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Archive by Brad Gibson

Focusrite’s RedNet Showcase at Vintage King Audio Los Angeles Hailed as Success

Focusrite’s acclaimed range of modular Ethernet-networked audio interfaces was displayed and demonstrated on Thursday, September 26, at VKLA

Los Angeles, CA, October 2, 2013 – On Thursday, September 26, 2013, Vintage King Los Angeles (VKLA), located at 1176 W. Sunset Blvd., was the place to be as Focusrite presented a showcase of its acclaimed RedNet Ethernet-networked interfaces, which are based around the industry-standard low-latency Audinate Dante® audio networking system. The event’s attendance read like a who’s-who of the pro audio community, with such leading industry figures present as Chris Lord-Alge, CJ Vanston, Michael Bradford, Dave Reitzas, Herb Tarwick, Al Schmitt, Steve Genewick and Dean Martin Hovey. The daylong event began with individual one-on-one sessions at 10:00 a.m., 1:00 p.m., and 3:00 p.m., followed by a 7:00 p.m. evening mixer. Also in attendance were members of Vintage King’s Los Angeles sales and support staff, as well as personnel from Focusrite.

“The event was a huge success,” stated Phil Wagner, President of Focusrite Novation Inc. “Vintage King’s Los Angeles facility was the perfect place to hold this event, because of their extensive installation network infrastructure and customer base. The quality time we got to spend with key members of the audio community was an invaluable experience. Everyone at VKLA and Focusrite worked very hard to knock it out of the park, and the results were nothing short of great.”

“This great event has left us with the multi-DAW composer system running and ready for demonstration at Vintage King Los Angeles” stated Shevy Shovlin, Vintage King’s Director of Partner Marketing. “You can see a live system in use, and hear audio being transported in real-time around our showroom and demo studio.”

Photo File 1: Photo1.JPG
Photo Caption 1: Shown L-R: Phil Wagner, President of Focusrite Novation Inc.; Dean Martin Hovey, Founder/Creative Director, Soundwell.tv; Ted White, RedNet Product Specialist; and Shevy Shovlin, Vintage King Audio Director of Partner Marketing Photo by Brian Ulrich. © 2013.

Photo File 2: Photo2.JPG
Photo Caption 2: Shown L-R: Phil Wagner, President of Focusrite Novation Inc.; and legendary producer/engineers Chris Lord-Alge and Al Schmitt. Photo by Brian Ulrich. © 2013.

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Leading Industry Journalists React Positively to Audio-Technica AT5040 Cardioid Condenser Vocal Microphone

— The ultimate studio condenser vocal microphone, the AT5040 represents a milestone in design, build quality, and the depth, presence and purity of its sound quality —

Audio-Technica, a leading innovator in transducer technology for over 50 years, is showing its AT5040 Cardioid Condenser Microphone, the inaugural model from its flagship 50 Series of elite studio microphones. Leading journalists and engineers have been raving about the AT5040 since its recent introduction.

In his review for the June issue of Mix magazine, Barry Rudolph, an L.A.-based recording engineer and audio expert, stated, “The AT5040 offers the elegance and natural sound of a well-designed large-diaphragm condenser microphone with the precision, wide frequency response and high SPL handling of a small-diaphragm microphone. The AT5040 is like super high-definition video—it captures everything in truthful resolution.”

In an August feature for Pro Audio Review, which recently nominated the AT5040 for a PAR Excellence award in the category of Large Diaphragm Condensers (LDCs, non-handheld), PAR Technical Editor and Nashville engineer Lynn Fuston stated that the “AT5040 is a well-built, respectable mic with a proud heritage and lots of unique design features … All together, this is the best microphone package A-T has ever made … The fit and finish of the AT5040 are superb.”

Additionally, Alan Branch, a freelance engineer/producer, wrote for the August issue of Audio Media, “…Audio-Technica has taken a fresh approach to how a mic can truly capture sound … resulting in what might just be the best vocal mic every produced!”

About the AT5040:
A-T’s ultimate studio vocal microphone, the hand-built AT5040 side-address condenser offers remarkably musical high-fidelity performance, with profound realism and depth, presence and purity of sound. Featuring a proprietary breakthrough element design, the AT5040 employs four ultra-thin (2 micron) rectangular diaphragms that function together providing combined surface area unachievable in a standard round diaphragm. Designed as a first-choice vocal microphone with smooth top end and controlled sibilance, the AT5040’s large-diaphragm characteristics and fast transient response also make it ideal for recording acoustic instruments such as piano, guitar, strings, and saxophone.

