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Masque Sound Struts its Stuff for National Tour of Six-Time Tony Award®-Winning Musical, Kinky Boots

Kinky Boots Tour - Photo by Matthew Murphy

Kinky Boots Tour – Photo by Matthew Murphy

Kinky Boots, winner of six Tony Awards® including Best Musical, sings and dances its way across the United States for its year-long national tour with the help of Masque Sound, a leading theatrical sound reinforcement, installation and design company. Tony Award®-winning Sound Designer John Shivers, along with his long-time associate and collaborator, David Patridge, relied on Masque Sound to provide the custom audio equipment package for the tour.

In Kinky Boots, Charlie Price has reluctantly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of Lola. A fabulous entertainer in need of some sturdy stilettos, Lola turns out to be the one person who can help Charlie become the man he’s meant to be. As they work to turn the factory around, this unlikely pair finds that they have more in common than they ever dreamed possible… and discovers that when you change your mind about someone, you can change your whole world.

Kinky Boots, directed and choreographed by the Tony Award-winning Jerry Mitchell, is brought to life by music and lyrics from Grammy® Award-winner and Tony Award-winner Cyndi Lauper and a book by Tony Award-winner Harvey Fierstein.

Shivers’ and Patridge’s goal of recreating and delivering the incredible sound that Broadway audiences are accustomed to, due in part to the custom audio equipment package that Masque Sound also supplied for the Broadway show, proved a daunting task. “When designing the audio we had to plan ahead for venues of vastly different sizes and shapes, as is typical when touring Broadway shows,” says Patridge. “One week, the production may run in a large civic auditorium with five levels of seating; the next week, it may be in a house more akin to a Broadway theatre with 1500 to 1800 seats. This tour really runs the full gamut as far as venues, including outdoor theaters and even hockey arenas.”

d&b audiotechnik V-Series line arrays in the speaker towers comprise the main sound system. “We first auditioned the V-Series when we worked on Holler If You Hear Me on Broadway, and we really liked the fact that the speaker was capable of clear, intelligible sound with a lot of impact, despite the compact size of the box,” adds Patridge. “We had a lot of assistance from Gary Stocker at Masque Sound, who created custom speaker tower designs for the tour. He was able to incorporate the V-Series into the towers, which is something that Masque Sound has never done before. Stocker took our ideas and turned them into reality, which saved us a lot of additional engineering, time and work.”

For the console, Masque Sound provided a DiGiCo SD7T, the same live digital console that is used on Kinky Boots’ Broadway production, as the designer wanted to keep the programming intact matching the Broadway show. “The SD7T’s channel count allows our engineers to incorporate all of the monitor inputs into the same console as front of house,” says Patridge. “The SD7T is the only console that would provide the 128 channels that were needed to handle our requirements along with the features that we were looking for. We are very happy that the Masque Sound crew was willing to go the extra mile to accommodate our requests.”

Masque Sound also supplied d&b audiotechnik D80 amplifiers. The amplifiers fit four channels of amplification into two rack spaces, which is an important space-saving feature for a touring production. In addition, the cast utilized a selection of DPA 4061 microphones, along with Sennheiser SK 5212 wireless packs and EM 3732-II receivers for the roughly 40 channels of wireless used on the show.

“As always, Masque Sound was able to provide us with everything that we needed for the tour,” concludes Patridge. “The challenge, with any tour, is making sure that the sound crew is able to translate the sound design that we envision. A lot of it is very subjective, with the team, at the end of the day, relying on the mixers to make the show work across all of the different venues. In this regard, Head Audio Mixer Ben Madden and Assistant Audio Mixer Brian Kallaher are the people who make this production happen from city-to-city and to them we are very grateful.”

Kinky Boots kicked off its national tour on September 4 at The Smith Center for the Performing Arts in Las Vegas. The tour is scheduled to play through most of 2015 and will make stops in 32 cities, including Portland, Seattle, Denver, Los Angeles, San Francisco, Detroit, Nashville, Houston, Dallas, St. Louis, Philadelphia, Chicago, Minneapolis and Boston.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Pro Sound Effects Releases Enhanced Hybrid Library + Expansion Program

100 Units Available for Freelance Sound Designers through Dec. 31

NEW YORK, NY – Pro Sound Effects®, the next level sound library company, has released its enhanced Hybrid Library™ and new Expansion Program for freelance sound designers and independent media creators worldwide.

Since 2012, Pro Sound Effects has supported freelancers by providing access to a big feature, big studio library ($10,000 value) at an affordable price ($1,500).

