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Archive of the Product Applications Category

Hawthorn Names DPA As Its Microphone Brand of Choice

Ben McAlonan and Jon Curnew

Hawthorn, the UK’s largest independent supplier of technical production services, has named DPA as its primary microphone brand.

Established in 1987, Hawthorn employs over 120 staff from offices around the UK and handles over 1,000 events every year, including gala dinners, product launches, conferences and parties. The company’s product portfolio has seen a 4.4 EUR investment over the last two years and now includes state of the art lighting, sound, AV, rigging, staging and drapes.

Among this phenomenal inventory are a wide range of DPA microphones including d:fine™ Headset Microphones, d:screet™ 4060 lavalier microphones and d:vote™ 4099 Instrument Microphones.

Audio quality is very important to Hawthorn, which bases its reputation on delivering exceptionally high standards. It was this desire to use the best that initially brought DPA to the company’s attention.

“It all started a few years ago when we were looking for headset microphones to replace the brand we had previously been using,” says Jon Curnew, Hawthorn’s Head of Sound. “We discovered the DPA d:fine Headset Microphone range and were immediately taken with the fact that they came with single and dual ear attachments. That really appealed to us because it made them so versatile. We now have a stock of about 35 d:fine microphones and we use them all the time. They are much easier to position than any other headset mic we have tried and our customers love them.”

Although Hawthorn also offers DPA d:screet™ 4060 lavalier microphones, most of its customers prefer headsets because they don’t have to worry about accidentally knocking them – or forgetting to take them off when they go off stage.

“Headsets are also better at picking up weaker voices because the microphone is positioned so close to the mouth and doesn’t have to compete with background noise,” Curnew says. “Once they are in place, they tend to stay in place – we even had a guy wearing one while he was doing aerobics and it managed to survive that.”

For musicians, Hawthorn stocks DPA d:vote 4099 Instrument Microphones and now has 17 in its microphone cupboard.

“We use them with a variety of clips and they are great because they deliver such a clean, transparent sound,” Curnew says.

Hawthorn recently added six DPA d:facto™ Vocal Microphones toits stock, which it bought from DPA’s UK distributor Sound Network.

“We saw the d:facto Vocal Microphones at PLASA two years ago but we needed the right event to inspire us to buy some,” Curnew says. “This turned out to be SunWalk in London’s Battersea Park – a charity event raising money for breast cancer research, for which we delivered full technical production.”

Four wired and two wireless d:facto’s were immediately put to use on the SunWalk live music stage.

“Everyone loved them,” Curnew says. “They sounded amazing and we had no issues with feedback or rejection – they worked well across a range of artists and really brought out the subtlety in the vocalists’ voices. We have since used them on other events including an opera. It’s interesting to note how often they are cropping up on artist’s riders – that’s another reason why we felt the time was right to invest in some.”

Although most of Hawthorn’s DPA microphones are used for in-house productions, they are also available for dry hire and Curnew says the DPA d:facto Vocal Microphones, in particular, are already making a name for themselves amongst dry hire customers.

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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

Touchdown in the Backyard: Football Season is Best Enjoyed with a SunBriteTV

SB-5570HD-SL-Angle15THOUSAND OAKS, California, November 20, 2014 — This football season, the best seat at the game is actually in the backyard. Designed for permanent outdoor installation, a SunBriteTV weatherproof television makes for an upgraded home viewing experience in the sport’s natural environment- outside!

The belief that the best games are enjoyed outside runs deep at SunBriteTV, which was founded in 2004 by an avid sports lover who didn’t want to come inside to watch his favorite team. Since then, SunBriteTV televisions have been installed in more than 30 professional sports stadiums across the country and, more recently, in the backyards of thousands of sports fans eager to get the best of both worlds.

Football fans will enjoy full-HD 1080p, sharp colors and bright picture thanks to a special display designed for both daytime and nighttime viewing. Weatherproofing technology keeps out all forms of moisture including rain, snow, humidity, ice and even game day BBQ grease. When mounted outside, SunBriteTVs outlast other standard televisions by a long shot thanks to the rustproof cabinets and powder-coated exteriors, which prevent natural environmental damage.

Most importantly though, SunBriteTVs put the game where it belongs. “Why should fans be limited to watching the game in the living room?” says Jonathan Johnson, Director of Brand Marketing, SunBriteTV. “A SunBriteTV puts the home field advantage right in the backyard and makes every game more memorable, social and fun!”

