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Fairlight Showcases 3D Audio Workspace at IBC 2014

At IBC 2014, Fairlight will showcase 3D Audio Workspace (3DAW), a new platform for immersive and object oriented 3D Sound Production.

Aimed at the film and television post production market, 3D Audio Workspace reinforces the industry’s drive for the ultimate in cinematic and immersive sound delivery by providing a comprehensive and diverse environment for 3D audio production.

“Fairlight has always had a reputation for pushing the boundaries of technology, but even by our high standards 3DAW is one of the most exciting products we have launched in many years,” says Tino Fibaek, Fairlight’s CTO.

One of the features that make 3DAW so unique is AirPan – a brand new concept that allows operators to use a Virtual Reality (VR) style input to position and control images in a 3D space.

“This feature is incredibly cool because you can literally reach out into the airspace monitored by the controller and by just moving your fingers in the air, you can pan, rotate, tilt and spread your sound in space,” Fibaek adds.

Fairlight’s 3DAW adds immersive sound capabilities to an existing digital audio workstation, whilst remaining fully compatible with an established workflow. This open platform configuration support VST® and RTAS® plugins, as well as ASIO® for I/O and sync sharing.

“The philosophy behind Fairlight’s 3DAW is to give sound mixers a post production solution that works with all platforms,” Tino Fibaek adds. “Different deliverables require different technologies, so Fairlight’s immersive platform provides the best of both worlds, supporting object orientated implementations such as Dolby’s Atmos and DTS’ MDA and fixed bus formats in 2D and 3D, from stereo through to 5.1 and all the way up to NHK’s impressive 22.2 format.”

Fairlight has ensured post production facilities can easily connect to their studio workspace. Integrated, user definable B-chain processing supports up to 34 discrete speaker outputs allowing sound mixers to switch instantly between different surround formats, different speaker sets, speaker muting and soloing and comprehensive metering.

For more information about Fairlight’s 3D Audio Workspace and other innovations in the Fairlight range, please visit us at IBC 2014 – Hall 7, Stand H17. Or visit the company’s website –www.fairlight.com.au

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About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

Satin Sound Deploys Martin Audio For Lady Antebellum Concert

Satin Sound Systems, Inc. recently supported a sold out concert by Lady Antebellum with Martin Audio at the First Niagara Pavilion outdoor amphitheater in Burgettstown, PA during the band’s “Take Me Downtown” tour in support of their album, Golden.

Formed eight years ago in Nashville, Lady Antebellum is made up of Hillary Scott (lead and background vocals), Charles Kelley (lead and background vocals, guitar) and Dave Haywood (lead and background vocals, guitar, piano, mandolin).

The successful country trio has recorded five albums (Lady Antebellum, Need You Now, Own the Night, On This Winter’s Night and Golden), winning a substantial number of Grammy, CMT, CMA and Billboard Awards along the way.

For the show at Niagara Pavilion which has a 23,000 seat capacity, Satin Sound rigged a Martin Sound system consisting of 24 W8L Longbow enclosures for the main hangs, 24 W8LC speakers for the outfills, and 20 WSXA subs. Amplification included Lab Gruppen FP 7000 for the Longbows, PLM 10000Q for the W8LCs and Powersoft K10s for the WSXA subs.

The crew for the show consisted of Brett “Scoop” Blanden (FOH Engineer), Peter Bowman (Monitor Engineer), and John A Durisko and Bill Lowery (Systems Techs).

Asked why they chose Martin Audio, Satin Sound’s Durisko said, “The Martin Audio W8L Longbow/W8LC system gave us great coverage with seamless transition between the main and outfill cabinets. The Longbow rig is incredibly powerful and very musical, and we received many compliments throughout the evening.”

