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Fairlight Delivers the Gift of Great Sound at Sky Vision Sound Studios

Robert Thompson Sky Vision

London-based Sky Vision Sound Studios, part of the BSkyB/Sky Vision family, has recently completed a major upgrade of its Fairlight equipment to bring it in line with BSkyB’s UK broadcasting facilities in Osterley. The three-studio complex, two mix rooms and a prep room, has upgraded its Fairlight Constellation console with a Fairlight EVO, six of which are already in use at BskyB. It has also upgraded its XYNERGI system by installing the latest software version – a move that is already improving workflow.

Sky Vision’s Audio Supervisor and Senior Dubbing Mixer Robert Thompson says: “Although we have handled work for external clients such as SKY, the BBC, Universal and Channel 5, the majority of our work comes from Sky Vision. As work often moves between BskyB’s sound studios and ours, it made sense for us to have identical equipment. The dubbing mixers at BSkyB were obviously very happy with their Fairlight EVO’s and this, combined with our own good experiences of Fairlight, meant we had no qualms about upgrading our own desk.”

Tucked away in a Georgian Mews in the heart of London’s Fitzrovia, Sky Vision Sound Studios handles a variety of programming covering wildlife, docudrama, documentary, children’s TV shows, scripted content, sports and comedy. The diversity of the projects Sky Vision Sound Studios tackles is mind-boggling, as is the speed of turnaround this facility achieves.

“Last year we completed over 70 hours of broadcast TV, which for two mix rooms is pretty good going,” Thompson says. “That’s just shy of three hours a month – a lot of work by anyone’s standards. Of course none of this would be possible without the Fairlight systems we have in both rooms. It really is a credit to Fairlight we achieve what we do because you simply couldn’t get through such a large quantity of work without having a system that is so reliable and flexible.”

Sky Vision Sound Studio’s affiliation with Fairlight goes back to 1999 when the facility was first set up by dubbing mixer Trevor Barber. Thompson, who was brought in some years later to help increase the facility’s output, says: “I got switched on to Fairlight by Trevor because he wouldn’t use anything else. I didn’t start out as a Fairlight user – in previous jobs, and as a freelancer, I had mostly used Avid Pro Tools. But when Trevor first set up the studios he installed a Fairlight MFX hard disk recorder in Studio One. As soon as Fairlight introduced their new Xynergi range, Trevor came on board straight away. In fact, the Xynergi system we own and use today is serial number 5. It still works perfectly. The only thing we have changed is the operating software, which we have just upgraded again to the latest version.”

Thompson adds that transitioning from Constellation to EVO has been very straightforward, mainly because all Fairlight systems are very intuitive.

“We have had no issues moving over to the EVO,” he says. “Both Russell Skellon, who mainly works in Studio Two, and myself have been using Fairlight for a long time and we have so much experience that the system is almost second nature to us. I would say the same about XYNERGI and the upgrade to the latest software version. Setting up the XCS controller on the EVO so that it works the way we are used to was very quick to master and it was all so seamless that we were up and running almost immediately. The only thing that is taking a bit of time is exploring the new software features. We are now finding out all the new tricks it can do and it is already offering much greater functionality.”

As many users will testify, one of the main benefits of Fairlight is the ability to build customised workflows.

“We often have to deliver shows to multiple broadcasters worldwide, and with Fairlight I am able to build consoles and workflows that produce all the deliverables I need very efficiently,” Thompson says. “I also find editing on Fairlight incredibly intuitive because I can use the Picture Keys on the XCS to make my own controller and editor, which I design around my personal preference. It’s also really nice to personalise my common functions and assign them a macro so they can be done with just the push of a button. It gets me away from mouse based editing. The whole XCS mentality is quite exciting as it has the potential to operate as a controller across multiple applications.”

Thompson adds that Fairlight’s ability to accept and export multiple file formats is useful when the facility gets project from outside clients, “but to be honest we’ve honed the workflow between ourselves and Sky Vision to a point there this isn’t really relevant,” he says.

“What is useful, though, is Fairlight’s ability to give users two picture tacks at the same time.
If you are re-versioning and don’t get an EDL file that tells you what has been cut where, this can be a very tedious and time consuming process. With Fairlight’s integrated video we can streamline the process by running two picture tracks and comparing them in real time. This makes it much faster to manually make the cuts. It’s a great feature and one that really helps us.

