A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

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

UNIVERSITY OF GEORGIA DRAMATICALLY IMPROVES GAME DAY SOUND AT SANFORD STADIUM WITH DANLEY SOUND LABS LOUDSPEAKERS AND SUBS

DCIM100GOPROATHENS, GEORGIA: The University of Georgia Bulldog football team plays all of its home games in Sanford Stadium on the school’s main Athens, Georgia campus. Georgians have long stood behind the Bulldogs, and Bulldogs football is a distinguishing feature of autumn in a place where the average high temperature doesn’t drop below sixty degrees until December. Fan turnout has always been consistent at Bulldog home games, which has motivated a long series of stadium expansions. Today, Sanford Stadium can accommodate just shy of 93,000, making it the tenth largest stadium in the United States. In response to new rules allowing more music play during games and in recognition of how important sound quality is to the game day experience, the University of Georgia authorized an overhaul of Sanford Stadium’s sound system. Composed of Danley Sound Labs Jericho Horns, SBH-10 column loudspeakers, and BC-415 subwoofers, the new system dramatically improves coverage, low-end extension, and clarity.

“The old system had been installed for a decade and never covered the stadium evenly,” said Chris Williamson, athletic facility coordinator at University of Georgia. “There were several large dead spots, including a big one over the student section. Of course, that’s one of the most important sections for building the right game day atmosphere. In addition, new rules would allow us to play more music during the games, but with a subpar sound system, that would only highlight the system’s deficiencies. It had been intended primarily for speech reinforcement, not music playback. The previous system had subs but they just didn’t provide enough low end to add enough presence.”

Univ_Georgia_Scoreboard“There is increasing recognition that the stadium itself, including its sound and video systems, is a critical tool in keeping the momentum on the field going in the right direction,” said Pete Dugas, president and founder of TSAV, the Athens-based firm that installed the system and that collaborated on the design with Mike Hedden, Danley president. He continued, “Home field advantage is more than the fans themselves, it’s also how the sound system inspires the fans. We’ve been working with a number of Division I athletic facilities, but Sanford Stadium is near and dear to us. The Bulldogs are our hometown team.”

Univ_Georgia_Scoreboard_SpeakersTSAV looked at a range of feasible sound systems for Sanford Stadium, including a number of distributed systems and a number of end-fired systems. The TSAV engineers converged on an end-fired system using primarily Danley Jericho Horns with Danley subwoofers. In the spirit of due diligence, Dugas asked Hedden to come up with his own design without sharing the plans that TSAV had converged on. “The differences between Mike’s independent design and our own were small, indicating that our plans were sensible,” said Dugas. “Not only would the new system meet the university’s performance goals, it would do it without straining their budget.”

Five Danley Jericho J3 Horns provide main coverage of the opposite end zone and both adjacent sides, and three Danley OS-80 loudspeakers provide down-fill for the end zone seating immediately below the scoreboard. Like all Danley loudspeakers, the J3s and OS-80s are based on Synergy Horn technology, which delivers full-range content from a single horn. As such, their output possesses excellent intelligibility, fidelity, and pattern control. That pattern control keeps energy off the field so that the referees can speak without feedback, a situation that had caused considerable problems with the old system. Two of Danley’s new SBH-10 column loudspeakers provide additional side-fill coverage below the scoreboard. Mounted horizontally, they deliver 10 x 100-degree dispersion from a single horn, with all of the same benefits of the Synergy Horn designs. Four beefy Danley BC-415 subwoofers bolster the low end.

Considering the old system had lumpy coverage with worse than +/– 10dB swings, the new Danley system is better than +/– 2dB, and whereas the old system had no content below 70Hz, the new Danley system is still active at 25Hz. “We’re happy with the results, and the performance is close to model projections,” said Dugas. “There were adjustments to make, of course. The new low end rattled the scoreboard, which we had to fix, along with too much low end by the university president’s suite. That was easy to adjust. It was nice to see how it all came together with everyone working so cooperatively. The SPL is now 26dB greater than it was before, and the fact that everything is point source has improved fidelity tremendously. A Bulldogs fan myself, I’m looking forward to enjoying the system at every home game!”

