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Archive by Sue Sillitoe

MGI PARTNERS WITH MOLDEN MEDIA AND NEVER.NO FOR CABSAT 2014

Media Group International (MGI), the region’s leading systems integrator, has partnered with Molden Media and never.no to showcase the latest trends in On-Air graphics and live social management based on multi-touch screen technology at next week’s CABSAT 2014.

Demonstrating the very latest in picture-in-picture (PIP) broadcasting technology, Molden Media’s screen will broadcast a football match, during which live data graphics, social media content and user voting results will be displayed on the interactive video wall. The exhibit will comprise an interactive multi-touch fully HD video wall (4m x 2.1m), equipped with social media interaction technology, M2Social, and iPad and smart phone voting integration, M2Vote.

Enabled with an interactive multi-touch technology, which can support up to 32 simultaneous touches at a time, the LED video wall features touch widgets. As the position of a presenter is also tracked, the widgets follow automatically, enabling the content to always be at the presenter’s control.

In addition to Molden Media’s activity, MGI’s partner never.no will showcase their live social management and interactive broadcast platform ‘Interactivity Suite’ for both programming and live Advertising. Where live content will be harvested from social and second screen sources (including comments, trends, images, video, and polls), moderated and then broadcast in real time.

Visitors to the stand will have the opportunity to interact with their tablets or smart phones and vote for ‘man of the match’ and for the winning team. Illustrative analyses of player moves and pull-out statistic boxes will provide a more comprehensive viewing experience, whilst social media comments can be highlighted on the screen for discussion.

Paul Hennessy, CEO of Media Group International, said: “We are extremely pleased to partner with Molden Media and never.no for CABSAT 2014, and to be involved in showcasing such innovative On-Air graphics technologies. The exhibit will offer a fully interactive experience, incorporating social media, which we look forward to sharing with our visitors.”

Molden Media offers turnkey solution for real-times broadcast graphics, design, project planning and integration services for a number of international TV stations. Together with Media Group International, they will showcase one of the largest screens of its kind at CABSAT 2014.

Never.no will demonstrate abilities such as social media moderation, filtering, trending, video, second screen sync of incoming audience content and Dynamic Ad interaction.

Visitors will be entered into the draw to win an iPad Mini when they complete a short survey being conducted at the MGI stand.

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The Media Group International CABSAT 2014 exhibit can be found at stand B5 20.
For further information please contact:
Jo Robertson
T: 00971 55 980 6697
E: gssg@fourcommunications.com

Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.

GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.

The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International
Media Group International (MGI) is a proven media broadcast and communications systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. MGI provides solutions from safeguarding national security, such as in government operations, to creating the best educational venues in museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

Media Group International is ISO 9001:2008 certified, the world’s most recognised quality management standard. It is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.

Media Group International recently launched their new website to give customers a better experience online.
www.mgi.tv

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Prism Sound and Oxford Digital’s Audio Design Workshop LIVE Seminars Head To The USA

Following on from the success of the Audio Design Workshop LIVE seminars in Europe, Prism Sound and Oxford Digital are hosting their next event in the USA – at Cogswell Polytechnical College, Sunnyvale, California.

Taking place from 7pm PST on March 18, 2014, this audio engineering master class focuses on the design and optimisation of Active Loudspeakers and will be held in conjunction with Texas Instruments, CJS Labs and Audio EMC.

As on previous occasions Audio Design Workshop LIVE is open to all engineers, engineering managers, students and academics involved in audio engineering. The event will also be webcast and recorded for those who want to be part of the experience but can’t be there in person.

“These seminar sessions have proved exceptionally popular in Europe and we are very excited about extending the programme in the USA,” says Elliott Whyte, Applications Engineer at Prism Sound. “Their emphasis is on real-world, practical problem solving and alongside a comprehensive seminar programme delivered by some of the most experienced audio engineers in the business, there is also plenty of opportunities for hands-on experimentation and networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries within the audio industry.”

