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CLAIR GLOBAL INTRODUCES THE CF 1090 FRACTAL ANTENNA

cf1090_fractalantenna.JPGLITITZ, PENNSYLVANIA – DECEMBER 2011: Clair Global is introducing the CF 1090 Fractal Antenna for live entertainment applications worldwide. The creation of the CF 1090 is a study in guided serendipity.

In the summer of 2010, Clair Global acquired Wireless First. Both the company’s founder, Kevin Sanford and his chief engineer Josh Flower had been working on a new wireless antenna in their shop for several years. Now, as part of the Clair team, they moved quickly to take advantage of Clair’s innovative spirit and talented staff. The final stroke of genius was the inclusion of Dr. Nathan Cohen, whose decades of experience as founder of Fractal Antenna Systems Inc. make him one of the world’s foremost experts on the technology at the CF 1090′s heart. Using fractal technologies, whereby self-similar scaling of antenna elements both reduces housing size and increases frequency range, more

Philadelphia’s Annenberg PAC Celebrates 40th Anniversary With 
Complete Audio Overhaul

The Annenberg Center for the Performing Arts at the University of Pennsylvania celebrates its 40th anniversary this year. As one of the nation’s preeminent urban performing arts centers on a major university campus, the center has a storied history in the performing arts, presenting world-renowned and emerging artists and companies in its four-decade history. Leading up to the anniversary, the goal was to bring one of its main venues, the Zellerbach—a 900-seat proscenium theatre that accommodates a wide array of events, including dance, theatre, music, comedy, lectures, meetings and teleconferences—up to date and revamp its nearly 20-year-old audio system in its entirety. This complete renovation encompassed the upgrade of the FOH console to a DiGiCo SD9, and replacing the archaic PA with a Clair Brothers R2T PA system in a LCR configuration, comprising Clair CS18-II subs, QSC PL series amps and BSS London processing. 



“The Zellerbach Theatre has a rich history in the Philadelphia area and the hopes for the upgrade were to have all the elements in place for the anniversary—as a sort of unveiling,” explained Annenberg sound engineer, Daniel Araco, who ran point on the project and worked with both Clair and the Annenberg’s finance department to secure funding and approve work schedules. “The project was sparked by Madison Cario, Director of Operations and Special Artistic Initiatives at the Center. Replacing the system would have been the most desirable outcome, however that was not in the budget, so renovation was the best option. Since Roy Clair installed the original system, we scheduled Clair Bros. to tackle the project. Clair’s Project Manager/System Designer Timothy Owen Mazur put together a scope of work to replace the speaker and horn components, repower the system and upgrade the amplifiers/DSP, and to purchase a new console. The goal of trying to achieve a lot with a limited budget was the challenge.”

For consideration as a console option, Mazur pointed Araco in the direction of a DiGiCo SD9 as a viable solution and with the capability to handle both FOH and monitor functionalities from its location on the theatre’s right side under the balcony. Taking several consoles for trial runs, Araco knew immediately that the SD9 would fill the bill and more.

“The SD9 had many of the desirable features we were looking for and the price point was right in line with what was budgeted for our space,” Araco added. “However, one function was most important to us when we considered the best choice console for the theatre: for a multi-disciplinary venue like the Annenberg Center—where everyday we serve the needs of theatre, dance, university events, student productions, many different music genres and even televised events—flexibility was a key factor. Being able to quickly and easily serve all of those artists is not just cost-effective it’s what we’ve built our reputation upon. The large full-color 15″ LCD touch screen and scribble strips ensured that all functions of the system were available immediately without having to scroll through multiple menus or having to use a mouse. The automation and ‘snapshot’ capabilities made it easy to store cues for multiple theatrical situations with ease, and the sonic performance/transparency that the SD9 provided to my ear is what sold me on the worksurface immediately. To my ear, the DiGiCo sold itself. Probably the most challenging hurdle in spec’ing the SD9 was the digital divide. I’ve spent my entire career on an analog desk, so for me it was like going from a typewriter to computer. The DiGiCo was the best possible solution to drag me into 21st century and the transition was very smooth with Clair Audio Systems and DiGiCo. We have gone through the DiGiCo training and they have always been available for questions should we need it, and this has really solidified our relationship.”

In addition, and with monies saved, Araco was able to put together an on-stage monitor system with the house analog console and the purchase of a split to add-on to their existing floor monitors a few additional db Technologies speakers.