“For example, the nature of our work is that we do quite a few versions of a specific programme mix. With the new software, we can easily conform all of our edits, including the mix, which was something we couldn’t do with previous versions. We’ve always had a good dialogue with Fairlight and this is something we’ve been specifically asking them to do, so having it now is just fantastic because it means we can work even faster as the whole reversioning process is now far more automated. Most other systems rely on third party software for this.”

Thompson adds that he is also looking forward to exploring the latest software’s new background recording feature, which offers lots of sound design potential.

“I’m still checking this out but it looks like another really useful feature,” he says. “You can record while you are scrolling and jog shuttling. It basically records anything passing through a specified output as a background task. I can also see this being useful for ADR because it saves the timeline becoming littered with takes.”

Having proved that Sky Vision Sound Studios can handle an annual output of more than 70 hours of broadcast TV on Fairlight’s previous software, Thompson is confident this can be exceeded now that the new version is in place. But despite all the time saving features the new EVO console delivers, he still feels the best thing about Fairlight is its sound quality.

“I suppose I’m a bit of a musician at heart,” he laughs, “which is why I really like the smoothness of the Fairlight I/O. Some of our clients are composers and musicians as well so it’s no surprise they also comment on how good this system sounds.”

-ends-

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

VARIA Helps Millsaps College Solve a Sonic Challenge

 Jackson, MS – October 2014… Founded by members of the Methodist Church in 1890, Millsaps College is a privately supported national liberal arts school located on a sprawling, leafy 103 acre campus near downtown Jackson, MS. Like many small colleges, the school’s main auditorium acts as a multi-purpose venue, used for a wide range of events that includes lectures, city council meetings, panel discussions, recitals, music performances, and movie showings.

As Philip Boyd of Ridgeland, MS-based Academic Technologies explains, the college had long struggled to achieve consistent sound coverage across the venue, particularly with regard to vocal intelligibility. “It’s mostly a recital hall, a very live room, with brick walls and a big pipe organ in it,” says Boyd. “The previous two box center-cluster solution was underpowered and covered only a portion of the room – mostly a hot spot in the center about eight rows back. They wanted the ability to have a true versatile dynamic – to go from spoken word to musical programs. Achieving clarity in a board meeting or a panel discussion in that room with no treatment was difficult.”

The hall’s layout and design was another major contributor to poor intelligibility. “The room is about 85 feet deep by 50 feet wide, with steeply raked seating,” Boyd continues. “So the ceiling is 25 feet at the stage, but only 8 feet at the back of the room, which makes uniform coverage even more of a challenge. It also created line-of-sight issues – the screen was partially obscured at the back of the room by the old center cluster.”

After thorough assessment of the room, Boyd recommended the school replace the current system with a Renkus-Heinz VARIA Modular Point Source Line Array system. “The VARIA system was the best option to achieve the versatility we needed,” Boyd observes. “VARIA’s modular design gave us a lot of flexibility in terms of system placement and configuration. And VARIA’s range of vertical and horizontal dispersion angles, together with its transitional waveguides, enabled us to custom configure a system that easily addressed the multiple challenges we had to deal with in the hall.”

Academic Technologies replaced the old center cluster with left and right VARIA arrays. “We used two 7.5×60 degree VARIA systems on top, and then a 7.5×60/90 degree and a 22.5×90/120 degree, and complementing subs for each array,” says Boyd. “The subs were flown beside the main array to minimize the vertical and visual component of the system, both to avoid interference with the large center video screen as well as the visual of the pipe organ when the screen is not in use. The VARIA arrays are 35 feet apart over the front of the stage, and we’re still able to get coverage for the first two rows.”

Boyd reports Millsaps college officials are exceptionally pleased with the new system. “The VARIA arrays enabled us to address both coverage and line-of-sight issues, and to achieve excellent intelligibility without changing the sound qualities of the room. Everybody has been very happy with the results.”

 ###

About Renkus-Heinz - Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

KH 420 – The first midfield monitor from Neumann

Los Angeles, October 11, 2014: Neumann is expanding the successful KH line with its first midfield monitor: the KH 420. The active 3-way system (10″+3″+1″) is ideal for larger 5.1 and 7.1 configurations and listening distances of up to 11 meters.

