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Archive by Howard Sherman

Sixteen19 Makes The Cut For SHOWTIME Sports/CBS Sports’ “A Game Of Honor”

‘Webisodes Continue To Score With Viewers – DVD To Follow

NEW YORK: One of Showtime Sports and CBS Sports’ most highly rated original feature length docu-dramas, A Game Of Honor provided an extraordinary perspective on preparations for the 2011 Army-Navy football game. Digital production teams chronicled U.S. Military Academy/West Point cadets and U.S. Naval Academy/Annapolis midshipmen throughout their intense military, educational and sports training as they readied themselves to serve their country and compete in this sports event.

With shooting beginning in May and the edit gearing up in September, the team had three months to edit and deliver the incredible events leading up to the widely anticipated 2011 Army / Navy game. With this tight schedule, including just 11 days between the Army/Navy game and the show’s airdate, Director/ Producer Peter Radovich, Jr. and Producer Steve Karasik enlisted frequent collaborator and Emmy-winning Sixteen19 creative editor Anthony Cortese for the cut.

“Last April, I had an epiphany about doing a documentary on training for the 2011 Army-Navy game,” Radovich says. “When Steve Karasik and I pitched it to CBS/Showtime execs, we got an immediate green light. When we kicked off production in May I was a little concerned about pulling it together in just six months. However, Anthony and I had collaborated on a number of short-form projects at Sixteen19, and I had great confidence in his skills. I knew we could make this happen.”

“A Game Of Honor, was one of the most complex and demanding assignments of my career,” Cortese says. “On most days, we had two cameras shooting on location morning thru night; on the field, in classrooms, dorms, gyms, all over both academies, but that ratcheted up to eight Canon 5D and Red Epic(r) kits for the main event, The 112th Army Navy Game. They accrued nearly 500 hours of footage, which I cut on a daily basis on Avid Version 5 as it arrived in our edit suite. This project was a full-scale marathon.” Associate editors Quenna Gregorio and Chris Mole worked alongside Cortese to manage multiple story lines.

To keep track of the voluminous material, the Sixteen19 technical team worked with the project’s field producers to develop a dailies workflow that was both fast and efficient. With over 100 shoot days, distinct tape names, scene and serial numbers were critical for each clip. This system helped to transcend the timecode limitations of the 5D at the time, issues with sync sound and the fact that crews were often simply moving too quickly to slate.

“A tapeless workflow project of this scope required an extraordinary support crew,” Cortese says. Sixteen19′s technical team collaborated closely with Cortese and a number of consulting experts to insure accurate conversion of multiple archival formats to 24p. After picture lock, Sixteen19 Senior Colorist Brian Boyd worked around the clock to make the footage come to life. Boyd remarked, “Balancing the multiple formats and shoot settings with such a tight deadline was challenging, but the timely and patriotic subject matter and the incredibly talented crew made for a rewarding experience.”

In addition to editing the two-hour CBS Sports docu-drama, which premiered Dec. 21st on Showtime, Cortese also edited a two-hour CBS TV cut. The network show hewed closely to the original, but excised the unexpurgated language of the cable version along with some particularly rough action scenes. He also edited seven of the ten ‘webisodes’ created to promote the show online. Ranging in length from three to eight minutes, they provided fans with additional details and insights not included in the full-length program.

“The ‘webisodes’ http://www.youtube.com/watch?v=vQ29wKMekoE were an entirely different mindset,” Cortese points out. “They began airing in mid-October, and they continue to maintain a strong presence online today. We received reports that indicate they not only helped to attract a terrific audience to the Showtime and CBS presentations, but they’ve also attracted a rapt audience in their own right. We’ve heard stories about ardent online viewers who watch them repeatedly,literally studying them over and over. It’s gratifying to learn that your work is getting that level of serious attention.”

“We were cutting new footage up to a couple of weeks before airtime, we’re talking late nights and weekends here,” Rodovich concludes. “New story lines kept us constantly revising to make GOH as exciting and timely as possible. We screened the show for West Point and Annapolis brass shortly before airtime. Their positive reactions confirmed our instinct about having created something very special. We hope to have the DVD out soon, which will stand as a lasting record of this amazing adventure.”

