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DPA’s d:facto™ Vocal Mics Hit the Road on MKS Tour


DPA’s d:facto™ II Vocal Microphones have been proving their flexibility and giving great performances on tour with MKS, the original Sugababes line-up.

The mics have also been at work in the prestigious setting of the world-famous Ronnie Scott’s Jazz Club in London. Charlie Dale, in-house engineer at Ronnie Scott’s and Front of House engineer for the band MKS and US rapper Angel Haze, is using DPA d:facto II Vocal Microphones across all these very different setups.

It was at Ronnie Scott’s that Dale first came across the microphones. DPA’s UK distributor Sound Network lent the club a unit to try out and Dale was immediately impressed.

“They instantly became my mic of choice for lead vocals, surpassing two big brands I had been using previously,” he says. “‘The d:facto’s mostly flat frequency response until its soft boost at 10 kHz gave me the ability to sculpt a very true representation of the performer’s voice with clear highs so that I don’t have to fight against feedback to pull out, and with all the warm tone one would expect from many jazz vocals.”

Dale decided that for the same reasons he wanted to use it on his pop gigs, again allowing him to easily create vocal sounds on a par with the studio-quality vocals of the artists’ records. And it’s not just the engineers who delight in the sound of the d:facto II Vocal Microphones.

“With performers, the clarity of the mic is often commented on,” Dale adds. “It allows a vocalist to hear the nuances of their vocal and gives them more control, even through loud stage wedges.”


Dale has had the opportunity to work with many big-name microphone brands in his career but, after hearing the d:facto, he believes that none of them offer the clarity and tone he wants from a live vocal.

“With MKS, all three of the girls have very different and distinct-sounding voices, and the d:facto II Vocal Microphone handled all of them with ease,” he says.

Dale’s work with rapper Angel Haze could hardly be more different.

“She rarely sings on a gig,” Dale explains. “Instead, she spends most of the time rapping hard and fast into the capsule at close proximity, often cupping the mic as many rap artists do. But the d:facto II handles all this well, making it much easier for me to pick up every syllable she spits out without loss of tonal quality on her vocal.”

Dale’s criteria for an excellent microphone are, he says, clarity, tone, excellent feedback rejection and low off-axis noise. To date, artists who Dale has used DPA’s d:facto with have all been very positive about the microphone, as have other engineers.

“Having a great vocal sound is often the hardest part of the mix, especially on noisy stages, and the d:facto helps on that front by offering a very clear and clean initial signal,” he says. “Its linear off-axis response means that what little bleed there is from wedges and back line is very clear, un-distorted and, most importantly, low-level, allowing me to get a great vocal sound every time, no matter how big or small the room, what the musical style is and how loud the band are. Studio-quality vocal tone on every gig – how could I say no to that?”

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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

The Music Producers Guild Announces its 2014 Awards Shortlist

Ethan Johns, Paul Epworth, Tony Visconti and Rick Rubin are just some of the internationally acclaimed producers who have secured a coveted place on the Music Producers Guild 2014 Awards shortlist.

Albums by David Bowie, Adele, Laura Marling, The Foals and ZZ Top helped deliver nominations for an exceptionally diverse range of recording professionals whose work encompasses a wide variety of musical styles and genres. The list also includes notable new producers such as Disclosure and features James Blake’s debut album Overgrown, which won this year’s Mercury Music Prize.

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. The winner of the Producer of the Year Award also receives a BRIT Award for Best Producer, and both awards will be presented at the Music Producers Guild’s Awards ceremony, which takes place on Thursday February 13th 2014 at the Park Plaza Riverbank Hotel in London.

MPG Chairman Steve Levine says: “An MPG Award is highly sought-after by recording professionals because it represents an endorsement by your peers. Whilst anyone can nominate, only full members of the MPG are allowed to vote for the shortlist and therefore the results are relevant to the creative value of our industry. Those who win an MPG Award are known to be at the top of their game as a recording professional.”