Now that the theatre’s new system is up and running and the 2011/2012 Season is well underway, everyone involved is thrilled with the outcome. “Everyone is pleased with the sonic performance of the new systems, and other engineers are excited to see the new workspace and eager to check out the interface—even first-time engineers are able to understand the basics of the console with a few short lessons. The venue staff are happy to see the replacement of several large snakes near the aisle with a nearly invisible CAT-5 cable. But perhaps the biggest endorsement is from the stage crews, who no longer have to lug massive, heavy analog rentals up and down two flights of stairs to reach the mix position!”

“The project, which started with discussion and budgets during the summer of 2010,” Araco recalled, “was completed in several stages over the course of the spring and summer of 2011. We are now poised to show off the completed renovation for our 40th anniversary season… just as we had hoped.”

SYMETRIX SYMNET WITH SYMVUE CONTROL TECHNOLOGY HELPS HYATT REGENCY CALGARY KEEP IT SIMPLE

CALGARY, ALBERTA, CANADA – NOVEMBER 2011: The Hyatt Regency Calgary is one of the finest hotels in the Canadian city for which it is named and, as such, hosts a tremendous volume of extravagant and top-drawer affairs. The hotel’s nine combinable ballrooms and six combinable meeting rooms are constantly in use for business meetings, weddings, and other events. However, until recently, the Hyatt’s management and staff struggled to control the audio system that delivered sound reinforcement to those spaces. It had been a challenge from day one and only became more frustrating as time passed. While in the process of undergoing a seven million dollar renovation to the ballrooms and meeting rooms, hotel management made the decision that it was also time for a major change in regards to the sound and video systems. Hyatt management asked Calgary’s DBI Systems Integration to design and install the new systems. Using Symetrix SymNet DSP technology, Symetrix SymVue user interface technology, and Symetrix ARC-SWK wall panel remotes, DBI Systems Integration provided an audio system that was simultaneously comprehensive enough to allow infinitely flexible use of the event spaces but simple enough to be controlled even by non-technical staff.

“The old system was first-generation digital technology, with one manufacturer for the DSP and one manufacturer for the user control,” said Jerry Van Dyke, owner of DBI Systems Integration. “The interfacing between the sets of technology was very cumbersome and unreliable at best and the hotel had spent a small fortune just keeping it limping along since its original installation by another company.” Our goal was to give them everything that was so obviously lacking in the old system. The systems would have to be simple to operate, flexible, and reliable while still being powerful enough to handle the complex tasks required.”

A significant component of the design solution was to avoid involving two manufacturers, as had been done previously. “Even today, equipment from different manufacturers doesn’t always integrate as seamlessly as it should,” he said. “Often when a problem does arise, each manufacturer will claim that it is the other company’s fault. There have been instances where each company washes its hands of the problem, and you’re left in the middle with an unhappy client. I was impressed with Symetrix’ significant strengths in both the processing and the interface sides. Based on past experience I knew that if I ran into any trouble, Symetrix would be there to help us solve any issues!”

Van Dyke called on three Symetrix SymNet Express 8×8 CobraNet devices to provide the appropriate input/output count with powerful open-architecture processing to customize the routing logic for the Hyatt Regency Calgary. The three units gather inputs from the nine ballroom sections, the six meeting rooms, and four divisible sections of a grand foyer and allow them to be routed anywhere. On average there is one to two inputs in each zone with some zones having up to three inputs with some inputs being summed. To keep it simple, a 15-inch touch screen computer was employed and they overlaid a schematic of the rooms with buttons that allow them to be easily combined or decoupled via the Symetrix SymVue interface technology. “Via the touch panel they just press the rooms they want to combine and those rooms change to a common color to indicate that they are combined,” he said. “They can un-combine them in the same way, or press a reset button to start fresh.” There’s one page for the ballrooms and foyer and another page for the meeting rooms.

In addition, Symetrix ARC-SWK remote wall panels provide each room with local control of input sources and master volume. When rooms are combined, their ARC-SWKs become redundant. A combination CD-player/iPod-player back at the control room provides common background music that each room can tap if needed. “The routing logic and processing at the Hyatt Regency Calgary is actually tremendously complex,” said Van Dyke. “But with Symetrix’ well thought-out interface technologies, we were able to keep all of that under the hood and hidden from view. The controls that we have designated as presets are so intuitive that truly, anyone can figure them out with an absolute minimum of training.”