Now through December 31st, Pro Sound Effects is making 100 more Hybrid Library units available to qualified sound designers who apply and qualify for freelancer pricing. In addition, all Hybrid Library owners gain access to the Expansion Program, which ensures the Hybrid Library is continually updated.

“We really stepped up our features this year,” says Douglas Price, Founder & President of Pro Sound Effects. “Our goal is to continually improve our Hybrid Program so it lives up to its reputation as both the ‘Robin Hood of Sound Libraries’ and ‘the Sound Designers Secret Weapon.’”

Hybrid-Library-Sound-Effects-Hard-Drive-2014

Hybrid Library Key Features:
- 56,477 Sound Effects on Hard Drive: 338 GB of professional sound delivered on flashy Hybrid-branded USB 3.0 hard drive
- Spans the Sonic Spectrum A to Z: Categories include Ambiences, Animals, History, Nature, Science Fiction, Technology, Warfare and beyond
- World-Class Recordists : we curate sound effects content from the top recordists and sound designers including Blastwave FX, BBC, BOOM, Foundation, Sound Control SE, and beyond
- Online Access to 215,000+ sounds from any computer through the Pro Sound Effects Online Library
- Masterful Metadata for lightning fast, pinpoint searches
- Free Annual Updates: 2014 Update includes 400 new sounds (6.4 GB) from Blastwave FX plus enhanced metadata
- 100% Royalty-Free Lifetime License

View full Hybrid Library features, videos, audio demos & reviews here.

Hybrid-Library-Sound-Effects-Expansion-Flash-Drive-2014

Expansion Program Key Features:
The Expansion Program provides freelancers with a simple, cost-effective way to ensure that their sound effects selection and software toolset is continually refreshed. Developed with feedback from Hybrid Library owners and curated by the PSE Library Team, Expansions 1 and 2 are robust sound effects compilations available only to Hybrid Library owners.

- Expansion 1: New Room Tones, Ambiences, Footsteps, and Foley; 10,856 sounds (54 GB) on 64 GB USB Flash Drive.
- Expansion 2: 1,000 hand-picked BBC Ambiences, Outdoor Impulse Responses, and Production Elements; 2,721 sounds (62 GB) on 64 GB USB 3.0 Flash Drive.
- Soundminer Add-On: Search, Audition, Drag-n-Drop to application

View Expansion Program features & demos here.

Pricing & Availability:
Through December 31, 2014, 100 Hybrid Library units are available for $1,500 ($10,000 value). Expansions 1 and 2 are available $500 each ($2500 value each).

Existing Hybrid Library owners will be emailed the 2014 Free Update and this will also be posted in the Hybrid Library Owner Forum.

See http://www.prosoundeffects.com/pse-hybrid-library for more information.

About Pro Sound Effects:
Pro Sound Effects curates and delivers the Next Level sound effects library for media producers worldwide. The Pro Sound Effects Library is 220,000+ royalty-free sounds effects available both online and on hard drive. The Library spans the entire sonic spectrum and is continually updated. Founded in 2004, Pro Sound Effects is relied upon by top freelancers and big media production companies worldwide.

TNDV Produces CMA Backstage Pass Multi-Camera Streaming Media Experience for the 48th Annual CMA Awards

HD mobile production specialist to produce live real-time, interactive coverage of the CMA Awards Red Carpet and backstage activities

NASHVILLE, November 4, 2014
— At The 48th Annual CMA Awards—airing live on the ABC Television Network tomorrow, November 5, from the Bridgestone Arena in Nashville—mobile production specialist TNDV will take the reins on the production of CMA Backstage Pass. This live, multi-camera streaming media experience will give viewers the ability to use their tablets and mobile devices to get an exclusive look at what’s taking place behind the scenes before and during the live CMA Awards telecast.

With 13 HD cameras dedicated to CMA Backstage Pass, viewers will see many angles of activities off-stage, starting with the Red Carpet from 5pm to 7pm Central Time. From 7pm to 11pm, viewers can switch between cameras backstage, in the main broadcast truck and in the press room where the stars appear after receiving their awards.

“The main goal of CMA Backstage Pass is to give fans an in-depth view into what their favorite celebrities are up to during the show. It also provides an unprecedented look into the behind the scenes workings of a major international awards show,” said Lacey C. Devlin, producer for TNDV and Backstage Pass. “Watching the live broadcast is just one part of the experience fans are searching for. In the age of social media, fans want to know every detail—every inside joke, every off-camera event and other candid moments that make the stars more interesting and relatable.”

This innovative, unique live stream, which will unfold in real-time parallel to the main ABC-TV special, will give viewers additional content about the celebrities—whose fashions they’re wearing, accomplishments and personal moments caught on camera—and let viewers share the experience with others on social media. Viewers can experience CMA Awards Backstage Pass by downloading the WatchABC app, available on iOS, Android, Windows Phone and more.

