A virtual press conference from Sound & Video Contractor

Archive of the NAMM Newslink Category

LEGENDARY GUITARIST ERIC JOHNSON RELIES ON LEGENDARY ATC REFERENCE MONITORS

Eric JohnsonAUSTIN, TEXAS – NOVEMBER 2014: “Legendary guitarist” is justifiably the most common two-word description given of Eric Johnson, whose six-string prowess has earned him a Grammy win, several Grammy nominations, a Platinum album, and residency on practically every “Top X Guitarists of All Time” list ever made. He’s regularly played and recorded with fellow guitar greats Chet Atkins, Steve Vai, and Joe Satriani, and Eric Clapton selected Johnson for his 2004 Crossroads Guitar Festival. Most recently, Johnson collaborated with jazz guitar great Mike Stern on the album Eclectic, which the two recorded and mixed at Johnson’s Austin-based studio with the help of Johnson’s accomplished recording and mix engineer Kelly Donnelly. Although Johnson is known mainly for his prodigious talent as a guitarist, he is also comfortable playing numerous other instruments, including piano, lap steel, bass, and voice. He is an accomplished songwriter and, in more recent years, has plied his skills over the years as a producer and assisting his recording engineers. The common frustration of mixing a song to seeming perfection, only to find obvious mistakes when he played it on other systems, drove Johnson to find the perfect near-field monitors. He found them in a pair of ATC SCM25As, which deliver the undecorated truth so that Johnson’s mixes sound beautiful and balanced on any system, from wee computer speakers to the biggest home theaters.

Years in the making, Johnson slowly constructed the ideal project studio in his Austin, Texas home, and he only declared it finished six years ago. “I always wanted a great rehearsal space, and it seemed natural to make it a recording studio as well,” he said. “I took my time because I wanted to do it right. I like to think about the tools I use the same way I think about guitars. When I find the right guitar, it facilitates my playing. It’s like I can feel the push of the polarity, the wind’s at my back, and soon I’m not paying any attention to the guitar itself… I’m just making music. It’s the same with the studio and all the equipment and processes in the studio. At their best, they fall away and I’m just making music.”

Most of the engineering duties at Johnson’s project studio fall to Donnelly. “Kelly and I often found ourselves second-guessing our mixes,” said Johnson. “We’d take a mix that sounded perfect in the studio and notice huge bumps or holes when we played it other places. It’d be like, ‘we must have overlooked that in the studio!’ But then we’d go back to the studio and those bumps or holes wouldn’t be there. So there was a lot of back and forth, which wasted time, energy, and inspiration. I became very interested in finding a near field system that would ensure our mixes translated outside of the studio, especially as we drew close to working on Eclectic. People with ears I trust told me that ATC is the way to go.”

After performing due diligence with trials of numerous top-end reference monitor manufacturers, Johnson arrived at the same conclusion. He purchased a pair of ATC SCM25As, which feature a three-way active design starting with a seven-inch low-frequency driver. “The ATCs have a great vibe and they’re fun to mix on,” said Johnson. “The imaging is solid and in-phase, and the top end is natural – not glitchy or peaky or spikey. They’re pleasant at whisper volume or blaring, and the response seems pretty linear across that range. I’ve also noticed that we can monitor at high volumes on the ATCs as long as we like and they never become fatiguing. So the in-studio experience on the ATCs is great. Beyond that however, the mixes we’ve done on the ATCs translate beautifully, and we don’t have to second-guess ourselves anymore.”

Part of the Concord Music Group, instrumental music label Heads Up International released Eclectic, and thus sent it to Concord’s multiple Grammy Award-winning mastering engineer Paul Blakemore. For years now, Blakemore has been mastering on ATC SCM150ASL monitors. “The ATC monitors are the most accurate loudspeakers I have ever heard, and I can’t imagine using anything else,” he said. “They work equally well on any genre of music, which is very unusual and particularly important for Eclectic. As the name promises, Eclectic is eclectic! It runs from rock, to jazz, to blues, to R&B, and to everything in between. The ATCs were critical for getting the high end correct and consistent across all those styles. Similarly, the ATCs were critical for making sure the low end was true and in the pocket from song to song. Once I get things right on the ATCs, I’m confident that the final product will translate to any other system in the world.”

