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Archive by Heather Davis

Danley Delivers Clarity and Punch at Alabama’s Iron City Music Venue

IronCity_ExteriorBIRMINGHAM, ALABAMA – DECEMBER 2014: Birmingham, Alabama’s Iron City is a new 1,300-capacity music venue that plays host to acts both local and national. It occupies two former automotive warehouses downtown that the owners gutted and renovated to hit the perfect middle between steely grit and modern elegance. As General Manager Mike Creager put it, “At Iron City, we aim to do everything a cut above. From production to hospitality, we always shoot for a high standard.” That philosophy extends to sound reinforcement as well. Creager worked with Tim Ogletree at MediaMerge (Chelsea, Alabama) to design a zero-compromise system that would be appropriate for Iron City’s wide footprint. Rather than a line array, Creager and Ogletree designed a point-source system using Danley Sound Labs’ patented Synergy Horn loudspeakers and Tapped Horn subwoofers. Although sometimes skeptical of the system’s relatively small size (Danley designs are several factors more efficient than conventional designs), live sound engineers universally leave Iron City rekindled of the spark that got them into the live sound business in the first place.

“Tim introduced me to Danley Sound Labs and the Danley concept, and the company flew me to Gainesville, Georgia to tour their production facility,” said Creager. “I was impressed with Danley’s fidelity and intelligibility. Danley boxes have a clarity and presence that caught my ear. I’ve worked on a number of systems, and they usually involved eating deep into the EQ and filters. The Danley boxes required almost none of that. They’re pleasantly flat, and Danley subs have plenty of bass that’s nicely articulated. When I got back to Birmingham, Tim and I set to designing a great system for Iron City. When needed, we got ready help from Ivan Beaver, Danley’s chief engineer. In fact, then (and since) Danley’s customer support has been phenomenal. I get parts or answers almost before I’ve dialed the last number!”

IronCity_StageIron City’s room is wider than it is deep, and for a venue of its capacity, the ceiling is relatively low. However appropriate they may be in a deeper, larger facility, line arrays would definitely not do the trick at Iron City. In contrast, the point source Danley boxes would provide smooth, even coverage across the floor, with plenty of SPL. In a mirrored, true stereo system, a pair of Danley SH-96s provide main coverage. To the side of each, a Danley SH-64 provides mezzanine fill, and below each, a Danley SH-69 provides down fill. All together, two Danley TH-412 subwoofers and two Danley TH-118 subwoofers provide ample bass. Lake LM44 processors condition the system, and Lab.gruppen FP-series amplifiers power it.

“The system is tremendously efficient,” said Jason Westbrook, production manager at Iron City. “It’s loud and clear, with tons of headroom. We can’t blow it up. It doesn’t distort, even when we crank it up. Because we have a huge range of acts at Iron City – from country to hip-hop to rap to metal – the system’s flexibility is appreciated. It’s got the clarity, transparency, and power to satisfy all those styles. When engineers first arrive and set up their measurement systems, the first thing they remark on is how even the coverage is. It’s obvious on their screens and it’s easy to hear.”

Although the Danley name is popping up on more and more riders, it’s still in the minority at live music venues. That provides Creager and Westbrook with the opportunity (and occasional burden) of showing engineers its advantages. “It helps that we’ve had a year of successful shows – many with big name, national acts,” said Creager. “One of our first big shows was for Bush, and that engineer was worried there wouldn’t be enough power. It’s understandable. People aren’t used to seeing a single Danley box where normally they’d see a bunch of boxes. They don’t understand the Danley technology, and they want to have a good show. I promised the Bush engineer that we would bring in more boxes if he wasn’t happy. Of course, he was. Everyone leaves Iron City commenting on how great it sounds. And many engineers claim this is one of the best sounding rooms in the South. We’re pleased, to say the least.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

Ashly Amps and Processors Team with Danley Outdoor Loudspeakers at One of the Largest U.S. Private Schools

SevernSchool_AthleticCenterBALTIMORE, MARYLAND – DECEMBER 2014: Severn School is among the largest and most august private schools in the nation. Situated midway between Baltimore and Annapolis in Maryland, Severn School was founded in 1914 as a preparatory school for the U.S. Navy. Today, it serves eight hundred students from kindergarten to twelfth grade. In recent years, Severn School has been updating its buildings and grounds, including new turf fields for football, field hockey, soccer, and lacrosse adjacent to the new Edward St. John Athletic Center. For a few years after their installation, the school used a portable system for every football game, a solution that proved to be of low quality and, moreover, quite a hassle. Severn School called on Baltimore-based A/V contractor HP Electronics to design and install a permanent system. Citing their value and sound quality, HP Electronics installed an Ashly MX-206 six-channel microphone mixer, an Ashly nXp 1.52 two-channel 1500W Network Amplifier with a built-in Protea™ DSP Processor powering three Danley Sound Labs OS-80 fully-weatherized full-range loudspeakers.

