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PhantomFocus™ System Stuns at PotLuck Audio Conference (PotLuckCon)

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PhantomFocus™ System Stuns at PotLuck Audio Conference (PotLuckCon)

Nashville, TN: Solid State Logic (SSL) hosted TEC Award-Winning studio designer Carl Tatz and the PhantomFocus™ System (PFS™) in their SSL demo suite featuring the AWS 924 console at the 2014 PotLuck Audio Conference at the fabulous El Conquistador Golf and Tennis Resort in Tucson, Arizona. Audio professionals from across the country gathered in this bucolic desert setting to take in the many expert panels, workshops and gear demonstrations presented at the annual event.

“We’re grateful to SSL and PotLuckCon principal Craig Shumacher for supporting our effort to bring the PhantomFocus System experience to those who may have heard or read about the system but have not had the opportunity to sit in its sweet spot. In this case, one listen takes the place of a thousand reviews,” comments Carl Tatz, principal of Carl Tatz Design and creator of the PhantomFocus System.

Among the distinguished attendees who had the chance to experience the PFS for the first time were engineer/producer Mike Caffrey; Mark Christensen, head mastering engineer and owner at NYC’s Engine Room Audio studios; PureWave Audio and Allusion Studios owner Jim Pavett; Vintage King Audio’s Alex Oana; FOX Sports Audio Consultant / Senior Mixer Fred Aldous; Jeff Harris, Technical Department Manager at the Conservatory of Recording Arts & Sciences (CRAS); and engineer Andrew Scheps. Here are a few of their comments:

“The sound coming out of the Phantom Focus system was astounding – especially coming out of such small monitors in a room that wasn’t acoustically designed. It was an enveloping listening experience and is what music should always sound like.” – Mike Caffrey.

“The imaging was very accurate, especially in the low end, and I heard distinct elements in the low end of a #1 single that I mastered last year that I had not heard before.” – Mark Christensen

“Although my listening time was limited, my experience was impressive, and I look forward to having the opportunity to spend more time with the PhantomFocus System in the future.” – Fred Aldous

“I had no previous biases one way or the other when I auditioned the PhantomFocus System. Listening was a very enjoyable experience. The bass frequencies, which usually are fighting room modes, were solid with no dips. Once you have a system dialed in like this, then your real journey of creating music begins behind the console. No more second-guessing, because all is true.” – Jim Pavett

Auralex Acoustics, Ashly Audio, NHT, and Dynaudio Professional generously provided the portable acoustic modules, proprietary PFS processor, proprietary PFS subwoofer system and near-field monitors, respectively. Also, Sound Anchors provided their new PhantomFocus™ Stand.

Photo Caption 1: Pictured L-R: SSL Vice President of Music Products Fadi Hayek; studio designer and PhantomFocus™ System creator Carl Tatz; and SSL U.S. Sales and Marketing Manager Marc DeGeorge, in the SSL casita featuring the SSL AWS 924 and the PhantomFocus™ System (PFS™) at PotLuckCon 2014.

Photo Caption 2: CRAS instructor Paul Richards experiencing the PhantomFocus™ System (PFS™) at the SSL casita during PotLuckCon.

Photo Caption 3: Poolside at the El Conquistador Resort, Tucson, Arizona.

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AES and SMPTE® Partner to Further Strengthen and Educate the Audio Community at 137th Audio Engineering Society Convention

New York, NY, September 19, 2014 — The Audio Engineering Society (AES) is pleased to introduce the Society of Motion Picture and Television Engineers® (SMPTE®) as an Association Partner for the 137th Audio Engineering Society Convention, taking place Oct. 9-12 at the Los Angeles Convention Center. The Oscar® and Emmy® Award-winning SMPTE is the worldwide leader in the advancement of the art, science and craft of developing and maintaining image, sound and metadata ecosystems. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