CMA (Country Music Association) chose TNDV to handle this special national event based on its growing relationship over the past six years. “TNDV is by far the best live production company I have worked with,” said Ben Bennett, director of digital strategy at Country Music Association. “TNDV always brings tons of ideas to the table and, most importantly, always executes flawlessly. Our show has grown into a major national event due in large part to their tireless efforts and willingness to find a way to make things happen.

“The two- to three-hour window right before our TV special is the most critical time when viewers are making decisions about what to watch that night,” Bennett continued. “The live stream creates a ton of chatter online during those critical hours. The more fans we can get talking about the red carpet and thusly, the CMA Awards, the more chance we have at getting a bigger audience to tune in. The same goes for during the show. The live stream will help drive the social media conversation, and should drive more viewers to the ABC broadcast.”

TNDV will switch between 13 cameras from its 40-foot HD truck, Aspiration, which will park next to the main broadcast production truck producing the CMA Awards. The CMA Backstage Pass camera inside that main mobile unit will let viewers watch the CMA Awards from the perspective of the main truck producing the live show. Additionally, TNDV is also producing special, behind the scenes packages to give fans an exclusive look at how the stage was built, the stars’ dressing rooms and how the City of Nashville prepared for the CMA Awards, the biggest night in country music.

“This year’s Backstage Pass will be unlike anything ever done for the CMA Awards,” said Nic Dugger, owner and president of TNDV. “While TNDV was integrally involved in last year’s second-screen experience, called CMA 360, this year we plan to ‘kick it up a notch’ by adding more cameras, more talent and more unfettered access to the Red Carpet and candid backstage moments. Our multi-camera webcast, which takes place right alongside the main broadcast, includes a 20-member crew, an expanding side HD truck, and a complex single-mode fiber optic infrastructure dedicated solely to Backstage Pass.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of over 22 years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent projects include the opportunity to provide both remote audio and HD video facilities for the live season 3 premiere of ABC’s NASHVILLE, the live concert productions at the NCAA Final Four, and for the first time in broadcasting history TNDV produced the 2014 Hat Trick of Country Music Award show red carpet specials, including the CMA Awards, the CMT Awards, and the ACM Awards. Please call 615-585-6528 or visit www.tndv.com for more information.

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Extron Introduces Next Generation of Fiber Optic Audio Extractors

Extron foxiiaex_group_01r_mwgExtron Electronics is pleased to introduce two new fiber optic products for the FOX II Series, the FOX II AEX 108 eight-port and PowerCage FOX II AEX 104 four port audio extractors. They provide independent processing and routing of audio signals in a fiber optic AV distribution system. Each fiber optic input port extracts the two channel audio signal to provide analog balanced or unbalanced stereo audio. The audio extractors are available in multimode and singlemode models. The PowerCage FOX II AEX 104, designed to mount in the PowerCage 1600 enclosure, and the rack-mountable FOX II AEX 108 are ideal for use in FOX Matrix systems that require extraction of audio signals for local processing within the equipment room. more

The Linq’s High Roller Observation Wheel Enhances The Iconic Las Vegas Skyline with HARMAN’s Martin Professional Lighting

Martin_Linq High RollerLAS VEGAS, Nevada — In March 2014, The LINQ Resort by Caesars Entertainment altered the Las Vegas skyline when it completed the world’s tallest observation wheel. The High Roller, shaped like a giant floating hoop, now rises above the cityscape of Las Vegas, illuminated from sunset throughout the night by fixtures from HARMAN’s Martin Professional’s Tripix range of products.

Commissioned by Caesars Entertainment in 2009 with an overall vision to change the Las Vegas Skyline with a new iconic landmark, construction on the world’s tallest observation wheel began. On the lighting side of this extravagant architectural project, NYXdesign teamed up with Martin Professional, systems integrator 4Wall Entertainment and electrical contractors Bombard Electric.

The installation includes 1,120 Tripix 300 fixtures, 1,008 Tripix Wash fixtures, 560 Tripix Power IP66 power supplies and four MAC Viper fixtures.

“Working with Henrik Kristensen from Martin and the rest of the team was very rewarding,” said Buddy Pope, Senior Systems Project Manager, 4Wall Entertainment. “We had to make sure everything would be able to withstand being turned upside down every 30 minutes over and over again. Also, everything had to be designed down to the last hole before we were able to test anything. Martin’s willingness to come up with customized solutions was a key success factor in these early stages.”

