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Archive by Brad Gibson

FOH Engineer Chris Stephens Uses MultiRack SoundGrid® to Run Waves Plugins with SSL Live L500 on Jason Aldean’s Burn It Down Tour

TEL AVIV, ISRAEL, May 5, 2014 — Live FOH engineer Chris Stephens (Jason Aldean, Wynonna, Michael McDonald) is part of a growing trend of live audio professionals turning to tools from Waves Audio when working with some of the biggest names in music. Lately, Stephens has been using his Waves plugins and MultiRack SoundGrid® with SSL Live L500 on Jason Aldean’s Burn It Down Tour.

Stephens notes, “I had been using Waves on and off in the studio since V6 [Waves version 6], but in the live setting I’ve been working with Waves since 2010. I started with a couple of plugins on my old VENUE Profile and have slowly expanded over the past four years. My transition into using Waves was slow, picking a plugin here or there to solve a specific problem. Over time, I had changed almost everything in my rack to Waves products. Since switching from the integrated plugin system of Avid VENUE to the standalone system of MultiRack SoundGrid, I have been very impressed with how robust MultiRack SoundGrid is and how easy it is to use.”

About specific Waves problem-solvers, Stephens says, “Jason Aldean’s setup is basically a five-piece rock band – no tracks, just two guitars, steel, bass and drums – so all of those pieces have to fit together perfectly. Waves’ Bass Rider helps me to level out the articulation of some of the more intricate bass parts while keeping the low notes locked in with the kick. Maintaining the relationship between the bass and kick is vital with so little instrumentation. Bass Rider is the perfect tool for achieving a consistent bottom end, which is the foundation of the mix.”

He continues, “C6 Multiband Compressor has become indispensable in my mix. It is the most versatile of the Waves products I use. For Jason’s vocal, I use the low band to compress 250Hz and below when he is at the bottom of his register or talking between songs, and the high-mid band to take a little harshness off of the really high notes. I am also using C6 on the bass with a dynamic EQ band, side-chained off the kick at 55Hz to clear room out of the bass for the transient of the kick drum to poke through. In addition I use the C6 on my L-R matrix out to the PA. I don’t use it every day, but I will use it to clean up the low-mids in a very boomy arena or to soften the highs on a not-so-great festival PA system. I started using InPhase last year and it has completely changed the guitar sounds I am able to get. We are using two mics on the guitar cabinets, a dynamic and a ribbon, and those mics sound best at different distances from the cabinet. This creates a phase difference, which I am able to correct with InPhase. Being able to quickly take a measurement and align those mics is absolutely key. In a live setting where despite our efforts we will never be able to get the mics in the exact same place every day, this is a must-have tool for any source with multiple mics.”

Summing up his experience using Waves on the Aldean tour, Stephens adds, “I use a DiGiGrid MGO to go in and out of two MADI optical I/O ports on the SSL Live surface. This configuration gives me 64 insert points at 96kHz between the SSL Live and Waves MultiRack SoundGrid. Those plugins run on redundant Waves SoundGrid Extreme servers. The routing options in SSL Live are the most extensive of any console I have ever seen. My MGO box lives in the console case, while my switch and servers are in my processing rack, so the entire system connects with just one Cat 6 cable.”

“We’ve just finished our first run of shows with SSL Live and I can’t say enough about the console and how incredibly excited I am with how we have integrated Waves plugins into the system.”

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

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Nashville’s The Listening Room Cafe Relies on Bose® RoomMatch® Loudspeakers for Tin Pan South and Beyond

Top songwriting venue recently debuted Bose® RoomMatch® system in time for annual Tin Pan South citywide festival

Framingham, Massachusetts, May 5, 2014 – Nashville’s The Listening Room Cafe moved into its new home downtown in early 2013. Already a Nashville institution, the new location’s size and setup allowed owner Chris Blair to achieve what was always his dream: a songwriter venue with truly great sound. That dream was made reality with the recent installation of a new RoomMatch® loudspeaker system from Bose® Professional Systems, installed earlier this year and featured to its fullest during the city’s annual Tin Pan South festival, which took place March 25-29.

