A virtual press conference from Sound & Video Contractor

Archive of the AES Newslink Category

Red TX Helps Chime For Change Reach Out To The World

Broadcast audio specialists Red TX played a vital role in ensuring that last Saturday’s Sound of Change Live concert at London’s Twickenham Stadium was successfully broadcast to more than 150 countries around the world.

With both its Red I and Red II trucks on site, not to mention a crew of seven, Red TX was more than able to cope with the complexity of the live broadcast and the fast turnaround between acts performing on four different stages.

Billed as a feminist Live Aid, Sound of Change Live was a focal point for the Chime for Change campaign, which aims to improve education, health and justice for women around the world. The campaign was founded by Gucci’s designer Frida Giannini, Beyoncé and Salma Hayek and Saturday’s concert raised over £2.6 million to fund approximately 200 projects in 70 countries. It also provided a great day out for more than 50,000 people who flocked to Twickenham Stadium to watch Beyoncé, Rita Ora, Jessie J, Haim, Ellie Goulding, Jennifer Lopez and Florence and the Machine take to the stage to champion the cause. Even Jay-Z put in an appearance, performing Crazy in Love with his wife, Beyoncé.

The Red TX teams consisted of Tim Summerhayes, Ben Summerhayes and Matt Silverston on board Red I; Ian Dyckhoff, Huub Lelieveld and Rohan Igoe on board Red II and Christian Postna as back up between the two trucks.

Red TX was commissioned to handle the broadcast audio by Splinter Films. Splinter’s Emer Patten was Chime’s Broadcast Producer co-ordinating the mammoth production for global transmission.

She says: “As I’ve been working with Red TX for such a long time now, they really were the only choice for the job and I knew they wouldn’t let me down. We had our usual experience of a crazy busy schedule, coupled with a lot of fun and mutual respect. I love working with Tim and Ian, and it was great that we were able to bring in Huub for Red II, who took care of the C&D stages so fantastically for us.”

According to Red TX director Tim Summerhayes, Sound of Change Live was the biggest and most complex live broadcast event the company has handled for quite a while.

“It was a little nerve wracking knowing we were responsible for a live broadcast audio feed that was going out to over 150 countries, but we just got on with it and tried not to think about how many people were potentially listening to our output,” Summerhayes says. “We had three engineers on each truck, plus an additional sound man as a spare pair of hands. Mainly we were switching between trucks, from one performance area to another, but there were a couple of occasions where one team had to do back to back performances on the same stage and that meant we only had six minutes to turn everything around. It was complex, but thanks to a lot of careful preparation everything ran like clockwork and everyone was delighted with the end result.”

Red TX worked closely with Britannia Row, which was in charge of the live sound, and Visions, which has its own OB truck at the event. Sub mixes from each music mix truck were fed to Gary Moore on the Visions truck, who mixed in presentation audio. Gary also submixed the 24 audience mics and distributed this to himself and the two music mix trucks.

“Britannia Row and Visions are companies we know and trust as we have worked with them on many occasions in the past,” Summerhayes adds. “I was particularly impressed with Britannia Row and have no idea how they held it all together. Every detail was worked out in advance with military precision – even down to having all the vocal mics and radio packs individually labeled for each artist so that nothing was left to chance.”

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

New Hope Baptist Church Goes Digital with Yamaha CL1: Adds to DSR Arsenal

ATLANTIC CITY, N.J.—Initially opening in 1941, the 250-seat contemporary-style New Hope Baptist Church in Atlantic City, New Jersey recently wanted to switch their analog mixer out for a digital mixer and chose a Yamaha CL1 equipped with a Rio3224-D input/output box. ACIR Professional (Egg Harbor Township, N.J.) was responsible for the installation and at the same time, upgraded their current DSR speaker system. In 2012, the church added a few Yamaha DSRs and DSR subs, and craving for even more coverage, they just added two DSR115s, four DXR12s, and two more DSR118 subs.

“The church fell in love with the CL1,” states Bobby Harper, Vice President/Sales, ACIR. “They wanted to be able to easily record to multi-track and utilize the Dante networking functions.” Harper also said the church staff is thrilled with the DSR and DXR coverage (the DSRs are flown).