Audio Design Workshop LIVE at Cogswell Polytechnical College will feature the following speakers:

• Elliott Whyte, Prism Sound – Audio Measurement Challenges; a summary and an example

• Anthony Waldron, Audio EMC – EMC Considerations for Audio Products

• Christopher J. Struck, CJS Labs – Electroacoustics and Transducers

• Lars Risbo, Texas Instruments – Development in Amplifier Technology

• John Richards, Oxford Digital – Tuning the Sound of Consumer Audio Products

Prism Sound and Oxford Digital, who have joined forces to organise the Audio Design Workshop LIVE series, have extensive experience in the field of audio engineering.

Prism Sound has been developing audio measurement solutions for over 25 years and has pioneered many major innovations in this field. The company offers high quality audio analyzers that are suited to a wide range of test and manufacturing environments.

Oxford Digital specialises in digital audio signal processing for mobile and consumer equipment. Its products include an extremely compact audio DSP core with a rapid programming and development environment and Sonic Tuning Tools that allow rapid optimisation of the sound reproduced by compact loudspeaker systems. The complete toolset is targeted at reducing time-to-market and lowering software maintenance costs.

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. To register, please follow this link which also allows you to register for the live webcast and the webcast recording:

http://www.eventbrite.com/e/active-loudspeaker-design-masterclass-live-cogswell-polytechnical-college-registration-10200884119?aff=PR

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

In the US
Sales department
Prism Media Products Inc.
21 Pine Street
Rockaway
NJ 07866
USA
Tel : +1 (973) 983 9577
Fax : +1 (973) 983 9588
e-mail : sales@prismsound.com

DPA Microphones Brings the Glitz of Gold to ProLight + Sound 2014

At Prolight + Sound 2014 (Booth 8:C71), DPA Microphones will be focusing attention on its range of high quality microphones for the live stage.

The company’s award-winning d:facto™ Vocal Microphone will be sporting new grids with gold and nickel finishes – ideal accessories for vocalists who want added sparkle for their onstage performances.

“We saw a demand in the market to attain the d:facto sound with more than just the traditional black grids,” says Christian Poulsen, CEO of DPA Microphones. “These grids provide the solution by bringing an exciting new visual dimension to a microphone that is already internationally acclaimed for its great sound.”

The new grids are available as accessories to existing d:facto solutions and are delivered as metal grids with foam and pop screen. Additionally, the nickel option matches the finish available on the Sennheiser 2000, 5200 and 9000 wireless mic systems and comes complete with capsule and corresponding adapters.

With a true studio sound for the live stage, the d:facto Vocal Microphone offers an extraordinarily natural sound with high separation and extreme SPL handling, giving users unlimited possibilities for their performances. In addition to use with the wired DPA handle, the d:facto provides singers and engineers with the added benefit of a state-of-the-art adapter system, which allows for seamless integration with many professional wireless systems.

DPA will also be using the ProLight + Sound platform to showcase its hugely popular range of d:vote™ 4099 Instrument Microphones.

Despite its tiny, discreet size and lightweight design, the DPA d:vote clip mic is rugged and stable as it features a versatile and extendable gooseneck, sturdy shock mount and a detachable cable, making it perfectly suited to the rigors of touring and live performance. As it was intended for fast-paced settings, the mic can easily be unclipped and repositioned or moved to another instrument with only one hand. Additionally, the d:vote’s microphone mounting system is designed to be extremely gentle, never marring the finish of an instrument.

On show for the first time in Europe will be DPA’s new d:vote 4099 Rock Touring Kits, which give users a choice between a four-piece or 10-piece Peli case package. The company has also released two similar Classic Touring Kits for classical musicians.

“Our d:vote microphones have always been popular with classical musicians because they deliver such fantastic sound and allow musicians to capture the true sound of their instruments,” Christian Poulsen says. “However, in recent years we’ve noticed a steady increase in sales to rock bands such as Metallica, D-A-D and Paramore, who have experienced how the DPA sound enhances their performance. With our Rock Touring Kits we are making the sound engineer’s task so much easier.”

