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Archive by Howard Sherman

Stephen Webber To Keynote AES 134th Convention In Rome

Internationally Recognized Professor of Music Production/Engineering & Star DJ

ROME: Stephen Webber, internationally recognized author, professor of music production & engineering, and star hip-hop DJ, will present the Keynote address at the 134th AES Convention. Scheduled for May 4-7 at the Fontana di Trevi Center in Rome, the Convention promises a rich program of educational Workshops and tutorials, research papers, standards and technical committee deliberations, and an incomparable environment for networking with the world’s audio elite. In making the announcement AES Executive Director Bob Moses remarked, “Stephen Webber personifies today’s AES membership. He combines a deep commitment to education with a high profile career as a creative DJ. An accomplished author and lecturer, Webber’s Keynote will provide a insightful bridge between the future and our legacy.”

Author of such successful books as Turntable Technique: The Art of the DJ, Stephen Webber is an international clinician who presents workshops, master classes and performance seminars on Production, Mixing Techniques, and Songwriting. An Emmy-winning composer who’s works include the Stylus Symphony, Webber was recently appointed Director of Music Technology Innovation at Berklee’s new campus in Valencia Spain. He addressed the Berklee Graduating Class of 2012, and has performed and lectured extensively in the US, China, Australia, Central America, and Europe. Webber is also an accomplished studio designer whose clients include actors Jack Black and Ben Stiller, and a producer/engineer who’s worked with NAS, Mark O’Connor, and DJ Premier.
Entitled “Inventing the Album of 2025,” Webber’s AES Keynote will seek to consider what is technologically, economically, and artistically possible, to decipher what the record album should look, sound, and feel like come 2025.

“We have high expectations for the 134th AES Convention,” Bob Moses concludes. “Attendees will find many opportunities to listen, learn and… connect with each other.”

Photo: AES 134th Convention Keynote Speaker, Stephen Webber

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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 Completes World Class Sound Reinforcement System Upgrade For KKL Luzern Concert Hall

LUZERN, SWITZERLAND: From its opening performance by the Berlin Philharmonic in August 1998, the KKL Luzern Concert Hall was recognized as one of the world’s great performance centers. An international landmark, both architecturally and culturally, the complex attracts music fans from around the world to its picturesque lakeside setting.

Designed by architect Jean Nouvel and opened in 2000 KKL Luzern is comprised of three distinctive sectors: The conference and meeting room wing, complemented by a number of lounges and restaurants; A black box-style multipurpose hall, which presents events ranging from rock concerts to general assemblies; And, a Concert Hall distinguished by world-class acoustics designed by Russell Johnson’s Artec. The Concert Hall features some remarkable acoustical properties, including an extremely low quietness level of below 20 dB and mechanically variable room acoustics employing huge echo chambers surrounding the hall. A dozen years of constant use – with an impressive yearly booking rate of more than 90% – coupled with significant technological advances prompted the KKL Luzern management group to upgrade its retractable electro acoustical system. WSDG, an international team of acoustics experts, was brought in to accomplish this essential project.

The Concert Hall

The Concert Hall’s retractable electro acoustical system is used as a high-quality sound reinforcement system during many of the events, typically jazz, world music or pop style concerts and also for speech announcements during performances. The Concert Hall has a gently rising main floor, plus four balcony levels – the lowest of which flows into the organ loft with additional seating, resulting in a total seat count of just under 2.000. The hall’s dimensions correspond to a classic 1:1:2 shoe box shape with a height of 22 meters (72ft), a width of 22 meters (72ft) and a length of 46 meters (150ft). The clear wood stage consists of 41 adjustable elements. Situated at the front end of the house, directly above the stage, the Goll organ boasts 4’387 pipes. The organ can be closed with large doors and a 12 x 8 m (40ft x 26ft) wide projection screen can then be dropped in front of it. A retractable two-part canopy is located directly above the stage. The ceiling holds 190 lights of various sizes to depict a starlit night sky.