“Our new Yamaha speakers gives us an overall bigger, but controlled sound,” states Minister John W. Howard, Jr., Director of Worship and Arts. “Bands and groups from outside of our church are now renting our space because of our new sound system! The recording capabilities and functionality of the Yamaha CL1 is priceless and easy to use. Our audio staff loves the new system and has learned the CL1 very easily. We work with a number of bands and gospel groups, so the console’s ability to save scenes, saves a lot of work. I would recommend our Yamaha system to anyone.” Minister Howard noted that on any given Sunday, there are 2-3 musicians and 9-20 in the choir.

For more information on ACIR Professional, visit www.acirpro.com.

For more information on the Yamaha CL1 and DSR and DXR speakers, visit www.yamahaca.com.

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PHOTO CREDIT: Digital Warmth

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

Max Gilkes Upgrades His Mastering Facility with SADiE 6 and Prism Sound

Producer Max Gilkes has upgraded his Brighton-based mastering and post production facility 1 Sonic by installing SADiE 6 software for Mastering and a Prism Sound Orpheus FireWire audio interface.

Gilkes, who founded 1 Sonic eight years ago, says the support offered by Prism Sound was a key factor in his decision to invest in the company’s products.

“I was previously using Peak as a playlist editor and doing most other things on Pro Tools,” he explains. “But as it was time for an upgrade I decided to go with a company that I knew I could have a good working relationship with, and one that was also based in the UK.”

With a client list that includes Ninja Tune, Big Dada, Sony (France), Smart Move Productions, Mr. Bongo, Keep Up, Silverland and Mission, Gilkes is rarely out of the studio. His recent credits have included Fink, Dobie, Roots Manuva, The Skints, Deco Child, Raffertie, Eliza Carthy and Prince Fatty.

The facility itself is mainly used for mastering and mixing, but it also boasts a live room with 8 tie-lines that is large enough to record drums.

“The outboard in the studio is primarily for tracking, so there are some nice pre’s and compressors,” Gilkes says. “I also have a master section by Audient, PMC and Yamaha monitors, Pro-Tools, various classic guitar and bass amps and a range of microphones – not to mention an over-used tea pot!”

Moving from one software platform to another can be intimidating, but Gilkes says he has found the transition to SADiE 6 far less painful than he anticipated.

“It’s always hard work making the transition from one system that you are particularly well versed with to a whole new environment, but SADiE 6 is very intuitive and easy to use,” he says. “I’m really enjoying the facilities it provides. The editing facilities, in particular, are great and I like the PQ and DDP tools. However, the sound quality is the most outstanding feature and I am really impressed by that.”

Sound quality also played a part in Gilkes’ decision to buy a Prism Sound Orpheus FireWire audio interface.

“It was a no brainer, really,” he says. “The studio needed to make a significant step up in convertor quality and Orpheus delivered the transparency and clarity I was looking for, both as an A/D and a D/A converter. It has great sounding pre’s and I like the interface features for multi-tracking in Pro Tools.”

Gilkes is now using SADiE 6 and Orpheus on a variety of projects, including mastering an album for French artist Mayra Andrade on Sony (France), recording tracks for Congo Natty, completing a debut album for Chevron, recording drums for the next Grasscut (Ninja Tune) album, finishing backline tracking for a band called Bentcousin, which is releasing a three-track single through Team-Love NY and completing an album for a local brighton band called the Meow Meows.

And if that work schedule isn’t intensive enough, Gilkes is also producing and co-writing with the legendary Russell Stone of R&J Stone fame.

“The Russell Stone project is very interesting as all tracks are vocal/non-verbal and based on free improvisations.” He says. “The album, which is called HUMU, is very nearly finished and should be out in September.”

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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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

UC Irvine’s Celebrated Sound Design Program Adds DiGiCo SD9 To Curriculum

The University of California, Irvine is home to a celebrated Sound Design program created in 2006. Under the umbrella of the Drama department at the university’s Claire Trevor School of the Arts, the program is spearheaded by Mike Hooker along with Vincent Olivieri, who is the head of the undergraduate sound design program. Late in 2012, the department added a DiGiCo SD9, DRack and UB MADI into its inventory, which made its debut on a series of student-designed programs this spring. One of those shows was the Festival of New Musicals, a unique partnership between the university and the Academy for New Musical Theater, a three-decade-old creative incubator. The alliance paired the talents of professional writers and composers affiliated with the ANMT with UCI students to create the fourth annual festival, staged at UCI’s xMPL – Experimental Media Performance Lab (featuring a flexible seating capacity of 25-150) this spring. One of the festival pieces, ‘Digital Natives’, featured sound design by second year MFA student, Matt Glenn. [Pictured L to R: UCI MFA student, Matt Glenn; Karli Blalock, Assistant Sound Designer; Vincent Olivieri, head of UCI's undergraduate sound design program.]

