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METRIC HALO ANNOUNCES 2014 FALL SALE!

MetricHalo_2014_FallSaleSAFETY HARBOR, FLORIDA – OCTOBER 2014: Metric Halo announced the start of the 2014 Fall Sale with the best deals ever offered on Metric Halo gear. Save up to 58% off list prices on all products including hardware and software. With this sale, customers will save up to $1,100 off Metric Halo’s award-winning hardware products, and up to $400 off Metric Halo’s award-winning software products.

The Fall Sale celebrates the launch of Production Bundle v.2 which brings VST and Windows support to the Metric Halo Production Bundle, and also introduces a new plug-in – MH Dirty Delay.

Metric Halo products are available from dealers or directly from the Metric Halo website: http://mhlabs.com

The Metric Halo 2014 Fall Sale runs until 10/31/2014.

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

ATC ANNOUNCES NEW LINE OF POWER AMPLIFIERS – THE P1 PRO AND P2 PRO

ATC_P1_PROLAS VEGAS, NEVADA – OCTOBER 2014: The TransAudio Group is proud to announce the release of two new MOSFET Class A/B design dual mono power amplifiers from ATC – the P1 Pro and P2 Pro. At 150W/ch into 8 Ohms and 300W/ch into 8 Ohms respectively, these fan-less, rack-mountable power amplifiers offer the perfect solution for any studio wishing to get the best out of their passive monitors, including the all-new ATC SCM20PSL Pro.

Both models feature a 19-inch rack-mount chassis with front panel mounted standby button and L/R clip indication. The amplifiers incorporate the same gain reduction and loudspeaker protection circuits that are used in the ATC active monitors. These circuits ensure that the amplifier will not clip, even when working at very high volumes, which protects the loudspeakers from damage and improves the subjective performance of the entire system. Importantly, neither amplifier uses a fan, so they can be placed anywhere, including the control room.

The P1 Pro and P2 Pro are of a ‘true’ dual mono design: the power supplies, signal, and return paths are totally separated from each other. This approach maximizes signal separation and minimizes crosstalk. Further, intermodulation between channels via the power supplies is reduced to an absolute minimum at all frequencies, and the power demand from one channel cannot affect the specified power available to the other channel.

Brad Lunde, president of the TransAudio Group, ATC’s U.S. distributor stated, “ATC is famous for building active studio reference monitors that give engineers a consistent, honest reflection of their work. Although ATC’s revolutionary drivers and chasses get most of the credit for the brand’s legendary transparency, ATC’s superbly-designed amplifiers deserve equal credit. Just as the new passive ATC SCM20PSL Pro gives engineers access to ATC’s loudspeaker without the amplification, the new ATC P1 Pro and P2 Pro give engineers access to ATC’s zero-compromise amplification without the loudspeaker itself. Any reference monitor will benefit from the clean power of an ATC P1 Pro or P2 Pro.”

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

STOP BY AND SEE US AT AES 2014 – PLEASE NOTE OUR NEW BOOTH #1014

DPA Microphones Makes Incognito’s Percussion Sound Crisp and Clear

Joao Caetano Incognito 1

Jazz Funk band Incognito celebrates its 35th anniversary this year and to mark the occasion the band was recently filmed at London’s Shepherd’s Bush Empire for a live convert DVD.

To ensure that the sound was as a tight as possible, Incognito’s percussionist Joao Caetano took along his own selection of DPA microphones including four d:vote™ 4099 Instrument Microphones and a stereo pair of d:dicate™ 4011A cardioid microphones, which were used as overheads for the recording.

“Normally I use d:dicate™ 4011A Cardioid microphones for studio work and rely on the d:vote 4099 Instruments Microphones for live performance. But on this occasion we were recording audio for a DVD so I supplemented the line-up with the d:dicate 4011As because I wanted to capture the best sound possible. Our front of house engineer, Chris Lewis, was very happy that I had brought them out of the studio for the task. He always insists that I use my DPAs on all our gigs.”

