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Archive of the AES Newslink Category

Emmy Award-Winning Studio Works Mouseless, Keyboardless with Yamaha NUAGE

Jereco Studios and Yamaha NUAGE

BUENA PARK, Calif.—Jereco Studios is located in Bozeman, Montana, a small town located outside of Yellowstone National Park, and home to a unique, dense film and music community. The four-time Emmy® award-winning, commercial sound recording studio offers sync-to-film ADR and voice-over recordings with remote link up via ISDN or SourceConnect. Jereco is equipped for 5.1 and 7.1 Digital Surround Sound, Dolby E, DTS, and many other formats. In addition, the studio provides a full line of quality live sound reinforcement services and equipment rental packages.

Jeremiah Slovarp, producer/engineer and President of Jereco Studios, has been working up until now on a Yamaha 02R96v2. In early 2013, he began searching for a new, modern work surface. “Yamaha Commercial Audio Systems had posted its first NUAGE photos and articles on their web site, and I knew this system was what I was looking for,” states Slovarp. I admit, I miss the old console, but am moving ahead with the new Yamaha NUAGE. The 02R96 still works after almost 14 years, which is a real testament to Yamaha’s design and build quality.”

“In the fall of 2013, the Club Cubase newsletter announced NUAGE would be on display with technical and sales team members from Yamaha present at Poll Sound in Salt Lake, Utah, Slovarp says. It was too late for me to book a flight, so I drove the seven hours from Bozeman to Salt Lake the night before so I could be the first one at Poll Sound the following morning. I was met on demo day by the Poll Sound staff and Yamaha’s Chris Hinson and Randy Weitzel. Because I was early that morning, I had the console to myself for a good two hours while Chris and the Poll Sound staff took turns showing me around and answering questions.”

JeremiahMixingNuage

Before he left Montana, Slovarp packed up a few projects to use as workflow samples on the demo NUAGE at Poll Sound. “I think this was a great experiment and gave me the opportunity to work on the console with my own work and workflow preferences. I was particularly impressed that Chris was taking notes on my hiccups and recommendations, and passed those notes on to the NUAGE development team, some of which have shown up in the latest software updates. The integration of my existing workflow into a new platform that felt so much like my natural workspace in Nuendo really was seamless. The deep integration and control of the DAW on the console is truly complete and unique.”

Slovarp has been using Nuendo 2 since 2002, keeping up with every revision and update. He said the most important thing he appreciates about NUAGE is that it has enabled him to put down the keyboard and mouse. “I feel like I can get back to mixing, pushing faders, turning knobs, and just working on a creative console. After an eight or ten hour day, my hands would be in pain from all the manual movements I had to make being dependent on mouse editing and clicking. With the advent of all the cool and amazing new digital DAW based mixing tools and equipment, I think the industry, in general, has regressed from the art of mixing and working with consoles and large format hardware. But with NUAGE, I appreciate the deliberate move Yamaha has made to enable engineers to get back to mixing and editing as an art form.”

For more information on Jereco Studios, visit www.jerecostudios.com.

For more information on Yamaha NUAGE, 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 professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

The Music Producers Guild Announces Its 2015 Awards Shortlist

Jake Gosling, Paul Epworth, Pharrell Williams and T-Bone Burnett are just some of the hugely influential producers who have made it onto the short list for the 2015 Music Producers Guild Awards.

The list, which was announced today, highlights many of the year’s major recording projects with artists such as Paolo Nutini, Ed Sheeran, George Ezra, Royal Blood and Lana del Rey delivering nominations for their respective producers, engineers and remixers.

Steve Levine, chairman of the Music Producers Guild, says: “Once again we had a fantastic response to our request for nominations, with many new names featured in just about every awards category. MPG Full members have now cast their votes to create our shortlist for 2015 and the Award winners will be decided by a panel of judges who will meet before the end of this 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 Music Producers Guild’s Producer of the Year Award also receives a BRIT Award for Best Producer, and both awards will be presented at the Awards ceremony, which takes place at the Park Plaza Riverbank Hotel in Vauxhall, London, on Thursday February 12th. 2015.
The shortlists for each category (in no particular order) are as follows:
• UK Producer of the Year, sponsored by The BRITS 2015:
Paul Epworth
Flood
Alison Goldfrapp & Will Gregory
Jake Gosling