“One of the interesting things about the way we run our sound design program here is that, with little exception, all of the equipment we own is independent of venue,” explains Olivieri. “Most of the equipment is kept in storage, in workshop rooms, and when a show is being developed, the sound designers are able to choose the tools that they need for their particular project, and can spec what they need and just plug in and play.”

The SD9 was the first DiGiCo purchased by the school and was chosen by Mike Hooker, UCI’s Head of Sound Design, in conjunction with RSPE Audio Solutions. “We knew that we were looking for a digital console of a certain size,” Olivieri recalls, “something that was beefy and designed for live playback and mid-range in size. The SD9 fitted that bill perfectly as it’s great for a mid-size show like this.”

The ‘Digital Natives’ piece comprised a juxtaposition of technology and digital feeds against a backdrop of singers and piano accompaniment for a total of 27 inputs (mics, iPod feeds, playback audio off of multiple computers) and a dozen outputs. Glenn configured a deceptively complex playback system, complete with different sounds and setups configured on different templates within the console. Having the ability to recall these different scenes at the push of a button was huge. Additionally, the SD9 was the perfect console not only for its expandability and versatility, but also for its diminutive size for the small theatre space. And, for a first-time user, Glenn was able to get up to speed quickly by watching the online product videos prior to getting hands-on with the console.

“I wanted to keep the console size down, but I also couldn’t sacrifice the number of channels,” adds Glenn. “Back in the planning stages of this show, before I really knew what it was going to be, I didn’t necessarily know how many mics I would have or how big the pit would be but I wanted to keep open my options with the stage box. With the DiGiCo console, I could have up to 32 inputs from stage from just one D-Rack with the expandability for the future of adding another and you wouldn’t necessarily get that with other consoles. I also wanted an interface that I could intuitively navigate around. The SD9 has a structure similar to Pro Tools and other digital audio workstations (DAWs) and when I started playing with the SD9—my first time using a DiGiCo in a real setting—the way it’s laid out just made sense to me. I didn’t want to be fighting my own brain in the middle of tech, especially with this show, where it’s a really fast turnaround of only three-days. That, the expandability and the ability to write snapshots so quickly and easily, it just all came together with the SD9.”

Onstage, I have six Meyer loud speakers that make up the main system and a subwoofer, plus an additional six loudspeakers placed around the stage for various effects. I’m also using two different internal stereo reverbs that are feeding some of the main speakers. I’m also sending my playback channels to various places around the space to kind of give a surround sound for some of the cues, and they also add a bit of warmth for some of the voices onstage. During pre-production, every time I want to change an EQ or I how much reverb is on a person, I was able to program a macro to update the current snapshot I was working in, and quickly get to it without having to think twice about it. Having eight macro buttons is one of the things I love about this board. Beyond that, there’s so much more to explore with this console but honestly, this show is so fast-paced, I don’t get much of a chance to!”

Moving forward, Oliveiri says the console will serve them in myriad ways, for different productions in varying venues. “We do a lot of shows in a lot of different spaces, and the SD9 is going to be an excellent tool for us for mid-sized musicals and musical events. It’s also going to be useful for us on workshop productions, where the technical needs aren’t always completely known in the early planning stages. For those kinds of productions, the flexibility of a console like the SD9 is essential in order to allow the sound team to quickly respond to unexpected needs.”

Wirebox Media Provides Production Services for Auburn University Last Roll: NEXO System Plays Key ‘Role’

BUENA PARK, Calif.—Wirebox Media of Smyrna, GA was selected by Auburn University to provide production services for the Auburn Oaks Celebration at Toomer’s Corner that included a block party and “One Last Roll” of the historic oak trees. The event took place in late April just after a record-setting attendance at the spring football game. The attendance at Jordan-Hare Stadium was over 83,400, and the downtown celebration was thought to be very close to that number. Auburn Oaks rolling has been a tradition for nearly 80 years; the trees are then replaced by live oaks.