Rock and classical musicians have embraced d:vote instruments microphones because they are so small and discreet, and because they come with an exceptional range of adapters. The 10-piece kit includes 10 d:vote microphones, 10 adapters and 25 holders for different instruments adjusted to either rock or classic applications. The four-piece kit includes four d:vote microphones, four adapters and 10 holders.

“With other brands, engineers usually have to use tape to get the mics to stay in place in certain areas that prove to be the best placements. d:vote has clips for all instruments and, with the new kits, engineers have an ingenious solution,” Christian Poulsen says.

DPA will enhance its Prolight + Sound 2014 line-up by showing its superior d:dicate™ Recording Microphone range, which delivers high quality audio across many applications including live sound for touring and installation purposes. Now incorporating the new modular MMC4018 Supercardioid Capsule, the well-known MMC4007 High-SPL Omnidirectional Capsule (now re-launched for modular use) and the modular 4000 and 2000 microphones, the d:dicate range allows users to combine various capsules with DPA’s state-of-the-art preamps for extra versatility. These preamps include the A, which is a Class A transformerless design; the B, a low cut and high boost filter version; the compact C option for visual unobtrusive miking; and the new modular MMP-E active cable preamp for hanging or table applications. An MMP-F modular boom pole is available for podium or floor stand use of the d:dicate capsules.

Continuing its tradition of offering exhibition visitors even more bang for their bucks, DPA is once again running a daily draw at ProLight + Sound 2014, with the opportunity for a lucky person to win a DPA microphone (d:vote™ or d:fine™ single-ear headset). To enter, all visitors have to do is visit the DPA booth during the day, collect a special pin and then return at 5 pm for the draw.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

DPA Microphones Gives Live Performers More Freedom To Move

Artists who like the freedom to dance and sing on stage should visit DPA Microphones at Frankfurt ProLight + Sound 2014 (booth 8:C71) for the very latest in headset and miniature microphone technology.

DPA’s new d:fine™ 66 and 88 Headset Microphones are ideal for performers like actors, musicians and singers who need to move freely and don’t want to be constrained by a hand-held microphone or a mic on a stand. With the flexible mechanics of the d:fine ear mount and the capsules from the legendary 4066 omni and 4088 cardioid headsets, the d:fine range now covers every need.

“We see a growing need for body worn microphone solutions and a need for them to be even more sturdy for the hard use in live environment, musicals, etc. Therefore, we launched the d:fine Headset Microphones a few years ago and selected the name based on a belief that the microphone would define a new generation of headsets,” says Christian Poulsen, CEO of DPA. “The d:fine certainly did meet our expectations, so we have now decided to expand the d:fine Headset series with this brilliant solution to give users a broad assortment of headsets and features. Combining the flexibility of our modern d:fine ear mount solution with the sound qualities of the classic 4066/4088 Headsets, fans can choose between a variety of sound handling, size and cleaning options, depending on the intended application.”

Shown to the world for the first time at ProLight + Sound, the series of d:screet™ 4060 Omnidirectional Miniature Microphone has a reinforced cable relief for even better robustness and to ensure that people who are not used to handling miniature microphones can use the mic without being afraid of breaking it. For the people who require even more security and where the visual size is of less importance, a heavy-duty version has been made, consisting of a stainless steel housing, a heavy-duty cable relief and a thicker 2.2 mm cable. Both models are exceptionally durable and ideally suited to the rigors of live touring.

“The expansion of the d:screet™ Miniature Microphones series is important for us to meet the ever more demanding needs from the market for a solid workhorse that delivers superb sound under challenging conditions,” Christian Poulsen adds. “Apart from the upgraded versions of the d:screet 4060 series, we have also made a new d:screet Necklace Miniature Omni Microphone that is meeting the request from the market for a mic that can be mounted and de-mounted quickly several times by the untrained talent himself without a sound expert nearby. You don’t have to think about which clothes the mic is to be attached to – actually, being naked is not a problem at all. The d:screet 4060 Miniature Microphone is of typical DPA quality and is perfect for reality shows, for example. It has been used for more than a year in the Danish reality show, Big Brother.”