Logan Hanna, the venue’s Lead Audio Engineer who worked closely with Blair to implement the system, stated, “Chris and I have always wanted to have the highest possible fidelity for The Listening Room, and we’ve achieved it with this system in our new location. If you want to be ahead of the game, you really have to be on top of the technology that’s coming out. And Bose has allowed us to be at the forefront. The response from the performers has been great too – I have only heard positive things since we launched the new system. Everybody has been blown away by it.”

The sound system is flexible; with the flip of a switch it can accommodate full band stage performances or intimate acoustic “in-the-round” performances. The full system consists of the following Bose components: two RM7020 modules, two RM12040 modules, ten RMU208 modules, one RMS218 subwoofer module and one Panaray® MB12-III modular bass loudspeaker, all powered by three PowerMatch® PM8500N amplifiers and a single PM4500N amplifier, with processing handled by a ControlSpace® ESP-4120 Engineered Sound Processor and CC-64 Control Center.

All five nights of the festival, The Listening Room was a key venue for Tin Pan South, showcasing award-winning songwriters and artists, who got to experience the system firsthand as performers and audience members.

Artist Craig Campbell, whose notable songs include “Family Man,” “Fish,” “Outta My Head” and “Keep Them Kisses Comin’,” was featured as a performer during a SESAC showcase Wednesday night. He stated, “The sound was crystal clear. As an audience member, I walked around the venue, and the coverage is the same everywhere. It’s remarkable. And as a performer, I could feel the sound, warm and clear, resonating through the whole room. I have known Chris for several years, and I know this has been his dream. The room deserved a system and sound like this.”

GRAMMY®-winning songwriter Josh Osborne, whose work has rendered hits for Kacey Musgraves (who scored a recent ACM win for Album of the Year), Eli Young Band, The Band Perry, Billy Currington, Blake Shelton, Kenny Chesney and several others, was similarly impressed: “I performed at The Listening Room on Tuesday night of Tin Pan South. The system was amazing. I could hear everything really great on stage. It seemed like the whole room was just full of sound. I had performed there before the new system was installed, and it is a significant upgrade. You can sense a warm, resonant sound going around the whole room. It’s very powerful as a performer and as a listener.”

“I am very proud of where we have come in the last several years,” stated Blair. “Our new location downtown has been an incredible move and we are so excited for everything that is happening in Nashville right now. I have always loved the sound of Bose, and we used their L1® portable systems at the old Cummins Station location. The new RoomMatch system can handle the full band drive or acoustic performances with complete clarity. It’s something you truly have to hear for yourself.”

Photo Caption: Songwriters performing live at Nashville’s The Listening Room Cafe during 2014’s Tin Pan South festival. Pictured L-R: Shane McAnally, Brandy Clark, Josh Osborne. Photo courtesy of The Listening Room. © 2014.

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RedNet Powers AV Operations at 2014 FIFA World Cup Final Draw

Los Angeles, CA, May 5, 2014 – Focusrite’s RedNet range of network audio interfaces are playing a key role in the live broadcast and recording of some of Brazil’s biggest entertainment events. Recently, Brazilian outside broadcast (OB) company Mix2Go invested in multiple RedNet units as part of their wider digital audio/visual network for the broadcast and recording of the 2014 FIFA World Cup Final Draw event.

Like most professionals working in live sound, remote recording and broadcast, sound engineers Daniel Reis and Beto Neves from Mix2Go have adopted Audinate’s Dante platform for all their networked audio. Their OB truck features a Dante-enabled Allen & Heath mixing console and stage racks, which route audio from the stage to any device connected to the Dante network. This enables the team to route signals to a multitude of different recording, mixing and live-broadcast systems simultaneously, while giving them the opportunity to upgrade and expand their network, simply by connecting more Dante devices to their gigabit switches.

Daniel is no stranger to Dante technology, or to the sound quality that Focusrite gear provides. “I started using Dante back when the Dolby Lake loudspeaker management system came out, and was amazed by how it gave you access to a whole new world. I’ve also used a lot of the Focusrite ISA products, so when I heard about RedNet, it was great news: finally a company committed to sound quality had invested in the best protocol available.”

