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Archive of the NAMM Newslink Category

Prism Sound Assists With Gavin Harrison’s Drum Masterclass

Internationally acclaimed drummer Gavin Harrison who has worked with a wide range of artists including Iggy Pop, Sam Brown and King Crimson, recently held a drum workshop at Ananda Studios in Cambridge, during which he revealed the secrets of creating a great drum take.

Hailed as a unique and inspiring event by those who attended, the workshop focused on the demands of being a session player and how to deliver a great performance, even when under pressure.

After starting the session with some basic coordination exercises, Harrison, explained the drum part in a specific song and described the techniques he would employ to deliver and capture the sound. Afterward, those taking part were given the opportunity to play the drum part on his kit and have it recorded in Logic by Ananda Studio’s engineer Neil Cowlan so that they could review their performance with Harrison.

“The opportunity to play along with Gavin and then have him critique my performance was great,” said drummer Russ Tarly, one of the 24 people who attended. “This is the first time I’ve come across such a hands-on event and it worked really well. I knew I wanted to do it because it was so specialized. I’d love to see more events like this because I’m sure there are plenty of other drummers who would enjoy going through this experience.”

To ensure the highest possible audio quality throughout the recording chain, Ananda’s Neil Cowlan deployed two recently acquired Prism Sound Atlas audio interfaces, which were used to track 9 microphones from the drum kit into Logic.

As the latest addition to Prism Sound’s professional USB interface family, Atlas is aimed squarely at multitrack recording applications. Atlas benefits from Prism Sound’s 27 year history in digital audio processing and interface design and incorporates the company’s latest award-winning CleverClox dual hybrid clocking technology as well as eight of the company’s acclaimed microphone preamplifiers as standard. The Prism sound mic preamps are based on the very successful Orpheus preamps, but are upgraded with 20dB pads now available for all inputs. Atlas offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot, which was first incorporated into Titan and announced at AES New York in October 2013. Using this miniature expansion slot users can, for example, directly connect to Pro Tools|HDX systems and can also run with Apple and Windows native applications over USB. Other expansion cards are slated for future expansion of computer interface options.

For Gavin Harrison’s workshop, Prism Sound also loaned Ananda Studios a Lyra audio interface for additional monitoring. The microphones used for this project included a Shure SM91 and AKG D12VR for the kick drum; a Shure SM57 (top) and a Beta 57 (bottom) on the snare, an AKG C451 on rack toms and a Shure SM57 on floor toms.

Cowlan says: “The Prism Sound Atlas interfaces performed flawlessly, both during the Gavin Harrison workshop and at a private seven hour session that took place the day before. They are truly amazing AD converters and mic-pre’s that sound fantastic. It is no surprise that Prism Sound units are found in some of the finest recording studios in the world and the fact that we can now offer them, too, gives people another great reason for coming to record here.”

Located in the Cambridgeshire village of Littlington, Ananda Studios is a purpose built facility housed in the old Neve factory. Originally designed by Andy Munro, the studio was once used for R&D purposes and to demonstrate Neve consoles. Today, it is popular with a variety of artists who appreciate the combination of tranquil surroundings, great room acoustics and an extensive equipment list.

“The live room is a fully acoustically designed space that sounds wonderful for anything you can imagine recording. Drums, string quartets, guitars, vocals, percussion – it all sounds great,” Neil Cowlan says. “We also have a large range of microphones, pre-amps, EQ’s and other equipment to cater for almost any project, along with a huge collection of guitar and bass amplifiers including Marshall, Fender, PRS, Orange and Matamp.”

Following on from the success of the drum workshop, Cowlan plans to host similar events at the studio and will be announcing these very soon.

Prism Sound’s sales director Graham Boswell, who attended the workshop with Bernhard Nocker from the company’s sales and marketing team, adds: “We were delighted to be able to support this event by loaning the studio equipment and look forward to working with Neil again in the future.”