25-year-old Caetano is a fully fledged member of Incognito having joined Jean Paul ‘Bluey’ Maunick’s band in 2010. Originally from Macau, he came to the UK to study Music at Chichester University. Since graduating he has worked as a professional percussionist in the UK and has also composed and recorded music for television. Alongside his Incognito projects, Caetano has also worked and performed with the likes of Chaka Khan, Leona Lewis, Jessie J, Dionne Bromfield, Mario Biondi.

“Although I am primarily a percussionist, I am also very melodic because I studied violin for 12 years and guitar while I was at university,” he says. “I incorporate an awareness of other instruments into my work and I do like to capture the best sound possible, both in the studio and on the live stage. This is the main reason why I invested in my own selection of DPA microphones – in my opinion they are the best microphones in the world. They wipe the floor with everything else.”

Incognito tours every year and 2014 is no exception. The band are currently performing at various venues around Europe and Caetano takes his trusted d:votes with him wherever he goes.

“I use them on my congas and bongos because they deliver a really crisp, clear sound,” he explains. “They are very reliable and, of course, very portable because they are so small. I love the fact that they are well engineered and that they can be used on a range of instruments thanks to the clips that DPA has designed for them. Everything about them is good – even down to the cables and the case they come in. Compared to other microphones, they are streets ahead and once you have tried them you never go back to anything else.”

Joao Caetano is also working on a solo album project and says this will be recorded with DPA microphones because he wants it to sound ‘beautiful’.

“I’m playing guitar on this album and I’m definitely using my d:dicate 4011A microphones to capture that,” he says. “I have also been recommending DPA microphones to other musicians that I work with and am more than happy to point them in the direction of DPA’s UK distributor Sound Network, who were a great help when I was buying my own microphones.”

-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

iZotope Announces New Version of Mastering Software

Ozone 6, a complete mastering platform featuring an elegant and modern interface, will preview to the public at AES 137

Cambridge, MA (October 8, 2014) — iZotope, Inc., a leading audio technology company, has announced an update to its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-box

Launching this fall, Ozone 6 is the latest version of iZotope’s complete mastering system. For the first time, the mastering workflow is centered around creativity: Ozone 6’s modern visual paradigm guides and inspires users of all experience levels at every step, so they can freely experiment with ease—or dial in their signature sound in just a few clicks.

Whether they are mastering engineers or home studio producers, Ozone 6 gives users everything they need to effortlessly produce professional-sounding masters in one elegant standalone application.

iZotope at AES 137
iZotope product specialists will preview Ozone 6 to the general public at AES (Booth 1100) in Los Angeles from October 9 – 12. AES attendees can view a demo of Ozone 6, hear from top audio industry figures, and learn the latest research and technology information. iZotope plans to release further information about Ozone 6’s features throughout the coming weeks.

Pricing
Ozone 6 - $199 USD Promotional Price ($249 USD Regular Price)
Ozone 6 Advanced – $599 USD Promotional Price ($999 USD Regular Price)
Upgrade from Ozone 1-5 to Ozone 6 – Always available at a special price of $99 USD
Upgrade from Ozone 1-5 to Ozone 6 Advanced – $399 USD Promotional Price ($750 USD Regular Price)
Upgrade from Ozone 1-5 Adv. to Ozone 6 Adv. – Always available at a special price of $299 USD

For international customers, check with your local dealer for Ozone 6 pricing.

Grace Period Purchases
Customers who purchase Ozone 5 after September 1, 2014, will receive a free upgrade to Ozone 6 upon release.
Customers who purchase Ozone 5 Advanced after September 1, 2014, will receive a free upgrade to Ozone 6 Advanced upon release.

Availability
Be among the first to hear when Ozone 6 and Ozone 6 Advanced become available. Sign up for the iZotope newsletter and learn more at www.izotope.com/ozone6.

Learn more about AES 137 at www.aes.org.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

For more information on iZotope products, please visit www.izotope.com.