The AT5040 Cardioid Condenser Microphone, the first model in Audio-Technica’s flagship 50 Series of elite studio microphones, is now available with a U.S. MSRP of $2,999.00. For more information, please visit www.audio-technica.com.

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Please click graphic below to view Press Kit

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Genelec CEDIA 2013 Press Kit

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GC Pro and Its Affiliate Partner The Stopper Group Make Beautiful Music Together for Salerno Winery

— San Diego-area winery now has a state-of-the-art distributed audio system, with the entire project – from equipment to design and installation – sourced through GC Pro and its Affiliate Program —

WESTLAKE VILLAGE, CA, September 24, 2013 — There’s always been something musical about the Salerno Winery. Located in the historic Ramona Valley American Viticultural Area, the small family boutique winery was opened in 1998 by former opera singer Herman Salerno and his wife Rose. And today, thanks to the resources of Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, Salerno Winery now has music everywhere, in the form of a multi-zone distributed audio system. The system was designed and installed by The Stopper Group, a member of GC Pro’s Affiliate Program, and consists of 18 JBL Control 25 speakers, a QSC power amp, QSC powered speakers, a Mackie mixer, and Radio Design Labs preamps and switchers, as well as all mounting hardware, brackets, connectors and cables.

The system can provide background music, and also can connect with live music sources. The system is divided into four discrete zones: the upper dining area (three speakers); the lower dining area (three speakers); the winery’s Artwalk around the perimeter of the upper vineyard space, with speakers next to each of 10 bronze sculptures approximately placed every 30 feet; and the parking area (three speakers).

“This was a first for us – putting speakers in a vineyard,” recalls Steve Stopper, Owner of The Stopper Group. He says GC Pro Account Manager Javier Willis had brought him into the project as an Affiliate Program member. “There were a lot of things that had to be taken into account, including an enormous amount of cabling, including running the cables out into the vineyards for the Artwalk and using 0.75-inch PVC conduit to get them underground, and putting in a way to switch the system between prerecorded and live music on demand,” Stopper explains.

GC Pro Sales Associate Javier Willis says GC Pro’s Affiliate Program offers clients a huge advantage on complex projects like this one. “This was a very unique project requiring a lot of speakers with careful placement and a lot of cabling — it needed someone with an experienced eye to look over the landscape and see where the challenges would be,” he says. “The Stopper Group was able to be on site and help us fine-tune the equipment list for this, as well as do the actual installation. You can’t just sell products – you need to provide full service for clients, which is what GC Pro’s Affiliate Program excels at.”

Steve Stopper agrees, adding, “I think the synergy between GC Pro and our company gave this client a real advantage: GC Pro’s resources combined with our knowledge about how different pieces of this would best fit together. The client’s always the winner with that caliber of partnership.”

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

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The Northstar Session Uses Bose® L1® Systems and B2 Modules for Acoustic Trio Sets

Rising California rock act finds the right blend and harmonies with their L1 systems on stage

Framingham, Massachusetts, September 24, 2013 – California-based rock band The Northstar Session has been thrilling audiences and gaining fans since its formation in 2007. The trio has a rigorous performance schedule with dates on both coasts, and they have earned a strong following for their literate songwriting and sunny harmonies. A key element of their live performance schedule centers on their acoustic trio sets in smaller-to-medium-sized venues, and for these performances, the band uses L1® portable systems and B2 bass modules, along with T1 ToneMatch® audio engines, from Bose® Professional Systems Division.

Matt Szlachetka, the band’s primary guitarist/vocalist, notes, “I think we found really quick that our harmony is our strength. To showcase that, we developed the acoustic trio sets. It’s a really good way for people to latch on to what you’re doing.” Keyboardist/vocalist Dave Basaraba adds, “The easiest way to highlight that was to strip it down and make sure the harmonies can be heard. And there was the Bose L1 system.”

The compact nature of the L1 system simplifies the equipment setup the band has to haul with them. Drummer/vocalist Kane McGee notes, “On the East Coast, we just travel in a pickup truck. We are able to fit everything into the bed of the truck.”

The smaller stages of these venues can also present certain challenges: “A lot of these stages are really tiny. We don’t have a lot of space for amplifiers and stuff, let alone bringing in cumbersome speaker stands and monitors. We’ve got to be able to hear everything,” Basaraba notes. “It’s clubs and coffeehouses and bars. You’re trying to fit everything cohesively on stage, and at the same time make it look presentable,” Szlachetka adds.

