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SCOTT PETITO PRODUCTIONS ADDS A 1608 CONSOLE “THE BEST PIECE OF GEAR FROM API”

WOODSTOCK, NEW YORK – JULY 2014: Musician, audio engineer, and studio owner Scott Petito has roots in the jazz and acoustic genres that go back to the early 1980s. His studio, Scott Petito Productions, has worked with major acts including James Taylor, Keith Richards, Pete Seeger, Bela Fleck, and Brian Setzer. In an effort to return to his roots in analog recording, Scott consulted Alto Music in Middletown, New York, who directed him toward an API 1608.

“It’s the best piece of gear I have ever used from API,” said Scott. “I have mixed on the Vision and Legacy consoles, as well as several vintage consoles. This has that same sound, but in a compact, simple and reasonable affordable design. It’s new, reliable, and has a great warranty.” The console has 24 channel inputs and 32 slots, providing over 48 reruns from Pro Tools. “It quickly became clear that it’s the only choice for uncompromising analog sound, and a familiar character and layout.”

With a degree from Berklee College of Music and countless hours in the studio, the sound generated by the 1608 is held to a high standard by Scott. “I already can feel and hear the added depth and dimensionality. It makes it easier to get what I want, I use fewer plug-ins, and being a smaller footprint the short signal path is always pristine and clear. It also has great headroom.”

Also among his favorite features and functions, Scott appreciates the Channel Strip and lunchbox implementation. “It lets me keep a lot of flavors on hand. The routing is wonderful. We have everything coming up on the patchbay.”

Scott and his crew wasted no time in getting to know the capabilities of the 1608. “The first session even before everything was wired to the patchbay or furniture was installed, we recorded a new album with Tony Levin, the bassist for Peter Gabriel and King Crimson among others. It’s turning out great! We are now mixing it.”

Next, the new 1608 will be used to mix the new album from Mercury Rev, whose fourth studio album Deserters Song was voted as one of the top twenty most influential albums of the last twenty years by Mojo Magazine. Scott will also use the new console to mix a new album of his own.

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

Reach Communications Adds NEXO STM Line Array To Arsenal

BUENA PARK, Calif.—Reach Communications of Minneapolis, MN has added a new NEXO STM line array to its already impressive stable of NEXO boxes. “We researched NEXO, L’Acoustics, d&b and others for boxes having a high 145+db peak output per box, to use as a large format line array for our bigger shows, states Dan Brown, Event Services Manager, at Reach. Having had a long history with NEXO and owning 130+ boxes in house before this purchase, we felt with our current inventory and amazing support from NEXO, this was the obvious option.” With the addition of the STM, Reach now owns 192 NEXO boxes, and 34 NXAmp 4×4 and 4 NXAmp 4×1 amplifiers.

So far, the NEXO STM rig has been used on Unite – NDOP 2014 and the KTIS Joyful Noise Family Festival 2014. NDOP included Hillsong United and a local Unite house band. KTIS Joyful Noise acts included Lincoln Brewster, Mercy Me, Tenth Ave North, Steven Curtis Chapman, Audio Adrenaline, Mandisa, and Hawk Nelson.

“The output and sound quality is incredible and very accurate, says Brown. We have had engineers comment that the STM rig has headroom for days and I barely had to do anything to the EQ! We wanted a system that would give engineers a clean canvas to mix on and headroom to handle the largest venues, and STM provides that.”

For NDOP 2014, the NEXO layout consisted of 12 STM M46 boxes and 12 B112 bass per side, 8 GEO S12s per side for outfill and 9 GEO S12s per side for rear fill. 8 STM S118 subs were used left and right with 8 RS18 spread across the center, and 8 PS10-R2s provided front fill. For Joyful Noise, the NEXO layout consisted of 12 STM M46 boxes and B112 bass per side, 12 GEO S12s HL used for outfill, 5 GEO S12s HR for outfill, 16 GEO S12 used for delays – 8 left and 8 right, 16 NEXO STM S118 subs – 8 per side in Cardioid configuration, 18 RS18 ray subs spread across the center in stacks of 3, and 8 PS10-R2 for front fill. The monitor rig for Joyful Noise included 10 PS15-R2 wedges, 2 PS15-R2 and 2 RS18s for side fills, and 2 RS15 used for drum subs. 14 NEXO NUAR racks powered the system.