Westlake Pro Posts Tony Shepperd Mixing Master Class

First installments of video series now available on YouTube

Los Angeles, CA (October 7, 2014) – Westlake Pro, a leading retailer of professional audio, recording, live sound equipment, and technical services has posted the first two videos in a new Mixing Master Class series with veteran mixing engineer Tony Shepperd.

TonyShepperd

Shepperd, a prolific engineer who has recorded and mixed such music heavyweights as Take 6, Whitney Houston, Quincy Jones, Diana Ross, Madonna, Kenny Loggins, Boyz II Men and more, deconstructs his mix of Sheléa’s hit single I’ll Never Let You Go as he talks about his workflow and his vocal production technique, which have become his specialty over the past two decades.

“It was an honor for us to host Tony Shepperd,” said Peter Malick, Director of Online Content for Westlake Pro. “The depth of knowledge that he shares with our customers and viewers is a testament to his willingness to further the craft of recording, mixing, and producing.”

Co-sponsored by A-Designs Audio, the master class was filmed at Westlake Pro in Los Angeles in front of an overflow crowd of more than 100 local musicians, producers, and engineers and is divided into 14 videos of easily digestible content and cover a wide variety of mixing topics. Shepperd’s relaxed presentation style demystifies complex mixing concepts and he takes questions from the audience throughout the series as well as during a Q&A at its conclusion.

The Tony Shepperd Mixing Master Class video series can be found on Westlake Pro’s YouTube channel at: https://www.youtube.com/playlist?list=PLWvgCiRlNKN9Ef94nM302FlrBS3Rv-o73

About Westlake Pro
Based in Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.

For more information, visit http://www.westlakepro.com.

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NEW DRAWMER 1973 THREE-BAND STEREO FET COMPRESSOR WINS 2014 RESOLUTION AWARD

Drawmer_1973LAS VEGAS, NEVADA – OCTOBER 2014: Ivor Drawmer, veteran designer and manufacturer of boutique high-end audio processors, has earned a 2014 Resolution Award for the new Drawmer 1973 three-band stereo FET compressor. The Drawmer 1973 benefits from Ivor’s deep, thirty-plus years of experience building best-in-class signal processors and is unique in its combination of three critical attributes: its controls are remarkably easy to use, its price is low, and its sound is, of course, beautifully musical. Resolution Magazine’s Resolution Award is determined by industry expert nominations and reader votes, and the Drawmer 1973 edged out three other respected manufacturers in the “Dynamics” category.

“The Drawmer 1973 multi-band compressor is the kind of tool that mix and mastering engineers will find so useful they’ll wonder how they ever got by without it,” said Brad Lunde, president of TransAudio Group, Drawmer’s U.S. distributor. “It has a pristine signal path that imparts dimensionality and life to a signal – even as the processing tames its dynamics, and the multi-band controls are easy to visualize and work with. Nevertheless, Drawmer has set the price of the 1973 far, far lower than its quality and features justify. The 2014 Resolution Award win is nice validation of everything we’re so excited about in the Drawmer 1973.”

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

STOP BY AND SEE US AT AES 2014 – PLEASE NOTE OUR NEW BOOTH #1014

SOUND DESIGNER AND ENGINEER MAURIZIO ARGENTIERI EDITS AND MIXES THE IMAGINATIVE TRANS-OPERA FILM THE GIRL FROM NAGASAKI WITH METRIC HALO

Maurizio_ArgentieriSAFETY HARBOR, FLORIDA: After earning a degree in classical guitar and finding that the world does not value classical guitarists as it should, Maurizio Argentieri retooled his education and fueled his passion for sound on the other side of the microphone. He dove in just as the industry was lurching from its analog foundations to its digital future, and he secured a very educational three-year gig as the on-location sound mixer for a small documentary crew that filmed Greenpeace activities around the world. “From there, I dreamed of recording sound for movies,” he laughed. Twenty years later, it’s clear that his dream became a reality. Argentieri has recorded and mixed for directors such as Mario Monicelli, Marco Bellocchio, Bernardo Bertolucci, Giuseppe Bertolucci, Mel Gibson, Barry Levinson, Spike Lee, Woody Allen, Ridley Scott, and Michel Comte. Comte is the visionary behind The Girl From Nagasaki, and Argentieri used his Metric Halo ULN-8 to record and tweak almost every aspect of the trans-opera’s sound.

