music,” he says. “He wanted a system that sounded consistently great no matter where you’re sitting, and blended seamlessly with the design of the place.”

The system, installed by veteran AV firm Starview Satellite of Rego Park, NY, is divided into numerous zones, with a primary focus on the main dining area and the pub’s expansive and ornate bar, bridging the space from front to back. Sound to the main dining area is handled by eight TRX81 two-way 8-inch loudspeakers. A pair of PNX112 subwoofers recessed into the walls provides extra low end punch.

The bar is divided into two zones, with five more TRX81 units and a built-in BPS12-1 sub covering the front bar area. The rear bar uses four TRX81s and another BPS12-1 sub. Powersoft amplification drives the system.

“The coverage of the TRX-Series aligns perfectly with what we needed to accomplish in this space,” says Trombitas. “The rotatable horn enabled us to mount the units either vertically or horizontally, depending on what worked better in that particular space.”

Ringing the dining area are individual booths, sporting massive 18-inch thick stone walls and burnt beams. “The design is an homage to Irish society at the height of the depression,” Trombitas explains. “The upper class gentry and the peasants can see each other, but there’s a space separating them.”

CFX41 compact 4-inch two-way coaxial boxes are mounted over the booths for added reinforcement. “Their level is down pretty low, about 8dB lower than the mains, just to fill in the mids and highs when the place is crowded,” says Trombitas.

Trombitas reports owner Tony Colbert is truly pleased with the audio quality. “He walked around the entire bar and said ‘it’s absolutely exactly the same, no matter where I go,’ and declared it the best sounding system he’d ever heard in a bar.” And Trombitas adds, “This is probably one of the most architecturally interesting and diverse pub projects I’ve ever been involved in.”

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

Clear-Com Announces Expanded Partnership with Optocore at AES 2012

Continued Partnership Broadens Clear-Com Product Portfolio with New Audio Interfaces for Ultra-fast, Low-latency and Redundant Distribution of Audio, Data, Video and Intercom Signals Over Fiber

SAN FRANCISCO, OCTOBER 27, 2012 — Clear-Com®, a global leader in critical voice communication systems, is announcing its continued distribution and technology partnership with Optocore and its new subsidiary, BroaMan. Two new models of the BroaMan DiViNe V3R-FX-ICOM-SDI video and intercom signal transport interface will be shown at AES 2012 in the Clear-Com booth 1218 along with other Optocore intercom/audio interfaces. By combining these new BroaMan interfaces with its current offering of wired, wireless, and IP intercom systems, Clear-Com is the one-stop-shop for audio customers seeking a complete solution for production communications and signal transport.

The DiViNe V3R-FX-ICOM-SDI intercom and video interface is ideal for any setup that requires distribution of multiple feeds of high-quality audio, HD video, data and intercom. For intercom and audio, the V3R-FX-ICOM-SDI is equipped with (four) four-wire RJ45 ports. The ports are duplicated with reversed wiring so that a matrix or intercom key-panels can be connected to the unit using standard CAT cables. Each port can be used as an independently routed analog line level audio input and output.

The V3R-FX-ICOM-SDI comes with up to five SD/HD/3G-SDI coaxial video inputs or outputs that are converted to and from single-mode DiViNe optical fiber links. The model V3R-FX-ICOM-SDI-1-4 features one video input and four video outputs, while the V3R-FX-ICOM-SDI-4-1 will be supplied with four video inputs and one video output. A video clock output module can be installed in either device. This Black Burst output is derived from a synchronized video source. The V3R-FX-ICOM-SDI can also be equipped with a CWDM module with auxiliary fiber ports to allow for connection of external fiber systems.

“We are happy to continue our partnership with Optocore to bring a variety of signal distribution options to our users,” says Simon Browne, Director of Product Management, Clear-Com. “With the DiViNe V3R-FX-ICOM-SDI, V3R-FX-INTERCOM and X6R-FX-INTERCOM, users have the option of transporting audio, video, data and intercom in a very scalable solution.”

