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Yamaha CL/QL V3.0 Boast New Features for Broadcast, Live Sound

BUENA PARK, Calif.—Announced during IBC in September, Yamaha CL and QL Digital Audio Consoles will release V3.0 updates available in early 2015.
Version 3.0 adds features and functionality that will increase the appeal of all CL and QL Series models for broadcast applications, including 5.1 panning and monitoring for surround broadcasts, and a newly developed buss compressor that is ideal for insertion in the stereo mix buss.

For live sound applications, V3.0 will add the benefit of a new 8-band parametric EQ and real time analyzer. There will not be a QL Series V2.0 so that the CL and QL Series Consoles will be at the same V3.0 level. CL and QL files are interchangeable, making it easy to choose and combine models to best accommodate live sound front of house and monitoring as well as broadcast relay and recording, from the most basic to large scale applications.

Notable new CL/QL V3.0 features for broadcast include 5.1 Surround Panning.
Pan positioning can be set via the touch panel or knobs. Mix to Matrix can be used for international feed production, and Mix to Stereo can be used for stereo mix down. In addition to surround mixing, CL/QL V3.0 adds basic surround monitoring. Monitor alignment capability is also provided, with adjustment of relative speaker levels and delays.

Also for broadcast applications, Dan Dugan Sound Design highly regarded automatic microphone mixers already included in QL Series is now included in CL Series consoles. Gain distribution for up to 16 speech microphone channels is automatically optimized in real time, achieving smooth, natural level control.

Yamaha R&D has created an accurate VCM (Virtual Circuitry Modeling) model of an acclaimed buss compressor that is relied on in broadcast and recording studios around the world. Buss Comp 369 is ideal for inserting on the stereo mix buss for increased loudness, more uniform levels, and warm overall sound. It is an excellent choice for live sound as well as broadcast applications.

Mix minus, considered important for relay broadcast applications, previously available for CL consoles is now available in the QL consoles. The signal from a specified channel can be easily omitted from a specific bus, making it easy to quickly create a mix for the location reporter, for example, that may not include his/her own mic feed. The new Frame Delay capability enables the audio engineer to delay the audio at the console in order to achieve proper synchronization, a necessity in broadcast and in live applications where video is being used. The feature makes it possible to set that delay in frame increments for easy sync with a wide variety of video formats.

Additional live sound features include an 8-band PEQ in the GEQ Rack and Effect Rack making it possible to select 8-band Parametric EQ in the GEQ RACK and EFFECT RACK. With the real time analyzer (RTA) to support room tuning and other operations, the frequency spectrum of cued channels can be shown in the new RTA display as well as in the PEQ or GEQ display to provide visual feedback while adjusting EQ.

Also of note for the live sound market, V3.0 will now provide four banks of enhanced User Defined Keys, not only reducing the possibility of running out of keys, but it also allows keys to be grouped by function for improved efficiency. DCA Assignment Selection for Scene Management has been added to the parameters for Recall Safe, Focus Recall, and Global Paste. Rather than only being selectable with ALL parameters during scene memory management, DCA assignment is now an independent setting. This allows more refined control, such as specifying only Channel Name, Fader, and DCA Assign to be Recall Safe, for example.

We’re very pleased to brings these additional upgrades that have been requested by our users, states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. Our loyal sound reinforcement engineers will benefit from several great tools whether they are mixing on CL or the new QL Series as well as a whole new set of amazing features for our broadcast users. In addition to the new features in V3.0, we are currently working on a number of additional refinements that will provide even greater operability and stability and will continue to deliver products and updates that contribute to the most efficient and comfortable working environment for our customers.”

CL/QL V3.0 firmware will be available as a free download from the Yamaha Commercial Audio Systems, Inc. web site, www.yamahaca.com, in early 2015.

For more information, visit Yamaha Commercial Audio Systems, Inc. at AES 2014, Los Angeles Convention Center, booth #1401 or on the web 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 API BOX BREAKS INTO AUSTRALIAN MUSIC SCENE THROUGH FAMED SONGWRITER/PRODUCER STUART CRICHTON

Crichton_Sloss_1VICTORIA, AUSTRALIA: As the API BOX makes its way to recording studios around the world, it has now found its first home in Australia through world-renowned songwriter/ producer, Stuart Crichton. Crichton has been a contributing factor in numerous top ten hits internationally, primarily in the U.K. He consulted Deb Sloss at Studio Connections Australia, API’s Australian distributor, when looking to make the addition to his home studio.