In November 2014 and January and February 2015, Johnson and Stern are taking their otherworldly chops on the road for an extended U.S. engagement.

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

(PHOTO CREDIT: © 2014 Max Crace)

METRIC HALO LAUNCHES VERSION 2 OF PRODUCTION BUNDLE PLUG-INS – ADDS VST AND WINDOWS SUPPORT

MH_ProductionBundle_v2SAFETY HARBOR, FLORIDA – NOVEMBER 2014: Metric Halo is pleased to announce the immediate availability of version 2 of its Production Bundle plug-ins. The new plug-ins provide a comprehensive set of tools offering Metric Halo’s signature sound quality at a compelling price.

The full Production Bundle includes eight fantastic plug-ins that provide engineers, producers, musicians and sound designers with the tools they need to create world-class mixes and productions. Starting with the world-renowned ChannelStrip, the Production Bundle adds TransientControl, Character, HaloVerb, Dirty Delay, Multiband Dynamics, Multiband Expander, and the Precision DeEsser.

NEW PLUG-IN
The v.2 of Production Bundle introduces a brand new plug-in – MH Dirty Delay. Dirty Delay is a visceral, gritty, fantastic-sounding musical feedback delay processor with integrated Character and filters in the delay path. It can create awesome vintage echo and tape-delay style sounds as well as lush and subtle spaces in a mix. New users are already finding that it is more “real” sounding than alternative in-the-box delay processors.

NEW PLATFORM SUPPORT
The v.2 of Production Bundle adds exciting new features and platform support. With this release, Metric Halo is providing VST versions of the plug-ins for both Mac and Windows, in addition to the previously supported Pro Tools AAX on Mac and Windows, and Audio Units on Mac. All of the plug-ins support 32-bit and 64-bit hosts on all platforms. Version 2 supports both computer-based licensing and optional iLok dongle-based licensing.

NEW FEATURES
In v.2, Multiband Dynamics and Expander add comprehensive band linking controls to allow the user to adjust the overall processing as easily as they can adjust the per-band processing. Character adds selectable Auto-Drive to the processing. Character is a subtle processor that adds the essential Character of a wide variety of analog devices to the signal. With Auto-Drive enabled, Character is transformed into an effects processor that can add grit and color to tracks – regardless of the input level. Finally, TransientControl adds selectable Auto-Sensitivity making it a much more versatile transient processor and easier to use. With Auto-Sensitivity, regardless of the signal level TransientControl can pull out transients and modify the sustain and tail of sounds.

ONE LICENSE, ALL FORMATS
The license for all Metric Halo plug-ins covers the Native and DSP accelerated versions on Pro Tools AAX and Native versions for VST and AU on both Mac and Windows. The plug-ins are each available individually or as part of the Production Bundle.

A LOT OF PERFORMANCE, NOT A LOT OF PRICE
Metric Halo products are available from dealers or directly from http://mhlabs.com. New software licenses for individual plug-ins are available for a MSRP of $179 each, and are currently on sale for only $75 each (until 10/31/2014). New Production Bundle licenses are available with a MSRP of $699, and are currently on sale for only $299 (until 10/31/2014). Version 2 is a free update for existing v.1 users.

Free 30-day trials for the Production Bundle are available from http://mhsecure.com/DemoCentral.

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

www.mhlabs.com

IT’S METRIC HALO FOR LEGENDARY MASTERING ENGINEER HERB POWERS, JR.