“The amount of time we spent and the level of detail we worked with in the mockup stage really was worth it,” said Lighting Designer, Abigail Rosen Holmes. “It allowed us to know the choices we were making would work as we intended when installed. This information had to be carried through to the drawings, and eventually construction, as it would not be possible to adjust the fixtures’ mounting positions.”

One major challenge that had to be considered in the early stages of the project was to accommodate the user experience from both inside the cabins and from various angles and viewing distances make the lighting design successful from every possible perspective. The Tripix products were chosen because at the time it was the only fixture on the market with a converged light source, also known as a tri-color chip, meaning that when you look directly at the light source you only see the color that the fixtures is programmed to show. As visitors would be able to see directly into the light source from the cabins, a traditional RGB light source was not an option.

“Apart from the difficulty in getting to the fixture locations, our involvement was a ‘bolt-up’ and ‘plug and play’ installation of a well-designed lighting system,” said Mike Gurule, Bombard Electric. “It is clear to us that Martin places a high emphasis on quality control.”

The guidelines for the lighting design was that it had to respect the beauty and simplicity of the structure while at the same time embracing its kinetic qualities. In contrast to a lot of Las Vegas lighting, the design for the High Roller was not meant to be flashy and carnival-like.

“The vision of everybody involved allowed me to treat the object very simply, because in its pure form the structure is extraordinarily beautiful,” said Holmes. “They had this clear idea and vision and were very consistent on keeping it all the way through.”

Even though the fixtures are moving around with the rim, it is possible to program the fixtures to make the wheel appear to be one color in the bottom half and another in the top half. The programming frequently returns to white to reestablish the pure form of the object and there are subtle design choices that may not all be perceived by spectators, but contribute to the overall perception of the design.

As the sun goes down a slightly different time every day, there are 365 individual cues timed to actual sunset. It starts with a sequence designed to play from sunset to dark. When darkness falls another set of sequences carry on all through the night. Sets of special sequences are designed for holidays and special events, including, according to Holmes, an awesome one for Halloween.

There is an obvious challenge in lighting up a structure like The High Roller. Unlike The London Eye, which is designed as an open truss structure, The High Roller is a massive white object that has to be illuminated from the outside.

“The 2,000 Martin fixtures were individually mapped and numbered to provide the detail and variety we wanted in the programming,” said Holmes. “This formed the basis of the varied movement patterns and groups which play out in the programming for the wheel lighting.”

Holmes, working with programmer Jason Badger, created the initial wheel lighting sequences using an offline 3d visualizer, allowing the project team to further review and develop the feel and aesthetic of the programming in advance of installation. For onsite programming, a position was set up on a hotel balcony overlooking The High Roller. All the fixtures are wirelessly DMX-controlled and during this phase all the pre-programmed sequences were tested and more were developed.

More than a year into its completion, many believe The High Roller has become an integral part of the Las Vegas Skyline with its beautiful shape and elegant lighting design, making it fully deserving of its status as the latest and greatest Vegas landmark.

“To me the most exciting moment was the first day when we were able to turn everything on and knew that it worked,” said Pope. “Three years of work and planning turned out successfully but you can’t help but hold your breath right up until the moment you turn it on. To me it is magical when, at night the wheel comes to life with light and turns into something different.”

Video: http://youtu.be/QTlA5PV5B0k

Image credit: Denise Truscello

Lighting Team
4Wall Entertainment
NYXdesign
Bombard Electric
Martin Professional

The High Roller project also features a complete Harman audio solution provided by JBL, Crown and BSS.

Full story: http://www.martin.com/en-US/View-Case?itemId=CaseStory:14169

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.
HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, 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 16,600 people across the Americas, Europe, and Asia and reported sales of $5.6 billion for the 12 months ended September 30, 2014.

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Audio-Technica Offers Dante™ Network Microphone Desk Stand

ATND8677

— Audio-Technica’s ATND8677 Microphone Desk Stand with Dante network output transmits audio and control data together over the Dante™ network protocol —

STOW, OH, October 30, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, offers its new ATND8677 Microphone Desk Stand with Dante™ Network Output. The ATND8677 Microphone Desk Stand fits gooseneck microphones with standard XLRM-type outputs, offering installers previously unavailable simplicity in adding gooseneck microphones to Dante audio networks. The new ATND8677 joins the ATND971 Network Boundary Microphone, launched earlier in the year – the world’s first two such products to offer Dante network functionality in this manner.

Removing the need for a separate standalone Dante audio interface, while adding a useful integrated switch with indicator functionality, the ATND8677 connects directly to the audio network via standard RJ-45 connector and structured cabling, allowing for flexibility in installation and quick re-locations.