1With a corner frequency of 52 Hz, the KH 120 nearfield monitor set new standards in its class for low frequency performance. Neumann engineers have succeeded in raising the bar with the KH 420; its 26 Hz corner frequency is not only lower than other comparable midfield monitors, but a whole octave lower than the KH 120. Anyone requiring even lower bass reproduction for surround systems with a dedicated LFE channel can add the KH 870 woofer to extend the response down to 18 Hz.

Computer-optimized drivers, the Mathematically Modeled Dispersion Waveguide (MMD™), acoustical controls for matching the speakers to the listening room, a highly flexible input section, and a wide range of mounting hardware make the KH 420 a versatile monitoring tool for the audio professional. The KH 420 has been designed to provide optimum dispersion regardless of the orientation of the cabinet. This is possible thanks to the rotatable waveguide section which contains both the high frequency and midrange drivers.

2An optional Digital Input Module (DIM 1) will be available for the KH 420, which provides the monitor with digital AES3 and S/P-DIF inputs and a delay function. This feature, which is available on both the digital and analog inputs, may be used for audio/video lip synchronization and to compensate for non-equidistant speaker placement. Maximum delay time is 409.5 ms with a minimum resolution of 0.1 ms.

“The KH 420 delivers an accurate picture of the tonal nuances of the original recording,” says Wolfgang Fraissinet, President of Neumann.Berlin. “In order to deliver a perfect stereo image, the KH 420 pushes the boundaries of what is possible in terms of linearity, performance and close production tolerances. It reflects the quality-driven approach that Neumann.Berlin has been committed to for many decades”.

Key technical specifications of the KH 420:
Drivers: 10″/3″/1″, amplifier output: 330/140/140 watts
Free field frequency response: 26 Hz … 22 kHz, +/-3 dB
Maximum SPL: 122.4 dB
Crossover frequencies: 570 Hz and 2 kHz
Dimensions/volume/weight: 645x330x444 mm / 93 liters / 35 kg

DIM 1:
Inputs:
Analog signal -> analog XLR input
AES 3 signal -> digital XLR input
AES 3, S/P-DIF signal -> digital BNC input
Delay section: 0 … 409.5 ms for analog and digital input
Sampling rate: 32 … 192 kHz

The KH 310 D nearfield monitor:

3One of the most compact 3-way monitors in its class, the KH 310 is the perfect choice for situations where space is limited. In addition to extra digital inputs, this brand new digital version comes with all the delay features of the DIM 1 module described above.

With the KH 120 D, the KH 310 D and the KH 420 with optional DIM 1 module, Neumann now offers monitors in three distinct size classes to support a completely digital workflow.

Key technical specifications of the KH 310 D:

Drivers: 8.25″/3″/1″, amplifier output: 210/90/90 watts
Free field frequency response: 34 Hz … 21 kHz, +/-3 dB
Maximum SPL: 116.3 dB
Crossover frequencies: 650 Hz and 2 kHz
Dimensions/volume/weight: 253x383x292 mm / 28.3 liters / 13 kg

Inputs:
4Analog signal -> analog XLR input
AES 3 signal -> digital XLR input
AES 3, S/P-DIF signal -> digital BNC input
Delay section: 0 … 409.5 ms for analog and digital input
Sampling rate: 32 … 192 kHz

Both the KH 420 and the KH 310 D are expected to ship in late October 2014. The KH 420 will be priced at $4,899.95, while the KH 310 D will be priced at $2,749.95. Additionally, KH 120 D digital monitor (previewed at NAB) is now available in the U.S. and priced at $1,249.95.

You can find more details on these products at www.neumann-kh-line.com.

About Neumann:
Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

About Sennheiser:
Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

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LANDMARK 50th ANNIVERSARY OF THE MOOG MODULAR

Moog’s 1:1 Recreation of Keith Emerson’s Modular Synthesizer shown at AES ‘14

50anniversaryOctober 11, 2014, Asheville, NC: October 12, 2014, marks the 50 Year anniversary of the unveiling of the Moog modular synthesizer at the Audio Engineering Society’s (AES) New York convention. On that day in 1964, Dr. Robert Moog introduced the world to a com-pletely new type of instrument that would go on to change the course of music history and influence decades of future instrument design.

