We have launched our new site! The Wire backend has moved to www.svconline.com. Your can log on now with your e xisting credentials. For your reference, posting instructions have been sent to your email. Note: postings made to the old backend will be redirected through Thursday Feb 19th. Please make the switch to www.svconline.com as soon as possible.

If you have questions please email thewire@svconline.com.

Looking forward to seeing you on the new site!

A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

Italian Composer Stefano Lentini Chooses the Purity of Metric Halo Converters

StefanoLentini_1SAFETY HARBOR, FLORIDA – JANUARY 2015: “For me, nothing is more exciting than working on music,” says composer and multi-instrumentalist Stefano Lentini. “It’s a privilege, a magical job. Composing, working with musicians, recording – it’s all exciting.” Based in his native Italy, Lentini is a composer for film and TV who is perhaps best known for his collaboration with Chinese director Wong Kar Wai on the Oscar-nominated feature The Grandmaster. His music for the film, Stabat Mater, plays a pivotal role, and Lentini – though an affable collaborator – is proud of having successfully handled every aspect of its production, from the composition and arranging to the recording and mixing. Lentini is also known for challenging himself with new genres and sounds to suit the feel of a particular film. “I don’t like music standards in soundtracks and I’m not interested in repeating genres,” he explained. “For every project, I seek a new dimension, a new musical universe.” His latest work is for Nicola Campiotti’s new documentary, Sarà Un Paese, which Lentini recorded and mixed using a pair of Metric Halo LIO-8 converters and a host of Metric Halo plug-ins.

Lentini’s involvement in music – and the tools that make it – runs deep. “My grandfather was a skilled carpenter who worked in the Italian Defense Ministry building chairs, desks, and other office furniture,” he said. “He met a luthier, and the two of them started building guitars. So I had my first guitar when I was twelve years old; it was made out of an old wardrobe! I took to the guitar immediately and wrote songs as I learned. I made my first recording overdubbing guitars on a tape recorder using a Walkman’s earpiece as the microphone. From there, I graduated to a four-track tape recorder that allowed me to arrange my compositions. Step by step, I discovered everything about audio and music through the process of playing, writing, and recording.” Lentini supplemented his self-taught education with studio work as a sound engineer, participation in choir and bands, and a formal collegiate study of ethnomusicology and ancient music.

StefanoLentini_2These days, Lentini’s studio is decidedly state-of-the-art. At the front end, he has a Neumann TLM49 and a small collection of other specialty mics that feed into a handmade Arrel Audio AL121 quad microphone preamplifier. From there, a pair of Metric Halo LIO-8 converters input and output audio between Apple Logic Pro, hardware, and an Arrel Audio AL-266 sixteen-channel summing mixer. He monitors through a passive Dynaudio M1. Lentini uses Metric Halo plug-ins in two ways. First, he uses them in Logic as channel inserts. Second, he uses them during mastering via Metric Halo’s proprietary routing software – MIO Console. During mastering, he splits his LIO-8s as well, using one for playback conversion and the second for recording conversion at 44.1kHz, 16-bit.

Without telling Lentini what he was up to, Lentini’s assistant swapped out the LIO-8s for other converters one day. “It was a kind of blind test he was putting me up to without my knowledge,” Lentini laughed. “But I passed! Without knowing what he was up to, I said, dismayed, ‘Good grief! My tweeters are out of order!’ He let me in on the joke and put things right. It was a good testament to the LIO-8, which is, in my opinion, after listening to many, many converters, the absolute champion of transparency. I think that goes back to Metric Halo founders Joe and B.J. Buchalter’s quest for scientifically-grounded audio magic. It’s not just a business for them, it’s a passion. I like to think that I can ‘hear’ it in the LIO-8.” Lentini also noted that both his mic pre and his LIO-8s boast better than 2Hz – 60kHz performance.

Despite his passion for great audio gear, Lentini is wary of losing sight of his priorities. “For me, the most dangerous thing is to become a slave to the technicalities,” he said. “I love audio engineering, but I have to give priority to creative matters. The music has to be great to begin with, and then the technicalities let it shine. But it doesn’t work the other way around.” As such, he has streamlined his workflow to include only those tools that work in ways that are transparent not only to the signal flowing through them, but also to the process of creation.