SevernSchool_SpeakerWith no press box or permanent building adjacent to the field, HP Electronics Sales Designer Joe Schwartz gave Severn School a portable rack bag that connects to the permanent Danley OS-80s via a simple five-pin connector. Inside the rack, the Ashly MX-206 analog mixer provides a simple, intuitive way to control input volume for an Audio-Technica wireless microphone and a custom input panel for connecting MP3 playback devices and the like. A Furman CN-1800S provides power conditioning and sequencing, and is used to trigger a Furman CN20P within the main rack inside the Athletic Center, allowing the entire system to be powered up from the outdoor mix position. The Ashly nXp 1.52 provides abundant power and processing for the system in just two rack spaces. “I’ve always been a fan of Ashly products,” said Schwartz. “The MX-206 is simple to use, sounds great, and will serve Severn School a long, long time. The nXp 1.52 delivers a ton of power for the cost, and the optional built-in processing is very convenient and easy to use.”

Schwartz configured the three Danley OS-80s such that two cover the left and right sides of the bleachers and one covers the field from a crow’s nest above the bleachers. “We’ve used Danley loudspeakers and subwoofers in a number of churches and auditoriums, and they sound great,” he said. “When we saw that Danley had come out with a fully-weatherized loudspeaker that was based on the same design that we had used in the churches, it seemed like an excellent way to go at Severn. The engineers at Danley even helped with the design based on a similar field they had done. The OS-80s were relatively lightweight and easy to install. I was shocked that the single OS-80 was able to cover pretty much the entire field. And that coverage, like the coverage in the bleachers, is remarkably even. Overall, the system has great fidelity and coverage, and it came in at a very competitive price point.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

CRAS Outfits New Control Room wth Super Transparent ATC SCM25A Reference Monitors

Conservatory_RecordingArtsSciencesGILBERT, ARIZONA: The Conservatory of Recording Arts and Sciences – or “CRAS” as it is more affectionately known – is a top-tier technical school dedicated to placing its well-trained students in entry-level positions in the music, game audio, live sound, broadcast, and post-production industries. Unlike most similar programs, CRAS obligates its students to obtain internships in order to graduate, and it has a excellent record of helping students obtain their first paying gig. Part of its success, which has resulted in literally hundreds of CRAS grads working on literally hundreds of Grammy Award-winning projects, is exposing students to high-end professional tools. Thus, when CRAS recently expanded its facilities with the addition of control rooms F and G, it put ATC SCM25A Pro reference monitors – among the industry’s most-trusted tools – in both.

“Our rooms reflect reality in the industry,” said Tony Nunes, music production instructor and manufacture liaison at CRAS. Nunes, together with Mike Jones, director of education, travels to trade shows, recording studios, and post-production facilities around the country to keep CRAS’s facilities and instruction in perfect synchrony with the latest (and enduring) industry standards. “We sculpt our technology and instruction to remain always at the current standards in the industry,” he continued. “Two years ago at AES in New York City, we visited a lot of the big studios in town, like Stadium Red and Electric Ladyland, and talked with our grads who worked there. A consistent theme that studio managers/staff stressed was the persistent requests they received for ATC monitors; so persistent, in fact, that most studios invested in their own ATCs.” CRAS’s ATC SCM25A Pros join Pro Tools HDX rigs with Apogee converters, [soundBlade HD] rigs with Mytek converters, and SSL AWS 948 combined console and control surfaces.

“The ATCs are certainly the most transparent monitors we have at CRAS,” said Nunes. “Students don’t get to studios F and G until they are a little ways into the program. By that time, they can really appreciate the details that the ATCs reveal. For example, when we’re tracking in those control rooms, students will notice the smallest details, like fret buzz on the bass. One time we had a vocalist who was struggling with an allergy and sinus problem. After he rested and had some tea, he came back and all the students could really hear the physicality of the difference. One student said it was like he could see the vocal cords in the ATCs. They’re a really great tool.”