Photo 1: Editor Anthony Cortese (l) and Director/Producer Peter Radovich, Jr.
at work on “A Game Of Honor” in a Sixteen19 Edit suite.

#1, 3, 5: Scenes from Showtime Sports/CBS Sports docu-drama “A Game Of Honor”

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles. and London. The firm specializes in DI, color correction, editing, finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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China’s Pop Superstar Hins Cheung Debuts WSDG Studio

World-Class Destination: Classic SSL & Neve + Symphony-Size Live Room

GUANGZHOU, CHINA: One hour by train from Hong Kong, in the thriving metropolis of Guangzhou stands China’s first true ‘destination’ recording studio. Technologically sophisticated and acoustically superb, Village Studios was conceived by international pop star Hins Cheung. Three years in development and construction, the complex represents the future of China’s recording industry. And, a carefully considered investment in a superstar’s long-term career plan.

Designed by Walters-Storyk Design Group, the project exemplifies the unique synthesis of several of its international offices. The project’s efforts were initially led by WSDG principal John Storyk, and required highly sophisticated analysis and auralization, developed by WSDG’s European and Brazil branches. Village Studios combines world-class acoustics and aesthetics in an exotic, yet fully cosmopolitan setting.

Graced with a striking interior design developed by WSDG partner, Beth Walters, the 12,400 sq. ft. ground up building is distinguished by an expansive 3000 sq. ft. live room, with an 18 ft. high ceiling. Village Studios features two autonomous 800 sq. ft. control rooms, each with spacious 640, and 230 sq. ft. ISO booths. Hins’ manager, Bella Fan reports that his affinity for vintage gear, inspired Studio A to be outfitted with a prized SSL9080K console. Studio B features a classic Neve VR72 and 8068.

WSDG’s initial drawings proved very close to the mark in terms of Hins’ expectations. Complex site lines between the orchestra sized live and dual control rooms, coupled with the double height ceiling and, the higher than average reverb time typically associated with China’s idiosyncratic music style, presented extremely interesting design challenges. To resolve these issues WSDG engaged a number of elegant, variable acoustic solutions including custom curtains and multi-format diffusion panels. WSDG also provided detailed construction documents, project construction administration and final studio commissioning/tuning for the complex. “To bring a project of this size and sophistication to reality on the other side of the world was a formidable challenge,” John Storyk remarked. “It was an honor to work with Hins and his team.”

The complex includes a 520 sq. ft. orchestra lounge with 18′ high ceiling, multiple smaller lounges, kitchen and offices. “This project was an extremely ambitious undertaking,” Beth Walters says. “China is expanding its international presence in virtually every area of art and industry. Village Studios sends a clear message that a new ‘destination recording studio’ has arrived.”

“John Storyk made his initial visit to the site in early 2009,” reports Project Manager Joshua Morris. “We began preliminary design work soon after he returned. Our US -based senior PM, Romina Larregina led the team that developed all designs and documentation. She also coordinated building permits and other pre-construction details with the local architect, engineering and construction teams. I completed the design and construction documents and made my first site visit in Sept. 2009,” Morris said.

While reviewing on site work, discussing technical issues and inspecting acoustic treatments and building materials, Morris was pleased to find a high level of construction and technical expertise among the local Chinese contractors, and technicians. “It is safe to say that this level of acoustic detail was a challenge for the construction team in China – a challenge that was successfully met. Wherever possible, local materials were used, although studio specialty items such as room isolation devices and acoustic doors were either directly imported or licensed for Europe and the USA,” Morris adds.”

As plans called for substantial A/V interconnectivity between the live and twin control rooms as well as numerous recording sites throughout the complex, systems integration and isolation were primary concerns. Hins’ team along with WSDG systems design engineers, Judy Elliot-Brown and Caroline Feldmeier held extensive online dialogues with their China-based colleagues. Further on in the project, Hins requested that Brown visit the site for a full review of the wiring program and to have her lead the installation of the final a/v conduit and raceway system.