SunBriteTV’s Signature Series line, designed for residential applications, starts at $1,495 for a 32” display— sizes up to 65” and multiple color options are available. All models include weatherproof speakers and remote.

Fully functional in any North American environment, SunBriteTV’s temperature regulation systems keep all internal electronics running in -24° to 122° Fahrenheit. For more information on SunBriteTV please visit www.SunBriteTV.com or call the sales department directly at 866.357.8688.

Follow SunBriteTV on Facebook at https://www.facebook.com/SunBriteTV

About SunBriteTV
SunBriteTV engineers and manufactures award-winning televisions and displays built specifically for outdoor use. SunBriteTV developed the industry’s first all-weather TV in 2004 and its products have been time-tested in home installations, outdoor sports arenas, restaurants, hotels, amusement parks, colleges, and airports. All models are available through SunBriteTV’s network of Authorized Dealers. To inquire about becoming an Authorized Dealer, contact SunBriteTV at 866.357.8688, or visit the Dealer Inquiry page at www.SunBriteTV.com.

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LEGENDARY GUITARIST ERIC JOHNSON RELIES ON LEGENDARY ATC REFERENCE MONITORS

Eric JohnsonAUSTIN, TEXAS – NOVEMBER 2014: “Legendary guitarist” is justifiably the most common two-word description given of Eric Johnson, whose six-string prowess has earned him a Grammy win, several Grammy nominations, a Platinum album, and residency on practically every “Top X Guitarists of All Time” list ever made. He’s regularly played and recorded with fellow guitar greats Chet Atkins, Steve Vai, and Joe Satriani, and Eric Clapton selected Johnson for his 2004 Crossroads Guitar Festival. Most recently, Johnson collaborated with jazz guitar great Mike Stern on the album Eclectic, which the two recorded and mixed at Johnson’s Austin-based studio with the help of Johnson’s accomplished recording and mix engineer Kelly Donnelly. Although Johnson is known mainly for his prodigious talent as a guitarist, he is also comfortable playing numerous other instruments, including piano, lap steel, bass, and voice. He is an accomplished songwriter and, in more recent years, has plied his skills over the years as a producer and assisting his recording engineers. The common frustration of mixing a song to seeming perfection, only to find obvious mistakes when he played it on other systems, drove Johnson to find the perfect near-field monitors. He found them in a pair of ATC SCM25As, which deliver the undecorated truth so that Johnson’s mixes sound beautiful and balanced on any system, from wee computer speakers to the biggest home theaters.

Years in the making, Johnson slowly constructed the ideal project studio in his Austin, Texas home, and he only declared it finished six years ago. “I always wanted a great rehearsal space, and it seemed natural to make it a recording studio as well,” he said. “I took my time because I wanted to do it right. I like to think about the tools I use the same way I think about guitars. When I find the right guitar, it facilitates my playing. It’s like I can feel the push of the polarity, the wind’s at my back, and soon I’m not paying any attention to the guitar itself… I’m just making music. It’s the same with the studio and all the equipment and processes in the studio. At their best, they fall away and I’m just making music.”

Most of the engineering duties at Johnson’s project studio fall to Donnelly. “Kelly and I often found ourselves second-guessing our mixes,” said Johnson. “We’d take a mix that sounded perfect in the studio and notice huge bumps or holes when we played it other places. It’d be like, ‘we must have overlooked that in the studio!’ But then we’d go back to the studio and those bumps or holes wouldn’t be there. So there was a lot of back and forth, which wasted time, energy, and inspiration. I became very interested in finding a near field system that would ensure our mixes translated outside of the studio, especially as we drew close to working on Eclectic. People with ears I trust told me that ATC is the way to go.”

After performing due diligence with trials of numerous top-end reference monitor manufacturers, Johnson arrived at the same conclusion. He purchased a pair of ATC SCM25As, which feature a three-way active design starting with a seven-inch low-frequency driver. “The ATCs have a great vibe and they’re fun to mix on,” said Johnson. “The imaging is solid and in-phase, and the top end is natural – not glitchy or peaky or spikey. They’re pleasant at whisper volume or blaring, and the response seems pretty linear across that range. I’ve also noticed that we can monitor at high volumes on the ATCs as long as we like and they never become fatiguing. So the in-studio experience on the ATCs is great. Beyond that however, the mixes we’ve done on the ATCs translate beautifully, and we don’t have to second-guess ourselves anymore.”