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

For more information: www.prismsound.com

Mandy Parnell Goes Green

Black Saloon Studios in East London is flying the flag for environmental awareness by using solar power to fulfil all of its electricity needs.

Award-winning mastering engineer Mandy Parnell, owner of internationally acclaimed facility, says: “We are using solar panels to power the entire studio and part of the attached living space. This is quite an achievement, considering we operate on a 24/7 basis and run an assortment of amplifiers, electronic instruments, microphones and studio hardware. If we can do it, I don’t see why other music industry companies shouldn’t follow suit – everyone should be looking at ways to reduce their carbon footprint and for businesses like ours solar energy also makes economic sense.”

Parnell says the transition to greener energy was very smooth and the panels are now providing enough power to sell a surplus back to the National Grid.

Based in Walthamstow village where Parnell has been a resident and business owner for 13 year, Black Saloon Studios hosts projects for a wide variety of artist including The XX, Feist, Sigur Ros, Bjork, The Knife, Frightened Rabbit, Brian Eno. Current projects being mastered at Black saloon include Glass Animals, Jungle, Bjork and Philip Selway.

Mandy Parnell’s presence in the Walthamstow Village has contributed to the ever-expanding creative and artistic community, by introducing a diverse range of artists to the area. “We are becoming a greener borough and my neighbours have really embraced our solar panel initiative,” she says. “The artists love it, too. I think everyone should be doing it.”

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For more information please visit www.blacksaloonstudios.com

Will Holland Invests in Prism Sound Titan Audio Interface

Globally itinerant musician and producer Will Holland is the latest high-profile buyer of Prism Sound’s increasingly well-regarded Titan USB multi-track audio interface.

Holland, aka Quantic, is currently setting up his latest studio in New York, after spells on the UK’s south coast in Brighton and seven years spent in Bogota, Columbia. His background encompasses a wide range of music styles – he started his career in instrumental hiphop and electronic music before expanding into producing soul, jazz and Latin music.

“Over the last couple of years I’ve been trying to centre on the concept of clarity and quality in the mixing setting,” he says. “My recordings comprise of different elements, often from a variety of sources. These may be recordings from tape, record and various sounds recorded on location, so it’s important to maintain a noise free, clear and undistorted sound at all times. I’m also doing a lot of work with very tonally rich sounds, acoustic instruments and percussion with a lot of upper register harmonics. It’s important to have a soundcard that makes the musicality shine and not have harsh digital edges or muddy sound.”

This, says Holland, is precisely where the Titan comes in. The interface is ideal for music and sound recording, mixing, multi-tracking, overdubbing, stem-based mastering, analogue summing and all critical listening applications. It provides Prism Sound’s renowned performance, sound quality and state-of-the-art clock technology in a dedicated unit compatible with both Windows and Apple platforms (Apple in Holland’s case) and once configured with a computer, Titan can also operate as a stand-alone interface.

Holland has used Prism Sound converters in various mastering sessions before, but this is the first time it has appeared in his own studio set up.

“What really appealed to me was the software management and the fact that all of the mic and input pres were software controllable,” says Holland. “This makes the unit very attractive to travel with because it is so quick and easy to set up. I find everything works instantly and the setup is quick and without glitches or tech issues. In my studio, space is also important, so the fact that Titan comes in a 1U package is very important.”

Holland’s most recent large-scale recording and music production was for a group called Ondatropica, a collaboration between himself and Mario Galeano, a fellow musician and arranger from Bogota. The initial album was recorded in Medellin at the legendary Colombian studio Discos Fuentes and has since been toured for two years. He also has his fifth solo record, Magnetica, about to be released on the Tru Thoughts label and is currently touring with various European gigs scheduled during May (www.quantic.org for full details).

“I believe the Titan will add a new dimension to my work,” he says. “I mixed a song with it last night and the whole mixdown process was infinitely easier than normal. The clarity in sound was excellent. It made the whole process much easier and quicker. I’m very satisfied with my Titan and am now looking forward to trying it out in some live sessions.”