“What I demand in a plug-in is firstly precision,” he said. “I want to be able to manipulate the sound with as much detail as possible. That’s what I love about Metric Halo plug-ins.” Lentini most commonly uses Metric Halo Character (a signal path modeling plug-in) and Metric Halo ChannelStrip. He commonly adds Character’s “Soft Sat” preset at the mastering stage to give his recordings an overall analog feel with pleasant harmonic distortion. He uses the precise and responsive equalization parameters of ChannelStrip throughout the recording and mixing process.

“It may seem secondary, but the customer and technical service I’ve received from Metric Halo is excellent,” Lentini added. “It’s not secondary to me because it has allowed me to keep focused on the creative aspects of my work.”

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.


Ashly Audio Appoints Industry Veteran Scott Leslie to the Newly-Created Position of Executive Vice President

Scottt_Leslie_AshlyWEBSTER, NEW YORK – JANUARY 2015: Ashly Audio, leading manufacturer of high-value multichannel amplifiers and processors for the installed sound and related markets, announces that industry veteran Scott Leslie will join the company as Executive Vice President. Ashly and its parent company, JAM Industries, are committed to a new growth strategy and they are drawing on Leslie’s vision, experience, and leadership to help execute it. In the newly-created position, Leslie reports to Ashly CEO and President Mark Wentling and oversees the R&D, marketing, and the North American sales divisions.

Leslie’s roots are deep in the audio industry; his father invented the famed Leslie rotating speaker that has long been an essential component of electric organs. The younger Leslie earned his master’s degree in acoustics from Georgia Tech and, after interning at Fender, took a position as a loudspeaker engineer at Altec Lansing. From there, he pivoted to the computer and software industry with positions at Tektronix, Sun Microsystems, SeeBeyond, and others before starting his own analytics software company. He returned to the pro sound industry as Vice President of Engineering at JBL Pro before launching his own consulting firm, PD Squared, which helped clients with strategy, product development, and product management.

Noted Wentling, “Everyone here at Ashly Audio is excited about taking the company to the next level – what we call Ashly 2.0. To accomplish this we need highly motivated leaders from within our industry, as industry insiders know best how the pro-sound business operates. Leslie brings a great blend of both pro-sound and “outside of” pro-sound experience to the company. With Leslie, we have the best of both worlds. Together with the backing of our parent company, JAM Industries, Ashly’s future is unlimited.

“Ashly has an amazing reputation and a dedicated following based on superior products and unequaled customer support,” said Leslie. “Ashly’s Class D amplifiers are the best designs on the market, and the company is successfully swimming against the current by building competitive products in the USA.”

Regarding Ashly’s new growth strategy, Leslie said, “Ashly has a lot of opportunity to get closer to our customers and increase our value to sales partners and end users. I hope to implement new programs that will give us deeper penetration and pursue a partner strategy that brings all of us new opportunities. Lastly, we will add several new positions in a variety of areas.”

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.


ATC Monitors the Choice of Multiple Grammy Winners Gavin Lurssen and Chuck Ainlay for their Current Grammy Nomination

Gavin_LurssenLAS VEGAS, NEVADA – JANUARY 2015: With three Grammy wins and one Latin Grammy win already to his name, renowned mastering engineer Gavin Lurssen has been nominated for yet another Grammy Award this year in the category Best Engineered Album for mastering The Way I’m Livin’ by country music singer Lee Ann Womack (which is also up for Best Country Album). He shares the nomination with fellow Grammy-winner Chuck Ainlay, who recorded and mixed the album using ATC SCM25A active three-way near-field monitors. When the project moved to Lurssen’s L.A.-based studio, his beefy ATC SCM150ASL active three-way mid-field monitors took over and guaranteed that Lurssen’s practiced ears would direct the tweaks and tucks so that Womack’s beautiful melodies would entrance listeners on everything from ear buds to expensive home theaters.

Ainlay installed ATC’s biggest soffit-mounted professional monitors, the SCM300ASLs, at his BackStage Studio around the turn of the century. “ATCs possess tremendous accuracy throughout the vocal range, and the levels I get on ATCs always seem to translate to any other environment” he said. “Since Lee Ann Womack is among the greatest female country music singers ever, I obviously had to make sure that her vocals shined on the new album. It’s also a very dynamic album that comes from the heart; it’s not just about radio hits.” Though happily accustomed to his SCM300ASLs, Ainlay had long been at the mercy of whatever loudspeakers were present whenever he worked away from BackStage. “I heard the relatively new ATC SCM25As at AES a while back and I knew I had to have them,” he said. “I bought the floor models!” Thanks to that purchase, Ainlay was able to record and mix The Way I’m Livin’ at Sound Stage Studios and still rely on his ATC SCM25As’ honesty.