Part of the Concord Music Group, instrumental music label Heads Up International released Eclectic, and thus sent it to Concord’s multiple Grammy Award-winning mastering engineer Paul Blakemore. For years now, Blakemore has been mastering on ATC SCM150ASL monitors. “The ATC monitors are the most accurate loudspeakers I have ever heard, and I can’t imagine using anything else,” he said. “They work equally well on any genre of music, which is very unusual and particularly important for Eclectic. As the name promises, Eclectic is eclectic! It runs from rock, to jazz, to blues, to R&B, and to everything in between. The ATCs were critical for getting the high end correct and consistent across all those styles. Similarly, the ATCs were critical for making sure the low end was true and in the pocket from song to song. Once I get things right on the ATCs, I’m confident that the final product will translate to any other system in the world.”

In November 2014 and January and February 2015, Johnson and Stern are taking their otherworldly chops on the road for an extended U.S. engagement.

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

(PHOTO CREDIT: © 2014 Max Crace)

METRIC HALO LAUNCHES VERSION 2 OF PRODUCTION BUNDLE PLUG-INS – ADDS VST AND WINDOWS SUPPORT

MH_ProductionBundle_v2SAFETY HARBOR, FLORIDA – NOVEMBER 2014: Metric Halo is pleased to announce the immediate availability of version 2 of its Production Bundle plug-ins. The new plug-ins provide a comprehensive set of tools offering Metric Halo’s signature sound quality at a compelling price.

The full Production Bundle includes eight fantastic plug-ins that provide engineers, producers, musicians and sound designers with the tools they need to create world-class mixes and productions. Starting with the world-renowned ChannelStrip, the Production Bundle adds TransientControl, Character, HaloVerb, Dirty Delay, Multiband Dynamics, Multiband Expander, and the Precision DeEsser.

NEW PLUG-IN
The v.2 of Production Bundle introduces a brand new plug-in – MH Dirty Delay. Dirty Delay is a visceral, gritty, fantastic-sounding musical feedback delay processor with integrated Character and filters in the delay path. It can create awesome vintage echo and tape-delay style sounds as well as lush and subtle spaces in a mix. New users are already finding that it is more “real” sounding than alternative in-the-box delay processors.

NEW PLATFORM SUPPORT
The v.2 of Production Bundle adds exciting new features and platform support. With this release, Metric Halo is providing VST versions of the plug-ins for both Mac and Windows, in addition to the previously supported Pro Tools AAX on Mac and Windows, and Audio Units on Mac. All of the plug-ins support 32-bit and 64-bit hosts on all platforms. Version 2 supports both computer-based licensing and optional iLok dongle-based licensing.

NEW FEATURES
In v.2, Multiband Dynamics and Expander add comprehensive band linking controls to allow the user to adjust the overall processing as easily as they can adjust the per-band processing. Character adds selectable Auto-Drive to the processing. Character is a subtle processor that adds the essential Character of a wide variety of analog devices to the signal. With Auto-Drive enabled, Character is transformed into an effects processor that can add grit and color to tracks – regardless of the input level. Finally, TransientControl adds selectable Auto-Sensitivity making it a much more versatile transient processor and easier to use. With Auto-Sensitivity, regardless of the signal level TransientControl can pull out transients and modify the sustain and tail of sounds.

ONE LICENSE, ALL FORMATS
The license for all Metric Halo plug-ins covers the Native and DSP accelerated versions on Pro Tools AAX and Native versions for VST and AU on both Mac and Windows. The plug-ins are each available individually or as part of the Production Bundle.

A LOT OF PERFORMANCE, NOT A LOT OF PRICE
Metric Halo products are available from dealers or directly from http://mhlabs.com. New software licenses for individual plug-ins are available for a MSRP of $179 each, and are currently on sale for only $75 each (until 10/31/2014). New Production Bundle licenses are available with a MSRP of $699, and are currently on sale for only $299 (until 10/31/2014). Version 2 is a free update for existing v.1 users.

Free 30-day trials for the Production Bundle are available from http://mhsecure.com/DemoCentral.

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

IT’S METRIC HALO FOR LEGENDARY MASTERING ENGINEER HERB POWERS, JR.