The walls are white and many of them in fact are not walls, but touch panel-controlled hydraulic doors that can be used to modify the reverberation time for different applications. The Concert Hall itself has a volume of 17’823 cubic meters (about 630’000 cu. ft), the echo chambers (with doors in the open position) can increase the volume by an additional 6’189 m? (220’000 cu. ft) – about 1/3 of the hall’s volume! The echo chambers are treated by varying arrangements of absorbing curtains, providing a variable median reverberation time of between 2.0s and 2.8s. The walls (and/or doors,) are slightly convex and covered with a total of 24’000 custom designed gypsum relief elements. For reinforced events, the reliefs are covered by white curtains. Prior to an event, KKL Luzern’s technical team configures the room based on the parameters received from the conductor and, on their vast experience from past events. Further fine-tuning of the room’s variability is accomplished while rehearsing with a conductor. As Technical Director Tjark Kuhlmei explains, “We have conductors who know the room very well and want it set up exactly to their personal preferences. For example, Claudio Abbado knows precisely the slight change that can be achieved by varying the canopy height by 20cm to produce a subtle, yet more pronounced harp sound.”

The Requirements and The Solution

Dr. Dominik Isler, COO, reports: “The room acoustical quality of the KKL Luzern Concert Hall is on par with other world-class halls, so the main objective for the new sound reinforcement system was that we achieve the same high quality level in electroacoustical concerts as we do in classical events.”

In addition to extremely high quality acoustic requirements, further parameters had to be met. These include the ability to fully retract the loudspeaker system for non-reinforced events; eliminating the need for temporary placement of auxiliary loudspeakers for audience coverage; 360-degree coverage for spoken word events (also covering the area besides and behind the stage, including the balcony below the organ) and, a more accurate perception of directionality. Due to the complexity and logistics of the project, WSDG was mandated for a two-year project covering the consulting, planning, contractor selection, supervision of installation and calibration of the technical systems.

Dirk Noy, General Manager of WSDG’s Europe Office states: “A major issue of this hall is the wide distribution of seats on five vertical levels surrounding three of the four walls, and consequently, the coverage requirements of the electroacoustical sound system. The WSDG solution’s core idea was the realization that the KKL Luzern Concert Hall is mainly designed for acoustical sources that are placed directly on stage.” Consequently, the new main loudspeaker system is installed significantly lower and closer to the stage than the previously installed solution. The main system is supplemented by a distributed system whose elements are permanently installed but retractable by motors.

The project was divided into three phases: firstly the identification of the requirements, system planning and preparation of specifications, secondly the on-site evaluation of a total of three loudspeaker system candidates, and lastly the execution phase of installation planning, supervision and commissioning.

The preparation and specification in phase 1 and the on-site evaluation in phase 2 determined that d&b loudspeakers provided the optimum system both in the technical evaluation (acoustical measurements) as well as in the listening tests (consisting of questionnaires within a test audience of 20 persons with varying backgrounds). The procuring and installation assignment was awarded to auviso, one of Switzerland’s most significant system integrators, based in Lucerne.

The Sound System

The new sound reinforcement system consists of the Left Right main system with two line arrays of eight d&b V12 units each, suspended above the stage front edge, two additional line arrays for covering each of the balconies with five d&b V12 units, a stage edge in-fill system consisting of two d&b V-Sub and two d&b V12 units each on the right and left and a stage mounted front-fill provided by six d&b E6 units. For events requiring a 360-degree speech reproduction a retractable center cluster was provided with a front section (consisting of eleven d&b T10 units) and a rear section (consisting of three RCF VSA 2050 digitally controlled column loudspeakers).

The d&b V12 units have a nominal horizontal dispersion of 120-degrees; the vertical tilting is variable from 0 to 14 degrees. The passive 3-way units are equipped with two 10-inch low frequency drivers; a horn loaded 8-inch midrange driver and two 1.4-inch high frequency drivers mounted on a dedicated waveguide. The d&b V-Sub units hold a forward radiating 18-inch driver in a bass reflex enclosure and a rear-firing 12-inch driver in a two-chamber band pass enclosure. With this arrangement and the algorithms within the D12 amplifier a Cardioid dispersion characteristics with a significant attenuation of the energy radiation towards the stage can be achieved.

Amplification is provided by d&b D12 units that allow for precise tailoring to the installation parameters. “Beyond their sonic qualities we also really like the aesthetics of the new system, being an inconspicuous, slim line array,” Tjark Kuhlmei points out, “With the subs on stage, we can flexibly adjust the low frequency reproduction as required, or not use them at all, for example for pure speech events.” Signal transport from the Yamaha DME System DSP (digital signal processor) to the amplifiers is achieved via digital AES / EBU at a 96kHz sample rate.