In just a short period of time, the BOX has already made a difference for Stuart. “The API BOX has totally changed the quality of my mixes, adding the warmth and width of a large room console,” Stuart shares. “The ease of set up and use is amazing – so straight-forward.”

Quality of sound is the most important feature for Stuart, who works with major artists including Kylie Minogue, Guy Sebastian, and Pet Shop Boys. “The mic pres and EQs are that beautiful API sound that many crave. The bus compressor is also now a major part of my mixes. Once I’m done mixing, I put it over the whole mix and BANG! There it is – a real vintage sound for what are usually digital-sounding mixes.”

Stuart relocated from the U.K. to Australia in late 2009, where he continues to make his footprint in the Australian recording scene, as well as work with top artists from around the world. He’s finding that his new console is the perfect tool to achieve a big studio sound in a relatively small space. “The BOX is an affordable way for a home studio to get that big room sound, which usually costs a lot of money per day.”

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) Stuart Crichton with Deb Sloss of Studio Connections Australia. (PHOTO CREDIT: © 2014 SCA)

Fairlight Launches Affordable QUANTUM.Live Table-Top Console

IBC 2014 will see the launch of QUANTUM.Live Table-Top (TT), the newest addition to Fairlight’s live console family that includes the award winning EVO.Live digital audio mixing system.

Based on Fairlight’s leading edge audio processing and control surface hardware, their groundbreaking range of live consoles can switch between live and post production at the touch of a button, delivering an exceptional return on investment as customers are effectively getting two consoles in one.

Designed for the most demanding on-air and live productions, Fairlight’s Live family is a highly flexible console range, available from 12 to 60 faders, as standalone chassis, In-Surface modules and Table-Top configurations.

The entry level QUANTUM.Live TT is the smallest console in Fairlight’s Live line-up. It comes with faders accommodating 144 signal paths over 12 layers. It delivers fast tactile access and full command over two monitor systems. A second TT frame can be added, increasing the system to 24 faders.
At the core of all Fairlight’s Live consoles is an incredibly powerful audio processing engine designed with FPGA (Field Programmable Gate Array) technology. The Audio Processor combines: Fairlight’s renowned Crystal Core engine; a redundant power supply; all interfaces for control screens, GPIOs, storage; local control room I/O; MADI connections for remote I/O; and other system hardware.

A QUANTUM.Live Table Top base configuration with 12 faders, a centre section, audio processing engine with 48 channels, 32 buses and a full complement of local audio I/O, starts at €30,000, US$40,000.

For more information about QUANTUM.Live TT and the full Fairlight Live console range, please visit us at IBC 2014 – Hall 7, Stand H17. Or visit the company’s website –www.fairlight.com.au

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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.
www.fairlight.com.au

DK-Technologies Appoints Anders Kjempff As New Sales and Marketing Director

DK-Technologies has announced the appointment of Anders Kjempff to the position of Sales and Marketing Director, with responsibility for promoting the company’s range of audio and video metering products including the award winning DK Meter. He will be based at DK-Technologies’ head office in Herlev, Denmark.

Kjempff brings extensive management experience to the role having previously run his own IT sales company, which he sold earlier this year. Prior to that he spent nine years with broadcast transmission company ProTeleVision Technologies (PTV) where he was Sales and Strategy Director.

Karsten Hansen, CEO of DK-Technologies, says: “There is a real sense of ‘Sliding Doors’ about Anders’ appointment because, in a parallel dimension, he should have joined the company in 2001 when DK bought the Studio Products Division of PTV. At that stage he was working for the part of the company that we didn’t buy, and that’s why he didn’t come across then. I am really delighted that our paths have finally come together. Anders has so much industry experience and is such a consummate sales and marketing professional that this is really great news for the future of DK-Technologies.”

Commenting on his appointment, Anders Kjempff adds: “I have known about DK-Technologies for many years and have always admired its approach to product design and development. DK products are conceived from a blank sheet of paper – there are no third party algorithms or components because everything is designed from scratch with no compromise. That is why the company has such a strong international reputation for quality. I am delighted that I am now part of this because I share the same values. Coming to DK really does feel like coming home.”