Fully loaded with Pro Tools, Lynx Aurora, Studer, Prisim Sound, Apogee Lexicon, TC Electronics, Eventide, Mercury, GML Manley, Fairchild, API, Empirical, Crane Song, and a full complement of classic mics including AEA, Beyer, Neumann, Royer, Telefunken, Song C800G, DPA, Schoeps and Shure. The studio also features two Hammond B3 organs and six Fender Rhodes electric piano models. Mains monitors in the SSL Control Room are custom 15″ Augspurgers. The Neve Control Room features 15″ Dynaudio Acoustics custom Munro M6 mains. The technology package was coordinated by WSDG, in conjunction with US-based Professional Audio Design.

Beth Walters worked closely with Hins and Bella Fan, to determine the most appealing color schemes and furnishing details. “Village Studios is an extraordinary accomplishment from every perspective,” Walters says. “We were committed to providing Hins with aesthetic details to complement their superlative acoustic and technical elements. Initial reports seem to indicate that we have achieved that goal.

“It is interesting to note that neither distance nor language presented insurmountable barriers to our collaboration. We see Village Studios as a triumph of professionalism. Hins has already recorded sessions with a full 60-piece symphonic orchestra. His business plan is to make the studio available to both Chinese artists and an international client base,” John Storyk concludes, “We are proud of this truly international design effort and confident that China’s newest world-class studio will be a true asset to that country’s entertainment industry.”

To view a full 60-piece orchestra live recording session with Hins at Village Studios visit: http://www.tudou.com/programs/view/5ZeQ5GNl9OI/

Photos: 1. Village Studios Presentation Drawing
2. Village Studios owner Hins with 60 piece orchestra in 3000 sq. ft. Live Room

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Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio, private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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AES Nashville Announces Keb Mo as Keynote Speaker for 2012 Nashville Recording Workshop +Expo

“Helping Creative People Make Better Recordings” NASHVILLE: The AES Nashville Section is pleased to announce that three-time GRAMMY-winning artist/songwriter/producer Keb Mo will be officially opening the 2012 Nashville Recording Workshop +Expo event on Friday, March 2, with a keynote address and interactive Q&A discussion with attendees. Additionally, Mo and his go-to engineer for both studio and live performance, John Schirmer, will be walking through the production of a complete song from start to finish in the final session of the first day of NRW+E 2012, giving their unique perspectives on both the technical and emotional experiences of making a recording and conveying the truest possible message on to the listener. Having worked together on variety of musical projects, including production for artists on Keb Mo’s Yolabelle International label and musical scores for a multitude of television shows at his Stu Stu Studio in Nashville, this will afford a unique opportunity to gain insight to such a multi-faceted career and the creative process. more

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AES Names Bob Moses Executive Director

NEW YORK, Tuesday, December 20, 2011: Bob Moses, longtime AES member and officer, accomplished product designer, technologist, and pro audio industry advocate, has been named Executive Director of the Audio Engineering Society. Announced today, by AES President Jan Abildgaard Pedersen, Moses will assume his new role January 1, 2012.

“An exhaustive search was undertaken for the best possible candidate for this pivotal AES position,” Jan Pedersen remarked. “Bob Moses is eminently qualified to address the multi-faceted demands of our 14,000 plus member organization. He brings enthusiasm, technical acumen, leadership and communications skills to this critical position. During his 23 years as an AES member, he has established invaluable relationships throughout our international membership. He is committed to implementing the Board of Governors’ goals of ensuring the Society’s fiscal health into the future, growing membership, and increasing value to our members and supporters. His deep appreciation for our 63-year history coupled with his eagerness to address the challenges of the future make him an ideal choice for Executive Director.”

In accepting the position, Bob Moses said, “The AES has been the backbone of my career. It has provided me with a unique platform to evangelize my ideas and seek feedback from the industry. I’ve learned almost everything I know about audio, and met many of my closest colleagues, through AES activities. I can’t imagine achieving my career goals without AES there to support me.