The audio production system selected by Wirebox Media was centered around a NEXO GEO S 12 loudspeaker system and NEXO PS15R2 and PS10R2 monitors. “The NEXO system is consistently predictable, and sound fantastic,” states Tim Harrigan, Owner, Wirebox Media. “This job, in particular, proved the ease of use for the GEO S12 Series as we didn’t even have time to tune the system before the show and made very few adjustments in the first few minutes.” A total of 32 NEXO GeoS12 cabinets were configured as 10 per side for main hangs with an additional 6 per side for out fills, all powered by 8 4×4 NXAMPs.

“Staging a block party in three hours was not that simple,” says Harrigan. The complexity of the event snow-balled in the ten days Wirebox had to prep for the event that involved a nationally attended press conference with VIP’s from AU and the city, highlighted by a kabuki drop for the new architectural plans for the area, a spirit rally headed by the AU Band, and the event finale featuring a concert by local band Kidd Blue.

“Design and planning was key as the day was really four separate events: load-in/setup, press conference, spirit rally, and concert,” Harrigan notes. “This was all compounded by the three-hour setup time and the massive crowd. We could not have successfully completed this without a stellar crew, great clients and the cooperation of the City of Auburn, the Chamber of Commerce, and the Auburn Police Department.”

For more information on Wirebox Media, visit www.wireboxmedia.com.

For more information on NEXO products, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

ASHLY TAKES OFF AT THE MEMPHIS AIRPORT

MEMPHIS, TENNESSEE – MAY 2013: Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, Otis Redding, Isaac Hayes, and B.B. King are just a few of the world’s great musicians who got their start in the very musical city of Memphis, Tennessee. In honor of that heritage and in recognition of the fact that future stars are currently establishing themselves in this city, the Memphis International Airport decided to brand its recently-constructed, $122 million, seven-level parking structure with music playback to cover its 4,000 economy parking spaces and 2,500 rental car spaces. With characteristic reliability and rock-steady performance, thirteen Ashly ne8250.70 eight-channel amplifiers power the new sound system.

McClure Engineering of St. Louis, Missouri designed the sound system, and Audio Communications of Memphis installed it. “Memphis is known for its deep musical traditions,” said Walt Wilhelm III, owner of Audio Communications. “This is where Elvis launched his career. This is the home of Stax Records. The airport authorities wanted to celebrate that heritage and to emphasize that Memphis is a contemporary music hotspot. They mostly play music from active local musicians.” Added David Bick, systems engineer with McClure Engineering, “They wanted to create an atmosphere for the airport, and the parking garage is often the point of entry and exit. They wanted the parking garage to have a signature.”

Bick continued, “I specified the Ashly ne8250.70 amplifiers because they’re quiet, reliable, and a tremendous value. I know it can happen every now and again, but I have yet to experience a single Ashly failure. The fact that Ashly amps are so quiet wouldn’t be a huge factor in a parking garage, but it is in all the auditoriums and theaters where we place Ashly amps.”

Inputs to the system include a Denon CD changer with an iPod dock. Those feed a BSS Blu-series processor, which in turn outputs to the rack of thirteen Ashly ne8250.70 amplifiers. A total of 742 One Systems 103IM-70 loudspeakers dot the ceilings of the seven-story structure, providing coverage of approximately ten cars per speaker. In addition there are 38 One Systems 108IM-70 speakers and 12 TIC Gs3 in ground speakers located in the pedestrian plaza.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

dB AUDIO AND VIDEO INTEGRATES A/V AT FORWARD-THINKING HALL COUNTY SCHOOLS

ATLANTA, GEORGIA – MAY 2013: Exceptional by any standard, the Academies of Discovery and the Da Vinci Academy are pioneering schools in Hall County, just northeast of Atlanta, Georgia. The Academies of Discovery is dedicated to multi-cultural and language education, whereas the Da Vinci Academy is dedicated to the arts, technology, and science. The schools occupy opposite sides of the same building and share a common area between them. A/V integration firm dB Audio & Video also of Gainesville recently helped the schools update their educational technologies. The classrooms now possess innovative instructor and student computer displays, and the common area now possesses theatrical, musical, and distributed audio, broadcast video, control/automations, a video wall, and multifunctional tabletop connectivity for various laptop and wireless tablet usage. Each component of the renovation has a specific purpose, yet all function within an integrated whole.