Under Kjempff’s guidance, DK-Technologies will be looking to promote its world class products and expand its sales network on a global scale.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Full Compass Hosts NUAGE Demo, Nuendo Master Class

BUENA PARK, Calif.—A Yamaha NUAGE Demo and Nuendo Master Class will be held by Yamaha Commercial Audio Systems and hosted by Full Compass on Tuesday, September 23rd at 9770 Silicon Prairie Parkway, Madison, WI. The event is free of charge. Product tours will begin promptly at 6:00pm, 7:00pm and 8:00pm.

A joint collaboration between Yamaha and Steinberg, the NUAGE Advanced Production System is the brainchild of workflow efficient hardware and Nuendo 6 software operating together in perfect harmony. Offering unprecedented productivity and flexibility as well as premium audio quality in an innovative design, NUAGE is making waves across the world.

David Lees and Marcel Mauceri from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system along with Full Compass Systems staff and discuss the latest news, tips and tricks of Nuendo recording software.

For more information and to register, email rsvp@fullcompass.com.

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Fairlight Showcases 3D Audio Workspace at IBC 2014

At IBC 2014, Fairlight will showcase 3D Audio Workspace (3DAW), a new platform for immersive and object oriented 3D Sound Production.

Aimed at the film and television post production market, 3D Audio Workspace reinforces the industry’s drive for the ultimate in cinematic and immersive sound delivery by providing a comprehensive and diverse environment for 3D audio production.

“Fairlight has always had a reputation for pushing the boundaries of technology, but even by our high standards 3DAW is one of the most exciting products we have launched in many years,” says Tino Fibaek, Fairlight’s CTO.

One of the features that make 3DAW so unique is AirPan – a brand new concept that allows operators to use a Virtual Reality (VR) style input to position and control images in a 3D space.

“This feature is incredibly cool because you can literally reach out into the airspace monitored by the controller and by just moving your fingers in the air, you can pan, rotate, tilt and spread your sound in space,” Fibaek adds.

Fairlight’s 3DAW adds immersive sound capabilities to an existing digital audio workstation, whilst remaining fully compatible with an established workflow. This open platform configuration support VST® and RTAS® plugins, as well as ASIO® for I/O and sync sharing.

“The philosophy behind Fairlight’s 3DAW is to give sound mixers a post production solution that works with all platforms,” Tino Fibaek adds. “Different deliverables require different technologies, so Fairlight’s immersive platform provides the best of both worlds, supporting object orientated implementations such as Dolby’s Atmos and DTS’ MDA and fixed bus formats in 2D and 3D, from stereo through to 5.1 and all the way up to NHK’s impressive 22.2 format.”

Fairlight has ensured post production facilities can easily connect to their studio workspace. Integrated, user definable B-chain processing supports up to 34 discrete speaker outputs allowing sound mixers to switch instantly between different surround formats, different speaker sets, speaker muting and soloing and comprehensive metering.

For more information about Fairlight’s 3D Audio Workspace and other innovations in the Fairlight range, please visit us at IBC 2014 – Hall 7, Stand H17. Or visit the company’s website –www.fairlight.com.au

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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.
www.fairlight.com.au

Prism Sound Releases SADiE Version 6.1

Prism Sound has announced the release of SADiE Version 6.1, an update to its highly acclaimed SADiE Version 6.0.0 recording and editing software.

With no dedicated proprietary hardware requirements the SADiE v 6.1 software packs are application based and focus on the core SADiE expertise of Mastering, Radio Production, TV/Film Post, Archiving and Restoration, and high level Sound Design.

Prism Sound has also announced a new and exceptionally competitive pricing structure for its SADiE software packs. With the entry level SADiE PRO now starting at UK £445.00 (plus VAT), the product range is even more cost effective, taking the SADiE brand, reputation and advantages into new markets. The extended compatibility will also significantly reinforce its appeal to professional users around the world.

New SADiE Features

WAV Master
With many more consumers now choosing to buy their music via a download, record labels are increasingly asking mastering engineers to deliver mastered audio as digital WAV files so they can be easily supplied to audio download sites such as iTunes, Spotify and Amazon.
SADiE’s newly introduced WAV Master feature allows users to create WAV files for an entire album, using PQ marks to define the start and end of the WAV file for each album track. Track Titles, Artist Name and other information is automatically incorporated into these files. As a further extension of its WAV Master feature, SADiE has also introduced a new high quality Sample Rate conversion algorithm. This brings the sample rate conversion process in-line with the high quality processing standards for which SADiE’s parent company, Prism Sound, is famous.