“Outgoing Executive Director Roger Furness has done an incredible job over the past 17 years, and I deeply appreciate his decision to remain aboard throughout 2012,” Moses continued. “My initial task is to identify where the AES provides maximum value to its membership and the industry, and to advance new ways to enhance this value. Sixty-three years ago the AES was the place for the scientific community to share ideas. Over time, AES Conventions evolved as the best forum for manufacturers to exhibit professional audio products. But today, the Internet and persistent economic challenges worldwide have changed the game. Based on my own experience as an AES member, author, and exhibitor, I know the AES remains a vital resource for audio professionals. We need to clarify that value and communicate it better. I’m ready for the challenge.”

In 1987 after graduating from McGill University with an electrical engineering degree, Bob Moses joined Rane Corporation as a digital audio product designer. In 1995 he invented a novel means of transporting audio over Firewire and cofounded Digital Harmony Technologies (DHT) to deploy this technology. Moses worked as a consultant to numerous consumer and professional audio manufacturers until he was recruited by THAT Corporation in 2006 as Program Manager of its integrated circuit (IC) business. During the past five years he has concentrated his energies on managing new technology development at THAT.

As a member of the AES Board of Governors since 1999; VP Western Region, 2001 -2006; and President, 2007 – 2008, Bob Moses has served an increasingly integral role within the organization and on Convention development, including several consecutive turns as Product Design Track Chair.

“We are confident that Bob Moses will prove himself an imaginative and resourceful Executive Director as the AES moves forward in the coming decades,” Jan Abildgaard Pedersen concludes. “We recognize the invaluable contribution Roger Furness has served in this demanding role, and we are pleased he will be staying on next year to ensure a smooth transition to the future.”

The AES 132nd Convention will be held in Budapest April 26-29. The 133rd Convention is set for San Francisco Oct. 26 – 29.

Photo Caption: Bob Moses has been named Executive Director of the Audio Engineering Society.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sonnox Announces 64-Bit Support For Oxford Plug-Ins

OXFORD, UK: In a move designed to provide full native 64-bit support for DAWs such as Logic and Cubase, Sonnox has announced the release of 64-bit versions of native Oxford Plug-ins. In addition to 64-bit compatibility, the new versions also sport updated graphic interfaces. Updates can be obtained from the Sonnox website for as little as $23.00 per plug-in. Sonnox Sales & Marketing Manager, Nathan Eames comments, “We’re constantly working with ever-advancing platforms, and are delighted to be giving our users native 64-bit compatibility with this update. We will also be adding AAX native plug-ins (for Pro Tools 10), free of charge to license holders of the new native versions.”

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For more information about Sonnox 64-bit plug-ins, or AAX native plug-ins,
please visit www.sonnox.com

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Formative AES Technical Committee on Sound for Digital Cinema & TV AESTC-SDCTV

New Initiative To Review Audio Reproduction For Digital Cinema

NEW YORK: The Audio Engineering Society has formed a provisional committee to review audio reproduction for Digital Cinema and Television . Spearheaded by Brian McCarty, Managing Director, Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV Committee contact: Brian McCarty (http://www.aes.org/technical/aft/).

“Our mission is to identify a consistent approach to controlling perceived loudness and frequency response from installation to installation, and from position to position within Digital Cinema installations worldwide,” McCarty said. “And, for this to be adopted as the formal reference for all contemporary dubbing stage recording and mixing activities, and ultimately as the unified method for film reproduction at home.”

Originally addressed at AES Technical Committee meetings in London in 2010, the initiative was inspired by the AES historical involvement in film sound. The lack of electroacoustical response reference data for Digital Cinema systems was underscored by Dr. Floyd Toole’s statement, “It seems that no real science has been done in terms of Digital Cinema Sound.” Dr. Toole, Vice Chair of the committee, is developing a 1/2 day seminar on these issues to be held in L.A. in March that will serve as the first meeting of the committee.