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

LEGENDARY GUITARIST ERIC JOHNSON RELIES ON LEGENDARY ATC REFERENCE MONITORS

Eric JohnsonAUSTIN, TEXAS – NOVEMBER 2014: “Legendary guitarist” is justifiably the most common two-word description given of Eric Johnson, whose six-string prowess has earned him a Grammy win, several Grammy nominations, a Platinum album, and residency on practically every “Top X Guitarists of All Time” list ever made. He’s regularly played and recorded with fellow guitar greats Chet Atkins, Steve Vai, and Joe Satriani, and Eric Clapton selected Johnson for his 2004 Crossroads Guitar Festival. Most recently, Johnson collaborated with jazz guitar great Mike Stern on the album Eclectic, which the two recorded and mixed at Johnson’s Austin-based studio with the help of Johnson’s accomplished recording and mix engineer Kelly Donnelly. Although Johnson is known mainly for his prodigious talent as a guitarist, he is also comfortable playing numerous other instruments, including piano, lap steel, bass, and voice. He is an accomplished songwriter and, in more recent years, has plied his skills over the years as a producer and assisting his recording engineers. The common frustration of mixing a song to seeming perfection, only to find obvious mistakes when he played it on other systems, drove Johnson to find the perfect near-field monitors. He found them in a pair of ATC SCM25As, which deliver the undecorated truth so that Johnson’s mixes sound beautiful and balanced on any system, from wee computer speakers to the biggest home theaters.

Years in the making, Johnson slowly constructed the ideal project studio in his Austin, Texas home, and he only declared it finished six years ago. “I always wanted a great rehearsal space, and it seemed natural to make it a recording studio as well,” he said. “I took my time because I wanted to do it right. I like to think about the tools I use the same way I think about guitars. When I find the right guitar, it facilitates my playing. It’s like I can feel the push of the polarity, the wind’s at my back, and soon I’m not paying any attention to the guitar itself… I’m just making music. It’s the same with the studio and all the equipment and processes in the studio. At their best, they fall away and I’m just making music.”

Most of the engineering duties at Johnson’s project studio fall to Donnelly. “Kelly and I often found ourselves second-guessing our mixes,” said Johnson. “We’d take a mix that sounded perfect in the studio and notice huge bumps or holes when we played it other places. It’d be like, ‘we must have overlooked that in the studio!’ But then we’d go back to the studio and those bumps or holes wouldn’t be there. So there was a lot of back and forth, which wasted time, energy, and inspiration. I became very interested in finding a near field system that would ensure our mixes translated outside of the studio, especially as we drew close to working on Eclectic. People with ears I trust told me that ATC is the way to go.”

After performing due diligence with trials of numerous top-end reference monitor manufacturers, Johnson arrived at the same conclusion. He purchased a pair of ATC SCM25As, which feature a three-way active design starting with a seven-inch low-frequency driver. “The ATCs have a great vibe and they’re fun to mix on,” said Johnson. “The imaging is solid and in-phase, and the top end is natural – not glitchy or peaky or spikey. They’re pleasant at whisper volume or blaring, and the response seems pretty linear across that range. I’ve also noticed that we can monitor at high volumes on the ATCs as long as we like and they never become fatiguing. So the in-studio experience on the ATCs is great. Beyond that however, the mixes we’ve done on the ATCs translate beautifully, and we don’t have to second-guess ourselves anymore.”

Part of the Concord Music Group, instrumental music label Heads Up International released Eclectic, and thus sent it to Concord’s multiple Grammy Award-winning mastering engineer Paul Blakemore. For years now, Blakemore has been mastering on ATC SCM150ASL monitors. “The ATC monitors are the most accurate loudspeakers I have ever heard, and I can’t imagine using anything else,” he said. “They work equally well on any genre of music, which is very unusual and particularly important for Eclectic. As the name promises, Eclectic is eclectic! It runs from rock, to jazz, to blues, to R&B, and to everything in between. The ATCs were critical for getting the high end correct and consistent across all those styles. Similarly, the ATCs were critical for making sure the low end was true and in the pocket from song to song. Once I get things right on the ATCs, I’m confident that the final product will translate to any other system in the world.”

In November 2014 and January and February 2015, Johnson and Stern are taking their otherworldly chops on the road for an extended U.S. engagement.

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

(PHOTO CREDIT: © 2014 Max Crace)

METRIC HALO LAUNCHES VERSION 2 OF PRODUCTION BUNDLE PLUG-INS – ADDS VST AND WINDOWS SUPPORT

MH_ProductionBundle_v2SAFETY HARBOR, FLORIDA – NOVEMBER 2014: Metric Halo is pleased to announce the immediate availability of version 2 of its Production Bundle plug-ins. The new 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.