“Reach Communications rig was my first experience with the NEXO STM, and it was incredible! states Lee Fields, front of house engineer for Lincoln Brewster. The horsepower of this PA is remarkable. From the second I started mixing until the last note, I was blown away by the punch of the LF and smoothness of the HF. This is Seriously the muscle-car of PA’s.”

For Unite NDOP, Reach provided two Yamaha CL5 digital audio consoles, one at front of house and one for monitors and a PM5D-RH for the house band monitors. A Yamaha CL5 was used at FOH and PM5D-RH at monitors for Joyful Noise. Reach also used the new Yamaha QL1 digital audio console for playback and announcements.

Additional audio gear supplied by Reach included Sennheiser 2000 IEM, Shure UHF-R, Shure, Sennheiser, Beyer, AT mics and Radial, Countryman DI’s. Lighting included Vari-Lite VL3000 spot, VL3500 spot, Martin MAC Aura, MAC 101 – Atomic 3000, ChromaQ colorforce 48, Chauvet 230SR Beam, GrandMA2 light. Video consisted of Hitachi HD1000 camera, Ross Carbonite 2ME switcher, Ross Router, AJA KiPro recorders.

For more information on Reach Communications, visit www.reachcomm.net.

For more information on the NEXO STM line array, visit www.yamahaca.com.

-END-

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

Corporate A/V Company Adds Yamaha QL1 For Fortune 100 Clients

BUENA PARK, Calif.—Sardis Media of Grayslake, Illinois recently took delivery of a new Yamaha QL1 Series Digital Audio Console for use on their corporate A/V projects. For over 30 years, Sardis Media has produced videos, meetings, and special events for Fortune 100 corporations, non-profits, and A-list associations. Clients include Advisors Excel, Motorola Solutions, Baxter, MorphoTrak, RustOleum, & RZIM. The company purchased its QL1 from Reach Communications of Brooklyn Park, Minnesota.

Sardis, who also owns a Yamaha M7CL Digital Audio Console, will use the new QL1 on the road as the primary audio console for smaller corporate events that require large event features. “We needed a console that had a lot of power and features but in a much smaller footprint for front of house for our production truck, says company spokesperson Nate Aguilar. Clients are always happy when we save space at FOH so they can fit more attendees in the room. As operators, we love that we don’t have to sacrifice quality when going to a small console like the QL1.”

Aguilar said that being in the corporate events business they are always dealing with more than a few Lavaliere microphones open at one time on stage, and the built-in Dugan auto mixer feature of the QL1 helps manage levels tremendously.

“We knew we wanted a touch screen for quick adjustments and graphic feedback on changes being made, says Aguilar. Most of us on staff at Sardis have a background in graphics or video, so being able to actually see what the console is outputting is important. Also, the built-in Dante network gives us the flexibility to add channels and outputs when needed in small increments, and having the ability to record every input separately is vital.”

Since Sardis already owns an M7CL and loves the operation, Aguilar notes, “it was a no brainer to add the Yamaha QL1 with its minimal learning curve to our inventory.”

For more information on Sardis Media, visit www.sardismedia.com.

For more information on Reach Communications, visit www.reachcomm.net.

For more information on the new Yamaha QL Series Digital Audio Consoles,
visit www.yamahaca.com.

-END-

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

PLATINUM MIX ENGINEER ERIC RACY DEPENDS ON METRIC HALO PLUG-INS IN THE STUDIO AND ON THE ROAD WITH KATY PERRY

SAFETY HARBOR, FLORIDA: Eric Racy made his entrance into the world of high-profile mixing and producing via the underground world of dance music, a pivot that allowed him to leverage skills and perspective honed by the diverse tones and influences of EDM. He has gone on to mix Robin Thicke, Lil’ Wayne, Pharrell, and Busta Rhymes, along with dozens of other big name artists, and a host of indie and underground artists that deserve to have “big” names. His intuitive, yet technically precise mixing on Tyga’s “Faded” helped propel it to Platinum status, and his affable nature and unfailing ability to work magic with all things audio earned him mission-critical playback positions on tours with 2NE1 and, most recently, Katy Perry. He’s also half of boutique analog signal processing manufacturer Black Box Analog Design and thus aware of tone on a level transcending that of most mix engineers. Racy’s faithful reliance on Metric Halo’s ChannelStrip plug-in, which has been present on most channels on every (yes, every) song he has mixed since discovering it four years ago, speaks to ChannelStrip’s unique musicality and usability.