Visitors to ProLight + Sound 2014 have the opportunity to win a DPA microphone (d:vote™ Instrument Microphone or d:fine™ single-ear headset) by taking part in the company’s daily draw. To enter, please visit the DPA booth during the day, collect a special pin and then return at 5 pm for the draw.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

DPA’s d:facto™ Vocal Microphone Wins New Fans

ran Healey, the lead singer of UK band Travis, and Marti Pellow, the lead singer of Wet Wet Wet, are the latest in the growing list of vocalists to switch to DPA’s d:facto Vocal Microphone. In both cases the artists made the change on the recommendation of their live sound engineer, Tom Wiggans.

“I have no problem recommending DPA’s new d:facto microphone because I’m so impressed with the results it has delivered for Fran and Marti – and for Dougie Payne, Travis’ bass player, who is also using one for his backing vocals,” Wiggans says. “Before I tried d:facto, I had tried quite a few new vocal microphones that made big promises, but always ended up going back to the microphone that people have been using for over 40 years. However, the d:facto’s clarity and ability to capture the true sound source without extraneous background noise has made a real difference to the way I work. I now have much more time to concentrate on other details because my vocal fader is just vocal, I don’t have to deal with anywhere near as much ambient mush bleeding into the mix.”

Tom Wiggans was introduced to the microphone by Rob Ramon, product manager for DPA’s UK distributor, Sound Network.

“Rob was at one of the gigs Travis played at the Roundhouse in London, and afterwards he came backstage and introduced himself,” Wiggans said. “I was already familiar with DPA having used the company’s overhead and instrument mics. When I heard about d:facto I was keen to try one, so Rob arranged a demo. I didn’t get a chance to try it until we were in Paris a few days later. Pablo Wheeler (Travis Monitor Engineer) and I were able to do an A/B comparison with it against the mic Fran usually used. It sounded amazing – so good that after the show I realised I was going to need better reverbs. The difference was really noticeable.”

After such a positive experience, Wiggans was happy to specify two d:facto Vocal Microphones for the rest of the Travis tour, which was taking in a number of South American cities.

“I had one for Fran and one for Dougie, both of whom were delighted with the way their vocals were sounding,” Wiggans says. “We then flew straight to some Scottish shows, and unfortunately all our equipment went astray so we had to borrow stuff for a couple of shows. Thankfully, our gear arrived for the last show, and as soon as the band walked on stage and spotted we had the mics back everyone was much happier. Missing something when you don’t have it is always a good indication of how good it is.”

After completing the Travis tour, Tom Wiggans took his d:facto vocal microphones straight out on the road again – only this time with Wet Wet Wet.

“My original plan was to have Marti try the mic in rehearsal so that we could see how he got on with it, but he was having none of that,” Wiggans says. “He wanted to try it straight away so Chris Trimby (Wets Monitor Engineer) just threw him on stage with it, blind. The d:facto sounded brilliant from the off and Marti was absolutely chuffed to bits. He liked the weight and feel of it in his hand. From a performance point of view he felt it was really well balanced.”

Tom Wiggans has also been using DPA’s d:vote™ 4099 Instrument Microphones to capture drums and brass. These were supplied by SSE Audio Group in the UK and used on the Travis tour.

“The minute we miked up Neil Primroses’ drums with the d:vote 4099, everyone was blown away,” Wiggans says. “People were coming up to me and asking what I’d done to make the drums sound so ‘real’. All the attack that you get with acoustic drums was there – it sounded like you were standing right next to them, only through a PA. They were just as good on Wet Wet Wet’s brass section, which tends to be quite loud. Once again there was no problem with feedback or rejection.”