All the line arrays are suspended and are equipped with their appropriate motor and cable winding mechanism. This allows the retraction of all loudspeaker arrays not required for a specific performance, to a parking position above the canopy.

Distinguished by its spectacular architecture and acoustics; its vast variable echo chambers and its unique Goll pipe organ, The KKL Luzern Concert Hall is an incomparable world-class venue. The new d&b V-Series sound reinforcement system, engineered, implemented and calibrated to the most demanding performance specifications, exceeds all quality requirements and significantly widens the hall’s usage profile. WSDG is exceptionally proud to have been associated with this important and artistically significant project.

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KKL Luzern Concert Hall photo captions

1. KKL Luzern Concert Hall Exterior photo by KKL Luzern
2. KKL Luzern Concert Hall Interior w. New System photo by KKL Luzern
3. KKL Luzern New Main System photo by KKL Luzern
4. KKL Luzern Simulation Screen Shot of SPL Sound Pressure Level Direct Sound. Image by WSDG

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, , Mexico City, Spain and Switzerland.

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AES E-Library Offers 14,000+ Fully Searchable PDF Files

Institutional And Individual Subscription Programs Now Available

NEW YORK: Audio Engineering Society Executive Director Bob Moses has announced new subscription formats to the AES E-Library. With over 14,000 fully searchable PDF files, the collection represents one of the world’s most comprehensive sources of definitive professional audio information. Documenting the progression of audio research and development from 1953 to the present day, the E-Library includes every paper published at each of the 133 AES Conventions and 49 international conferences, plus all papers published in the AES Journal. Engineering Briefs (eBriefs) recently introduced at conventions may also be accessed in the E-Library.

“The depth, range and authoritative nature of the professional audio subject matter amassed by the AES E-Library is unparalleled,” Moses says. “It provides a rich history of the evolution of audio technology, and carries all of the ideas, dialogue, and best practices forward from one generation to the next. This is really the crown jewel of the AES. It encompasses topics ranging from equipment design, to surround sound development, acoustic measurement, and hearing loss and protection.”

Additionally, the AES now offers an Open Access (OA) publishing option to its authors. OA papers in the E-Library are freely downloadable by anyone, including non-AES members and non-E-Library subscribers. The first OA offering is by Alex Case, “Recording Electric Guitar-The Science and the Myth.”

AES E-Library Subscriptions are available in two formats:

* Individual Subscriptions are $145 per year for AES members and $255 per year for non-members. This subscription provides downloads of any document in the E-Library at no additional cost.

* Institutional E-Library Subscriptions to universities, companies, and libraries are $1800 per year. This subscription provides all institution members with free downloads of any document in the E-Library.

* Individuals may download specific papers without an E-Library subscription, at a cost of $5 per paper for AES members and $20 per paper for non-members.

“AES Journal and Convention Program contributors are among the industry’s finest practitioners and scientific minds. Educators, students, researchers, product designers, manufacturers and historians may now track virtually every meaningful technological development introduced by our industry over the past 60+ years. They will discover extensive research and detailed findings on many fascinating subjects,” Moses concludes.

Photo: AES E-Library logo

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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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Bob Skye Joins WSDG As West Coast Rep/Project Engineer

New Role For Electro/Acoustics Innovator / Recording Engineer

SAN FRANCISCO: Bob Skye, a leader in electro/acoustic design, recording studio construction and, a Grammy-winning engineer with Gold and Platinum credits, has joined the Walters-Storyk Design Group. As WSDG’s west coast rep and project engineer, Skye will shoulder a host of responsibilities ranging from new client development and overall business management to hands-on project design and construction supervision.

“Our business plan is focused on providing exemplary client services as we expand our operation in the U.S. South America and abroad,” says WSDG Director of New Business Development, Sergio Molho. “The secret ingredient is talent, and Bob Skye is one of the most accomplished designer/builders in our field. We are extremely optimistic about our growing West Coast office; Adding one of California’s premiere acoustic gurus to our team emphasizes the level of our commitment to this market. And, Bob’s presence will enable our long-term SF associate Jack Leahy to focus on other WSDG assignments.”