NEW PLUG-IN
The v.2 of Production Bundle introduces a brand new plug-in – MH Dirty Delay. Dirty Delay is a visceral, gritty, fantastic-sounding musical feedback delay processor with integrated Character and filters in the delay path. It can create awesome vintage echo and tape-delay style sounds as well as lush and subtle spaces in a mix. New users are already finding that it is more “real” sounding than alternative in-the-box delay processors.

NEW PLATFORM SUPPORT
The v.2 of Production Bundle adds exciting new features and platform support. With this release, Metric Halo is providing VST versions of the plug-ins for both Mac and Windows, in addition to the previously supported Pro Tools AAX on Mac and Windows, and Audio Units on Mac. All of the plug-ins support 32-bit and 64-bit hosts on all platforms. Version 2 supports both computer-based licensing and optional iLok dongle-based licensing.

NEW FEATURES
In v.2, Multiband Dynamics and Expander add comprehensive band linking controls to allow the user to adjust the overall processing as easily as they can adjust the per-band processing. Character adds selectable Auto-Drive to the processing. Character is a subtle processor that adds the essential Character of a wide variety of analog devices to the signal. With Auto-Drive enabled, Character is transformed into an effects processor that can add grit and color to tracks – regardless of the input level. Finally, TransientControl adds selectable Auto-Sensitivity making it a much more versatile transient processor and easier to use. With Auto-Sensitivity, regardless of the signal level TransientControl can pull out transients and modify the sustain and tail of sounds.

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.

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, and are currently on sale for only $75 each (until 10/31/2014). New Production Bundle licenses are available with a MSRP of $699, and are currently on sale for only $299 (until 10/31/2014). Version 2 is a free update for existing v.1 users.

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

IT’S METRIC HALO FOR LEGENDARY MASTERING ENGINEER HERB POWERS, JR.

Herb_PowersNEW YORK, NEW YORK – NOVEMBER 2014: “We’re in the business of correctly preserving a musical vision that occurred at a moment in time,” says legendary mastering engineer Herb Powers, Jr. “Sure, we make it commercial and tweak it up a bit, but really we’re preserving that picture as best we can.” Powers’ philosophy – which is about the soul of the music and not its technicalities – has clearly worked for him: the veteran mastering engineer has earned numerous Grammy Awards and nominations and innumerable Platinum- and Gold-certified albums. His list of clients includes Mariah Carey, Alicia Keys, Justin Timberlake, Usher, Nelly, Missy Elliott, Lauryn Hill, Salt-N-Pepa, Run DMC, Afrika Bambaataa, Outkast, Toni Braxton, Babyface, Puff Daddy, Jennifer Lopez, Pink, and countless others. Among Powers’ trusted tools are Metric Halo SpectraFoo sound analysis software, a Metric Halo ULN-2 A/D/A interface, and, more recently, Metric Halo plug-ins.

For decades, his father, Herb Powers, Sr., worked for CBS as a quality control engineer in the company’s Manhattan studios, which gave the younger Powers an insider’s view of the business. Indeed, Powers remembers attending a session with his father for Sly and the Family Stone. Apart from a signed record, Powers came away with rare insight into the production of recorded music. When he was DJ’ing years later, Powers tapped that insight to give shape to the dissatisfaction he felt: “Most of the records I spun didn’t sound that good,” he said. “I was inspired to do something about it!” Following his father’s advice, Powers secured a position at NYC’s famous Frankford/Wayne in 1977… literally in the mailroom. True to the cliché, he worked his way up to eventually command his own mastering room. When Frankford/Wayne folded, he moved to The Hit Factory. Since it closed its doors in 2005, Powers has been working under his own flag, Powers Mastering Studio.

“I have Metric Halo SpectraFoo in front of me every minute of my work day,” said Powers. “I used to have a nice hardware metering system, but it eventually died. I looked into replacing it with another hardware system, but I also explored my software options. SpectraFoo looked good, and when I realized I could get SpectraFoo along with a dedicated 11-inch Apple MacBook Air for less than the cost of another hardware system, I went for it. Of course, I still ultimately rely on my ears, but I constantly reference SpectraFoo’s RTA and stereoscope. I have my tools selected and organized, and the MacBook Air’s only function is to run SpectraFoo. For less than the price of a hardware analyzer, I got better tools, better real estate, and a perfectly customized experience.”