• Recording Engineer of the Year, sponsored by RØDE:
Neil Comber
Cameron Craig
Mark Rankin

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

• Mastering Engineer of the Year, sponsored by Apollo & Transco Blanx:
Matt Colton
Mandy Parnell
Tim Young

• UK Album of the Year:
Ed Sheeran – X
Goldfrapp – Tales of Us
London Grammar – If You Wait

• UK Single Song Release of the Year, sponsored by Shure:
Arctic Monkeys – Do I Wanna Know?
Royal Blood – Come On Over
Sam Smith – Stay With Me

• Re-mixer of the Year:
Chvrches
Jon Hopkins
James Rutledge

• Breakthrough Producer of the Year:
Cameron Blackwood
Tom Dalgety
Jungle

• Breakthrough Engineer of the Year, sponsored by Alchemea:
Olga FitzRoy
Robbie Nelson
Alexis Smith

• International Producer of the Year, sponsored by Lewitt Audio & JHS:
Dan Auerbach
T-Bone Burnett
Pharrell Williams

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

• The A&R Award:
Chris Briggs
Phil Christie
Korda Marshall

The winner of the Outstanding Contribution to UK Music Award, sponsored by PPL, will be announced in December, while the recipients of the MPG Innovation Award and the MPG Inspiration Award will be announced at the Awards ceremony in February, 2015.
Tickets for the MPG Awards 2015 are now available to order through the website. For full details please visit http://www.mpg.org.uk/mpg-awards/tickets/.

Sponsorship opportunities are also available for the MPG Awards 2015 and any company that would like to be part of this exciting event should contact Joe Edwards. Telephone: +44 (0) 7701 030 513. Email: joe@ilikethesoundofthat.com

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About Music Producers Guild:
The Music Producers Guild 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.

Pro Sound Effects Releases Enhanced Hybrid Library + Expansion Program

100 Units Available for Freelance Sound Designers through Dec. 31

NEW YORK, NY – Pro Sound Effects®, the next level sound library company, has released its enhanced Hybrid Library™ and new Expansion Program for freelance sound designers and independent media creators worldwide.

Since 2012, Pro Sound Effects has supported freelancers by providing access to a big feature, big studio library ($10,000 value) at an affordable price ($1,500).

Now through December 31st, Pro Sound Effects is making 100 more Hybrid Library units available to qualified sound designers who apply and qualify for freelancer pricing. In addition, all Hybrid Library owners gain access to the Expansion Program, which ensures the Hybrid Library is continually updated.

“We really stepped up our features this year,” says Douglas Price, Founder & President of Pro Sound Effects. “Our goal is to continually improve our Hybrid Program so it lives up to its reputation as both the ‘Robin Hood of Sound Libraries’ and ‘the Sound Designers Secret Weapon.’”

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Hybrid Library Key Features:
- 56,477 Sound Effects on Hard Drive: 338 GB of professional sound delivered on flashy Hybrid-branded USB 3.0 hard drive
- Spans the Sonic Spectrum A to Z: Categories include Ambiences, Animals, History, Nature, Science Fiction, Technology, Warfare and beyond
- World-Class Recordists : we curate sound effects content from the top recordists and sound designers including Blastwave FX, BBC, BOOM, Foundation, Sound Control SE, and beyond
- Online Access to 215,000+ sounds from any computer through the Pro Sound Effects Online Library
- Masterful Metadata for lightning fast, pinpoint searches
- Free Annual Updates: 2014 Update includes 400 new sounds (6.4 GB) from Blastwave FX plus enhanced metadata
- 100% Royalty-Free Lifetime License

View full Hybrid Library features, videos, audio demos & reviews here.

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Expansion Program Key Features:
The Expansion Program provides freelancers with a simple, cost-effective way to ensure that their sound effects selection and software toolset is continually refreshed. Developed with feedback from Hybrid Library owners and curated by the PSE Library Team, Expansions 1 and 2 are robust sound effects compilations available only to Hybrid Library owners.