As part of this collaborative effort between AES and SMPTE, a number of special guests and presentations have been included in the convention program for the benefit of all attendees. Speakers from SMPTE’s professional membership will be presenting as part of the Broadcast and Streaming Media and the Sound for Picture tracks. The sessions, presented by leading figures in their field, are titled:

Sound for Picture: SP3 – Cinema Standards Review and the Road to Implementing Changes
Broadcast and Streaming Media: B13 – SMPTE: Audio Issues for Live Television — Overcoming the Challenges of Live Television Broadcast in Today’s Wild, Wild World

In addition, SMPTE will host a booth at AES137 (booth 1360), staffed by members of its Hollywood Section, where attendees can learn more about SMPTE and its goals, programs, and benefits. All SMPTE members are eligible to register for free Exhibits-Plus badges, as well as for discounted All Access badges, courtesy of the AES and SMPTE Association Partnership. Similarly, AES members who wish to attend the SMPTE 2014 Annual Technical Conference & Exhibition in Hollywood, California, Oct. 20-23 are offered promotional codes for a 10 percent discount on conference packages or promotion code for a complimentary exhibits-only pass.

“SMPTE and the Audio Engineering Society share a commitment to promoting high standards and supporting advancements and education in the audio field,” said Barbara Lange, executive director at SMPTE. “We are pleased to partner with the Society at this year’s convention to offer resources and professional development presentations that further the complementary missions of our organizations.”

AES Executive Director Bob Moses stated, “This year the AES is proud to formally engage with our Association Partner, SMPTE, at the 137th Convention in Los Angeles. Both organizations share such strong ties through integral technologies, ideas, and disruptions that we all have to overcome, which all translate to opportunities for our industry as a whole. It’s really exciting for SMPTE to have a presence at our convention this year, and I thank the Society for its participation in building our program into something even greater for our attendees.”

For further information about free Exhibits-Plus badges (preregistration required), premium All Access badges, hotel, and technical program information, please visit http://www.aes.org/events/137/.

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AES Educational Foundation Announces Awards for 2014

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New York, NY, September 18, 2014 — The Educational Foundation of the Audio Engineering Society (AES) has announced the recipients of the 2014 AES Educational Grants for Graduate Studies in Audio Engineering. The announcement was made by Don Puluse, President of the AES Educational Foundation (AESEF), on behalf of the foundation’s Board of Directors.

This year the foundation proudly offers a special scholarship marking Bruce Swedien’s 80th birthday and recognizing over six decades of recording artistry. This scholarship is funded by his colleagues, family, fans and friends. The scholarship will aid young recording engineers who believe in putting “Music First!” For more information, visit http://www.swedienscholarship.org.

The inaugural Bruce Swedien Scholarship is awarded to Pawel Leskiewicz, a graduate student in Sound Recording at the Schulich School of Music, McGill University. He earned his BM with honors from the Royal Conservatory of Music, The Hague, Netherlands. Pawel has won top prizes at several international competitions on classical guitar in his native Poland. He has also completed internships with Channel Classics Records and Polyhymnia International (formerly Philips Classics).

Two special grants are being generously provided by HARMAN International Industries to support graduate education in audio. The Board of Directors has decided to renew these grants for last year’s HARMAN Scholars Brecht De Man and Kai Siedenburg. Mr. De Man has undergraduate and graduate degrees in electrical engineering from University of Ghent, Belgium, and is studying for a Ph.D. (EE and Computer Science) at Queen Mary University of London. Mr. Siedenburg has an M.S. in Mathematics from Humboldt University, Berlin, and is a Ph.D. candidate in Music Technology, Department of Music Research, at McGill University. He was previously a Fulbright visiting student at UC Berkeley and did his master’s thesis at University of Vienna.

The Emil Torick Scholar distinction is being given to Charlotte Desvages, who will earn a Ph.D. in audio and acoustics at the University of Edinburgh. Her previous degrees are from Edinburgh (Acoustics and Music Technology) and Universitè de Caen Basse-Normandie (physics). This award, honoring former AES Foundation President Torick, is awarded to an outstanding student with exceptional career goals.