Herb_PowersNEW YORK, NEW YORK – NOVEMBER 2014: “We’re in the business of correctly preserving a musical vision that occurred at a moment in time,” says legendary mastering engineer Herb Powers, Jr. “Sure, we make it commercial and tweak it up a bit, but really we’re preserving that picture as best we can.” Powers’ philosophy – which is about the soul of the music and not its technicalities – has clearly worked for him: the veteran mastering engineer has earned numerous Grammy Awards and nominations and innumerable Platinum- and Gold-certified albums. His list of clients includes Mariah Carey, Alicia Keys, Justin Timberlake, Usher, Nelly, Missy Elliott, Lauryn Hill, Salt-N-Pepa, Run DMC, Afrika Bambaataa, Outkast, Toni Braxton, Babyface, Puff Daddy, Jennifer Lopez, Pink, and countless others. Among Powers’ trusted tools are Metric Halo SpectraFoo sound analysis software, a Metric Halo ULN-2 A/D/A interface, and, more recently, Metric Halo plug-ins.

For decades, his father, Herb Powers, Sr., worked for CBS as a quality control engineer in the company’s Manhattan studios, which gave the younger Powers an insider’s view of the business. Indeed, Powers remembers attending a session with his father for Sly and the Family Stone. Apart from a signed record, Powers came away with rare insight into the production of recorded music. When he was DJ’ing years later, Powers tapped that insight to give shape to the dissatisfaction he felt: “Most of the records I spun didn’t sound that good,” he said. “I was inspired to do something about it!” Following his father’s advice, Powers secured a position at NYC’s famous Frankford/Wayne in 1977… literally in the mailroom. True to the cliché, he worked his way up to eventually command his own mastering room. When Frankford/Wayne folded, he moved to The Hit Factory. Since it closed its doors in 2005, Powers has been working under his own flag, Powers Mastering Studio.

“I have Metric Halo SpectraFoo in front of me every minute of my work day,” said Powers. “I used to have a nice hardware metering system, but it eventually died. I looked into replacing it with another hardware system, but I also explored my software options. SpectraFoo looked good, and when I realized I could get SpectraFoo along with a dedicated 11-inch Apple MacBook Air for less than the cost of another hardware system, I went for it. Of course, I still ultimately rely on my ears, but I constantly reference SpectraFoo’s RTA and stereoscope. I have my tools selected and organized, and the MacBook Air’s only function is to run SpectraFoo. For less than the price of a hardware analyzer, I got better tools, better real estate, and a perfectly customized experience.”

Powers’ setup is an amalgam of workflows that reflects his decades in the business. Apart from a Studer tape machine, a DAT player, and other now-seldom-used playback devices, he maintains a playback computer loaded with every conceivable music production software. Signal from that computer enters the analog domain via a dedicated Apogee DA, where it then winds its way through Powers’ trusted collection of analog equalizers, filters, and dynamics processors. He uses his Metric Halo ULN-2 to capture signal in front of the processing for comparison in SpectraFoo and, more critically, as the AD converter in front of his dedicated record computer, which runs Sonic Studio SoundBlade mastering software. “I have a lot of nice analog gear, and I’m super comfortable using it,” he said. “As soon as I hear something in the music, I know which knob to turn. Because I always go analog, good conversion is important, and the Metric Halo ULN-2 sounds totally transparent. It works solidly even at 24bit/96kHz.”

Despite Powers’ reliance on analog gear, he’s happy to incorporate more plug-ins, and sound quality and well-constructed factory presets have made Metric Halo’s line of plug-ins a growing favorite. “A lot of times I’ll hear an issue that stands apart from the usual balancing that I use my analog gear for,” he said. “I use Metric Halo TransientControl, ChannelStrip, and Multiband Dynamics to correct it in the playback machine. Then I can go out of the playback machine and make the usual sorts of corrections I make with the hardware. The Metric Halo plug-ins sound great and they’re very fast to use. I can always pull up a factory preset that gets me most of the way there. I just have to adjust a ratio or a threshold and it’s good. Since everything these days is on a tight deadline, that speed is important!”

As a professional who has spent nearly four decades making music sound fantastic, Powers laments the industry shift towards compressed audio formats and its growing tolerance of clipping and distortion in the pursuit of volume. Nevertheless, he holds out hope that bandwidth will eventually allow consumers to enjoy the full fidelity of his work as he hears it in his studio.

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

NEW HOPE BAPTIST CHURCH BELIEVES IN ASHLY

New_Hope_Baptist_InteriorGRAND RAPIDS, MICHIGAN – NOVEMBER 2014: Founded in 1934 by a small collection of the faithful who opened up their living rooms every Sunday in the bustling Michigan town of Grand Rapids, New Hope Baptist Church has grown to a congregation of over 800 active members. To better accommodate its members, the church recently underwent a comprehensive renovation of its 750-seat sanctuary and associated overflow and ancillary use rooms. A new sound system centered on Ashly Audio processing, amplification, and user control is a centerpiece of the project and gives New Hope congregants exceptional intelligibility for spoken word, along with musical transcendence for the New Hope band and praise choir. Critically, the Ashly gear came in at a price point that allowed the church to meet its needs reliably, without breaking the project’s budget. Pro Audio Inc., of nearby Grandville, Michigan designed and installed the system for New Hope Baptist Church.