The Moog modular synthesizer was comprised of individual electronic modules, housed in a wooden frame, and it made use of voltage-control as a new way of creating power-ful sounds that had never been heard before.

em2After its debut at AES, the scientific-looking Moog modular instrument that made ex-traordinary new sounds with rapid alterations and exotic tonal colors, started to gain in popularity. Musicians began to establish the Moog system as the archetype of synthesis. One of the earliest and most famous artists to adopt the new instrument was Keith Em-erson, keyboardist for the innovative band Emerson Lake and Palmer. Touring the world for over forty years with this unique instrument, Emerson has made his Moog modular system the most recognizable synthesizer of all time.

The 50th Anniversary of the Moog Modular is a historical landmark for musical instru-ment design and popular music. In celebration of this momentous occasion, Moog Music has faithfully and painstakingly recreated Keith Emerson’s Moog modular. This new Em-erson Moog Modular System (EMMS) utilizes original design material and parts to dupli-cate each facet of Mr. Emerson’s custom instrument down to the smallest detail. The modules in the EMMS are built exactly as the originals were in the Moog Factory in Tru-mansburg, NY in the 1960s: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Today, Moog also released a mini-documentary featuring a Moog engineer, a Moog Historian, and Bob Moog himself, that explores Moog Music’s quest to resurrect the original methods, materials and designs used in the foundational modular synths.

em1“It’s a dream come true for us to bring back these instruments that our company is so known for, and to make them visually and sonically perfect. It’s even more perfect that exactly 50 years after the first Moog synth was shown to the public, people can come to AES 2014 and experience the new Emerson Moog Modular System,” said Brian Kehew, Moog’s Historian.

This towering recreation of the world’s most recognizable synthesizer will be on display in Moog booth 1028 at the 137th AES convention in Los Angeles, CA through Sunday 10/12/14. It is the first time the Emerson Moog Modular System has been shown to the public since it’s unveiling at Moogfest 2014.

Of the 5 Emerson Moog Modular Systems Moog will build, only 1 remains available for sale. The price is $150,000 USD. To inquire about purchasing the last remaining Emerson Moog Modular System, contact Steve Maass at Moog Music. 828.251.0090 ext. 205 or email steve.m@moogmusic.com. Serious buyers only please.

Mini-Documentary: http://bit.ly/1uUNBNS
Photos: http://bit.ly/1vRXBXn
Product Page: http://bit.ly/1tiCVdl

About Moog Music:

Moog Music synthesizers and other electronic musical instruments are designed and lovingly handcrafted in the Moog factory in downtown Asheville, N.C. Moog Music and its customers carry on the legacy of Dr. Robert Moog, inventor of the Moog synthesizer and Founder of Moog Music Inc.

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PMC Sells First QB1-A Monitors to Iconic Capitol Studios

The World-famous Studios A & B Are Each to Receive a Pair of QB1-As

Los Angeles, October 10, 2014 — U.K. loudspeaker manufacturer PMC is proud to publicly announce the first sale of PMC’s QB1-A reference monitors. The sale of two pairs of the new reference monitors to Capitol Studios has been confirmed at the AES Convention in Los Angeles as part of the ongoing refurbishment program at Capitol, with one pair destined for Studio A, the other for Studio B.

PMCCapitolQB1-ALaunched this week at the AES show, the QB1-A is PMC’s new high-end monitor (Booth 1628). Designed to provide a new reference standard for medium- to large-scale recording facilities in terms of accuracy, dynamics, resolution and headroom, it offers over 4800 Watts of power per channel and incorporates analogue and digital inputs, PMC’s Advanced Transmission Line (ATL™) bass-loading technology, DSP control, and the latest generation of PMC’s Class-D amplification and driver designs.

Capitol’s engineers and management were part of a network of international industry professionals who provided invaluable feedback on the design of the QB1-A as it evolved. Prototype versions of the speakers have been installed in Capitol Studios for some months, with regular upgrades as the product was honed in the final stages. These early versions will shortly be replaced by the first production QB1-As from the PMC factory in the U.K.