At first glance, each classroom looks like any other classroom. However, a closer inspection reveals a 65-inch Samsung ME65B with touch screen overlay and two “input stations,” one for the student and one at the teacher’s desk. These inputs go to the FSR CB-22 ceiling box with both a Pocket Navigator VGA with audio switching device, as well as a HDMI switcher. From these devices, a user can display laptop content and annotate over, save, and recall any document or video from the school’s server.

The commons area is a unique combination of black-box theater, corporate presentation center, and public transportation hub. Its most obvious attraction is a huge video wall composed of Samsung’s ultra-thin bezel UD55A HDTV monitors. This video wall content is fed from multiple input locations around the wall via the Crestron DM-MD8x8 Digital Media matrix switcher. These inputs include multiple HDMI and VGA with audio inputs, as well as the school’s Safari streaming media systems, a Samsung BD-E5700 Blu-ray player, and a mixed camera feed from a Panasonic TV Studio. All the resources are controlled from a Crestron Pro2 via a TPS-6X dockable wireless touch panel. Audio resources include a Tascam CD-200i CD player and iPod dock, two wired microphone inputs, and two Sennheiser wireless microphone systems. A 64-channel Allen & Heath GLD digital mixer comes on line in theatrical mode.

The commons area audio speaker system consists of a single Danley SH-100B full-range loudspeaker for the main content, two Danley SH-100 loudspeakers for fill, and a single Danley TH-112 subwoofer. The unparalleled performance of the Danley boxes delivers tremendous gain before feedback (a must in black box theater performances), as well as unmatched frequency response and phase coherency. The net effect is increased intelligibility in the vocal range and heart-pounding low end. The speaker system is driven by a complement of Crown amplifiers and Bi-Amp Nexia CS DSP. In the theatrical mode, the commons area uses the Allen & Health GLD-80 digital mixer with full automation and scene recall. The ZED mixer and Genelec monitors are used in the TV production studio with their own mix of all the audio inputs and sources.

The all-LED Elation EAR495 theatrical lighting system provides for numerous scenes of display as well as colors, while delivering the school’s request for low power consumption efficiency. Included in this “green” initiative project are also two Design Spot 250P moving lights for programmed lighting effects, as well as spot light positioning for the talent anywhere on the floor. Two options for controlling these LED lights are from either a simple DMX Operator192 light board or a more involved computer-based CompuLive program.

The school’s full HD broadcast television studio rivals many higher education facilities. Primarily a Panasonic project, this system touts two AG-AC160 studio HDSDI cameras and two AW-HE50SN pan/tilt/zoom cameras with AW-RP50 controller connected via a router to the AWHS50 sub-compact HDSDI live switcher with multi-viewer output. An AJA KI-PRO-Ro provides digital file recording on Apple ProRes 422 format, allowing students to shoot nearly any program, presentation, or theatrical performance, stream it live to the school’s Safari system, and then edit for archival or streaming later. A Clear-Com MS-232 two-channel communications system allows the producer to communicate with the video camera operators and the audio production team. The audio production team uses an Allen & Heath ZED22FX mixing console and two Genelec 8030a studio monitors.

“This has been an incredibly challenging project,” stated Neil Philpott, dB Audio & Video’s Systems Advisor for the entire project. “We spent countless hours discussing the project with Aaron Turpin, Hall County’s technology director, working through construction and infrastructure issues, and determining exactly what functionality would be required to meet the vision of the schools’ and county Administrators’ expectations. All in all, this was a project that raises the bar, not only for dB as a company, but also for the entire state. I believe this is the blueprint for many schools to come.”

ABOUT dB AUDIO AND VIDEO dB Audio and Video is a Gainesville, Georgia-based design/build technologies integrator specializing in audio and acoustics, broadcast and presentation video, digital signage, and control automation for houses of worship, schools, sports arenas, government and military. For more information visit: www.dbaudioandvideo.com

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

SEE DANLEY AT INFOCOMM BOOTH #143 • COME TO HEAR THE OS80 IN DEMO ROOM W203B

CARVER SPORTS COMPLEX HITS A TRIPLE: ASHLY PROCESSING, ASHLY AMPLIFICATION, AND ASHLY USER CONTROL

NEOSHO, MISSOURI – MAY 2013: Neosho, Missouri serves as the western gateway to the Ozark Mountains. Recently, the Neosho R-5 School District initiated a multi-phase plan to convert an open field adjacent to Carver Elementary School into a sports complex with two baseball/softball diamonds and a soccer field. Lance Brummett at Warren Smith & Associates, Consulting Engineer P.C. (Tulsa, Oklahoma) designed the electrical infrastructure for what will be known as the Carver Sports Complex. Nate Pugh, project supervisor and Vince Hightower, installation foreman of Total Electronics Contracting (Joplin, Missouri) oversaw its installation. In order to provide the district with reliable, affordable sound reinforcement for the sports complex, Ashly Audio processing, amplification, and user control forms its core.