Robert “Bob” Skye founded Skyelabs Inc. in 1975 as a mobile recording/acoustical/audio system design firm. From 1986 to 1993 he owned and operated the legendary Plant Recording Studios. His electro/acoustic design skills have contributed to the success of numerous nightclub, live theater, cinema, recording studio, large venue, corporate and live broadcast clients. His CV is highlighted by work for ABC TV, NBC TV NFL Films, the San Francisco Opera, Russian National Orchestra, Hong Kong Stadium, The Lear Theater (Reno, NV) Talking House Recording (SF) and numerous clubs including SF’s DNA Lounge, Whispers, Club Mercury and Blondie’s.

“Having worked on numerous WSDG projects, I have an abiding respect for John Storyk, Beth Walters and the entire WSDG team,” Bob Skye remarked. “We share a philosophy based on a commitment to excellence. I look forward to this new chapter in my life with genuine enthusiasm.”

“Bob Skye is one of our industry’s most multi-faceted, go-to guys,” WSDG co-principal John Storyk remarked. “We have collaborated with him, bid jobs against him, and over the past 35 years we’ve grown to respect the impressive range of his expertise. He not only does it all, he does it all well. We are delighted to welcome him aboard.”

Photo: Bob Skye has joined WSDG as west coast rep/project supervisor.

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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 and Mexico City

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Nashville Audio Week Slated For May 14 & 15


New Dates For 4th Annual Nashville Recording Workshop + Expo 2013 –

Sugarland’s Kristian Bush Locked For Keynote

NASHVILLE: Rescheduled for “Audio Week” in Nashville, the Nashville Recording Workshop + Expo will take place May 14th and 15th, at the Rocketown Event Center. “Attendees and exhibitors have been enthusiastic about the new timing for NRW+E 2013,” comments event chair Jim Kaiser, now to immediately precede the AudioMasters Benefit Golf Tournament. “Many already participate in the AudioMasters, and had participated in Mix Nashville, which previously occupied the time slot. Tying AES Nashville’s events together in the same week will maximize these visitors’ time in town. We look forward to working with all of our presenters, exhibitors and sponsors, to make this the best-ever event in the Nashville Recording Workshop series.”

Presented by the AES Nashville Section in conjunction with the AES and designed to share the expertise of audio pros with home studio owners, musicians, songwriters, producers and engineers. NRW+E 2013 will feature presentations by top industry pros; exhibits by leading audio gear manufacturers and, an opening night reception.

The AudioMasters (www.theaudiomasters.org), now in its 16th year, is also hosted by AES Nashville, bringing audio engineers and manufacturers to Music City for a good time on the golf course, and more importantly, to raise funds for the Nashville Engineer Relief Fund-a non-profit corporation begun by AES Nashville to lend assistance to area audio pros in times of crisis and need.

“We started Mix Nashville five years ago to bring a professional audio event to a town that eats, sleeps and breathes music,” says Tom Kenny, editor of Mix magazine. “We had a good run, and we were proud to partner with the AES Nashville Engineer Relief Fund golf tournament in what became a true Audio Week in Nashville. Now, we are equally proud to lend support to the AES Nashville Section’s Nashville Recording Workshop + Expo, as it continues to grow as a one-of-a-kind audio event.”

“Last year’s NRW+E truly jelled,” Kaiser adds. “The insights detailed in the Production, Engineering and Songwriting/Publishing tracks provided ample learning opportunities for every attendee, whatever their primary interests. Our special focus on live presentations, including in-depth, project profiles by Keb Mo and Beth Neilsen Chapman, was particularly well received. Rocketown proved itself an outstanding venue, and our attendees were informed, entertained and inspired.” Kristian Bush, one-half of the award-winning super-duo, Sugarland, will present the keynote address to launch NRW + E 2013 on May 14th. The full program schedule for NRW+E 2013 is available online.

“Music is always in the air in Nashville,” Jim Kaiser concludes. “But the town is particularly beautiful in May, and spring will be in the air as well. We have discounts and early-bird rates for students and members of many professional organizations, so adjust your calendars accordingly.”

Program details, registration information and exhibition/sponsorship details for NRW+E are posted at: www.nashvillerecordingworkshop.com.