The shortlists for each of the MPG 2014 Awards categories (in no particular order) are as follows:

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

• International Producer of the Year, sponsored by Beats by Dr Dre:
Daft Punk (Thomas Bangalter, Guy-Manuel de Homem-Christo)
Rick Rubin
Tony Visconti

• Recording Engineer of the Year, sponsored by Rode:
Catherine Marks
Guy Massey
Mark Rankin

• Mix Engineer of the Year, sponsored by Solid State Logic:
Tom Elmhirst
Flood (Mark Ellis) & Alan Moulder
Mark ‘Spike’ Stent

• Mastering Engineer of the Year:
John Dent
Barry Grint
Mandy Parnell

• Breakthrough Producer of the Year, sponsored by Focusrite/Novation:
Dan Smith & Mark Crew
Disclosure (Guy Lawrence, Howard Lawrence)
Duncan Mills

• Breakthrough Engineer of the Year:
Dan Cox
Catherine Marks
Matt Wiggins

• Re-mixer of the Year:
Freemasons (Russell Smith & James Wiltshire)
Four Tet (Kieran Hebden)
MJ Cole (Matthew Coleman)

• UK Album of the Year, sponsored by Universal Audio:
James Blake – Overgrown
Foals – Holy Fire
Laura Marling – Once I was An Eagle

• UK Single Song Release of the Year, sponsored by Shure:
Adele – Skyfall
Everything Everything – Kemosabe
Foals – My Number

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

• The A&R Award:
Chris Briggs
Imran Ahmed
Jim Chancellor

The winners of the Outstanding Contribution to UK Music Award, sponsored by PPL, the MPG Innovation Award, sponsored by Genelec and the MPG Inspiration Award, sponsored by UK Music, will be announced at the Awards ceremony in February. All three of these Awards are in the gift of the MPG.

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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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ImmersAV™ Technology Brings a “You are There” 3-D Audio/HD Video Experience to Consumers

CHICAGO, ILLINOIS – DECEMBER 2013: The evolution of iOS, Android, Windows Mobile and other operating systems for smartphones and tablet computers is changing the way consumers receive and experience audio and visual entertainment. ImmersAV Technology builds on the power of these revolutionary devices and takes it steps forward. The “You Are There” immersive entertainment experience from ImmersAV is based on the synergy of binaural audio and high-definition video. ImmersAV also brings the spatial capabilities of binaural headphones to two-speaker stereo listening using proprietary Crosstalk Cancellation (CTC) filter techniques. Best of all, the “You Are There” experience requires no additional audio/video product purchases for consumers.

Audio pioneer and Engineering Producer, Robert Schulein (right) along with Signal-Processing Researcher/Designer, Dan Mapes-Riordan, founded ImmersAV Technology in 2010. Their mission was to create a practical 3-D spatial-audio experience for consumers using existing acoustic playback technology. To make this happen new production tools and recording techniques were developed. Productions using “You Are There” technology from ImmersAV can be found on our YouTube channel: http://www.youtube.com/user/ImmersAV/videos. Not only do these recordings enhance the entertainment experience, they give musicians a new and original vehicle to present their music to their fan base.

“As a pioneer in the development of professional and consumer multi-channel surround sound technology in the 1990s, I was frustrated that no technology was addressing users that could not afford, or did not have room for, 5.1 and larger playback systems,” explains Schulein. “ImmersAV Technology has focused on the interest in spatial sound within this market segment. Regardless of the quality level of the headphones or loudspeakers being used, the “You Are There” experience creates a new world of listening enjoyment. I believe that ImmersAV now provides a solution to consumers who could never afford surround sound before. Now they can get more than surround sound on stereo equipment they already own.”

Mapes-Riordan adds, “Refinement of our filters can be attributed to our ability to compare the spatial accuracy of our results over loudspeakers with original binaural headphone files. Since we produce recordings for both headphones and loudspeakers, the listener has the unique ability to immerse themselves using both techniques.”

ABOUT IMMERSAV TECHNOLOGY Founded in 2010 ImmersAV™ Technology began with the goal of providing consumers with a “You Are There” immersive entertainment experience using innovative microphone production and signal processing techniques. These techniques use patented microphone technology and proprietary ImmersAV Crosstalk Cancellation (CTC) filters.

To experience ImmersAV Technology productions, visit: www.immersav.com
Find us on YouTube at: http://www.youtube.com/user/ImmersAV/videos and be sure to “Like” us on Facebook: www.facebook.com/ImmersAV

BLACKBIRD STUDIO CHOOSES API 1608 FOR ITS NEWLY CREATED BLACKBIRD ACADEMY

NASHVILLE, TENNESSEE – DECEMBER 2013: An API 1608 analog console will serve aspiring sound engineers at the newly created Blackbird Academy recording school in Nashville, Tennessee. The school is based at the prestigious Blackbird Studio and will draw on their history, expertise, and industry connections to offer three educational curricula, totaling over 720 hours of horizon-expanding coursework. Class sizes will be small and will feature extensive hands-on lab time, including time in two of Blackbird’s eight recording studios, now reserved exclusively for educational use. The classroom space was created by interior designers Robert and Cortney Novogratz of the HGTV television show, Home by Novogratz.