Powers’ setup is an amalgam of workflows that reflects his decades in the business. Apart from a Studer tape machine, a DAT player, and other now-seldom-used playback devices, he maintains a playback computer loaded with every conceivable music production software. Signal from that computer enters the analog domain via a dedicated Apogee DA, where it then winds its way through Powers’ trusted collection of analog equalizers, filters, and dynamics processors. He uses his Metric Halo ULN-2 to capture signal in front of the processing for comparison in SpectraFoo and, more critically, as the AD converter in front of his dedicated record computer, which runs Sonic Studio SoundBlade mastering software. “I have a lot of nice analog gear, and I’m super comfortable using it,” he said. “As soon as I hear something in the music, I know which knob to turn. Because I always go analog, good conversion is important, and the Metric Halo ULN-2 sounds totally transparent. It works solidly even at 24bit/96kHz.”

Despite Powers’ reliance on analog gear, he’s happy to incorporate more plug-ins, and sound quality and well-constructed factory presets have made Metric Halo’s line of plug-ins a growing favorite. “A lot of times I’ll hear an issue that stands apart from the usual balancing that I use my analog gear for,” he said. “I use Metric Halo TransientControl, ChannelStrip, and Multiband Dynamics to correct it in the playback machine. Then I can go out of the playback machine and make the usual sorts of corrections I make with the hardware. The Metric Halo plug-ins sound great and they’re very fast to use. I can always pull up a factory preset that gets me most of the way there. I just have to adjust a ratio or a threshold and it’s good. Since everything these days is on a tight deadline, that speed is important!”

As a professional who has spent nearly four decades making music sound fantastic, Powers laments the industry shift towards compressed audio formats and its growing tolerance of clipping and distortion in the pursuit of volume. Nevertheless, he holds out hope that bandwidth will eventually allow consumers to enjoy the full fidelity of his work as he hears it in his studio.

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

NEW HOPE BAPTIST CHURCH BELIEVES IN ASHLY

New_Hope_Baptist_InteriorGRAND RAPIDS, MICHIGAN – NOVEMBER 2014: Founded in 1934 by a small collection of the faithful who opened up their living rooms every Sunday in the bustling Michigan town of Grand Rapids, New Hope Baptist Church has grown to a congregation of over 800 active members. To better accommodate its members, the church recently underwent a comprehensive renovation of its 750-seat sanctuary and associated overflow and ancillary use rooms. A new sound system centered on Ashly Audio processing, amplification, and user control is a centerpiece of the project and gives New Hope congregants exceptional intelligibility for spoken word, along with musical transcendence for the New Hope band and praise choir. Critically, the Ashly gear came in at a price point that allowed the church to meet its needs reliably, without breaking the project’s budget. Pro Audio Inc., of nearby Grandville, Michigan designed and installed the system for New Hope Baptist Church.

“The performance of Ashly gear is top-notch and yet its cost is very reasonable,” said Ken Reinecke, owner of Pro Audio Inc. “That’s a rare combination. In terms of sound quality, Ashly’s processing and amplification is transparent. What goes in is what comes out, plus whatever dynamics or equalization I’ve dialed in. And the gear can run at 96kHz for super critical situations. Programming Ashly’s Protea DSP platform is straightforward. I just drag and drop whatever processing I need, and drag appropriate inputs to appropriate outputs. Linking groups is also handy. Ashly gear is also tremendously reliable – it basically never breaks or fails.” Because space at New Hope Baptist Church was at a premium, it also helped that Reinecke could fit all of the system’s processing and amplification in just six rack spaces.

A new Soundcraft Si Performer 3 console serves as the user interface in the sanctuary itself. From there, an Ashly ne8800 8×8 Network DSP Protea™ Processor handles all of the loudspeaker settings for the sanctuary’s new JBL VRX928LA eight-inch, two-way line array system with JBL 915S subs. The stereo line array is powered by a single Ashly nXe 3.04 network four-channel amplifier rated at 3,000W per channel, providing ample power to the main sanctuary system. Additionally, output from the console feeds an Ashly Pema 8250 combination 8×8 Matrix Protea processor and eight-channel 250-Watt amplifier. The Pema 8250 takes additional inputs, such as wall jacks for microphones or music players that are located in the narthex and other out rooms. The versatile eight-channel Pema 8250 handles all of the audio routing, signal processing, and amplification for New Hope Baptist’s two nurseries, its nursing room, the bathrooms, and the narthex.

Four Ashly WR-5 programmable wall-mounted remote controls located strategically around the out rooms provide customized, intuitive control of those inputs, as well as of the sound from the sanctuary. “The nice thing about that arrangement is that folks can make changes in all those rooms without bothering the sound tech,” said Reinecke. “While the main system is controlled entirely from the Soundcraft console, the church staff can use the mic inputs and the Ashly WR-5 remote controls to play music or have a standalone PA for meetings and small events in those out rooms.”