- Expansion 1: New Room Tones, Ambiences, Footsteps, and Foley; 10,856 sounds (54 GB) on 64 GB USB Flash Drive.
- Expansion 2: 1,000 hand-picked BBC Ambiences, Outdoor Impulse Responses, and Production Elements; 2,721 sounds (62 GB) on 64 GB USB 3.0 Flash Drive.
- Soundminer Add-On: Search, Audition, Drag-n-Drop to application

View Expansion Program features & demos here.

Pricing & Availability:
Through December 31, 2014, 100 Hybrid Library units are available for $1,500 ($10,000 value). Expansions 1 and 2 are available $500 each ($2500 value each).

Existing Hybrid Library owners will be emailed the 2014 Free Update and this will also be posted in the Hybrid Library Owner Forum.

See http://www.prosoundeffects.com/pse-hybrid-library for more information.

About Pro Sound Effects:
Pro Sound Effects curates and delivers the Next Level sound effects library for media producers worldwide. The Pro Sound Effects Library is 220,000+ royalty-free sounds effects available both online and on hard drive. The Library spans the entire sonic spectrum and is continually updated. Founded in 2004, Pro Sound Effects is relied upon by top freelancers and big media production companies worldwide.

DPA Microphones Capture the Sound of The Girl From Nagasaki

Burhan Ocal in Girl From Nagasaki

One of the highlights of this year’s Sundance Film Festival was The Girl from Nagasaki, a feature-length directorial debut by celebrated photographer Michel Comte. This dazzling retelling of Madame Butterfly reframes the familiar haunting story of romance and loss through the lens of a Nagasaki survivor married to an American astronaut.

It’s a bravura debut which, as you would expect from Comte, has won plaudits for its visually sumptuous style and structure. But equally impressive is the superb audio work throughout the title from sound designer Maurizio Argentieri and a battalion of DPA microphones.

DPA’s d:dicate™ 4041-SP Large Diaphragm, 4011 Cardiod and 4006 Omnidirectional Recording Microphones were all used in the sound production of the film. Argentieri also used a DPA d:screet™ 4091 Omnidirectional Microphone and a d:dicate™ 5006-11 Matched Microphone Kit with an S5 surround mount. He was so impressed by the performance of the latter that he decided to invest in one for his own microphone collection.

“All of the DPA microphones I used sounded amazingly good,” he says with disarming simplicity. “I need a microphone capable of handling high SPL but one that still delivers a fantastic sound: this is why I chose DPA.”

The project itself, however, was anything but simple and pushed both his skills and the capabilities of the DPA microphones to the limit. Maurizio was first briefed by Michel at his home in Los Angeles where it was decided that there would be no ADR.

“There was not a word in the movie that was to be replaced, so all the actors’ performances in the movie are real and original,” says Argentieri. “There were a lot of challenging situations. We had a band with a singer performing a couple of songs live while the actors were speaking; a long dialogue scene filmed on the top of Stromboli, an active volcano in Sicily with a very strong wind and real eruptions going off in the background; dialogue under real rain and the sound of the cockpit of a jet fighter while it was flying. This last scene we filmed for real: I put a couple of d:dicate 4006 Omnidirectional Recording Microphones in the jet and hit the record button. The rest is in the movie.”

After initially training in classical guitar, Argentieri started his career as a sound engineer in the music industry. After a couple of years though he realised that being shut away in a studio was no longer for him and, with the aid of a friend who was working as an assistant film editor at the time, they began to pull images out of the trash can and put them together on a Moviola with the music they loved.

“Sometimes we would stay long into the night at the studio, just him and me; we were like kids at home without parents. He was mostly working on documentaries at that time and we had plenty of huge nature shots and beautiful images. For me it was like an illumination: I realised the power and the magic of sound to change the meaning of an image simply by changing the music.”

Argentieri quit his job in the recording studio and became a sound mixer for documentaries. Several years of projects followed, including work for Greenpeace, before he got his break on movies. And he’s certainly made the most of it since, working with the likes of Mario Monicelli, Marco Bellocchio, Bernardo Bertolucci, Giuseppe Bertolucci, Woody Allen, Mel Gibson, Spike Lee, Ridley Scott, and now Michel Comte.

The Girl From Nagasaki was shot in Los Angeles, Berlin, Rome, Stromboli, and Japan.