The John Eargle Award, given annually to a student who excels in both technology and music, is a renewal award for Elizabeth Marston towards her M.M. in Sound Recording at McGill University. Ms. Marston holds a B.A. in Music from Seattle Pacific University.

Javed Hamza receives a renewal award to pursue a Ph.D. in Speech and Audio Processing from Imperial College London, where he also completed his previous degrees. Marlene Mathew earns a renewal award towards her Master’s in Music Technology to NYU. She has a BS in Computer Science from CWPost.

Dziedzic Tomasz is a Ph.D. candidate at AGH University of Science & Technology, Poland, where he also received his M.A.; Tomasz is in the department of Mechanics and Vibroacoustics. Robert Fernandes is studying for an M.M. in Sound Recording at McGill; he has a B.M. from Humber College. Jiayue Wu is a Ph.D. candidate in Media Arts and Technology at University of California, Santa Barbara; she has a BS from the Beijing Institute of Fashion Technology and an MA from Stanford University.

The AES Educational Foundation was established in 1984 to encourage talented students to enter the profession of audio engineering. Grants for graduate studies with emphasis on audio topics are awarded annually. Recipients are selected on the basis of demonstrated talent, achievements, goals and recommendations. Since its inception, the AESEF has presented awards totaling over seven hundred thousand dollars. Grants have been made possible by contributions from AES, Inc., HARMAN International Industries Inc., the estate of John K. Hilliard, JBL Inc., the Mix Foundation for Excellence in Audio, the families of John Eargle, David Smith and Emil Torick, and the family and friends of Bruce Swedien. The AES also receives support from other benefactors such as in-memoriam donors, and individuals and companies that support education in audio. Application forms and additional information are available from the Audio Engineering Society, 60 East 42nd Street, New York, NY 10165, USA, or on its web site: www.aes.org/education/foundation/.

Photo Caption: Don Puluse, president of the AES Educational Foundation.

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Audio-Technica Microphones Provide the Right Solution for Fusion Act Snarky Puppy’s Unique Recording Method

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— Blurring the lines between studio albums and live sets, Snarky Puppy’s records are tracked live in a studio or venue with an audience, and Audio-Technica microphones are there to capture every nuance for engineer/mixer Eric Hartman —

STOW, OH, September 18, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, is proud to be a microphone manufacturer of choice for Snarky Puppy, a Brooklyn-based instrumental fusion band led by GRAMMY® Award-winning bassist, composer and producer Michael League. Since joining with the Snarky Puppy crew around 2007, engineer/mixer Eric Hartman has been behind the console for several acclaimed albums from the ensemble, including We Like It Here, which the band released this year. And a key element of these albums’ success has been Hartman’s extensive use of Audio-Technica microphones in the band’s recording process, which generally blurs the lines between live recording and studio production.

“We record live with no overdubs,” states Hartman. “They’ll travel to the recording session, sometimes still writing the songs, and rehearse for a short span of time. Then we will have a number of sets scheduled, two per night for multiple nights, with a live audience in the room, and we will record them all for possible release. They will play a set down, like it’s a concert, and after the four days we may have several cuts to choose from, so Michael League figure out which ones he likes best based on the performance and the video quality, and proceed to the mixing stage from there. No overdubs, and close to no editing, and with an eager live audience and spontaneous antics from the band. We break a lot of rules, and many times I think the records are better because of it.”