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

For more information: www.prismsound.com

Harbinger Introduces New VâRi Series Powered Loudspeakers

Powerful, Versatile, and Affordable Portable PA Solution

Thousand Oaks, CA – May 2014… Harbinger Pro Audio, a provider of powerful, affordable sound reinforcement solutions, has announced the debut of the new VâRi Series of portable powered loudspeakers. The new generation of Harbinger speakers is designed to deliver the ultimate in power, performance, and versatility, at an affordable price point.

The new Harbinger VâRi line includes two distinct models to meet a wide range of users and applications, from bands and musical performance to DJs, Karaoke, and presentations. The V2115 is a 15-inch, two-way loudspeaker system that packs 600 Watts of crystal clear power and punch, with high-performance Class-D amplification and deep, solid bass response. The V2112 offers the same feature set in a 12-inch configuration for even greater portability and an even more affordable price.

Both units feature a host of new features, including an integrated 3-channel mixer with auxiliary inputs and XLR balanced line outputs for integrating into larger setups, as well as a built-in limiter and 2-band EQ for unparalleled control. Integrated handles and 1-3/8″ stand mounts are standard on all VâRi systems, making them ideal for both main PA and monitor applications.

“Our customers have been asking for a flexible, affordable, and easy-to-use powered loudspeaker, and the new VâRi Series is the answer,” states Harbinger Product Manager Jim Norman. “These speakers are perfect for small and mid-sized gigs, rehearsal studios, DJs, and spoken word presentations. They are truly the most versatile and affordable powered loudspeaker Harbinger has ever created.”

The new Harbinger VâRi Series is available now in stores and online. VâRi V2115 carries a street price of $249.99, with the V2112 model’s street price at $229.99.

For more information, visit the all-new Harbinger website at www.harbingerproaudio.com, or check with your favorite music retailer.

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ABOUT HARBINGER PRO AUDIO

Harbinger Professional Audio brings together advanced engineering and manufacturing technology to deliver high quality sound reinforcement components that offer performance, power, and reliability in an affordable package. Harbinger products are built with rugged, professional components and construction for dependable, rock solid performance.

For more information on the complete range of Harbinger Pro Audio products, contact Harbinger, P.O. Box 5111, Thousand Oaks, CA 91359.

www.harbingerproaudio.com

THE BOX MIXES IN NORWEGIAN HOME STUDIOS THROUGH KAN LYD

SKIEN, NORWAY: Operating out of the home of sound engineer Kjetil Arvesen Nesheim, Kan Lyd is a growing professional project studio for mixing and overdubs. While recording and mixing full productions, Kjetil often travels with his studio gear to record throughout multiple locations. To create the sounds of a big studio through smaller recording spaces, Kan Lyd has commissioned API’s THE BOX console to accommodate the needs of recording artist clients with worldwide audiences.

Kjetil had dreamed of owning a high-end console for years, and was inspired to make an API purchase after listening to vintage American vinyl recordings. He specifically cited Fleetwood Mac’s album Rumors, which was recorded through an API console in 1977. Kjetil contacted API’s Norwegian distributor Prolyd to find a system that would integrate seamlessly with the rest of his gear, and fit the needs of Kan Lyd.

“As soon as I saw the ad for THE BOX, I knew it was the right console for me,” recalls Kjetil. “After I started using it, my mixing became faster and easier, and made my mixes sound more three-dimensional. All instruments blend together perfectly. It sounds bigger, wider, and clearer all at the same time.” Kjetil also appreciates the versatility of THE BOX, and it’s optimization for the digital era. “The idea of having twenty channels of summing in mix-down, built-in preamps, EQs and compressors was very intriguing.”