Two-hundred-watt AMK twelve-inch coaxial ceiling speakers went in with the old sound system, and Van Dyke was happy to tell the hotel that they could be utilized in the new sound system. “Those speakers are very good quality, but the previous installer had tapped them at 30-watts and then used 100-watt amps to power groups of three,” he said. “It was like running a race car on a 40-mph governor when you consider the problem of getting high SPL to the floor cleanly when the Hyatt’s ballroom ceilings are twenty-two feet high.” “The Hyatt often has events where a significant level of SPL is required and we wanted to be sure that this would no longer be a problem for them to achieve.” To give the Hyatt the performance of “new” loudspeakers for a song, he added five 4-channel QSC CX204V and six 2-channel QSC CX302V amplifiers. He added 200-watt transformers to each loudspeaker and then tapped them at a much more generous 100-watts with there being an option to tap them higher if it was required “Even if I ignore the contribution of the new processing, it’s an obvious and drastic improvement to the overall system sound,” said Van Dyke. “Whereas before the Hyatt would suggest that clients bring in their own rented sound system for music-heavy events, the newly-adjusted ceiling speakers sound so good that they often don’t need to.”

“It’s easy to focus on Symetrix’ sophisticated user control, but the sound quality is top-notch as well. Symetrix started in the broadcast and recording markets, where sound quality is a really big component of what matters. That legacy helps to make Symetrix processors sound fantastic,” Van Dyke concluded.

ABOUT SYMETRIX
Sound professionals rely upon the performance, value and reliability of audio mixing, routing and processing products from Symetrix. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1.425.778.7728.

Edge ShowTek Makes Use of AuviTran EtherSound Unit for Red Bull Fuel & Fury

BUENA PARK, Calif.—More than 5,000 attendees flocked to the site of this year’s Red Bull Fuel & Fury snowmobile jumping event. Held in early November in Chicago, they witnessed seven of the world’s best freestyle snowmobilers at the largest single event of the year.

Edge ShowTek (Northbrook, IL) was tasked with the audio production for the event, making good use of the new AuviTran AVM-500ES unit to maintain an EtherSound network within the entire digital system. The system consisted of a Yamaha PM5D-RH digital console, two Yamaha SB-168ES Stage Boxes, 36 NEXO GEO S8 speakers, 12 CD12 subs split between four towers, six NEXO PS15s, and five NEXO NXAMP 4x4s amplifiers.

The AVM-500ES unit is an EtherSound Network Matrix housed in a 19” 1U rack box for linking and routing up to five EtherSound networks together, Integrating a full matrix router of 320 x 320 audio channels. “The unit worked very well, states Pete Hansen, Operations Manager, Edge ShowTek. The reason we decided to use the AVM-500 was to maintain an EtherSound network throughout the whole system, which would not have been possible without the unit, or at least very undesirable from a cabling standpoint.”

Hansen said the setup for this system was quite unique in that speaker positions were both in front of and behind the Yamaha front of house position. The Edge ShowTek crew used a combination of Cat5 and Fiber Optic cable runs that were fairly long and non-linear with about 200-300 feet between each speaker tower. They were able to save about 1,000 feet of cable run by splitting the ES network in front of, and behind, the front of house position by using the AVM-500.

“We have been using EtherSound as a method of running multi-channel digital audio for years, says Hansen. It’s amazing to hear how well the audio fidelity is maintained when you never leave the digital domain, says Hansen. If you are going to use a digital console, you might as well run in a digital format like EtherSound as much as possible. The AVM-500ES allowed us to do just that over the whole system, and it sounded phenomenal.”

“An event like Fuel & Fury was an ideal use of EtherSound networking given the large distances between microphone sources, speaker towers and the Yamaha front of house, notes Trevor Waller, of Edge ShowTek and A1 for the event. With announcer microphones over 600 feet away from the mix position, the ability to send those sources to the Yamaha PM5D-RH console digitally with virtually no line losses was a great advantage in making sure the event could be heard by everyone even over the roar of snowmobiles in the air. The unit was virtually plug and play and allowed us to save valuable setup time, both in its ease of patching and integration into our system.”

For more information on Edge ShowTek, visit www.edgeshowtek.com.

For more information on the AVM-500ES, visit www.yamahaca.com.