The V3R-FX-INTERCOM and X6R-FX-INTERCOM are intercom/audio interfaces without video for the Optocore™ distribution network, and will be featured at Clear-Com’s AES booth. When connected over the Optocore network using the V3R-FX-INTERCOM and X6R-FX-INTERCOM devices, intercom audio can be efficiently routed between Clear-Com Eclipse matrices to Clear-Com intercom key-panels. This adds the benefit of dual redundancy and ultra-low latency.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analogue and Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

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RTW SHOWCASES 3G SDI INTERFACE AND 7.1 SURROUND FORMAT FOR SURROUNDCONTROL AND SURROUNDMONITOR LINES AT AES 2012

Enhanced Surround Sound Analyzer Now Supports Blu-ray Disc 7.1 Format

SAN FRANCISCO, OCTOBER 28, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will introduce at the AES 2012 show (Booth 1144) new options and functional enhancements for its SurroundControl 31900/31960 and SurroundMonitor 11900 ranges. The SD device versions of these products are shipping with a new 3G-enabled SDI de-embedder and Dolby(r) E, DD+ and AC-3 decoders.

The current device firmware now supports the 7.1 DD+ format, ensuring compliance with current 7.1 surround formats for Blu-ray discs and other applications. The 7.1 DD+ format has been implemented alongside the existing 7.1 cinema format on the SurroundControl and SurroundMonitor systems.

RTW’s Surround Sound Analyzer, included in all products in the SurroundControl and SurroundMonitor series, brings the clear and intuitive display method of the original 5.1 format to the enhanced 7.1 environment. Similar to the center channel, the unit displays the newly added side channels using color-coded lines. This way, the user can assess the relationship between the side channels and the phantom sources produced by the lateral-front and rear channels at a glance.

The new software release, featuring a correlation display depicting all possible 7.1 signal combinations, is ideal for professional users working with the 7.1 format. The multicorrelator display has been expanded to read out low-frequency phase errors of all channels versus the LFE, allowing users to make any corrections before phase problems show up acoustically or in bass-management systems.

Featuring the integrated monitoring controller, as well as an optional 3G SDI de-embedder and Dolby decoder, the SurroundControl 31900/31960 flagship unit integrates seamlessly into the production workflows of today’s broadcast applications. The units implement all major loudness standards, including EBU R128, ITU-R BS.1770-3/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods. Apart from the monitoring controller, the eight-channel SurroundMonitor 11900 implements all the same metering functions from the SurroundControl systems.

“Due to Blu-ray discs and other current distribution formats, there is a clear increase in the demand for 7.1 audio,” says Mahmoud Chatah, director of marketing and sales, RTW. “The integration of the 7.1 DD+ format in the SurroundControl 31900/31960 and SurroundMonitor 11900 product lines once again demonstrates RTW’s constant commitment to its customers’ evolving needs.”

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Clear-Com Features Helixnet Partyline at AES 2012

World’s First Networked Partyline Intercom System Delivered Flexibility and Cost-Savings at the 2012 London Summer Games

SAN FRANCISCO, OCTOBER 27, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, is featuring the HelixNet™ Partyline intercom system at AES 2012 (Booth 1218). The industry’s first networked partyline intercom arrives at AES after successfully showcasing its capabilities at 31 sports venues during the 2012 London Summer Games. With 50 HelixNet main stations and 550 HelixNet beltpacks in operation across the game venues, the production teams were able to take advantage of the systems’ efficiency, cost savings and flexibility from setup to operation and maintenance.

Under the initial release of HelixNet Partyline, audio professionals can purchase the HMS-4X main station, HBP-2X HelixNet beltpacks and the HLI-2W2 two-wire and HLI-4W2 four-wire interface modules. They can then experience the first system to combine a revolutionary platform with the superb audio clarity of the digitized Clear-Com sound and the ruggedness to withstand virtually all types of environmental conditions. Also, as users can perform the central administration of the entire system from the main station with a single cable, including firmware upgrades and maintenance, HelixNet can work off one’s existing cable infrastructure.

HelixNet’s ability to be run over cabling that is already in place enables easy deployment and expansion as needed, making it the ideal solution for the Summer Games. Many of the venues where the events were held already had an established cable infrastructure, so integrating the HelixNet with these setups was simple. The committee in charge of selecting audio equipment had specified digital communication systems for the events. The HelixNet partyline system fit this bill perfectly, providing audio professionals with all the functionality of an analog partyline within a digital environment.