Mix2Go use a RedNet 2 16-channel A-D/D-A interface, the RedNet 3 32-channel digital I/O, a RedNet 6 MADI Bridge and three RedNet PCIe cards. “I need to give the option of delivering the program through MADI, AES/EBU or analog,” says Daniel. For the FIFA World Cup Final Draw, the team decided their RedNet 2 was an excellent choice to deliver the final live mixes to the video OB truck. They also used their RedNet 3 as an additional monitoring reference via the AES/EBU outputs.

Incorporating the RedNet gear into their somewhat complex setup was incredibly fast and simple, thanks to the straightforward nature of the Dante network and the rock-solid reliability of the RedNet interfaces. “Installing RedNet was very fast – plug-and-play – and almost idiot proof,” Daniel recalls.

One of the main benefits of using RedNet, and the wider Dante network, is its ability to send large amounts of audio over long distances with minimum cabling. The setup for the Final Draw event consisted of a large Dante network that linked two OB trucks parked in different locations outside the venue to the main stage. Two stage boxes (one primary and one backup) were located in the main arena, connected to gigabit network switches using Cat-6 cables. Signals from this stage rig were sent via multi-mode fiber cables to another pair of switches inside the music OB truck, about 150ft (50m) away. Inside the truck, the fiber signal was converted back to Ethernet and routed to two Mac Mini computers, which handled the multi-track recording, using Pro Tools and Audinate’s Dante Virtual Soundcard (DVS) driver. The signals from stage were also routed simultaneously to the live mix console, from where the final broadcast stems were then routed to RedNet 2, located inside the video OB truck, about 100ft (30m) away. Here, the stems were converted to analog then mixed with the rest of the event’s audio and added to the final video feed, which was then sent to a distribution truck to be broadcast to television stations all around the world.

After the event, Daniel was extremely happy with how the RedNet equipment performed. “The converters sound transparent and tight. RedNet has truly given us reliability and quality, and pride to have such amazing equipment from a brand that we truly respect.”

To check out Mix2Go and some of their other projects, head to www.mix2go.com.br.

For More information on the RedNet range, go to www.focusrite.com/rednet.

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Bose® RoomMatch® System Selected for Wabash City Schools Auditorium

RoomMatch® loudspeaker arrays create a dual-hang sound system that provides even, consistent coverage throughout the 950-seat auditorium

Framingham, Massachusetts, April 30, 2014 – Until recently, the 950-seat auditorium used by Wabash City High School and Middle School (Wabash, Indiana) featured a sound system that had not been updated in 30 years. That has all changed since a new RoomMatch® sound system from Bose® Professional Systems was installed there recently. Now, students, faculty and visitors to the schools can enjoy high-quality sound and increased intelligibility for everything from school band and theatrical performances to graduation and other ceremonies.

In the auditorium, Indiana-based AV systems integrator Circle City Audio installed a RoomMatch system composed of three RM9040 modules, two RM7020 modules and two RMS215 subwoofers, configured in a dual-hang arrangement at the front of the hall. These are powered by three Bose PowerMatch® PM8500N amplifiers, with processing by a pair of Bose ControlSpace® ESP-88 digital signal processors.

The addition of the RoomMatch arrays has taken the school’s performance space to the next level. “It’s our school’s mission to provide our students the best possible opportunities we can, and now we’re doing that in the auditorium, with the installation of the new Bose RoomMatch PA system,” says Will Woodruff, band director and auditorium director of Wabash City Schools. “[The] first time I heard it I was blown away. And now that the rest of [the system is] in, it’s just incredible.”

Andrew Van Veld, of Circle City Audio, designed the sound system and handled the installation for the schools over the course of four days earlier this year. Van Veld used the Bose Modeler® sound system software and fine-tuned it with the Bose patented Auditioner® playback system, to establish exactly the dispersion patterns that the system would need to address. “RoomMatch arrays were the right option in this situation – we needed a dual-hang line array product that let us control patterns vertically and horizontally, so we can put the right coverage in the right areas of the room,” he explains.

“Using Modeler and Auditioner let me get to the point where I was comfortable with not only how the speaker [sounds], but if the speaker [will] cover the room properly, give us good speech intelligibility, and create music support,” Van Veld says. “The system really does all of that.”

The outcome has been all the school hoped for, and more. “The superintendent is very impressed so far, and the crowd has responded very positively to the fact that we can actually understand our announcer now,” notes Woodruff.

