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Archive by Howard Sherman

Sonnox Announces Compatibility with Avid’s AAX Plug-In Format For Pro Tools 11

Avid’s Audio Community to Enjoy Additional High-End Plug-ins with Pro Tools 11

OXFORD, UK: Sonnox has announced the release of 64-bit AAX DSP and AAX Native plug-ins for Pro Tools 11. The latest version of Pro Tools, the most used and trusted DAW in the industry, provides exponentially improved AAX plug-in performance over prior versions, including such time-saving capabilities as offline bounce to disk, and complete sound parity when sharing sessions between DSP-accelerated and native-based Pro Tools systems.

Currently available Sonnox AAX plug-ins include: Oxford EQ, Dynamics, Inflator, TransMod and, Oxford Limiter. Sonnox reports that additional AAX plug-ins will be forthcoming throughout 2013, as the company continues to port its entire range to the new AAX plug-in standard for Pro Tools.

To learn more about Sonnox and AAX please visit: www.sonnox.com

Photo: Sonnox AAX Plug-ins are now available for Pro Tools 11

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Historic Buenos Aires Building Revitalized As Di Tella University Campus Alcorta

WSDG Provides Acoustic, A/V & Interactive Expertise To Educational Complex

BUENOS AIRES: A once grand, but long-abandoned, state building, has been reclaimed as the new Di Tella University Campus Alcorta in Buenos Aires. A work in progress since 2004, the ambitious re-development was designed and coordinated by RDR Arquitectos, an architectural firm with offices in Argentina and Switzerland. The multi-national, Walters-Storyk Design Group provided integral acoustic design and consultation, and played a key role in the project’s audio/visual and interactive technology system integration.

“The original (1937) 31,000 sq. ft. + State Water Company Building was decommissioned in 1990,” states WSDG, Partner Sergio Molho. “Comparing historical pictures with contrasting photos of the structure’s deterioration confirmed it had ‘good bones,’ and tremendous potential. “Images of derelict offices and meeting rooms served as a catalyst, our entire design team was inspired by the opportunity to bring a useful new life to this structure.”

WSDG devised a three-stage plan to revitalize the building. The process began with a comprehensive acoustical measurement and analysis program, which formed the basis for their overall systems integration plan. This included: acoustical isolation, control of reverberation time, solutions to improve speech intelligibility (STI); audio/visual technology, interactive screens, microphones and speakers to support communications between classrooms and off-campus locations. Crestron Automation Systems were engaged to facilitate complete lighting, communications, energy and security system management.

A 2000 sq. ft. multi-media screening room was created and outfitted with a large HD screen, Blu-ray, projector, receiver and a 5.1 surround system. A studio-quality acoustical door and pro acoustical wall and ceiling treatments were stipulated for optimal sound isolation between theater, classrooms and hallways. WSDG also supervised the AV technology installation to meet professional standards.
Construction of Di Tella University began in 2004 under the direction of renowned Argentinean architect, Clorindo Testa. Planned in stages, the program enabled Di Tella to commence activities on Campus that year. The ultimate goal was to completely restore the main building and link it to the University’s neighboring facilities to create a unified campus. Remodeling continued through 2011 when the University moved forward with the final stages of the project, bringing all its majors and programs under one roof.
The large common areas are located in the basement, main and first floor, including the library, classrooms, reading rooms, workshops, canteen, and student services. The second floor features a large classroom to promote collaboration between students from all levels. Offices for faculty members, researchers and University authorities are situated on the third floor. The fourth floor is distinguished by a multi purpose room, with impressive river views.

With 32 classrooms, reading rooms, a multi-media screening room, 5 conference rooms and 130 offices, Di Tella University offers eight undergraduate degrees in Business Administration, Architecture, Economics, History, International Relations, Law, and Political Science and Government. The Business School offers a variety of Executive Education programs, and the schools of Architecture and Urban Studies and the Art Department offer professional development programs. The University provides over 50 exchange programs with universities in Europe, North America, South America, Australia, Africa and Asia. Current enrollment stands at 1000+ undergraduate and over 1500 graduate and professional students. On-going expansion of Di Tella’s curriculum, faculty, and graduate programs underscored the need to develop Campus Alcorta.

“This project engaged members of the entire WSDG team,” Sergio Molho emphasizes. “Designers, project managers and systems integrators from all six of our international offices made meaningful contributions to this project. WSDG has worked on a number of University assignments, from the NYU Steinhardt Center to the new Berklee College of Music Valencia campus, and the $100 + million Berklee Boston campus currently under construction. WSDG is committed to education and we are extremely proud of our association with Di Tella University.”