“HelixNet offers such audio professionals as those at the London Games the simplicity of running cable anywhere without worrying about each cable type or where it will run,” says Dan Muchmore, Regional Sales Manager, UK, Ireland and Scandinavia, Clear-Com. “Essentially, they only have to run one long cable, along which all of the channels can be run. It doesn’t matter how or where the cable is run—users will have access to every channel. At the beltpack end, audio professionals can choose what channel they want or need to run. Another advantage of HelixNet is that it can operate over inexpensive cabling, such as CAT-5, keeping the cost of deployment low. The ease of setup and reduced costs made possible by the system were a few of the main reasons HelixNet was selected as the intercom system of choice for nearly all of the venues at the games.”

Clear-Com was contracted for the games’ overlay functions, requiring it to provide communications for three separate groups. These included announcers and commentators, along with the on-venue results (OVR) people—who were the primary HelixNet users—as well as the production people who manage the stadiums and events. As the HMS-4X HelixNet main station and interface modules feature a high channel density and professional audio capacity, it was able to provide access to many people and areas at once.
HelixNet’s sleek 1RU main station fits into any standard 19-inch rack, and can provide power and four channels of audio to support up to 20 digital beltpacks. Unlike standard analog systems, the all-digital HelixNet system is immune to electro-magnetic interference and ground loops, so there is never any hum or buzz. The main station settings and menus are quickly accessible, highly flexible and offer intuitive professional audio operations. The system’s firmware maintenance and upgrades can also be achieved easily via USB ports, and it offers greater connectivity with existing analog intercom systems and audio devices.

The expansion bay in the main station allows the optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules to connect easily with existing analog intercom systems and audio devices, while preserving high audio quality that is free of hum and noise.

Boasting an especially clear audio signal, the HBP-2X HelixNet beltpack offers high channel density and selectable channels to save resources. The rugged, ergonomically designed unit is a two-channel beltpack that can access two of any four system channels, connect program audio and provide individual level control over just one single cable, while distributing networked audio over a twisted pair. These features decrease the required number of cables. The beltpacks are also simple to read and operate, with optimally positioned buttons and volume knobs that are easy to locate, identify and control. Channel labels are simple to read on the high-contrast, ten-character OLED displays. The flexibility of the units allow them to be set up in daisy chain or star configurations, with no need for active split boxes.

The HelixNet beltpacks are highly durable, fabricated from lightweight cast aluminum and come with a sturdy beltclip, rubber bumpons and an integrated strap guide, offering a variety of practical mounting options.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

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RTW TOUCHMONITOR TM3-3G TO MAKE ITS U.S. DEBUT AT AES 2012

Latest Version Includes 3G SDI Interface, Eight-Channel Level and Loudness Instruments,16-Channel 3G SDI De-Embedder with AES3 Outputs and an Integrated Monitoring Controller with Stereo Output

SAN FRANCISCO, OCTOBER 27, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will showcase at AES 2012 (Booth 1144), the TouchMonitor TM3-3G, the latest version of its successful TM3 unit. The TouchMonitor TM3-3G seamlessly allows the TM3′s current hardware and software design to visualize, convert and replay 3G SDI signals in TV and video production and post-production applications, offering a feature set unrivalled in its class.

The TouchMonitor TM3-3G is a compact yet versatile solution for metering, de-embedding and monitoring 3G SDI audio. It features a 4.3-inch touch screen for horizontal as well as vertical orientation that can display any of the eight audio channels contained in a 3G SDI stream. For that purpose, it includes a large number of graphical and numerical instruments depicting single-channel and summing loudness bar graphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. The TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771, ATSC A/85 and ARIB. It also features the Magic LRA mode, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters.

If equipped with the corresponding software license option, the integrated de-embedder also outputs up to 16 audio channels from the 3G SDI signal on eight AES3 two-channel ports. The output signals are independent from the visualized audio. In addition, the TM3-3G can be upgraded with a built-in monitoring-controller license. This uses an on-screen fader for output-volume adjustment, a stereo output and a phones out. The optional timecode license expands the feature set of the TM3-3G to allow external or SDI timecode signals to be decoded, displayed and used for additional functions.

The intuitive operating concept of the TM3 allows for quick and easy selection of presets that can be configured using RTW’s Devicer DC1 software (available for Mac OS X(r) and Windows(r)). Using custom presets, the user can easily switch between the various sources, loudness standards and instrument layouts. The configuration software allows users to freely scale and place the required instruments virtually anywhere on the screen.