Herb_PowersNEW YORK, NEW YORK – NOVEMBER 2014: “We’re in the business of correctly preserving a musical vision that occurred at a moment in time,” says legendary mastering engineer Herb Powers, Jr. “Sure, we make it commercial and tweak it up a bit, but really we’re preserving that picture as best we can.” Powers’ philosophy – which is about the soul of the music and not its technicalities – has clearly worked for him: the veteran mastering engineer has earned numerous Grammy Awards and nominations and innumerable Platinum- and Gold-certified albums. His list of clients includes Mariah Carey, Alicia Keys, Justin Timberlake, Usher, Nelly, Missy Elliott, Lauryn Hill, Salt-N-Pepa, Run DMC, Afrika Bambaataa, Outkast, Toni Braxton, Babyface, Puff Daddy, Jennifer Lopez, Pink, and countless others. Among Powers’ trusted tools are Metric Halo SpectraFoo sound analysis software, a Metric Halo ULN-2 A/D/A interface, and, more recently, Metric Halo plug-ins.

For decades, his father, Herb Powers, Sr., worked for CBS as a quality control engineer in the company’s Manhattan studios, which gave the younger Powers an insider’s view of the business. Indeed, Powers remembers attending a session with his father for Sly and the Family Stone. Apart from a signed record, Powers came away with rare insight into the production of recorded music. When he was DJ’ing years later, Powers tapped that insight to give shape to the dissatisfaction he felt: “Most of the records I spun didn’t sound that good,” he said. “I was inspired to do something about it!” Following his father’s advice, Powers secured a position at NYC’s famous Frankford/Wayne in 1977… literally in the mailroom. True to the cliché, he worked his way up to eventually command his own mastering room. When Frankford/Wayne folded, he moved to The Hit Factory. Since it closed its doors in 2005, Powers has been working under his own flag, Powers Mastering Studio.

“I have Metric Halo SpectraFoo in front of me every minute of my work day,” said Powers. “I used to have a nice hardware metering system, but it eventually died. I looked into replacing it with another hardware system, but I also explored my software options. SpectraFoo looked good, and when I realized I could get SpectraFoo along with a dedicated 11-inch Apple MacBook Air for less than the cost of another hardware system, I went for it. Of course, I still ultimately rely on my ears, but I constantly reference SpectraFoo’s RTA and stereoscope. I have my tools selected and organized, and the MacBook Air’s only function is to run SpectraFoo. For less than the price of a hardware analyzer, I got better tools, better real estate, and a perfectly customized experience.”

Powers’ setup is an amalgam of workflows that reflects his decades in the business. Apart from a Studer tape machine, a DAT player, and other now-seldom-used playback devices, he maintains a playback computer loaded with every conceivable music production software. Signal from that computer enters the analog domain via a dedicated Apogee DA, where it then winds its way through Powers’ trusted collection of analog equalizers, filters, and dynamics processors. He uses his Metric Halo ULN-2 to capture signal in front of the processing for comparison in SpectraFoo and, more critically, as the AD converter in front of his dedicated record computer, which runs Sonic Studio SoundBlade mastering software. “I have a lot of nice analog gear, and I’m super comfortable using it,” he said. “As soon as I hear something in the music, I know which knob to turn. Because I always go analog, good conversion is important, and the Metric Halo ULN-2 sounds totally transparent. It works solidly even at 24bit/96kHz.”

Despite Powers’ reliance on analog gear, he’s happy to incorporate more plug-ins, and sound quality and well-constructed factory presets have made Metric Halo’s line of plug-ins a growing favorite. “A lot of times I’ll hear an issue that stands apart from the usual balancing that I use my analog gear for,” he said. “I use Metric Halo TransientControl, ChannelStrip, and Multiband Dynamics to correct it in the playback machine. Then I can go out of the playback machine and make the usual sorts of corrections I make with the hardware. The Metric Halo plug-ins sound great and they’re very fast to use. I can always pull up a factory preset that gets me most of the way there. I just have to adjust a ratio or a threshold and it’s good. Since everything these days is on a tight deadline, that speed is important!”