For more about Martin Audio, please click www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Yamaha Commercial Audio Donates Live System To Nashville HS

Pearl-Cohn Entertainment Magnet High School in Nashville, Tennessee offers students the opportunity to learn through the lens of the entertainment industry with pathways in audio engineering, broadcasting, record industry, marketing, and image consulting. It is the only entertainment magnet high school in the country. The vision of Pearl-Cohn is to equip its students to realize and achieve their potential while committed to educate the whole person.

Bryan Lenox of Lenox Productions facilitated the arrangement with Yamaha, who in turn, enlisted the services of J Sound Services (Nashville) to add a new Yamaha CL1 Digital Audio Console and Rio 3208-D input/out box to its 413-seat auditorium. Yamaha IS and DXR speakers, and TXn amplifiers were also installed. J Sound Services specified the system for its easy operation by student volunteers. Auditorium productions at Pearl-Cohn can be anything from assemblies with announcements and presentations that include video to full-on theatrical events.

J Sound Services has had a lot of experience installing Yamaha Installation Series Speakers, so they were the obvious choice for the installation. “Once we understood the scope of the project, we determined a Yamaha MTX5D processor and DCPS wall-mount controller would also be required,” states Jason Spence, owner, J Sound Services. The design approach was based on the fact that there is limited acoustic treatment in the school auditorium. “It was important to minimize the amount of energy on the walls, says Spence.

Time was spent using Yamaha’s YS3 Sound System Simulator and EASE acoustic modeling software to focus the mid-high and subwoofer-arrays. Deployed end-fire arrays both in L-R and Center allow pattern control on how wide the throw would be in the room and also provides a Cardiod pattern measuring 12db down on stage behind the arrays. “By deploying the subs this way we have significantly reduced the low-end energy on the stage and what would have reflected off the walls in a typical Omni pattern, Spence adds. The room can easily handle and extends below 40Hz without the low-end building up, leaving the room also very articulate and musical. The house is nice and big with lots of sub. The design is very unique and it clearly looks different. The staff and Bryan Lenox were quite impressed with the results of the end-firing arrays.”

Lenox assisted in the set up and adjustments of the CL1. “The system sounds really good. The school had a unique need for a system that can handle intimate speaking all the way to low-end thumping Hip Hop music. And, this system definitely delivers. The CL1 is a great sounding console and one that the students can learn on in order to prepare for the real world so they can jump into any situation with confidence.”

The new auditorium’s multi-purpose system is all Dante connected with the Yamaha CL1 taking control of presets for theatrical productions using the consoles Nuendo Live software. Pearl-Cohn ran cat5 cable to their multi-track room to record the events taking place in auditorium. A.Cisco switch is used to network and import multi-tracking in studio. An old projection booth above the auditorium now has the capability of adding a Nuendo recording suite with infrastructure and cables already in place.

“Our students needed professional-class live production facilities in order to complete our vision to equip our students with real-world skills that will transfer to the marketplace or college when they graduate, states Sam Lorber, Instructional Designer at Pearl-Cohn. Thanks to Yamaha’s generous donation, these students will now be able to walk into any venue: club, church, college auditorium, or arena with a skill set advantage no other school can provide.” The principal commented on how she loves that she can touch one button and it just works.

J Sound Services also installed a Vivitek High-Definition 6K lumen projector with remote HDMI interface. To update the theatrical lighting system, JSS enlisted the consulting services of Chris Lisle Lighting Design and installed Elektralite LED PAR fixtures, Watson raceway and ElektraHazer, an Altman spotlight, and Chauvet Datastream; all of which integrated with the existing ETC dimmers. As part of the lighting system update the existing Fresnels and Lekos were reconditioned and focused.

J Sound Services also installed four Yamaha C115VA and two C112VA Club Series Speakers using a MTX3 processor and the same DCPS wall-mounted controller as in the auditorium. Spence said the system installed could be operated in the same manner, with a touch of a button, making it extremely simple and consistent for staff and students to operate the systems in either location.

For more information on Pearl-Cohn Entertainment Magnet High School, visit www.pearlcohnhs.mnps.org.

For more information on J Sound Services, visit www.jss.net.