The band’s acoustic setup includes L1 systems directly behind McGee and Basaraba, along with a B2 bass module. “We don’t have any feedback issues that way,” Szlachetka notes. “And the B2 bass modules, whether you’re doing a more stripped-down acoustic performance or a larger-scale electric thing, they’re incredibly powerful. They’re fantastic.”

“I’ve never heard anything like the L1 systems ever in any P.A. system I’ve ever used,” notes McGee. Basaraba says, “The mix and clarity of the instruments that you get with the Bose L1 system and using the ToneMatch mixers is incomparable.” Szlachetka notes, “The reason that we’re able to soundcheck usually in about ten minutes is because of the presets on the ToneMatch engine, and then that gives us more time to relax and focus on the performance.” McGee adds, “You’re not thinking about the sound. It’s already there. It’s done. You’re just having fun.”

“Having the consistent sound all the time, it’s incredibly important,” Szlachetka continues. “People always comment, ‘You guys sound amazing!’ A lot of times they’ll look around and go, ‘Where’s your P.A. system?’”

Musically, the setup lets them find the right groove on stage. “We’re virtually hearing what the audience is hearing, so that makes it really easy to harmonize, Basaraba notes. “With the L1 systems we’re all experiencing it together. You tend to feed off the audience response and give them a little more, and they give you a little more back. It’s a conversation.”

Szlachetka sums it up: “It’s been allowing us to connect with audiences on a higher level. For what we’re doing it’s like the best P.A. we could possibly use.”

Photo File: NorthstarSession.JPG
Photo Caption: California-based rock band The Northstar Session, which uses L1® portable systems and B2 bass modules, along with T1 ToneMatch® audio engines, from Bose® Professional Systems Division. Photo courtesy of The Northstar Session. © 2013

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Upcoming 135th AES Convention’s “Sound For Picture” Workshops Will Feature the Sound Shapers for the Primetime EMMY® Award-Winning Reality Show Deadliest Catch

— Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl, both multiple Primetime EMMY® award winners, will showcase the tools and the techniques used season after season from sound captured in one of the most challenging production environments on earth —

— Presentation on Original Productions’ Deadliest Catch is part of the new workshop track “Sound For Picture” at the AES Convention in New York City —

New York, NY, September 24, 2013 — Since it premiered in 2005, The Discovery Channel’s Deadliest Catch has drawn in millions of viewers and reeled in numerous awards, including the two EMMY® Awards for Outstanding Sound Mixing For Nonfiction Programming (Single or Multi-camera). At the upcoming 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), key personnel from the audio team for the program will be there with a two-hour presentation on how they take sound from what is perhaps the most difficult audio environment this side of a war zone and shape it into one of the most compelling narratives on television. As part of the “Sound For Picture” track at the convention, chaired by acclaimed film sound department professional Brian McCarty (On Golden Pond, The Big Lebowski, Dick Tracy, others), Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl will showcase the tools and the techniques they use to build the show out of a mass of raw audio shot far out to sea.

Bob Bronow has been honored with two Primetime EMMY Awards and four CAS Awards for his work on the show. In addition to mixing all nine seasons of Deadliest Catch, his credits includes Ax Men, The Legend of Shelby the Swamp Man, The Colony, 1000 Ways to Die, and the feature documentary The Wrecking Crew. Josh Earl has earned three EMMY Awards for Outstanding Picture Editing For Reality Programming and an American Cinema Editors’ Eddie Award for his work on Deadliest Catch. He has been part of the production team for seven years and is getting ready for Season 10 of Deadliest Catch. A member of the American Cinema Editors, Josh’s work has been seen associated with Discovery, AMC, Fox, Disney, Pixar, MTV, Epix, A&E, and History.

Together, Bronow and Earl form an innovative team that can sift through the raw audio recorded under some of the most extreme conditions on earth aboard the crab boats working around the Aleutian Islands port of Dutch Harbor where, as the show’s title indicates, the inherent risk of injury or death is always present. Because of a lack of space, the boats do not have someone acting as audio mixer. Audio is recorded using wireless microphones worn by the fishermen, and through shotgun microphones attached to the cameras.

“What Bob and Josh are able to accomplish is incredible,” observes Brian McCarty, who approached them to be part of the “Sound For Picture” track at the AES Convention. “Sound for picture has not gotten the attention it has deserved over the last several decades; as an organization the AES is committed to changing that. With this convention we’ll be presenting a wide range of sound-for-picture applications to the audience, with sessions that feature different OSCAR®- and/ EMMY-nominated/winning figures discussing their craft and the latest technology and techniques used for sound capture, mixing, editing, loudness and more. To have the two engineers who have made the sound for Deadliest Catch so amazing as the centerpiece for the track is fantastic.”