Chuck_Ainlay“Chuck gave me some direction, but mainly he wanted me to do what I do,” said Lurssen, who is well known for delivering masters that retain an organic “chunkiness” that conveys life and dimension even on today’s ubiquitous, and often lossy, digital formats. “I strive to retain and accentuate the depth of field and lower midrange support that ultimately supports the high-end image. The clarity of ATC’s midrange is exceptional and allows me to really hear exactly what I’m doing. Of course, Chuck wanted me to produce a competitive master, but we were both in agreement that it should not be over-slammed or over-cooked.” In part to help ground his vision for the recording with Ainlay’s, Lurssen often flipped back and forth between his larger ATC SCM150ASLs to his pair of smaller ATC SCM25As – the same model that Ainlay had used. “You can never have too much information in these matters,” he laughed.

Although much of Lurssen’s magic is beyond the ability of words to describe, he was able to articulate a few of the critical components that he listened for on The Way I’m Livin’ and why their success helped the recording as a whole. “Lee Ann’s melodic structures simply had to shine,” he said. “In each instance, I had to make sure that the song was really ‘let out,’ and the vocals were usually the critical leverage point. When that melodic structure is presenting itself, it’s important to hear two aspects of the mid range. The first is the upper part, where the song is really going to jump out of the speakers. The second is the lower part that supports that upper part. Determining exactly where those two parts meet is critical for getting the right depth of field, balance, and support. The ATC’s let me zero in on that aspect so that I was sure everything was perfect. Because that balance is correct, Lee Ann’s voice and melody seem to leap from the loudspeakers.”

To get everything sounding just so, Lurssen employs an unusually large number of hardware compressors, limiters, and equalizers. “I’m trying to do as little as possible while still having the greatest impact possible,” he said. “I use a lot of gear, but I use each piece very subtly. A bit of each of the best works way better than a lot of any single piece, no matter how good it is. When everything is said and done, it needs to sound like I was never there – there can be no veil between the artist and the listener.”

Lurssen first heard ATC monitors years ago when a fellow engineer insisted that their team use a pair of ATC SCM50ASLs for a Pink Floyd project. “The rest of us made a fuss because we all had some other speakers that we were already used to,” he said. “But he set them up and within literally three seconds, I knew that I had to have my own pair. There was absolutely no doubt in my mind, which is a rare thing for anyone, I think. That certainty never went away, and so when I set out on my own a few years later, I started with ATC monitors and then built everything else around them. I’ve found that when I get a master sounding right on my ATCs, the master will successfully translate to any other system, pro or consumer.”

Gavin Lurssen will be present at ATC’s NAMM press conference on Friday, January 23 in support of the new ATC product introduction.

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.



API’s 1608 Debut in Korea for Engineers-in-Training

Kwangwoon_UniversitySEOUL/ANSWONG, KOREA – JANUARY 2015: Korean distributor MI Corporation’s most recent sale for API is a landmark deal. Two 1608 consoles were sold at once, marking the first two colleges in the country to install API consoles. Although a handful of other 1608s have been sold in Korea, this particular sale adds to API’s growing presence in colleges and universities around the world. The first console of this double-hitter was sold to Kwangwoon University, where it is used in the Practical Music department. Kwangwoon is a private research university in Seoul that is best known for its engineering and IT programs. The Practical Music department is one among many designed to give students hands-on experience that will translate to important skills in the work force. Kwangwoon was founded in 1934, during the “dawn of the electronic era” for Korea, at which time the school was called the “Joseon Radio Training Center.” Music recording and transmitting is still a major part of what Kwangwoon students are learning every day – now API is part of that education.