For more information on Yamaha Commercial Audio products visit, www.yamahaca.com.

-END-

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Lyon Video Installs Calrec Apollo Audio Console in Newest Mobile Production Truck

Mobile Unit’s First National Event Was Primetime Emmy(R) Awards Red Carpet Preshow more

Digigram to Feature New MADI Option on LX-IP RAVENNA PCIe(R) Sound Card at IBC2014

Optical MADI Interface Facilitates and Accelerates Studios’ Shift From Synchronous Audio Toward More Flexible, Less Costly IP Audio

MONTBONNOT, France — Aug. 26, 2014 – At IBC2014, Digigram will highlight a new optical Multichannel Audio Digital Interface (MADI) option for the company’s LX-IP RAVENNA PCI Express(R) (PCIe(R)) sound card. With the MADI option on its LX-IP dual-port RAVENNA/AES67 sound card, Digigram provides connectivity that helps to ease the industry’s migration from synchronous audio (MADI) to IP audio (RAVENNA/AES67) in the studio environment.

“The industry’s move from costly proprietary equipment and standards toward commercial off-the-shelf, IT-based systems running common media-oriented IT protocols is not just inevitable, but well underway,” said Pascal Malgouyard, head of product marketing at Digigram. “While IP audio has revolutionized connections between the studio and other locations, it has not yet taken hold within the studio. However, the RAVENNA technology and new AES67 standard address key audio-over-IP (AoIP) interoperability issues, thus opening the door to IP audio in the studio environment. By adding an AES10 MADI option to our LX-IP RAVENNA sound card, we make it easy for users to accelerate their own transition from legacy synchronous digital audio to IP audio and, in turn, begin taking advantage of its many uses and cost benefits.”

The new MADI option facilitates a seamless shift to IP audio by supporting use of the LX-IP RAVENNA sound card in a synchronous audio environment to connect up to 64/64 I/O MADI channels from/to the host PC and from/to RAVENNA/AES67 AoIP equipment. Because the Digigram sound card includes an embedded routing matrix, users can make a direct connection — with no latency — between RAVENNA/AES67 streams and MADI channels, whether for monitoring purposes, redundancy, or simply creating a bridge between the MADI and IP audio realms.

Users realize the card’s valuable dual interface capabilities without any change to the familiar application used to manage the card. Control of the Digigram card is straightforward, thanks to its full compatibility with the industry-standard EMBER+ protocol.

The new Digigram card will be shipping by the end of 2014. In the meantime, it will be available for demonstrations on the Digigram IBC2014 stand (8.C51).

More information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

# # #

About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

All trademarks appearing herein are the property of their respective owners.

Please Visit Digigram at IBC2014, Stand 8.C51

Photo Link: www.wallstcom.com/Digigram/Digigram-LX-IP_Ravenna.jpg
Photo Caption: LX-IP RAVENNA PCIe(R) Sound Card

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Related Topics: Audio Playback, News, Tradeshow News |

DPA Helps Ivan Rutherford Bring Broadway to Hong Kong

Internationally acclaimed artist Ivan Rutherford turned to DPA’s d:facto™ Vocal Microphone to help him give a truly emotional performance during a recent one-off show in Hong Kong.

The actor and singer, who has performed the role of Jean Valjean in Les Miserables over 2,000 times on Broadway, was looking for a microphone that could deliver exceptional sound quality and clarity through a large venue sound system. He also wanted a hand held microphone so that he could move freely on stage while he sang a series of Broadway hits dating from the 1930s to the present day. DPA’s d:facto Vocal Microphone fitted the bill perfectly. Rutherford used the microphone in a wireless configuration with a Sennheiser Wireless System, which made movement possible and allowed him to deliver a vocal performance that was memorable for the audience.