“With its SDI interface, the de-embedder featuring AES3 outputs and the integrated monitoring controller with headphones out, the TM3-3G will be a welcome addition to any pro audio engineer’s toolbox,” says Andreas Tweitmann, CEO, RTW. “The TM3-3G is just another example of RTW providing the broadcast industry with innovation solutions for its ever-evolving needs.”

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NUGEN Audio Demonstrates Prototype of New ISOSTEM(R) Surround Upmixer/Downmixer Plug-In at AES SF 2012

LEEDS, U.K. — Oct. 25, 2012 — NUGEN Audio, a creator of intuitive tools for audio professionals, is demonstrating a prototype of a software plug-in at AES 2012 that offers market-leading upmixing/downmixing between stereo and 5.1 surround. The plug-in uses the patented ISOSTEM(R) technology, which is believed to be the only upmix engine that is fully compatible with stereo. ISOSTEM delivers a surround stem that downmixes exactly to the original stereo, and, if required, automatically constrains the dialog in the center channel. more

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The IABM Training Academy Builds on 2012 Momentum With Plans for Geographic and Course Expansion in 2013

GLOUCESTERSHIRE, U.K. — Oct. 25, 2012 — The IABM Training Academy today announced that, given the success of its 2012 course offering, the organization will significantly extend the breadth of its course offering in 2013. Through this ongoing geographical expansion and course development, the academy will continue to deliver training that addresses the broadcast industry’s skills and knowledge shortage. The academy also will continue its work in establishing valuable links with academic institutions. more

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iStreamPlanet to Debut Aventus, Comprehensive Cloud-Based Live Video Platform, at Streaming Media West 2012

New Solution Will Be Available in 2013

LAS VEGAS — Oct. 25, 2012 — iStreamPlanet, a leading provider of live and on-demand streaming-video solutions, today announced that it will for the first time demonstrate Aventus, its new cloud-based, comprehensive, automated, video workflow platform for delivering live events and live linear channels online, at Streaming Media West 2012 in late October. The demonstration will take place during a keynote session with NBC Sports, who has been one of the key customers working with iStreamPlanet to develop the next generation live video platform. more

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HARMAN’s dbx Components Help Enable Phillip Freeman Realize His Musical Aspirations

SALT LAKE CITY, Utah – When musician and composer Phillip Freeman first received the e-mail telling him he would be receiving free gear from HARMAN’s dbx on Facebook he didn’t believe it. “I had never won anything before in my life,” stated Freeman. A user of the dbx 266XS compressor for his home recording studio, Freeman had been posting about how much he liked it on the dbx Facebook page. Once annually, dbx picks from the comments on its Facebook page and selects a “Friend in Need” and awards them a prize – in Freeman’s case a dbx 231S dual-channel 31-band equalizer and a 286S microphone preamp/processor. Freeman was chosen based on his compelling story and loyalty to all of the HARMAN brands.

Freeman might value his home recording setup more than most. The 63-year-old Freeman is disabled as a result of complications from Type II diabetes and can’t get out of his home very often. “I am literally at home all the time, every day, and I spend every day in my recording studio.”

The Bakersfield, California musician knew what he wanted to be from an early age. “I started playing guitar at age seven and it’s been my life ever since.” Freeman soon took up keyboards and bass, which became his primary instrument. “I was on the bill with dozens of top country, rock and pop artists. I made a few records and until 1990 playing music was all I ever did,” added Freeman.

“I got off the road when I got married but the need to make music never left me. About five years ago I put together a home studio with about the least I could get away with in gear – but it was enough for me to start recording and creating my own music again. A few years ago the effects of my diabetes got much worse, affecting my ability to walk so severely that I became permanently disabled. My home studio became much more than a hobby – it became a release, a solace, and enabled my to keep making music even though I couldn’t go out and play live anymore.”

Freeman started upgrading his recording setup as he could, given his limited budget. “I couldn’t afford a big mixer so I use four little mixers chained together that I bought over time. I bought a drum machine and learned how to program it. My son gave me some gear including two Lexicon MX200 Dual Reverb/Effects Processors, a DigiTech JamMan Solo Looper and the dbx 266XS compressor, so I became more familiar with HARMAN components and how useful they could be for a guy like me in making home recordings. I was so enthusiastic that I started posting on the dbx Facebook page.”