“The performance of Ashly gear is top-notch and yet its cost is very reasonable,” said Ken Reinecke, owner of Pro Audio Inc. “That’s a rare combination. In terms of sound quality, Ashly’s processing and amplification is transparent. What goes in is what comes out, plus whatever dynamics or equalization I’ve dialed in. And the gear can run at 96kHz for super critical situations. Programming Ashly’s Protea DSP platform is straightforward. I just drag and drop whatever processing I need, and drag appropriate inputs to appropriate outputs. Linking groups is also handy. Ashly gear is also tremendously reliable – it basically never breaks or fails.” Because space at New Hope Baptist Church was at a premium, it also helped that Reinecke could fit all of the system’s processing and amplification in just six rack spaces.

A new Soundcraft Si Performer 3 console serves as the user interface in the sanctuary itself. From there, an Ashly ne8800 8×8 Network DSP Protea™ Processor handles all of the loudspeaker settings for the sanctuary’s new JBL VRX928LA eight-inch, two-way line array system with JBL 915S subs. The stereo line array is powered by a single Ashly nXe 3.04 network four-channel amplifier rated at 3,000W per channel, providing ample power to the main sanctuary system. Additionally, output from the console feeds an Ashly Pema 8250 combination 8×8 Matrix Protea processor and eight-channel 250-Watt amplifier. The Pema 8250 takes additional inputs, such as wall jacks for microphones or music players that are located in the narthex and other out rooms. The versatile eight-channel Pema 8250 handles all of the audio routing, signal processing, and amplification for New Hope Baptist’s two nurseries, its nursing room, the bathrooms, and the narthex.

Four Ashly WR-5 programmable wall-mounted remote controls located strategically around the out rooms provide customized, intuitive control of those inputs, as well as of the sound from the sanctuary. “The nice thing about that arrangement is that folks can make changes in all those rooms without bothering the sound tech,” said Reinecke. “While the main system is controlled entirely from the Soundcraft console, the church staff can use the mic inputs and the Ashly WR-5 remote controls to play music or have a standalone PA for meetings and small events in those out rooms.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

HARTER MUSIC PULLS THINGS TOGETHER WITH API 1608

www.joshhuskin.comSAN ANTONIO, TEXAS – NOVEMBER 2014: In San Antonio, Texas, Harter Music has been working on a 32-channel 1608 for almost a year now – and they are hard-pressed to choose their favorite part about it. Keith Harter owns the studio, and along with his team Jonathan Harter (producer and engineer), Jorge Infante (sound engineer) and Joshua Harter (Composer) Harter Music has carved itself a permanent place in the “diverse culture involved with Texas music.” Keith explains, “We work on all kinds of music. There’s a lot of country, blues, rock, gospel, a good deal of hip-hop and R&B as well. Tejano music is particularly unique to our area, so we work with lots of artists in that genre.”

In addition to recording other artists’ work, Keith and Joshua work together as in-house composers, which they consider an equally diverse role. “We write everything from stripped down ukulele tunes to full-on orchestral film score pieces. A lot of our favorite work is scoring to picture.” In fact, the music that the Harters produce for on-camera work had a lot to do with their decision to purchase and install a 1608. “Writing and recording music for commercials, television and movies is a large part of our business, and now the 1608 gets used for all our commercial music.” Reliability was essential when choosing equipment that Harter Music would use so frequently, and that made their choice simple. “We felt very comfortable selecting the 1608 because we’ve always received great service from API. When it comes time to maintain or repair something, we know API is going to be very easy to work with.” The Harters were already familiar with the API brand because, before the 1608 arrived, the studio was well stocked with API gear, but they wanted one cohesive unit.