Because students use the ATC SCM25A Pros later in the program, they get an opportunity to scrutinize their earlier projects. “They know so much more six months later, and now they’ve got these great monitors that reveal so much; it can often be a painful experience,” said Nunes. “But we bravely turn it into a learning experience. We find and analyze the mistakes, and then students may remix their projects. Every time, they come back happy with the results. Because the new mixes pass the test on the ATCs, they translate everywhere else, like students’ cars, apartments and computers.”

Although CRAS is explicit in stating that it does not teach students to be mastering engineers per se – which necessarily requires skills that can only be acquired through years of experience – it most definitely teaches its students about the mastering process and about the technical details that mastering engineers will expect of their work. There again, the ATC SCM25A Pros, which are mastering-grade reference monitors, benefit CRAS students.

ABOUT TRANSAUDIO GROUPTransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

One Year Later, API 1608 is the Perfect Foundation for the Blackbird Academy

BlackbirdAcademy_1stAnnivNASHVILLE, TENNESSEE – DECEMBER 2014: The API 1608 analog console at the center of The Blackbird Academy’s thirty-seat classroom has scarcely been idle since the school opened its doors in 2013. The Blackbird Academy, an extension of the top-flight, multi-room Blackbird Studio in Nashville, is owned and operated by recording engineer John McBride and his wife, country music superstar, Martina McBride. Students in the program learn the basics of pro audio sound quality and signal flow using the classroom’s 1608, and then apply that knowledge in Blackbird Studio’s control rooms, which include a 32-channel API 1608 and two large-format API Legacy Plus consoles.

“The API 1608 sounds great, and serves as the perfect foundation for our students to build from,” said Kevin Becka, instructor and co-director of the academy. “Before arriving at Blackbird, most of our students got into audio using their own computers with inexpensive interfaces. They’re shocked at how the act of simply plugging in an instrument to the clean signal path and transformers of the 1608 can make it sound. We’ve come to call the effect, ‘API Love’. The construction of the 1608 is well thought-out and executed – everything about it is solid.”

The classroom is designed to give students a co-pilot’s view of everything the instructor is doing. Video cameras mounted above the 1608, and display the view on 65-inch screens. Each student uses an academy-issued iPad with custom-created apps, providing descriptions of every aspect of the studio, and how those aspects connect with gear in Blackbird’s dedicated control rooms.

Outside the classroom, students disperse into the control rooms of Blackbird Studio for smaller classes, and execute independent projects. “These are the very same control rooms that are regularly attended by some of the biggest names in the music industry,” said Becka. “It’s a unique experience for the students to go into those rooms and know that yesterday, Tim McGraw or Keith Urban were in the same room. Learning signal flow on the classroom’s API 1608 transfers directly to Blackbird’s two API Legacy Plus consoles.”

The staff at The Blackbird Academy is looking forward to a second year, and continued success, behind the API 1608.

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.
www.apiaudio.com

Ashly Processors and Amplifiers Breathe New Life into Bourbon Square Casino

Bourbon_Square_Casino_1SPARKS, NEVADA – DECEMBER 2014: Formerly called The Silver Club, Bourbon Square Casino recently reopened in the Reno-Sparks area of Nevada. In addition to a fresh New Orleans theme, Bourbon Square now sports a new eight-zone sound reinforcement system centered on an Ashly ne8800 processor and four two-channel ne800 70-volt amplifiers. Critically, the system also features iPad wireless remote control via the free Ashly Remote App, which allows the Bourbon Square staff – who are experts on gaming but not necessarily pro audio – to control the system intuitively.

“There was a four year span between the closing of The Silver Club and its rebirth as Bourbon Square,” explained Mike Pristow, general manager at Vision Control Associates, the firm that designed and installed the casino’s new sound system. “They were able to blow the cobwebs off the old sound system and power it up, but it sounded horrible. It was an old design with old equipment, and a lot of the loudspeakers were blown. We suggested a new multi-zone system using Ashly processing and amplifiers together with SoundTube loudspeakers. In addition to standard audio playback, they wanted to allow pages and prerecorded message delivery from their phone system with appropriate ducking.”

Five of the zones are strategically located throughout the game floor, one covers the restaurant, and the two remaining zones cover the phones and the message unit using the DSP’s ducking feature in the event of an overhead page or automated advertising through their message repeater. Inputs to the system include two DMX boxes, two DirecTV signals, a digital signage unit, video projector output, and two microphones for special events or announcements. A single eight-by-eight Ashly ne8800 Protea™ DSP Network System Processor handles all routing logic, input equalization, and loudspeaker processing. Its output feeds four dual-channel Ashly ne800 70V Network Amplifiers, which power a collection of eight-inch SoundTube CM82-EZs-II loudspeakers and three-inch SoundTube SM31-EZ loudspeakers.