Both Travis and Wet Wet Wet will be playing live in coming months – Travis is off to the Far East in March/April, while Wet Wet Wet has a number of racecourse gigs lines up for the summer. For Tom Wiggans and for the lead singers, the choice of microphone is now easy.

“It will be DPA’s d:facto without any doubt,” Wiggans says. “From now on, when it comes to vocal mics, it’s always going to be my first choice.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.

For more information, please visit www.dpamicrophones.com

Visual Unity’s vuMobile™ platform Adds Ecwid

Leading OTT platform and multiscreen solution provider, Visual Unity Global is announcing an important extension to its mobile marketing platform vuMobile™, by integrating the popular Ecwid e-commerce platform. vuMobile™ now enables clients to build their own online store in 5 minutes. This feature improvement is offered within the existing price and service package.

Recently announced rebranding and repositioning of vuMobile™ version 4.0 is followed by a further significant platform feature improvement; integration with the revolutionary Ecwid shopping cart. Ecwid is the fastest-growing, global e-commerce platform for small businesses, and used by over 400,000 retailers in 175 countries. The multi-platform Ecwid is also Facebook’s most popular store building app.

With vuMobile™, clients can now build an online store within five minutes. This storefront is fully functional on any device including feature phones, smart phones and even desktops. Through a modern responsive design, clients are able to categorize different types of products (for example consumer electronics or e-products) and choose from more than 40 payment systems. Ecwid has numerous shipping and tax options and enables product feeds to marketplaces and comparison shopping engines. The e-shop is easily integrated with social media networks like Facebook, and the Ecwid storefront is available in 45 languages.

Tomas Petru, CEO of Visual Unity Global, says. “Thanks to the integration with Ecwid’s online store, our vuMobile™ platform now offers our clients the ability to easily generate additional revenue through mobile channels worldwide.”

“Ecwid is honored to integrate with the Visual Unity platform and work with such an innovative partner,” says Jim O’Hara, president of Ecwid, Inc., adding, “Now Visual Unity’s users can add robust e-commerce functionality directly to their mobile sites in minutes, and also enjoy the flexibility of adding stores to social media and other online venues.”

Gabriel Dusil, Chief Marketing and Corporate Strategy officer at Visual Unity Global adds: “This latest integration with Ecwid shows Visual Unity’s commitment to developing strategic features that bring untapped revenue success to our clients.”

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About Visual Unity Global

Visual Unity Global is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content over the internet. Our clients can measure, analyse and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Munich, Nairobi and Los Angeles. For further information, please visit www.visualunity.com, info@visualunity.com

About Ecwid: Ecwid is a full-featured, cloud-based e-commerce platform that allows businesses to create professional online stores and embed them into any existing web, mobile, or social site. Ecwid, available directly or through trusted partners, has over 400,000 registered merchants in 175 countries, and is available in 45 languages. A free plan is available. The Ecwid Facebook app is the leading shopping cart application on Facebook, with over 40,000 Facebook stores globally and used by more than 300,000 monthly active users.

For further information, please visit: www.ecwid.com.

Fred Falke Dubs Prism Sound’s Lyra the Pinnacle of ADA Conversation

Renowned French DJ, remixer and producer Fred Falke was so bowled over by Prism Sound’s Lyra II audio interface that he bought one after just one listen.

“It simply surpasses every other competitor by far,” he says. “The AD conversion is so clear that recording becomes effortless, and the DA is just unreal: you can hear every little detail in a mix in a way that you never thought was possible. It’s like watching the stars through the Hubble telescope.”

One of the most prolific and in-demand producers around, Fred Falke earned global recognition as a DJ, producer and remixer with his debut release Intro. Now based in Los Angeles, Falke’s career has spanned nearly two decades and he has consistently proven his versatility with releases such as Golden Cage and reworks of Nervo and Robyn tracks. His ability to bridge the gap between pop and electronic dance music is evident with his remixes for artists from Katy Perry and Ke$ha to, more recently, Lana Del Rey, Jason Derulo and Selena Gomez. He has also written and produced for Ellie Goulding and Florrie and co-wrote Amelia Lilly’s track You Bring Me Joy that reached #2 in the UK charts.