“Sound For Picture” Track features include:

Cinema Sound – Test Evaluation & Screen Performance
Cinema Sound Masterclasses on:
Music Production for Film – A Masterclass
Sound Design for Film – A Masterclass
Dialog Editing & Mixing for Film – A Masterclass
World-Class Cinema Sound Mixers Discuss Their Craft
Sound for Reality Television – Reality Is Hard Work!
Creative Dimension of Immersive Sound – Sound in 3D
Film Soundtrack Loudness – Control and Standardization

“When they come to the reality show audio workshop, people are going to hear audio problem solving of the highest order,” says McCarty. “The audio for Deadliest Catch is captured under constantly changing circumstances, and Bob and Josh have to adapt to all of those changes as they put together a consistently great-sounding show. At this workshop, you’ll learn practical knowledge and you’ll be greatly entertained. That’s a winning combination.”

For a full roster of AES “Sound For Picture” Track presentations, please visit http://www.aes.org/events/135/soundforpictures/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Photo File 1: BobBronow.JPG
Photo Caption 1: Bob Bronow, Re-recording Mixer/Sound Designer for Deadliest Catch.

Photo File 2: JoshEarl.JPG
Photo Caption 2: Josh Earl, Picture Editor for Deadliest Catch.

Photo File 3: DeadliestCatch.JPG
Photo Caption 3: An action shot taken during filming for Deadliest Catch Season 9. Photo courtesy of Discovery Networks. © 2013.

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Get in a “New York State of Mind” with the Technical Tour Program at the 135th Audio Engineering Society Convention

— Technical Tour organizer David Merrill, son of famed baritone Robert Merrill, has planned a set of quintessentially “New York” excursions that will take attendees from Broadway to broadcasting, post-production and restoration —

New York, NY, September 20, 2013 — Continuing a long and always sold-out tradition, the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will include a four-day set of technical tours, itineraries that will take visitors into a wide range of interesting and significant facilities. And this year’s technical tour program is as “New York” as it gets. It was developed by David Merrill, a successful recording and mix engineer who has worked at several of the city’s major facilities over the past three decades, and a man who also has a very special investment in the city: he is the son of the late Robert Merrill, the longtime lead baritone for the New York Metropolitan Opera and the vocalist for “The Star Spangled Banner” before New York Yankees season-opening home games since 1969. Those fortunate enough to find a slot on what will be almost certainly sold-out tours will see the entire range of what New York has to offer as a world center for professional audio. Tickets will be available on-site at the Javits Center at the convention’s Tech Tours desk (space is limited).

Slated itineraries include the following:

On Thursday Oct. 17, attendees can visit Definition 6, a leading audio and video post-production facility.
On Friday Oct. 18, they can choose among four options: 1. A visit to Kaufman Astoria Studios (KAS), followed by a trip to the Museum of the Moving Image; 2. A look inside WNYC Radio’s station operation and their sound stages; 3. A trip to restoration specialist Battery Studios; 4. Or a jaunt to the Tony Award-winning Broadway show The Book of Mormon.
On Saturday Oct. 19, visitors will be awed by a tour of the famed Avery Fisher Hall at Lincoln Center, home of the New York Philharmonic, where they’ll tour the hall, the stage and the audio recording facilities.
On Sunday Oct. 20, attendees will stop by the NBC-TV studios of Late Night with Jimmy Fallon where they will be able to check out the sound stage and all of the production facilities.

David Merrill says he wanted to create a completely authentic New York pro audio experience, one that included iconic examples of music studios and broadcast facilities, post-production and live performances. “New York has so many great recording studios but I wanted to make this technical tour a more comprehensive experience, but still one that you can associate with New York City and nowhere else,” he explains. Even his research into the facilities on his itineraries was locally sourced. Merrill recalls that it was Avatar Studios manager Tino Passante who helped him make the connection to Lawrence Manchester, the music mixer on Late Night with Jimmy Fallon. “And you can’t get more New York than Broadway and Lincoln Center, so I’m really looking forward to people enjoying these tours. They’re going to have a real New York experience.”