“The staff have a lot more to think about than complicated sound system controls,” said Pristow. “We used Ashly’s free iPad App to give them custom control of input sources and volumes, as well as a collection of appropriate presets. It was my first time programming Ashly’s iPad app, and it went smoothly.”

“Like a lot of installations, providing a cost-effective, high-performance system with intuitive user control was paramount,” said Randy Premetz, vice president of design and engineering with Vision Control Associates. “Ashly makes competitively-priced equipment that is flexible, powerful, and reliable – exactly the sort of thing that is needed for a job like Bourbon Square. And the company’s phenomenal support guarantees a smooth installation as they always deal with our problems and questions at a time scale measured in minutes. It’s been my experience that Ashly treats all integrators with respect, no matter the size – it’s in their DNA.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

Danley DBH-218 Sub Rocks the New Student Building at Dogwood Church

Dogwood_Church_1TYRONE, GEORGIA – DECEMBER 2014: Thoroughly modern in its approach and attitude, Dogwood Church pays special attention to the youngest members of its congregation. That dedication was exemplified by the construction of a new four hundred-seat youth multipurpose building on Dogwood Church’s seventy-acre campus in Tyrone, Georgia. The church sought out Chicago-based Advanced Systems & Technologies (AST) to help maximize the impact of the multipurpose building’s audio, video, and lighting systems on a limited budget. AST obliged with a complete AVL system design that rests squarely on the deep fundamentals of a Danley Sound Labs DBH-218 subwoofer. The young congregants at Dogwood Church now experience a high-energy, visceral experience that grabs them – almost literally – at every level.

“Dogwood Church has a lot going on,” said Terry McCarthy, partner and systems specialist with AST. “They’re a very contemporary church with a focus on students and families, and their worship style is appropriately contemporary and high-tech. We began working with them early in the process and thus had a major role in shaping the acoustics and electrical specifications. That was important because the church had a lot of expectations but a limited budget with which to meet them. We listened carefully to their needs and helped them prioritize so that they would have the very best system for the money.”

Dogwood_Church_InteriorHigh on the priority list was the kind of deep bass that takes your breath away and reframes music as a physical experience. “No doubt, the young people connect with low end,” said McCarthy. “We had to give them plenty of bass! The Danley DBH-218 delivers exceptional low-end content at any price, but it’s very affordable.” The DBH-218 is legendary acoustician Tom Danley’s take on conventional subwoofer design. The payoff for its larger footprint is awesomely punchy, impactful bass, and the single DBH-218 covers Dogwood Church’s new student room beautifully. AST built a custom enclosure under the stage for the DBH-218, which allows for the maximum impact from the subwoofer. Efficiently powered by a QSC-PLD-4.5 series amplifier the DBH-218 receives an incredible 4200 watts of continuous power (7500 watts peak).

The rest of the system is comprised of self-powered stereo RCF HD 10a line arrays, a Behringer X32 digital console and snake system, Behringer personal mixers, and Juice Goose power sequencing. AST also designed a comprehensive Perdue Acoustics sound control system to minimize reflections and to even out the room’s frequency response. The facility also has two high-quality air walls allowing the room to subdivide for multiple simultaneous smaller events. AST installed three control point locations, which are networked for ease of access, quick changes and minimal set-up time. They also designed and installed a comprehensive HD/SDI Video System with two 7500-lumen Panasonic video projectors firing on a pair of 193-inch Da-Lite screens that flank the stage. In addition, there are six HD camera locations, two – 55-inch HD video monitors for stage view, and a 16 x 16-channel distribution system that sends high-quality video to the foyer TVs and throughout the facility. McCarthy also designed a sixty circuit comprehensive stage lighting system which includes: seven Lighting Bar locations, two Martin Rush movers, sixteen Blizzard RokBox™ LEDs and twelve Leviton 575-watt spot fixtures. The lighting system also boasts a full dimming compliment with total control of all the house lighting fixtures featuring Doug Fleenor and Lightronics. This coupled with a black wall and ceiling motif give Dogwood Church’s new student building the look and feel of a modern theater or live music venue.