“I had never used a DPA microphone before and I was very pleased with the experience,” Rutherford says. “I was impressed with the intensity of the sound and the mobility it allowed onstage, which gave me great freedom to make unobstructed connections with my audience. I also enjoyed the feel and weight of the microphone in my hand, and found that it helped give me the necessary confidence for a one man performance. I would very much enjoy working with a DPA mic again.”

Rutherford’s show, entitled A Taste of Broadway, took place at the Academic Community Hall in Hong Kong. Mr. Clarence Chang, from Jazz World Live Series that organized the concert, says: “The only instrument on stage was a grand piano, which was also miked with DPA – a matched pair of d:dicate™ 4011A Cardiod Microphones in A-B configuration to capture the main piano signal and d:vote™ 4099 Instrument Microphones in a stereo piano kit configuration to provide additional percussive effect from the hammers. This proved to be a very successful formula because the piano sounded fantastic – really crisp and lively, yet with all the body and warmth one would expect from a top of the range instrument.”

Ken Kimura, DPA’s General Manager for the APAC region, and Ricky Wan, from DPA’s Hong Kong distributor Digital Media Technology, were on hand to ensure the optimal microphone set up.

“The d:facto Vocal Microphone in a wireless configuration was a perfect match for Ivan Rutherford as it enabled him to move freely, while capturing every nuance of his voice,” Kimura says. “When you have a two hour show that only consists of a singer and grand piano, you really need that artist to be super talented and to have a great voice. Ivan Rutherford had both of these attributes in abundance and gave a fantastic performance.”

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Southwestern Assembly of God U Installs Yamaha NUAGE DAW System

BUENA PARK, Calif.—Located in Waxahachie, TX, Southwestern Assemblies of God University (SAGU) began as a regional bible school and later, added a junior college program. The university has experienced phenomenal enrollment increases from 596 students in 1991 to approximately 2,200 today. In 2013, the academic divisions of the university realigned into three colleges: the College of Bible & Church Ministries, the College of Business and Education, and the College of Music and Communication Arts. All colleges maintain Bible-based curriculum to fulfill the mission of SAGU. Since 2000, SAGU has added 24 new academic programs, bringing the total to more than 60 programs.

Recently, SAGU added a 48-Fader Yamaha NUAGE Advanced Production DAW System, purchased through Audio DAWG of Irving, Texas. The system is installed in a dedicated studio for commercial production that is available for rental and an academic learning lab for Digital Media Arts students. Internships are being offered for students in the program, but they will also have to complete at least one major audio project using the studio, with staff engineer assistance.

“I started using Nuendo 2.0 in 2003 as an upgrade from Cubase SX which I was strictly using for MIDI programming, states John Cookman, Chief Engineer and Director of Media Services and Production. My DAW at the time was a PARIS system that had been discontinued, and I needed a DAW that could keep up with where I was leaving off. Wow! Nuendo really did that and more.”

Cookman purchased NUAGE primarily because he had grown tired of recording/editing/mixing with a mouse and keyboard. “I always sensed that my creativity was being stifled due to the inefficient ways of keyboard and mouse work flow, Cookman says. I had originally planned to purchase a Euphonix system because of its acclaimed integration with Nuendo, but once I demoed the NUAGE at NAB 2013, I decided it was much more practical to buy a console that was specifically made for the Nuendo platform and would also be supported by Nuendo’s parent company, Yamaha. From the first minute I sat down with the NUAGE, I have felt at home.”

The Digital Media Arts BA degree is the path for all of SAGU media students, and the department is moving toward an audio recording degree path. They do offer an audio recording class that is mandatory for all DMA students. Each student will be doing at least one project on the NUAGE. SAGU averages roughly 20 students in the audio recording class per semester.

Technically, SAGU is not a house of worship but they do have daily chapel services. “My department has started up a live and on-demand outlet to view and listen to services (www.SAGU.tv chapel channel), notes Cookman. This is a multi-camera and multi channel audio mix for broadcast TV using our DMA students as student workers. We also do sports broadcasting as well.”