“We chose the API 1608 for a number of reasons,” said John McBride, who is co-owner and co-operator of Blackbird Studio with his wife, country superstar Martina McBride. “The 1608 is easy to use, it has a great sound, and it’s an excellent tool to teach students signal flow. We already have a couple of 1608s at Blackbird, and we’re very happy with them. Moving forward with the Academy, we wouldn’t have it any other way!”

Mark Rubel and Kevin Becka are co-directing Blackbird Academy, which began with a three-day summer camp designed for high school students. The Academy’s debut Studio Engineering Program kicked off on September 30, 2013 and will run for about 24 weeks.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Sound Company Adds Yamaha CL5 to Arsenal

BUENA PARK, Calif.—Event Pro, Inc. of Hastings, MN has recently upgraded its digital console arsenal with a new Yamaha CL5 Digital Audio Console and Rio3224-D and 1608-D input/output boxes. The purchase was facilitated by Metro Sound and Lighting, St. Paul, MN. Event Pro supports regional and national productions, and is a technical services provider for touring, corporate, civic, and educational events. The company began 14 years ago, however, owner Neal Wallace started his career prior to that in the 1980s as a touring engineer. Although the basic focus for Event Pro was (and still is) providing state-of-the-art audio services, the company also provides full lighting, video, and staging services.

“Our focus is on pre-production planning and heavy client involvement in the execution of an event or concert,” states Wallace. “We also provide high school theatre sound instruction and support for school events that are often very complex in nature, some with up to 30 wireless systems, 48 audio channels, and multiple scenes programed on the consoles. With our training and the use of Yamaha digital consoles, students are able to handle 100% of an event’s audio operation.

Wallace said the new Yamaha CL5 will be used for many Event Pro productions, and Yamaha console familiarity was key to its purchase. “It was a logical step for all technicians familiar with Yamaha consoles, says Wallace. We have been avid fans of Yamaha digital consoles, but the decision also came on advice from our techs along with other production company owners, as a great usable product to own, with the expectation of providing our customers a solid new platform for superb sound.”

Wallace added that another reason for the purchase of the Yamaha CL5 is its digital snake system and the ability to “drag” only pencil thin Cat5 cables across ballroom ceilings and concert grounds instead of the heavy split analog snake systems they currently use. “The technical aspects of the Rio units and Yamaha’s attention to digital pre amp issues for split monitor dual-console systems was also was a factor,” Wallace notes.

Early spring projects for Event Pro, Inc. consist mainly of corporate and non-profit event use, while the summer season focuses on outdoor college events and many festivals where the CL5 will be particularly useful, along with theater, tour rentals, and installed sound business. “Our audio department takes much pride in supplying the ultimate in production requirements for our clients.”

For more information on Event Pro, Inc. visit www.eventpro-inc.com or visit them on Facebook.

For more information on Metro Sound and Lighting, visit www.metrosoundlighting.com or visit them on Facebook.

For more information on the Yamaha CL digital audio console, visit http://www.yamahaca.com.

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PHOTO ID: L TO R Larry Fisher, Metro Sound & Lighting and Neal Wallace, Event Pro, Inc.

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

SWEDISH COMPOSER AND PRODUCER ANDY PRICE DISCOVERS METRIC HALO PLUG-INS

LOS ANGELES, CALIFORNIA/GOTHENBURG, SWEDEN – NOVEMBER 2013: “Ever since I can remember I’ve been making music,” said Swedish composer and producer Andy Price. “I started recording when I was twelve years old using a couple of cassette tape decks and a cheap toy keyboard. I used one tape deck to record drums, and then played the drum track back while I recorded keys on the second tape deck. A few years later, I traded my scooter in for an old Korg that I still use to this day!” Clearly, the music bug bit Price early and deep. Today, he splits his time between Los Angeles and his native Gothenburg, producing and writing with artists such as Cheryl Cole, Girls Aloud, Dot Jr, Ministry Of Sound, and Sasha Keable (just to name a few) and is in the studio right now working hard to finish songs with Tokio Hotel, Aura Dione, Jana and more. The breakout hit that put him on the path he now enjoys was “Lyracis” and the video for the single, “Speakerphone” got over a million YouTube views in just a few weeks.