“ChannelStrip is incredible,” Racy stated flatly. “I’ve used it on every single mix since I discovered it. Although I go out of the box for EQ sweetening on a few critical channels, everything else that needs equalization gets Metric Halo’s ChannelStrip. In fact, those critical channels often get ChannelStrip, too.” Racy has an established methodology in which ChannelStrip plays a key role. When he first opens up a new mix, he combs through each channel, carefully listening for unpleasant resonances and low or high frequency content that can be filtered out. He uses ChannelStrip to then notch out the resonances and filter the unnecessary extremes.

“I’ve tried this with a million plug-ins and outboard EQs,” he said, “but nothing is as effective as Metric Halo ChannelStrip. It doesn’t mangle the audio around the notch or filter, and it doesn’t make it sound like there’s a hole in the frequency range. It gets rid of the annoying frequencies and content, and it does it transparently.” For vocals, Racy often automates the notch frequency to keep the resonance from peeking out when the vocalist changes his or her mouth shape. “The results are well worth the effort,” he said. “Nothing else I’ve found can compare with this technique.”

Similarly, Racy claims to obtain results with the keyed gate on ChannelStrip that he cannot get with any other plug-in or hardware. “I love that I can adjust the key on the gate and that those adjustments are so effective,” he said. “I’ve been working on a forthcoming Killbot album, which involves members of Korn, Sluggo, and Tyler Blue making some aggressive rock meets dubstep. As with any live recording, there’s tons of bleed on the live drums (especially the snare and toms), and – as almost always happens with drum kits – any drum or cymbal can accidently trigger any other drum’s gate. It’s a mess that often required hand-editing in the past; no other gate could get it right. But with Metric Halo ChannelStrip, I can effectively key each drum’s gate so that it only opens for its intended target. I know that other gates have that same functionality, but none of them work nearly as well as ChannelStrip.”

Racy has all of the software and hardware tools he could want in his LA-based studio, but he knew he wouldn’t have access to that gear if he took the job building the audio tracks and doing Pro Tools playback on the Katy Perry “Prismatic World Tour.” “I’m a mix engineer first and foremost, and I certainly didn’t want to give that up on the road,” he said. “Metric Halo plug-ins formed one of the essential components of my mobile rig; ChannelStrip of course, but also Metric Halo’s Character plug-in. Given everything they can do, the Metric Halo plug-ins are very efficient and wouldn’t drain DSP resources on my native rig.”

He continued, “The Character plug-in is great. It models different kinds of analog signal paths, and just like real high-end studio hardware, the effect is critical, but also subtle. Placing different Character settings on a few different channels really adds up to something. It was especially useful to have on the road when I didn’t have access to my outboard gear, but I’ve continued to find plenty of uses for it now that I’m back in my studio.” Racy looks forward to dipping into the rest of Metric Halo’s Production Bundle of plug-ins as time in his busy schedule permits.

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

Martin Audio Introduces DD12 Powered Loudspeaker System At InfoComm

Las Vegas, NV––Martin Audio introduced the versatile new DD12 loudspeaker system at InfoComm 2014.

The multi-purpose DD12 defines the ultimate in performance and versatility for powered, two-way loudspeaker systems. It combines onboard networking, DSP and Class D amplification with state-of-the-art transducers and Differential Dispersion™ horn technology to achieve best-in-class performance in terms of fidelity, output capability and consistent coverage across the audience.

Differential Dispersion technology delivers more consistent audience coverage than systems with X° x Y° horns, providing more throw to the rear to distribute sound evenly front-to-back, with close-up horizontal coverage for the front rows.

Versatility is a key attribute of the DD12. The system is designed to meet a multitude of premium stand-alone and distributed sound reinforcement requirements, from touring, theater and portable live sound applications to concert hall and HoW installations, AV events and stage monitor use. Ideal as the main PA in small-to-medium size rooms, it can also be used as an infill loudspeaker in large-scale systems.