-End-

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

Pro Audio Monitoring System Manufacturer Blue Sky Creates YouTube Video Aimed At Consumers & End-Users

Pro audio monitoring system manufacturer, Blue Sky, has maintained a core philosophy since its inception in 2001: to design and offer products that represent the highest ratio of performance-to-cost as well as a superior sound experience for its customers—from home enthusiasts to entertainment content creation professionals. Taking a cue from its in-depth website “Key Concepts” section, which addresses the company’s philosophy on topics ranging from the “Basics of Bass Management” to the “Truth About Subwoofers”, Blue Sky has created an in-depth video on its own YouTube channel to promote the company, its philosophy and the full line of components and systems it offers for home, personal, and professional studio use. 


Targeted to the end-user and consumer, Blue Sky’s first foray into the world of video was produced by Andrew Wild of Wild Touch Productions. Just over 7 minutes, the video outlines the complete Blue Sky story and showcases the full-range professional monitoring components and lines—from the entry-level 2.1 desktop eXo2 to the mid- and large-scale music/film dubbing systems including MediaDesk, ProDesk, Sky System One and Big Blue. Additionally, you’ll hear raves and reviews from two of Blue Sky’s professional proponents, Chris Unthank, Director of Transfer Operations at Larson Studios and Audio Director/Gaming Sound Designer Greg Allen (formerly of UbiSoft and Electronic Arts).

“Our intention with this new video is essentially to reintroduce the brand to the customer through social media outlets including YouTube and Facebook,” said Blue Sky Vice President Chris Fichera. “Outside of the traditional sales and marketing arena, we want to speak directly to our end-users to reiterate what we are about technically, what makes the Blue Sky brand and products unique—including offering components designed to complement each other and seamless systems built around the bass management concept, and to offer a few raves from some of our hardest-working customers. That’s what we were after and I believe we achieved it.”

ACIR Professional Hosts Shure Demo in A.C.

EGG HARBOR TOWNSHIP, N.J.—ACIR Professional (Egg Harbor Township, N.J.) recently hosted a demonstration of the new Axient wireless mic line by Shure Microphones at the Atlantic City Hilton Casino Resort.

The Axient system of products is Shure’s latest and most advanced professional wireless microphone system to date, featuring complete spectrum management, interference detection and avoidance, advanced power management, transmitter remote control, frequency diversity, and new Wireless Workbench 6 software.

The Shure demos, attended by regional audio professionals, also included PSM-1000 and PSM-900 IEM systems, “micro body pack”, “Wireless Workbench 5” (the latest version of Shure wireless management software), and rechargeable battery technology including Shure’s rack-mountable charger.

For Shure’s audio production, ACIR provided a Yamaha LS9-16 digital console, Yamaha DSR115 Speakers, and a 4-channel rack of Shure UR series wireless (both handhelds and body packs with lavaliers) used by presenters and for Axient wireless product comparisons.

For more information, visit www.acirpro.com.

-END-

PHOTO ID: Shure’s Bill Ostry

PHOTO CREDIT: Digital Warmth

Audio Logic & DiGiCo Bring The Funk 2 The fDeluxe Family Reunion

To say that September was a busy month for Audio Logic Systems (ALS) would be considered an understatement. Not only did the A/V integrators celebrate a 20th anniversary milestone with a mega bash replete with music, food and drinks at their Minneapolis headquarters, but they also took on the production for a major concert event at the historic Loring Theater—in addition to more

STACKED WITH TECHNOLOGY. CALIFORNIA’S STACKED RESTAURANTS FEATURES IPADS AT THE TABLES AND ASHLY NE8250PE AMPLIFIER/DSP BEHIND THE TUNES

WEBSTER, NEW YORK – NOVEMBER 2011: Remember the on-board food ordering systems aboard the starships in the (pick your favorite) Star Trek series? After a long day battling deadly aliens, navigating thorny philosophical predicaments, and contextualizing the human experience, Captain (pick your favorite) would select a meal on a TV screen mounted on the wall and, moments later, food would be either delivered via high-tech dumb waiter or fabricated on the spot from raw chemical constituents. Well, now thanks to the iPad(r) and the visionary team behind Stacked, you too can order your food on a screen (deadly aliens, etc. optional). With an iPad at every table and an addictive app that allows customers to visually build their ideal burgers, pizzas, salads, and desserts, Stacked offers a glimpse into the future. And because everything about the California-based chain needs to live up to our hopeful expectations about that future, A/V integrator No Static Pro Audio Inc. (Burbank, California) delivered hi-fi sound to all three existing locations using eight-channel Ashly Audio ne8250pe amplifiers with onboard DSP and out-of-the-box network-ready integration.