“Although they only have the first softball field completed, we have already installed the audio systems that will cover both ball fields,” said Pugh. A pair of Community R.5 loudspeakers covers each field (four loudspeakers total) from atop a concessions stand that resides between the two fields. A single Ashly KLR-2000, rated at 1000W on each of two channels, powers the system, one channel per field. An Ashly ne24.24M processor handles all of the input management, signal processing and routing logic for both fields. Because it has a modular I/O design, the ne24.24M is perfectly tailored to the complex’s needs. Twelve inputs collect six identical sources from each field, and four outputs feed the amplifier with two spares.

“This was my first experience using the Ashly ne24.24M processor,” said Hightower. “After just an hour with it at the shop, I felt completely comfortable and ready to take it to the field. It went in easily and without a hiccup. The fact that it’s modular is nice; we were able to give them what they needed without wasting a lot of untapped potential. The Ashly KLR-2000 is a great sounding amp. It’s nice and clean and promises to deliver reliable sound for a long time to come.”

A pair of Ashly FR-8 Network 8-Channel Remote Faders provide simple, intuitive user control of source volume and muting, as well as output volume for each field. Because the FR-8 connects to the ne24.24M with just a simple Ethernet jack, installation was a snap. Input sources are identical for each field and include a tuner, a Marantz CD/iPod player, an ElectroVoice wireless microphone, a Shure wired announcer microphone, and an additional microphone jack. Furman sequencing provides power to the system in a Middle Atlantic rack.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

STOP BY AND SEE ASHLY AT INFOCOMM BOOTH #335

SYMETRIX PROMOTES HOCK THANG TO REGIONAL SALES MANAGER ASIA/PACIFIC

SEATTLE, WASHINGTON – MAY 2013: Spurred by Symetrix’ increasing global presence and the rise of a robust Asian market, former Symetrix Technical Sales Engineer Hock Thang has been promoted to the newly-created position of Regional Sales Manager – Asia / Pacific. Based in Singapore, Thang’s mastery of the Symetrix product line – including Jupiter app based turn-key DSP, Solus standalone fixed I/O DSP, as well as Edge and Radius Dante network audio DSP – has been winning Symetrix converts throughout the region.

“Since 2006, Hock has been an invaluable resource for Symetrix in Asia,” said Mark Ullrich, Symetrix international sales manager. “From his home base in Singapore, Hock has been providing trainings and superior support to the Asia-Pacific Symetrix distributor network. He will continue with this fully but will now also add new focus on strategic sales activities, territory management, and increased connection and support for our distribution partners.”

“I’m privileged to work with such a great team at Symetrix,” said Hock Thang. “Together with our extremely committed distribution partners I look forward to growing Symetrix further in my new role. As our products evolve and become more sophisticated and competitive, we must have the presence and sales infrastructure in place to support it. With the recent release of SymNet Radius AEC Dante network audio DSP, for example, I’ll be focusing heavily on growing the awareness of our full range of conferencing solutions. I look forward to working even more closely with distributors, consultants, and end-users alike, to continue to install superior Symetrix DSP products in the Asia-Pacific region.”

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

JAY RUSTON, AN ESTABLISHED CHANNELSTRIP USER, ADDS METRIC HALO’S PRODUCTION BUNDLE PLUG-IN COLLECTION TO HIS UPDATED RIG

SAFETY HARBOR, FLORIDA – MAY 2013: Apart from being a seriously nice guy, veteran engineer and producer Jay Ruston is a monster talent behind a mixing console, be it physical or virtual. He’s been at it for twenty years and recently leveraged his seasoned perspective and sonic-smashing tricks to mix Anthrax’s return-to-form masterpiece Worship Music and Steel Panther’s much-lauded mocurockery Balls Out. Ruston took to Metric Halo’s ChannelStrip plug-in for those efforts, citing its musical sound and useful presets as part of what made those works so effective.