As a professional who has spent nearly four decades making music sound fantastic, Powers laments the industry shift towards compressed audio formats and its growing tolerance of clipping and distortion in the pursuit of volume. Nevertheless, he holds out hope that bandwidth will eventually allow consumers to enjoy the full fidelity of his work as he hears it in his studio.

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

www.mhlabs.com

HARTER MUSIC PULLS THINGS TOGETHER WITH API 1608

www.joshhuskin.comSAN ANTONIO, TEXAS – NOVEMBER 2014: In San Antonio, Texas, Harter Music has been working on a 32-channel 1608 for almost a year now – and they are hard-pressed to choose their favorite part about it. Keith Harter owns the studio, and along with his team Jonathan Harter (producer and engineer), Jorge Infante (sound engineer) and Joshua Harter (Composer) Harter Music has carved itself a permanent place in the “diverse culture involved with Texas music.” Keith explains, “We work on all kinds of music. There’s a lot of country, blues, rock, gospel, a good deal of hip-hop and R&B as well. Tejano music is particularly unique to our area, so we work with lots of artists in that genre.”

In addition to recording other artists’ work, Keith and Joshua work together as in-house composers, which they consider an equally diverse role. “We write everything from stripped down ukulele tunes to full-on orchestral film score pieces. A lot of our favorite work is scoring to picture.” In fact, the music that the Harters produce for on-camera work had a lot to do with their decision to purchase and install a 1608. “Writing and recording music for commercials, television and movies is a large part of our business, and now the 1608 gets used for all our commercial music.” Reliability was essential when choosing equipment that Harter Music would use so frequently, and that made their choice simple. “We felt very comfortable selecting the 1608 because we’ve always received great service from API. When it comes time to maintain or repair something, we know API is going to be very easy to work with.” The Harters were already familiar with the API brand because, before the 1608 arrived, the studio was well stocked with API gear, but they wanted one cohesive unit.

Keith got in contact with Darrin Fendley at Vintage King for a solution. “We ordered the 1608 unloaded because we already had a lot of API EQs. That was a huge part of what made the console affordable for us.” Harter Music didn’t want to move away from the gear they already had because “The pre-amps and the EQs sound so good! The console format just makes it easier to record and mix now that the gear is in the chain. It’s also super easy to route things in a bunch of different ways to accommodate any set up we’re using.” There was one other element that Keith says impressed him about his API gear and especially his 1608: “We like the sound, most importantly. It’s equally as great sounding as our other gear, solidly built, but way bigger! It’s a great feeling when you’re sitting behind that much API.” Before the 1608 made its debut, the studio also boasted a 2500 stereo compressor, a 3124 mic pre, and a six-slot Lunchbox®. Having everything in one place, however, is one of the things that has changed their work the most. “We couldn’t efficiently run all analog sessions before. Now we can record and mix all on tape if we want.”

Another bragging point for Harter Music is the celebrity artists who have recorded in the studio in the last year. George Strait and Cheyenne Jackson are mentioned particularly by Keith, who is very proud of how busy Harter Music continues to be. The studio just wrapped on an upcoming movie The One I Wrote for You. “It was an intensely musical project where lots of actors sang songs in the film. We spent over a year recording and mixing everything – it was such a blast.” The studio shows no signs of slowing down. If you want to keep up, or are interested in a project of your own, check hartermusic.com or facebook.com/hartermusic for updates.