“Our relationship with Capitol has been an important element in the QB1-A project from very early in the design process,” comments PMC’s Communications & Artist Relations Manager Paul O’Farrell-Stevens. “And of course we’re delighted that such an iconic recording facility is providing us with our first QB1-A sale. For anyone connected with music, anywhere in the world, Capitol is one of the most instantly recognizable recording studios, with an extraordinary heritage coupled with state-of-the-art equipment. The QB1-A represents a step change in high-end reference monitor technology, and as Capitol Studios goes from strength to strength following its recent refit, we are very proud that our new monitors are now part of the story.”

For more information on the QB1-A Capitol sale, come to the PMC stand (Booth 1628) at the AES Convention.

###

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without colouration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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The Neumann U47 fet is Back!

Los Angeles, October 10, 2014: The 1960s and 1970s are considered to be one of the most innovative periods in the history of music. Many sound concepts of this pioneering time are currently being rediscovered and are regarded as a great enrichment – particularly in the digital audio world. The interplay among studio technologies of different generations forms the basis of unprecedented freedom for new sound experiments.

u471An icon of that era which was decisive in helping to shape the sound of the 1970s is the Neumann U 47 fet. As the transistorized successor of the U 47, it permitted the processing of very high sound pressure levels for the first time, for instance allowing positioning directly in front of loud amps. Due to this feature, and the capsule sound derived from its famous tube-based predecessor, the U 47 fet contributed to many legendary recordings of the time.

Now the U 47 fet is back! For the new “Collectors Edition U 47 fet”, Neumann has resumed production of this classic mic, according to the original production documents and schematics. The Collectors Edition is supplied with a high-quality wooden case with special packaging, and an individual certificate with the serial number of the microphone.

In terms of technical design, the U 47 fet is a condenser microphone with a cardioid directional characteristic and fet 80 circuit technology. Among other things this technology, also used in the U 87, is characterized particularly by a wide dynamic range. The K 47, already employed in the U 47, is a double large-diaphragm capsule with a slight boost in the range above 2 kHz.

If required, a switchable low-cut filter raises the lower cutoff frequency electronically from 40 Hz to 140 Hz, and switchable attenuation can reduce transmission levels by 10 dB. In addition, to prevent overloading of the connected preamp, the output signal can be reduced by 6 dB via a switch on the bottom of the microphone.

u472Wolfgang Fraissinet, President of Neumann.Berlin, explains: “Today many new musical currents are defining themselves through the possibilities of digital production technology. The relaunch of the U 47 fet now provides the opportunity of using epoch-making technologies from different decades side by side. Vintage sound meets the modern world – providing ideal conditions for the realization of new creative soundscapes.”

The list of renowned artists who have created musical masterpieces with the sound of the U 47 fet – including AC/DC, Kate Bush, Bruce Springsteen, and later R.E.M, the Pretenders, a-ha, Dire Straits, Metallica, Michael Bublé and many others – can now grow longer …

The microphone, which available in classic nickel, is shipping now and costs $3,999.95. All information and images can be found at: www.u47fet.neumann.com.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

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HARMAN’s dbx Introduces 676 Tube Mic Pre Channel Strip

dbx-676-FrontSALT LAKE CITY, Utah – HARMAN’s dbx today announced the introduction of its model 676 Tube Mic Pre Channel Strip, a vacuum tube-based microphone preamplifier that offers a host of flexible sound-tailoring options to deliver extraordinary audio quality in recording and live sound applications.

The dbx 676 employs a high-gain, Class A tube preamp section based around a 12AU7 vacuum tube that can be adjusted to be clean and pure-sounding or dirty and full of harmonic character. The 676 incorporates the Compressor/Limiter design from the highly sought-after dbx 162SL and a 3-band parametric EQ, enabling exacting control of dynamics and tonal balance.

“We created the dbx 676 to be nothing less than the ultimate mic preamp,” said Jason Kunz, Market Manager, Portable PA and Recording & Broadcast, HARMAN Signal Processing. “Whether you need a preamp that provides pristine, rich sound quality and tube warmth, want to add some edge and personality to vocals and instruments or are seeking to improve the sound of your recording or live rig, the dbx 676 is the ideal tool for taking your sound to the highest level.”

The dbx 676 offers ¼-inch and XLR inputs and outputs, a front-panel instrument input and a side chain insert. An optional digital output card is available. The 676 allows for precise tailoring of input and output levels which can be monitored by its large multi-function VU meter.