Adds Van Veld, “The system is wonderful. It’s a 950-seat auditorium [but] it sounds like a concert hall. We’d be happy to bring you out here and let you experience it.”

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Acclaimed Engineer Paul Sandweiss Uses Focusrite’s RedNet 6 MADI-to-Dante Bridge to Connect His System

Founder of Sound Design Corporation interfaces his Yamaha CL5 with the rest of his system via RedNet 6, giving him the perfect portable setup for high-profile broadcast events, including the recent 86th Academy Awards

Los Angeles, CA, April 29, 2014 – Television Broadcast mixer Paul Sandweiss (the Academy Awards, American Music Awards, BET Awards, EMMY Awards, and Kennedy Center Honors, and founder of Sound Design Corporation), has chosen the RedNet 6 MADI-to-Dante™ Bridge to interface his Yamaha CL5 consoles with the rest of his systems on the road and in broadcast mixing situations. RedNet, Focusrite’s acclaimed range of Ethernet-networked studio interfaces based around the tried-and-tested Audinate Dante Ethernet audio networking system, offers tremendous flexibility in a wide range of applications. So far, Sandweiss has used his system with the RedNet 6 units on the recent 86th Academy Awards (with longtime associate Biff Dawes mixing the music performances on the live broadcast), the BET Awards, the EMMY’s, the American Music Awards, the Sports Illustrated Swimsuit 50th Anniversary Special, The BET Celebration of Gospel and a recent Conan O’Brien broadcast from the road in Dallas.

Sandweiss states, “I have flight pack systems, and the flight packs house a Yamaha CL5 console that works on the Dante network. To record from the CL5, we basically push the signal through a RedNet 6, which converts Dante to MADI; that feeds my two Fairlight Xynergi Recorders. I wanted something that easily converts Dante to MADI and MADI back to Dante, and that is exactly what the RedNet 6 does.”

We were immediately impressed with the RedNet 6’s ease of setup and use: “It’s so convenient. They have a RedNet controller that talks to the RedNet 6, and it’s very easy to set up. It’s a very easy box to get up and running real quickly for what you need to do. It needs to be flawless in the signal back and forth, and it manages to do that very well. And aside from that, it has that classic cool red look, it’s only one rack unit and it’s priced right. What more can I say?”

For More information on the RedNet range, go to www.focusrite.com/rednet.

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Live Broadcast Engineer Huub Lelieveld Chooses Waves MultiRack and Plugins to Comply with EBU Loudness Standard

TEL AVIV, ISRAEL, April 29, 2014 — Live broadcast engineer Huub Lelieveld works for the Netherlands-based firm United Outside Broadcast and Studios, which is part of the Euro Media Group, mixing sports and other major live events and working as sound supervisor for concert film recordings. His credits include Audio Supervising for the MTV Africa Awards in Nigeria and Kenya and the UEFA cup finals in 2013 (with United colleague Mischa Kortleve). Lelieveld’s work has resulted in live concert recordings from such acts as Muse, Coldplay, Toto, Andre Rieu, Joe Cocker, Keane and more. And a crucial part of his toolbox is his arsenal of live plugins from Waves Audio.

Lelieveld notes, “With shows involving an audience, the PA mixer needs to ensure that the audience can hear the show very well; however, for us mixing in the truck, it’s crucial to hear the audience reaction and not hear too much room sound. We want to be able to have control over the balance of the direct sound, audience reaction and room sound. Apart from ensuring that the level coming from the PA is not excessive, I need to establish that the television producer on the floor and the FOH mixer are happy. There are now tools that can help you reduce room sound in the TV mix. Previously I was using a CEDAR hardware unit, which helps reduce room and ambient sound. This works great but, we only have ONE stereo unit. Now with the Waves WNS Noise Suppressor, I am able to reduce room sound in a very similar way to a CEDAR hardware system with zero samples processing latency. And, instead of one hardware processor, I now have as many WNS instances available as I need. This means I can process the audience mics differently from the presenters’ mics and I can eliminate any buzz that might develop during a live broadcast with another instance of WNS.”

He adds, “In the Netherlands we now have loudness regulations requiring us to mix to EBU R128 loudness norms. I look for ways to stay within specs more easily, while preserving sound quality. I do not want a process on my master bus that viewers can hear working.”

