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Archive by Brad Gibson

Frank Filipetti Uses Audio-Technica AT5040 Vocal Microphone to Capture the Essence of Motown for the Motown The Musical Cast Album

— Well known for his GRAMMY® Award-winning work on cast albums as well as for his time spent with artists including Foreigner, James Taylor and Barbra Streisand, Filipetti’s tool kit is filled with A-T microphones including the new AT5040 —

STOW, OH, November 20, 2013 — When the cast album for the Broadway hit show Motown The Musical was ready to be made, the show’s producers called on multiple GRAMMY® Award-winner Frank Filipetti to co-produce, record, edit and mix the album. In turn, Filipetti called on the new AT5040 Cardioid Condenser Studio Vocal Microphone from Audio-Technica, a leading innovator in transducer technology for over 50 years, to capture the full range of one of America’s most iconic music eras and sounds. Motown The Musical officially opened earlier this year at the Lunt-Fontanne Theatre and features timeless hit songs such as “What’s Going On,” “Ain’t Too Proud To Beg,” “Baby I Need Your Loving,” “My Girl,” “Dancing In the Street” and “I Heard It Through The Grapevine.”

Filipetti recorded the album at Right Track Studios in Manhattan, and along with Co-Producer Ethan Popp (Musical Director for Motown The Musical) and Executive Producer Harry Weinger, he edited and mixed it at his own The Living Room Studios in West Nyack, New York (all in close collaboration with Motown Records Founder and Rock & Roll Hall of Fame inductee Berry Gordy). Filipetti, who has earned GRAMMY Awards for his Broadway cast album work for shows including The Book of Mormon, Spamalot and Wicked, worked with Gordy, Popp and Weinger to choose from among the 72 songs in the show for the cast album, which also includes four new songs composed by Gordy. All of this music showed off the range and performance of A-T microphones.

On Motown The Musical, Filipetti used the new AT5040 for the first time. “I placed it in the vocal booth with Brandon Victor Dixon, who plays Berry Gordy in the show, and it instantly sounded fantastic,” Filipetti recalls. “The vocals just came alive. When Bryan Terrell Clark, who plays Marvin Gaye in the show, heard it, he said he just had to sing through it, too. This was the greatest test you could put a vocal microphone through – in front of the best singers on Broadway – and the AT5040 held up to the high expectations of the users!”

In addition to the AT5040, Filipetti also used other A-T microphones on the recording. These included the AE5100 Cardioid Condenser Instrument Microphone on the snare drum and the AE2500 Dual-element Cardioid Instrument Microphone on the kick, as well as the ATM350 Cardioid Condenser Clip-On Microphone on toms. The AT4047/SV Cardioid Condenser Microphone has become Filipetti’s Swiss Army knife, used on everything from vocals to strings to horns. “It’s really my go-to microphone for just about everything,” he says. “The music in Motown The Musical is so much a part of the American music songbook that it demands the absolute best when it comes to what we use to record it. And Audio-Technica microphones are always at the top of that list.”

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

Photo caption: Foreground: Multiple GRAMMY® Award-winning producer, engineer and mixer Frank Filipetti. Background: Music Supervisor, Arranger, and 2013 Tony Award Nominee Ethan Popp.

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GC Pro Helps Dave & Buster’s with State-of-the-Art Lighting Systems for Locations in Dallas, Boise, Boston and Oklahoma

— Dave & Buster’s approached GC Pro to provide new lighting technologies and products for existing and newly opened stores —

WESTLAKE VILLAGE, CA, November 18, 2013 — Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has recently supplied lighting components for several existing and newly opened locations of Dave & Buster’s, a leading chain of restaurants/entertainment centers. Each Dave & Buster’s has a full-service restaurant and a video arcade, and the company has nearly 70 locations across the United States and one in Canada. GC Pro was chosen to supply key lighting systems for upgrades to existing Dave & Buster’s store locations in Oklahoma City and Boston, and to newly opened stores in Dallas and Boise, Idaho. In addition, Small Pocket Poets, a member of GC Pro’s Affiliates Program, which matches client projects with the best Audio/Video/Lighting systems integrators in their areas, has also been involved in several of these installations, specifically those in Dallas and Oklahoma City. GC Pro’s national presence, deep knowledge base, extensive inventory and access to virtually any type of AVL products and systems made, and service/support infrastructure made GC Pro the perfect solution for Dave & Buster’s need to upgrade its lighting systems. Recent installations of lighting at D&B stores include the following equipment:

• Boston
6 American DJ Vizi Spot 5R Moving Heads
6 Elation EWDMX Wireless DMX Receivers
1 Elation EWDMX Wireless DMX Transmitter
1 Elation Compu Show Software

• Oklahoma City
3 American DJ Vizi Spot 5R Moving Heads
3 Elation EWDMX Wireless DMX Receivers
1 Elation EWDMX Wireless DMX Transmitter
1 Elation Compu Show Software

• Boise
6 American DJ Vizi Spot 5R Moving Heads
6 Elation EWDMX Wireless DMX Receivers
1 Elation EWDMX Wireless DMX Transmitter
1 Elation Compu Show Software
2 Tempest Lighting Twister All Weather fixture Enclosure

• Dallas
8 American DJ Vizi Spot 5R Moving Heads
8 Elation EWDMX Wireless DMX Receivers
1 Elation EWDMX Wireless DMX Transmitter
1 Elation Compu Show Software
3 Tempest Lighting Twister All Weather fixture Enclosure

In addition, GC Pro will provide these and other lighting products, including the Elation Platinum Spot LED PRO II Moving Head and Elation Art SSC Solid-State Lighting Controller, as well as installation and integration services, for forthcoming Dave & Buster’s locations to be announced.

“Our relationship with Dave & Buster’s began in December 2011, when Fred Hennighausen, Dave & Buster’s Director of New Store Openings, and I talked about their ideas for the lighting in their Oklahoma City store, which was about to open at the time,” explains David Almanza, Sales Associate at GC Pro’s office there. “That turned out extremely well, and we next applied those same ideas to their Boston location as well. Since then, we’ve done both interior and exterior lighting for the new Dallas and Boise locations.”

Kyle Bartel, Owner of GC Pro Affiliate Program member Small Pocket Poets, says GC Pro brings all the elements together for Dave & Buster’s, including installation services. ”GC Pro’s amazing depth of inventory and knowledge is a huge plus for companies like Dave & Buster’s,” he says. “But there are also the less obvious things that mean a lot, like GC Pro’s relationships with manufacturers, which leads to up-to-the-minute product knowledge and a deeper level of support.”

Almanza points out that GC Pro and Dave & Buster’s have a lot in common. “GC Pro is a good match for Dave & Buster’s because we have our own locations all over the country, just as D&B does, and we can install, service and maintain anything we sell them. They know there’s always a GC Pro office nearby, so no matter where they are, we are, too.”

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

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Bose® Now Shipping RoomMatch® Utility RMU208 Small-Format Loudspeaker

Company ships new small-format loudspeaker with RoomMatch® mid/high sonic character, perfect for high-quality foreground music, under-balcony, zone fill and vocal-range floor monitor applications

Framingham, Massachusetts, November 13, 2013 – Bose® Professional Systems Division is now shipping the RoomMatch® Utility RMU208 small-format sound-reinforcement loudspeaker. The RMU208 is designed for use in high-quality foreground music, under-balcony, zone fill and vocal-range floor monitor applications in performing arts centers, civic auditoriums, houses of worship, secondary education and college auditoriums, dance clubs, hospitality and more.

The loudspeaker features a single Bose EMB2 compression driver (with 2.0-inch voice coil) to provide mid/high-frequency voicing similar to the RoomMatch full-range array modules. The EMB2 driver features a patented phase plug that lowers distortion and allows the use of a lower crossover frequency to improve vocal sound quality.

Dual Bose LF8 8-inch woofers (with 2.0-inch, extended-excursion voice coils) provide full-range output down to 80 Hz (+/-3 dB), and a 90° x 60° constant-directivity high-frequency horn provides wide, even coverage and may be rotated 90° in the enclosure.

The RMU208’s Quasi-3-way passive crossover with separate filters for each transducer provides uniform frequency and polar response; the 80-16,000 Hz frequency response and 126 dB maximum peak SPL allow for use in high-performance system designs. Long-term continuous power handling is 400W and peak power handling is 1600W.