Several years ago, Price read an online review of Metric Halo’s ChannelStrip plug-in, and, curiosity piqued, gave it a spin. “ChannelStrip has been a huge part of every song I’ve created since then,” he said. While Price is most celebrated as a producer and songwriter, the nature of the market leads him to mix most of the material he works on. It’s a task he enjoys, and it affords him the creative freedom to fully realize his artistic vision. He has since expanded his Metric Halo palette to include HaloVerb and Precision De-Esser. “I have an obsession for vintage gear and the classic sound of older records,” he continued. “Metric Halo’s plug-ins are unique because they deliver that classic analog sound with all of the convenience and flexibility of a plug-in. I would say that Metric Halo is my foundation when mixing. A Metric Halo plug-in is on at least 80% of my channels!”

ChannelStrip is Price’s “tool of all tools.” Almost every track needs some kind of help in the frequency or dynamics domain, and ChannelStrip addresses both aspects within one scalable plug-in. With the newest version, ChannelStrip 3, Metric Halo has added SpectraFoo spectrum analysis to provide visual feedback for changes made to the main signal or to the side-chain signal. “It seems that ChannelStrip is always my starting point for a mix – getting things into decent shape; and my finishing point – making the fine corrections once everything is dialed in,” Price said. “Importantly, it’s very fast and intuitive. It’s easy to find the right settings. Also critical is its warm, analog sound and punchiness that I can’t get with any other plug-in.” Almost all of Price’s template channels include an instantiation of ChannelStrip.

Price’s introduction to Metric Halo HaloVerb and Precision De-Esser is more recent. “HaloVerb is my new favorite reverb,” he said. “It has something magic in it that works especially well with vocals or any signal that needs to ‘pop.’ I feel like it has the character of a great room – a real room – that’s unique among reverb plug-ins. Similarly, Precision DeEsser is the only de-esser that I’ll use now. It gives all of my vocals a noticeably warmer output, which is something that I’ve never considered or experienced with any other de-esser. I sometimes even throw it on the master bus together with ChannelStrip 3 to clear out anything edgy or grating. ChannelStrip 3 comes first with an overall high-end boost, followed by Precision DeEsser to give a crisp, but warm, sound to the overall mix.”

Price confesses that his role is an imprecise mixture of musician, composer, engineer, and producer. “Most people say that I produce records and write songs,” he said. “But from my perspective, I just have fun and play with sound all day. I go into the studio and it’s just a big blur. Then some hours later, hopefully we have a song!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

Mama Mia! Yamaha CL5 Fits the Bill for ABBA MANIA

BUENA PARK, Calif.—ABBA MANIA, formed in 1999 as the world’s number one touring ABBA tribute production, is promoted by Handshake Group of Manchester, England. The U.S. leg of the tour that began in Elkhart, Indiana and ends in Sedona, Arizona has Clearwing Productions (Milwaukee, Wisconsin) to thank for handling audio production. The company provided a Yamaha CL5 Digital Audio Console with two Rio 3224-D input/output boxes for front of house mixing duties by Trevor Powers of Clearwing.

“The advantage of having the Yamaha CL5 in conjunction with two Rio i/o racks is the ultimate flexibility when interfacing with house PA’s, states Powers. Do you need AES? No problem. Do you need four outputs for your subs? No problem. The list can go on and on.” Powers said that by splitting up the Rio racks, he has eliminated the use of ANY sub-snakes on stage, which makes for a very clean looking stage. “Also, by not having long runs of mic cables before the mic pre’s, I have virtually eliminated any buzzes or hum.”

With regard to the CL’s Premium Rack, Powers is using the Rupert Neve Portico 5043 as a bass compressor and the U76 to compress/level the female leads. “I have been quite impressed with the sound quality of the CL as well as the flexibility the console offers.”

For more information on ABBA MANIA, visit www.abbamania.com.

For more information on Clearwing Productions, visit www.clearwing.com.