“After auditioning the Waves MultiRack system on a few projects, I was convinced of the reliability, enough to use it in serious live broadcast situations,” he recalls. “Latency proved no issue; I used processed feeds for presenters’ in-ear feed without any problem. Using Waves MultiRack means having a huge arsenal of tools available at the click of a mouse. With a combination of Waves MaxxVolume and a L2 Ultramaximizer I was able to make quieter bits louder and louder bits quieter in real-time. I used only the leveler and high level compression part of the Maxx Volume; the leveler was set to around -23 dBFs (give or take, this is something to adjust if needed), the compressor just took out a dB or three, and after that I used the L2 to add some lost gain and take off some excessive peaks. Like any other broadcast mixer I’m figuring out how to deal with loudness regulation, but Waves plugins are going to help me achieve the right loudness, and I’m having a lot of fun along the way. In addition, it doesn’t hurt that I have the possibility to put a CLA-2A on lead vocals and maybe put a bit of sparkle from a PuigTec EQP -1A on my master bus!”

Lelieveld notes a recent job where Waves solved a series of problems for him in a live broadcast mix scenario: “Recently, on the night of local elections in the Netherlands, I mixed the broadcast of a debate between several politicians and one presenter, discussing the election outcome. Up to seven participants were taking part in the conversation at any given moment – traditionally this means riding the faders to avoid excessive room sound and comb-filtering, especially as there were an audience and PA system present. Normally, I would watch the camera monitors predicting who’s going to say something next and operate faders in real time. But, now with the Waves Dugan Automixer, I got a very dry sounding mix, with perfect automatic fading. With Waves SoundGrid technology, the latency is extremely low, so I could send the processed dialogue mix to the presenter’s earpiece without any complaints whatsoever. Free from riding faders, I could concentrate on the sound of the individual microphones, fine-tuning the EQ settings during the program, and adding a controlled amount of room sound from my audience mics. I was very satisfied with the result and heard some compliments about the sound quality of the broadcast from fellow engineers, which is pretty rare for a political debate broadcast.”

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

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Bose® RoomMatch® Loudspeakers and PowerMatch® Amplifiers Chosen for High Profile Artist Performances Across Multiple Venues at Sundance Film Festival

Keynote concert performances at Park City Live and the Montage hotel both rely on Bose® RoomMatch® speakers for shows by leading artists including Ludacris, O.A.R., Matisyahu, Kaskade, Dash Berlin, Nervo, Lee Dewyze, John Popper, Kendrick Lamar, Steve Aoki, Richie Sambora and KT Tunstall

Framingham, Massachusetts, April 29, 2014 – The Sundance Film Festival, the premier showcase for independent film, held each January in Park City, Utah, has seen its live music element increase substantially in recent years. And each evening, through events ranging from panels to live performances, music plays a key role in the festival experience at a variety of venues throughout the town. This year, a popular club venue in Park City – Park City Live (PCL) – was equipped with a new RoomMatch® loudspeaker system from Bose® Professional Systems in time for 11 nights of musical performances by leading artists, including O.A.R., Matisyahu, Kaskade, Nervo, Dash Berlin, Ludacris and Steve Aoki. In addition, a second, temporary venue at the exclusive Montage Deer Valley hotel and ski resort hosted shows by O.A.R. (in a rare acoustic set), John Popper, Richie Sambora, KT Tunstall, Lee Dewyze and others. These shows also utilized a Bose RoomMatch system set up specifically for shows during the Sundance Film Festival.

At PCL, the Bose® RoomMatch® system was composed of two arrays, each consisting of RM5505, RM7010, RM9020 and RM12040 loudspeaker modules. At the front of the stage were eight RMS215 subwoofers and eight RMS218 VLF subs. These were powered by 15 Bose PowerMatch® PM8500N networked amplifiers and managed by three Bose ControlSpace® ESP-00 Engineered Sound Processors. At the Montage hotel, the P.A. system was made up of two RoomMatch groundstack configurations, each containing RM12020 and RM9010 modules with a RMS215 and a RMS218 VLF sub. These were powered by four PM8500N amps and used a single ESP-00 processor. In both venues, the Bose RoomMatch systems covered a range of styles, genres and dynamics, providing clear, clean, high SPL sound that was always smooth across all frequencies.