Falke says he first came across Prism Sound’s recently introduced Lyra 2 audio interface during a recording session at Metropolis Studios in London.

“It sounded so good that I immediately bought a unit myself,” he says. “I have subsequently gone on to use it on a number of tracks, including remixes of Tiesto’s Redlights and Foxes’ Let’s Go.”

Prism Sound’s Lyra has built up a loyal following among musicians and DJs because it is so portable and versatile – something that Falke says is essential to him. “It doesn’t matter where I’m working, I have this little ‘magic box’ in my bag and can achieve superb recording and mixing,” he says.

He connects the interface via USB to his MacPro, utilising the line-ins and also the preamp inputs. “When mixing, my DAW master out goes into the outboard through line-outs one to two, and comes back into the Lyra line-ins,” he explains.

Ease of use is also high on Falke’s list of criteria. Part of his signature approach is his love of crafting synth sounds and beats with synthesisers, drum machines and samplers.

“They all have a specific sonic signature,” explains Falke. “Instruments and vocals carry emotions. The Lyra manages to capture that with an unmatched perfection. The controller software is a no-brainer, offering the same zero-latency recording as working from a desk.”

In perhaps the ultimate testament to the quality of the Lyra, Falke explains that when he took delivery of it, he listened to many of his favourite songs and tracks through it right away.

“Even though I have heard these songs a million times before, all of a sudden I heard things I never heard before,” he recalls. “It’s hard to describe how good it is; you have to experience it to realize what you’ve been missing: Prism Sound is the pinnacle of ADA conversion.”

Based on the award-winning and critically-acclaimed Orpheus interface, Prism Sound’s Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.

The Lyra 1 interface has two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. Lyra 2 includes two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both versions incorporate new ARM Cortex processor design offering class-compliant USB interfacing that allows for seamless integration with both Macs and PCs. Both versions also offer digital volume control, a low latency ‘console-quality’ digital mixer for foldback monitoring and optical SPDIF capability.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organised in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

The Music Producers Guild In Association With Prism Sound Announces its 2014 Awards Winners

The annual Music Producers Guild Awards took place at the Park Plaza Riverbank Hotel in London last night and once again it attracted a high turnout of music industry VIPs and celebrities.

A total of 16 Awards was presented (see full list of winners below), with the top award for Producer of the Year going to Flood (Mark Ellis) and Alan Moulder for their work on Foals album Holy Fire. As recipients of this accolade, Flood and Moulder also automatically win the 2014 BRIT Award for Best Producer.

A highlight of the evening was a live performance by Producers, the supergroup formed by Trevor Horn who attended the event to receive the Outstanding Contribution to UK Music Award. Horn was joined on stage by former 10CC musician Lol Crème, award-winning engineer and producer Stephen Lipson and drummer Ash Soan, as well as special guest Seal.

Now in its sixth year, the Music Producers Guild Awards recognises the enormous contribution made by recording professionals to the success of the UK’s music industry. This year’s event once again highlighted the close relationship between artist and recording professional with many artists attending the ceremony to present their producer with an award. Others who were not able to attend in person sent video messages of support.

Steve Levine, chairman of the Music Producers Guild, says: “Our winners highlight the creativity that is inherent in UK music production, and when you look at the amazing work these recording professionals have done in the past 12 months it is no surprise that Britain’s recording talent remains the envy of the rest of the world.”

Levine adds that winning an MPG Awards represents the highest level of achievement because it is an endorsement by one’s peers.

“Only Full Members of the MPG can vote for the MPG’s shortlist and therefore the results are relevant to the creative value of our industry,” he says. “Winning an MPG Award shows that you are at the top of your game as a recording professional and an inspiration to many up and coming producers and engineers.”

This year’s Music Producers Guild Awards recipients cover a wide variety of musical genres and also span the generations, with younger recording professionals such as Dan Cox and MJ Cole sharing the accolades with world renowned producers such as Trevor Horn and Nile Rodgers, who have been inspirational for so many up and coming producers and engineers.