“I was able to make good recordings before, but the dbx 231S and 286S have taken things to a much higher level,” noted Freeman. “ The 286s’s built-in compressor, enhancer and expander/gate allow me to really warm up and tweak each track. I’m using it on instruments as well as vocals – I write a lot of instrumental music and the 286S works really well on instruments as well as vocals, even though it’s known as a mic preamp. I’m particularly impressed on how well it works on electric bass. My tracks now sound like they were done in an expensive pro recording studio.”

The 231S and 286S provide another sonic benefit Freeman would not have guessed at first. “Since I’m recording at home, I have to use small solid-state guitar amps – I can’t crank up big tube amps. I used to get a lot of noise and wasn’t happy with the recorded sound of my amps. Now, with the 231S and 286S, I can boost, clean up and EQ the sound of the amps to where they sound great. That alone is worth every penny. I had never thought about getting a mic preamp before but now, because the quality of the individual tracks is so much better, I find myself having to do a lot less fixing in the final mix.”

“Now that I have them, I don’t see how a recording studio could operate without these components,” Freeman concluded. “They’re especially useful for a home user like me. I can’t explain the joy I get from making music. There are no words to express how happy I am now.”

“dbx is lucky to have so many fans and followers that have supported the brand for over 40 years. Phillip is one of those loyal fans and we are very pleased that we could help him in reaching his goal of improving his studio,” stated Noel Larson, Market Manager, Portable PA, Tour and Recording at HARMAN Signal Processing.

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 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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Marty Stuart and Engineer Mick Conley Get Back to Their Country Music Roots With HARMAN’s JBL LSR4300 Series Studio Monitors

Mick Conley (left), longtime engineer for Marty Stuart (right), relies on JBL LSR4300 Series studio for all of his mixes.

SAN FRANCISCO, California – Marty Stuart was born a country music traditionalist who has always embraced the styles and sounds of pure country—right down to recording with his Fabulous Superlatives band in Nashville’s iconic RCA Studio B with the help of Stuart’s longtime engineer Mick Conley and his HARMAN JBL LSR4300 Series studio monitors.

“Marty is as old school as I am when it comes to the sound he wants to get on his records,” said Conley, who has worked with greats such as Kathy Mattea, Patti Page, The Blind Boys of Alabama, Suzy Bogguss and many others. “We want to achieve a rich, full sound with plenty of detail. JBL LSR Series studio monitors are a big part of helping us achieve that.”

For his most recent release, Nashville Volume 1: Tear the Woodpile Down, and his 2010 release, Ghost Train, Stuart sought out the prestigious confines of Studio B. “Studio B was one of the places where the legendary Nashville Sound of the 1960s was created,” Conley noted. “Some of the greatest country music recordings of all time were made there and it was the first place Marty ever recorded. Marty and his band wanted to feel that vibe.”

However, since Studio B is now a museum, they had to get special permission to record there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer. “Studio B might be hallowed ground for recording industry pros—but let’s not forget that it was designed on the back of a napkin,” Conley said. “It’s always had acoustic challenges. I needed monitors I could trust. We use JBL LSR monitors everywhere—at my studio, and at [Marty Stuart’s bassist] Paul Martin’s studio in both stereo and 5.1 configurations, for The Marty Stuart Show and for a recent broadcast of a live concert on SiriusXM. I know can rely on them in any situation.”
“In any kind of recording, the hardest thing is to get the bottom end right,” Conley continued. “With the LSR’s, I can trust what I’m hearing, whether I’m using a stereo or 5.1 monitoring setup. Their RMC Room Mode Correction enables me to factor out the influence of the room on the low-frequency response and make subtle or major adjustments to the bottom end. Depending on the project, I might or might not use a subwoofer, but even without the sub I know there’s no guessing.”

“When Marty and his band record, we just like to go in and do it—get in there and cut those tracks as a complete performance. For Ghost Train and the newly released Nashville Volume 1: Tear the Woodpile Down, each song was tracked live with minimal overdubs to finish it—then on to the next song. It would be hard to do that if I don’t know what I’m hearing on the monitors is what it really sounds like where the musicians are performing. And of course, The Marty Stuart Show is recorded ‘live’ with a ‘Who’s Who” of country music starts, so I have to meet Marty’s high standards and his guests’ high standards also. That’s why I rely on the LSR Series studio monitors.”

With a variety of projects on the horizon for the rest of 2012 and beyond, Conley will take his LSR studio monitors wherever he goes. “I don’t want any surprises,” he said. “When it comes to trusting what you’re hearing, your monitors are your only comfort factor.”

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 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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