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Photos:

1-3 Di Tella University Buenos Aires
4 Abandoned State Water Company Building prior to reclamation as Di Tella U

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QATAR TELEVISION (QTV) SELECTS WSDG FOR NEW STUDIO PROJECTS

Successful Acoustic Treatments Lead To Audio Post Suite Design

DOHA, QATAR: When WSDG Partner/Director of International Relations Sergio Molho tasked project engineer Marc Viadiu with attending the Broadcast & Film Africa 2012 Conference in Kenya last year, they didn’t anticipate initiating a major new project. However, Viadiu’s meeting with, Qatar Television (QTV), Support & Development Committee, Audio Chief, Xavier Massard, produced exactly that. In preparing to open a world-class TV production complex, QTV, required precise acoustical measurements and specific recommendations for reducing reverberation time on their three primary studio sets. The multi-national, Walters-Storyk Design Group specializes in those services.

“In Kenya, Marc Viadiu provided Mr. Massard with examples of WSDG’s testing procedures and expertise in broadcast production facility design in Europe, South America and the U.S.,” Molho says. “I made an initial site visit in mid-October and returned with Marc in November to perform acoustic measurement and simulation tests. We made a third site visit to present our evaluation report and recommendations.”

QTV has three permanent program sets. The 14,788 sq. ft./39.4 ft. high News Show and 10,764 sq ft./39.4 ft. high Evening Show sets live within the TV Production Complex, The 3230 sq. ft./ 26.2 ft. high Morning Show set is situated within “The Pearl,” a large commercial mall. WSDG’s mandate was to fine tune the interior room acoustics, and resolve disparate isolation issues for all three studios. A primary condition was that the work be completed within a two-month, time frame to enable the station to begin scheduled broadcasting on December 16, 2012.

“WSDG worked with leading acoustical material manufacturers in Europe to provide the requisite isolation treatments,” Molho reports. “We had the necessary custom acoustic absorption panels fabricated to international broadcast industry standards. And, we met the 60-day deadline. Additionally,” Molho emphasizes, “WSDG supervised the design, construction and certification of two 9’ high, 3.5’ wide custom acoustic doors for the Evening Show Studio. Those doors, each weighing a full ton, were installed during the second phase of the project in February, 2013.”

Working closely with Xavier Massard and with Kinan Massard, QTV, Chief of Video, WSDG focused on providing highly effective acoustic solutions, including 1250 sqm of Melamine foam, (61 cubic meters) and 700 sqm of polyurethane foam (21 cubic meters). As per client directives, the installation is completely undetectable to viewers.

“The success of this initial project has led QTV to engage WSDG for a 2nd project, a new audio post suite,” Molho concludes. “We are very pleased to have established a productive working relationship with QTV, and we look forward to being of additional service to them in the future.”

Photo 1. (l-t-r) QTV, Support & Development Committee, Audio Chief, Xavier Massard, WSDG Partner/Director of Int’l Relations, Sergio Molho and QTV, Chief of Video, Kinan Massard,
2 & 3. QTV News Show set
4. QTV Evening Show set
5. QTV Building (during construction)

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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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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RPG Celebrates 30 Years of Developing Innovative Acoustical Solutions

To Enhance the Music, Improve the Intelligibility and Quiet the Noise

UPPER MARLBORO, MD: Dr. Peter D’Antonio began his career as a diffraction physicist at the Naval Research Lab (NRL) in 1967. A musician and composer with an interest in recording, Dr. D’Antonio designed and built the Underground Sound Studio in his home in the late 1970s. In the early 1980s, he became intrigued with the possibility of using diffusing surfaces based on a mathematical number theory, initially developed by Carl Friedrich Gauss in the 18th century, to diffuse rather than absorb the reflected sound from the rear wall of his control room. D’Antonio was familiar with these new, periodic diffusing surfaces; because they were 2-dimensional versions of the 3-D crystal lattices he was studying using X-ray diffraction. As a result of this research, the RPG® Diffusor was born, along with a new Live-End-Dead-End design for control rooms, using a ‘Reflection Free Zone,’ (RFZTM,) which remains the de facto design standard today.