Keith got in contact with Darrin Fendley at Vintage King for a solution. “We ordered the 1608 unloaded because we already had a lot of API EQs. That was a huge part of what made the console affordable for us.” Harter Music didn’t want to move away from the gear they already had because “The pre-amps and the EQs sound so good! The console format just makes it easier to record and mix now that the gear is in the chain. It’s also super easy to route things in a bunch of different ways to accommodate any set up we’re using.” There was one other element that Keith says impressed him about his API gear and especially his 1608: “We like the sound, most importantly. It’s equally as great sounding as our other gear, solidly built, but way bigger! It’s a great feeling when you’re sitting behind that much API.” Before the 1608 made its debut, the studio also boasted a 2500 stereo compressor, a 3124 mic pre, and a six-slot Lunchbox®. Having everything in one place, however, is one of the things that has changed their work the most. “We couldn’t efficiently run all analog sessions before. Now we can record and mix all on tape if we want.”

Another bragging point for Harter Music is the celebrity artists who have recorded in the studio in the last year. George Strait and Cheyenne Jackson are mentioned particularly by Keith, who is very proud of how busy Harter Music continues to be. The studio just wrapped on an upcoming movie The One I Wrote for You. “It was an intensely musical project where lots of actors sang songs in the film. We spent over a year recording and mixing everything – it was such a blast.” The studio shows no signs of slowing down. If you want to keep up, or are interested in a project of your own, check hartermusic.com or facebook.com/hartermusic for updates.

ABOUT API (AUTOMATED PROCESSES, INC.)
Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

API’s BOX USHERS IN BIG CHANGES FOR MIXER SCOTT ROSSER

Scott_RosserLONDON, UNITED KINGDOM – NOVEMBER 2014: Source Distribution continues meeting success for API’s BOX console in the U.K. with a sale to popular mixer/engineer Scott Rosser. Rosser, who has “remixed many of the biggest pop names in the industry including Rihanna, Lady Gaga, and Mariah Carey,” has been working from the spare room in his home for almost two years now. Although he wants to return to a permanent studio, he knew he needed the right gear before finding a new space. A solution arrived in April when Rosser ordered the BOX after just one demo session with Andy Bensley of Source Distribution. “Source kindly set up a demo unit at their London office for me to try out. I liked the look of the BOX straight away, and ran a stem session through the summing section. It sounded great!” Following the demo, Rosser immediately met with Mark Cooke at Tyrell London, one of Source’s dealers, and soon had a BOX of his own.

It’s not just Rosser’s location that is in flux; his main focus in the music industry has also shifted from “mainly commercial dance” to “more pop and urban stuff due to the success and expansion of 3 Beat as a label.” Rosser started working with 3 Beat Productions several years ago, and also works under the name ‘Cahill’, which is the title he uses most often when remixing for bigger-name artists. However, his success did not happen overnight. Rosser has worked in the recording world since 1989, when he was studying at Salford University in Manchester. The trends in music at the time helped form Rosser’s career, as he explains: “The city was at the forefront of the UK club culture and the Acid House revolution, so I was always interested in the electronic side of things.” Rosser and another “like-minded producer” then formed the band ‘Dario G’, which was so successful through the ‘90s that they sold 4.5 million records. “We had a few hits across Europe, and went on to release a host of underground house/rave tunes. It was a great experience.”

Now Rosser is expanding his studio’s power without taking up more space. “The BOX had everything I was looking for in one unit whereas the other options I was considering were all separate pieces. My small workspace made having everything to hand on one desk appealing.” Before the BOX, Rosser had considered API consoles out of his reach. But in the early 2000s feeling all dance music was starting to sound alike, Rosser knew he could solve the problem with analog recording equipment. “I wanted to apply a new approach which would help my mixes stand out amongst the competition. I noticed a press release for API’s new project console, and the BOX caught my attention immediately. I’ve only scratched the surface with mine, and it’s already made a big difference to my work.” This success has encouraged Rosser to look ahead to even more changes in his career.

“I’m putting some time aside in the new year to move to a purpose-built studio. I’m sure there’ll be other API units added soon. The 2500 compressor especially looks good…I know The BOX is going to serve me well for years. The build quality is excellent, it’s versatile, and I can now expand the rest of my system around it.” Since April, Rosser’s BOX has been as busy as he is. The BOX was used to mix an album by Fuse ODG, singles for Lethal Bizzle and Stylo G, and official remixes for Cheryl Cole, Ellie Goulding, Nicole Scherzinger, Olly Murs, and the boy band Rixton. Compared to mixing before the BOX, Rosser says his work has changed dramatically for the better. When asked what he likes best about The BOX, Rosser replied “Quite simply, the sound! That’s what I bought it for and it has delivered. It immediately added stereo width and a deep, warm feel that I’d been missing in previous mixes.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Evolutionary Yamaha PM10 Launched Today