The enclosure is constructed of baltic birch plywood with a 2-part polyurethane coating to resist scratches and scuffs. The multi-angle cabinet design allows for flexible use in varied applications, and the system includes a U-bracket and four additional M8 threaded inserts on the enclosure’s rear surface provide additional mounting flexibility.

The new RoomMatch® Utility RMU208 small-format loudspeaker can be powered by Bose PowerMatch® amplifiers, or any professional amplifier with the appropriate power rating. The RMU208 loudspeaker is now available through authorized Bose dealers. For more information please visit http://pro.Bose.com.

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Paul Friedman Joins BMG-Hudson Sales & Marketing

— Company positions itself for next phase of growth with Friedman’s appointment —

NEW YORK CITY, NEW YORK, November 12, 2013— BMG-Hudson Sales & Marketing, a leading independent manufacturer’s rep firm specializing in the commercial audio/system integration, professional audio, MI/DJ and live sound markets, is pleased to announce the appointment of industry veteran Paul Friedman to the position of Sales & Marketing/Key Account Manager for the A/V, System Integration and Theater market sectors. The announcement was made by BMG-Hudson principals Bruce Garry and Mike Phillips and further underscores the company’s ongoing growth and expansion.
In his new position, Paul Friedman will work closely with Garry and Phillips, concentrating his efforts on expanding and strengthening relationships with consultants, A/V integrators and installed sound personnel.

With extensive experience in the audio industry, Friedman began his career as National Sales Manager for GLI Integrated Sound. He then held the position of National Sales Manager for Numark Electronics and then went on to found his own rep firm MetroNorth Marketing. He most recently held the position of Territory Manager for NFS Communications.

“Paul has a rich history in the industry and we are pleased to have him join the BMG-Hudson group,” stated Garry and Phillips. “His extensive background in the A/V, contracting and Pro Audio markets makes him uniquely qualified to help us grow our company as part of a long-term strategic business plan.”

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Auralex® HoverMat™ Goes on Tour and in the Studio with Drummer Rich Redmond

— Auralex®’s HoverMat™ slip-resistant drum mat keeps Rich Redmond’s kit sounding clean and tight, whether he’s in the studio or on the road with Jason Aldean and other major artists, or doing one of his CRASH Course For Success inspirational events —

INDIANAPOLIS, IN, November 12, 2013 – Whether in his current main gig as studio and live drummer for Jason Aldean, or in his CRASH Course For Success inspirational events, where he’s inspiring a new generation of artists, drummer Rich Redmond relies on the HoverMat™ slip-resistant drummer’s mat from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments.

Redmond (who has also recorded and performed with Kelly Clarkson, Lit, Jewel, Joe Perry, Bryan Adams, Thompson Square and many more) is a thinking man’s drummer: he’ll do 80 shows a year on the road with Aldean and in between will host his unique CRASH Course For Success inspirational events and other sessions, such as his recent inaugural “Drummer’s Weekend” workshop. For the CRASH concept – Commitment, Relationships, Attitude, Skill, and Hunger – Redmond brings in guest clinicians from current top tours and sessions to teach and serve on a Pro Panel and answer questions about building a successful career, including recording hit songs, working with top artists, and playing to tens of thousands of fans each night. But whatever he’s doing when it comes to drums and drumming, Redmond is doing it atop an Auralex HoverMat, which improves acoustical isolation and clarifies the drum’s tone. Fabricated with industry-leading Auralex SheetBlok™ Sound Barrier, the HoverMat allows for high-performance decoupling from hollow stages and floors, optimizing the sound of drums by minimizing resonance from the surface on which the kit is resting. The result is a tighter, purer, more focused drum sound.

“I take my HoverMat on the road and into sessions, and engineers love it,” says Redmond. “Jason’s FOH mixer says it sounds great on stage and through the PA system. It really isolates the kit from the floor and keeps the sound tighter. I also use the HoverMat when I’m doing my CRASH Courses, which we’ve done for audiences ranging from school kids to Fortune 500 companies. In fact, Auralex has sent over extra HoverMats for some of those so that our guest clinicians and attendees can see how good it can make a drum kit sound.”

Redmond points out that the HoverMat can be also rolled up after any performance or session, and the included heavy-duty cinch sack makes transport a breeze. “I pretty much take it everywhere,” he says. “It’s portable and affordable!”