Photo: The 4th Annual Nashville Recording Workshop is set for the Rocketown Event Center, May 14 & 15, 2013

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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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AES Incubating New Audio Standards for Sound Systems in Rooms

AES Standards Committee Forms SC-04-08 Working Group

NEW YORK: Bruce Olson, chair of the AES Standards Committee has announced the creation of a new standards working group, SC-04-08, on Measurement and Equalization of Sound Systems in Rooms. Olson has also named Ben Kok – an experienced acoustic consultant from the Netherlands – the working group chairman. The group will draw from expertise already contributing to AES Standards and invites participation from other interested experts.

Two newly initiated projects have been assigned to this group, developed from an initial proposal presented by the AES Technical Committee on Sound for Digital Cinema and Television, chaired by Brian McCarty. They are:

AES-X218: Measurement and Calibration of Sound Systems in Rooms
Intended to document parameters affecting the audience experience of a sound system in a generalized room, and identify appropriate objective methods of measurements to quantify them. The intent is to identify tools and procedures to measure the performance of a loudspeaker system in a room, and support accurate, reliable calibration of this system to a specified performance. The findings of the working group will be published in an AES Standards Information Document.

The rationale for this project considers that the measurement of sound systems in rooms, including but not limited to cinema B-chains, currently relies on empirical measurement techniques developed in the 1970s. Modern methods and equipment should offer simpler and more accurate ways to calibrate rooms with greater precision. This project will review the parameters that affect the audience experience in these rooms, and the objective methods of measurement necessary to quantify them. This will provide a basis for more detailed standardization for measurements and calibration protocols for controllable parameters.

AES-X219: Method of measurement for frequency and impulse response of sound systems in auditoria
This project is to specify a method of measurement for frequency and impulse response of sound systems in auditoria. The project is intended to produce a Standard, and the development discussions are expected to draw on modern measurement techniques.

The audience experience of sound reproduced through loudspeakers in an auditorium can vary greatly. In many applications where sound is reproduced in auditoria, a predictable performance is valued. While a number of different electro-acoustic and acoustic parameters contribute to this experience, a standard method of measuring the frequency and impulse response of the sound as presented to the audience by a loudspeaker system will be a necessary part of any more general solution.

The first face-to-face meeting of working group SC-04-08 will be held at the 134th AES Convention in Rome May 4-7, 2013.

Photo: Bruce Olson, chair of the AES Standards Committee

More information on the projects:

http://www.aes.org/standards/meetings/new-projects.cfm

More information on AES Standards

http://www.aes.org/standards/

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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 Releases AAX Version Of Oxford Dynamics Plug-In

OXFORD, UK: The wait is over! Sonnox has announced the release of the highly anticipated AAX version of it’s acclaimed Oxford Dynamics Plug-in. Based on algorithms from the Dynamics section of the OXF-R3 digital mixing console, the AAX DSP and Native versions boast six individual sections: Compressor, Expander, Limiter, Gate, Side-chain EQ, and Warmth function. Both AAX DSP and AAX Native versions can be used as a surround buss compressor/limiter, previously only possible in the TDM version. The Dynamics also benefits from new meters.

Sonnox Sales & Marketing Manager, Nathan Eames comments, “We’ve had a great number of requests for the Dynamics plug to be next in our AAX development cycle. Post customers have been particularly anxious for this version, as many use it with Avid consoles hand in hand with the Oxford EQ. This new release completes their main ‘go to’ plug-in toolset of EQ and Dynamics for Avid’s AAX format.”

To celebrate the release of the Oxford Dynamics for AAX, Sonnox is offering a 40% discount on the plug-in until March 31st 2013.

Visit www.sonnox.com for more info.

Photo Sonnox has released the AAX version of the acclaimed Oxford Dynamics Plug-In
Plug-in

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

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Fenix – Marin County’s New Mecca Of Dreams And Streams

A Literal Intersection Of Music, Fine Dining & Social Media

SAN RAFAEL, CA: Beyond the traditional amenities of fine dining, exotic libations, and live music, the Fenix introduces a template for a new form of creative and social interaction — on site and online. Conceived by Laura van Galen, a visionary Bay Area CEO, the new 150-seat supper club has been designed to share live performances by talented indigenous and celebrated world-renowned artists with a local, national and eventually international audience on location and over the web at www.livestream.com/fenixlive.