Hartman’s arsenal of A-T tools includes the following models: ATM450 Cardioid Condenser Instrument Microphone; ATM350 Cardioid Condenser Clip-On Microphone; ATM250 Hypercardioid Dynamic Instrument Microphone; ATM650 Hypercardioid Dynamic Instrument Microphone; AT4050 Multi-pattern Condenser Microphone; AT4060 Cardioid Condenser Tube Microphone; AE3000 Cardioid Condenser Instrument Microphone; AE4100 Cardioid Dynamic Handheld Microphone; AE5100 Cardioid Condenser Instrument Microphone; AE2500 Dual-element Cardioid Instrument Microphone; AT4051b Cardioid Condenser Microphone; and AT4080 Phantom-powered Bidirectional Ribbon Microphone. He has put these microphones to use in dozens of configurations, but a few favorites include using the ATM450 for snare and hi-hat (“It’s really good at taking a ‘snapshot’ of an area,” he remarks); ATM350’s as clip-ons throughout the ensemble; AT4051b’s as drum overheads; AE2500 on kick drum; AT4080 on guitar cabinets and certain horn solos; AE3000 on toms; and ATM250’s on deep snares, organ bottom, and a variety of other uses.

Aside from serving the in-studio audience and the listener at home, the band has to consider a third type of audience: the online viewer. Since these sessions are almost always filmed and end up on YouTube or as video releases, they must be visually pleasing. To add some flash, a decision was made to try out a new set of A-T headphones, the ATH-M50RD Professional Studio Monitor Headphones (red color). Hartman recalls, “They are bright red, and they really popped on camera, adding a very cool aesthetic. And I’m a bit of a headphone snob, and the ATH-M50’s really provide the hi-fi reference that I need in a lot of situations. So they’re what we need sonically, with that extra bit of visual flair. Perfect for this last set of sessions we did.”

“It’s been a great ride so far,” adds Hartman. “I’m glad I answered that call from the band in 2007, because I almost didn’t! I’ve gotten to see this band grow their fanbase and budgets and get better as an ensemble. Sometimes we walk into a situation with very little and just make it work somehow. And A-T products have been a cornerstone of my workflow through it all.”

For more information, please visit www.audio-technica.com.

Photo Caption: Snarky Puppy bassist and bandleader Michael League, pictured with Audio-Technica’s AE4100 Cardioid Dynamic Handheld Microphone and ATH-M50RD Professional Studio Monitor Headphones.

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Wharfedale Is Now Shipping Its High-Performance Jade Series Subwoofers In the US

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Two new models combine compact size with remote-control setup options and elegant finishes

Chicago, IL — Sound Solutions, LLC, the exclusive U.S. distributor of Wharfedale loudspeakers and Avid HiFi products, today announced it is now shipping its Jade Series subwoofers in the U.S. The Jade 10 and Jade 8 subwoofers each feature dual drivers for powerful, articulate bass and offer a full range of adjustments via their remote controls to achieve optimum performance in any home theater or stereo music system and room.

The Jade 10 features dual 10-inch woofers and a built-in 500-watt amplifier, and the Jade 8 has dual 8-inch woofers and a built-in 350-watt amplifier. The subwoofers employ a dual-woofer arrangement in which the high-excursion, long-throw woofers are mounted opposite each other and mechanically reinforce each other’s motion, yielding powerful, articulate low-frequency response to 30Hz with greater output and efficiency. Like every Wharfedale loudspeaker, Jade Series subwoofers are designed and built completely in-house, from their drivers and internal amplifiers to their beautifully finished enclosures, available in Rosewood Cherry, Vintage Cherry and Black Oak veneer to complement Wharfedale’s Jade Series loudspeakers and any home décor.

Wharfedale’s Jade Series subwoofers make it easy to dial in the best-possible performance in any home theater or music system, thanks to their supplied remote control that enables adjustment from the listening position or anywhere in the room. A dimmable front-panel LED screen facilitates precise tailoring of volume, continuously variable low-pass crossover point, crossover slope and phase to enable perfect integration with the main speakers and the acoustics of the listening room. Stereo and mono (LFE) line in and speaker-level inputs are provided. In addition, the Jade 10 and Jade 8 offer a choice of modes for either maximum dynamics during movie viewing and music playback, or to adjust the subwoofers’ response for lower-volume late night listening.

The Wharfedale Jade 10 and Jade 8 subwoofers are currently available at suggested retail prices of $1,599 and $1,199 respectively.