Audio-Technica has been working closely with industry leading DSP manufacturers such as Biamp® and Symetrix™ to ensure complete GPIO-Over Dante Enabled Control software integration for simple, flexible operation without the need for analog audio and control cabling.

The sturdy metal base features a 3-pin XLRF-type in and Dante network output, a capacitive switch with a green/red LED light switch surround, switchable gain (+30dB/+40dB/+50dB), phantom power and selectable toggle/momentary switch operation. Features UniGuard® RFI-shielding technology and UniSteep® low-cut filter.

Now with two groundbreaking network microphone products launched during 2014, Audio-Technica is demonstrating its commitment to both the network audio segment in general and the Dante communications protocol.

The ATND8677 will be available November 2014 with a U.S. MSRP of $598.00.

For more information, please visit www.audio-technica.com.

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Listen Technologies Wireless Digital Conferencing System Chosen for Board Room at Natural History Museum of Utah

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BLUFFDALE, UT, October 30, 2014 — The Natural History Museum of Utah has selected a Wireless Digital Conferencing System from Listen Technologies Corporation, a leading designer, manufacturer and distributor of assistive listening products for over 16 years, for its Swaner Forum – a multi-use space used for board meetings, presentations and other events. The Natural History Museum of Utah, located at the Rio Tinto Center in Salt Lake City, faced several challenges when selecting a conference system for the space: the room is approximately 2,000 square feet in area, so a wireless system was preferred; the space is frequently used for multiple purposes, and a system had to be easy to quickly set up and take down; and board members often travel, and with everybody spread out in a larger room, a centralized speaker would not provide the necessary clarity if somebody participated via telephone. To meet these challenges, the museum purchased a multi-unit Televic conference system from Listen Technologies authorized dealer Avidex that could be distributed throughout the room and support localized conversation.

The system components include one WCAP-C1 wireless digital conference access point and power supply; one WC-CD-C wireless digital conferencing chairman unit with microphone and battery pack; 11 WC-DD-C wireless digital conferencing delegate units, each with microphone and battery pack; and two WC-CHT charging trays for six battery packs each.

According to Chris Eisenberg, the Museum’s Director of Philanthropy, “The Swaner Forum is a large space with beautiful views. We did the research, and it seemed like this Televic system from Listen was the best solution. Sometimes our board members are out of town but need to be part of the meeting, so we’ll patch a conference call into the system. The person on the conference call can hear everybody talking in the room, and everybody in the room can hear the person on the conference call. It’s a much more elegant solution than just putting a speaker phone in the middle of the room — and the wireless aspect allows us to easily move units where they’re most needed.”

Additionally, Listen has provided solutions for the Museum’s annual fundraiser, held in its soaring grand lobby, The Canyon. Working closely with Listen and other partners, the Museum’s team combined video mapping on the Canyon walls, a closed-captioning service performing live transcriptions during the event, traditional powered speakers along the edge of the space, and wireless conference units from Listen at many of the tables. “From our use of the Listen system, it occurred to us that they can be helpful with sound reinforcement during our annual fundraising gala. The resulting system provided attendees with an enhanced audio experience. Everyone was very happy with the results.”

Eisenberg added that he and his colleagues have also appreciated the assistance they’ve received with the system, “The support locally has been great from both the reseller that we purchased through as well as directly from Listen Technologies. They have been incredibly helpful to us.”

Established in 1963, the Natural History Museum of Utah cares for over 1.2 million objects and offers innovative exhibitions and educational programs to thousands of residents and visitors each year, including traveling and permanent exhibits, special events and other programs. The Museum also offers a variety of outreach programs to communities and schools throughout Utah, reaching every school district in the state annually. The Museum has an active research program with more than 30 scientists and 10 field expeditions each year.

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The Recording Academy® Producers & Engineers Wing® Has Strong Showing at 137th AES Convention in Los Angeles

The Mix @ AES 2014 Manufacturers_AES14 GRAMMY SoundTables: Songs That Move The Needle

SANTA MONICA, Calif. (October 30, 2014) — The Recording Academy® Producers & Engineers Wing® had a strong showing at the recent 137th AES Convention (Thursday, Oct. 9 through Sunday, Oct. 12, 2014, at the Los Angeles Convention Center), along with related events outside the convention campus. The P&E Wing’s involvement spanned lectures, keynotes, a cocktail mixer and award presentation, and a manufacturer’s event, among other activities.

Highlights included:

The keynote on Friday, Oct. 10 was presented by Neil Portnow, President/CEO The Recording Academy, The GRAMMY Foundation®, and MusiCares®.