McCarty underscores the point that global acousticians, engineers and systems installers have expressed the need for a working standard. “In simple terms, what is recorded digitally in the studio does NOT sound the same at the theatrical end,” McCarty says. “As an art form our goal should be consistency of sound quality. Acoustical design of theaters is typically incorrect for sound reproduction in large rooms. Current soundtrack EQ reproduction curves are inconsistent with large-room audio practice and, with the rest of the audio industry. And, loudspeaker technology typically used in theaters has yet to be optimized for proper playback of wide bandwidth soundtracks. Basically,” McCarty concludes, “the current Digital Cinema Audio System is simply not the best we can do. The AES is committed to improving this situation.”

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Professional Wireless Systems Pioneer Domed Helical Antenna

Innovative Design, Rugged, Road Friendly, Cost-Effective Wireless Performance

ORLANDO, FLA: This summer, as he began sorting out the RF co-ordination for the Lollapalooza Festival, Ohio-based Eighth Day Sound director of touring services Owen Orzack reached out to Professional Wireless Systems’ GM, Jim Van Winkle, for recommendations on multi-channel wireless distribution. Coincidentally, PWS was putting the finishing touches on their innovative new Domed Helical Antenna.

“We’d worked with Owen on previous tours for various major acts, and Eighth Day already owned a number of our proprietary Helical Antennas,” Van Winkle reports. “While Owen already planned to use our Helicals for Lollapalooza at Chicago’s Grant Park, I said we would be happy to supply our new Domes for him to try out at the event.

Shipping immediately, the new PWS Domed Helical Antenna incorporates the highly successful circular polarization configuration pioneered by their original Helical, but seals the unit within a unique new compact ‘Domed’ design. Constructed from rugged Polycarbonate, PWS Domed Helicals are designed to hold up to considerable road-related abuse. Developed to provide robust, uncompromised multi-channel wireless microphone, in-ear and intercom wireless connectivity, PWS Domed Helical introduce a new standard in wireless antenna performance and physical presence.

“The Dome offers the same solid benefits of the original Helical with its circular polarization and applies it to a wider coverage pattern,” Van Winkle says. “In addition to Lollapalooza, we also provided Domed Helicals for the Austin City Limits Festival in September. And, Owen just let us know the Domes were very well received on tour with The Fray. Now that we’ve confirmed their quality and dependability we are rolling the Domes out across the industry,” Van Winkle concludes.

Photo: PWS Domed Helical Antenna. Photo by Grant Oberg

For information on the PWS Domed Helical Antenna contact: www.professionalWireless.com

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Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in live concert, TV Broadcast, corporate, industrial, theatrical, house of worship and sports events. Credits range from major Broadway shows including Billy Elliott, Les Miz and Book Of Mormon to yearly Super Bowl broadcasts. The firm’s 3rd generation owner Geoff Shearing also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. The company’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, twenty minutes from mid-town Manhattan. (201) 939 8666, www.MasqueSound.com

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WSDG Names Three Partners

Architectural/Acoustical Design Firm Sees International & Domestic Growth

NEW YORK: “2011 has been a watershed year for the Walters-Storyk Design Group,” notes company co-principal Beth Walters. “We are extremely fortunate to maintain a project schedule that doubles as a magnet for attracting high-end assignments. And we are fully aware of the contributions our associates make to our ongoing success. In recognition of the invaluable roles they play in our efficiency, bottom line and esprit de corps, three key team members, CFO Nancy Flannery, a 21-year WSDG veteran, and Project Managers, Romina Larregina (10 years) and Joshua Morris (7 years) have been named partners in our growing firm.”

Completion of Ann Mincieli’s instantly iconic Jungle City Studios, a major new Oven Studio complex for Alicia Keys, and Village Studios an important production complex in Guangzhou, China, coupled with a series of high-end personal studios including: Cynthia Daniels’ MonkMusic in East Hampton, and elegant project studios in Connecticut and Vermont illustrate continuing strength in both the home and facility-for-hire sectors.

On the domestic education front, WSDG completed five additions to The Art Institutes’ on-going national teaching studio expansion program (twenty and counting). The firm is also developing a significant number of technology rooms for the Berklee College of Music’s largest-ever teaching studio expansion, a 12 story building in Boston and a major new international campus in Valencia, Spain (spring, 2012). WSDG Latin America recently completed multiple high technology suites for the Artes Building, a seven-story addition to The Vatican’s Javeriana University in Bogota, Colombia.