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AES to Unveil Its Inaugural “Raw Tracks” Series at 137th Audio Engineering Society Convention

— New series will offer an intimate, behind-the-scenes look at the making of various recordings by influential artists spanning decades and genres —

New York, NY, September 16, 2014 — The Audio Engineering Society (AES) is pleased to debut their new “Raw Tracks” series as part of this year’s Recording and Production Track at the upcoming 137th Audio Engineering Society Convention, taking place October 9-12, 2014, at the Los Angeles Convention Center. This new series features top-name producers and engineers who will discuss and deconstruct influential, classic recordings from some of music’s most highly regarded artists. Attendees can learn firsthand about details of the sessions — the gear that was used, recording technique, and other insightful production information.

Sessions in the new series include:
Recording & Production: RP1 – Raw Tracks: Fleetwood Mac — A Master Class presented by Ken Caillat about the recording of a classic song from the hit album, Rumours.

Recording & Production: RP2 – Raw Tracks: David Bowie — A track-by-track Master Class featuring a classic David Bowie recording, presented by Ken Scott.

Recording & Production: RP3 – Raw Tracks: Pet Sounds — A Master Class by three-time GRAMMY®-winner Mark Linett about two songs – “Wouldn’t It Be Nice” and “God Only Knows” – from the Beach Boys’ seminal album Pet Sounds.

Recording & Production: RP7 – Raw Tracks: Red Hot Chili Peppers — A Master Class featuring Andrew Scheps that explores the classic song “Pink As a Floyd.”

“We are pleased to be able to offer this new ‘behind-the-scenes’ track featuring the names behind the hits. Attendees are in for a truly unique experience – when it comes to learning about how the biggest hits came to life in the studio, there’s nothing like hearing it directly from those who were there,” said Bob Moses, AES Executive Director.

For further information about the Raw Tracks series, and for FREE Exhibits-Plus badges (pre-registration required), premium All Access badges, Hotel and Technical Program information, and more visit http://www.aes.org/events/137/.

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Waves Audio Has Active Presence at A3E Conference

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— Multi-GRAMMY® Award-winner Jack Joseph Puig, Director of Creative Innovation for Waves Audio’s Consumer Division, to participate in multiple A3E events —

TEL AVIV, ISRAEL, September 22, 2014 — Waves Audio, a leading provider of digital signal processing software and hardware solutions, is gearing up for a strong showing at the A3E Conference, September 23 and 24 at the Hynes Convention Center in Boston, Massachusetts. The A3E will feature participating companies, vendors and cutting-edge apps, software, hardware, instruments and audio products that are radically changing digital studios, production and performance and unleashing the creative process like never before.

First, the convention will feature an interactive Waves/DiGiGrid kiosk with Waves plugins and virtual instruments available for demo. A Waves DiGiGrid DLS Pro Tools I/O with SoundGrid® DSP server, DiGiGrid DLI Audio Interface for Pro Tools Systems, and DiGiGrid IOS High-Definition I/O with SoundGrid DSP Server will be displayed:
• DiGiGrid DLS is an all-in-one processing and networking hub that enhances a Pro Tools system. With its built-in SoundGrid DSP server, network switch, and two DigiLink ports providing as many as 64 digital inputs and outputs, DiGiGrid DLS allows you to take full advantage of your existing Pro Tools system.
• DiGiGrid DLI is a networking hub that bridges Pro Tools and SoundGrid. With two DigiLink ports giving you as many as 64 digital inputs and outputs, DiGiGrid DLI helps you get the most out of your existing Pro Tools system. Add a SoundGrid DSP server to your DLI, you will enjoy unequaled processing power, more options for recording, monitoring and mixing in real time.
• DiGiGrid IOS is a comprehensive audio interface with a built-in SoundGrid DSP server that adds more plugin processing power to your system. Ideal for professional and personal production environments alike, IOS is the all-in-one solution for Native DAW users (Logic, Cubase, Nuendo, Ableton, Pro Tools Native, etc.). Together with the SoundGrid Studio System, IOS enables you to mix and monitor in real time using hundreds of SoundGrid-compatible Waves and third-party plugins.