“As sound designer I’ve had different roles: production sound mixer, sound editor, and re-recording mixer,” he explains. “I recorded the production sound always using a stereo couple or a surround rig to bring home the ambience, then I had a second moment all by myself going around just with the surround kit recording all the necessary ambient sound to put in the movie. And then we had all the recording of the music to do.”

Argentieri adds that the DPA surround kit was really useful when he and the film crew were tackling a scene in Sofia that involved recording an orchestra.

“We placed the kit right in the middle of the orchestra to have a different point of view,” he explains. “From the very beginning Michel wanted to give the audience an extraordinary aural experience, so everything was recorded in a way that allowed the microphones to be surrounded by music and sound. Of course we had to do a lot of sound editing and mixing to achieve that.”

The DPA microphones were also used extensively in recording the dialogue of the film. Argentieri used two boom operators mounting DPA d:dicate 4017 Shotgun Microphones that fed into a Manley dual microphone Tube preamplifier.

“If you want to get an idea of the quality of these microphones you only have to listen to the long dialogue scene at the beginning of the movie between Sir Christopher Lee and the older Gheisha,” he says. “Hearing that, you will be absolutely astonished.”

The DPA microphones even have a starring role in one of the key opening scenes, where Burhan Öcal is playing Japanese percussion.

“This scene is visually like a beautiful art installation and again Michel wanted to give the audience the sensation of being seated close to the percussionist himself, so I had to record his performance live while we were filming,” Argentieri says. “That meant the microphones needed to be part of the installation and the elegance and sobriety of the DPA microphones allowed them to be completely integral to the scene.”

Commenting on his decision to invest in his own DPA d:dicate™ 5006-11 Matched Microphone Kit with S5 surround mount, Argentieri says: “DPA’s surround kit is perfect for modern sound design. In this kit you have three beautiful omnis and two beautiful pure cardioids that you can use together or as singles in other situations. Given the quality of these microphones, why would you want to send them back?”

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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

Margarita Mix of Santa Monica Adds Fourth Fairlight EVO System

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

SANTA MONICA, CA (Nov 3, 2014) — Margarita Mix of Santa Monica, a FotoKem company specializing in audio post services for commercials and advertising media, has installed a fourth Fairlight EVO integrated audio production system for their award-winning team of sound designers, mixers and composers. With the upgrade, the facility’s accomplished sound mixers Paul Hurtubise, Jimmy Hite, Nathan Dubin and Jeff Levy are now working on identical audio post platforms in their HD mixing suites.

“The facility was already working extensively on Fairlight, and after careful evaluation and testing, I made the transition,” says Hurtubise, who joined Margarita Mix in late 2012 with over 20 years of experience in commercial audio post.

Having used a number of platforms over the course of his career, Hurtubise notes, “I simply think Fairlight sounds better. It’s less fatiguing on the ears, and I seem to hear things more clearly and definitively.

“The EVO workstation is also very ergonomic and easy to operate,” he adds. “I feel like I’m on a system that’s been developed for humans to work on. EVO’s jogger fits my hand, and its keyboard fits my fingers. I’m running sessions more efficiently because I’m not as focused on all the clicking.”

Hurtubise also points out that the graphic displays are less fatiguing. “It’s much easier for me to be on the Fairlight all day. I noticed immediately that I wasn’t as physically tired at the end of the day. The displays are comfortable to work on, too.”

According to the talented mixing team at Margarita Mix, there are plenty of features to like about the system. They like that the picture has a home in the system, versus floating around the screen. “The picture’s right there when I want it—I love the Pyxis,” Hurtubise says of the dual-channel HD video recorder that is integrated into EVO as standard. “I also like the streaming Pyxis video frames along the bottom of the timeline display, and being able to see the picture frames before and after the playhead. This way, I can see how many frames I have until my next edit.”

When the mixers need to face the voiceover booth with a script in front of them rather than face the EVO surface, they’ve created a macro that puts “Record” on different sides of the controller so that it’s ergonomically easier for them. Fairlight’s one-button record function also helps in VO sessions when the talent starts to speak. “We don’t want to interrupt them; if we press our ‘Record’ macro button, the disk recorder immediately stops one take and goes right into another one in the span of a 1/10th of a second,” Hurtubise explains.