While still working as a diffraction physicist, he incorporated RPG Diffusor Systems, Inc. in 1983. “The RPG Diffuser, which was inducted into the music industry’s TECnology Hall of Fame this year, was the first innovation inspired by our mission of ‘expanding the acoustical palette through a continued commitment to fundamental acoustics research,’” D’Antonio reveals. “Recording studio owners and designers were quick to embrace these revolutionary units. They proved highly effective in improving room acoustics and they provided handsome aesthetic enhancements as well. We literally launched a new industry.” In 1996, Dr. D’Antonio retired from NRL to devote full time to growing RPG from a pioneer in the recording industry to providing new solutions in the general architectural acoustics market. Over the past thirty years, RPG Diffusor Systems, Inc.’s award-winning innovations have changed the face (and the sound) of recording, broadcast, and performance environments. Today, a wide array of RPG products are engaged to enhance an astonishing range of acoustically challenged environments around the globe.

RPG recently instituted a new management team. Dr. Peter D’Antonio is now Chairman/ CEO, and two long-term RPG team members who have contributed greatly to the firms success, have been promoted to senior management positions. John Groth has been appointed President/CFO, Jeff Madison has been named Executive Vice President. Research continues to nourish RPG product advances.

The firm has pioneered a 3-decade-long progression of groundbreaking developments, now considered indispensible to architects and acousticians. Today, a mature assessment of the need for improved acoustics is manifest far beyond the professional audio recording and broadcast studio enclave. RPG products are employed by a client base that encompasses schools, corporate boardrooms and auditoriums, concert halls, motion picture and live performance theaters, Houses of Worship, home theaters, stadiums, restaurants and the burgeoning Project Studio market.

“On-going dialogues with professional organizations such as the Audio Engineering Society, the Acoustical Society of America and Syn-Aud-Con, coupled with long-term relationships with leading architects and acousticians have inspired a number of our new products over the years,” D’Antonio says. In addition to the RPG Diffusor System, which has continued evolving to include the widest range and highest performance sound diffusors, RPG has also developed a wide range of innovative absorbing surfaces.

The ModffusorTM eliminates all the limitations of the original QRD® and represents the highest diffusive performance to date; Waveform® is a patented wide range of optimized curvilinear shapes for wall or suspended cloud installation; Topakustik® and Topperfo®, are key elements in the most expansive and versatile sound absorbing wood plank and panel system, representing hallmarks of high quality installations. “Newer products like Quietstone® , an innovative approach to utilizing recycled stone aggregate or glass to control noise, sound reflections and excess reverberation, and Clearsorber® Foil and Deamp, transparent sound absorbers with microperforations and micro-slits, respectively, illustrate the validity of our philosophy of dedicated R&D,” D’Antonio asserts.

An increasing commitment by architects to improving the sound quality in new public and private buildings has seen RPG products perform noteworthy acoustical services in many significant international projects. These include: The New York TimesCenter, designed by Renzo Piano; Burj Khalifa, the world’s tallest building, recently completed in Dubai; Denver Museum of Nature and Science; Museum of Fine Arts, Boston; Jungle City, NY’s acclaimed destination recording studio; Sony Computer Entertainment America, San Mateo, CA; the renowned Jazz At Lincoln Center Complex; and, most recently the SFJAZZ Center an extraordinary new 35,000 sq. ft ‘sanctuary for jazz,’ in San Francisco.

“We consider the past 30 years a prelude to the next 3 decades,” Peter D’Antonio adds. “Sophisticated new research, measurement and simulation tools and innovative new acoustic materials are constantly being introduced. Awareness of the critical role performed by acoustics in our social, business and entertainment worlds has never been higher. Our commitment to on-going research and our state-of-the art measurement facilities for determining the absorption, scattering and diffusion coefficients are increasingly productive. RPG’s staff of mathematicians, acousticians, musicians and architects continues to guide our firm towards more breakthrough developments; and to on-going improvements to products already established as industry standards. The future looks good to us, and we’re dedicated to making it sound even better,” he concludes.

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Photo 1. Dr. Peter D’Antonio, RPG Difuser Systems, Inc. Founder/Chairman/CEO
Photo 2. (l-t-r) RPG Difuser Systems, Inc. Founder/Chairman/CEO, Dr. Peter D’Antonio,
President/CFO John Groth, and Executive Vice President Jeff Madison.

NOTE: In 2007, Dr. Peter D’Antonio established the Chesapeake Acoustic Research Institute, LLC www.cari-llc.com, The Institute is focused on providing the architectural acoustics community with continuing acoustical education, experimentation/proof-of-performance testing and exploration of more effective room designs, with the ultimate goal of improving the acoustics of the built environment.