Waves personnel will also be on-site at the kiosk to demo and answer questions on Waves’ acclaimed audio plugins for the pro audio sector and MaxxAudio® technologies – premium embedded audio solutions for computers, tablets and mobile applications.

Further, multi-GRAMMY® winning producer/engineer Jack Joseph Puig (Florence + the Machine, Lady Gaga, U2, others), who also serves as Director of Creative Innovation for Waves Audio’s consumer division, is participating in two lectures:
• A3E Keynote 3 – “The Future of Mobile Music Technology”
Wednesday, September 24, 2014, 9:45AM-10:45AM
• Lecture – “New Development Opportunities – The Developer’s Lounge”
Tuesday, September 23, 2014, 11:00AM-12:00PM
As an inventor and technologist, Puig relies on vintage hardware and cutting edge software to create complex aural tapestries that capture the essence of the recording artists’ vision. His extensive relationships with top artists and industry figures, as well as his role with Waves and his history as a record company executive and developer of talent/A&R, give him a unique perspective on the nexus between the entertainment world, technology and the consumer electronics market sector.

“The Future of Mobile Music Technology” keynote will also feature Doug Peeler, Audio Architecture and Strategy, Dell/End User Computer CTO Group – a longtime associate and supporter of Waves Audio. Additionally, Dell and Waves will be participating in the convention’s “Developers Lounge,” with a Dell laptop demonstrating Waves’ MaxxAudio technologies.

Puig will also be appearing with the John Lennon Educational Tour Bus at the convention. On Tuesday from 3:30-5:00PM, he will be on the bus meeting with and mentoring current students from Berklee College of Music; this session will be live-streamed and aired both at the A3E convention and on Berklee’s campus. Separately during the convention (time TBA), Puig will be mentoring the winner of the John Lennon Songwriting Contest – an award that will be announced at the show.

Visit http://www.waves.com/ for more information.

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Pensado’s Place and Vintage King Announce Sponsors as They Prepare for Gear Expo in Nashville

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Leading manufacturers, organizations and audio educators pledge their support for the second annual Gear Expo

FREE event to be held in the Berry Hill neighborhood of Nashville at Vintage King Audio on
Saturday, September 27, 2014, from 10 a.m. until 4 p.m.

LOS ANGELES, CA, September 16, 2014 — On Saturday, September 27 (10am-4:00pm), the Berry Hill neighborhood of Nashville will be the place to be if you have anything to do with professional audio, home recording or simply making music. Gear Expo 2014 – a creation of Pensado’s Place, the acclaimed weekly educational web series, in conjunction with Vintage King Audio, a leader in professional audio sales, studio consulting, and comprehensive gear servicing – is the second annual event, affectionately known as “Nashville’s Pro Audio Block Party.” Simply put, Gear Expo 2014 is one of the biggest gear and music-making expos in America. Attendees will once again be able to demo gear, talk directly with manufacturer reps, watch live interviews, mingle with celebrity guests, ride the Gear Expo tour bus, win prizes, enjoy local food trucks and meet Dave Pensado and Herb Trawick of Pensado’s Place.

The list of title sponsors comprises some of the most prominent names in professional audio, M.I. and audio education, including Audio-Technica, Avid, The Blackbird Academy, Chandler Limited, Rupert Neve Designs, M1 Distribution, sE Electronics, Genelec, Gobbler, iZotope, Moog, Neumann, Triad-Orbit, Recording Connection, Electric Thunder Studios, G-Technology, Slate Media Technology, Studio 202, Ultimate Ears, Vintage King, and The Recording Academy® Producers & Engineers Wing®.