“The folks at Dogwood Church couldn’t be happier,” said McCarthy. “We came in on budget and gave them a system that will meet all of their technical needs and more. And with the Danley DBH-218 installed, it’s pure Rock ‘n Roll!”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.
www.danleysoundlabs.com

METRIC HALO ANNOUNCES VST AND WINDOWS SUPPORT

VST_Windows_SupportSAFETY HARBOR, FLORIDA: Metric Halo is pleased to announce the immediate availability VST-based versions of all Metric Halo plug-ins. These plug-ins are supported on both Windows and Mac OS X. In addition to VST, the plug-ins also support Pro Tools AAX on Mac and Windows, and Audio Units on Mac. All of the plug-ins run in both 32-bit and 64-bit hosts on all platforms.

The plug-ins provide a comprehensive set of tools offering Metric Halo’s signature sound quality at a compelling price. The full Production Bundle includes eight fantastic plug-ins that provide engineers, producers, musicians and sound designers with the tools they need to create world-class mixes and productions. Starting with the world-renowned ChannelStrip, the Production Bundle adds TransientControl, Character, HaloVerb, Dirty Delay, Multiband Dynamics, Multiband Expander, and the Precision DeEsser.

WINDOWS SUPPORT Metric Halo ChannelStrip has been the choice of #1 hit makers and Grammy Award-winning engineers for well over a decade. But it has never been available on the Windows platform – until now. Now engineers and musicians who have chosen Windows-based production platforms will no longer be deprived of the glory of ChannelStrip and the Production Bundle.

ONE LICENSE, ALL FORMATS The license for all Metric Halo plug-ins covers the Native and DSP accelerated versions on Pro Tools AAX and Native versions for VST and AU on both Mac and Windows. The plug-ins are each available individually or as part of the Production Bundle. Users can choose computer-based licensing or optional iLok dongle-based licensing.

All the plug-ins include Metric Halo’s cross-platform preset manager, which allows users to create and share presets between plug-in and computer platforms. For example, an engineer can create a preset in Pro Tools and then use it in Nuendo.

A LOT OF PERFORMANCE, NOT A LOT OF PRICE Metric Halo products are available from dealers or directly from http://mhlabs.com. New software licenses for individual plug-ins are available for a MSRP of $179 each. New Production Bundle licenses are available with a MSRP of $699.

Free 30-day trials for the Production Bundle are available from http://mhsecure.com/DemoCentral.

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

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YULE LIKE THIS TRANSAUDIO GROUP HOLIDAY OFFER – ATC SCM20 MONITORS AND SELECT BOCK MICROPHONES

ATC_SCM20_MonitorLAS VEGAS, NEVADA – DECEMBER 2014: For lovers of great audio gear, the Black Friday hubbub and the month of frenzied holiday shopping that follows it are tinged with sadness: so much money spent on electronics that could have been spent on gear! To ease your pain, the team at TransAudio Group, distributor of some of the finest recording equipment on the planet, is offering ATC’s reference monitors – the passive ATC SCM20PSL and the active ATC SCM20ASL MkII – at a discounted price. And that’s not all! Select Bock microphones will ship with a free Pauly windscreen – the best windscreen ($250.00) on the planet. But act fast – these offers end on December 31st.

ATC reference monitors are prized for their unflinchingly faithful representation of audio. They make imperfections obvious and allow you to correct those imperfections so that your recordings translate everywhere. For the month of December, the passive ATC SCM20PSL, normally $3995 a pair, will sell for just $3149 a pair. The active ATC SCM20ASL MkII, normally $6695 a pair, will sell for just $5339 a pair.

TAG_Holiday_BockIndustry insiders know that David Bock is the man to turn to when a cherished vintage microphone needs repairs, and Bock has leveraged his decades of experience servicing the world’s best microphones to creating the world’s best microphones… with vastly better reliability and consistency than vintage units. For the month of December, the Bock 241, Bock 251, and Bock 407 will ship with a free Pauly PR120-T30m windscreen – the most effective, and yet transparent, windscreen available. That’s a $250 savings and a lifetime of perfect vocals!

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

KORE STUDIOS INSTALLS “BEAUTIFULLY ENGINEERED” API 1608

George_Apsion_KORELONDON, UNITED KINGDOM – DECEMBER 2014: West London’s KORE Studios installed an API 1608 console this summer, and could not wait to let everyone know how excited they were about their new gear. Not only did KORE post videos and photos of the console almost as soon as installation was complete, but studio owner George Apsion took time to talk with API about the studio’s new addition. Apsion considers the 1608 the natural choice for KORE to keep up their international reputation for high-quality recordings. They typically record rock and indie bands in their 2,000 square-foot studio, which includes a live recording space with two ISO booths, as well as a Studio B and lounge on the second floor. This state-of-the-art facility celebrated its tenth anniversary last year – and artists on the KORE resume include Florence and the Machine, Joss Stone, and Amy Winehouse. In 2010, KORE was awarded ‘Best UK Studio’ by the Music Producers Guild. Apsion said adding the 1608 was an intuitive direction for KORE’s prestigious history: “We are known as a great tracking space and we wanted a console that would reflect and enhance that.” When it came time to upgrade to the 1608, Apsion turned to Funky Junk, LTD., as they’re a leading expert in analogue mixing consoles in Europe.