Formed in 1983, RPG Diffusor Systems, Inc. is committed to continually expand the acoustical palette of tools available to the design community, builders and customers. RPG is located at 651 C Commerce Drive, Upper Marlboro, MD 20774 Phone:301 249 0044, Email: info@rpoginc.com or visit: http://www.rpginc.com/

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OXFORD LIMITER RELEASED FOR AAX + JUNE PROMO – 40% OFF SONNOX ENHANCE

OXFORD, UK: Sonnox has released the Oxford Limiter plug-in for Avid’s AAX format. Sonnox Sales & Marketing Manager, Nathan Eames reports, “The demand for AAX plug-ins has been growing exponentially, as the Pro Tools HDX user-base expands. Our design group continues to work diligently on developing 64-bit AAX versions for the forthcoming Pro Tools 11. The work is time consuming, but absolute accuracy is paramount, to bring these much loved classics to the HDX platform.”

To mark the release of the Oxford Limiter (AAX), Sonnox is offering its Enhance Collection throughout the month of June with a discount of 40%. The Sonnox Enhance Collection contains three popular Oxford plug-ins – Limiter, Inflator and Transient Modulator – whose combined punch can greatly enhance any mix. While all three plug-ins are available in AAX format, they are also compatible with other plug-in formats – TDM, RTAS, Audio Units and VST.

For more information on the Sonnox Enhance Collection and to watch a demo of the three plug-ins in action, visit: http://bit.ly/enhance40

Photo: Sonnox AAX Limiter Screen Shot

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

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OXFORD LIMITER RELEASED FOR AAX + JUNE PROMO – 40% OFF SONNOX ENHANCE

OXFORD, UK: Sonnox has released the Oxford Limiter plug-in for Avid’s AAX format. Sonnox Sales & Marketing Manager, Nathan Eames reports, “The demand for AAX plug-ins has been growing exponentially, as the Pro Tools HDX user-base expands. Our design group continues to work diligently on developing 64-bit AAX versions for the forthcoming Pro Tools 11. The work is time consuming, but absolute accuracy is paramount, to bring these much loved classics to the HDX platform.”

To mark the release of the Oxford Limiter (AAX), Sonnox is offering its Enhance Collection throughout the month of June with a discount of 40%. The Sonnox Enhance Collection contains three popular Oxford plug-ins – Limiter, Inflator and Transient Modulator – whose combined punch can greatly enhance any mix. While all three plug-ins are available in AAX format, they are also compatible with other plug-in formats – TDM, RTAS, Audio Units and VST.

For more information on the Sonnox Enhance Collection and to watch a demo of the three plug-ins in action, visit: http://bit.ly/enhance40

Photo: Sonnox AAX Limiter Screen Shot

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

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134th AES Convention Draws Int’l Pro Audio Community To Rome

High Level Dialogues On Loudness, Digital Cinema & Spatial Audio

ROME: “Our 134th convention exceeded expectations in every way,” reports AES executive director Bob Moses. “Our 4 day program of over 150 workshops, tutorials and round table discussions on digital cinema, loudness, spatial audio and other timely topics, packed our presentation rooms. In addition to a solid pro industry turnout, we attracted many enthusiastic students whose quest for information and mentors was palpable. Our sponsors were uniformly pleased with the new customers in attendance throughout the Convention. I feel confident that we are on a good path in Europe and look forward to expanding this new AES model in future years,” he adds.

The 134th AES Convention was held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. Under the guidance of Convention Chair, Umberto Zangheri, the Convention program presented attendees with the opportunity to discuss the issues that impact the vitality of the pro audio industry.

“This Convention provided a unique environment for deliberating hot issues, and incubating future innovation and growth in the pro audio industry,” Moses states. “Many events were educational in nature, bringing professionals up to speed on important topics. Many others crystallized critical technical milestones in rapidly evolving fields such as Digital Cinema. One of our missions is to take all this amazing mental power in our industry and turn it into new standards and best practices. The work in the Digital Cinema community is a prime example of this synergy. They’re not just talking about the future; they’re making it happen in our meeting rooms. It’s very important work!” he adds.

Brian McCarty, chair of the AES Technical Committee of Sound For Digital Cinema and Television reports, “the standing-room only attendance for virtually all our Sound for Pictures Track events was augmented by the fact that these meetings were extremely productive in terms of producing demonstrable findings to support our Standards Committee activities.”