Yamaha RIVAGE PM10

Buena Park, Calif.—In a worldwide announcement made at Inter BEE today, Yamaha Corporation Japan has launched the RIVAGE PM10 Digital Mixing Console, an enormous, evolutionary step for Yamaha PM Series Digital Live Sound Consoles. More than ten years have passed since the Yamaha PM1D and PM5D defined the direction for the digital console market. The new flagship RIVAGE PM10 significantly increases the quality and versatility necessary in a live sound environment, and inherits features from the renowned PM Series Consoles. Evolved features and performance define yet another milestone for Yamaha sound reinforcement consoles. The PM10 system is comprised of the CS-R10 control surface, DSP-R10 DSP engine, RPio622 I/O rack, three types of RY cards, and two types of HY cards provide the flexibility to configure and ideally match the scale and functional requirements of any application.

“Our new flagship RIVAGE PM10 system is the result of more than 40 years of PM Series history and reinforces our passion to provide industry-leading commercial audio products,” states Laurence Italia, Vice President/General Manager, Yamaha Commercial Audio Systems, Inc. “RIVAGE PM10 will ignite the market for a new era of extraordinary sound, operation, and reliability. Needless to say, RIVAGE PM10 would not be possible without the dedication of the Yamaha Japan R&D team as well as feedback from our customers.”

Under the fundamental philosophy of Yamaha live sound consoles, Hybrid Microphone Preamplifiers have been newly-developed, as has the analog section both in terms of components and overall design, achieving an extraordinarily pure, natural sound. Impeccable models of the Rupert Neve Designs (RND) transformer circuitry and acclaimed SILK processing have been created utilizing Yamaha’s VCM (Virtual Circuitry Modeling) technology. The SILK processing feature even includes selectable “RED” and “BLUE” characteristics, and a continuously variable “TEXTURE” knob that facilitate sonic shaping right at the input stage, adding musical sparkle or power as required. Josh Thomas, general manager of Rupert Neve Designs, had this to say about the collaboration: “We have done a number of listening sessions to compare our hardware to the transformer and Silk Texture emulations that Dr. K of Yamaha Japan and the development team achieved. Rupert and I are both very impressed by how closely the emulations get to the original analog designs. We hope that you all enjoy the rich Rupert Neve sound.”

The channel EQ and dynamics have been significantly upgraded with three newly developed algorithms plus the classic Yamaha “Legacy” algorithm. The new “Precise” algorithm includes Q parameters on the low and high shelving filters that allow filter overshoot to be flexibly controlled for added musical impact. An “Aggressive” algorithm has been designed for the most musical response, and the “Smooth” algorithm offers smooth, natural control while retaining the fundamental character of the source. Two Dynamics stages are provided, each functioning as a gate, compressor, ducker, or de-esser as required. Two compressor types are included: “Legacy Comp” features standard Yamaha digital console compressor characteristics, and “Comp260,” a VCM model of a popular analog comp/limiter from the mid-70s.

A total of 45 plug-ins are available for creative processing, with substantially increased processing power. New and noteworthy are plug-ins created in collaboration with Rupert Neve Designs, TC Electronic, and Eventide.Collaboration with Rupert Neve Designs has resulted in the “Rupert EQ 773,” “Rupert Comp 754,” “Rupert EQ 810,” and “Rupert Comp 830,” all VCM models of Neve designed outboard devices from the 70s and 80s. All four models deliver the gloriously musical vintage outboard sound still favored by many discerning engineers. The alliance with TC Electronic has resulted in the inclusion of two new reverb plug-ins: the “VSS4HD” room simulation reverb that offers a multitude of reflection settings with musical-sounding reverb processing capabilities, and the “NON LIN2” plug-in that can function as an envelope-filtered gate reverb without requiring a trigger.

“I wish to congratulate Yamaha with raising the bar for live console design significantly,” states Thomas Lund, CTO of TC Electronic. By directly integrating the world’s finest EQ, dynamics and reverbs, this mixing system is truly outstanding. Therefore, a big congratulations to the users also.”

Cooperation with Eventide has produced the “H3000-LIVE” harmonizer, an accurate reproduction of the H3000 Ultra Harmonizer algorithm with an interface streamlined for live sound use. “The marriage of classic Eventide effects with the state-of-the-art Yamaha RIVAGE PM10 mixing system is a match made in heaven,” adds Ray Maxwell, Eventide vice president of sales and marketing.