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

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Audio-Technica Celebrates 20 Years of Providing Microphone Solutions for CMA Awards

— For the 47th annual event, which aired live on Wednesday, November 6, 2013, leading music mixers and award-winning performers again picked A-T for sound quality and reliability —

STOW, OH, November 8, 2013 — Audio-Technica, a world leader in transducer technology, is celebrating its 20th year of supporting the Country Music Association (CMA) Awards by providing an extensive selection of vocal and instrument microphones for its annual awards show. The 47th Annual CMA Awards aired live in 5.1-channel surround sound Wednesday, November 6, 2013, on the ABC Television Network from the Bridgestone Arena in Nashville, and featured over 150 Audio-Technica microphones, including an impressive array of hard-wired mics and Artist Elite® 5000 Series UHF Wireless Systems. Audio-Technica microphones were chosen for their ability to provide clear and consistent audio quality for live broadcast.

The CMA Awards presentation is recognized as Country Music’s Biggest Night™ and represents the pinnacle of achievement for those involved in country music. Once again, Audio-Technica microphones were featured for their accurate and reliable sound reproduction — characteristics that have dictated A-T’s long-standing presence with country music artists.

The team of industry veterans responsible for the audio at this year’s CMA’s again included a who’s-who of broadcast audio. The audio was supervised by award-winning audio producers Tom Davis and Paul Sandweiss; ATK/Audiotek provided the sound system with FOH (front-of-house) mixers Patrick Baltzell and Rick Shimer; the broadcast music mix was handled by New Jersey/California-based M3’s (Music Mix Mobile’s) John Harris and Jay Vicari. Stage monitoring was handled by Tom Pesa and Jason Spence.

Audio-Technica’s acclaimed Artist Elite 5000 Series UHF Wireless System with the AEW-T6100 Hypercardioid Dynamic Handheld Microphone/Transmitter was used for lead vocals by A-T endorser Jason Aldean, who performed “Night Train.” The 5000 Series wireless was also used by Darius Rucker, who performed using the AEW-T5400 Cardioid Condenser Handheld Transmitter. Rucker performed “The Gambler” as part of a Kenny Rogers Tribute and later performed the closing number, “Wagon Wheel.”

The backline mic complement of A-T wired microphones included the AT4080 Phantom-powered Bidirectional Ribbon Microphone on guitars; AT4050 Multi-Pattern Condenser Microphone on guitars and bass; AT4040 Cardioid Condenser Microphone on overheads; AE2500 Dual-Element Cardioid Instrument Microphone on kick drum; AE5100 Cardioid Condenser Instrument Microphone on hi-hat and ride cymbals; AE5400 Cardioid Condenser Microphone on rotary speaker top and AT4050 on rotary speaker bottom; ATM650 Dynamic Instrument Microphone on snare; and ATM350 Cardioid Condenser Clip-On Microphone on toms and strings.

“Audio-Technica supplies an enormous amount of support for us during the CMA’s,” stated Paul Sandweiss, Co-Audio Producer of the 47th Annual CMA Awards. “Their wired and wireless mics sound great, and are consistently reliable — and having representatives from A-T and their gear here at the show makes our lives a whole lot easier!”

“I especially liked using the ATM350 on the string section during the George Jones Tribute,” states Jay Vicari, Co-Music Mixer. “The 350 allowed me to capture the sound of the strings very naturally and because of its size, it was unobtrusive on camera.”

James Stoffo, RF Coordinator/Microphone Tech, echoes Sandweiss’s sentiments: “We have 36 wireless microphones on the show from various manufacturers in a backdrop of 200 radio frequencies that include in-ears, mics and backstage communications. We love the support we receive from Audio-Technica, and we have never had any problems with interference, drifting or audio quality of their wireless systems. The A-T wireless that we have used, not only on this show but others, has been flawless. I’m always happy to see A-T on the show.”

Please visit www.audio-technica.com for more information.