The compressor/limiter section provides extremely flexible control of dynamics including threshold, attack, gain and release, auto attack and release, hard and soft knee compression, dbx-exclusive AutoVelocity™ manual and OverEasy® modes and PeakStop™ limiting algorithm and many additional functions. The 676’s 3-band parametric EQ allows adjustment of level and bandwidth at frequencies that have been carefully chosen for maximum musical effectiveness.

Although comprehensive in its capabilities the dbx 676 is designed for ease of use, with its vintage-style controls and VU metering. The 676 features military-grade build for total reliability and mounts in a 2U rack space.

The dbx 676 Tube Mic Pre Channel Strip will be available in January 2015 at a U.S. street price of $999.95.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Chandler Limited Announces REDD.47 Pre-Amplifier

Chandler Limited REDD.47 Pre Amp - EMI Abbey Road StudiosChandler Limited adds tube pre-amplifier to its Abbey Road Studios series

Shell Rock, IA – October 2014 … Chandler Limited, recognized globally for signal processing and related music and audio products that deliver the classic analog sounds recording and professional musicians seek, announces addition of the REDD.47 pre-amplifier to Chandler’s esteemed Abbey Road Studios product line.

The REDD.47 microphone pre-amplifier, considered a ‘holy grail’ to some, is most closely associated with the sound of The Beatles’ records recorded at Abbey Road Studios from 1964-1968. Today, 50 years later, Chandler Limited revives this legendary sound with its own incarnation of the famous REDD.47.

The origins of the REDD.47 began at Abbey Road Studios’ technical division, the ‘Record Engineering Development Department’,  in 1958. The REDD.47 line amplifier was designed as the replacement for Telefunken’s V72S. The latter was a specially modified version of the Telefunken V72 valve amplifier, used in the early EMI REDD mixing consoles at Abbey Road Studios.

The REDD.47 tube amplifier was introduced as the plug-in all-purpose line amplifier component for EMI’s next generation REDD.51 mixing console, first built in 1959. However, Abbey Road’s Studio Two, home to the majority of The Beatles’ recording sessions, only received its REDD.51 mixing console in 1964. The REDD.47 left its unmistakable sonic character on every Beatles record from 1964 to 1968.

Chandler Limited’s re-imagination of the REDD.47 realizes the punchy, aggressive sound of the original pre-amplifier, while adding new features required for the rigors of today’s recording studio environment. One of the features of Chandler Limited’s REDD.47 design is increased gain, allowing a range of tonal options from pristine clean sound to classic rich, saturated tone with up to 2% harmonic distortion before clipping. The Chandler Limited REDD.47 pre-amp easily reproduces the distortions heard on The Beatles’ ‘Revolution.’

The introduction of the REDD.47 tube pre-amplifier is a milestone for the Shell Rock, Iowa pro-audio manufacturer and Chandler’s heralded Abbey Road Studios product line. Chandler Limited founder and chief designer, Wade Goeke, had this to say,

“Obviously this is a big step for Chandler Limited. The REDD.47 is possibly the most famous mic pre of all time and we all wanted it to be special in sound, function, and appearance. From using the original documentation, to remolding the jumbo old style knobs, to reviving the Rumble Filter, every part of this design has been special . . . and if you’re wondering . . . yes, it distorts in that special way just like on the old songs!”

Equally excited for the new REDD.47 pre-amplifier is Abbey Road Studios’ Head of Audio Products, Mirek Stiles,

“Abbey Road Studios is proud to see the legendary REDD.47 microphone pre-amp brought back to life as a hardware unit. The distinctively warm and sometimes aggressive sound the REDD.47 is known for has made a huge impact on some of the most important historical recordings of all time. It’s very exciting to know the famous ‘edgy treble’ sound will now be available to engineers, producers and artists all over the world.”

Chandler Limited’s REDD.47 pre-amp has the ability to be used as a mic pre-amp, line amplifier, or serve as a D/I, and is sure to become a record production staple of recording studios worldwide.

To learn more about Chandler Limited’s REDD.47 pre-amp visit: http://chandlerlimited.com/redd-47-pre-amp

Chandler Limited expects to begin shipping the highly anticipated REDD.47 pre-amp during first quarter 2015.