Dowoon_Technical_CollegeThe second 1608 was purchased through MI Corporation by Doowon Technical College. This console has also been installed in the Practical Music department’s practice studio. Also like Kwangwoon, Doowon commissioned a 16-channel 1608 for its students. Based in Answong, Doowon is a school for engineers-in-training, making it the perfect home for a 1608. Chan Doo Kim, the founder and chairman of the Doowon Group, says this of the students at Doowon: “It is my hope that young engineers who will be responsible for the future carry a formidable determination and a challenging consciousness to take the highest authority in their chosen professions.” The school was founded in 1990, and has sister relationships with engineering schools in China and Japan.

Both consoles were installed in August, and have been used to give the students practical experience on top-of-the-line equipment. Hak Yong Shim of MI Corp says that the schools were convinced to purchase API gear not only by, “MI Corp suggestions, but also based on the opinions of professors at the schools.”

In the last few months, API saw new consoles installed in schools across three separate continents, from large-format Vision and Legacy units to the newest compact BOX console, which premiered at last year’s AES conference in New York. The BOX’s presence in educational facilities continues to grow as schools all over the world choose to place API equipment in their programs, with the intention of training students on the best in the world of analog recording. API hopes that this trend continues, and that opportunities for permanent placement in schools everywhere will continue to grow.

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.


The Electropop Band, Priory, Finds Metric Halo Gear Covers Stereo and Live Perfectly

PrioryPORTLAND, OREGON – JANUARY 2015: “These days, I feel like the only way for a band to succeed is to be self-contained – the band has to be able to take care of everything for itself. The Metric Halo ULN-8 contains mic pre’s, converters, routing logic, and DSP, and it’s absolutely world-class. Anyone who is trying to set up a recording rig or a live rig from scratch knows that it can be an overwhelming task to sift through the tangle of possibilities. I say, ‘Bypass it all! You’ll find everything you need with zero-compromise quality in the Metric Halo ULN-8.’” So says producer/engineer/musician Brandon Rush, who, together with longtime friend Kyle Sears, fronts Priory, an up-and-coming band from Portland, Oregon that recently signed to Warner Bros.

“Electropop” aptly describes Priory. Rush and Sears fuse hard-hitting electronic elements that are larger than life with organic-sounding acoustic elements that bring an appropriate measure of warmth and personality to the band’s wickedly catchy tunes. The duo, that studied audio engineering in college, self-recorded their Warner Bros. debut in a converted studio space, relying on the Metric Halo ULN-8 at almost every turn. An EP, “Weekend” preceded the release of the full-length, Need to Know. The band tours with two Metric Halo ULN-8s, which together act as a self-contained, plug-and-play in-ear monitoring system.

“Even though we have a nice collection of outboard gear at this point, the Metric Halo ULN-8 played a big role in almost every track we laid down for ‘Weekend’ and Need to Know,” Rush said. “Kyle and I are both gear nerds, and we’ve each owned plenty of other converters at various points. The ULN-8 is unique in its ability to stack track after track after track without losing any of the clarity or distinction when all those tracks are mixed together. Plus, we’re able to use Metric Halo’s fantastic plug-ins.”

Unlike most projects, in which the recording and mixing phases are clearly separated, Rush and Sears carefully mix as they build up tracks. Thus, Priory used Metric Halo’s flagship plug-in, ChannelStrip, “all over the place” for routine equalization and compression. In addition, Metric Halo TransientControl found favor in a range of situations. “TransientControl is invaluable,” Rush said flatly. “It’s incredibly transparent and thus great when I don’t want to color a sound but still need it compressed. It sounds great on drum overheads. It allows me to squeeze the room into the sound in a very nice way. It’s also killer on DI bass; the result is really fat and smooth. Metric Halo TransientControl is a smart alternative to traditional compression.”

Piory_CrowdWith plenty of touring experience to draw on from their previous bands, Rush and Sears wanted to avoid the nerve-racking uncertainty of traditional monitoring. Instead, they employed two Metric Halo ULN-8s, together with Metric Halo MIO Console, to build a self-contained, plug-and-play in-ear monitoring system. MIO Console allows infinitely flexible routing, volume control, and Metric Halo DSP. MIO Console gave Priory the power to fully-customize its in-ear setup. “The problem a lot of touring bands have – especially when they’re just starting out like us – is that they’re not given much time for a soundcheck,” Rush said. “The ULN-8s and MIO Console allow us to do all our own gain-staging using splits from all the on-stage mics and DI’s. Every night we get the same mix in our ears!”