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

HARTER MUSIC PULLS THINGS TOGETHER WITH API 1608

www.joshhuskin.comSAN ANTONIO, TEXAS – NOVEMBER 2014: In San Antonio, Texas, Harter Music has been working on a 32-channel 1608 for almost a year now – and they are hard-pressed to choose their favorite part about it. Keith Harter owns the studio, and along with his team Jonathan Harter (producer and engineer), Jorge Infante (sound engineer) and Joshua Harter (Composer) Harter Music has carved itself a permanent place in the “diverse culture involved with Texas music.” Keith explains, “We work on all kinds of music. There’s a lot of country, blues, rock, gospel, a good deal of hip-hop and R&B as well. Tejano music is particularly unique to our area, so we work with lots of artists in that genre.”

In addition to recording other artists’ work, Keith and Joshua work together as in-house composers, which they consider an equally diverse role. “We write everything from stripped down ukulele tunes to full-on orchestral film score pieces. A lot of our favorite work is scoring to picture.” In fact, the music that the Harters produce for on-camera work had a lot to do with their decision to purchase and install a 1608. “Writing and recording music for commercials, television and movies is a large part of our business, and now the 1608 gets used for all our commercial music.” Reliability was essential when choosing equipment that Harter Music would use so frequently, and that made their choice simple. “We felt very comfortable selecting the 1608 because we’ve always received great service from API. When it comes time to maintain or repair something, we know API is going to be very easy to work with.” The Harters were already familiar with the API brand because, before the 1608 arrived, the studio was well stocked with API gear, but they wanted one cohesive unit.

Keith got in contact with Darrin Fendley at Vintage King for a solution. “We ordered the 1608 unloaded because we already had a lot of API EQs. That was a huge part of what made the console affordable for us.” Harter Music didn’t want to move away from the gear they already had because “The pre-amps and the EQs sound so good! The console format just makes it easier to record and mix now that the gear is in the chain. It’s also super easy to route things in a bunch of different ways to accommodate any set up we’re using.” There was one other element that Keith says impressed him about his API gear and especially his 1608: “We like the sound, most importantly. It’s equally as great sounding as our other gear, solidly built, but way bigger! It’s a great feeling when you’re sitting behind that much API.” Before the 1608 made its debut, the studio also boasted a 2500 stereo compressor, a 3124 mic pre, and a six-slot Lunchbox®. Having everything in one place, however, is one of the things that has changed their work the most. “We couldn’t efficiently run all analog sessions before. Now we can record and mix all on tape if we want.”

Another bragging point for Harter Music is the celebrity artists who have recorded in the studio in the last year. George Strait and Cheyenne Jackson are mentioned particularly by Keith, who is very proud of how busy Harter Music continues to be. The studio just wrapped on an upcoming movie The One I Wrote for You. “It was an intensely musical project where lots of actors sang songs in the film. We spent over a year recording and mixing everything – it was such a blast.” The studio shows no signs of slowing down. If you want to keep up, or are interested in a project of your own, check hartermusic.com or facebook.com/hartermusic for updates.

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

API’s BOX USHERS IN BIG CHANGES FOR MIXER SCOTT ROSSER

Scott_RosserLONDON, UNITED KINGDOM – NOVEMBER 2014: Source Distribution continues meeting success for API’s BOX console in the U.K. with a sale to popular mixer/engineer Scott Rosser. Rosser, who has “remixed many of the biggest pop names in the industry including Rihanna, Lady Gaga, and Mariah Carey,” has been working from the spare room in his home for almost two years now. Although he wants to return to a permanent studio, he knew he needed the right gear before finding a new space. A solution arrived in April when Rosser ordered the BOX after just one demo session with Andy Bensley of Source Distribution. “Source kindly set up a demo unit at their London office for me to try out. I liked the look of the BOX straight away, and ran a stem session through the summing section. It sounded great!” Following the demo, Rosser immediately met with Mark Cooke at Tyrell London, one of Source’s dealers, and soon had a BOX of his own.