Following through on his promise to serve businesses in new ways, Moses says the decision not to have an exhibition floor was deliberate. “I wanted to test a model based on sponsorship,” he said, “in contrast to a traditional exhibition. This event and venue was a good opportunity for such a test. If you look at what our sponsors did – training, product placement, and so on, you can see some very interesting and creative ways for AES to serve them.

“I’m very grateful to these companies for supporting us and coming out to play,” Moses adds. “I heard many success stories from them, and I’m looking forward to stepping our sponsor program up another level in 2014.”

Commenting on her reaction to the Convention, Gioia Molinari, Head of Marketing for Gold Sponsor, RCF remarked, “The emphasis on serious industry issues and meaningful technical dialogues distinguished this event from the new product introduction focus of many large scale conventions. The AES European gathering is sized and designed to establish critical new business relationships and, to help us assess where the industry is headed technically. We were extremely pleased with the quality of the attendees and the genuine enthusiasm expressed by our co-sponsors. This was one of the most productive and stimulating Conventions we have participated in.”

“AES Conventions are unsurpassed environments for student interaction,” said Stephen Webber, Gold Sponsor, Berklee College of Music’s Valencia Campus Director for Technology Innovation. “These are the kinds of events, which inspire dialogues that spark creative breakthroughs. The students we engaged with were bright, inquisitive and, grateful for the opportunity to meet with both their international peers and the industry professionals who are pioneering the changes which are moving our industry forward.”

“The AES Rome Convention technical program focus appealed to us as a manufacturer,” said CharterOak President Michael Deming. “The format successfully allowed us to present our products in a focused way in two technical training sessions ‘Intelligent Compression In the Analog Domain’ and ‘Wide Bandwidth Equalization in the Analog Domain.’ Our presentation room was filled with industry pioneers, working professionals and wide-eyed students, creating an environment for training and technical discussions, that doesn’t happen on a crowded exhibits floor,” Deming adds.

AES President, Frank Wells concludes, “In the marketplace of ideas, the 134th Convention proved that the AES remains professional audio’s prime source for the fundamental information, leading edge technology and technique, standards and practices-AES convention attendees have the information available to allow them lead the curve while others follow.”

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Photos
1. Keynote crowd at 134th AES Convention in Rome
2. Members of the 134th AES Convention team in Rome
3. 134th AES Convention co-sponsor, CharterOak, President, Michael Deming during a presentation in Rome.

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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AES 135th CONVENTION POSTS DEADLINE FOR PAPERS PROPOSALS

May 29 Deadline for Abstracts

NEW YORK: AES 135th Convention Committee Papers Co-Chairs, Brett Leonard and Tae Hong Park, have announced an extension of the call to the professional audio community for technical papers proposals. The new deadline is Wednesday, May 29, 2013.

“We have already received a number of strong abstracts and completed papers,” reports Brett Leonard. “We anticipate a particularly strong turnout for this year. And, we want to make sure that our review board has as many options as possible in order to maintain the quality and diversity of our presentations. By reaching out to a wider segment of the professional and educational sectors we hope to add a number of atypical but eminently worthwhile subjects.”

“We recognize the fact that meaningful papers can originate from beyond traditional academia,” states Co-Chair Tae Hong Park. “Our goal is to develop the most stimulating, comprehensive and authoritative Papers Program possible. Points of origin are far less critical than points of fact, theory and originality.”

In addition to sharing knowledge and opening constructive dialogues on issues which impact on the professional audio community, presenting authors will have their Papers included on the CD-ROM of the full Papers / Posters Program, and, student members will be eligible for the Student Paper Award.

Authors may submit proposals in three categories:

1. Complete-manuscript peer-reviewed convention papers: www.aes.org/135th_authors
2. Abstract-precis-reviewed convention papers: www.aes.org/135th_authors
3. Synopsis-reviewed engineering briefs: www.aes.org/135th_ebriefs

Category 1 and 2 proposals must be submitted electronically to the AES 135th proposal submission site at: www.aes.org/135th_authors by May 29, 2013

Category 3 – Engineering Brief authors must supply a short synopsis by Aug. 14, 2013 followed by an electronic manuscript. These manuscripts will be freely available in the AES E-Library to AES members.

The 135th Audio Engineering Society Convention will be held Oct. 17 – 20, 2013 at New York’s Jacob Javits Convention Center.