For more information on the Yamaha CL Digital Audio Console, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

DPA Microphones Bring Quality Sound to Studio and Small Screen

Audio engineer Richard Gough is the latest in a roster of high profile Front-of-House engineers who are investing in DPA d:facto™ II Vocal Microphones for use with big name recording clients.

Gough has been using d:facto Vocal Microphones supplied by DPA’s UK distributor Sound Network with a number of artists. One of these is Conor Maynard who has tried the microphone in the studio for small live recordings, and in a broadcast setting for live TV performances including one for SBTV and another for ITV2′s Xtra Factor.

“Maynard is still quite fresh and new to the music industry,” Gough explains, “so I didn’t really expect him to notice using different mics on his own vocal. But after using the d:facto for about ten shows in a row, there were a couple of TV performances where we had to use another brand of wireless mic and he instantly noticed the difference. He wasn’t happy with the amount of ‘pop’ or the ‘booming’ in the low end that these other microphones were giving. It was a noticeable difference for him.”

Also impressive for Gough has been the way DPA’s d:facto Vocal Microphone performs, even d when used in an unconventional way.

“Conor ‘cups’ the mic, like a rapper,” he explains, “and this distorts the polar pattern of the mic. But noticeably with the d:facto, this doesn’t seem to matter too much. I still get plenty of gain before feedback in my side fills, so his vocal is there if his ears fail. This is one of the most impressive things about the mic. It has such a smooth response and gives lovely warm lows without ‘popping’ and ‘booming’.”

Gough’s criteria for an ideal mic are build quality, sound quality, gain before feedback, and adaptability. DPA’s d:facto vocal Microphone possesses all of these attributes, he says, and is adaptable too, with the ability to change the capsule with just a few turns.

“The d:facto Vocal Microphone makes my job so easy: previously I was always using the parametric EQ to get rid of little things I didn’t like the sound of, which I now realize were down to the old mic. Now I’m leaving it completely flat, just high-passing to about 125Hz. It couldn’t be simpler: I add a compressor to the channel, with a nice reverb and I’m done.”

Gough has been using DPA d:facto Vocal Microphones in several tiny venues recently and says its performance “was amazing”. Artists he has used it with include Conor Maynard, Sivu and the band Kowalski – with Lauryn Hill possibly next in line.

“She is such a stickler for her IEMs and wedges sounding great but also being very loud,” he explains, “so that’s going to be my next d:facto challenge.”

Equally at home in sound reinforcement and recording applications, DPA’s high quality d:facto II Vocal Microphone is designed to offer extraordinary natural sound, high separation from nearby sound sources and extreme sound level handling. Its supercardioid pattern and superb definition gives high separation and true sound colour on stage. A three-stage pop protection grid built into the microphone removes unwanted noise.

The d:facto Vocal Microphone provides improved audio performance as it is linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly. The flexibility of its adapter system gives the user simple and affordable possibilities of choosing either a wired DPA handle or the professional wireless system of their choosing, with no loss in sound quality.

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About Richard Gough
Originally from Northern Ireland, Gough has toured with the likes of Muse, Radiohead, Van Morrison and Sigur Ros. He runs his own company, Noiseboi, and has recently worked with Lauryn Hill as Production Manager and Monitor Engineer and Conor Maynard as Monitor Engineer.

For more information, please visit www.noiseboi.com

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

Audinate and Digital Audio Labs Enter Licensing Agreement

Portland OR.-Nov 18, 2013- Digital Audio Labs has entered into a license agreement with Audinate to license its Dante™ media networking solution. The first Digital Audio Labs product to integrate Dante will be the Livemix personal monitoring system, slated to launch January 14th, 2014. Audinate is the leading developer of digital media networking solutions, offering the Pro AV industry the most interoperable networking technology system. Digital Audio Labs designs and manufactures high quality products aimed at professional audio markets with a history of industry leading and innovative digital audio products.

“This year, we announced the Livemix personal monitoring system with features like studio quality audio, signal processing on each of the 24 channels, custom channel naming, stereo ambient microphones, and MirrorMix™ remote mixing,” remarks Andy Swanson, Digital Audio Lab’s Marketing Director. Swanson adds, ”Livemix is a personal monitoring system that helps musicians give their very best to every performance.” Swanson finishes by saying, “When looking at the available digital options, Audinate’s Dante media networking was the clear stand out. Adding Dante will enable the Livemix personal monitoring system to easily interface with the hundreds of other Dante products on the market.”