The GRAMMY SoundTables®, presented by the P&E Wing was held on Saturday, Oct. 11. This year’s event, titled “Songs That Move The Needle,” featured multi-talented production professionals Alex Da Kid, No I.D., Michael Brauer, Niko Bolas and Don Was, sharing their unique experiences in the art of music making. GRAMMY® Award-winning producer/engineer Ed Cherney acted as moderator. The panel’s five multitalented, cross-genre hit makers debated the who, what, when, where and why of songs that have left an indelible imprint.

The Mix @ AES 2014, a cocktail reception co-presented by the UK-based Association of Professional Recording Services (APRS) and the P&E Wing, on Friday, Oct. 10, at United Recording (formerly known as Ocean Way Recording Studios). Sponsors included AKG®, dbx®, JBL Professional®, Lexicon®, Focusrite Novation, GC Pro, iZotope, Record Plant and cocktails courtesy of VEEV Spirits. In a special ceremony, BJ Ramone accepted the APRS Sound Fellowship on behalf of his father, the late, legendary producer/engineer Phil Ramone. The presentation was made by Phil Dudderidge (Focusrite) and the citation was given by Peter Filleul (APRS).

A Hi-Res Audio Production Workshop, co-sponsored by the P&E Wing along with DEG: The Digital Entertainment Group on Friday, Oct. 10.The event was moderated by GRAMMY®-winning engineer and director of music recording & scoring at Skywalker Sound Leslie Ann Jones, with panelists Chuck Ainlay (Dire Straits and Mark Knopfler, Taylor Swift, Miranda Lambert); producer and Chief Creative Officer of Concord Music Group John Burk; Bob Clearmountain (Bruce Springsteen, Rolling Stones, Bon Jovi) and Ryan Ulyate (Tom Petty & The Heartbreakers, Electric Light Orchestra, the Traveling Wilburys). These top professionals discussed the music creation process and shared their practices for recording, mixing and mastering in high resolution.

High Resolution Audio—Super Session (Friday, Oct. 10), moderated by P&E Wing Managing Director Maureen Droney, and part of the Convention’s High Resolution Audio (HRA) program. Panelists included Bruce Botnick (Music producer, recording and mastering engineer, VP Content Acquisition for Pono Music), George Massenburg (Producer/engineer/inventor, McGill University), Andrew Scheps (Producer/engineer/mixer) and Bill Schnee (Producer/engineer, Schnee Studio), who explored the most challenging issues facing the recording industry today concerning the adoption of high resolution audio.

The P&E Wing Manufacturer Council Breakfast, held on Saturday, Oct. 11. At their biannual meeting, this group of industry leaders — who are dedicated to the advancement of sound quality and to the overall growth of the professional audio industry — shared ideas and discussed issues of interest to all parties in attendance, with the goal of raising awareness about the importance of high-quality audio, legislative wireless white space and broadband issues, music streaming bit rates and other related topics. The following manufacturers, organizations and publications participated: AKG®, Audio Engineering Society (AES), Audio-Technica, Auralex, Avid, DBX, Electronic Musician, Focusrite Novation, Fraunhofer, GC Pro, Genelec, Iron Mountain, iZotope, JBL®, Lexicon®, Manley, M-Audio, Merging Technologies, Mix Magazine/New Bay Media, Music Marketing/Melodyne, Music Producers Guild (MPG), Presonus, Prism Audio, Pro Sound News, Radial Engineering, Royer, Shure, Sonnox Ltd., Solid State Logic, Universal Music Group, Waves Audio and Westlake Pro.

The P&E Wing ReCharge Lounge. Located in the Demo Room Concourse, the ReCharge Lounge was open to all AES badge-holders and featured charging stations for attendees’ devices, bottled water and snacks, and comfortable seating away from the convention’s crowded exhibit floor.

Maureen Droney, Managing Director of the P&E Wing, stated, “We are always excited to participate in the annual Audio Engineering Society convention in the U.S. We have many of the same values as the AES – for instance, high-resolution audio and advocacy for producers and engineers – and it is wonderful to be given a forum to share our perspectives with the wider audio community at this yearly gathering.”

Photo Caption 1: The Mix @ AES 2014 reception was hosted by UK-based Association of Professional Recording Services (APRS) and The Recording Academy® Producers & Engineers Wing® at United Recording on Friday, October 10, 2014. Pictured L-R: Producer/Engineer and P&E Wing Co-Chair Chuck Ainlay; Managing Director, P&E Wing Maureen Droney; Studio Manager, United Recording Rob Goodchild; Producer/Engineer BJ Ramone; Executive Director [Emeritus], APRS Peter Filleul; and Producer/Engineer and P&E Wing Co-Chair Mike Clink. Photo Courtesy of The Recording Academy®.