Console operation has been given the utmost attention with the Yamaha-familiar Selected Channel section implemented in full, allowing all parameters of the selected channel to be directly and intuitively controlled. There are also two large LCD touch screens that provide logical continuity with the faders, offering the same operability as the highly regarded Centralogic™ interface in 12-channel groups. In addition to this dual interface hybrid operation style, horseshoe-ring encoder position indicators, refined panel layout, and several other details contribute to significantly improved overall operability.

New features extend the usefulness of the scene memory: “Isolate” enables the engineer to specify entire channel modules including EQ and dynamics libraries, etc., that will be protected from recall operations without altering the Recall Safe settings; significant for situations where scene memory is heavily used. The Overlay Filter can be “overlaid” on a current mix to apply temporary offsets to fader and mix/matrix send levels independently from Scene Recall – valuable in situations that require sudden changes and the ability to easily revert to the original settings.

The CS-R10 control surface and DSP-R10 DSP engine are connected via a dedicated CAT5e ring “Console Network.” The DSP engine connects to the RPio622 I/O racks via the newly developed TWINLANe ring network using multi-mode optical fiber. The fact that both networks use simple ring connections facilitates redundancy and the highest possible reliability. TWINLANe is an original Yamaha protocol that can handle up to 400 96kHz audio channels over distances of up to 300 meters with low latency and redundancy for high reliability. Up to two DSP-R10 DSP engines and eight RPio622 I/O racks can be connected in a single ring.

Connection to a computer for multi-track recording, connectivity to the NUAGE Advanced Production System, Yamaha CL and QL Series Consoles, as well as other external equipment is possible via a Dante network. Dante, designed for simple setup with an extremely wide range of professional audio devices, works ideally with TWINLANe to create an exceptionally flexible, reliable system overall.

RIVAGE PM10 has an expected delivery during 2015.

For more, expanded information on RIVAGE PM10, please visit www.yamahaca.com.

-END-

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.

ASHLY AUDIO MULTI-CHANNEL 25-VOLT AMPLIFIERS PROVIDE A COST-EFFECTIVE ALTERNATIVE TO A 70-VOLT SYSTEM WITH CONDUIT AT DENISON HIGH SCHOOL

Denison_High_SchoolDENISON, TEXAS: Denison High School in Denison, Texas recently completed a new 300,000 square-foot building to accommodate its 1,250-plus students. Although packed with the latest in academic technology and the sort of architectural features that both provide comfort and encourage learning, the new building faced cost overruns and a budgeting challenge that required creative thinking on the part of its subcontractors. Among them was a plan put forward by local A/V integrator Batts Audio, Video & Lighting to jettison a 70-volt announcement/bell system (and all the expensive conduit it would require!) for a distributed amplifier system running a 25-volt announcement/bell system. Based around eight 8-channel Ashly Audio ne8250.25pe Network Amplifiers with built-in Protea™ DSP processing, Batts AV&L gave Denison a reliable, high-quality system for a fraction of the cost of the proposed 70-volt system.

“The issue was that the new school was coming in way over budget,” explained Jeremy Pilcher, vice president of operations at Batts AVL. “It was recommended to them by the construction manager at risk, as well as by a third-party construction manager, that many items be brought back under the umbrella of the district’s responsibility, such as classroom projectors, cafeteria/gym/video room projectors, auditorium technology, and the announcement system. We have an established relationship with the district, and we became responsible for all of it.”

The most vexing problem was the announcement/bell system, which called for a 70-volt system run through conduit throughout the building. “We ran the costs/benefits on using 25-volt amps distributed throughout the building that could power loudspeakers without necessitating conduit,” Pilcher said. “Sure, we needed more amps, but even after accounting for that, the cost savings was substantial. Ashly Audio is the industry leader in multi-channel 25-volt amplifiers. They are extremely cost-effective, especially with optional on-board processing, and are well-known for their reliability.”

The system begins with a dedicated paging system with analog outputs to trigger different zones. Those triggers and the voice signal travel to the eight Ashly ne8250.25pe amplifiers, which are placed strategically throughout the school. Each amplifier’s eight channels powers delivers 250 watts output to multiple zones of 25-volt Quam-Nichols loudspeakers, and each separate channel can constitute a separate selectable paging zone. The Ashly ne8250.25pe amplifiers also provide modest equalization, delay and limiting using the optional on-board Ashly Protea processing. “All together, using Ashly’s 25-volt amplifiers provided a functionally and cost-effective solution,” said Pilcher.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

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