From the customer’s perspective, the iPad ordering system is transparent and easy to navigate. For example, the hamburger builder allows the user to drag tomatoes, lettuce, mushrooms, etc. from one side of the screen to a virtual burger on the other side of the screen. When they’re finished, they hit “send to kitchen” and a sophisticated triangulation system determines the table of origin and then communicates the order to the cooks. When they’re finished, customers have the option of using the built-in credit card readers to pay for their meal with the iPad. “I think it’s worth pointing out that the food is really, really good,” asserted Eugene Gordon, CEO of No Static Pro Audio Inc. “The technology will get people in the door once, but the quality of every other aspect of their experience will keep them coming back.”

Music is a high priority at Stacked. Chief information officer Brian Pearson is passionate about selecting upbeat tunes from across a range of contemporary genres. The songs reside on a gigantic MegaSeg repository from which a week of back-to-back songs will never repeat – and never let the carefully molded Stacked brand topple. No Static Pro Audio Inc. came to the project on a recommendation from another contractor already involved in the creation of the restaurants, and the pairing couldn’t have worked out better. “It’s fun working with Brian,” Gordon said. “He’s knowledgeable and excited about new technology and great sound.” To tie the Stacked music experience into the Stacked iPad experience, Gordon worked out a little app that allows patrons to review the last five songs that played, right from the table’s iPad.

The sound system Gordon designed for Stacked is both high-performance and cost-effective. Eight-ohm ElectroVoice ZX1-90 full-range loudspeakers provide audio throughout the establishment and JBL SRX718S 18-inch subwoofers kick up the kicks around the bar and dining area. An Ashly ne8250pe paired with an Ashly WR-5 wall-mount remote control comprise the rest of the audio system. The ne8250pe delivers eight channels at 250 watts per channel into 4 ohms (and since Gordon ran two 8-ohm loudspeakers per channel, that’s what they deliver). Moreover, the ne8250 has onboard Protea(tm) DSP and network integration – all in a single unit that is only two rack-spaces high.

Gordon reduced the cost of the project by turning to the Ashly model ne8250pe for the sound system amplification, matrix mixing, control and digital processing. The on-board 8-in x 8-out Protea(tm) DSP processor and matrix mixer provides overall equalization for the system, loudspeaker alignment & delay, and matrix mixing to allow, for instance, satellite TV audio for the bar and, at the same time, background music everywhere else. It also provides auto-leveling and brick-wall limiting. The programmable Ashly WR-5 allows Stacked staff to change volume separately in each zone. In addition, it allows them to select the MegaSeg playlist or the satellite TV as the input source for each zone.

“The Ashly ne8250pe is a high-performance, cost-effective, space saving solution for a place like Stacked,” said Gordon. “We were able to tuck the two rack-space unit into the server rack located in the equipment room, which was dominated by the back-end iPad infrastructure. The amp is reliable, great sounding, and powerful – indeed, Stacked has tons of clean headroom. Mostly to offer peace of mind, we employed the ne8250′s network capability so that we could monitor and change its status remotely.”

Be on the lookout for more Stacked locations opening up nationwide. Their plan is to open four to five of the restaurants each year!

ABOUT ASHLY AUDIO
With a greater than thirty-seven year history, Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets.

www.ashly.com

WRIGHT CONSULTING ASSOCIATES INC. CREATES DESIGN SOLUTIONS USING DANLEY MINI SUBS AND GENESIS HORNS

INDIANAPOLIS, INDIANA – NOVEMBER 2011: Since its formation in 1985 on the burgeoning north side of Indianapolis, Indiana, College Park Church has grown consistently and rapidly. Its early meetings at a local hotel quickly overflowed and inspired a move to a local warehouse where, after a few years of fundraising, College Park set down roots in a new building all its own. But its blessing of growth continued apace, inspiring one, then two, then three Sunday services. Now, decades later, College Park Church is celebrating the completion of a new 4,000-seat sanctuary with raked seating that can accommodate the entire congregation (for now at least!). David Wright, president at Wright Consulting Associates, recommended a subwoofer solution with Danley Sound Labs TH-MINI subwoofers, which are small, (true to their name), tremendously efficient, and truthful (true to their brand). WCA arranged an audition for the church A/V tech team and recommended that subwoofers already designed be replaced with Danley models instead.

College Park Church’s musical style is best described as contemporary, diverse… and big. A live band, a full choir, and an orchestra complement the sermon. Indeed, the services often incorporate dramatic reenactments and prerecorded multimedia support, both of which require full sound reinforcement.