For mixing purposes, Kjetil had two additional 550B EQs installed. “The first four channels of THE BOX are dedicated to drums: a 550A for kick and snare, and a 550B for toms. I’ve got the compressor strapped to the mix bus at all times. Doing it this way gives me the best of two worlds. It sounds more expensive now.”

On top of working on a voiceover project for a digital guide, the latest album for Christian rock musician Arvid Pettersen is being mixed at Kan Lyd. Kjetil comments that THE BOX has improved his work flow in comparison to his past recording projects. “This is my first experience with API gear, and I love it.”

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

JOHNSON AUDIO WORKS SUCCESS IS BASED ON QUALITY: DANLEY SOUND LABS SPEAKERS AND SUBS HELP MAKE IT HAPPEN

COMER, GEORGIA: Bill Johnson knows live sound. Before assuming the roles of full-time technical director and chief audio engineer for the massive touring Kenneth Copeland Ministries, where he served for fourteen years, Johnson cut his teeth mixing for acts such as Concrete Blonde, the Dave Matthews Band, Ice T, and Widespread Panic. In 2000, Johnson started his own company, Johnson Audio Works, to marshal that extensive experience for the benefit of clients with small- to mid-sized live events. Recently, Johnson upgraded his rig to Danley Sound Labs, his newfound favorite loudspeakers and subwoofers. Now, Johnson graces clients with improved fidelity and impact delivered by a pair of lightweight but hugely efficient Danley SM-80 full-range loudspeakers and a pair of powerful Danley TH-118 subwoofers.

Most of Johnson’s clients are ministries, government, and community organizations, with a few upscale weddings thrown in for good measure; and three-quarters of the content he is responsible for is spoken word. His audience sizes typically range between 300 and 700 people. After recently relocating from Texas to Georgia, Johnson has developed a closer relationship with the engineers at Georgia-based Danley Sound Labs. “Of course, I was aware of Danley Sound Labs and its reputation – the pro audio industry isn’t so big,” he said. “But the first time I actually heard Danley products, I was hooked.” Part of Johnson’s success is his commitment not just to sound quality, but to the system’s overall appearance and its fine scale details. “I aim for installation quality for temporary events,” he said.

The Northside Jam is an annual event put on by Rick Nunez Ministries in Fort Worth, Texas and serves as an excellent example of the power of Johnson’s new portable Danley system. Last year, Howard Scott, former band leader of the 1970s act, War, headlined and drew 1,500 people to Marine Park. “The guy I hired to run FOH couldn’t believe I was seriously going to cover the event with just two Danley SM-80s for full-range,” Johnson said. “He could understand the two Danley BC-415 subwoofers, which I had on loan from Ivan [Beaver, Danley’s chief engineer]. But I walked in with the two SM-80s, one on each arm. They just don’t look capable of delivering the necessary SPLs. He expressed his concern but totally changed his tune after sound check. Not only were the SM-80s plenty loud enough, the sound quality was outstanding. He said it felt like mixing on studio monitors! That was at 110 feet from the stage, outdoors! I walked back 350 feet and the sound was still natural and balanced. Danley’s high-end output is notable and makes the SM-80 pleasant and effective for both near- and far-field applications.”

He continued, “In my world, it’s hard to find a one-box-fits-all solution, but the SM-80 is it. Not only is the sound quality excellent, the size greatly simplifies my set up time. That’s critical, because the margin on live events is small. I’m able to charge the competition’s rates, but where they have a four or five hour bump in, I’m able to get the job done in just two. Moreover, the Danley system tunes up with almost no adjustment, so I’m able to quickly move on to making things look nice and tending to the client’s requests. I think part of Danley’s success is the fact that everyone in the company has lived and breathed in the live and installed sound industries before. It’s more than just the sound.”

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

www.danleysoundlabs.com

(PHOTO CAPTION: IFCM Branson Service in 2013.)