“Once again, Dave and I, along with Vintage King, are raising the bar and bringing to Nashville the biggest, blow-the-doors-off, pro audio block party that Music City has ever seen,” stated Herb Trawick, Gear Expo Executive Producer and Co-host/Executive Producer/Creator of Pensado’s Place. “Of course we could not hold such an event without the help and support of our loyal sponsors, each of which is a leader in their field, and together we are going to have a blast while providing hands-on educational information and demonstrations that you cannot find any where else.”

The celebration will have in attendance special guests, including John McBride (Martina McBride, Blackbird), Jacquire King (Kings Of Leon, Tom Waits), Ryan Hewitt (Red Hot Chili Peppers, The Avett Brothers), Chuck Ainlay (Miranda Lambert, George Strait, Mark Knopfler), Kuk Harrell (Rihanna, Beyoncé), Leslie Braithwaite (Pharrell Williams, Jay Z), Justin Niebank (Rascal Flatts, Sheryl Crow), Vance Powell (Jack White, Beck) and many more.

The official “Pensado/Vintage King Gear Expo Tour Bus” will be taking visitors back and forth to the legendary Blackbird Studio all day long. As one of Vintage King’s biggest supporters, Blackbird has hosted historic sessions with artists such as Neil Young, the White Stripes, Bruce Springsteen and more. Giving guests another opportunity to check out new and vintage gear hard at work, partygoers will be able to see John and Martina McBride’s studio in all its glory.

The Gear Expo staff includes:
• Dave Pensado — Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher
• Herb Trawick — Gear Expo Executive Producer and Co-host/Executive Producer/Creator of Pensado’s Place
• Shevy Shovlin — Gear Expo Producer and Chief Marketing Partner and Sales, Advertising for Headroom for Days
• Chad Evans — Gear Expo Co-Producer and Vintage King Nashville national sales rep
• Stephanie “Spitfire” Willis — Gear Expo Co-Producer

For more information, visit: http://gearexponashville.com/

Pensado Vintage King Gear Expo Nashville 2014
Date: Saturday, September 27, 2014
Time: 10:00 AM – 4:00 PM
Location: 2826 Dogwood Place, Nashville, TN 37204

ABOUT PENSADO’S PLACE
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, Pensado’s Place includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats. http://www.pensadosplace.tv/

ABOUT VINTAGE KING AUDIO
Vintage King Audio is a leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals — from selecting a new microphone to designing a studio from the ground up — Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. For more information, visit: http://www.vintageking.com/about-us

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GC Pro Chosen to Design Extensive A/V Setup at New Flagship Guitar Center Store in Manhattan’s Times Square

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— Guitar Center looks in-house to its professional division, who helped design and install the A/V complement for the new superstore, with the help of GC Pro Affiliate Program member Malvicino Design Group —

WESTLAKE VILLAGE, CA — Guitar Center recently opened the doors on its new flagship location in New York City’s Times Square with a star-studded opening weekend and a level of spectacle right at home in what is arguably Manhattan’s busiest and most conspicuous district. Guitar Center’s 262nd retail location is an ultra-modern musical instrument and technology center covering over 28,000 square feet. In-store elements include Guitar Center’s Platinum Club (showcasing high-end luxury guitars, along with a live performance venue and control room); a Fender custom shop where unique guitars are featured; a full DJ experience department; a boutique pedal selection in a stunning 360-degree display; and 28,000 square feet of guitars, drums, keys, DJ, recording, live sound and more. The store also now serves as the permanent home to two legendary pieces of rock history: Eric Clapton’s iconic “Blackie” Fender Stratocaster and ES-335.

For the complicated task of helping design, manage and install the A/V components to meet the needs of such a technology-specific space, Guitar Center sought an organization with the right expertise to get the job done, on budget and on time – luckily, they had one in-house: Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Throughout the project, GC Pro worked with Affiliate Program member Horacio Malvicino and his firm Malvicino Design Group, who designed and installed the detailed A/V setup.

“Guitar Center management asked to have GC Pro involved in order to ensure a proper customer experience from an audio-visual point of view,” stated GC Pro Vice President Rick Plushner. “We were honored and excited to be asked. Times Square is the crossroads of the world, where people from all over the planet come to visit and shop. Horacio came in early on in the project and knew exactly what we were trying to accomplish, and he designed the backbone and the technology infrastructure in a superb way.”

