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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

Red TX Joins The Remote Recording Network

Broadcast audio specialist Red TX has joined Europe’s leading live recording initiative Remote Recording Network. Whilst contributing to managing and engineering music and broadcast assignments on a global and cost-effective basis, RRN offers bespoke solutions that cater for all kinds of transmission, recording, mixing, mastering, duplication and publishing.

Remote Recording Network GmbH had last year joined forces with Dutch mobile recording company Eurosound bv and had integrated the German ‘RemoteTaxi’ enterprise to establish the initial ‘Network’.

Peter Brandt, head of Remote Recording Network and a man with over 30 years’ experience of recording and mixing international rock, pop, jazz, and classical artists, says: “Bringing Red TX into RRN will benefit our European customers by giving them access to a fully digital truck based in Europe that can handle high-end surround sound projects, particularly for broadcast.”

Tim Summerhayes, CEO of Red TX, adds: “I have known Peter Brandt for many years and we have worked together on numerous projects in the past. I am very excited by this collaboration because it allows us to utilize our combined technical resources in a very effective way. There is a huge requirement for mobile digital recording facilities in Europe and by joining forces with the Remote Recording Network we can now provide the necessary human and technical resources to meet this demand.”

Red TX has two state of the art recording units, RED 1 and RED 2. Both are equipped with Studer Vista 8 Digital Mixers, PMC 5.1 surround sound monitoring and Pyramix, Pro Tools and Reaper recording systems. They also have extensive racks of outboard equipment and digital effects, and are internally designed to very high acoustic specifications. RED 2, which is the larger of the two units, will be located as required, between the RRN HQ in Germany and Eurosound bv’s base in The Netherlands, while RED 1 will remain at Red TX’s premises in the UK.

“Our model of using international partners to combine resources and equipment is very valid, especially in a world where businesses need to reduce their carbon footprint as much as they can,” Peter Brandt adds: “By tapping into facilities that are already stationed on different continents, we don’t need to transport huge trucks around the globe. Instead we can ‘travel lite’, frequently only needing to transport an engineer, which minimizes travel costs and keeps our carbon footprint to a healthy low. It also means that we can keep our rates very competitive, too.”

Red TX’s RED 2 unit will make its Remote Recording Network debut in June at the Tuckerville Festival in Enschede, The Netherlands. From there it has a busy summer ahead, working at live events and festivals in various countries.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD www.remoterecording.net
www.red-tx.com

About Remote Recording Network:
Remote Recording Network is a new initiative that brings together the market-leading live recording companies Peter Brandt Remote Recording and Eurosound GmbH. Years of experience, knowledge and network are now combined to supply an unrivaled, world-class, world-wide recording service.
www.remoterecording.net
For more information, please contact Tony Andrews – tony@awandrews.com

The Music Producers Guild Holds Its Second Scottish Speakeasy

Following on from the success of its regular Speakeasy networking evenings in London and the East Midlands, the Music Producers Guild is now extending the initiative to Scotland where a Caledonian MPG Speakeasy was held to tie in with goNorth.

MPG Executive Directors and producers Mick Glossop and Andrew Hunt hosted the event, which was held at McPhabb’s bar in Charing Cross, Glasgow, and was organised by Caroline Cooper and Stewart Henderson of the Scottish Music Industry Association (SMIA).

“Andrew and I were in Scotland, having once again taken part in the annual goNorth conference and festival in Inverness,” Mick Glossop says. “We held a Speakeasy after last year’s goNorth and it was such a success that we decided to hold another this year. It was the perfect way to end our trip and we welcomed the opportunity to reconnect with producers we had met in the past and forge stronger links with other recording professionals north of the border. We hope that there will be many more opportunities in the future.”

This year’s goNorth attracted over 100 leading industry players from the fields of music, screen, broadcast and gaming. The conference included daytime panels and workshops, and provided showcasing opportunities for artists and bands from all over Europe.

Mick Glossop and Andrew Hunt were there to promote the value of music production to artists, musicians, producers, recording engineers, record company executives, publishers and managers. They took part in a lively discussion panel entitled Meet The Producers, which was moderated by Mick Glossop and featured contributions from producers Tony Doogan, Simon Gogerly, Gilles Perring and Scottish recording artist, Roddy Hart.

“There is a strong, vibrant and incredibly enthusiastic music industry in Scotland, supported by several organisations, including the SMIA, Creative Scotland and Highlands and Islands Enterprises, with which the MPG now has strong links,” says Andrew Hunt. “The sense of community in Scottish music is markedly apparent – something that you don’t often witness in London, which is a real shame.”

Glossop adds: “MPG will continue to develop the links we have established in Scotland, and make every attempt to create further opportunities to promote the MPG and the value of music production, north of the border.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

LEMON JELLY MAKE MUSIC WITH METRIC HALO PLUG-INS

SAFETY HARBOR, FLORIDA: Nick Franglen is best known as founding member of the British electronica duo Lemon Jelly, releasing three albums on XL Recordings that sold half a million albums worldwide and earned Franglen and band mate Fred Deakin nominations for the Mercury Music Prize and the Brit Awards. “Lemon Jelly’s style is electronic music that doesn’t sound particularly electronic,” explained Franglen. “We’d pull together sounds from a wide range of genres to see what would happen when we mixed them up. They could be sampled or played – it really didn’t matter where they came from – the more diverse the better.” Although Lemon Jelly are currently on a happy hiatus, Franglen maintains an outrageously busy schedule – as he always has – that feeds his creative need to keep things fresh and interesting. “Creativity is all I’m interested in. I hate repeating myself (I get bored very quickly) so I’m constantly challenging myself into innovation. I like being out on a limb – that’s where the exciting things happen.”

Franglen’s talent, prolificacy, and affable nature have earned him a lot of friends and work in the music industry. He’s provided keyboard and beats programming for Björk, Hole, Primal Scream, Pulp, and Blur. In addition to all the Lemon Jelly records, he has produced albums for John Cale and Badly Drawn Boy and remixed Mark Mothersbaugh (Devo), the Pet Shop Boys, and Coldcut. He has written and produced tracks with artists as diverse as William Shatner and John Paul Jones (Led Zeppelin) and regularly plays live with John Cale. As musical director of the Nico tribute show, he has worked with Mark Linkous, Mark Lanegan, Kim Gordon, Mercury Rev, Yeasayer, and many others. Reflecting his unquenchable thirst for the novel and creative, Franglen has performed and recorded electronic gigs down mines, on submarines, and in abandoned government test facilities. As a composer, he has worked on films with Ralph Fiennes, written the music for BBC-TV series, and composed commercials for BMW, Cadillac, Ford, Coca-Cola, Caesar’s Palace, Nordstrom, and many others. “I like to keep busy,” he summarized simply.

In addition to myriad other side projects and jobs, Franglen’s current passion is a solo album that will be released under his own name. “I’ve been developing this material over the past couple of years,” he said. “It’s quite complicated stuff, both conceptually and sonically, and I’m enjoying the challenge.” Like everything else he’s touched (sonically) in the last decade, Franglen has made regular use of Metric Halo’s classic ChannelStrip plug-in in the development of the new material. “I was with ChannelStrip from the very beginning – I had the original version,” he said. “It was the EQ that first got me. It could do things that no other EQ could do, and that remains the case today.”

He continued with an example: “For a while I was really interested in mixing very different samples from very different sources, it could be jazz with punk with something orchestral, whatever. I had to capture the essence of a source and still preserve audio clarity when it was mixed with something else, and Metric Halo ChannelStrip let me do that without having the composition turn to mush. Basically, ChannelStrip’s Q is precise and perfect. I can nail a filter or EQ band to within a few Hertz, enhance the fundamentals and then cut out everything that doesn’t matter while preserving the sample’s character and life. That’s a critical part of what I do and it’s my secret for maintaining audio clarity even when I have a lot of different sources all playing at once. And shortly thereafter I learned the value of ChannelStrip’s dynamics section. It’s so versatile. I use it all the time in combination with the ChannelStrip gate to bring looped drums to life.”

For work on his solo album, Franglen is using Metric Halo’s Production Bundle of plug-ins, which includes all of Metric Halo’s plug-ins: ChannelStrip 3, Character, HaloVerb, Multiband Dynamics, Precision DeEsser, Transient Control, and Multiband Expander. “I’ve found that with Character and Transient Control, I can breathe life and soul into my studio recordings,” he said. “The effect is subtle, but undeniable. The reverb is also fabulous. It has a huge range of sounds, and the smoothness of the tail is beautiful and transparent. It just disappears into the background. When I apply it to individual instruments, it gives them their own space and surrounds them with warmth without ever overpowering them.”

To say that Franglen uses Metric Halo plug-ins would be an understatement. Just as ChannelStrip has been a critical component of his sound over the last decade, the broader Production Bundle palette is fast becoming indispensible. A peek inside one of his new sessions reveals Metric Halo plug-ins on nearly every channel, with many of those channels bursting with multiple Metric Halo plug-ins!

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

FOR MORE INFORMATION ON NICK FRANGLEN:
Website: www.franglen.net
Facebook: www.facebook.com/nickfranglen
Soundcloud: www.soundcloud.com/nickfranglen
Twitter: www.twitter.com/nickfranglen

WorxAudio Technologies Joins the PreSonus Family

 Baton Rouge, Louisiana, June 2014… PreSonus is pleased to announce the acquisition of loudspeaker manufacturer WorxAudio Technologies, Inc., of Greensboro, North Carolina, founded in 1979 by CEO and Director of Engineering Hugh Sarvis.

WorxAudio designs and manufactures a broad range of line array, point-source, sub-bass, stage monitor, and related loudspeaker systems and accessories. WorxAudio has established itself as a leading provider of loudspeaker systems in the mid to large church market, professional touring, and corporate AV channels.

With this acquisition, WorxAudio will significantly augment core elements of PreSonus’ professional loudspeaker development efforts, especially drivers, system and mechanical design, system tuning, and rigging system design. In addition, WorxAudio’s knowledge of the commercial sound and portable/touring markets will help PreSonus develop the infrastructure required to support the specific requirements of those customers. With PreSonus’s technical, software, distribution, and financial resources and WorxAudio’s technical, domain, and production expertise, the resulting collaboration—led by Hugh Sarvis—creates a very formidable competitor in the live-sound loudspeaker market.

“This is a logical move for us,” observes PreSonus CEO Jim Mack. “Our StudioLive™ AI series loudspeakers are great for small to medium-sized venues, but the advanced DSP platform utilized in the AI speaker line, including the optional Dante networking capability, is extremely valuable for systems designed for much larger venues and environments. The acquisition of WorxAudio significantly extends our product line to provide advanced networked loudspeaker systems to a much larger audience. Further, this acquisition brings us extremely valuable engineering system design expertise and technology, as well as loudspeaker manufacturing expertise.”

WorxAudio has gained considerable notoriety by placing near the top in several loudspeaker array shootouts, and they were the first company to implement AFMG’s advanced FIRMaker technology.

Says AFMG’s Managing Director Stefan Feistel, “WorxAudio is a premium example of a long-lasting, very positive business relationship for AFMG. WorxAudio is the first FIRmaker licensee to actually deliver two very impressive installs employing this revolutionary technology. Congratulations!”

One of the fastest growing companies in the pro audio industry, PreSonus has a well-established worldwide sales channel and, in recent years, has significantly expanded its operations, marketing and branding, testing facilities, and technical/customer support. The combined companies are expected to develop a broad range of loudspeakers for studio and stage, from low-cost, high-value products for musicians to advanced systems for mid-sized rental touring companies and systems integrators.

“Like WorxAudio, PreSonus is engineering-driven,” comments Sarvis. “We’re excited about combining our engineering know-how with PreSonus’ networking, software, and signal-processing technology to develop groundbreaking and highly competitive new professional audio products.”

For more information about WorxAudio Technologies, visit www.worxaudio.com. For more about PreSonus, visit www.presonus.com.

###

About PreSonus Audio Electronics, Inc. – Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

Fishman Expands Sales Force To Keep Pace With Recent Growth

Andover, MA––Because of unprecedented growth spurred by products such as the new Fluence™ pickups and TriplePlay® Wireless Guitar Controller, Fishman has added John Polino and Gary Lopez to its sales force.

John Polino

A guitarist and vocalist, Polino is a 23-year veteran of the Boston music scene playing in popular Top 40, GB and Function bands such as “Dick n Jane” and “Hot Mess,” both of who have won “Best Band” awards from local radio stations. John comes to Fishman from First Act Inc., where he spent the last six years as a Warehouse Manager, Sales Sample Coordinator, Consumer Relations Manager and Product Manager.

Gary Lopez

Gary Lopez is a New England based vocalist/guitarist who’s been performing professionally since he was 17 and established himself in the Northeast as the front man for New Hampshire’s popular The Baker Street Band. Gary has shared the stage with Greg Allman and The English Beat, and performed in shows for President Bill Clinton. He has also been involved with music industry retail sales for over two decades working with Daddy’s Junky Music and Cambridge Soundworks.

Commenting on the new hires, Bill Norton, VP of Retail Sales, said, “We are genuinely happy to have these two very skilled sales representatives working for us as Fishman is continuing to grow at an amazing pace. John and Gary bring a high level of expertise into our new category entries including TriplePlay and Fluence electric guitar pickups.”

For more information about Fishman, please click to www.fishman.com.

ATC TWEAKS ITS ENTRY-LEVEL PASSIVE NEAR-FIELD MONITOR AND RAISES IT TO A NEW STANDARD OF PERFECTION

LAS VEGAS, NEVADA – JUNE 2014: TransAudio Group, U.S. distributors for ATC UK, introduces the ATC SCM20PSL MkII near-field reference monitor. The passive ATC SCM20PSL MkII improves upon the previous ATC six-inch two-way passive and is ATC’s smallest and least expensive monitor in the ATC Professional line up. Built to the same exacting standards as its active Pro Range siblings, the SCM20PSL MkII is ideal for those already using passives but seeking a new level of resolution in a compact passive package. They are ideally suited for critical near-field applications or smaller rooms.

“ATC is well-known for designing and building studio monitors that are unflinchingly truthful and that help engineers deliver mixes that translate everywhere,” said Brad Lunde, president of TransAudio Group. “ATC founder, Billy Woodman, and his team of R&D engineers never tire in the pursuit of perfection, and our request for a smaller monitor has led them to develop the SCM20PSL Pro MkII.”

The ATC SCM20PSL MkII is based around the ATC 6.5-inch “Super Linear” LF driver with integrated midrange, utilizing the same ATC developed SL technology used in our larger nine-, twelve- and fifteen-inch based monitors. The SCM20PSL MkII is the first professional product to incorporate ATC’s brand new in-house built ATC Dual Suspension 25mm tweeter. Five years in development, the new ATC Tweeter offers lower distortion, higher output and greater reliability. A newly ATC designed/built passive Crossover has been incorporated combining second and third order features to offer improved imaging and precision, comparing favorably to our active designs. Exceptionally neutral output extends across the audible spectrum and within an all-new cabinet design, minimizing size and weight. “Given the excellence of previous designs, these advantages lead to a substantive improvement in passive speaker technology,” concluded Lunde.

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

NEW JERSEY STUDIO ADDS THE BOX

MIDDLETOWN, NEW JERSEY – JUNE 2014: Studio owner and musician Greg Padrusch, better known as LEK, has just commissioned THE BOX by API for his northern New Jersey studio. This becomes the latest sale from Calistro Music, API’s distributor in the tri-state area.

Since purchasing THE BOX, LEK has kept busy reconstructing his studio. Throughout that process, he has still managed to immerse himself in some of THE BOX’s recording features. Soon, his studio will feature state-of-the-art acoustics in its new building, creating the ideal surroundings for mixing.

Early this summer, LEK is also planning on releasing new original singles.

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

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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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