Photo Caption 2: Representatives from leading manufacturers, organizations and publications, along with members of the P&E Wing Advisory Council, at the P&E Wing Manufacturer Council Breakfast during the 137th AES Convention in Los Angeles. Photo Courtesy of The Recording Academy®/Clyne Media Inc. © 2014 Photographed by: Corey Walthall, Clyne Media, Inc.

Photo Caption 3: Pictured L-R: Ed Cherney, Alex Da Kid, No I.D., Niko Bolas, Michael Brauer and Don Was, pictured at the GRAMMY SoundTables® event “Songs That Move The Needle” on Oct. 11 at AES137 in Los Angeles. Photo Courtesy of Maury Phillips/WireImage/The Recording Academy®. © 2014. Photographed by: Maury Phillips.

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Auralex® Introduces V2 Upgrades to Its GRAMMA® Acoustic Isolation Platform Line

GRAMMA_V2_Family GRAMMA_V2_Family_Chart

— Designed to acoustically isolate bass rigs, guitar amps, monitors, subwoofers and speaker cabinets on stage or in the studio, these models allow the true sound to come through by negating resonance artifacts —

INDIANAPOLIS, IN, October 29, 2014 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, announces a V2 upgrade to its GRAMMA® (Gig and Recording, Amp and Monitor Modulation Attenuator) line of Acoustic Isolation Platforms, which are designed to isolate bass rigs, guitar amps, monitors and subwoofers on stage and in the studio. Like their V1 predecessors, these patented isolation platforms feature an Ozite® covering over an inert structural layer that floats on a 1” pad of acclaimed Auralex Platfoam™. These carefully engineered solutions allow the true sound of an amp or speaker to come through by negating resonance artifacts. V2 upgrades include a lower profile for increased stability, even better mid- and low-frequency definition and a new easy-to-grab handle. The GRAMMA V2 line is part of Auralex’s acclaimed ISO Series™ (instant sound optimizer), specifically engineered to address problems associated with individual sound sources.

The GRAMMA V2 line includes three models:

BabyGRAMMA® V2
The BabyGRAMMA V2 Amplifier Isolation Platform, designed for compact guitar, bass and keyboard amplifiers. It measures 15″ W x 15″ D x 1.75″ H. Weight limit: 200lbs.

GRAMMA® V2
The GRAMMA V2 is designed for mid-sized amps and speaker cabinets. It measures 23″ W x 15″ D x 1.75″ H. Weight limit: 300lbs.

GreatGRAMMA® V2
The GreatGRAMMA V2 is almost 30% bigger to float large speaker cabinets, accommodating 4×12″, 4×15″ or 4×18″ rigs. It measures 30″ W x 19″ D x 1.75″ H. Weight limit: 300lbs.

“Based on feedback from leading artists and engineers, GRAMMA V2 represents the next generation of isolation products for studio and live performance,” stated Eric Smith, Founder and President, Auralex. “With its new lower-profile design and its ability to provide improved mid- and low-frequency definition, GRAMMA V2 is sure to find its home in the arsenal of live and studio musicians far and wide.”

For more information, please visit www.auralex.com.

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The Recording Academy® Producers & Engineers Wing® Announces Eighth Annual GRAMMY® Week Celebration Honoring Nile Rodgers

56th Annual GRAMMY Awards - Press Room

Annual Celebration Will Highlight Sound Quality and Pay Homage to MusicalIcon at The Village Studios in West Los Angeles on February 3, 2015

SANTA MONICA, Calif. (Oct. 29, 2014) — The Recording Academy® Producers & Engineers Wing® will celebrate its eighth annual GRAMMY® Week event honoring three-time GRAMMY winner Nile Rodgers for his commitment to excellence and ongoing support for the art and craft of recorded music. Michael Ostin and Cameron Strang will serve as honorary event co-chairs at the event to be held on Tuesday, Feb. 3, 2015, at The Village Studios in West Los Angeles. GRAMMY Week culminates with the 57th Annual GRAMMY Awards®on Sunday, Feb. 8, 2015, airing live on the CBS Television Network, at 8 p.m. ET/PT. For updates and breaking news, please visit www.grammy.com, and The Recording Academy®’s social networks on Twitter and Facebook.

“Our Producers & Engineers Wing members are passionate about sound quality, the importance of music creators, and most of all, the integrity of recorded music,” said Neil Portnow, President/CEO of The Recording Academy. “This year, it is with great pride that we honor a musical icon who is the epitome of everything the P&E Wing represents. Nile Rodgers is not only a revered member of the music community but also a founding member of the Wing and we look forward to celebrating his astonishing career, which continues to reach new musical heights and inspire generations.”