Nearly every person on the Livemix design team is actively involved in playing or mixing live music on a weekly basis. This brings an understanding of both the performer and the sound tech perspectives and is evident in the design and features. Livemix is at once deep enough for the professional but simple to use for the volunteer performer.

Built on existing networking protocols and standards, Audinate’s Dante technology is a plug-and-play networking solution which delivers ultra-low latency, tightly synchronized media, while simplifying installation and configuration of digital media networks. Dante is the leading digital media networking solution and has been adopted by more than 120 OEMs to date.

“Both Audinate and Digital Audio Labs have built their products around innovative technology with a focus on ease of use,” says Dave Anderson Director of Sales for Audinate. Anderson adds, “The Livemix product with Dante inside facilitate Livemix to connect with the hundreds of Dante-enabled products from our growing list of licensees.”

About Digital Audio Labs
Digital Audio Labs, a privately owned Chanhassen, Minnesota based company is a recognized leader in analog to digital conversion, digital signal processing, and amplification. Well known for their CardD, CardDeluxe and OEM and contract products, DAL continues their 20+ year history of excellence in audio with the PowerShape™ and Livemix product lines.

About Audinate
Audinate revolutionizes AV systems to enable our customers to thrive in a networked world. Audinate’s patented Dante media networking technology has been adopted by 120 OEM manufacturers in the professional audio/visual industry. Dante is used extensively for live performance events, commercial installation, broadcast, recording and production, and communications systems. Audinate is a Promoter Member of the AVnu Alliance™. Audinate offices are located in US, United Kingdom and Australia. Visit www.audinate.com for the latest news and information on the company. Dante is Digital Media Networking Perfected.

Dante is a trademark of Audinate Pty Ltd, Audinate is a registered trademark of Audinate Pty Ltd.

API 1608 TRAVERSES THE EARTH

JESSUP, MARYLAND: With hundreds of satisfied customers, API’s 1608 console continues to make a mark on the music industry with the company’s signature API sound. Available with or without P-Mix automation and up to 48 channels, 1608’s can be found in studios both large and small, in the U.S. and around the world. Here is a small sampling of some 1608s that have recently left the factory.

STUDIO K – Paris, France Situated on the fourth floor of a 17th century building in Paris, David Chalmin’s 32-channel automated API 1608 console is the perfect fit for his semi-private space. Chalmin began as a musician, but his interest in pro audio gear has turned him into an engineer who has worked on everything from alternative rock to classical music.

Chalmin did his fair share of research before deciding on the 1608 and chose the console based on the API sound, character, and API 500 Series format. “The preamps are amazing, so already while tracking you get your sound. Then, during the mix, you have huge headroom to play with. Automation is simple and straightforward. It brings the console to another level. This console is a dream!” says Chalmin.

VIRGINIA ARTS – Charlottesville, Virginia Next, Virginia Art’s (Virginia’s oldest operating commercial studio) opted for a 16 channel API 1608, again with P-Mix automation. The console will serve as the flagship in Virginia Arts Recording, owned by Chris Doermann and engineered by Sean Dart.

The 1608 has already served many local and national acts, such as John Grisham, Thomas Dolby, Those Darlins, Ra Ra Riot, The Walkmen, Cowboy Junkies, and William and Mary Accidentals.
“The API brand has long been known for its excellent products. Sound and flexibility were among the top factors [in purchasing the 1608]. The console’s small footprint and low power draw was the perfect addition to our relatively small control room. Also, API’s staff welcomed us into the factory on day one and answered every question we’ve had since. And the biggest thing – great sound,” said Sean Dart.

EMERY RECORDING STUDIOS – Novelty, Ohio Final example, studio owner, producer, engineer and mixer, Eric Emery, chose a 16 channel automated API 1608 to represent his workspace, Emery Recording Studios, and his band, Concordia. Working under Johnny K. at Groovemaster Studios, as well as Grammy Award-winning mixer Craig Bauer, Emery’s 1608 choice of console has added a level of API professionalism to his studio, which has been in operation since 2005 when he was just 15 years old.

“The first time I heard that magical API Sound I was hooked. It just has that special punch you can’t get from anything else,” said Emery. “This console gives my mixes something I couldn’t get from any other piece of gear. This is a definite no-brainer if you want to achieve that truly commercial sound.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

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