“This is a music festival inside a film festival,” observes Kathryn Burns, a longtime Park City resident who took over Park City Live in 2012 and has transformed it into the town’s premier music venue. She knows the value of a sound system that can handle any type of music and present it to a highly sophisticated audience. “The RoomMatch speakers sound amazing,” she says. “People are not walking in expecting this level of sound quality. Many times attendees complimented the sound, and the fact that it sounded amazing no matter where you were in the room.”

O.A.R. front-of-house mixer Michael Larcey felt the same way about his experience mixing the popular band through the Bose RoomMatch system. “It has an incredibly smooth sound for vocals,” he says. “I mixed through it in two very different kinds of rooms from one night to the next, from PCL to the Montage, but I heard lots of the same characteristics in each space. There’s just a real consistency and smoothness to it that you don’t hear in other systems.”

Alfred “Al-Tee” Williams, FOH for the Ludacris show at Park City Live, stated, “I had never mixed a Ludacris show using Bose RoomMatch array loudspeakers. During sound check, I walked all around the main floor then up to the balcony VIP sections – I was amazed at how good the coverage was in all areas – very smooth everywhere. But the real test came when I played some tracks for sound check that contained some really deep bass parts. His song, ‘How Low Can You Go’ has a drop-tone that goes below 30 Hz and many subwoofers just cannot handle this at the sound levels we need. I was blown away by the low-bass depth and impact that the RoomMatch subwoofers provided. I’m telling all my buddies, ‘You’ve got to check out these new Bose RoomMatch subwoofers!’”

Sean Quackenbush, house mixer at the Montage venue during Sundance, as well as for steel guitar virtuoso Robert Randolph, has had several experiences with the RoomMatch system and has nothing but praise for its ability to tame even the most challenging of environments. “RoomMatch is an amazing piece of technology,” he says. “It sounds great with very little processing at all.”

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136th International AES Convention Makes Grand Opening in Berlin

— 138th International Convention announced to be held in Warsaw, Poland, Spring 2015 —

Berlin, Germany, April 26, 2014 — The 136th Audio Engineering Society Convention, taking place Saturday, April 26, through Tuesday, April 29, 2014, opened today with healthy attendance at the Estrel Hotel and Convention Center in Berlin, Germany. Offering a wide variety of Technical Program events, manufacturer exhibitions, the Project Studio Expo, and more, the 136th AES Convention brings attendees the latest in professional audio innovations, as well as networking and educational opportunities with leaders in the industry. Additionally, AES Executive Director, Bob Moses, made the announcement that next year’s European AES Convention will take place in Warsaw, Poland (Spring 2015) taking advantage of it’s burgeoning audio industry and growing base of audio engineers, producers and music aficionados.

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Sound Designer/Artist Dean Martin Hovey Turns to Focusrite’s RedNet to Keep Complex Sound Design Projects Simple to Manage

Designing sound for film, gadgets, themed attractions, sound art installations and commercials, Hovey says his RedNet system creates a reliable networked environment that gives him unrivalled flexibility

The RedNet interfaces also allow Hovey to make his system portable, providing him with tremendous confidence that what he creates in studio will replicate exactly as he intended on location

Los Angeles, CA, April 24, 2014 – RedNet, Focusrite’s acclaimed range of Ethernet-networked studio interfaces, has radically changed the workflow for noted sound designer/artist Dean Martin Hovey. As the owner of Soundwell.tv, Hovey has created sound for projects including films (Kids for Cash, The Being Experience, American History X, the Austin Powers series), commercials (Coca-Cola, Nike, Adidas, Budweiser, Pepsi, Infiniti and Porsche), sound art installations (NOMA- New Orleans) and themed entertainment for Warner Bros, Universal Studios, Busch Gardens and the Hershey’s Chocolate Factory, to name a few.