“I’d been gestating the concept for integrating a hip ‘literal’ performance venue within the ‘virtual’ streaming media community since 2008, and found the ideal site in my adoptive hometown of San Rafael in 2009.” van Galen says. ” Bay Area music guru Merl Saunders, Jr. joined Fenix in 2011, and helped crystallize my thinking. Merl also established our solid connect to the Walters-Storyk Design Group and architect/ acoustician John Storyk. Local (but internationally recognized) architect Tim Murphy and celebrated Executive Chef Shawn Paul rounded out our team, and work began in earnest in early 2012. We began a series of ‘private’ openings in late 2012, and have been fine-tuning our ‘soft’ opening to the public over the past few weeks. Initial feedback is extremely positive.”

Namesake of the legendary Grateful Dead keyboardist, Merl Saunders Jr. has been an integral component of SF’s music scene literally from birth. Extensive touring with artists as disparate as Michael Jackson, David Crosby and Frank Zappa, coupled with his long-term role as Sr. Executive Director of the Recording Academy (GRAMMY Awards,) provided Merl with unparalleled insights into artist (and audience) preferences and a deep appreciation for the technical requirements for high quality live performances.

“I’ve played in and attended gigs in literally thousands of venues over the years,” Saunders reveals. “As a musician and an avid fan, I know acoustics are the critical element of every successful club. No matter how fine the food and drink, if the artists don’t sound great, the club can’t survive. Laura’s vision for Fenix is centered on a critical streaming element, which further increased the need for the room to sound absolutely pristine. With credits that run the gamut from Jazz At Lincoln Center to Le Poisson Rouge, the Rockwood Music Hall and thousands of recording studios and broadcast facilities, WSDG was the ideal choice to design an acoustic soul for the Fenix.”

“Laura discovered an excellent platform for this extraordinary venue, the two-story high live room had great ‘bones,’” John Storyk says. “To facilitate an ideal ‘sweet spot’ environment for the audience while simultaneously defusing audience/dining noise away from the performers, the ceiling over the front bar and dining sections was dropped. Twin recording studio-style ceiling clouds constructed with a combination of broadband and membrane absorption, were floated over those areas,” Storyk explains. “We then angled the ‘clouds’ upward from the front to the rear of the room, and we added aesthetically pleasing wall panels as absorptive acoustic treatments. These elements serve dual purposes, they enhance the audio quality of the on stage performance and, they inhibit intrusive patron noise. EAW QX596 Mains and custom Sub-Woofers; EAW12 & 15″ Monitors and ASHLY KLR 5000, 4000 & 2000 Power Amps cap off a terrific audio system.”

“Skype was a critical tool in our collaboration with John and WSDG Project Supervisor, Joshua Morris,” Saunders says. “We regularly walked them through the site with live iPad video to review the construction progress. Their input on everything from Control Room design to HVAC ductwork was invaluable. They participated in every facet of the acoustic design of this project including gear and console selection review.”

Positioning the FOH mixing position at the rear of the room eliminated the issue of obstructing audience view, and simultaneously provided the mixer with excellent line of site to the artist. The 2nd floor master control room receives continuous feeds from three fixed-position AW-HE50SN Panasonic HD-SDI Pan/tilt/zoom Cameras, (featuring programmable + operator-control options) and, audio from an array of almost three dozen Shure, EVRE, Sennheiser and other mics. Beyond the clubs’ terrific acoustics, artists also appreciate the chance to chill in a beautiful green room.

“Laura’s concept of establishing a subscription-based online audience for our live shows requires our mixer/director to work ‘on-the-fly’ as the performance unfolds,” Saunders ads. “We positioned a Midas Pro2 Console – 56 Mic/Line inputs with built-in faders at FOH, and customized the basic configuration to support our live streaming requirements. Our Control Room is equipped with a TC455 NewTek TriCaster 455 for complete live production and streaming, an Apple MP 2.4 for editing; an Avid Pro Tools HD Native & Interface for remixing for subsequent CD (but not DVD) distribution. The system is designed to enable us to record live albums, which we hope to do when the club is dark on Mondays and Tuesdays, and another reason we engaged ‘master studio designer.”