Whether configured as part of a stand-alone DD12 system or part of a larger MLA/MLA Compact system, individual DD12’s can be controlled and monitored from a laptop or wireless tablet PC via intuitive VU-NET proprietary software. PC connection can be made directly via USB or via Martin Audio’s proprietary U-NET network and Merlin loudspeaker and network management system.

An important feature of the DD12 is its internal memory, which allows factory ‘plug-and-play’ or user-generated DSP preset ‘snapshots’ to be recalled by means of a preset selector button on the rear panel, instead of using computer control.

In addition, comprehensive accessories support a wide variety of mounting options, including surface, ceiling and pole mount. The DD12’s universal bracket facilitates a wide range of down-tilt and up-tilt angles in both portrait and landscape orientation, and can be mounted directly onto the pole of a speaker stand or attached to a scaffold clamp.

Jason Baird, R&D Director for Martin Audio, concludes, “This market sector has been underserved from a technology and innovation point of view for far too long. DD12 will signal a true shift in fidelity, output capability and coverage and bring our Differential Dispersion™ horn technology to, quite literally, a wider audience”.

For more about Martin Audio, please visit www.martin-audio.com.

KEY FEATURES AT A GLANCE

Multi-purpose, bi-amplified, powered two-way system; Compact, multi-angle, polyurethane-coated plywood enclosure with screw-free perforated steel grille

User rotatable Differential DispersionTM¬ horn optimizes coverage footprint across the audience plane

Onboard network, DSP and Class D amplification

Switched mode power supply with PFC (Power Factor Correction) and global mains operation

Wide range of vertical and horizontal deployment options

Integral pole mount and M8 rigging inserts

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

SWEDEN’S UNIVERSITY OF ÖREBRO INSTALLS AN API 1608

ÖREBRO, SWEDEN: With 17,000 students, the University of Örebro is one of the fastest growing universities in Sweden. Its school of music, theatre and art provides the growing student body with an array of course subjects, including recording music technology. In its quest to prepare students for moving on to a modern recording studio, the university has commissioned an API 1608 console.

Situated in the heart of Sweden, the university’s proximity to Stockholm, Gothenburg and Oslo offer students a wide range of cities to seek employment after graduation. It is a young, modern and rapidly growing university with an ambitious agenda for the future. The university also offers courses in English and a foreign exchange program, attracting students from across the globe.

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

Zeo Systems Integrations Launches New Web Site

FOR IMMEDIATE RELEASE

June 30, 2014

 

Zeo Systems Announces New Web Site

 

Hatboro,PA-

The Zeo Group, headquartered in Hatboro, PA.in the northern suburbs of Philadelphia, have partnered with local web design and marketing firm, IQnection to begin a total redesign and launch of the web sites for each of their distinct divisions. The first of these projects is the launch of the site for Zeo Systems, the installation and integrations division of the company. This site is located at www.zeo-systems.com. This launch is just the beginning of the exciting changes happening at Zeo. The launch coincides with Zeo’s purchase of the industrial park in which they are headquartered. Construction and expansion plans are on the immediate horizon so the homes of the different divisions will soon take on their own unique look and feel.

FIREHOUSE 12 UPGRADES TO AN API LEGACY PLUS CONSOLE

NEW HAVEN, CONNECTICUT: Firehouse 12, a recording studio, live music venue, and record label, located in New Haven, Connecticut, recently commissioned a 32-channel Legacy Plus console. The 24-bus, 12 aux, dual-input console replaces the API Legacy that had previously been installed.

In April, a team of API engineers and service technicians accompanied the console to Connecticut, and the team remained on hand for several days to ensure a smooth transition as the console was integrated into the newly-renovated control room.

“Prior to the Legacy Plus, I had an API Legacy installed at Firehouse 12,” shares studio owner Nick Lloyd, who has a Master’s Degree in Music Theory from neighboring Yale University. “I fell in love with the sound of that console, but realized that the flow and layout of the control room would benefit from a smaller footprint board. The 32-input Legacy Plus provides that smaller size, along with significant workflow enhancements over the Legacy.”