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

www.apiaudio.com

API’s BOX USHERS IN BIG CHANGES FOR MIXER SCOTT ROSSER

Scott_RosserLONDON, UNITED KINGDOM – NOVEMBER 2014: Source Distribution continues meeting success for API’s BOX console in the U.K. with a sale to popular mixer/engineer Scott Rosser. Rosser, who has “remixed many of the biggest pop names in the industry including Rihanna, Lady Gaga, and Mariah Carey,” has been working from the spare room in his home for almost two years now. Although he wants to return to a permanent studio, he knew he needed the right gear before finding a new space. A solution arrived in April when Rosser ordered the BOX after just one demo session with Andy Bensley of Source Distribution. “Source kindly set up a demo unit at their London office for me to try out. I liked the look of the BOX straight away, and ran a stem session through the summing section. It sounded great!” Following the demo, Rosser immediately met with Mark Cooke at Tyrell London, one of Source’s dealers, and soon had a BOX of his own.

It’s not just Rosser’s location that is in flux; his main focus in the music industry has also shifted from “mainly commercial dance” to “more pop and urban stuff due to the success and expansion of 3 Beat as a label.” Rosser started working with 3 Beat Productions several years ago, and also works under the name ‘Cahill’, which is the title he uses most often when remixing for bigger-name artists. However, his success did not happen overnight. Rosser has worked in the recording world since 1989, when he was studying at Salford University in Manchester. The trends in music at the time helped form Rosser’s career, as he explains: “The city was at the forefront of the UK club culture and the Acid House revolution, so I was always interested in the electronic side of things.” Rosser and another “like-minded producer” then formed the band ‘Dario G’, which was so successful through the ‘90s that they sold 4.5 million records. “We had a few hits across Europe, and went on to release a host of underground house/rave tunes. It was a great experience.”

Now Rosser is expanding his studio’s power without taking up more space. “The BOX had everything I was looking for in one unit whereas the other options I was considering were all separate pieces. My small workspace made having everything to hand on one desk appealing.” Before the BOX, Rosser had considered API consoles out of his reach. But in the early 2000s feeling all dance music was starting to sound alike, Rosser knew he could solve the problem with analog recording equipment. “I wanted to apply a new approach which would help my mixes stand out amongst the competition. I noticed a press release for API’s new project console, and the BOX caught my attention immediately. I’ve only scratched the surface with mine, and it’s already made a big difference to my work.” This success has encouraged Rosser to look ahead to even more changes in his career.

“I’m putting some time aside in the new year to move to a purpose-built studio. I’m sure there’ll be other API units added soon. The 2500 compressor especially looks good…I know The BOX is going to serve me well for years. The build quality is excellent, it’s versatile, and I can now expand the rest of my system around it.” Since April, Rosser’s BOX has been as busy as he is. The BOX was used to mix an album by Fuse ODG, singles for Lethal Bizzle and Stylo G, and official remixes for Cheryl Cole, Ellie Goulding, Nicole Scherzinger, Olly Murs, and the boy band Rixton. Compared to mixing before the BOX, Rosser says his work has changed dramatically for the better. When asked what he likes best about The BOX, Rosser replied “Quite simply, the sound! That’s what I bought it for and it has delivered. It immediately added stereo width and a deep, warm feel that I’d been missing in previous mixes.”

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

www.apiaudio.com

InfoComm Announces University Days in Cardiff & London

InfoComm International®, the leading trade association representing the audiovisual and information communications industries worldwide announces two InfoComm University™ Days to 18th November at the Thistle Cardiff City Center and 20 November onboard the HMS Belfast, London.

Cardiff and London University Days are supported by Canon Europe. The London University Day is supported by Audio-Technica.

Chris Lavelle, Regional Director, UK & Ireland at InfoComm International said: “We’ve got an amazing line up of expert speakers who will present informative and topical issues. Interested parties are encouraged to sign up as early as possible.”

Each day will be a full day of education covering topics including networked microphones to the behavior of light in projection, LED video wall displays, cloud computing, big data and a look at InfoComm’s new AV Systems Performance Verification Guide. Each event will be followed by a networking reception to reflect on the day.

Certified Technology Specialist holders can earn CTS® renewal points. Each event is free to InfoComm members and includes lunch.

There will be prize giveaways for delegates including a compact digital camera from Canon at both events and pair of Audio-Technica headphones at the London University Day.