Two main facilities are used for broadcasting, the largest auditorium seats approximately 2,300. During the school year the auditorium is occupied mostly by students. The other auditorium is a new performing arts theater seating 625. “Our NUAGE system is directly integrated to this room so that we can use it as a sound stage to record from,” adds Cookman.

Cookman appreciates the NUAGE state-of-the-art approach adding in the elements of the analog workflow to a digital non-linear workflow. “Now I am able to access the best of both worlds concerning work flow. Yamaha has done an outstanding job at connecting the user to efficient workflow systems. The way they have integrated NUAGE with the DAW (especially Nuendo) has empowered the engineer with hands-on tools that are unprecedented in our industry.”

Specific features that were attractive in SAGU’s decision process were the motorized faders, one-touch navigation to any parameter, and the ability to edit each parameter microscopically with professional grade encoders. “Faders and buttons impact our work environment everyday. Being able to reach over and instantly access channel data makes workflow so efficient. Now, I don’t have to spend time scrolling with my mouse and keyboard keeping me from really getting into that creative zone. The NUAGE is a “Must Have” for every DAW.”

John Cookman has been in the industry for 30 years, and 18 of those were spent in the non-linear DAW world. “Since I started working with NUAGE, I finally feel like I am tapping into the top layer of my potential as a engineer and producer. In May, we released a Christian music project for an outside artist (I was hired to produce and record/edit/mix). Within 45 days, we charted at #10 on the Billboard Hot Christian charts and the next week, we topped out at #8. The artist was the only independent artist in the top 100 at that time. I attribute a lot of that to the flexibility the NUAGE brought us to use more of our creative brain rather than engineering brain.”

Cookman says he is budgeting for a smaller NUAGE setup for broadcast remix in SAGU’s master control room currently using Nuendo.

For more information on SAGU, visit www.sagu.edu.

For more information on Audio DAWg, visit www.audiodawg.com.

For more information on NUAGE, visit www.yamahaca.com.

-END-

PICTURED: John Cookman

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Digigram to Introduce New Low-Latency, High-Density LX-MADI PCIe Sound Card at IBC2014

LX-MADI PCIe Sound Card Offers 64/64 MADI I/O, Latency Down to 3 ms, and High Stability in Audio Production and Broadcast Automation Applications

MONTBONNOT, France — Aug. 19, 2014 – Digigram today announced that it will showcase the new LX-MADI PCI Express(R) (PCIe(R)) sound card, the latest addition to company’s unparalleled range of sound cards engineered for broadcast applications, at IBC2014. Digigram designed this card to provide radio and television broadcasters with low-latency performance and reliable multichannel synchronous audio PC connectivity in high-density audio production and automation applications.

“With the new LX-MADI PCIe card, users can establish a high permanence-of-service bridge between the PC-based content management world of digital audio workstations and automation systems and the legacy synchronous audio world based on AES10 standard Multichannel Audio Digital Interface (MADI),” said Pascal Malgouyard, head of product marketing at Digigram. “This approach simplifies the systems required to support key broadcast processes while ensuring the continued quality and reliability of audio signals.”

Equipped with an optical MADI interface, Digigram’s new LX-MADI PCIe sound card supports a 64/64 I/O channel count with low roundtrip latency down to 3 milliseconds. An embedded 64×64 matrix gives users routing and direct monitoring capabilities, along with record and play functions. Because the LX-MADI PCIe sound card is a hardware solution, it offers high stability regardless of the computational load presented by other applications running on the host system, such as editing, processing, ingest, and playout.

The new Digigram LX-MADI PCIe sound card will be shipping by the end of 2014. In the meantime, it will be available for demonstrations on the Digigram IBC2014 stand (8.C51).

Further information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

# # #

About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

All trademarks appearing herein are the property of their respective owners.