RF Venue Releases RF Explorer® RackPRO™

ASHLAND, MASSACHUSETTS: Boston-based wireless audio manufacturer RF Venue has released the RF Explorer® RackPRO™ a unique hardware/software spectrum analysis platform designed to manage and monitor any size wireless audio system from a USB-connected laptop or directly onboard a wireless equipment rack. The RackPRO is the first easy-to-use, affordable RF spectrum analyzer in a standard 1-RU housing with included RF coordination, monitoring, and management software all available from RF Venue.

“The ability to visualize, monitor and manage RF has never been more critical as the wireless spectrum becomes a more hostile and unpredictable place for wireless mics and IEMs,” says RF Venue CEO Chris Regan. “To date this capability has been limited to expensive test equipment and the expertise of trained RF system coordinators. We are thrilled to finally bring this capability to the broader wireless audio market in a system tailored for live production and installed sound.”

The RackPRO can provide a quick assessment of RF activity in standalone mode via an onboard LCD screen and front panel hardware controls, or connected via USB to a Windows or Mac computer for expanded functionality. With the included Clear Waves software, users can see spectrum activity in their venue, calculate sets of intermodulation distortion-free frequencies, and export it all to PDF report files or to compatible Shure® Wireless Workbench® and Professional Wireless Systems® IAS file formats. Individual transmitter frequencies can also be labeled and monitored to catch dropouts or interference before they ruin a performance.

“Clear Waves strikes the right balance between ease-of-use and powerful functionality for Windows users. We will also soon be releasing a RackPRO compatible native application for Mac OSX,” continues Regan. “For our dealers and customers routinely frustrated by the unpredictable nature of wireless audio systems, the RackPRO will provide greater reliability and long overdue peace of mind.”

The RF Explorer RackPRO is now shipping and is priced at $849 MAP. For ordering information or to join the fast growing community of RF Venue dealers, visit www.RFVenue.com or call 1-800-795-0817.

ABOUT RF VENUE RF Venue is a new wireless audio company specializing in remote antennas, RF distribution equipment and RF signal management and monitoring systems for audio/video installations and live sound events.
www.rfvenue.com
Contact RF Venue at 800-795-0817 or email orders@RFvenue.com for further details.

FORT WORTH BUILDS ITS STUDIO PROFILE WITH AN API 1608 CONSOLE

FORT WORTH, TEXAS: Over a span of 25 years and growing out of two previous studios, producer/engineer/studio owner Bart Rose has made his presence known in the Texas music scene through what is now called Fort Worth Sound. The studio works with both bands and singer/songwriters ranging from rock, country, blues and jazz. A new 1608 console by API completes the transformation of Fort Worth Sound’s Studio A, which has been a project in the making since 2008.

It took years to complete the construction of Fort Worth’s Studio A. “I wanted a console with amazing analog character, a small-ish footprint, and great reputation in the production world,” shares Bart. “There had been times when a prospective client looked at my control surface and asked ‘where’s the console?’ We think you will agree that Fort Worth Sound is one of the finest recording studios in the North Texas area.”

Studio A, which houses the 1608 console, accommodates the majority of the album recording and mixing projects. Since purchasing the console, Bart has used the console for several recording sessions. “I love the sound of the preamps. Just having amazing preamps with a high-pass filter yields great results on tracks that don’t need EQ.” Bart takes the sound coming from the studio into great consideration. The main recording room for Studio A has twelve-foot ceilings, independent climate control for each room, and floating floors to avoid low-frequency rumble from city traffic.

Since 2008, Fort Worth Sound has worked with major artists including The Toadies, Los Lobos, and Pat Green. Soon after the 1608 commissioning, the studio hosted a very successful two-night open house, where past and perspective clients were shown the new capabilities of Studio A. Bart has confidence that the purchase of the 1608 will diversify his studio profile. “I have a feeling this console will attract clients who wouldn’t have recorded with me before I had an analog console on the front end.”

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 CAPTIONS) (TOP) Bart Rose with the API 1608 console in Fort Worth Sound’s Studio A. (BOTTOM) FortWorthSound_StudioA.JPG: Studio A at Fort Worth Sound.