Photo Caption 1: Jason Aldean, performing at the 47th Annual CMA Awards on November 6, 2013, using Audio-Technica’s Artist Elite® 5000 Series UHF Wireless System and AEW-T6100 Hypercardioid Dynamic Handheld Transmitter. Photo by Larry Busacca/Getty Images. (This photo is the property of Larry Busacca/Getty Images and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

Photo Caption 2: Darius Rucker, performing at the 47th Annual CMA Awards on November 6, 2013, using Audio-Technica’s Artist Elite® 5000 Series UHF Wireless System and AEW-T5400 Cardioid Condenser Handheld Transmitter. Photo by Todd Wawrychuk/Getty Images. (This photo is the property of Todd Wawrychuk/Getty Images and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

Photo Caption 3: The audio team from the 47th Annual CMA Awards held an intimate dinner with Audio-Technica at Nashville’s Palm Restaurant during rehearsals. Shown L-R: Seated: Mark Linett (M3 Music Mix Stage Pre Amp Tech), Jay Vicari (Co-Music Mixer) John Harris (Co-Music Mixer), Roxanne Ricks (Audio-Technica Artist Relations Manager and Events Specialist), Joel Singer (M3 Engineer In Charge), Russell Fischer (leading FOH). Top Row: Paul Sandweiss (Co-Audio Producer), Maren Angus (Audio Producers’ Assistant), James Stoffo (RF Coordinator/Microphone Tech), Tom Davis (Co-Audio Producer), Brian Flanzbaum (M3 Music Mix Stage Pre Amp Tech), Max Feldman (M3 Music Remix Assistant), Bob Green (Audio-Technica Director of Digital and Technical Wireless Engineering), Stacey Lee Hempel (Pro Tools Operator) and Russell Long (M3 Music Mix Assistant). Photo by Yu Howe. (This photo is the property of Clyne Media Inc., and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

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Eric Smith, Founder and President of Auralex® Acoustics, Continues to Share His Knowledge Through Lectures and Speaking Engagements Nationwide

— Ongoing series of events sees Smith traveling to schools and conferences to educate students, faculty and industry veterans alike —

INDIANAPOLIS, IN, November 7, 2013 – Eric Smith, Founder and President of Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, is continuing to share his knowledge far and wide, as he has been a featured guest lecturer at a number of colleges and universities across the country. A highly-sought-after speaker, Smith has recently had the opportunity to speak to faculty and students at Musician’s Institute in Los Angeles and the Conservatory of Recording Arts & Sciences in Gilbert, AZ with more such engagements planned indefinitely.

Smith, throughout his career, has been a strong advocate of education, and he has guest-lectured at high schools and colleges throughout the country on the subjects of acoustics, broadcasting and entrepreneurship. Smith brings a wealth of personal experience, technical knowledge and a sense of humor to all of his presentations, which focus on basic acoustic theories, sound control issues and solutions, product design strategies, the challenges of a start-up company and what it takes to be successful in business.

Barry Rudolph, Instructor at Musician’s Institute, recalled the response to Smith’s presentation there: “What a fantastic and generous lecture Auralex President Eric Smith recently gave to the audio engineering students here at Musicians Institute in Hollywood. Our new Studio F was filled to capacity throughout the afternoon with a continuous stream of students enjoying his insightful and practical suggestions for improving the sound of their own project/home studios using various Auralex acoustic treatment products. Eric’s anecdotal yet analytical tutorial style explains with clarity, precision and humor. The students loved it!”

Smith was also a featured panelist at the recent PotLuckCon 2013 Audio Conference. Eric participated in a panel discussion along with studio designers/acousticians Mark Genfan and Carl Tatz and noted journalist/music technology specialist Mitch Gallagher. The topic of the well-attended panel discussion was “Practical Acoustics Workshop,” and the panel was moderated by Alex Maiolo.

“This series of events has been very fruitful,” stated Eric Smith. “I love getting the opportunity to promote good sound and good listening environments to current and future engineers and members of the audio community. When I see tomorrow’s audio professionals asking great questions and paying close attention, I know that the industry is in great hands. I am lucky that I can make an impact on these minds in the process, and I look forward to participating at more of these events in the near future.”