Located in the Ninth Square District of New Haven, Firehouse 12 is an integral part of the southern New England music scene. Nick and his crew record music in a variety of styles, but tend to work on improvised music and jazz. The commissioning of the new console is part of a larger renovation and upgrade to accommodate longer-term residential bookings at Firehouse 12. The acoustics in the main recording space remain pristine, and can accommodate anything from a rock band to the most delicate acoustic music. Equipped with its own bar, the venue also hosts live shows with up to seventy-five audience members.

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

STUDIO MUSICIAN, PRODUCER, AND SONGWRITER SETH GLASSMAN ADDS DAKING FET III TO HIS STUDIO

NEW YORK, NEW YORK: Seth Glassman is an accomplished bass player and multi-instrumentalist whose thirty-plus year career has included work and performances with James Brown, Paul McCartney, Diana Ross, Elvis Costello, Brian Wilson, and literally dozens of other industry luminaries of equal star-power, along with hundreds of wildly talented musicians who populate the vanguard in their respective genres. He is currently the musical director and band leader for 1960s icon Darlene Love. Like many musicians who have a knack and interest in the technical side of things, Glassman branched out into songwriting and production decades ago. He maintains a well-equipped project studio in his New York City home that includes his go-to Daking preamps and compressors, which were recently supplemented by a borrowed Daking FET III compressor to mix a forthcoming album by all-girl power trio New Myths.

“Although I started out strictly as a musician and continue to play that role, I always had an interest in producing and writing songs,” Glassman said. “Being a studio musician put me in the privileged position of watching some of the best songwriters, producers and engineers in the world work their magic. Early on, I made a conscious effort to be a sponge – to pay attention and soak up all of their knowledge, perspectives and techniques. As I got older, I deliberately moved into songwriting and production and put everything I learned into action.”

Glassman grew to know Geoff Daking, maker of Daking gear, as they repeatedly crossed paths in NYC studio sessions: Glassman on bass and Daking behind the console. “I really respect that Geoff is a musician [he played in the 1960s platinum-selling band Blues Magoos], a sound engineer, and an electrical engineer,” said Glassman. “He knows what good music sounds like, and he understands the entire path, from the instruments, through the gear, to the final product. That obviously had – and continues to have – a huge influence on how he designs gear. For example, he selected the center frequencies on his EQs based on his decades of experience behind the console. Those are the frequencies that would be most useful for him if he were using the gear.”

Glassman is a self-avowed microphone junkie, a partial consequence, he says, of the fact that no microphone is ideal for every singer. “Vocal microphones are a study in themselves. There’s a magic that can work between a vocalist and a microphone, and it’s stunning when it happens. The sound becomes almost holographic; it has dimension and texture. Of course, that helps the vocals sit prominently in the mix.” Although certain microphones, like his Bock U99, more commonly deliver that magic, there is enough variation and enough surprise that Glassman, as a rule, tries out all his pricey vocal mics on every new singer that comes into his studio.

In contrast however, Glassman has learned that the best preamp for vocals will always be his Dakings, which stands head and shoulders above his other big name preamps. “Geoff’s preamps have a body and clarity that’s unmatched,” he said. “His preamps sound better on more instruments and with more microphones than any other preamp I’ve ever used. It’s a totally different situation from the mics, where I always have to try them all out. Geoff’s preamps always sound the best.” In fact, Glassman seldom goes to any other preamp unless he has too many inputs to use just his Dakings. He also has early model Daking FET limiters that he uses as an insert on his stereo bus whenever he mixes with his Pro Tools HD system, citing its transparent but effective dynamics control, provided he doesn’t push it too far (“It’s easy to get an affected sound by driving it, which is exactly what you want for some other uses,” he clarified).

Glassman’s work with New Myths is in his blood. His daughter, Rosie Slater, plays drums with the band in the space between her live and studio work with other artists. “It’s a very textually sophisticated album,” he said, “and getting the drums to fit within that tonally and dynamically was challenging and critical. With my Daking compressor on the mix bus, I tried all of the other tools in my arsenal to get the drums where I wanted them to be, but to no avail.” Glassman called in a favor and got a loaner Daking FET III Stereo Compressor from Geoff via Daking’s U.S. distributor, TransAudio Group. “The FET III gave me the sound I was after. The drums had control but they weren’t noticeably squashed-sounding. After some early criticisms of the drum sound, Rosie loved how things came together with the Daking FET III.”