METRIC HALO ULN-8’s FRONT IMMERSIVE IDEAL – A RECORDING SESSION ON DISPLAY AT D.C. AREA MUSEUM

ARLINGTON, VIRGINIA – APRIL 2014: Beauty Pill is the musical brainchild of veteran producer and engineer Chad Clark, who founded the band in 2001 shortly after the dissolution of Smart Went Crazy. Both bands have received heaps of critical praise from outlets local to Washington D.C. and from the national press. Solid songwriting has turned Beauty Pill’s on-again/off-again status into something that promotes, rather than detracts, from its cult following. Beauty Pill recently teamed up with the Arlington, Virginia-based Artisphere museum to take on a unique artistic, musical, and sociological experiment. The band set up in a large room inside the museum with a windowed overlook and spent two weeks on display recording an album. Although they went in with racks of borrowed A-list studio gear, their initial recordings fell flat. It was only after Clark stripped everything down to just his Metric Halo ULN-8 interfaces that the recordings came alive, a testament to the ULN-8’s fantastic sound.

“Artisphere initially approached me to ask if I could do something ‘musical’ in the museum’s beautiful space,” explained Clark. “I was touring around, trying to come up with some ideas, when they showed me a large room with a window that overlooked it. It reminded me of Abbey Road Studio 2, where the Beatles made a lot of famous recordings. That put the idea in my head to do a recording there. It would be live in the sense that people would be watching us, but my plan was to record exactly as we would in a normal studio… including all of the discussions, overdubs, and the like. I thought it would interesting for the public to see that process – I have some non-musician friends who seem to think an album is made in almost the time it takes to listen to it!”

A musician first, Clark happily fell into engineering and production when other bands in the D.C.-area approached him because they liked the sound of Smart Went Crazy. He quit his day job in 1998 and spent nearly a decade between now and then as a mastering engineer at Silver Sonya. These days, he works mainly as a mix engineer, where he finds his passion for music is best nurtured. “It was working with Beauty Pill that first got me interested in the Metric Halo ULN-8,” Clark said. “It seemed to fit what I needed and what the band needed. Although I have nothing against low-fi recordings, I have no romance for them. I like sound that is vivid and the descriptions of the ULN-8 conveyed that idea. It’s turned out to be completely true – the ULN-8 is a miracle device! It’s incredibly flexible, and everything I record with it sounds amazing.”

Nevertheless, when someone goes to do a big studio recording – especially one that will be on display – there are certain preamps with legacies deep in the recordings of the late 1960s that engineers naturally assume will be the best choice for a rock record. With the help of friends at local studios, Clark amassed a rack of the choicest analog preamps and processors available. “We mic’d everything up with the best mics for each application and ran them to the textbook pro preamps that engineers have been using for decades,” he said. “The initial recordings were okay, but they weren’t fantastic. We all agreed that they fell kind of flat. So we simplified the mic’ing and pulled out all those great preamps, relying entirely on the Metric Halo ULN-8s for preamps and conversion to 24-bit/88.2kHz.”

He continued, “It was a revelation. The sound came alive. It was vivid and tactile. The ULN-8 preamps are just stellar. That was a convincing test, and now I never wonder about using anything but the ULN-8s now. I think it’s worth pointing out that although Metric Halo’s use of the term ‘archival quality’ is totally appropriate, it shouldn’t give anyone the idea that the ULN-8 is only for purists or documentary recording styles. Beauty Pill’s Artisphere recording is far from documentary. We use all kinds of overdubs and textures and found sounds. The quality of the ULN-8 simply makes that mode of recording more vivid and involving.”