“When I have the opportunity, I always love working both as the recordist on location and as the post-production engineer,” said Argentieri. “On location, I get the benefit of hearing the director explain the motivations and feelings behind every scene. We shot The Girl From Nagasaki in some very peculiar locations, and I naturally became impressed by the real sounds in those locations. That inspired my post-production work and gave it a better connection than it would have otherwise had. Moreover, everything Michel said about sound on the set came back to me in post-production, which gave me an excellent starting point. My goal is always to lead the audience’s emotions in a specific direction with the sound. And I always want that direction to be the one that most naturally conveys the intentions of the director.”

Argentieri met Comte in Los Angeles before production on The Girl From Nagasaki began and had a long conversation about his vision for the soundtrack. “It was his first feature film, and he was very well prepared,” said Argentieri. “He showed me a book with reference pictures for the movie, and we talked about sound. He was very precise about the imagery, but I found that when we actually got to shooting, the imagery we were capturing was even better!” A self-described “trans opera,” the movie is surreal and combines elements of opera, film, and performance art that evoke emotions as much as they tell a story. As such, Argentieri had a great deal of freedom to create an intense soundtrack. His roles were many. He recorded sound during production, he edited all the dialog and sound effects, and he recorded several of the musical tracks, including a number sung by Marianne Faithfull. He also collaborated with the music composers Alessandro Cipriani and Luigi Ceccarelli, helping them to mix and record the score to the film, and he performed the film’s final mix.

Argentieri recorded all of the production sound and music using his single-rack space, eight-channel Metric Halo ULN-8 combination mic preamp/converter. “I also used it to record a couple of huge live performances, but I really can’t say much about them because they are to be a surprise,” he said, teasingly. A few of the highlights that he is willing to divulge include the recording of the very active Stromboli volcano and a surround recording of some Puccini arias that are featured in the film. Argentieri stepped up to the ULN-8 from the Metric Halo 2882 interface that he has had since 2004 (and continues to use when he needs more than eight channels), which he first used on HBO’s series, Rome. “In my opinion, the Metric Halo ULN-8 is the very best portable interface,” he said. “It has fantastic preamps and fantastic converters.” Not only does Argentieri use the ULN-8 on location, he prefers it to all his other options as an AD/DA for his Pro Tools rig.

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

AUSTRALIA’S STUDIO ONE FLIGHT UP ACHIEVES “FANTASTIC” SOUND WITH AN API 1608

Studio_One_Flight_UpSYDNEY, AUSTRALIA – OCTOBER 2014: A self-proclaimed ‘analog-minded person,’ Nick Irving, owner of Studio One Flight Up in Sydney, works with independent singers, songwriters and musicians who are driven to create great records. While the studio is home to several vintage analog outboard gear pieces, Irving wanted a brand-new, reliable analog console to bring together the sound he works to achieve. Deb Sloss of Studio Connections Australia advised him towards a 32-channel API 1608 console, fitted with twenty-four classic API 550A EQs, and eight 560 EQs.

“It’s a dream console, really,” said Irving. “Computers make great multi-track recorders, but for the actual work of recording and mixing sessions, I need to be ‘hands-on”.” The moveable size of the 1608 played a role in Irving’s decision, allowing the studio to eventually grow into a new building. It also comes in 16-channel sections, allowing the actual console to expand, or even be retrofitted. “It’s chock full of API’s sensational EQs and mic preamps, silky-smooth faders, nice, bright, clear LED lights in all the buttons, and full metering with the brightly-lit VU meters.”

Studio One Flight Up uses the 1608 for both recording and mixing needs. “My sounds just get better and better now that I have an API console. Switching the metering between input and direct out is fantastic and very useful. Having buttons to engage the insert points is also a great and useful feature.” With the 1608, Irving and his crew do not need extra DI boxes, as each channel of the console has an instrument input. “It’s also great that the power supplies are quiet enough that they don’t have to be housed in a separate machine room,” Irving added.