Custom fader sets are another admired attribute of the system. “I’ve never been on a system where I can so easily lay out faders to my liking,” says Hurtubise. “Sometimes I’m knee deep into a session and I really wish I had my beeps next to my mic, right next to my music stem, right next to my sound effects stem, next to the dialog stem next to my headphone send—then I can mute and level them very easily. I can create that quickly with Fairlight.”

There are several features on the Fairlight that the Margarita Mix team hasn’t had available on previous DAWs. “For example, I like the way Fairlight solos tracks: I can solo a set of tracks, un-solo them by holding control and pressing one button, and then re-solo that same set by pressing one button,” Hurtubise reports. “I like being able to memorize zooms. Say I have 128 tracks with 70 music stems and 40 sound effects stems. I can zoom to the music tracks and store it in U1; I can go to the sound effects tracks and store that in U2. If I hear something in the music I just press U1, and instantly I’m looking at the music stems. It is super easy.”

All four Fairlight operators at Margarita Mix use similar console control templates for uniformity. Nathan Dubin has been at Margarita Mix for over a decade recording VO, mixing for television, ADR recording for film and commercial mixing for TV and radio that has earned several industry accolades. Working with clients such as Nissan, Activision, Disney, AT&T, Kaiser Permanente, and UPS, Jimmy Hite has over 30 years of experience in sound mixing for the commercial and advertising industries, and has won numerous awards throughout his career. Paul Hurtubise focuses on commercial mixing as well as ADR and commentary recording. His recent credits include spots for Google, eHarmony, Old Navy, Hyundai, and Toyota, among others. Jeff Levy has been part of the team for 20-plus years, also earning multiple awards for mixing and sound design.

About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications. To learn more about Fairlight please visit www.fairlight.com.au

FairlightUS Inc. is the exclusive North American distributor for Fairlight products. For more information visit: www.fairlightus.com

Groove3 Unveils $99 All Access Annual Web Pass

Become a better producer with unlimited access to online audio tutorials for about the cost of 2 cups of coffee a month!

Austin, TX – October 30, 2014 – Beyond one-day events like Black Friday or Cyber Monday, Groove3 has launched the Black November Sale and is offering new customers an All Access Annual Web Pass for just $99 during entire month of November. Normally $150, customers gain instant online access to every video tutorial currently available on Groove3.com as well as new videos that are added during their 1-year membership.

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Groove3.com hosts nearly 900 hours of innovative, inventive and progressive online video training for music producers of all levels, covering all of the top digital audio workstations, plug-ins, and virtual instruments on the market as well as essential audio topics like recording, mixing, and mastering. Groove3’s expert trainers are working musicians and audio professionals that know how to get the most from their gear and apply that knowledge to real-world workflow. New content is added weekly and is accessible with the All Access Annual Web Pass.

While there is plenty of video instruction on YouTube, Groove3 takes the guess work out of finding consistently high-quality instruction backed by more than 10 years of experience in working closely with audio experts and directly with manufacturers. This saves the end-user countless hours of searching the web for relevant, high quality video instruction.

“My schedule is so hectic that I don’t have the time it takes to fully learn the latest and greatest software,” said Trace Foster, engineer and guitar tech for Joe Perry of Aerosmith. “Now I just put on a Groove3 video while we’re flying or on the bus and before long, I’m so far ahead of the learning curve! It really makes my life easy.”

There has never been a better time to become a Groove3 member. In addition to the Black November Sale price of $99, members will have access to new content from a recent development partnership with publishing giant Hal Leonard, which will include titles on drums, guitars, bass and keyboard playing and more. Several new titles are due out in November and December as well as many more in 2015.

For more information and to purchase an All Access Annual Web Pass for just $99 during the Black November Sale, visit http://www.groove3.com/str/access-it-all.html.

About Groove3:
For over 10 years, Groove3 has been on providing informative and effective training and content that is in-depth yet easy to follow. Their products are currently in use by thousands of musicians, engineers, producers, project studio owners, colleges, universities, trade schools, and working professionals. They were the first to offer training videos specifically targeted to the pro audio community via online access and the first to offer regular video content updates for their members. Groove3 offers the most flexible options for purchasing their training and viewing the content with DRM free downloads, iOS and Android apps, as well as an intuitive streaming player.

iZotope Releases Ozone 6: Creative Mastering Platform

Ozone 6 features a redesigned interface, standalone application, and new Dynamic EQ module

Cambridge, MA (October 30, 2014) – iZotope, Inc., a leading audio technology company, has launched the latest version of its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-Advanced-box

Ozone 6 is a creative mastering platform that enables both project studio producers and mastering engineers to easily add a final level of professional polish to their mix.