This ultra-efficient workflow allows SADiE’s PQ list to be used as a single source to create the WAVs, DDP and CDs that are required by today’s mastering engineers.

ISRC in BWF Files
Prism Sound has also incorporated ISRC in BWF into SADiE’s new WAV Master option. This feature is included as part of the Mastering Suite and Sound Suite packs.

Created and standardised by the European Broadcasting Union, Broadcast WAV (BWF) is an extended WAV format that allows ISRC data to be embedded in the file. ISRC stands for International Standard Recording Code. Every song released, and every version of that song, is allocated a unique ISRC by the record label. ISRC is then used to ensure that the correct files are used for playback and replication. It also ensures that artists and recording professionals who stand to benefit financially from any playback or replication are identified and compensated.

The UK Music Producer’s Guild has led the initiative to get BWF adopted as standard, and in conjunction with the EBU it has produced a Recommended Practice document that lays out methods by which an ISRC can be embedded into a BWF.

Other updates

These include an extension to SADiE’s Wav Master functionality with support for reading and writing a WAV file’s LIST-INFO chunk, and for Track Name and Artist metadata (included in Mastering Suite and Sound Suite packs). Prism Sound has also incorporated 32bit floating point format for recording or bouncing to WAV or BWF, thus allowing engineers to work at the highest possible resolution throughout. There is also the option of creating a profile when making a DDP Image or importing one.
In addition to these upgrades, Prism Sound is now including SADIE MTR (Multi-Track Recorder) software in the SADIE6 installer. This will run without license when using an LRX2 or Prism Sound Lyra, Titan, and Atlas, interfaces, and requires a license for native operation.
Looking to the future, SADiE will soon be offering enhanced video support for BlackMagic Design Decklink cards, as well as timecode support on SADiE Native systems (where the ASIO audio hardware supports timecode functionality). These extended new features will be included in an imminent service update. The software element of this update will be available to all 6.1 users, although some users may require additional hardware.

To try out the software, please visit http://www.sadie.com/support/download_v6.php

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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

Yamaha Commercial Audio Donates Live System To Nashville HS

Pearl-Cohn Entertainment Magnet High School in Nashville, Tennessee offers students the opportunity to learn through the lens of the entertainment industry with pathways in audio engineering, broadcasting, record industry, marketing, and image consulting. It is the only entertainment magnet high school in the country. The vision of Pearl-Cohn is to equip its students to realize and achieve their potential while committed to educate the whole person.

Bryan Lenox of Lenox Productions facilitated the arrangement with Yamaha, who in turn, enlisted the services of J Sound Services (Nashville) to add a new Yamaha CL1 Digital Audio Console and Rio 3208-D input/out box to its 413-seat auditorium. Yamaha IS and DXR speakers, and TXn amplifiers were also installed. J Sound Services specified the system for its easy operation by student volunteers. Auditorium productions at Pearl-Cohn can be anything from assemblies with announcements and presentations that include video to full-on theatrical events.

J Sound Services has had a lot of experience installing Yamaha Installation Series Speakers, so they were the obvious choice for the installation. “Once we understood the scope of the project, we determined a Yamaha MTX5D processor and DCPS wall-mount controller would also be required,” states Jason Spence, owner, J Sound Services. The design approach was based on the fact that there is limited acoustic treatment in the school auditorium. “It was important to minimize the amount of energy on the walls, says Spence.

Time was spent using Yamaha’s YS3 Sound System Simulator and EASE acoustic modeling software to focus the mid-high and subwoofer-arrays. Deployed end-fire arrays both in L-R and Center allow pattern control on how wide the throw would be in the room and also provides a Cardiod pattern measuring 12db down on stage behind the arrays. “By deploying the subs this way we have significantly reduced the low-end energy on the stage and what would have reflected off the walls in a typical Omni pattern, Spence adds. The room can easily handle and extends below 40Hz without the low-end building up, leaving the room also very articulate and musical. The house is nice and big with lots of sub. The design is very unique and it clearly looks different. The staff and Bryan Lenox were quite impressed with the results of the end-firing arrays.”

Lenox assisted in the set up and adjustments of the CL1. “The system sounds really good. The school had a unique need for a system that can handle intimate speaking all the way to low-end thumping Hip Hop music. And, this system definitely delivers. The CL1 is a great sounding console and one that the students can learn on in order to prepare for the real world so they can jump into any situation with confidence.”