The winners for each of the MPG 2014 Awards categories are as follows:

• UK Producer of the Year, sponsored by The BRITS 2014:
Flood (Mark Ellis) & Alan Moulder

• International Producer of the Year, sponsored by Beats by Dr Dre:
Rick Rubin

• Recording Engineer of the Year, sponsored by Rode:
Guy Massey

• Mix Engineer of the Year, sponsored by Solid State Logic:
Mark ‘Spike’ Stent

• Mastering Engineer of the Year, sponsored by SADiE:
John Dent

• Breakthrough Producer of the Year, sponsored by Focusrite/Novation:
Disclosure (Guy Lawrence, Howard Lawrence)

• Breakthrough Engineer of the Year, sponsored by Prism Sound:
Dan Cox

• Re-mixer of the Year:
MJ Cole (Matthew Coleman)

• UK Album of the Year, sponsored by Universal Audio:
Foals – Holy Fire

• UK Single Song Release of the Year, sponsored by Shure:
Everything Everything – Kemosabe

• Studio of the Year, sponsored by KMR Audio:
RAK Studios

• The A&R Award:
Jim Chancellor

• The MPG Innovation Award, sponsored by Genelec, presented by the Music Producers Guild:
David Bowie

• The MPG Inspiration Award, sponsored by UK Music, presented by the Music Producers Guild:
Nile Rodgers

• Special Recognition Award, sponsored by Protape and Transco Blanx:
Sean Davies

• The Outstanding Contribution to UK Music, sponsored by PPL:
Trevor Horn

The Music Producers Guild would like to give a special thanks to the following sponsors:
• Music Insurance Brokers for sponsoring the Reception Drinks
• Hardwick & Morris for sponsoring the judges tickets
• Avid for sponsoring Award tickets for all of the nominees in the producer, engineer and remixer categories.

-ends-

About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk or www.mpgawards.com

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Funky Junk helps Ruadhri Cushnan Upgrade His Monitors

Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has supplied Award-winning Mix engineer Ruadhri Cushnan with a pair of ATC SM25A studio monitors.

“I knew ATC had a great reputation as a monitor manufacturer and I’d specifically heard a few people talk favourably about the SM25s,” Ruadhri Cushnan says. “When I mentioned to the Funky Junk guys that I needed to improve my monitors they suggested that I try them. I did, and they were amazing, so I decided to buy a pair.”

The monitors have now been installed at Cushnan’s project studio.

“I’ve had my own Mix space since 2007, but recently moved to my current space because it is slightly bigger and gives me more room to accommodate my ever expanding gear racks,”

Cushnan says. “Being near Funky Junk was a happy accident but one that has definitely worked out well. It’s like having a big studio maintenance department right on the doorstep. The guys are very friendly and always happy to help – and they have a good coffee machine.”

Ruadhri Cushnan started his career as an assistant engineer at Metropolis Studios before turning his hand to freelance projects. Having worked as a programmer, writer and re-mixer, Cushnan is now best known as a Mix engineer – an area he has been focusing on since 2007. Recent projects have included album and single mixes for Ed Sheeran, Half Moon Run, The Maccabees, Nina Nesbitt and Foy Vance. He was also responsible for mixing Mumford & Son’s album Babel, for which he received a Grammy in 2013.

Virtually all of Cushnan’s mix projects are carried out at his project studio where he tends to mix ‘in the box’, but with lots of traditional analogue outboard as part of the workflow.

“I occasionally record some vocals and overdubs but 90% of my time is spent mixing,” he explains. “Obviously monitoring is critical and that’s why I needed to upgrade. I’m delighted with the ATC SM25s, which I’ve been using for a little while now. They really do have an incredible amount of detail and are very easy to listen to. I can mix on them at a good level for hours and not get tired out. When I first got them I put on some old favourite vinyls that I thought I knew well and, although it’s a real cliché, it was like hearing them fresh for the first time. They are excellent speakers.”