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

ADVERTISING AND POST STUDIO, MICAH KOVACS AUDIO, WINS AWARDS USING A METRIC HALO ULN-2 INTERFACE

BRONXVILLE, NEW YORK: Although the path to Micah Kovacs’ relatively new and successful freelance venture, Micah Kovacs Audio, was not clear to him at the outset, his dedication, professionalism, and knack for making audio work transparently with images guided him down it, nonetheless. Already, his ten-plus years in the advertising and film post industry have earned him Addy, Promax, and Mercury awards, and several awards at juried film festivals. His clients include the Sundance Channel, VH1, L’Oreal, Verizon, NBC, and many other high-profile brands. Whether working out of his home studio for smaller projects or temporarily relocating to a client’s facility for more involved projects, Kovacs relies on the superlative audio quality and reliability of his Metric Halo ULN-2 mic-preamp/converter to maintain a pristine signal path at all times. Moreover, Metric Halo’s commitment to future-proofing the ULN-2 with software and, when necessary, firmware upgrades – together with Metric Halo’s commitment to making the ULN-2 work robustly with any and every piece of audio software in the Mac universe – guarantees that Kovacs’ investment will continue to work for him indefinitely.

Like so many in the audio industry, Kovacs stumbled across recording technology while in a high school band. “I was fascinated by the process of recording very early on,” he said. “In college, I joined some other bands and we recorded ourselves with 4-tracks or with digital workstations when they were available. It wasn’t anything close to what I do these days; we weren’t using Pro Tools, for example. But the craft of recording and mixing captivated me.” An art major, Kovacs gravitated toward video in his coursework and secured an internship at a video post-production house after graduating. He worked his way up from production assistant to assistant video editor. “The whole time, I was the go-to guy for any audio work that needed to be done,” he recalled. “I really enjoyed the mix process and learned, through my work there, that there were companies dedicated solely to audio for video.”

From there, Kovacs took a job at NYC’s Pink Noise, where he worked his way up from glorified runner to head engineer in a span of eight years. Then he took a position at NYC’s Verbatim Sound as head engineer and music producer, and a while later – sated with industry contacts and know-how – he shifted to full-time freelance under the Micah Kovacs Audio flag. “Going freelance, I knew I had to upgrade my audio hardware,” Kovacs said. “Most of the audio interfaces on the market, including the one I owned at the time, had a nasty reputation for quickly becoming obsolete as computers and audio software progressed. I needed something that would be portable and more accepting of software upgrades. Moreover, I work with a number of audio programs, including Pro Tools and Nuendo, and I wanted something that would work seamlessly with all of them, now and in the future.”

He continued, “The Metric Halo ULN-2 was the natural choice. Metric Halo is famous for supporting its products [original versions of the company's first interface, the 2882, are still supported for all the latest Mac hardware and software]. In addition, its sound quality and reliability are consistently praised as among the best on the market.” With countless hours logged at his earlier jobs, Kovacs learned what gear was indispensible and what was not. He outfitted his personal studio with a lean, but powerful collection of gear that could travel when necessary. A small rack of outboard gear serves a variety of functions and interacts with a MacBook Pro and iMac via the ULN-2. The ULN-2 also sends signal from the computers to the gear and to a pair of KRK monitors and a pair of Yamaha NS-10s. On the far front end, Kovaks maintains a collection of studio-grade musical instruments for use in original recordings. When necessary, Kovacs can move his studio to a client’s space to complete long-term or quick turnaround jobs.

Understandably, Metric Halo’s free audio routing software, MIO Console, plays a large role in Kovacs’ setup. “I love MIO Console,” he said. “With it, I can switch between my monitors internally, and I can route signals in elaborate ways between internal software programs and my external hardware. I also like the processing the ULN-2 ships with; I’ve been experimenting a lot with the ‘Character’ signal path modeling plug-in. Finally, I was pleased with the service I received from Metric Halo. There’s a ton to learn, especially with MIO Console, and the tech support zeroed in on my particular setup to get me up and running quickly. I had clients wanting service right away, so I didn’t have time to experiment. Metric Halo understood that.”

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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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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