WSDG Worldwide:

The scale and complexity of WSDG’s international workload vividly reflects the firm’s array of capabilities. Dirk Noy and Gabriel Hauser of the Swiss office recently completed a significant acoustic upgrade for the KKL Luzern Concert Hall, and a compelling design for Symphonic Studios, an elegant three-room studio 30 minutes from Zurich (featuring a striking interior design by Beth Walters). Current Swiss projects include: Little Big Beat Mastering in Austria, (with WSDG Brazil’s Renato Cipriano); and the development of a new audio system for Switzerland’s Cathedral St. Ursen, including full broadcast inter-connectivity. The Swiss and Brazil offices are also collaborating on four auditoriums and a full-scale theater for The Tehran Book Garden. Longer than six football fields laid end-to-end, this will be one of the largest structures ever built in Iran.

Sergio and Sylvia Molho of WSDG Buenos Aires report an equally prodigious project schedule. Assignments include: Mexico’s recently completed world-class Artco Recording Studios; Disney’s new 15000 sq. ft. Panamericana Studios, TV production complex in Buenos Aires; and, acoustic consulting for Uruguay’s Hilton Garden Inn. Earlier this year WSDG BA created MTV Networks’ Latin America Studio Complex and, an elegant studio for Buenos Aires-based Roma and Romma Record label.
WSDG Brazil chief Renato Cipriano has enjoyed an equally extended period of exceptional assignments. Highlights include numerous acoustic and A/V projects including an innovative acoustic treatment for the pool house of a luxurious villa in Belo Horizonte; and a major production/post production complex for TV Globo the world’s 2nd largest TV broadcast company. WSDG Brazil is currently developing the critical audio and video systems designs for three major soccer stadiums: Known as the ‘World Temple of Soccer,’ Maracanã Stadium in Rio is Brazil’s largest sports ground, with seating for 82.238 fans; Mineirão Stadium will be Brazil’s 2nd largest soccer arena (75.783 seats); and, the Independência Stadium is currently being retrofitted as a polo training facility for FIFA’s 2014 World Cup.

“We are extremely proud to maintain this demanding international schedule, and that our new offices in Spain and Germany are now contributing to our whirlwind of worldwide activity,” John Storyk concludes. “With forty + years of experience and 3000+ projects in our portfolio, we have also built a world-class cadre of designers, project managers, and systems installation experts. Every assignment presents its own idiosyncratic challenges and rewards. Our system of pooling the creative design, system integration and project management assets of all our offices is a textbook example of international cooperation. For us, the art of collaboration is a key element of our design work, and we are privileged to be associated with so many high profile clients.”

PHOTO: (l-t-r) WSDG Project Managers Joshua Morris and Romina Larregina, and company CFO Nancy Flannery have been named partners in the growing architectural /acoustic design firm. Photo by Matthew Ballos.

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Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio, private studios for Goo Goo Dolls, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith; Green Day, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a six-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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AES NASHVILLE PRESENTS THE NASHVILLE RECORDING WORKSHOP + EXPO 2012

“Helping Creative People Make Better Recordings”

Immerse yourself in the art and technology of music recording – March 2-3, 2012.

NASHVILLE: The AES Nashville Section has developed a compelling two-day recording workshop and gear exposition focused on getting the most from your personal studio recording environment. AES Nashville, in conjunction with Audio Engineering Society, Inc. in New York is offering this two-day program on March 2 & 3, 2012 at a new location, the Rocketown event center at 601 4th Ave. South. Whether you are a recording musician, a songwriter laying down demos, or a professional engineer working in a personal production space, the Nashville Recording Workshop and Expo will provide essential insight and information geared to boost your career and elevate creativity.

Affordable and more powerful technology has made for a burgeoning market in recording equipment as songwriters, musicians and engineers create their own personal production spaces. Nashville has long been touted to have more personal studios per capita than anywhere in the country, and never has this been truer than in today’s DAW-centric recording environment. NRW+E presents a unique opportunity for personal studio owners to learn from the pros who put the Music in Music City, to check out the latest tools of the trade in the exhibition space and to “network” with their peers.