Now that the studio renovations are complete, Irving is recording and collaborating on an album with Grammy award-winner Myles Heskett (ex-Wolfmother). “It is proving to be lots of fun. We’re really enjoying working on the API console. Everything I’ve done on it sounds fantastic – solid, crisp, clear.” Irving proclaimed, “I’ll never need another console in my lifetime!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

WIDE HIVE STUDIOS REOPENS WITH EXPANDED 48-CHANNEL API 1608

Howe_VeilleuxALBANY, CALIFORNIA: Wide Hive Studios in San Francisco’s Bay Area re-opened its doors earlier this year after a number of recent renovations and updates. A decade ago, veteran producer, engineer, and musician Gregory Howe folded his costly studio in San Francisco for a cozy, less expensive space in nearby Albany, California. He centered his Albany studio around a 16-channel API 1608, which he later expanded to 32 channels through a 16-channel expander. Now, with his most recent round of upgrades, Howe has added another 16-channel expander to create a 48-channel API 1608.

“I’ve been working with API gear for a long, long time,” Howe said. “I love the API sound. To me, it walks the perfect line between cleanliness, straight-up rock, and audiophile fidelity.” The recently-expanded 48-channel 1608 unifies the studio’s sound, streamlines its workflow, and also allows clients to tap into Howe’s massive collection of world-class outboard gear with ease. “The new sixteen channels primarily serve as returns from the equipment racks. We now have the flexibility and sound to do whatever we want.”

Wide Hive books jazz, funk, hip-hop, and soul artists exclusively. Since the console’s expansion, Howe has used it to record several tracks, which are receiving airplay, brisk sales, and profuse blessings from critics. Of note, swing jazz guitarist Calvin Keys cut Electric Keys with the help of the 1608 and the Wide Hive Players, an in-house collective group of jazz musicians.

Howe’s commitment to recording is not lost on his listeners. Reviews of Wide Hive releases never fail to comment on their excellent sound quality. “I’m a huge believer in analog summing,” he shares. “Digital summing involves a massive calculation that necessitates sacrifices. I can hear those sacrifices in the music. I’m looking forward to the cohesion we’ll have when the whole console is API.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTION: Owner of Wide Hive, Greg Howe (left) pictured with Steve Veilleux owner of SVT Audio.)

TRANSAUDIO GROUP ANNOUNCES DRAMATIC PRICE REDUCTION ON DAKING PRO AUDIO SIGNAL PROCESSORS

Daking_FET_3LAS VEGAS, NEVADA – OCTOBER 2014: Daking Audio has changed the way it brings its American-made equipment to market in order to increase value to the end user. Purchasers of Daking Audio signal processors will benefit from the resulting dramatic price reduction, which applies to all of its products. These include the Daking Mic Pre 1, Mic Pre EQ, Mic Pre 4, FET II compressor, and FET III stereo compressor, plus all of the Daking 500 Series equalizers, compressors, and preamps.

“Daking has ended its traditional export distributor program and enacted a major price reduction to end users, without changing its designs or its U.S. manufacturing quality,” explained Brad Lunde, president of TransAudio Group, Daking’s U.S. distributor. “We at TransAudio Group think Daking’s value is exceptional at these new price points and will represent a major change to how Daking is perceived in the marketplace.”

THE NEW MAP PRICES ARE AS FOLLOWS:
Mic Pre 500: Was $649 – Now $499
Comp 500: Was $699 – Now $499
EQ 500: Was $949 – Now $699
500 RS: Was $5,019 – Now $3,844
Mic Pre One: Was $845 – Now $599
Mic Pre EQ: Was $1,549 – Now $1,099
Mic Pre 4: Was $2,599 – Now $1,799
FET 2 Compressor: Was $1,549 – Now $1,099
FET 3 Compressor: Was $2,150 – Now $1,549

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

STOP BY AND SEE US AT AES 2014 BOOTH #1110

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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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