Hovey has found that RedNet can add tremendous flexibility and portability to how he works. In the four months since he acquired his RedNet units – five RedNet 2 16-channel A-D/D-A converters, a RedNet 4 with eight remotely controlled Focusrite mic preamps, and a pair of RedNet 5 HDX interfaces, all sourced through Vintage King in Los Angeles – Hovey has used these components to streamline his workflow and increase both throughput and creativity. For instance, he uses the RedNet units to connect as many as 80 sound sources and play and record all of them simultaneously.
“Every piece of gear I own is connected through its own discrete I/O through the RedNet system, and I can record them all to three separate computers simultaneously – usually one for Pro Tools, one for Logic and one for Ableton Live,” he explains. “It’s very extreme. For example, I can play a single keyboard and light up every synth output at the same time – that’s 64 analog voices. From there, I can use seemingly unconnected sounds together in a related way. Sounds that are totally in sync and follow the same resonance with one other. That lets me put together some very aggressive-sounding combinations which I might not have been able to discover and combine otherwise. I’ve been able to create some very interesting design palates that way.

Hovey has also turned two of the RedNet HD/HDX interfaces and one of the RedNet 2 A-D/D-A converters into a highly efficient and effective portable unit. “I can use an HD or HDX card, the RedNet PCIe card, or just plug them directly into the back of a computer using a virtual sound card,” he explains. “That’s how versatile RedNet is.” He’s traveled with this configuration to locations ranging from Stage A at the Audio Head mix facility in Hollywood to the Universal Studio’s back lot, where he installed both sound and mix for the Inception attraction for last year’s Halloween Horror Nights V.I.P. tour. “I’m able to do all creative sound production and pre-dubs in studio, then take the system to the location and plug them in through RedNet and accurately recreate the exact sound I created the studio in any other venue, from stages to stadiums. The environments can change but the sound of my work through RedNet never does. I can put this box under my arm and take it anywhere with complete confidence that it will sound just as it was designed in studio.”

Hovey’s is a particularly large RedNet system – at the moment it’s the largest one owned by an individual – he says what it really has done is simplified his creative life. “The workflow is more efficient – I can get more done on a quicker step – I can also work more creatively than ever before, because RedNet makes things simpler. It’s an amazing system.”

Dean Martin Hovey / Focusrite video profile: http://youtu.be/7VhX2Wo1AB0
Dean Martin Hovey / Focusrite case study: http://uk.focusrite.com/news/rednet-is-perfect-solution-for-sound-designer-dean-hoveys-sonic-playground

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Bose® RoomMatch® Loudspeakers Chosen for Auburn, Indiana’s Dayspring Community Church

Church personnel were skeptical that any speaker manufacturer could solve the reflectivity and reverberation problems in their newly built sanctuary within budget, but Bose® RoomMatch® loudspeakers showed them that it could be done, and done well

Framingham, Massachusetts, April 23, 2014 – As the Dayspring Community Church began the process of looking for a sound system for their new 600-seat worship space in Auburn, Indiana, they at least thought they knew what they didn’t want. “They were a bit skeptical that Bose, which they knew to be a great maker of consumer products, could take on and beat the big names in sound systems,” recalls Andrew Van Veld, President and Owner of Fort Wayne-based firm Circle City Audio. Van Veld and his team took over the job from another firm and ended up designing and installing the audio-video and lighting systems for the new church. “But after we did a live A/B comparison of Bose RoomMatch with another system, then recreated the actual room in Bose Modeler software, they were convinced — this was the sound system for them.”

In the wake of those persuasive demonstrations, Circle City Audio designed and installed a sound system for Dayspring Community Church consisting of two RM9020 loudspeaker modules, two RM12040 loudspeaker modules, and two RMS215 subwoofers, all powered by three Bose PowerMatch® PM8500N power amplifiers and managed with the Bose ControlSpace® ESP-00 engineered sound processor.

Van Veld stated, “During the live demo, the church’s business manager played guitar, the worship pastor played drums and I played bass, so we could all experience what the RoomMatch system would sound like in that environment. When they heard it that way, they were sold. They loved it.”

The RoomMatch system is able to precisely control sound in even the most difficult reverberant spaces via the product line’s 42 highly specific dispersion pattern choices. By being an effective solution within the project’s budget (in this case it also eliminated the need for and cost of acoustical treatment materials on the church’s walls), it was easy for the church’s leaders to make their decision. “What I also like about the Bose technology, in general, is the fact that they don’t exaggerate their specifications,” Van Veld adds. “As a result, the outcomes we predict using the Modeler software are exactly what we get, or even a bit better than predicted. Customers react very positively to that kind of accuracy. They want to know what they’re going to get.”

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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