Mark Thompson, the founder and owner of Funky Junk, explained that the process from sale to installation went beautifully: “KORE required a few custom modifications and we suggested others to enable the power supplies to be sited in a remote machine room. API liaised with us regarding these mods and together with Source, their UK distributor, we all worked to deliver the console bang on time, ready for the first session a few weeks after order. Commissioning on-site went smoothly, and the desk was installed and ready to start churning out the hits within two days of arrival.”

Since then, the 1608 has gotten quite the workout. Apsion said it makes everything they work on “feel like a record, straight away.” The layout of the console has particularly impressed him, especially the fact that no space is wasted. “The features are so well thought out – the sound is deep, wide, and glues everything together. The sound is the same as other API gear we’ve used, there is just more of it.” The biggest change Apsion notes is the ability to record entire sessions on API mic amps and nothing else, which he considers “a dream come true!” The console is truly becoming a centerpiece at KORE and is featured on all of the studio’s social media profiles.

But the 1608 isn’t just photogenic – it’s getting put to the test on multiple projects: “We have used it as a split console, with the expander section acting as sends to tape, using the 312 mic amps +550b EQs. We then use the first sixteen faders as tape monitors, with aux sends feeding a cue-8 mixer system in our live room. We use the aux return inputs in the center section for summing outboard mic amp signals together. The 1608 desk mic amps are always used for drums.” All that work is paying off in an album already recorded for the Australian rock band Short Stack, as well as an indie EP for the British group House of Lions. Once these projects are complete, KORE will continue work on a “top secret album project for an international artist.” While the artist’s identity may be a secret, Apsion’s feelings on the console are not. “It seems to bring out the best in the other gear we connect to it, as the headroom is so impressive. The 1608 is a beautifully engineered, reliable and astonishing piece of equipment.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

SWEETWATER STUDIOS OVERHAULS MODULE COLLECTION WITH API TO ATTAIN “CLASSIC VIBE”

Sweetwater_StudiosFORT WAYNE, INDIANA: A commercial studio for Grammy award-winning artists, independent singer/songwriters, and bands and solo artists of every genre, Sweetwater Studios has been a destination for complete production services for over 35 years. In an effort to offer a warm, classic sound to its high-profile clients including Garth Brooks, Ricky Martin and Sara Bareilles, the studio has just completed a major module overhaul with API gear.

Each piece that was added to the studio, including 527 compressors, 512c discrete mic/line preamps, a 525 compressor and more, were handpicked based on previous experience the veteran team of engineers had with the products. “Our award-winning production team is one of the most experienced and diverse in the business,” said Mark Hornsby, director of music production and artist relations at Sweetwater Studios. “These are pieces that team members, including myself, have been using for years – be it through rentals, borrowing, or units we had in our personal production rooms.”

Along with the 500 VPR ten-slot rack, Hornsby couldn’t be happier with how well the pieces are integrating into the existing setup. “The gear is versatile, it sounds great and it’s easy to use. It sounds perfect as soon as you plug it in. There’s not a whole bunch of knobs and features that only work well on certain things.” In particular, the team is pleased to offer a 2500 bus compressor in its permanent gear lineup. “The 2500 has been a favorite of mine for years. It’s typically a go-to for me on the drum bus, or sometimes part of the two mix processing chain. It sounds warm, punchy, and you can hit it really hard, which is great for rock or a more aggressive piece of material.”

“I also really like the 550As on electric guitars. Something as simple as just flipping the filter (FLTR) switch can quickly help carve through a mix,” shares Hornsby. “I know the word ‘classic’ gets thrown around a lot these days, but I think API is one company that consistently captures that ‘classic’ vibe in all the tools that they make.”

Sweetwater Sound serves many clients, who send over projects to mix, which consistently keeps the production team busy. The new modules will also be used in upcoming productions including an EP for independent Nashville artist Abby Lane, as well as a new album for veteran guitarist, Carl Verheyen.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

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