For further detailed information on the Technical Tours, visit http://www.aes.org/events/135/tours/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

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Focusrite’s RedNet System Helps Keyboardist and Home Recordist Ken Christian Connect His Extensive Hardware Arsenal

Ken Christian is preparing to integrate his fourth RedNet 3 interface as he uses Focusrite’s acclaimed range of Ethernet-networked studio interfaces to connect his extensive collection of vintage analog and digital synthesizers

Exemplifying the next generation of home recordists, Ken Christian has been able to streamline his
workflow and studio setup via RedNet

Los Angeles, CA, September 19, 2013 –Ken Christian is an avid and accomplished keyboardist and home recordist, using a combination of Ableton Live® and Cubase® software to help create his music. To connect his large collection of vintage analog and digital synths and other gear, he has turned to RedNet, Focusrite’s acclaimed range of Ethernet-networked audio interfaces, based around the industry-standard Dante Ethernet audio networking system. The first to offer IP network audio interfaces for the recording studio, RedNet is suitable for any application that requires moving around high quality audio with high channel count and ultra-low latency. Focusrite’s RedNet is helping Christian streamline his workflow so he can focus on the music.

Christian’s setup includes vintage keyboards including a Moog MemoryMoog, Oberheim OB-8, Prophet 5, Yamaha CS70M, Korg MS-10, and a Roland Juno-60, as well as a wide variety of modern synths such as the Yamaha Motif, Korg Kronos, Korg R-3 and Dave Smith Tempest. Before he learned about Focusrite’s RedNet system, Christian says his studio was a maze of wires, patch bays and patch cords. Those are headed to eBay, he says, now that he’s discovered RedNet. “I have about forty classic synthesizers, going back to the 1970s – and this was the only way I had to route them,” he jokes, referring to the tangle of patch cords that he used to need to organize and record them, as well as connect them to his hardware outboard processors, another staple of classic pro audio that he likes to use. “It used to be very complicated, and I’d spend as much time routing as creating. Then I got RedNet, and it’s dramatically changed my studio and the way I work. I love it.”

Heading towards his fourth RedNet 3 unit – all purchased through Sweetwater – Christian now uses the 32-input devices to connect all of his hardware. Christian uses a combination of converters that he had prior to his RedNet system. The Focusrite AD/DA conversion he’s currently using to get optical into and out of the RedNet 3 are the Liquid Saffire 56, the Octopre MkII and the Octopre MkII Dynamic. All RedNet 3 units feed into a RedNet PCIe card with 128 inputs and outputs via a gigabit Ethernet switch.

RedNet 3 interfaces existing digital audio systems and components to the RedNet network with up to 32 inputs and outputs and full software remote control. The unit includes support for AES, S/PDIF and ADAT digital audio formats and allows the RedNet system to be synchronized to incoming signal-clock or a word-clock source. RedNet 3 is an elegantly simple means of converting 32 channels of audio and delivering it somewhere else on the network at near-zero latency.

“I’m going through a number of outboard devices, including my synths and the outboard processing,” he explains. “The RedNet 3 units route audio in and out, anywhere I need it, and I don’t have to think about it.”

As simple as RedNet has made his workflow, it has also changed the way his studio looks. “I can have a live-recording or work area anywhere in the house I have an Ethernet connection, so it’s really allowed me to expand the boundaries of my studio. I’m ready to buy my fourth RedNet 3, and that will increase my I/O capability to 128. RedNet is so easy, so simple, and so cool.”

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Lowell Manufacturing Offers New LRS Series Desktop Rack Stands

— Available in 8U and 12U, the LRS is ideal for home office or studio —

PACIFIC, MO, September 18, 2013 — Lowell Manufacturing Company, a U.S. manufacturer of professional A/V products, has introduced its new LRS Series desktop rack stand. Made in the USA with 100% certified U.S. steel, the LRS has a small footprint with just enough rack space (8 or 12 rack units) to hold smaller AV or IT equipment arrangements where space is limited and a full sized cabinet is not needed. The compact design works as a freestanding rack or it can be bolted to a desk. Either way, it’s ideal for convenient access to mounted electronics such as a recording front end, effects processors or post-production equipment.

The LRS desktop rack stand features 11-gauge steel rails on a 10-degree angle for easy viewing of mounted equipment. It’s engineered to meet EIA rackmount standards and has a load capacity of 80 lbs. The LRS ships unassembled and includes hardware.

Features:

8U or 12U rack space on 10-degree angle
Two 11-gauge steel rails tapped 10-32 are printed with rack unit increments to aid equipment set-up. Includes 16-gauge steel side supports and bottom panel.
Smooth black powder epoxy finish
Made in the USA with 100% certified U.S. steel

For more information, please visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com.

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