Cushnan adds that he was very happy with the help and advice Funky Junk’s technical boffins gave him. “They have a great support system and are always very competitive on price,” he says.

The success Ruadhri Cushnan enjoyed in 2012 and 2013 looks set to continue this year as he is already busy working on album projects for Luke Sital Singh (Parlophone) Saint Raymond (Warner/Asylum), King Charles (Universal/Republic), Foy Vance (Glassnote) and Nina Nesbitt.

-ends-

About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Spain and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

DPA Microphones Bring Added Clarity To David Gray’s Vocals

Leading singer songwriter David Gray has become the latest in a long line of vocalists to discover the benefits of DPA Microphones’ new d:facto™ Vocal Microphone.

Gray’s well-crafted songs were delivered with pristine clarity during his recent Sounding Out tour of Ireland after FOH engineer Graham Pattison introduced DPA’s d:facto II into the equipment line-up.

“I’ve been a fan of DPA microphones for some time because they deliver such great sound quality,” Pattison says. “However, this was the first time I’d had the opportunity to use the new d:facto II Vocal Microphone and I was really impressed with the results we achieved. Right from the first syllable in rehearsals I knew we were onto a winner, but it wasn’t until the first show in Ireland a few days later that I really heard the vocal clarity and exceptional quality through a large venue sound system. There were no gain or feedback issues, and even when left with a flat EQ it sounded exactly how I’m used to hearing David’s voice. The EQ I did end up using was just to help the vocal sit in well with the instrumentation.”

Pattison adds that Gray didn’t question why his microphone had been changed.

“He trusted my judgment and his own ears,” he explains. “During the two week tour we played 11 shows, and did a live streamed and filmed ‘other voices’ show and a live on air RTE radio show. Everyone was coming back to me with very positive feedback about the sound in general as well as his vocal performance.”

Pattison first began working with David Gray in 2007 and since then he has engineered all his live gigs. In 2011, Gray’s Lost and Found tour gave him the opportunity to experiment with a different technical approach and it was on that occasion that he began using DPA microphones.

“The Lost and Found tour was a more acoustic presentation of David’s songs, so we used different instrumentation,” Pattison explains. “We also added a couple of new musicians who could cover backing vocalist duties, so at times we had a five voice choir to back up David’s main vocal.”

Thanks to the acoustic nature of the show, Pattison decided that DPA microphones would be the perfect way to capture the instruments on stage. After speaking with DP’A UK distributor Sound Network about the tour’s requirements, Pattison settled on using two d:vote™ 4099 Instrument Microphones for the double bass and cello, two d:dicate™ 4011 Recording Microphones for the acoustic guitar and mandolin, two 4023 microphones for the grand piano and one d:vote 4099 Instrument Microphone for Gray’s trademark handpump harmonium.

“I chose DPA microphones for their sound quality – it really was as simple as that,” Pattison says. “DPA microphones have always been regarded as the best you can buy, so when I had an opportunity to acquire some mics for my studio and for live shows, I knew that DPA was the way I wanted to go. Apart from their exceptional sound quality, I’ve also find them extremely versatile because they can be mounted in so many different ways, including directly onto the instrument.”

Pattison says that DPA microphones are now standard on all the tours he engineers because they are so rugged and reliable.

“I did three tours last year, all with DPA, and I didn’t have any microphone failures,” he says. “Even the miniature cardioid microphone I’ve been using on David’s pump harmonium is still going strong. The build quality, particularly of the d:dicate 4011 Recording Microphones, is fantastic and no matter where in the world I ship them, they always withstand the rigors of freighting and come out of their boxes working perfectly every time.

“With an ever increasing vocal choir, I am now looking forward to getting my hands on some more DPA d:facto Vocal Microphones. With those, and the d:vote 4099 drum microphones, DPA will certainly be getting a good run in.”

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.

For more information, please visit www.dpamicrophones.com

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