Please Visit Digigram at IBC2014, Stand 8.C51

Photo Link: www.wallstcom.com/Digigram/Digigram-LX_MADI.jpg
Photo Caption: LX-MADI PCIe(R) Sound Card

JOEL HAMILTON RECORDS AND MIXES “PUSS N BOOTS” DEBUT USING ATC SCM25A’s

BROOKLYN, NEW YORK – AUGUST 2014: Puss n Boots is a three-piece, all-female, alt-country band led by singer-songwriter Norah Jones and backed by accomplished vocalists Sasha Dobson and Catherine Popper. All three women learned new instruments for five years before recording their debut album with engineer/musician/producer Joel Hamilton (Tom Waits, Black Keys, Sparklehorse, Elvis Costello) at Studio G Brooklyn. Titled No Fools, No Fun, the album was recently released on Blue Note Records. As co-owner of Studio G Brooklyn with Tony Maimone, Hamilton installed ATC SCM25A three-way reference monitors and ATC SCM0.1-15 subwoofers in Studio A, a change that happily coincided with his first Grammy nomination (Pretty Lights, A Color Map of the Sun), a Latin Grammy nomination (Bomba Estereo, Elegancia Tropical), and a Latin Grammy win (Gaby Moreno, Postales). The ATCs were purchased from Audio Power Tools in New York.

“The ATCs have changed the way I work and improved the quality of my work,” said Hamilton. “I’m lucky to have a nicely tuned control room with an SSL and plenty of vintage outboard gear, and with the ATCs, I’m suddenly able to make decisions that are smaller – and yet more critical – than I have ever been able to make before. I have the ability to resolve a finer shade of the colors I’m hurling at the end-listener, and it’s been a revelation. It’s not a small thing, and that’s why I’m reaching for dramatic words like that. It’s tectonic. The entire continent has shifted.”

The glorious harmonies delivered by Jones, Dobson and Popper are a huge part of Puss n Boots’ magic. They form the emotional foreground. “The balance of those harmonies is crucial,” said Hamilton. “You’ve got these three gorgeous women with gorgeous voices, and they’re all coming at you like gangbusters because they can all project. We recorded everything live to analog tape, including the vocals. That gives a particular nuance to how the instruments sit against the vocals. You can feel the beat push and pull so beautifully. I needed to make sure that all of that nuance would come shining through for the listener. Striking the right midrange balance of those harmonies is critical, and I had to make sure all of that beauty would be immediately apparent to, say, my mom!”

While Norah Jones’ existing albums might safely be described as “polished” and most classic country albums might safely be described as “rough,” Hamilton had to walk the line between those extremes. “The balance is deliberately raw, which is perhaps unexpected by traditional Norah Jones standards, but it also has to be informed,” he said. “We were shooting for a tiny bulls eye, but we also had to make sure that everything felt unfettered and natural; just on the edge of scratchy so that it felt rough but didn’t actually hurt people. With the ATCs, I could find that line and make adjustments with confidence. I could tell where I was overcooking it on purpose. I could dial in just the right amount of ‘road house.’”

With the introduction of the ATCs, gone too is the need to translate for the client how a mix will sound outside of the studio. “After spending a lot of time in front of other monitors, I could tell when certain things would sound bad in the studio but fine outside of the studio,” Hamilton said. “The challenge beyond that, however, was convincing the client that those bad things would be fine later on, which is just one more thing to heap onto the already-skittish nature of an attended mix session. And so clients would ask, ‘why don’t you just get monitors that sound like it will sound like?’ It seems so simple, but of course it’s not.”

Hamilton used to switch between a number of monitors and loudspeakers all day long, but now he just hangs out on the ATCs. Depending on the task at hand, he can turn the ATC subwoofer on or not. “With the sub on and the volume cracked, the ATCs rock and serve as ‘mains,’” he said. “When I’m listening closely and resolving small moves, the ATCs are my nearfields. Either way, I now have complete confidence in what I’m hearing and doing. When a mix sounds good on the ATCs, I know it will sound good everywhere else. With Puss n Boots, we were able to make solid decisions that stuck. We totally avoided the hell of endless revisions!”

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

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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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