The modern new workflow is centered around creativity. A fully redesigned interface and real-time visual feedback in every module assist users in creating masters with ease.

“Our goal was to create an elegant visual aesthetic and fluid workflow,” says iZotope Product Manager Brett Bunting, “in order to bring the creative elements of mastering front and center and allow users to define their own sound.”

Ozone 6 takes the guesswork and the manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices. Using Ozone’s presets as a starting point, pros and newcomers alike can immediately achieve authentic sounds in any genre.

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Ozone also produces great sound, providing the warmth and character of analog sound without the restrictions of hardware. And since Ozone 6 works as either a standalone application or a suite of plug-ins, users can choose to work exclusively in Ozone, or to complement their audio editor of choice.

For professional users, the Advanced version’s Dynamic EQ module lives and breathes with your music, harnessing the precision of an equalizer and the musical ballistics of a compressor. It’s an ideal tool for transparently sculpting audio.

“Ozone is full of great mastering tools,” says Adam Ayan, GRAMMY-winning mastering engineer at Gateway Mastering, “and it just keeps getting better!”

Learn more at www.izotope.com/ozone6.

Watch the video at http://youtu.be/GZMvIxPZ-50.

Availability
Ozone 6 is available now at www.izotope.com/ozone and at select retailers.

Pricing
Ozone 6 – Promotional Price: $199 USD, Regular Price: $249 USD

Ozone 6 Advanced – Promotional Price: $599 USD, Regular Price: $999 USD

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 – Promotional Price: $399 USD, Regular Price: $750 USD

Upgrade from Ozone 5 Advanced to Ozone 6 Advanced: Always available at a special price of $299 USD

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

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

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

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.

API’s BOX BRINGS BIG CONSOLE SOUND INTO SMALL SPACES

John_FishellMUNCIE, INDIANA – OCTOBER 2014: Assistant Professor John Fishell teaches music media and production at Ball State University in Indiana, but enjoys recording from his home. In order to get a large format sound in the small space, Fishell turned to Vintage King and the BOX console from API. The BOX was the perfect size for Fishell’s small footprint requirement, considering his entire studio is located in the second bedroom of his apartment. However, the footprint of the console is the only thing he finds small about it. When asked what advice he would give to others considering a BOX of their own, Fishell responded: “Brace yourself, you are playing with the big boys now. With API, there should be no such thing as puny-sounding tracks. The built-in compressor is powerful, yet easy to use and makes a difference.”

In addition to the BOX, Fishell has accumulated quite the API collection, including six API 550b EQs, four JDK V14 EQs, and twelve API 225L compressors. He says his first experience with API gear was when he was a student himself at Omega recording studios in Rockville, Maryland. There he got to work with a 2488 in the B room, and he’s been a fan ever since. When he decided on the BOX himself, no other company would do. “I was very happy with my modular API DSM system, and I knew I wanted to stay with their summing. The features like the built-in 550A made me lust after the BOX. I was able to seamlessly integrate API outboard gear that I already owned through inserts and patch points.” Fishell has worked as independent engineer, producer, and musician since 1993. He has also worked full-time at James Madison University, Middle Tennessee State, University of Colorado at Denver, American University, and now Ball State.

At home, Fishell primarily focuses on rock and jazz, occasionally working on classical music as well. Even though he has only had the BOX installed for a few months, it has already recorded almost a dozen different artists such as Dave Liebman and Mike Stern. When he compares it to other consoles, Fishell will argue that the BOX holds its own: “The BOX has the same ‘mojo’ and coloration of API’s bigger consoles, so I can compete with other pro mix facilities in the comfort of my small apartment. It does a great job – better than mixes that stay in the ‘digital box’. Even classical and jazz projects benefit from the ‘muscle’ that API gear provides.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 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

Chartmakers Mastering Stocks Up On Prism Sound Kit

Henkka Niemisto photo credit Christoffer Relander (1024x683)

High profile Finnish mastering studio, Chartmakers Mastering, recently bought both a Prism Sound Dream AD-2 A/D converter and an MEA-2 EQ for its state-of-the-art facility in the Töölö district of the nation’s capital, Helsinki.