“The Fenix has absolutely everything going for it,” John Storyk concludes. “Laura van Galen envisions this club as the first of a group of sister clubs at select cities around the country. The vibe is hip, warm and welcoming, the menu is outstanding, and the room sounds great. The mixing consol, mics and entire technology package was selected to insure superior streaming quality. Initial feedback supports the accuracy of the choices. Marin County has a fantastic pool of local talent, and the word is already out to ‘A List’national artists that this is a terrific showcase venue. With the combination of their streaming and recording capabilities, it’s a safe bet to say the world will be hearing great music generated by the Fenix for years to come.”

Photos:
1. The Fenix, San Rafael, California
2. Fenix Entrance
3. Fenix interior (note FOH position at right)
4. Fenix FOH position. Note Midas Pro2 Audio Mixing Console and Element Lighting Console

Please credit all photos by John Merkl www.johnmerkl.com

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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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Expanded Role For WSDG’S Sergio Molho

New Offices – New Responsibilities

NEW YORK: Walters-Storyk Design Group co-principals Beth Walters and John Storyk have announced an expanded management role for Sergio Molho, a valued associate for 19 years, and long-term head of the firms’ Latin American office in Buenos Aires. “During the nearly twenty years of our working relationship, Sergio Molho has developed into a multi-faceted expert in every aspect of our architectural and acoustic design business,” Beth Walters said. “His creative design, technical and interpersonal skills have made him an indispensible member of our international team. We are delighted to name him Director of New Business Development as we continue our global expansion.”

“My new mission with WSDG is two-fold,” Molho reveals. “I will split my time on the development of new business both globally, and in the U.S., while continuing to manage the activities of our Latin American office. The synergy between our offices in the U.S., Switzerland, Spain, Argentina, Brazil, Beijing and Mexico City, flourishes thanks to technological and communications advances which enable us to collaborate with an extraordinary degree of creativity, efficiency and cost-effectiveness. I will now bring that message to an expanding client base.”

Molho began his association with WSDG in 1994 as a founding partner of the firm’s Latin America office. Over the next two decades, he has played an integral role in the development of WSDG projects ranging from MTV’s Latin America Broadcast Studios to Platinum artist Fito Paez’s Circo Beat, (Latin America’s only TEC Award-winning studio). He has initiated and supervised numerous global WSDG corporate, educational, House Of Worship and home theater projects, including full A/V Systems Integration for Phillipe Starck’s award-winning Faena Hotel & Universe in Buenos Aires; acoustic design and consulting for Latin America’s first IMAX 3D Cinema and, most recently facility design work for Qatar TV, a major broadcast complex in Doha on the Persian Gulf.

Molho will continue to work closely with his long-time WSDG colleagues: Dirk Noy, Partner/GM Europe, and Renato Cipriano, Partner/GM Brazil. In a related announcement, WSDG Latin America has moved their offices to a new location in Buenos Aires nearby the country’s Congress and Parliamentary buildings.

Photo: Sergio Molho named WSDG Director of New Business Development

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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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Multi-Platinum Engineer Young Guru Profiled In AES Convention Doc

NEW YORK: Multi-Platinum engineer/producer Young Guru was highly visible at the recent 133rd AES Convention in San Francisco. In addition to participating in the SRO Platinum Producers/Engineers Panel with super hit makers Jack Douglas (John Lennon, Guns N’ Roses) and Narada Michael Walden (Aretha Franklin, Whitney Houston), he also made an impressive presentation at the Convention’s highly successful Project Studio Expo.

A prolific producer/engineer/A&R wizard, Young Guru has amassed credits for more than a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. In 2011 he was a Grammy nominee for his work on the Alicia Keys/Jay-Z Empire State of Mind smash hit.

A highlight clip of Young Guru’s AES Convention experience may be viewed at:

http://www.aes.org/blog/2013/2/young-guru

With over a decade of Grammy-winning projects for Roc-A-Fella and Def Jam Recordings, Young Guru is committed to sharing his knowledge, and experience. He lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.

Photo: Young Guru at 133rd AES Convention

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About Young Guru Revered as “The Sound of New York,” Young Guru has over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Most recognized for shaping some of the biggest talent in hip hop, he has mixed 10 of Jay-Z’s 11 albums, and officially became Jay-Z’s tour DJ in 2010. For more information on Young Guru visit: www.djyoungguru.com

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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