The new auditorium’s multi-purpose system is all Dante connected with the Yamaha CL1 taking control of presets for theatrical productions using the consoles Nuendo Live software. Pearl-Cohn ran cat5 cable to their multi-track room to record the events taking place in auditorium. A.Cisco switch is used to network and import multi-tracking in studio. An old projection booth above the auditorium now has the capability of adding a Nuendo recording suite with infrastructure and cables already in place.

“Our students needed professional-class live production facilities in order to complete our vision to equip our students with real-world skills that will transfer to the marketplace or college when they graduate, states Sam Lorber, Instructional Designer at Pearl-Cohn. Thanks to Yamaha’s generous donation, these students will now be able to walk into any venue: club, church, college auditorium, or arena with a skill set advantage no other school can provide.” The principal commented on how she loves that she can touch one button and it just works.

J Sound Services also installed a Vivitek High-Definition 6K lumen projector with remote HDMI interface. To update the theatrical lighting system, JSS enlisted the consulting services of Chris Lisle Lighting Design and installed Elektralite LED PAR fixtures, Watson raceway and ElektraHazer, an Altman spotlight, and Chauvet Datastream; all of which integrated with the existing ETC dimmers. As part of the lighting system update the existing Fresnels and Lekos were reconditioned and focused.

J Sound Services also installed four Yamaha C115VA and two C112VA Club Series Speakers using a MTX3 processor and the same DCPS wall-mounted controller as in the auditorium. Spence said the system installed could be operated in the same manner, with a touch of a button, making it extremely simple and consistent for staff and students to operate the systems in either location.

For more information on Pearl-Cohn Entertainment Magnet High School, visit www.pearlcohnhs.mnps.org.

For more information on J Sound Services, visit www.jss.net.

For more information on Yamaha Commercial Audio products visit, www.yamahaca.com.

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DPA Helps Ivan Rutherford Bring Broadway to Hong Kong

Internationally acclaimed artist Ivan Rutherford turned to DPA’s d:facto™ Vocal Microphone to help him give a truly emotional performance during a recent one-off show in Hong Kong.

The actor and singer, who has performed the role of Jean Valjean in Les Miserables over 2,000 times on Broadway, was looking for a microphone that could deliver exceptional sound quality and clarity through a large venue sound system. He also wanted a hand held microphone so that he could move freely on stage while he sang a series of Broadway hits dating from the 1930s to the present day. DPA’s d:facto Vocal Microphone fitted the bill perfectly. Rutherford used the microphone in a wireless configuration with a Sennheiser Wireless System, which made movement possible and allowed him to deliver a vocal performance that was memorable for the audience.

“I had never used a DPA microphone before and I was very pleased with the experience,” Rutherford says. “I was impressed with the intensity of the sound and the mobility it allowed onstage, which gave me great freedom to make unobstructed connections with my audience. I also enjoyed the feel and weight of the microphone in my hand, and found that it helped give me the necessary confidence for a one man performance. I would very much enjoy working with a DPA mic again.”

Rutherford’s show, entitled A Taste of Broadway, took place at the Academic Community Hall in Hong Kong. Mr. Clarence Chang, from Jazz World Live Series that organized the concert, says: “The only instrument on stage was a grand piano, which was also miked with DPA – a matched pair of d:dicate™ 4011A Cardiod Microphones in A-B configuration to capture the main piano signal and d:vote™ 4099 Instrument Microphones in a stereo piano kit configuration to provide additional percussive effect from the hammers. This proved to be a very successful formula because the piano sounded fantastic – really crisp and lively, yet with all the body and warmth one would expect from a top of the range instrument.”

Ken Kimura, DPA’s General Manager for the APAC region, and Ricky Wan, from DPA’s Hong Kong distributor Digital Media Technology, were on hand to ensure the optimal microphone set up.

“The d:facto Vocal Microphone in a wireless configuration was a perfect match for Ivan Rutherford as it enabled him to move freely, while capturing every nuance of his voice,” Kimura says. “When you have a two hour show that only consists of a singer and grand piano, you really need that artist to be super talented and to have a great voice. Ivan Rutherford had both of these attributes in abundance and gave a fantastic performance.”