“Originally some soft ideas about ground stacking subwoofers in fairly arbitrary positions along front walls and corners of the room led to inconsistent low end,” said Wright. “Flying subs is always preferred by Wright but structural considerations conspired to nix the idea. The next best idea was to hide subwoofers underneath the center dais.

“But the space underneath the dais kept getting smaller during construction,” Wright continued. “It was an ideal application of the Danley TH-MINI subwoofer, which we had flown successfully in other projects. The TH-MINI is the only subwoofer on the market that could be hidden under the dais and yet still deliver compelling deep bass to 4,000 seats.” Although audio products used in audio systems are important, Wright is quick to point out that they are nothing without proper balancing and commissioning. “That intangible part of the system was done exceptionally well by Acoustic Dimensions, who we originally recommended to Aspen Group, our architect. By cleverly employing delays, listeners anywhere in the sanctuary naturally localize all sounds to the stage, the best part of the design and key to the performance of the system.”

Looking to the future, Wright will again employ eight Danley TH-MINI subwoofers in Indianapolis’ Shortridge High School, an historical location. In a state where basketball is king, (eighteen of the largest high school gyms in the USA are located in Indiana – and it was the inspiration for the movie Hoosiers) the school’s new 4,000-seat gymnasium will be large enough to host large sectional tournaments. Wright and his employees Daniel Farrar and Russ Hoppel carefully modeled the space in EASE and determined that the bass component would be best served by flying two end-firing subwoofer arrays, each lobe aimed at one of two gigantic bleacher sections, to minimize spill from room surfaces.

But the modeling served an acoustics purpose first. “We worked to simultaneously keep the acoustic budget in line even while bringing a six-second reverb down to one-and-a-half seconds,” explained Wright. “We considered a number of full-range solutions and planned to present them to the client as a ‘good, better, best’ option set.” But we were surprised that the “best” option was two Danley Genesis GH-60 horns, one for each bleacher section. Its efficiency and tight pattern control would work in synergy with well placed acoustical treatments to maintain impact and clarity. “The numbers led us to the realization that the Danley solution would be less expensive than the original design. Wright said. “The Genesis Horn coverage and efficiency allowed us to replace nine other boxes with just two Danleys. The reduction in the total loudspeaker cost combined with the reduction in installation labor made the Danley solution the least expensive and also best performing.”

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

API 1608 INSTALLED IN PARIS STUDIO

PARIS, FRANCE – NOVEMBER 2011: A testament to API’s growing global market appeal, one of the company’s renowned 1608 analog consoles has recently been installed in the Paris recording facility STUDIO K. Owned and operated by French musician, composer, engineer and producer David Chalmin, STUDIO K resides in the very center of Paris and offers recording and mixing services to artists from all genres.

“When I decided to invest in a new console, I knew right away that I wanted something with a distinctive sound,” said Chalmin. “I was going to invest a lot of money, and I didn’t want my console to have a ‘transparent’ mixer; I can reach transparency in the digital world. I wanted analog. When you think of analog, you think of color-and when you think of color, you think API. I knew the 1608 had the color I loved: warm and crisp,” he said.

Chalmin, who has worked with acts such as Nadeah, the Labéque Sisters and Nicola Tescari and Sophia Charaï, has been part of the French music industry since joining Beatles “re-elaboration” contemporary, rock band B for Bang in 2006. He is also a guitarist for Nadeah and member of two other groups – experimental/improvisational rock band Dimension X (guitarist) and rock duet Red Velvet (singer, guitarist). Developing a passion for recording, producing and engineering through a makeshift home studio, Chalmin officially opened STUDIO K in 2009 and soon after decided he needed a top-rated console – the API 1608.

“I also chose the 1608 for its modularity,” Chalmin said. “Being born in the digital era, I’m used to having a lot of different EQs [through plug-ins], and, to me, it was great being able to have a console that allowed me to choose different flavors through EQs and other processors. With the 1608, I can evolve the mix along with my tastes or change it by using different modules depending on which project I’m working on.”

Expandability was also a key reason Chalmin chose the console for STUDIO K. “I designed the console’s furniture to fit an expander, which I hope to welcome someday soon. The fact that the 1608 allows you to build upon it little by little makes this top-quality board really affordable.

“It has exactly what I need and not a thousand things I don’t,” Chalmin said. “It’s simple and comprehensive. And it’s the most beautiful console, isn’t it?”

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

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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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