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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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WSDG Reveals Outreach To India

New Affiliation With Pivotal Bollywood Film/Audio Rep

NEW YORK: Sergio Molho, Walters-Storyk Design Group Director of New Business Development, reports that company co-principals Beth Walters and John Storyk returned from a recent visit to India with a pioneering relationship with leading Pro audio/film industry solution provider/recording engineer, Aditya Modi. Following a series of client meetings and two lectures on design and acoustics at Yash Raj Studios in Mumbai, Walters and Storyk finalized an agreement with Modi Digital for exclusive representation of WSDG throughout India.

“Aditya Modi is a 2nd generation audio/video/film industry professional,” Molho says. “Since 2007 he has managed Modi Digital, a successful technology sales/installation firm founded by his father, Vijay Modi – 40 years ago. In addition to his extensive business experience, Modi is an award-winning, creative audio engineer. Our agreement will see him working with us to introduce WSDG’s acoustic and architectural design capabilities to India’s thriving production community. We are extremely fortunate to be working with him,” Molho adds.

“We were deeply impressed with Modi’s artistic talents, his integrity and his social graces,” Beth Walters remarked. “He worked and studied in the U.S. for a number of years, his knowledge of and connectivity with India’s huge film and audio production community is unsurpassed. We have an abiding respect for Bollywood, and we are convinced that WSDG can be of great service this pivotal industry.”

After earning a Recording Arts Degree from Full Sail University in 2001, Aditya Modi moved to LA to work as a DJ. Returning to Mumbai after graduation, he became a successful recording engineer and businessman. In 2001 Academy Award-winning Bollywood composer A.R. Rahman (Slumdog Millionaire) enlisted Modi to manage his production/post production operations, and to serve as creative producer for his live and theatrical shows. Beyond his on-going relationship with Rahman, Modi established two personal recording, mastering & mixing facilities in Mumbai. In addition to writing for technical publications, he also hosts seminars for Music/Audio educational institutions.

“I have been aware of the Walters-Storyk Design Group from the earliest days of my career,” Modi remarked. “John Storyk’s work is highlighted by world-class credits that range from Electric Lady in 1968 to NY’s newest super studio Jungle City. I know WSDG’s international team will make a huge impact on Bollywood’s technical capabilities. And, I am honored to be representing such a distinguished firm.”

“We established an immediate rapport with Modi, and we relate to his entrepreneurial spirit,” John Storyk adds. “He is a true player in the Bollywood community. We are already beginning design work on our first project in India and,” he concludes, “We look forward to a long and warm working and personal relationship with Modi.”

Photo: Aditya Modi is representing the Walters-Storyk Design Group in India

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The 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, the KKL Luzern Concert Hall in Switzerland, 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, 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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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Dave McNair Plugs Sonnox Pro-Codec Into David Bowie’s Instant Classic “The Next Day” CD

OXFORD, UK: A mastering/mixing engineer with credits ranging from Iggy Pop and Rod Stewart to Los Lobos and Tina Turner, New Jersey-based Dave McNair most recently lent his technical and aesthetic expertise to David Bowie’s instant classic The Next Day. Warmly embraced by critics and fans alike, Bowie’s first album in ten years has accrued universally positive reviews, strong sales and, extensive YouTube viewing thanks to its avante garde look and sound.

McNair, who has worked with producer Tony Visconti, a long-time Bowie collaborator, on several previous projects, took particular advantage of his Sonnox Fraunhofer Pro-Codec on The Next Day. I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,” McNair says. “It’s become invaluable in previewing various codecs on the mastered higher resolution files for clients who will be making MP3′s or lower resolution files for digital distribution. I’ve found that the higher the bitrate, the less overs are created when making an MP3 or AAC.”

McNair uses the Pro-Codec via his Sequoia mastering rig. It enables him to hear (and visualize) exactly how an encoded file will sound. “A miniscule amount of red in the NMR (Noise-to-Mask Ratio) display in the FFT window (or, no red at all if I back the Bitstream level down) means there’s less or no audible distortion created in the encode stage,” he explains

The Pro-Codec was particularly useful on Bowie’s The Next Day album. “This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.” McNair reveals. “The CD target level for Bowie was -0.6dB for the 96K session. After sample rate conversion to 44.1 kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96K files sent to iTunes were delivered at – 0.8dB. Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honor and a great personal pleasure to be associated with this incredible project,” McNair concludes.

Photo: Mastering/mixing engineer Dave McNair recently worked on David Bowie’s The Next Day album.

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

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