The Metric Halo ULN-8s reside at the bottom of the tour rack and have performed without so much as a hiccup for 20,000 miles and counting. The band brings a laptop to make any adjustments to the mix as necessitated by the acoustics of a particular stage, but MIO Console maintains the proper routing and mix even without hooking up the laptop. Having Metric Halo’s DSP resources on board adds the finishing touches. For example, Rush puts HaloVerb on all the channels. “HaloVerb has a very natural, transparent, and accurate sound; it’s not artificial at all,” he said. “We dial in different settings depending on the space and our guys love it.”

Warner Bros. will release Need to Know on January 13, 2015.

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.

(PHOTO CREDIT: © 2015 Jiro Schneider)


Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: AES Newslink, Audio, NAMM Newslink, News |

Danley Synergy Horn Delivers Superior Pattern Control at Summit Church

Summit_ChurchNILES, MICHIGAN – JANUARY 2015: Although First Missionary Church established in Niles, Michigan over fifty years ago, it has been only in recent years that its growth has begun to strain the resources of its small sanctuary. The church elected to move to a new location, where it could build a larger multipurpose room and, as time and funds permitted, additional infrastructure, such as a dedicated sanctuary. Because the new building is located on a hill amid the relatively flat topography of southern Michigan, the church also elected to change its name to Summit Church. However, the name was all that changed. The church did not change its contemporary approach to delivering engaging services, which includes a full band with vocals, keyboard, guitar, bass, and drums. To present those services with maximum impact and intelligibility, Minnesota-based Audio Video Electronics (AVE) designed and installed a sound reinforcement system centered on Danley Sound Labs SH-96 and SH-60 Synergy Horn loudspeakers.

“Summit Church’s worship director posted on a Church Sound and Media Tech Facebook group looking for bids for a design the church had been given,” explained Stefan Svärd, president of AVE. “We were recommended by three people, and I personally responded to his request. Although it seemed like something we could bid on, I wanted to speak with the worship director to understand exactly what their current situation was and what they were hoping to achieve with the new system. We spoke on several occasions, and I came to believe the design they were given was a square peg for a round hole. The room was to be wide and shallow – a gym really – with the stage on the long side. The design called for just one screen with only a 40-degree viewing angle, and the specified loudspeakers had no effective pattern control – in a concrete box with no acoustical treatment. It was going to be an audio/visual nightmare. We couldn’t bid on it in good conscience, but we could work out an alternative. We could give them two appropriate screens, excellent pattern control, and acoustical treatments.”

Svärd visited the church over the July 4th weekend. “I met with them and attended a service at the old location,” he said. “I felt welcomed. They had a great vibe, great music, and a wonderful message.” Based on his now-intimate knowledge of the church and the plan for its new multipurpose sanctuary/stage/gym, Svärd designed a new system in EASE. As installed, it is a simple exploded mono cluster with a single Danley SH-96 loudspeaker for main coverage, opposite Danley SH-60s for side fill, and two Tannoy VX6 loudspeakers for near fill. “I originally included a subwoofer in the design, but the budget wasn’t there,” Svärd said. “Fortunately, the SH-96 has respectable output down to 40Hz. Summit’s bass won’t knock you over or crush your chest, but it sounds full and musical. As funds permit, they may elect to add a subwoofer.”

QSC CXD-Q networked amplifiers power the system, with processing from QSC Q-Sys Core 250. A Soundcraft Expression console on a rolling rack provides flexible control for full-blown events, whereas a simple microphone jack and input for mp3 players paired with iPad control and/or a QSC touchpanel provide simple control for simple events. Band members use a new Digital Audio Labs Livemix personal monitoring system, which connects to the Soundcraft console via Dante. SVSI video processing handles a range of input sources, with final output to two Vivitek 4800lumen projectors and two Draper screens.

Svärd attended the first service at the new location, which turned out to be much more of a nail-biter than he had anticipated. Due to a shipping snafu, the acoustical panels hadn’t arrived in time, and so the system was effectively firing into a painted concrete box. “Between services, the pastor met with a group of older congregants – the population that typically has the hardest time hearing spoken word,” he said. “Without the acoustic panels in place, the pastor feared the worst and expected some complaints. To his amazement, there was not a single complaint! One older member said that for the first time ever he heard and understood every single word that was spoken. For me, there can be no greater testament to Danley’s tremendous pattern control paired with AVE’s solid design and installation. The guy understood every word in a concrete box! It’s astounding.”