Even more recently, Ruston relented to the rising tide of incoming Pro Tools sessions that were incompatible with his “if-it-ain’t-broke-don’t-fix-it version” 7.4 and upgraded to 10. Associated with that giant leap and given Pro Tools 10’s move to AAX, he had to reconsider his plug-in pallet. “I was pleased with the results I was getting with Metric Halo’s ChannelStrip, and I saw that the company was now selling a Production Bundle of plug-ins,” he said. “I needed a de-esser, a multi-band compressor, an enhancer, and more. Coming from the same minds that made ChannelStrip, I figured the Production Bundle would be a good bet.” As it turns out, it was.

The upgrade to Pro Tools 10 was happening just as Ruston was finishing the mixes for the debut album from The Winery Dogs, a super group composed of Richie Kotzen (Mr. Big, Poison), Billy Sheehan (Mr. Big, David Lee Roth, Steve Vai), and Mike Portnoy (Dream Theater). He held on to the 7.4 mixes in order to give them one more tweak with the new system and the new Metric Halo plug-ins. “The vocals were critical, and after doing some basic equalization and compression with ChannelStrip, I used the Production Bundle’s Multiband Dynamics to smooth out the top end and upper midrange,” he said. “I’ve always used multiband compressors, and Metric Halo’s version is very effective. In addition, I cleaned up some sibilance with Metric Halo’s Precision DeEsser, and I’ve since found that it works just as well with female vocalists.”

Ruston used Metric Halo’s HaloVerb on Portnoy’s otherworldly drum tracks. “All of these Metric Halo plug-ins are so easy to use,” he said. “HaloVerb has only a handful of well-labeled knobs, and it immediately sounds good using any of the presets. I dialed in the sound using the presets as a starting point.” Those statements about HaloVerb generalized: “The Production Bundle is simple to look at and understand. The parameters are sensibly labeled with meaningful descriptions like ‘release’, ‘attack’, ‘Q’, and so on; none of those weird parameter names I find in other manufacturers’ plug-ins.” Despite the fact that The Winery Dogs recorded the album in Kotzen’s house, Ruston couldn’t be happier with the way the final mixes sound.

Of course, well-labeled parameters would only be appreciated on a plug-in that sounded fantastic, and Ruston described the Production Bundle by way of ChannelStrip. “ChannelStrip is so useable because it sounds so musical and pleasant,” he said. “I can slide the EQ curves around and it all sounds good. It’s just a matter of finding the most effective position given the track and everything else that’s happening in the mix. It can go from extremely broad and smooth to extremely tight and clinical, depending on what I need. All of the Metric Halo plug-ins share that same sonic quality – smooth, musical, and yet precise. They do what they’re supposed to do, like a piece of high-quality analog equipment. In that way, they’re also speedy, which is important because I like to work as quickly as possible.”

Ruston also used Multiband Dynamics, Precision DeEsser, HaloVerb, and, of course, ChannelStrip for the drums and vocals on Steel Panther’s follow-up to Balls Out. In addition, he’s had a chance to try out some of the other goodies in the Production Bundle. “The Character plug-in is versatile and sounds, to me, like tape emulation,” he said. “I can use it on bass, which adds some nice grind and really lets it tear. That’s especially useful with Steel Panther because they don’t always lay a rhythm guitar underneath a solo. Another trick I found was putting the snare and kick on a separate bus, compressing with ChannelStrip, and adding Character for drive. Then I mix that back in with the clean tracks to get a really punchy sound.” In addition, Ruston uses TransientControl to dial in percussive attack where needed.

“I know that a lot of mix engineers are anti-preset,” said Ruston. “Not me. I want the maker to show me what a plug-in was designed to do. I want to learn all the secret weapons and tricks that they built into it. The Metric Halo presets are totally usable. I can use the presets for a particular task or I can fire through them and listen for something that catches my ear. Either way, I usually dial things in from there.”

Ruston is excited to use the new Metric Halo Production Bundle on a live DVD for Anthrax that was recorded in Santiago, Chile. Previously, he had to rent rooms to do surround work, but now his system is set up for surround. “For the first time, I’ll be able to use all of my own stuff on a surround recording,” he said. “It’s gonna be great!”

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

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