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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

Southwestern Assembly of God U Installs Yamaha NUAGE DAW System

BUENA PARK, Calif.—Located in Waxahachie, TX, Southwestern Assemblies of God University (SAGU) began as a regional bible school and later, added a junior college program. The university has experienced phenomenal enrollment increases from 596 students in 1991 to approximately 2,200 today. In 2013, the academic divisions of the university realigned into three colleges: the College of Bible & Church Ministries, the College of Business and Education, and the College of Music and Communication Arts. All colleges maintain Bible-based curriculum to fulfill the mission of SAGU. Since 2000, SAGU has added 24 new academic programs, bringing the total to more than 60 programs.

Recently, SAGU added a 48-Fader Yamaha NUAGE Advanced Production DAW System, purchased through Audio DAWG of Irving, Texas. The system is installed in a dedicated studio for commercial production that is available for rental and an academic learning lab for Digital Media Arts students. Internships are being offered for students in the program, but they will also have to complete at least one major audio project using the studio, with staff engineer assistance.

“I started using Nuendo 2.0 in 2003 as an upgrade from Cubase SX which I was strictly using for MIDI programming, states John Cookman, Chief Engineer and Director of Media Services and Production. My DAW at the time was a PARIS system that had been discontinued, and I needed a DAW that could keep up with where I was leaving off. Wow! Nuendo really did that and more.”

Cookman purchased NUAGE primarily because he had grown tired of recording/editing/mixing with a mouse and keyboard. “I always sensed that my creativity was being stifled due to the inefficient ways of keyboard and mouse work flow, Cookman says. I had originally planned to purchase a Euphonix system because of its acclaimed integration with Nuendo, but once I demoed the NUAGE at NAB 2013, I decided it was much more practical to buy a console that was specifically made for the Nuendo platform and would also be supported by Nuendo’s parent company, Yamaha. From the first minute I sat down with the NUAGE, I have felt at home.”

The Digital Media Arts BA degree is the path for all of SAGU media students, and the department is moving toward an audio recording degree path. They do offer an audio recording class that is mandatory for all DMA students. Each student will be doing at least one project on the NUAGE. SAGU averages roughly 20 students in the audio recording class per semester.

Technically, SAGU is not a house of worship but they do have daily chapel services. “My department has started up a live and on-demand outlet to view and listen to services (www.SAGU.tv chapel channel), notes Cookman. This is a multi-camera and multi channel audio mix for broadcast TV using our DMA students as student workers. We also do sports broadcasting as well.”

Two main facilities are used for broadcasting, the largest auditorium seats approximately 2,300. During the school year the auditorium is occupied mostly by students. The other auditorium is a new performing arts theater seating 625. “Our NUAGE system is directly integrated to this room so that we can use it as a sound stage to record from,” adds Cookman.

Cookman appreciates the NUAGE state-of-the-art approach adding in the elements of the analog workflow to a digital non-linear workflow. “Now I am able to access the best of both worlds concerning work flow. Yamaha has done an outstanding job at connecting the user to efficient workflow systems. The way they have integrated NUAGE with the DAW (especially Nuendo) has empowered the engineer with hands-on tools that are unprecedented in our industry.”

Specific features that were attractive in SAGU’s decision process were the motorized faders, one-touch navigation to any parameter, and the ability to edit each parameter microscopically with professional grade encoders. “Faders and buttons impact our work environment everyday. Being able to reach over and instantly access channel data makes workflow so efficient. Now, I don’t have to spend time scrolling with my mouse and keyboard keeping me from really getting into that creative zone. The NUAGE is a “Must Have” for every DAW.”

John Cookman has been in the industry for 30 years, and 18 of those were spent in the non-linear DAW world. “Since I started working with NUAGE, I finally feel like I am tapping into the top layer of my potential as a engineer and producer. In May, we released a Christian music project for an outside artist (I was hired to produce and record/edit/mix). Within 45 days, we charted at #10 on the Billboard Hot Christian charts and the next week, we topped out at #8. The artist was the only independent artist in the top 100 at that time. I attribute a lot of that to the flexibility the NUAGE brought us to use more of our creative brain rather than engineering brain.”

Cookman says he is budgeting for a smaller NUAGE setup for broadcast remix in SAGU’s master control room currently using Nuendo.

For more information on SAGU, visit www.sagu.edu.

For more information on Audio DAWg, visit www.audiodawg.com.

For more information on NUAGE, visit www.yamahaca.com.

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PICTURED: John Cookman

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.

About

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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