Established by Svante Forsbäck together with long-term associate Henkka Niemistö, the studio is celebrating its tenth birthday this year and is as dedicated to high-quality audio mastering services as ever.

“All music styles are more than welcome to use our services,” says Niemistö. “I usually work with pop, dance, hip-hop and electronic music and some metal and rock groups. My clients are mainly Finnish bands and include Husky Rescue, Pepe Deluxe, Sofi De La Torre, Machinae Supremacy and many more.”

Chartmakers currently runs three studios in Helsinki itself and a satellite about 20 minutes to the west in Espoo. Niemistö is a firm believer that the simplest mastering chain of very high-grade equipment delivers the best results. As such, he says that the AD-2 and the MEA-2 have both been on his mind for a long time.

“It was time to finally give them a go,” he says. “Svante and I have gone through pretty much everything on the mastering market, and Prism Sound was, for me, the last largely untested equipment to try.”

The kit was supplied by Finnish distributor Qualitron and Niemistö says that as soon as the converter and the EQ were connected he felt right at home with them.

“They are a joy to use. The converter continues to surprise me, almost every day,” he says. “The EQ has some strange way of adding a sort of ‘glue’ to the master sound — I can’t really explain it. They both definitely bring the game to the next level.”

Niemistö adds that he particularly likes the fact that the converter can drive two different sample rates to different AES/EBU outputs.
“The clock also sounds very nice,” he says. “Since I do a lot of bassy electronic music I love the fact that the EQ goes down to 19Hz and up to 27k.”

Niemistö is using his Prism Sound equipment on all of his current projects where it meshes well into his existing set-up.

“I personally use three Amphion Two18 speakers and two One18s in the back for full surround, and I have a Maselec MTC-2 mastering console,” he explains.

And there might well be more Prism Sound kit added into the Chartmasters slate in the near future.

Niemistö says: “We just got the Prism Sound compressor in to test, and we might have to get that one as well…”

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Jason Phats Changes Direction with Prism Sound’s Orpheus

OLYMPUS DIGITAL CAMERA

Writer, producer, remixer and DJ Jason Phats has become the latest high-profile musician to purchase a Prism Sound Orpheus Firewire Recording Interface.

“The sound is extremely detailed and transparent. Clarity, depth, separation and stereo imaging is breath-taking – my jaw hit the floor when I first heard it,” he says. “I found myself kicking back in the sweet spot and going through my music collection. Suddenly everything made sense.”

Phats runs the Orpheus through a SSL Sigma summing mixer and likes the unit primarily for its ability to lever both Prism Sound quality conversion and mic preamps into a 1U box and then cram it full of features. These include line, microphone and instrument inputs, selectable RIAA Equalization for turntables, a built-in premium-quality monitoring mixer for each output providing for performer foldback and surround monitoring, and concurrent ADAT and switchable S/PDIF or AES3 digital I/O plus support for outboard MIDI devices.

Phats, who has sold over 5m records in a career spanning nearly quarter of a century. adds that the Orpheus has fundamentally altered the way he works.

“From the moment I started working with the Orpheus I could see myself getting closer to the sound I had been searching for,” he says. “I decided to stop releasing tracks and focus on a goal: a new sound, a new direction.”

Pursuing the new path took time but now, eight months later, Phats and his management are in the process of releasing his new material.

“With the Orpheus I could instantly identify where I was going wrong in my mixes and productions. Once I could understand the mixing process with such detail and depth I was able to achieve exactly what I wanted,” he says.

The first track from the new ‘Phats & Orpehus’ partnership was Jason Phats & Fenton Gee’s \ \ H I T E \ \ A T E R (White Water), which caused a real buzz in Ibiza over the summer. There is plenty more to come too.

“Every day is a joy in the studio with the Orpheus and I am very proud of the new material I have lined up for the future,” he says. “The huge leap in quality has led to some great collaboration.”

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

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