NRW+E presenters will include leading producers, engineers, acousticians, songwriters, and musicians sharing their professional techniques and knowledge in the areas of vocal and instrument miking, songwriters production of demos, arrangements and recording for better mixes, adding rhythm and spice with virtual tracks, collaboration across time and space, work environments that enhance creativity, practical acoustic and room treatment, and technical essentials.

Cosette Collier, Chairman of the Nashville Section of AES states, “We are thrilled to be able to offer the Nashville Recording Workshop + Expo once again. For two days, NRW brings musicians, songwriters, small studio owners, audio production students and home recording enthusiasts together with professional recording engineers and music industry professionals, not for the typical ‘How I Do It’ kind of sessions, but instead, ‘How YOU Can Do It.’ Inspiration is part of the experience, but “take away” information is key.”

Nashville Recording Workshop +Expo featured events and demos will appear in a live, on-stage setting on a regular schedule throughout both days, while exhibitor booths and displays complete AES Nashville’s own convention-type setting, featuring manufacturers representing all aspects of professional audio gear and services.

Collier continues, “Some of the best engineering and production talent will share practical techniques for producing great recordings and enhancing one’s creative production space, as well as how to get your music heard. Along with the workshops and demonstrations, the exhibits area lets attendees check out the latest in audio production hardware and software and explore new ways to enhance the creative process. The 2012 Nashville Recording Workshop + Expo continues to extend the focused content and involvement for all levels of audio production.”

“Early Bird” registration for AES members and members of participating professional songwriter, performance, musician and engineering organizations is $79, non-members is $99, student members is $39, and non-member students is $59. Early registration is open through February 3, 2012. For the full program listings, information on registering or to book an exhibition space visit: www.nashvillerecordingworkshop.com.

Now in its 7th decade, the Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East, the AES serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sonnox Announces Compatibility With Avid’s New Pro Tools HDX System

Sonnox Announces Compatibility With Avid’s New Pro Tools HDX System

OXFORD, UK: Over the past four years, software developer Sonnox has consistently produced innovative plug-ins to meet the needs of music producers, engineers, TV/radio broadcast and feature film soundmixers. This year, the Sonnox Fraunhofer Pro-Codec (developed in collaboration with the original mp3 inventor) was introduced. Designed to provide real-time auditioning of audio codecs within a DAW environment, the Pro-Codec is considered by many engineers to be a truly game-changing plug-in.

Sonnox has now revealed yet another important advance – compatibility of Oxford plug-ins with Avid’s new Pro Tools|HDX system launched at the AES Show this week. In making the announcement Sonnox Managing Director Rod Densham remarked, “We’re extremely pleased to be an early adopter of the Pro Tools|HDX platform. The new AAX format will undoubtedly become an established plug-in standard, just as TDM has been. In recent months we have doubled the size of our development team to meet increased demand, and we are working overtime to complete the transition to AAX as soon as possible.”

Avid’s new AAX (Avid Audio eXtension) advanced plug-in format, offers improved workflows and sound parity when sharing sessions between DSP-accelerated and native-based Pro Tools systems. The format comes in two versions: AAX DSP plug-ins compatible exclusively with Pro Tools|HDX (TDM is not supported in Pro Tools|HDX); And, AAX Native plug-ins, compatible with any system running Pro Tools/Pro Tools HD 10 software.

“Sonnox consistently sets the pace for superior-sounding, innovative processing for Pro Tools, and we are thrilled to see their portfolio coming to AAX,” comments Ed Gray, Director, Partnering Programs at Avid. “Sonnox plug-ins running on a Pro Tools|HDX system will provide a winning combination for the next generation of audio professionals. We can’t wait to see what Sonnox brings to our users next.”

The highly acclaimed Oxford EQ and Oxford Inflator are the first in a line of many AAX plug-ins from Sonnox. They will be available when Pro Tools|HDX ships.

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For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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