Viewing the full schedule is highly recommended. Please visit:

Cardiff – http://www.infocomm.org/cps/rde/xchg/infocomm/hs.xsl/40438.htm
London – http://www.infocomm.org/cps/rde/xchg/infocomm/hs.xsl/40532.htm

BlackTrax delivers realtime tracking to d3 at LDI 2014

1 BlackTraxBeacon

BlackTrax delivers realtime tracking at the d3 Technologies booth 1275 at LDI 2014, 20-23 November 2014, Las Vegas Convention Center, NV

Realtime motion tracking solution specialists, CAST BlackTrax will provide core motion tracking to support d3 Technologies booth at LDI 2014. In addition, BlackTrax expert staff will be present on the d3 booth to answer any questions in relation to tracking. The d3 booth is aimed at enabling creative designers and entertainment production professionals to see its latest hardware and to get a glimpse of what the future of live projection has in store.

Delivering targets on time

Whilst the exact nature of the d3 demonstration is a closely guarded secret until the show, the booth is designed to give projection designers the ultimate freedom to move. BlackTrax will be integrated with d3’s upcoming Dynamic Blend feature to track several objects.

With the benefits of fast, consistent and precise image tracking quality and reliability, BlackTrax delivers realtime tracking data to downstream technologies such as audio, lighting, multimedia and video cameras. At the same time, it can track performers, props, a moving video wall or projection display canvas.

Excited about the latest step in the technical collaboration between the two companies, Gil Densham, President at CAST BlackTrax said: “We have worked alongside d3 on a number of the world’s highest-profile, cutting-edge projects such as Marvel Universe LIVE! and a Honda Dealer Meeting, during 2014. We’re delighted to provide our BlackTrax solution to the d3 booth, helping to show its new media servers at their best.”

Ash Nehru, Software Director at d3 Technologies added: “We’re always looking for ways to advance the state of the art, and the ability to easily project content onto moving objects is clearly the next step. We’re conscious that we’re discovering a whole new design vocabulary – we’re excited to put this in front of creative designers at LDI, and see what they will do with it. BlackTrax has played an integral role in helping us to deliver that vision consistently in the high-pressure live environment.”

1 Gil Densham, President & CEO, CAST Group and Ash Nehru, Director of Software, d3 Technologies

Gil Densham, President at CAST BlackTrax and Ash Nehru, Software Director at d3 Technologies.

www.blacktrax.ca

Chandler Limited celebrates NAMM TEC Award Nomination with TG2-500 Pre-Amp GIVEAWAY

Chandler Limited celebrates TG2-500 NAMM TEC Awards nomination with giveaway TG2-500 preampChandler Limited celebrates TG2-500 NAMM TEC Awards nomination with giveaway

Shell Rock, IA – November 2014 …Chandler Limited is proud to announce the TG2-500 Pre Amp from our esteemed EMI/Abbey Road Studios series has been nominated for the 30th annual NAMM TEC Awards.

Chandler Limited’s TG2-500 pre-amp is a recreation of the rare EMI TG12428 pre-amp used in EMI/Abbey Road Studios recording and mastering consoles from the late 60s and early 70s. The sound of the EMI/Abbey Road Studios equipment is world renowned, and imparts a unique and pleasing sonic character as heard on many famous recordings done at Abbey Road including The Beatles’ “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums.

TG2-500 GIVEAWAY

In jubilation over the NAMM TEC Awards nomination, Chandler Limited is giving away TG2-500 Pre Amp serial No. 1 to one very lucky winner. Click here to enter the TG2-500 Giveaway.

 

About Chandler Limited

Headquartered in Shell Rock, Iowa, Chandler Limited, Inc. is a boutique manufacturer of high-end signal processors, mixers, and amplifiers for musicians and audio professionals. Recognized globally for its exquisitely handmade products and the company’s high profile clientele, Chandler’s product offerings include the Abbey Road/TG line, its unique Germanium transistor series of products, the 500 Series Modules, plus its recently introduced guitar pedals and amplifier. For additional information about all Chandler Limited products, please visit the company online at www.chandlerlimited.com.