A multi-screen Panasonic video display graces the outside of the building on 44th St., composed of screens sourced through GC Pro. Upon entering, visitors begin to descend an escalator, immersed in the sights and sounds of an excited crowd waiting for their star to take the stage. A complement of QSC speakers and a Q-Sys system, along with a massive LED display screen, helped create this effect. “It’s as if you’re a rock star coming into a stadium to perform, and so we were asked to help create that experience,” stated Plushner.

Within the store is the Platinum Club, which features a live stage and full control room for multi-track A/V recording and production. GC Pro furnished an Avid S3L console and JBL monitors/loudspeakers for the live space, with an Avid S6 console in the control room. “There’s a whole host of digital and analog outboard gear in there as well, with proper monitoring,” added Plushner. “It’s a real control room to do proper recording, and we’re excited about what opportunities that’s going to bring for the company.”

Malvicino stated, “I’ve been lucky to work with GC Pro on several major design and installation jobs over the years, and it has been a great experience for me personally and professionally. This Times Square GC project presented some new opportunities and challenges, and I’m proud to have been able to help bring make their vision a reality.”

For more information, please visit www.gcpro.com.

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Singer-Songwriter Jeff Campbell Uses Bose® L1® Model II System for a Variety of Performance Venues

JeffCampbell

Whether for solo or full-band performances, Campbell’s L1 system offers the versatility, sound quality, reliability and portability that he needs on the road

Framingham, Massachusetts – San Francisco-based singer-songwriter Jeff Campbell has been playing hundreds of shows a year in dozens of cities and continues to build a loyal following through his energetic performances. Recently selected as the winner of Guitar Center’s National Singer Songwriter 2 Competition out of over 13,000 entrants, Campbell was given the chance to record a five-song EP with GRAMMY®-winning producer John Shanks and perform on Jimmy Kimmel Live. “I’ve been lucky, and I’m doing well,” states Campbell. “In between my larger gigs, a lot of my shows are smaller, more intimate affairs – cafes, coffee houses, house concerts, corporate events and the like. And I need to schlep a guitar and a sound system to these venues.” For his P.A. needs, he has found the right solution in the L1® Model II system from Bose® Professional Systems. Campbell has been all over the country with his L1 system, playing both solo and full-band shows to the delight of his growing fan base.

“I had been using P.A.’s that I was piecing together myself, but commonly had feedback problems,” he recalls. “I acquired a Bose L1 model II system with the ToneMatch® audio engine and B2 bass module, and all of a sudden everything was different – I was performing more confidently, and things just sounded great.”

Campbell is a fan of the system’s small profile and portability. “In terms of touring, I’m able to fit all of the Bose components, plus my other gear, in my trunk,” he notes. “So now when I’m on the road I have my trusted sound system, for all of my smaller gigs. If I’m by myself, I can carry the whole thing in two trips, because it’s compact and super light.”

“And, of course, the sound,” he adds. “I’ve never had so much positive audience response than after I started using the L1 system. Often fans will come up after the show and say something like, ‘I could hear everything, but it wasn’t too loud,’ which I think is a great compliment. And the L1 system acts as my monitor too, so I’m hearing exactly what the audience is hearing. Every time I use it, I get somebody coming up to tell me how great it sounds, and my band notices that we don’t get any feedback issues happening. The other thing is the pre-amps in the ToneMatch engine are so good. I use passive pickups in my acoustic guitars, and I’m able to just plug in and go, with no outboard preamp, and it sounds incredible. It’s just seamless. It’s taken so much of the stress and pressure out of my smaller gigs, and added so much positivity. We can focus more on the performance. It’s a really brilliant machine. I’m lucky to have it.”

For more information on Campbell, including upcoming live dates, please visit www.jeffcampbellmusic.com.

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