 

About Chandler Limited

Headquartered in Shell Rock, Iowa, Chandler Limited, Inc. is a boutique manufacturer of high-end signal processors, mixers, and amplifiers for musicians and audio professionals. Recognized globally for its exquisitely handmade products and the company’s high profile clientele, Chandler’s product offerings include the Abbey Road/TG line, its unique Germanium transistor series of products, the 500 Series Modules, plus its recently introduced guitar pedals and amplifier. For additional information about all Chandler Limited products, please visit the company online at www.chandlerlimited.com.

About Abbey Road Studios

Abbey Road Studios are the most famous recording studios in the world and an iconic symbol of British music.  They have been home to countless landmark recordings and pioneering advances in recording technology.  Opened in November 1931, Abbey Road Studios were the world’s first purpose-built recording studios.  The hallowed building has a phenomenal history spanning over 80 years, during which the studios have hosted many of the world’s most famous artists, including the Beatles, Pink Floyd, the Hollies, Kate Bush, Oasis, Florence and the Machine, Adele and Lady Gaga.  Abbey Road is also one of the world’s premiere locations for movie scoring.  Since the 1980s, scores for films such as Raiders of the Lost Ark, the Lord of the Rings Trilogy, Braveheart, and The King’s Speech have been recorded there.  The list continues with many other major titles, including Shrek, Prometheus, Harry Potter, Skyfall, and The Hobbit.

 

Abbey Road Studios, EMI, REDD and their associated logos are trademarks of EMI (IP) Limited.

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METRIC HALO ANNOUNCES 2014 FALL SALE!

MetricHalo_2014_FallSaleSAFETY HARBOR, FLORIDA – OCTOBER 2014: Metric Halo announced the start of the 2014 Fall Sale with the best deals ever offered on Metric Halo gear. Save up to 58% off list prices on all products including hardware and software. With this sale, customers will save up to $1,100 off Metric Halo’s award-winning hardware products, and up to $400 off Metric Halo’s award-winning software products.

The Fall Sale celebrates the launch of Production Bundle v.2 which brings VST and Windows support to the Metric Halo Production Bundle, and also introduces a new plug-in – MH Dirty Delay.

Metric Halo products are available from dealers or directly from the Metric Halo website: http://mhlabs.com

The Metric Halo 2014 Fall Sale runs until 10/31/2014.

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

ATC ANNOUNCES NEW LINE OF POWER AMPLIFIERS – THE P1 PRO AND P2 PRO

ATC_P1_PROLAS VEGAS, NEVADA – OCTOBER 2014: The TransAudio Group is proud to announce the release of two new MOSFET Class A/B design dual mono power amplifiers from ATC – the P1 Pro and P2 Pro. At 150W/ch into 8 Ohms and 300W/ch into 8 Ohms respectively, these fan-less, rack-mountable power amplifiers offer the perfect solution for any studio wishing to get the best out of their passive monitors, including the all-new ATC SCM20PSL Pro.

Both models feature a 19-inch rack-mount chassis with front panel mounted standby button and L/R clip indication. The amplifiers incorporate the same gain reduction and loudspeaker protection circuits that are used in the ATC active monitors. These circuits ensure that the amplifier will not clip, even when working at very high volumes, which protects the loudspeakers from damage and improves the subjective performance of the entire system. Importantly, neither amplifier uses a fan, so they can be placed anywhere, including the control room.

The P1 Pro and P2 Pro are of a ‘true’ dual mono design: the power supplies, signal, and return paths are totally separated from each other. This approach maximizes signal separation and minimizes crosstalk. Further, intermodulation between channels via the power supplies is reduced to an absolute minimum at all frequencies, and the power demand from one channel cannot affect the specified power available to the other channel.

Brad Lunde, president of the TransAudio Group, ATC’s U.S. distributor stated, “ATC is famous for building active studio reference monitors that give engineers a consistent, honest reflection of their work. Although ATC’s revolutionary drivers and chasses get most of the credit for the brand’s legendary transparency, ATC’s superbly-designed amplifiers deserve equal credit. Just as the new passive ATC SCM20PSL Pro gives engineers access to ATC’s loudspeaker without the amplification, the new ATC P1 Pro and P2 Pro give engineers access to ATC’s zero-compromise amplification without the loudspeaker itself. Any reference monitor will benefit from the clean power of an ATC P1 Pro or P2 Pro.”

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

STOP BY AND SEE US AT AES 2014 – PLEASE NOTE OUR NEW BOOTH #1014

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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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