It’s not just Rosser’s location that is in flux; his main focus in the music industry has also shifted from “mainly commercial dance” to “more pop and urban stuff due to the success and expansion of 3 Beat as a label.” Rosser started working with 3 Beat Productions several years ago, and also works under the name ‘Cahill’, which is the title he uses most often when remixing for bigger-name artists. However, his success did not happen overnight. Rosser has worked in the recording world since 1989, when he was studying at Salford University in Manchester. The trends in music at the time helped form Rosser’s career, as he explains: “The city was at the forefront of the UK club culture and the Acid House revolution, so I was always interested in the electronic side of things.” Rosser and another “like-minded producer” then formed the band ‘Dario G’, which was so successful through the ‘90s that they sold 4.5 million records. “We had a few hits across Europe, and went on to release a host of underground house/rave tunes. It was a great experience.”

Now Rosser is expanding his studio’s power without taking up more space. “The BOX had everything I was looking for in one unit whereas the other options I was considering were all separate pieces. My small workspace made having everything to hand on one desk appealing.” Before the BOX, Rosser had considered API consoles out of his reach. But in the early 2000s feeling all dance music was starting to sound alike, Rosser knew he could solve the problem with analog recording equipment. “I wanted to apply a new approach which would help my mixes stand out amongst the competition. I noticed a press release for API’s new project console, and the BOX caught my attention immediately. I’ve only scratched the surface with mine, and it’s already made a big difference to my work.” This success has encouraged Rosser to look ahead to even more changes in his career.

“I’m putting some time aside in the new year to move to a purpose-built studio. I’m sure there’ll be other API units added soon. The 2500 compressor especially looks good…I know The BOX is going to serve me well for years. The build quality is excellent, it’s versatile, and I can now expand the rest of my system around it.” Since April, Rosser’s BOX has been as busy as he is. The BOX was used to mix an album by Fuse ODG, singles for Lethal Bizzle and Stylo G, and official remixes for Cheryl Cole, Ellie Goulding, Nicole Scherzinger, Olly Murs, and the boy band Rixton. Compared to mixing before the BOX, Rosser says his work has changed dramatically for the better. When asked what he likes best about The BOX, Rosser replied “Quite simply, the sound! That’s what I bought it for and it has delivered. It immediately added stereo width and a deep, warm feel that I’d been missing in previous mixes.”

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 AUDIO MULTI-CHANNEL 25-VOLT AMPLIFIERS PROVIDE A COST-EFFECTIVE ALTERNATIVE TO A 70-VOLT SYSTEM WITH CONDUIT AT DENISON HIGH SCHOOL

Denison_High_SchoolDENISON, TEXAS: Denison High School in Denison, Texas recently completed a new 300,000 square-foot building to accommodate its 1,250-plus students. Although packed with the latest in academic technology and the sort of architectural features that both provide comfort and encourage learning, the new building faced cost overruns and a budgeting challenge that required creative thinking on the part of its subcontractors. Among them was a plan put forward by local A/V integrator Batts Audio, Video & Lighting to jettison a 70-volt announcement/bell system (and all the expensive conduit it would require!) for a distributed amplifier system running a 25-volt announcement/bell system. Based around eight 8-channel Ashly Audio ne8250.25pe Network Amplifiers with built-in Protea™ DSP processing, Batts AV&L gave Denison a reliable, high-quality system for a fraction of the cost of the proposed 70-volt system.

“The issue was that the new school was coming in way over budget,” explained Jeremy Pilcher, vice president of operations at Batts AVL. “It was recommended to them by the construction manager at risk, as well as by a third-party construction manager, that many items be brought back under the umbrella of the district’s responsibility, such as classroom projectors, cafeteria/gym/video room projectors, auditorium technology, and the announcement system. We have an established relationship with the district, and we became responsible for all of it.”

The most vexing problem was the announcement/bell system, which called for a 70-volt system run through conduit throughout the building. “We ran the costs/benefits on using 25-volt amps distributed throughout the building that could power loudspeakers without necessitating conduit,” Pilcher said. “Sure, we needed more amps, but even after accounting for that, the cost savings was substantial. Ashly Audio is the industry leader in multi-channel 25-volt amplifiers. They are extremely cost-effective, especially with optional on-board processing, and are well-known for their reliability.”

The system begins with a dedicated paging system with analog outputs to trigger different zones. Those triggers and the voice signal travel to the eight Ashly ne8250.25pe amplifiers, which are placed strategically throughout the school. Each amplifier’s eight channels powers delivers 250 watts output to multiple zones of 25-volt Quam-Nichols loudspeakers, and each separate channel can constitute a separate selectable paging zone. The Ashly ne8250.25pe amplifiers also provide modest equalization, delay and limiting using the optional on-board Ashly Protea processing. “All together, using Ashly’s 25-volt amplifiers provided a functionally and cost-effective solution,” said Pilcher.

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

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