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

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Focusrite’s RedNet System Helps Georgia Southern University’s Ambitious Electronic Ensemble Music Program Push the Boundaries of Music Recording and Composition

Eight RedNet 1 units offer precision 24-bit A-D and D-A conversion and I/O for bringing in analog audio signals from the program’s studio and delivering them digitally to any part of the campus’ network

Los Angeles, CA, November 7, 2013 – RedNet, Focusrite’s flagship range of Ethernet-networked audio interfaces, based around the Dante Ethernet protocol, can take music and recording to places it might never have gone. That’s what’s taking place at Georgia Southern University, where the school’s music technology department is moving forward with an innovative curriculum. The program utilizes eight RedNet 1 devices, which offer eight channels of line-level analog I/O with Focusrite’s precision 24-bit A-D and D-A conversion, to connect acoustical and electronic performances from the school’s electronic ensemble. This allows students to manipulate the audio in real time, creating entirely new compositions in the process.

For instance, as John Thompson, the school’s Associate Professor, Music Technology, explains, a performance by a clarinet in one of any number of venues across the campus, including a performing arts center or a black-box theater, can be routed via RedNet onto the school’s local-area network and back to the program’s recording studio. In the process, students can access that signal and apply a huge array of processing to it, using the original performance as a trigger for other types of sound generation, creating an entirely new work. All of this is made possible by RedNet’s near-zero latency and highly flexible routing capabilities. And the entire campus can be the recordings’ canvas, thanks to the RedNet’s routing capability.

“We’re routing everything through a Cisco switch, and using RedNet we’ve been able to create a very complex routing infrastructure with very little cabling,” explains Thompson. “That ability to access the network, combined with the extremely low latency, is what makes this work. In addition to the interesting potential of networked audio in musical performance, we get the bonus of excellent converters in the RedNet 1s. The audio quality is outstanding with a crisp and focused image.”

The RedNet devices, which were purchased through Sales Associate Jim Swain at Sweetwater, are central to Thompson and Georgia Southern University’s unique and ambitious program achieving its goals. The University’s hallmark is “a culture of engagement that bridges theory with practice,” the school’s website explains, and that’s exactly what the Music Technology’s program’s adventurous agenda does.

“RedNet really takes us to places few educational or musical programs can go,” says Thompson. “It changes the mindset. Instead of letting us just find new ways of doing old things, RedNet lets us discover new ways of doing entirely new things. That’s really an accomplishment.”

RedNet is Focusrite’s range of modular Ethernet-networked audio interfaces that harnesses the power of Audinate’s tried and tested Dante digital audio networking system to bring studio quality sound to any modern audio application. Fundamentally, RedNet is an extremely scalable, near zero latency audio distribution system that can be used to expand I/O channel count, interface digital components, and/or bridge between Pro Tools|HD or MADI and the Dante audio network. RedNet 1 connects to your network with a single Ethernet cable.

For more information on the full RedNet range of Ethernet-networked audio interfaces, please visit www.focusrite.com/rednet.

About RedNet 1:
RedNet 1 offers eight channels of line-level analog in and out, with Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, and 119-dB dynamic range at sample rates up to 192 kHz. The rear panel includes standard DB25 connectors for analogue patchbay or breakout cable interfacing. RedNet 2 adds 16 analog channels in and out to your RedNet network and can be located anywhere you can run an Ethernet cable. Featuring Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, it delivers 119-dB dynamic range at sample rates up to 192-kHz. The rear panel includes standard DB25 connectors for analog patchbay or breakout cable interfacing.

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Audio Engineering Society Welcomes New President Dr. Sean Olive

— Noted audio researcher, educator and recording engineer/producer assumes role of President,
taking over from Frank Wells —

— Olive’s expertise and experience will help frame and strengthen the direction of AES leading into the 137th Convention in Los Angeles and beyond —

New York, NY, November 6, 2013 — Following closely on the heels of the 135th Audio Engineering Society (AES) Convention, held Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City, which was hailed as one of the AES’s biggest successes in recent memory, the AES welcomes Dr. Sean Olive as its new President, taking over from outgoing President Frank Wells. Currently serving as Director, Acoustic Research, HARMAN International, Olive is based in Northridge, California, placing him in an ideal location to guide the AES into the 137th Convention, which will take place in Los Angeles in the fall of 2014.