Shortly after that time, the acoustical treatments arrived and the system went from great to stupendous. “Summit Church’s new building is located on a large parcel of land, and they have plans to eventually raise new buildings on it, including a dedicated sanctuary,” said Svärd. “I’m sure Danley will be a part of that because everyone is in love with how their new system sounds.”

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.


Ashly Pema Plus 4-Channel Amp Upgrades the Audio with Ease at Bowmanstille Volunteer FIre Department

Bowmansville_FireDeptBOWMANSVILLE, NEW YORK – JANUARY 2015: With the celebration of its one-hundredth year in operation still fresh on everyone’s minds, the Bowmansville Volunteer Fire Department in upstate New York secured modest funds to refurbish the A/V systems in its 4,500-square foot recreation room. The room is used by the volunteers and the community for gatherings spanning everything from lectures to parties and bingo to movie nights. In addition, the company uses the room to stage training and other educational events. A new Ashly Audio Pema 4250.70 combination 8×8 Protea™ matrix processor and four-channel amplifier has breathed new life into the system.

“Their old audio system was little more than a basic mixer-amplifier and a few wired mics,” explained Karl Maciag, A/V integrations engineer at Toshiba Business Solutions in nearby Tonawanda, New York. It’s A/V solutions department designed and installed the system for the BVFD. He continued, “They had terrible gain-before-feedback and marginal intelligibility. Of course, budget was a big concern, which necessitated reusing the existing loudspeakers… but with a new Ashly Pema processor and amplifier. We sold the department’s point-person on the Pema by bringing him to another fire company where we had installed a Pema. He loved it, along with the Ashly WR-5 remote control that made it easy to select sources and adjust volumes. In addition, the Pema was critical because it packs full DSP and four 250W amplifiers in just two rack units. That’s exactly how much room we had – no more.”

The system is split in two main zones: one for the bar and another for the rest of the room, including a new projection system Maciag prescribed. One Ashly neWR-5 remote control in each zone allows intuitive selection of AM/FM, cable, a resident computer, a computer tie-in, an MP3 player jack, and two new wireless microphones, along with master volume control. A small Crestron keypad controls the projection system.

“We were early adopters of the Ashly Pema and we’ve had great success with it ever since,” said Maciag. “It’s one of the variables that we never have to worry about. Moreover, the Pema – like all Ashly products – sounds great, with transparent but effective algorithms and faithful amplification.”

“The Ashly Pema is also a good size for jobs like this,” added Leamon Hall, the technician with Toshiba Business Solutions who installed and commissioned the system. “It has eight inputs, which is enough to cover most input counts with a few to spare that the client can grow into. Ashly’s control protocol is well constructed. It’s easy to set up the network neWR-5 controller for a customized interface, and if I ever have questions, Ashly tech support staff are always ready with an answer. In short, the Ashly Pema is deeply functional, easy to configure, and quick to deploy.”

Although the existing loudspeakers were not everything Maciag had hoped for, the Pema’s extensive equalization controls allowed Hall to dial in sound quality that would give the BVFD plenty of gain before feedback and intelligibility.

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.


Australian Dance Mix and Mastering Engineer Klaus Hill Relies on a Metric Halo 2882 Interface and Metric Halo Plug-Ins

Klaus_HillSYDNEY, AUSTRALIA – DECEMBER 2014: Klaus Hill is the go-to guy for mixing and mastering dance music in Australia. He’s been involved in the scene for over two decades, first as a producer and DJ on labels such as TCR, Mob, Bedrock Breaks, Distinctive, and his own Title Fight and 2S2 Recordings. He made the shift to mixing and mastering ten years ago and counts among his clients Felix Da Housecat, Yolander Be Cool, Ministry of Sound, Sony, Ubderjack’d, SCNDL, Dub Phizix, and countless others. But beyond his success – Hill has been involved in dozens of Australia’s ARIA Club #1s and Beatport Hits – the well-rounded engineer relishes the opportunity to work with sound every day. “I’m a studio geek,” he laughed. “I love finding the best hardware and the best plug-ins to make other people’s creativity shine! I’m grateful that I get to do this for a living. It’s a job I really love.”