A musician, composer, arranger and guitarist, Rodgers is one of the most influential music producers in the history of popular music. He began his career as a session guitarist in New York, first toured as a teenager with the “Sesame Street” band, and played with the house band at Harlem’s world famous Apollo Theater. In 1970 Rodgers and bassist Bernard Edwards met and formed the Big Apple Band. In 1977 the band changed their name to Chic and subsequently generated chart-topping hits such as “Le Freak,” “I Want Your Love,” “Everybody Dance,” and “Good Times.” Chic’s success soon led to producing opportunities for Rodgers and Edwards, among them albums such as Sister Sledge’s We Are Family and Diana Ross’s Diana.

Following Chic’s dissolution in 1983, Rodgers embarked on a solo production career that launched hits for artists such as David Bowie, INXS, Duran Duran, Madonna, Sheena Easton, Jeff Beck, the Thompson Twins, Mick Jagger, Grace Jones, Cyndi Lauper, Howard Jones, the B-52′s, and Al Jarreau, among others. Rodgers’ work with a variety of popular artists soon led to opportunities to share his distinct sound on film soundtracks such as Alphabet City, Gremlins, Against All Odds, That’s Dancing, White Nights, The Fly, White Hot, and Earth Girls Are Easy, in addition to collaborating with Peter Gabriel on Laurie Anderson’s concert film Home Of The Brave. In 1988 Rodgers composed his first orchestral score for the film Coming To America.

In the ’90s Rodgers produced the Vaughan Brothers Family Style, which was released shortly after the untimely death of guitar virtuoso Stevie Ray Vaughan, along with projects for Bowie, Eric Clapton, the B-52s, David Lee Roth, Ric Ocasek, Dan Reed Network, Cathy Dennis, Patty Griffin, Jimmie Vaughan, and The Stray Cats among others, along with continued soundtrack work on films such as Thelma and Louise, Cool World and Beavis And Butt-Head. In 1992, Rodgers and Edwards revisited Chic’s roots and released a new album, Chic-Ism. In 1996 tragedy struck when, during a series of Chic concerts in Japan, Edwards contracted pneumonia and died, a blow that greatly affected Rodgers. Although devastated by the loss of his longtime musical partner and close friend, Rodgers ultimately regrouped and returned to playing live concerts and composing and producing music for film soundtracks including work on Beverly Hills Cop III, Blue Chips, The Flintstones, and Feeling Minnesota (including a collaboration with Bob Dylan).

In 1998 Rodgers founded the Sumthing Else Music Works record label and Sumthing Distribution, an independent music label distributor. The label focused on a fast-growing new genre: video game soundtracks. Its titles include the complete Halo and Resident Evil franchises including Gears of War and Borderlands. During this time, Rodgers focused on additional soundtrack projects such as Rush Hour 2, Snow Dogs and Semi-Pro. In 2002-2003 he co-produced Astronaut, with the original five members of Duran Duran.

Prompted by the Sept.11 tragedies, Rodgers created the We Are Family Foundation to help promote the healing process and organized a rerecording of “We Are Family,” the GRAMMY Hall of Fame®-inducted song he and Edwards wrote for Sister Sledge. The rerecording was performed by more than 200 musicians, celebrities, and personalities and included a music video filmed by Spike Lee, a documentary filmed by Danny Schechter and a video version for kids that included more than 100 beloved children’s characters. Rodgers has been recognized for his humanitarian efforts as well as music achievements by being honored with innumerable awards, among them The Recording Academy’s NY Chapter’s Heroes Award, induction into the Dance Music Hall of Fame, No. 1 Singles Producer In The World by Billboard, and the Winter Music Conference Lifetime Achievement award.

Rodger’s career has seen a strong resurgence in the electronic dance community through his work with such acts as Avicii, Disclosure and Tensnake. His collaboration with Daft Punk on their album Random Access Memories garnered him three GRAMMY Awards for 2013 including Album Of The Year and Song Of The Year. Rodgers continues to tour worldwide and remains one of the most in-demand producers and artists of his time.

As the Producers & Engineers Wing 2015 honoree, Rodgers joins an impressive list of past honorees: Chris Blackwell; T Bone Burnett; Tom Dowd; Ahmet and Nesuhi Ertegun; Jimmy Iovine; Quincy Jones; Arif Mardin; Al Schmitt; Jerry Wexler; and Neil Young.

Photo Courtesy of The Recording Academy® /Wireimage.com © 2014
Photographed by: Dan MacMedan

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