Olive’s experience is wide-ranging; his education includes a B. Mus. from University of Toronto, a M. Mus. in sound recording from McGill University and a PhD in sound reproduction from McGill. He served as an audio research scientist for the National Research Council of Canada for several years, before joining the HARMAN team in 1993. He has stayed active in academia, teaching classes at UCLA on occasion, and has been involved in various aspects of the AES’s technical committees and research initiatives. He displays an unwavering passion for audio and the AES organization, and his unique perspective as a musician, educator, recording engineer/producer, audio researcher and consumer places him in an ideal position to guide the course of the society through the next year and help plot that course for coming years.

One set of goals embraced by Olive is to continue diversifying the scope of the AES and its membership. As he points out, “The recording industry has been at times resistant to change, and we are still feeling the effects of the failure to fully embrace digital technology. The ways that consumers are experiencing music are evolving at a rapid rate, with audio as a mobile experience now being much more common than a living room with a hi-fi system. Headphone sales are through the roof, and the AES has a chance to help improve the consistency and quality of the mobile experience. As our membership continues to move toward this world, along with the worlds of film, sound contracting, live sound, automotive audio and gaming, we need to further explore these avenues in order to better serve our members. There is also huge room for AES member expansion into the so-called ‘BRIC’ countries – Brazil, Russia, India and China – and we plan to increase our outreach in those regions. The AES has a tremendous leadership role and a strong membership base, and I look forward to leveraging these assets to assist in the ongoing transition to the AES of the 21st century.”

For further information on the Audio Engineering Society and upcoming events, please visit http://www.aes.org/.

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Auralex® HoverDeck™ Gets Under All-Star Drummer Dane Clark’s Kit on the Ghost Brothers of Darkland County Tour

— Auralex®’s HoverDeck™ Isolation Riser allows Clark’s drum kit to deliver the dark, low sound he needs to for the incredible staged musical written by Stephen King, John Mellencamp and T Bone Burnett —

INDIANAPOLIS, IN, November 5, 2013 – Technology from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, is making sure that Dane Clark gets the sound he needs from his drum kit for the critically acclaimed Ghost Brothers of Darkland County, the staged musical collaboration between author Stephen King, singer/songwriter John Mellencamp and composer and producer T Bone Burnett. For the touring version of the show, which debuted at the Alliance Theater in Atlanta in 2012, Clark is using the Auralex HoverMat™ along with Auralex’s popular HoverDeck™ Isolation Riser, which is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, purer sound.

Ghost Brothers of Darkland County is a Southern Gothic tale of two brothers who hate one another and are forced by their father to spend time in a haunted cabin, where they are visited by the ghosts of another, deceased set of brothers who also hated one another. “This show needs the drums to be tuned low and sound very dark, so I’m using a hybrid kit made up of various drums and playing with a lot of mallets and brushes on them,” explains Clark, who has recorded and toured with artists including Mellencamp, Ian Hunter of Mott the Hoople, Steve Earle, Donovan and Moby Grape. “It’s a real tribal type of drum sound, and I want the low end to speak as much as possible. The drums sounded very good when we performed the show in Atlanta, but I wanted to see if I could make them even better. I talked with the Auralex guys, and they told me about the HoverDeck. I tried it out and I’m very impressed with it. You can really tell the difference – the drums now have an even clearer, more articulate low end to them. It really works well for the show, and my drum tech loves the HoverDeck because it’s so easy to set up. I’ve gotten tons of compliments on the drum sound.” Clark says he’ll be using the HoverDeck in the studio he’s building in his home in Anderson, Indiana. “It’s just an amazing tool for drums,” he says.

The Auralex HoverDeck solves an age-old problem for drummers. Stages and traditional drum risers sympathetically vibrate (resonate) with the drums and/or PA system. These resonances feed back to the drums and are then picked up by the mics. The Auralex HoverDeck is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, more pure sound for both live and studio work. Thanks to the HoverDeck, no longer will hollow stages resonate with a muddy rumble, or will concrete floors suck the tone out of the kit. In the studio, on stage or in the practice room, HoverDeck’s rugged MDF laminate core and web-like ISO-Puck modular risers minimize structure-borne sound transmission and sympathetic vibrations between drums and hardware.

The HoverDeck is available in two models; the HD-64Gig, designed for typical four and five-piece drum kits, and the HD-88Concert, configured for larger drum kits and touring applications. Both configurations utilize a set of low-profile isolating boards that assemble quickly via strategically placed hook and loop fasteners. Either model is offered with an optional rugged road case.

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

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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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