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Archive by Brad Gibson

Audio Facility Ravenswork Sets Up Shop at Video Editorial House Lost Planet with Genelec Active Monitoring System

— Mixer/sound designer Robert Feist’s Ravenswork commercial audio studio found a new home at long-time collaborator Lost Planet’s video editorial facility, and Feist’s new audio suite features a Genelec 5.1 surround monitoring array —

NATICK, MA, February 29, 2012 — Commercial media advertising has been a tough business for the last decade but many lucky talents have found ways to stay on top. When Robert Feist, owner of the three-room Ravenswork commercial audio facility in Venice, California, felt the economy’s pinch in recent years, he created synergy by moving his studio and its high-end commercial work into the space of a long-time collaborator, video editorial facility Lost Planet, in Santa Monica. Together, the two companies have increased their work at the high end of commercial media with top-level talent and technology. Part of that has been the inclusion, from the moment the new audio studio opened at Lost Planet last June, of a Genelec 5.1 surround monitoring system, consisting of three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7270A Active DSP Subwoofer.

Feist says that the Genelec surround monitoring system was put to the test immediately upon the opening of the room with the first commercial worked on there, promoting GRAMMY Award®-winning vocalist Beyoncé’s exclusive distribution arrangement with retailer Target. “The commercial had very critical audio requirements – the monitoring had to be perfect, consistent and accurate, and that’s just what the Genelecs gave me,” says Feist, who also uses a pair of Genelec 1029A speakers as desktop monitors.

Since then, Feist and the Genelec speakers have applied their talents to other commercial projects for clients including Nike, Mazda, Google and Absolut Vodka, including Absolut’s award-winning “Absolut Blank” campaign that features over two dozen artists.

“The Genelecs are great speakers for monitoring and mixing,” says Feist, who uses them for both broadcast and theatrical mix versions of the commercial spots he works on. “They’re not just a purchase, they’re an investment – one which is already bringing great results for us and our clients.”

For more information, please visit www.genelecusa.com/.

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EAW® Names Steve Davis Service Manager

Pro audio veteran Davis has worked with EAW® in different capacities for 25 years

Whitinsville, MA, USA, February 27, 2012 – EAW®, a world leader in audio system technology for over 30 years, appointed Steve Davis to the position of EAW Service Manager. A longtime member of the extended EAW family, Davis for many years held this same position, before shifting his focus to his company Performance Audio of New England (PANE), where he continued to contribute with his service expertise. Coincidentally, PANE has been located in the same mill complex where EAW designs and manufactures its loudspeakers. The announcement was made by Jeff Rocha, EAW President, and reflects the company’s dedication to enhanced communications and direct access to resources for greater overall efficiency and faster turnaround on service issues.

Having worked as an EAW employee then a contract vendor, Davis is now in his 25th year as EAW’s primary service resource. As a result of the new appointment, he will soon relocate to a new dedicated space in EAW’s manufacturing complex. With communications streamlined and with service connected directly to the rest of EAW’s resources, customer service issues will be resolved more quickly, efficiently and effectively, having a major impact for EAW customers.

Rocha states, “Steve Davis is one of the most trusted resources – indeed, one of the most trusted names – in all of pro audio. When customers send a loudspeaker to Steve for service or repair, they do so with complete faith in his ability to solve their problems. He is truly world-class, and it’s great to have him back on the team. With Steve again on board, we are one step closer to reaching our goal of being a fully integrated organization with the necessary complement of internal resources to comprehensively serve our customers’ needs.”

Davis notes, “To tell the truth, it’s not that big a change for me, because I’ve been servicing EAW products all along. I know that EAW has recently brought back many of the familiar names from the past, and they’ve all felt like a homecoming. I never really went that far away.”

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

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GUITAR CENTER CONTINUES TO EXPAND AS IT OPENS NEW STORE LOCATION IN SALEM, OREGON

— Company hits milestone with 225th location —

— New store offers on-site lessons and repair services —

Westlake Village, CA (February 27, 2012) – On February 16, 2012, Guitar Center hit a milestone by opening its 225th retail location, Guitar Center Salem, at 6325 Ulali Drive NE, Keizer, OR 97303. Guitar Center Salem’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To commemorate the store opening, Guitar Center hosted a Grand Opening Weekend celebration (Feb. 16-19) featuring exclusive savings, gear giveaways and free events for local musicians. The grand opening also included free live performances throughout the weekend.

Guitar Center’s newest Oregon location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. In addition to the special Grand Opening Weekend programming, shoppers who came out early also enjoyed exclusive savings throughout opening weekend, including deals on guitar and drum essentials.

“The opening of our 225th store in Salem, Oregon, is truly a landmark occasion for Guitar Center,” commented Gene Joly, Guitar Center Executive VP of Stores. “Our Salem location further underscores Guitar Center’s ongoing commitment to our customers, and to providing an extensive range of products, services and events. Like all openings in the past year the Salem location reflects our new open format design principles and streamlined merchandising layout.”

The new store also features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivalled opportunities for Salem musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center Salem also features GC Garage, Guitar Center’s on site guitar repair service. Musicians were able to try out the GC Garage for free on Grand Opening night (Feb. 16). With a guitar purchase, customers also received a free, 22-point personalized set-up.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Salem offers unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry are able to come to the store to interact with and ask questions of several industry leaders. Free “Recording Made Easy” classes are conducted every Saturday from 10:00 to 11:00 am. Salem shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Salem inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new Salem store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Salem residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording three songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at the state-of-the-art Brooklyn-based Converse Rubber Tracks studio and $10,000 cash. The grand finale took place in Los Angeles on Feb. 18.

Guitar Center’s King of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center Salem is open seven days a week. Store hours are 11 a.m. to 9 p.m. Monday through Thursday, 10 a.m. to 8 p.m. Friday, 10 a.m. to 8 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studio hours follow the same schedule.

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Lowell Introduces New Rack Bundles

— Rack bundles offer customer convenience —

PACIFIC, MO, February 27, 2012 — Lowell Manufacturing Company, a U.S. manufacturer of professional AV Products for more than 60 years, introduces new rack bundles to their line of racks and enclosures. Customers now have the convenience of ordering a complete rack set-up using a single part number, according to Marketing Communications Manager Kathy Lane.

The new rack bundles are available for Lowell’s gangable racks (LGR series) and enclosed racks (LER series). Bundled accessories are not installed but packaged individually and shipped to the job site along with the rack. Accessories in the “BAV” bundle vary according to size and type of rack ordered but include commonly ordered items for AV rack set-ups like horizontal and vertical cable managers, power strip, fan panel, leg levelers, velcro cable wraps, extra hardware, etc.

Lowell is also offering a ready-to-use, time- and labor-saving option for their new LXR floor rack. The open-frame LXR has a slim (19.2-in. W) footprint that requires only a minimal amount of floor space. While the standard LXR ships unassembled, selecting the “IAV” option means the rack will be pre-assembled and outfitted with accessories that include shelves, vented panels, 15A power strip, vertical cable manager and fine-floor swivel casters to protect wood, marble and tile floors from mars and scratches. The quantity of accessories varies with rack height. The LXR with the “IAV” option is available in 14, 30 or 38 rack units with 21-in. depth.

Lowell also has an “IAV” option of pre-installed accessories for their LER rack series, which is available for 18, 21 or 35 rack units with 27-in. depth.

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

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New EAW® NTL720 PA System at Norwood-Young America High School Would Be Right at Home on a Major Concert Tour

Video Services Inc. installs an EAW® sound system that vaults local high school into the major leagues of sound, based around the remarkable EAW NTL720 compact, self-powered, 3-way line array loudspeaker

Whitinsville, MA, USA, February 27, 2012 – In 1997, Minnesota’s cities of Norwood and Young America, in Carver County, merged into one city, Norwood-Young America. As the new city grew over the past 14 years, its largest high school, Norwood-Young America High School, needed to have the sound in its auditorium enhanced to enable it to handle lectures with highly intelligible audio, and theatrical productions and concerts with full-bandwidth stereo sound.

A newly installed sound system based around the EAW® NTL720 compact, self-powered, 3-way line array loudspeaker took care of all of those requirements with a single elegant solution. The system consists of 6 NTL720 modules arrayed in a single center cluster. They are flanked on either side by two EAW AX364 3-way full range installation loudspeakers as the left-right stereo pair. Two EAW SB1001 subwoofers that are floor-mounted on casters and can be wheeled out as needed complete the full-range system, which was installed by Video Services, Inc. (VSI), a premiere technology solutions contractor based in Mankato, Minnesota. And all loudspeakers are controlled via DSP processing from an EAW UX8800 Digital Signal Processor. Hopkins, Minnesota-based Bormann Marketing, EAW’s central and upper Midwest manufacturer’s representative, sold the system and worked closely with VSI during the installation.

“This was the largest school auditorium we have done to date, and we knew it needed to be a high-end installation,” notes Mike Kimes, Project Manager for VSI on the installation. “It’s exciting to have done a project of this caliber, and the equipment that we were going to use had to be top-flight.”

The consultant on the job had already specified EAW’s NTL720 as the main speaker enclosure, and Kimes says he could not have been happier with that. “I’ve been an EAW fan since forever,” he says. “The installation went very smoothly – we used the EAW FB172 Flybar for the center cluster hang and that really facilitated the installation. The UX8800 handles the speaker processing well, and the system has great performance and no surprises – just what you want to have.”

Kimes says the center cluster is tuned to provide full-range coverage of the auditorium from the main seating area all the way into the upper balcony. A Biamp® Nexia system is installed upstream of the UX8800 and is used as a preprogrammed switcher to allow high school staff to easily reconfigure the system between lecture and theatrical/music applications. “They can wheel the subwoofers out as needed, and the whole system is incredibly easy to operate and still offers top performance in any mode,” says Kimes. “I’m a live-sound mixer on the weekends and the way this system sounds for music, I’d be happy taking it out on any concert tour. It’s that good. It really raises the bar for what can be done in a high school auditorium. I’d like to see other high schools make this kind of investment in their future.”

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

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Atlanta Bows to Carl Tatz Design’s PhantomFocus™ System

— Atlanta, Georgia’s Reach Records steps up their game in a dramatic way by implementing a new PhantomFocus System 4 enhanced monitor system in their existing control room —

Nashville, TN: “I’ve worked in many, many studios over the years, including the ‘cost-no-object’ super studios in Tokyo, London, Paris, L.A. and Nashville, but I never heard the precise imaging, detail and sonic impact that near-fields could deliver until I heard the PhantomFocus™ System (PFS) at Reach Records,” states Atlanta-based top-tier mix engineer Carlton Lynn (Leona Lewis, India.Arie, Ciara, Pink, Fantasia).

Ben Washer, CEO of the uber-hot independent label Reach Records, consulted with Carl Tatz for over a year about implementing a PFS encouraged by media coverage, reviews and press releases as well as Lynn’s urging. Washer indicated that it was taking way too long to mix and no one could figure out the low end in the Reach Records control room.

Fast forward to the present — on his drive back to Nashville after the Reach Records PFS implementation, PFS creator and award winning studio designer Carl Tatz received an email from Washer, who commented, “I spent several hours this morning listening to some CDs I bought. There is a large puddle of drool on the studio desk now. I hope heaven has sound this good. We listened to some of our old mixes and see much room for improvement. We’re excited to see how we use the system to upgrade the quality of our releases. My only regret is not doing this earlier.”
“It’s really fun to know,” muses Tatz, “that until the next Atlanta studio implements a PhantomFocus System, Reach Records has the best monitoring in the state of Georgia – hands down. Anyone who has a chance to sit in the engineer’s chair at Reach will have that fact revealed to them in very short order.”

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M3 (Music Mix Mobile) Employs Waves Loudness Meter (WLM) and Other Waves Audio Plugins for 54th Annual GRAMMY® Awards

— M3 employs WLM (Waves Loudness Meter) for consistent loudness monitoring during broadcast —

— Waves’ critically acclaimed plugins allow remote recording specialists M3 to keep the workflow
moving every time —

KNOXVILLE, TN, February 23, 2012 — Having relied on industry standard hardware loudness metering for many years, engineers in the two M3 (Music Mix Mobile) remote trucks at the 54th Annual GRAMMY Awards telecast, broadcast live from L.A.’s Staples Center in 5.1 audio on CBS-TV on the evening of February 12, 2012, made the switch to the WLM (Waves Loudness Meter) plugin from Waves Audio, the industry-leading developer of professional audio digital signal processing technologies. The move for the first time enabled all essential 5.1 and stereo metering to be displayed directly in line-of-sight with the broadcast monitor screen, providing the music mixer with visual feedback at a glance without having to move his head from the soundfield to look at a rack-mounted unit.

The previous setup, which required the music mixer to look in two different directions in order to take in all the metering, was less than satisfactory, according to Joel Singer, Engineer-in-Charge at M3, a New Jersey/California-based remote facilities company. “Visually it didn’t work with the eye too well. We were able to utilize the WLM and its greater visibility and functionality on our front monitoring system for this show. The new set-up worked out perfectly,” he says.

“We set it up for an ATSC A/85 standard measuring all the channels using the ITU-R BS.1770 spec,” Singer continues. “We have one screen inside the truck dedicated to metering only coming off the Pro Tools mixer system. We’re now able to set up 5.1 and LtRt Durrough meters, we’re able to set up a WLM loudness meter, and we can also see a main bus compressor all the time. The engineer can just look up from the console and see the program in front of him on the 46-inch LED screen, he can look to his right and see all the meters, he can look at previews to his left, and he stays in the zone the entire time. There’s no reason that he has to look for a 1U rack-mount with a little meter giving him numbers.”

The WLM plug-in, which features mono, stereo and 5.1 components, is fully compliant with all current ITU, EBU and ATSC metering specifications and offers comprehensive readout options, including Momentary, Short Term, Long Term and True Peak. Measurements may be selected for foreground, dialog and average loudness, while an intelligent dialog sensor detects and measures speech.

Accurate, visible loudness metering is essential for the mixers to be able to create a dynamic show for the GRAMMY Award show’s broadcaster, CBS, explains Singer. “We want the quiet passages to have the same dynamics as the loud passages. We’re trying to create a very even and properly executed show based on the CBS spec. After a lot of testing and working with Waves on the WLM we decided that this was the year we were going to deploy it.”

The streamlined metering display allowed Singer to also keep an eye on levels and consult with John Harris and Eric Schilling, the GRAMMY Award Show Broadcast Music Mixers, as they moved between M3’s Eclipse live music mix truck and its Horizon offline remix counterpart, where the mix created during show rehearsals was fine-tuned prior to the broadcast. “When they went into remix they could use this metering on more of a constant basis, because then they were not under the gun,” explains Singer. “They were just focused on the remix and could get the level dialed in to where they wanted it.”

Although the Waves WLM was deployed for the first time by M3 at the GRAMMYs, the developer’s plugins are a staple on the trucks. “Waves software was very integrated into the show,” says Singer. “On the Springsteen part of the show, his engineer, Bob Clearmountain, asked if we could put a Waves 5.1 SSL bus compressor on the main output to give it that little pop that he wanted. We used a couple of other Waves plugs that we’ve always used from the SSL 4000 and V-Series collections, and the Chris Lord-Alge CLA-76 Compressor. Chris happened to visit the truck and he saw that we were using all sorts of plug-ins that were part of the signature bundle that he created with Waves.”

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

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J. Peter Robinson Makes His Greatest “Catch” with Genelec 5.1 Active Monitoring

— Composer chooses a surround monitoring system consisting of three Genelec 8250A
Bi-Amplified DSP Monitors for the L-C-R array, a pair of 8240A Bi-Amplified DSP Monitors
for the left and right rear surrounds, and a 7260A Active DSP Subwoofer for projects including feature films, reality television, video games and more—

NATICK, MA, February 23, 2012 — You could say J. Peter Robinson has been around the block a few times. In fact, you could say he’s been around the world more than once, too, both the real world and the world of entertainment media. Classically trained at the Royal Academy of music in his native London, Robinson moved easily between the worlds of theater, where he was the pianist for Andrew Lloyd Weber and Tim Rice on the original production of “Jesus Christ Superstar,” and rock, as a member of bands fronted by artists including Eric Clapton, David Bowie and Phil Collins. He was equally adept at the transition to media composing, creating music for television series including Charmed and five-time EMMY Award® winner Deadliest Catch, and feature films including Wayne’s World, Encino Man, Highlander: The Final Dimension and the soon-to-be-released Nicolas Cage film Seeking Justice. In fact, it was exactly that wide-ranging eclecticism that led Robinson to choose Genelec Active Monitors for the first 5.1 surround monitoring system in his personal recording and mix studio in Los Angeles.

After carefully vetting a wide range of speakers, Robinson decided upon three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7260A Active DSP Subwoofer. The system was purchased from West L.A. Music and installed late last year.

“I had been spending a lot of time and money in other facilities to do my 5.1 surround monitoring and mixing, and it was time that I got my own set up, but it had to be able to handle all of the kinds of media that I work in,” says Robinson, who, in addition to his TV and film credits, has just finished work on his first video game, scoring a title based on the popular Highlander franchise. “It had to be a system that could cover all of these types of media.”

Robinson auditioned numerous monitors but kept coming back to the Genelecs as his favorites. “I listened to a lot of great-sounding speakers, but the Genelecs were the only ones where I heard only the music, not the speaker,” he explains. “All I heard from them was the material, and that’s critical.”

Also important was the fact that Genelec’s AutoCal™ automatic calibration system allowed Robinson to plug the monitors in and let them optimize themselves to his environment. “The Genelecs basically made friends with the room,” he says. “What they give me is the confidence that I’m always hearing what I recorded, as I recorded it. That’s invaluable.”

For more information, please visit www.genelecusa.com/ .

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INDUSTRY LEADERS UNITE TO SUPPORT THE RECORDING ACADEMY® PRODUCERS & ENGINEERS WING® GRAMMY® WEEK EVENT

Audio Industry Leaders Gather for the Fifth Annual GRAMMY® Week Celebration at The Village Studios in West Los Angeles, Honoring Music Producer, Executive and Entrepreneur Jimmy Iovine

SANTA MONICA, Calif. (February 22, 2012) — On Wednesday, Feb. 8, 2012, The Recording Academy® Producers & Engineers Wing® kicked off GRAMMY® Week with its fifth annual event, this year honoring music producer, entrepreneur and chair of Interscope Geffen A&M Records Jimmy Iovine, who has worked with artists including Bruce Springsteen, Patti Smith, U2, the Pretenders, Dire Straits, Stevie Nicks, Tom Petty & the Heartbreakers and many more. Iovine was recognized for his commitment to excellence in audio and ongoing support for the art and craft of recorded music. The event was held at The Village Studios in West Los Angeles. GRAMMY Week culminated with the 54th Annual GRAMMY Awards on Sunday, Feb. 12, 2012..

The event was held with the support of leading companies within the musical instrument and professional audio markets. Presenting sponsors included The Village Studios, West L.A. Music and Westlake Professional Sales. Co-sponsors included Harman International brands AKG Acoustics, JBL, and Lexicon; Iron Mountain; Avid; Musician’s Institute; Music Marketing; Shure Incorporated; Beats Electronics; Ultimate Ears; Focusrite Novation; Prism Media Products; Apogee Electronics Corporation; Full Sail University; Guitar Center Professional (GC Pro); Lurssen Mastering; Sennheiser Electronic Corporation; SoundExchange. Eco-friendly cocktails were provided by VeeV.

Producers & Engineers Wing Senior Executive Director Maureen Droney said, “The evening was a huge success, and once again we must offer a sincere thank you to all of our sponsors. It’s a simple fact that we couldn’t have done it without them. Since this was the P&E Wing GRAMMY Week event’s fifth anniversary, this year’s event was particularly meaningful, and it is especially gratifying that so many leading high quality brands joined together and with us to make the night happen. We all look forward to next year.”