When Hill needed a new interface several years ago, he spoke with the folks at Australia’s Audio Chocolate. “They recommended the Metric Halo 2882,” he said. “I contacted several people who were already using 2882s, and all I heard from them were good things! The 2882 has been at the center of my work environment for a while now, and I’ve come to rely on it. Losing it would be like losing a family member!” Hill’s mobile mix setup involves a Dangerous Audio D-Box, a Rolls Music 775 compressor, an A Designs HM2EQ, a Manley Massive Passive EQ, and various plug-ins and 500-series hardware modules. Outputs from the Metric Halo 2882 feed the D-Box, which outputs to the hardware. The 2882 takes the signal back into the computer, where Hill mixes at 96kHz. “The Metric Halo 2882 has been running all day, every day since I got it without an issue,” said Hill. “I’m all about that!”

Hill adheres to a less-is-more mix philosophy: “I use my tools only when I need to, not just because I can. So much of today’s EDM and dance music is over-processed, with people sticking on compressors for the sake of it or because such-and-such producer does. I prefer a more natural-sounding end result to my mixes. Correct equalizing is always the most important thing.” In that vein, Hill is a recent convert to Metric Halo’s Production Bundle of plug-ins, which features its flagship ChannelStrip plug-in. “Metric Halo’s ChannelStrip is now my go-to software equalizer,” he said. “It’s so simple to use and has such a great sound. I can do surgical or broad strokes, and either way it sounds great. I’m also a big fan of the ChannelStrip’s compressor. It smacks very well on drums!”

Even before he got the Production Bundle, Hill had used Metric Halo’s signal path modeling Character plug-in via Metric Halo MIO Console. MIO Console controls all the routing for the 2882. “When I was deciding on an interface, I had several units to demo,” he said. “The 2882 had a really nice, clean, transparent sound. I loved the internal MIO Console mixer; it suited the way I worked. But the real icing on the cake was Character. It changed my whole mixing world! With it, I can add different colors to suit a particular part. Now that I have Character as part of my standard plug-in collection, I use it on soft synths to give them the warmth they always seem to lack. It takes the edge off them. I also use Character on bass lines; it gives them a roundness that I like a lot.”

Although only recently acquired, the other Metric Halo plug-ins in the Production Bundle are making regular appearances in Hill’s mixes. He’s used Metric Halo TransientControl on snares, citing its ability to add an extra bit of attack with a tight top end. The Metric Halo Dirty Delay adds movement to his mixes. “It’s like no other delay out there,” he said. “The filters are what make it.” Finally, the Metric Halo Precision De-Esser is now a regular part of Hill’s mixes. “A lot of dance music producers don’t bother to de-ess vocals before covering them with effects,” he said. “The result is that even the smallest sibilance gets exaggerated. Metric Halo Precision De-Esser lets me smooth all the vocals out easily. No stress.”

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.


U.K.’s Steve Robson Joins Ranks of API BOX Enthusiasts

Steve_Robson_BOXLONDON, UNITED KINGDOM – DECEMBER 2014: Northern Sky Music, run by Grammy-nominated songwriter and music producer Steve Robson, is among the first studios in the U.K. to add API’s BOX console to their equipment — and they have already started a trend. The BOX made its debut at last year’s AES show in New York, where Howard Jones of London’s Source Distribution couldn’t wait to bring it back home. “We had a call pretty much the moment the first BOX landed in the U.K., saying that Steve wanted a demo right away.” Robson has worked with major artists such as James Blunt, One Direction, and Rascal Flatts. The BOX was the perfect fit for Northern Sky, as Jones explains: “Many pros here know and love the trademark API sound, but don’t always need a larger format console. The U.K. was really crying out for a product like the BOX.”

London dealer Funky Junk works closely with Source distribution — and they are looking forward to the boost in sales the BOX is already bringing them. Since supplying Robson with his console, both Source and Funky Junk have placed several of API’s recording and mixing solutions in top studios across the country. “We are delighted to have a high demand for the BOX in such a wide array of studios, and are amazed to hear about the major productions in which it has already been used,” said Larry Droppa, president of API. “With the success Steve Robson has earned in his career, I know we’re bound to hear even more amazing projects recorded and mixed in the BOX.”

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.


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.



Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.


March 2015
« Feb    

Your Account


Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication