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ENRIQUE IGLESIAS FOH ENGINEER TIM HOLDER DOES IT ALL WITH METRIC HALO

SAFETY HARBOR, FLORIDA – SEPTEMBER 2013: At front-of-house, Tim Holder has defined the live sound of Enrique Iglesias for over thirteen years – longer than any of the youngest Iglesias’ current band members! He got his start in the music industry decades before, playing bass for Mother Station, a Memphis-based roots-rock group that eventually folded under the pressures associated with a record deal that didn’t carry the band as far as had been hoped. Being the kind of musician who always had recording and sound reinforcement gear – and the know how to use it – Holder smoothly transitioned to life as a full-time “knob twister.”

In addition to his regular stints with Iglesias, which take him around the world, Holder is a Clair Brothers employee of fourteen years and is currently doing “weekend warrior” work with Blake Shelton as a system engineer. Part of what defines his approach to live sound is an endless effort to improve sound quality. In recent years, Holder’s Metric Halo ULN-8 interface, together with Metric Halo’s SpectraFoo, ChannelStrip, Character, and HaloVerb software, have raised the bar, giving Iglesias a huge, warm, well-defined sound.

“In addition to forming the heart of my home studio, I use my ULN-8 in a unique way,” he explained. “The live digital console that we use has a lot of great things going for it but I’m not totally happy the way the stereo bus sums nor the overall quality of the converters. To work around these issues I send stems to my ULN-8 via AES and sum them in Metric Halo’s MIO Console. That gives me the ULN-8’s superior summing and bypasses the converters in the console’s FOH rack.” He uses the ULN-8 as the clock source, which gives him the ability to drive the sound system via analog or AES.

A huge part of what Holder loves about his job is that he gets to fully engage his creative side. He enjoys the new challenges that arise on a daily basis and finding creative solutions to them. Nevertheless, he acknowledges – even embraces – the fact that his creative work is underpinned by a solid science. “We often use local PA systems, so tuning the system is a big part of my job,” he said. “I walk into a new challenge every day.”

For over a decade, SpectraFoo has been Holder’s sound analysis software of choice, in part because its interface is so intuitive and useful and in part because it integrates beautifully with his Mac and the ULN-8.

Holder time aligns a PA system using SpectraFoo in combination with Metric Halo plug-ins to delay, equalize, and filter as appropriate via MIO Console. “The flexibility of MIO Console is unparalleled and its dependability is rock solid. I should also mention that I use it for multi-track recording. I can record the same stems that I’m driving the PA with and mix them down later. Alternatively – or in conjunction – I can create a custom record mix within MIO Console. I’m limited only by my imagination.”

Holder’s go-to Metric Halo plug-ins include ChannelStrip, HaloVerb, and Character. Although he does some general coarse-level filtering and EQ’ing on Iglesias’ vocals using the board, most of the substantial processing takes place using ChannelStrip on a stem that he sends to the ULN-8. He uses its comprehensive equalization and compression to dial in a perfect representation of Iglesias’ voice and then sends that signal back to the console with no conversion necessary and no perceptible latency. He also uses HaloVerb on vocals and the snare drum. “I love how easy HaloVerb is,” he said. “No matter what I do, I find something I like.” In addition, he uses the “Soft-Sat” emulation in the Character plug-in on the whole mix. “The way that algorithm translates to a big PA is unbelievable. All I do is push one button and any edginess or harshness goes away, replaced by a huge, warm sound. It’s an amazing plug-in.”

“By using the ULN-8 in combination with the Metric Halo software, my mixes have been transformed from cold and compressed to astonishingly warm, deep, and clear. I first tried this method on a short six-show run in India. The venues were all outdoors with minimal acoustic issues, and we used local PA. They were the best sounding shows of my career. The local sound guys appropriately named my ULN-8 the ‘magic box.’ I have not mixed a show without it since,” he concluded. “The difference is that big.”

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

API 1608 GRADUATES TO NUREMBERG UNIVERSITY OF MUSIC

NUREMBERG, GERMANY – SEPTEMBER 2013: The API 1608 serves as the perfect teaching tool in many interesting places in the world, and now, one can be found in Studio 214 at the Hochschule für Musik Nürnberg (Nuremberg University of Music). Here, creativity is the focus and hands-on experience is the goal. The equipment available to the students offers unequaled opportunities with both vintage and modern effects, all in a school that dates back to 1821.

The decision to purchase the 1608 came to fruition with the help of API’s German distributor Erwin Strich. Toni Hinterholzinger, head of the recording department, believed that the punchy and clear sound of the API preamps would make this the ideal learning tool for teaching classic recording techniques. Most of the recording projects are student-based, but on occasion, there are some commercial projects where students assist and often take part as musicians. Some who have recorded on the 1608 include Wolfgang Buck, Nevio, Johannes Ludwig, Tilmann Herpichböhm, Steffen Schorn, and Olivia Solner.

“This is, for sure, one of the best equipped rooms in Europe – a place where audio magic actually happens and sonic dreams come true!” said Hinterholzinger.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

PreSonus Supports LSU’s College of Engineering

Pledges $200,000 to Support Innovation in Audio Signal Processing and Digital Media

Jim Odom at LSU Engineering 01 copyBaton Rouge, LA – September 2013…  To support education and research in the Division of Electrical and Computer Engineering, PreSonus Audio Electronics has pledged $200,000 to establish a digital signal processing (DSP) laboratory.

DSP is a specialized branch of mathematics that performs analysis and processing of binary representations of analog signals. Advances in digital technology have enabled DSP systems to accomplish tasks inexpensively and efficiently that are difficult or impossible using analog technology. The DSP laboratory will provide LSU College of Engineering students a state-of-the-art environment for learning those skills required in industry settings.

“As a graduate of LSU Engineering and a Louisiana entrepreneur, I believe that investment in our home-grown technical workforce is essential in our efforts toward economic growth,” comments Jim Odom, co-founder, PreSonus. “Our intention for this grant is to assist LSU Engineering in becoming a top ten destination for technical education. The burgeoning industry of digital everything will require highly skilled and trained individuals, and LSU is perfectly positioned to meet this challenge.”

PreSonus, cofounded in 1995 by LSU electrical engineering alumni Jim Odom and Brian Smith, is one of the world’s leading manufacturers of audio electronics and software used in TV and radio broadcast, live-event sound reinforcement, and professional recording studios.

“Jim and Brian provide an exemplary case of entrepreneurial spirit present in LSU’s electrical and computer engineering graduates,” said Pratul Ajmera, interim chair, LSU Division of Electrical and Computer Engineering. “We thank PreSonus for this significant investment that enhances our educational program and helps us produce world-class graduates competitive in the digital media and digital audio industries.”

A global company, PreSonus is an active recruiter of LSU students for both internships and post-graduation employment. Currently, an estimated 16 LSU alumni are employed there, including 7 engineers.

Jim Odom at LSU Engineering 02 copy PreSonus CEO Jim Mack, “We are committed to supporting LSU in their efforts and believe that keeping the curricula current and in sync with industry will support the near- and long-term strategic needs of not only the university, but the community as a whole.”

Headquartered in Baton Rouge, Louisiana, PreSonus currently has a staff of 122, with additional offices in Ireland, Hamburg, and Hong Kong. The company is currently building a new 43,000-square-foot headquarters and R&D facility in Baton Rouge.

LSU’s ECE Division currently enrolls 350 undergraduate students and 102 graduate students. During the past five years, the division has, on average, granted more than 80 bachelor’s degrees, 25 master’s degrees, and more than five PhD degrees annually.

###

 About PreSonus

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.

IN-DEMAND MIX ENGINEER RICHARD FURCH USES METRIC HALO’S CHANNELSTRIP PLUG-IN ON EVERY CHANNEL OF EVERY SONG HE MIXES

LOS ANGELES, CALIFORNIA: Seasoned audio engineer Richard Furch has worked on numerous Grammy Award-winning albums for the world’s leading pop, R&B, and rap artists. His client list includes Prince, Jimmy Jam & Terry Lewis, Tyrese, Frank Ocean, OutKast, Macy Gray, Usher, Chaka Khan, Katherine McPhee, Fountains of Wayne, The Brooklyn Tabernacle Choir, and he has worked with a slew of prominent rappers including Jay Z, Snoop Dogg, The Game, Rick Ross, and Ludacris. He recently mixed India.Arie’s album SongVersation and Chrisette Michele’s album Better, each almost in its entirety. Both albums went to number one on the iTunes R&B chart and captured the number one and two spots, respectively, on the Billboard R&B charts and stayed in the top ten for eight weeks. As with everything he mixes, Furch began with an instance of Metric Halo’s ChannelStrip plug-in on every channel of every song he mixed on both albums. Because it can be either transparent and surgical or colored and organic depending on his needs, Furch bases his workflow and sound on ChannelStrip.

“I love the perfect combination of transparent when I need it, but ‘analog smooth’ when I want it,” he said. “With everything flat, ChannelStrip is truly transparent. I’ve loaded a dozen or so instances in series and compared the output to the original – it was indistinguishable. Because of that, I don’t hesitate to put on extra instances to automate small fixes as needed. For example, there were moments in India.Arie’s vocals where she got a little too close to the mic or one of the syllables lacked the presence it should have. I could leave the ChannelStrip instance that gave me the overall balance just as it was and punch in a new instance just for a particular correction.” Furch maps the controls from the ChannelStrip on each Pro Tools channel to the Avid C24 Pro Tools control surface that organizes his workflow. “ChannelStrip is essentially my board… any other plug-in is a flavor,” he said.

In the course of using ChannelStrip for so many years, Furch has developed his own flat preset that serves as a speedy jumping-off point. Strategic equalization frequencies, cut-offs, and bandwidths together with compression ratios, side-chain settings, and decay times make it easy for him to pop in one of several tricks that instantly take tracks to good places. For example, if he finds that he’s losing a particular instrument in the mix, he enables the compressor with his preset parameters and the auto gain make up “lifts out the sound of the mix a bit.” He continued, “I used to do that when I mixed on SSL consoles, but no other plug-in – not even SSL emulators – could replicate that trick quite this way and keep the gain exactly steady. ChannelStrip does. In addition, I often employ the high-pass filter on the compressor side chain and then lower the cut-off frequency to get more compression. It’s like a second threshold control, but it has its own, uniquely musical effect.”

On SongVersation, Furch employed ChannelStrip’s high shelf EQ – as he often does – to add clean “air” to the high end of several tracks, including India.Arie’s vocals. “It’s such a wide shelf,” he explained. “I leave the frequency way up at 20kHz, but it has a smooth effect all the way down to 8kHz or so. When I lift it up, the track becomes airier and more lively. The quality of the shelf is so good that it’s never obtrusive. In fact, that’s one of the first things I do when I start a mix. I find the tracks that don’t seem as lively as they should be and use the high shelf. Because India.Arie’s vocals are so critical, because they have to be forward and warm, and because they need some sizzle at the top, I used ChannelStrip to really create her sound.”

Similarly, Furch asks his assistant to pre-condition every mix by employing the ChannelStrip high-pass filter to remove all low-end sounds or energy that aren’t actually serving a musical purpose. “The filter itself seems colorless,” he said. “I can pull out a lot of rumble without affecting the quality of the musical low-end information. I used that technique on Chrisette Michele’s new album – especially on the backing vocals. There, I raised the cut-off quite high, since it’s great at cleaning up the sound without making it too lean. With the new real-time analyzer built into ChannelStrip3, it’s easy to see where to place the cut-off. It’s nice to feel comfortable knowing I’m in the right place.”

But for Furch, Metric Halo’s ChannelStrip isn’t merely for surgical fixes. “When I start working with the parametric EQ, I can really hear that pleasant analog feel that ChannelStrip is able to deliver. I typically crank up the gain and sweep the frequencies to quickly identify the right center point. It’s like ChannelStrip zooms in on the sound. Then I can relax the gain and everything sounds so precise. Most of the time it only takes a few dB. It’s very responsive,” he concluded, “a powerful weapon of mass sound manipulation!”

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

API 1608 FEATURED IN FIRST EVER HIGH SCHOOL RECORDING STUDIO

NASHVILLE, TENNESSEE – AUGUST 2013: The Grand Opening of the new recording facility at Nashville’s Pearl-Cohn Entertainment Magnet School on May 8th featured the first API 1608 console in a high school setting. Many important names in the recording industry rallied to show their support of the “Music Makes Us” initiative by welcoming the new API-equipped studio, which will serve almost nine hundred students this year alone.

Built in 1986, the Pearl-Cohn Entertainment Magnet High School is located in north Nashville and is the sole entertainment magnet school in the country, offering courses in everything from audio engineering to television broadcasting. With the hard work of The Recording Academy® Producers & Engineers Wing® members and a partnership with the Warner Music Nashville label, this world-class facility is the home of the first ever student-run record label. The API console will serve as a major part of the school’s Academy of Entertainment Management and Academy of Entertainment Communication divisions. Students will learn audio production from song creation to production and on to distribution.

The school’s motto, “Together as One” rang true as a wide variety of important pro audio individuals contributed to and celebrated the opening of the studio. The Recording Academy® P&E Wing® as well as Nashville Mayor Karl Dean, Senior Vice President of A&R for Warner Music-Nashville Scott Hendricks, and API President Larry Droppa were among some of the attendees at the ribbon cutting ceremony for the expert-designed $1.2 million multi-room facility and control room.

“What a tremendous opportunity it is to have such a facility in a high school,” commented Larry Droppa at the introduction. “API is honored to have placed a 1608 as the centerpiece for audio education in the Pearl-Cohn school. Our ongoing commitment to support young and upcoming students in audio engineering is well represented by this, the first high school anywhere to have a 1608.”

ABOUT API (AUTOMATED PROCESSES, INC.)Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTION) (From left to right) Terry Palmer, (Terry Palmer Services); Ben Fowler, (Producer/Engineer and P&E Wing Committee Member); Steve Durr, (Owner, Steven Durr Designs and P&E Wing Committee member); Vickie Perdue, (Acoustics In A Box/Perdue Acoustics); Jay Perdue, (Acoustics In A Box/Perdue Acoustics); Larry Droppa, (API President/Owner); Jon Randall Stewart, (Singer/Songwriter/Producer and The Recording Academy Nashville Chapter President); Jeff Balding, (Producer/Engineer and P&E Wing Sub-Committee Chair); Julian King, (Producer/Engineer and P&E Wing Committee Member); Chuck Ainlay, (Producer/Engineer and P&E Wing Committee Chair).
(PHOTO CREDIT) Courtesy of The Recording Academy®/WireImage.com © 2013. Photo by Frederick Breedon.

ASHLY GETS INTO THE PUNCH BOWL!

PORTLAND, OREGON – AUGUST 2013: Punch Bowl Social is a unique entertainment concept that got its start in Denver, Colorado and is steadily making its way to a city near you. The second and most recent Punch Bowl Social occupies 32,000 square-feet on the top floor of Pioneer Place Mall in downtown Portland. Within that space, patrons can bowl, sing karaoke, shoot pool, throw darts, play ping-pong, shoot marbles, play board games, rock ‘80s video games, and more. Of course, Punch Bowl Social patrons can also grab a drink (often literally from a punchbowl) or dine on delicious, creative fare. The idea, of course, is that in the age of big screen TVs, the human animal still craves connection, and games and music have provided the context of that connection for millennia. To keep the music engaging, Denver-based A/V integration firm PRIME used Ashly Audio processing at both locations.

“Punch Bowl Social proved to be a far greater success in Denver than the owners had dared hope for,” said Robert Higdon, owner of PRIME. “The Denver location is expansive, but still considerably smaller than the new Portland location. In Denver, we used a single Ashly ne24.24M to do all system routing and conditioning for the Flexsys F8, F12, and F15s over the lanes. The owners were so pleased with Higdon’s solution that they hired PRIME to design and install the system at the new Portland location.

One of the new features at Portland is a pair of karaoke rooms that groups can rent for private parties. A single Ashly ne24.24M outfitted with sixteen inputs and eight outputs raises their sound quality far beyond the standalone karaoke systems that bars typically employ. Four wireless microphones per room allow group performances in combination with a cloud-based karaoke server. A Lexicon dual effects processor provides the professional polish that takes ace karaoke stars to the next level – and softens the rough edges of newbies. Powered loudspeakers from dB Technologies provide robust output, and users can dial in appropriate volumes for the music, their voices, and the effects from an Ashly FR-8 wall-mounted remote control. Because the FR-8 provides a simple slider for each function, users can operate it successfully with zero training.

The main sound reinforcement system at Portland’s Punch Bowl Social uses a separate Ashly ne24.24M. Inputs include five cable boxes, a Blu-ray player, two DJ inputs (one per each side of the building), a jukebox, a paging server, and an Apple Airport Express that can stream Spotify, Pandora, and the like. dB Technologies Flexsys F8 loudspeakers and Sub 15D subwoofers populate twelve output zones logically divided by amusement type. Three separate sets of four bowling lanes get a pair of F12s and a Sub 15D hung by chains from the ceiling. A Crestron control system paired with an Apple iPad mobile pro app provides input selection and volume control. The control features a schematic of Punch Bowl Social from above. Users tap the section they want to control and make the necessary adjustments.

“For every project I’m involved in, I try to give the end user the best sound quality possible,” said Higdon. “I always use Ashly processing, and I carefully tune each zone at commissioning. Sound quality is evident to me because I work with sound for a living, but sound quality is just as important for patrons who aren’t audio professionals. For them, it’s a subconscious thing. If the sound quality is lacking or, worse, annoying, they’ll want to leave. That, of course, is the last thing the owners want. But a well-tuned system is fantastic. My favorite thing to do when a job is finished and open is to go back and watch people enjoying it. I see them singing along, bopping their heads. That’s almost payment enough for me.” Higdon will be accompanying the Punch Bowl Social enterprise as it heads to Austin in a few months.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

MIX ENGINEER ARIEL BORUJOW EXPANDS HIS METRIC HALO PALETTE TO INCLUDE THE PRODUCTION BUNDLE

NEW YORK, NEW YORK – AUGUST 2013: Ariel Borujow is chief engineer at New York City’s Stadiumred studios (www.stadiumred.com) and a multi-platinum, Grammy-nominated mix engineer who has worked with artist and producers such as Kanye West, Madonna, The Black Eyed Peas, P Diddy, J-Lo, Chiddy Bang, Just Blaze, and others. His success stems from his passion for audio, which makes his typical ten-hour day (clocked seven days a week) the key ingredient in a life well lived. Indeed, when we caught up with him, Borujow was happy to be getting back into that groove after being sick for a few weeks. “I didn’t know what to do with myself,” he laughed. “I was just stuck there, roaming around in my apartment, which is usually just a place to sleep at the end of a long day. I guess the upside is that I got to know my apartment better?” Now back in the studio, Borujow is finishing up projects with Modern Machines, Charlie Red, and Low Country Kingdom using the Metric Halo Production Bundle, which includes ChannelStrip 3, TransientControl, Multiband Expansion, Multiband Dynamics, Character, Precision DeEsser, and HaloVerb plug-ins.

Modern Machines (www.facebook.com/ModernMachines) is a pair of New York City producers who are making some of the most engaging and danceable electronic dance music on the planet, and Borujow recently mixed their single, “We Are the Night.” “They come from an engineering background, so the tracks sounded good coming in,” he said. “Nevertheless, they gave it some grit on purpose, and the challenge was to keep that feel while making sure the music would still translate effectively at a dance club.”

Borujow was a longtime user of Metric Halo’s ChannelStrip 2, and he’s pleased that ChannelStrip 3 retains the same “out-of-the-box sound” while adding features that make it even more functional and flexible. “The size is great and the interface is even more intuitive, but the most exciting improvement is the incorporation of a spectrum analyzer,” he said. “It’s a big deal and it’s on almost all of the Production Bundle plug-ins.” As with all of his mixes, Modern Machines benefitted from plenty of ChannelStrip 3. For the all-important kick drum, he used ChannelStrip 3 to dial in the right timbre and dynamics and then used TransientControl to punch it up. “I’ve used other manufacturers’ transient plug-ins,” Borujow said, “but Metric Halo has given TransientControl something that is noticeably better, but in a subtle and interesting way. I can’t exactly put my finger on it, but there’s no doubt that it really improves the dynamics without over-processing them.”

Borujow is using a slightly different part of his brain to mix Charlie Red [www.wearecharliered.com], a duo that fuses hip-hop, blues, and rock to come up with a very unique style. The music is all live instruments and the band recorded the tracks at home. “These guys are real artists and they go by feel,” Borujow said. “All of the tracks are masterfully performed, but some of the technical stuff needed polishing.” Again, he used TransientControl to add shape and dynamics to the drums, and ChannelStrip 3 found use everywhere. The tracks were also noisy at times and Borujow used the Multiband Expander to carve out the noise. The very accurate spectrum analysis feature allowed him to zero in and position the bands for maximum effect.

Because Charlie Red’s recordings weren’t made in a purpose-built live room there was a certain “boxiness” to the recordings. Rather than EQ out the room mode frequencies, Borujow used Multiband Dynamics to carve them out dynamically. “Again, the spectrum analyzer was a tremendous help,” he said. “To lessen that boxy sound, Multiband Dynamics is preferable to EQ because EQ tends to lose something. Multiband Dynamics leaves the life in the recording. It’s a much more pleasing solution. Metric Halo’s version sounds great and is quick and easy to work with.”

With another “this meets that” description, Borujow finds Low Country Kingdom (www.lowcountrykingdom.com) at the intersection of Gorillaz meets the Beastie Boys. “These guys are just super musical! They produced all the music in Logic and sent me the stems,” he said. “To give it more of a ‘sound,’ I used Character. I especially like the ‘American Solid State’ algorithm. It’s subtle and not overboard, and it doesn’t sound digital. It sounds authentic. It’s been a go-to plug-in and setting for me lately. It’s all over the Low Country Kingdom album.” He also used the Precision DeEsser quite a lot. “I use it a lot of the time for vocals, sure, but I use it for a lot of other instruments as well,” he explained. “For example, the Low Country Kingdom snare sound was a little too bright at times. Rather than EQ it out, which kills those frequencies even when they’re not annoying, the Precision DeEsser allows me to keep them down only when they’re too much. I put the TransientControl behind it, and the snare sounded awesome.”

All three projects benefitted in roughly equal degrees by Borujow’s newfound access to HaloVerb. “I’m a huge fan of the ‘Sizzly Plate’ preset,” he said. “I find that as I get older, I use reverb as much as I used to, but I want to hear it at the front of the mix less and less. It’s more effective as a subconscious thing – an element that puts instruments in a common space. I don’t want to hear it, I want to feel it.” He used HaloVerb for Modern Machines’ synths, Charlie Red’s guitars and drums, and Low Country Kingdom’s vocals.

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

Fishman Names Bill Norton Vice President Of Retail Sales

Bill Norton, Fishman VP of Retail Sales

Andover MA––To further increase and optimize its sales effort, Fishman has appointed Bill Norton as VP of Retail Sales. Formerly a professional musician with an extensive background in global distribution and sales, Norton brings a wealth of experience to his new position. Prior to joining Fishman, Norton spent several years as Chief Operating Officer at New Hampshire-based Earthworks Microphones.

In his new position, Norton will be directly responsible for the company retail sales revenue of Fishman branded products, and participate in the planning and launch of new products by implementing short and long-term strategies consistent with the company’s growth goals.

Asked about his new appointment, Norton said, “I am delighted to be on board here at Fishman. As a brand and a company, Fishman is highly respected worldwide for their pickups, preamps and amplifiers Now with the introduction of TriplePlay®, the company is poised to expand their business into exciting new categories.”

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

API IN BRAZIL – VISOM DIGITAL AUTHORIZED AS 1608 DEALER

RIO DE JANEIRO, BRAZIL – AUGUST 2013: Brazil’s Visom Digital has become the latest of authorized API 1608 dealers. Joining the ranks of other API distributors in South America, Visom began carrying the API product line back in 2012. “After their obvious success with API module products, it was logical that Visom now take on representation of the 1608,” said Gordon Smart, API’s managing director.

Located in Rio de Janeiro, Visom Digital is a working studio, audio technology development center, and audio equipment dealer specializing in high-quality, high-profile sound recording. “We only sell what we use and this makes all the difference in credibility for our people,” said owner, Carlos de Andrade.

With a wide range of clients, Visom Digital caters to everything from independent and major recording studios to TV and radio stations. “As an engineer I have always used API, as a salesman I believe in the product, and as a businessman it’s just a good seller,” said de Andrade of the API product line. Visom stands behind the products they represent, while aiming to understand the needs of their customers and partners in order to offer appropriate solutions. They also offer after-sales services, such as warranty, installation and training.

“For most distributors a line like API is a gem to be catered to with great consideration of its tradition,” said de Andrade. “For Visom, API is not a brand. It is a passion and a bit of our history. We will not just sell API. We will evangelize and educate our clients on the ownership of an important part of professional audio.”

ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

METRIC HALO ANNOUNCES IMMEDIATE AVAILABILITY OF MIO CONSOLE 5.6

SAFETY HARBOR, FLORIDA – AUGUST 2013: Metric Halo announces the immediate availability of MIO Console v.5.6, a free software upgrade for all users of the Mobile I/O family of audio interfaces, including the award-winning 2882, ULN-2, LIO-8 and ULN-8. Version5.6 includes the following new features: I/O inserts for accessing external hardware from within the MIO Mixer, ConsoleSync hardware/software synchronization technology, AAX ConsoleConnect plug-in for compatibility with Pro Tools 11, saving of system boot states and support for EuCon 3.0. In addition to these new features, v.5.6 continues to improve stability and compatibility with current and future versions of Mac OS X.

ConsoleSync is a unique enhancement to the Mobile I/O family that benefits both new and experienced users. ConsoleSync allows MIO Console to read the complete state of any attached hardware seamlessly, automatically and without any disruption of running audio. ConsoleSync auto loads the mixer configuration, complex signal processing chains, Monitor Controller settings, analog I/O configuration and even window layout from the hardware.

With ConsoleSync, new users will experience a dramatically reduced learning curve for accessing the power of MIO Console. Experienced users will value the ability to have MIO Console re-connect to the hardware with exact recall of the current hardware state and no disruption of audio. For live sound and monitoring applications this allows the user to disconnect and re-connect the computer or quit and launch MIO Console without being concerned about introducing dropouts to ongoing primary and backup recordings or to the monitoring paths for talent.

I/O inserts streamline the use of external analog and digital processors within the MIO mixer. This new feature also allows inserting processors that are hosted on the computer directly within the signal flow of the MIO low-latency hardware mixer. This enables the use of host-based reverbs and delays with greatly simplified routing.

This free upgrade continues the Metric Halo tradition of adding value to the Mobile I/O platform as well as enhancing the product for new users. A 30-day money-back guarantee backs Metric Halo’s hardware products so you can try them out in your studio with no risk. All products in the Mobile I/O family are discounted during the Metric Halo 2013 Summer Sale, which runs until September 15, 2013.

Free download from http://mhsecure.com/metric_halo/support/downloads.html

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

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