Some of the band’s friends advised them against the experiment, citing YouTube’s “comment culture” as an example of how mean people can be when a band is vulnerable. “I suspect that if we had streamed the installation or posted video, things might have gotten ugly,” said Clark. “But the people who came to the exhibit were completely supportive. Sure, there were some uncomfortable moments when we were arguing amongst ourselves, but I mainly felt empathy from the window. They were wishing us well. It was an encouraging experiment!”

Ultimately, Immersive Ideal ran as an interactive multimedia photography and music exhibit with pictures from the recording sessions paired with a surround-sound mix of the final versions. Beauty Pill anticipates releasing it as a conventional stereo recording in the fall.

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

Third Person, First Rate Projection: TDC delivers tech and crew to ground-breaking Australian movie production for TEDx Sydney

@ John Was A Good Man’, Mark & Kara Photography.

@ John Was A Good Man’, Mark & Kara Photography.

Delegates at the forthcoming TEDx Sydney conference on Saturday 26 April are set to be wowed by a breakthrough film by Kate Kazokas and Lucy Adelaide – thanks in no small part to projection technology and technical support services supplied by the TDC – Technical Direction Company.

Titled ‘John Was A Good Man’, the short film features prominent talent from across Australia including Jane Caro, Dr Karl, Paul McDermott, Matt Moran, Andrew O’Keefe, Turia Pitt, Jessica Tovey, Urthboy and Fred Nile. Each of the participants tells a short eulogy of their lives to date, using the third person and with video images of themselves being projected onto their own faces to heighten the sense of self-analysis.

“For ‘John Was A Good Man’ we’ve opened a conversation with renowned creative and industry professionals, challenging them to be honest, lie brutally and get creative,” explained Kazokas, who is the film’s co-creator, director and producer.

In order to create what Kazokas and Adelaide called “a combination of ‘light, shadow and abstraction that defined the German Expressionist movement,” each individual story came to life by blasting full-frame colour images onto subjects faces to create the abstraction that they wanted. The film was recorded over three days at Luxe Studios, Darlinghurst, Sydney.

“Using high-brightness video projection also allowed our participants to be confronted with ‘the self’ as they stepped into the light and were confronted with their own mortality,” added Kazokas. “Their responses were varied – many were humorous, some were absurd. All provided a strong insight into self-reflection.”

Michael Hassett, founder and Managing Director of TDC, commented: “From a technical point of view this was a project that sounded simple but was really quite challenging. There aren’t many video shoots where you are required to mount a projector behind the camera and fire the image directly onto the subject that’s being recorded – yet that is exactly what Kate and Lucy wanted us to do.

“The result is a truly stunning piece of film-making which we were delighted to facilitate with our technical expertise, high-quality AV technology and attention to detail.”

Between presentations at TEDx Sydney, Kazokas and Adelaide will speak live about the project as part of the TEDx The Studio series. The film’s debut will be especially poignant to TDC, given that the conference is being held at the Sydney Opera House – a venue the company is very familiar with, having supplied architectural projection to fire images onto both sides of the iconic structure as part of last autumn’s Royal Australian Fleet Review Spectacular celebrating 100 years since Australia welcomed their Naval Fleet into Sydney Harbour.

For those not attending TEDx on Saturday, 26 April, the event will be live streamed at TEDxSydney.com/LIVE. Viewers will be able to tune in to watch ‘John Was A Good Man’ at around 11:15 with a Q&A at around 13:00 (Sydney, Australia local time).

TDC staff working on this project
Isaac MacKenzie – Projectionist
Kain Jones – Special Project Manager

TDC equipment supplied
Barco projectors
Dataton WATCHOUT™ multi-image display and presentation software from Interactive Controls.

About Technical Direction Company – TDC
Established in 1981, TDC’s expertise is in providing video technology solutions for major TV shows, theatre, corporate events, concert touring, exhibitions and outdoor events. Holding one of the largest stocks of high-end video equipment including LED, projection, displays and HD camera systems, TDC is the preferred provider of technical solutions for the top designers, producers, and production companies across the Asia Pacific region.
www.tdc.com.au

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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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