About Abbey Road Studios

Abbey Road Studios are the most famous recording studios in the world and an iconic symbol of British music.  They have been home to countless landmark recordings and pioneering advances in recording technology.  Opened in November 1931, Abbey Road Studios were the world’s first purpose-built recording studios.  The hallowed building has a phenomenal history spanning over 80 years, during which the studios have hosted many of the world’s most famous artists, including the Beatles, Pink Floyd, the Hollies, Kate Bush, Oasis, Florence and the Machine, Adele and Lady Gaga.  Abbey Road is also one of the world’s premiere locations for movie scoring.  Since the 1980s, scores for films such as Raiders of the Lost Ark, the Lord of the Rings Trilogy, Braveheart, and The King’s Speech have been recorded there.  The list continues with many other major titles, including Shrek, Prometheus, Harry Potter, Skyfall, and The Hobbit.

 

Abbey Road Studios, EMI, TG and their associated logos are trademarks of EMI (IP) Limited.

HOSA TECHNOLOGY ANNOUNCES PRO BREAKOUT CABLES

**** Photo: The new Hosa Pro Breakouts ****

**** Photo: The new Hosa Pro Breakouts ****

Buena Park, CA – November 2014… Hosa Technology, the leading innovator of analog and digital connectivity solutions for the modern musician, is pleased to introduce the latest line expansion to the Hosa Pro line of cables. The new Hosa Pro Breakouts make the process of interfacing consumer audio products with professional equipment easier than ever. With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can seamlessly be interfaced with professional units sporting quarter-inch Tip/Sleeve, XLR, or even RCA connectors. more

Sound Devices 970 Audio Recorder Earns NAMM TEC Award Nomination

Company’s First Dedicated Rack-Mounted Audio Recorder Features 64 Tracks of Dante and MADI

REEDSBURG, WI, NOVEMBER 4, 2014 – Sound Devices, specialists in professional audio and video products, is pleased to announce that its 970, the company’s first dedicated rack-mounted audio recorder, which boasts an impressive 64 channels of Dante and MADI with FileSafe™ technology, has been nominated for the 30th Annual NAMM TEC Awards in the category of Outstanding Technical Achievement, Recording Devices.Sound Devices 970 - front panel

Founded in 1985, and presented by the TEC Foundation for Excellence in Audio, the TEC Awards are the longest-running awards show specifically recognizing outstanding achievement in product innovation and sound production. The awards ceremony will take place on Saturday, January 24, during the 2015 NAMM Show, one of the world’s largest global music industry trade shows, held annually in Anaheim, CA.

“We are honored that the 970 has been nominated for the prestigious TEC Award,” says Paul Isaacs, VP Marketing and Product Design, Sound Devices. “It’s great to receive such recognition from the professional audio industry for our first dedicated rack-mounted audio recorder. For audio professionals requiring a significant number of audio channels, the 970 is an incredibly powerful and flexible tool, backed by Sound Devices’ reputation for high-quality audio and reliability.”

A half-rack, 2U audio recording device, the Sound Devices 970 simplifies any application requiring high-quality, high-track-count audio recording, including live musical productions, concert recordings, and drama- or reality-based productions. Incorporated into the 970, FileSafe recovers audio files if, during recording, drives are unintentionally removed or power is lost.

Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying, and allows for continuous long-form, high-track count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from an external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names and reel folders can be performed during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also operates as a bridging interface between analog, AES digital, MADI and Dante connectivity.

Additionally, the Sound Devices 970 features the company’s proprietary PowerSafe™ technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. Should this occur when a drive is inadvertently removed during recording, the user can simply reinsert the drive and FileSafe will automatically repair the files.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Berlin-Adlershof, Germany. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.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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