Personnel from several of the sponsors also weighed in on the evening’s festivities:

Michael MacDonald, VP, Sales & Marketing, Harman Professional Division, stated, “Each year the P&E Wing’s GRAMMY Week Event brings the most major figures from the industry into one place. It is an honor to support the P&E Wing and to converse with the talented people behind the scenes of today’s music.”

“Everyone at Music Marketing was extremely proud to support The Recording Academy Producers & Engineers Wing GRAMMY Week event. We had a great suite, which enjoyed a solid succession of industry professionals, including honoree Jimmy Iovine, making the experience one to remember,” stated Ray Williams, President of Music Marketing.

Photo File: PE_IovineEvent_Sponsors.JPG
Photo Caption: Key sponsors and P&E Wing personnel gather for The Recording Academy® Producers & Engineers Wing®’s GRAMMY Week event, which this year honored Jimmy Iovine. Photo Courtesy of The Recording Academy/Wireimage.com. ©2012.

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Waves Audio Releases InPhase Plugin

— New Plugin Corrects Track Phasing and Alignment Issues —

KNOXVILLE, TN, February 21, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, is now shipping its InPhase plugin. Designed for recording, mix, mastering and live FOH/monitoring engineers, InPhase has been developed to correct phasing issues between tracks. Phasing can cause drops in volume and wreak havoc on frequency response and stereo image; InPhase gives users a comprehensive tool to correct such problems.

As many engineers and producers know, phasing problems are encountered during all stages of the production process:

In recording, when multiple sources such as microphones and direct signals are used to capture the same sound (e.g., individual drums and drum overheads, guitars recorded using both an amp and DI, amps recorded using multiple mics, etc.).
In mixing, when phase issues that were not addressed during the recording process need to be corrected.
In mastering, when the stereo mix has phasing issues.

Even small timing differences can cause subtle drops in volume as well as reduced punch and clarity. Waves’ InPhase gives users the power to align their tracks and restore phase coherence.

InPhase is the ultimate phase correction plugin, featuring high resolution dual waveform displays with up-to-sample resolution zoom; phase shift filters with adjustable frequency and Q; and an intuitive correlation meter, which shows users just how much they are in or out of phase. Users can move their waveforms manually or using the delay control, and even align them in relation to a sidechain input. The phase shift curve window shows users the phase shift curve across the frequency line; the correlation meter shows to what extent tracks are in- or out-of-phase; and the plugin features dual second-order allpass filters. InPhase includes mono, stereo, and dedicated live components, plus InPhase LT, a simplified version that gives you easy access to creative phase manipulation.

InPhase Controls:

Alpha and Beta processing sections.
Process controls let us choose what to process.
Activity LED shows when there is input signal activity.
Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Monitor selects the output monitor configuration.
Output LED displays the peak signal output level.
Collapse closes the waveform display section.
Capture, with Automatic & Manual modes, captures up to two seconds of signal.
Scroll Bar scrolls the x axis of the captured waveform.
Correlation Meter displays general correlation metering between the Alpha and Beta waveforms.
Correlation Markers display the maximum value of the correlation meter.
Correlation Value Box displays the current correlation value.
Zoom X zooms in on the x axis, at up to sample resolution.
Zoom Y Alpha zooms in on the Alpha section y (amplitude) axis.
Zoom Y Beta zooms in on the Beta section y (amplitude) axis.
Zoom Y Link links Zoom Y Alpha and Zoom Y Beta.
Reset Zoom resets the zoom to its default setting.
Alpha Waveform is the waveform captured in the Alpha section.
Beta Waveform is the waveform captured in the Beta section.

InPhase LT Controls:

Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Output LED displays the peak signal output level.

Waves InPhase is now available with a special introductory price of USD $99.00 Native / $149.00 TDM. It is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage. InPhase LT, included with InPhase, is also available separately with a special introductory price of USD $59.00 Native / $99.00 TDM.

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

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