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Archive for October, 2007

NEW IBANEZ BASS GUITARS GO THE EXTRA MILE WITH ELIXIR® STRINGS

Elkton, MD, October 31, 2007 – After a successful five-year run featuring Elixir® Strings on its higher-end bass guitar models, renowned instrument manufacturer, Ibanez, will be ringing in the New Year by offering long-life Elixir® Strings with NANOWEB® Coating on its mid-priced models.

In 2008, more than 16 mid-priced basses are slated to be built with Elixir® Strings, including those within Ibanez‘s ATK, BTB, SR and SRX series. Strings with ultra-thin NANOWEB® Coating will be available in gauges .045 through .105 for four-string, .130 for five-string, and .030 through .130 for six-string basses.

“While Ibanez has been using Elixir Strings on its high-end Prestige basses and current mid-priced SR400 models, they have only been in limited quantity within our product line,” explains Ibanez Product Specialist Pete Chiovarou. “With consumer praise sparking more interest in Elixir Strings, Ibanez is now expanding its use of the company‘s quality strings to more of its mid-priced models.”

Chiovarou adds that the expansion of Elixir® Strings will give Ibanez the opportunity to share its quality standards with a larger audience. “As a premier bass manufacturer, we are committed to upholding exceptional quality and are always looking for ways to enhance our product. Elixir Strings‘ combination of great tone and long life makes it a perfect fit for both our high- and mid-range bass guitars.”

The special edition, Ibanez 20th Anniversary SR Prestige electric bass line is the most recent to be introduced with Elixir® Strings.

About Elixir® Strings
Elixir® Strings is the pioneer in coated string technology and is available in two string ‘flavors.‘ Ultra-thin NANOWEB® Coating provides the bright tone and punch of uncoated strings, yet keeps their lively tone three to five times longer than ordinary strings. The thin coating is nearly undetectable – providing the feel of traditional strings. Elixir® Strings with original POLYWEB® Coating also sound great three to five times longer than ordinary strings, have a balanced tone with smooth response, feel comfortably smooth, and reduce finger squeak. Elixir® Strings are available in a full range of gauges for acoustic guitar, electric guitar, bass, banjo, and mandolin. Today, Elixir® Strings are installed as original equipment by a growing list of discriminating electric guitar and bass manufacturers including Ibanez, Tom Anderson Guitarworks, Brian Moore Guitars, Carvin, Melancon Guitars as well as premium acoustic guitar luthiers such as Taylor Guitars, Santa Cruz Guitar Company, Alvarez-Yairi, Lakewood Guitars, RainSong Graphite Guitars, Carvin, and Goodall Guitars. Elixir® Strings are endorsed by popular artists such as Melissa Etheridge, Train, Dave Mason, Michael W. Smith, Jim Messina, Christopher Cross, Bob Seger, and Drowning Pool.

Elixir® Strings are manufactured by W.L. Gore & Associates, Inc., the company widely known for such innovations as GORE-TEX® fabrics. For more information, please visit www.elixirstrings.com.

EASTWEST TURNS THE BEAT AROUND WITH ZERO-G‘S CLASSIC DISCO SAMPLES

HOLLYWOOD – Users can get back to their dance roots with Zero-G Classic Disco, which features more than 700 samples of disco and funk sounds from the 70s and 80s. EASTWEST, exclusive U.S. distributor of Zero-G products, is taking down the velvet rope, giving users access to the period which paved the way for modern-day trance and R&B tracks.

Zero-G Classic Disco goes beyond song samples, allowing users to create new grooves using the collection‘s 35 construction kits in disco underground, funk’n’soul, proto house, Hi-NRG and funky disco styles from 107 to 125 bpm. To give a track its own special style, the collection offers additional piano, electric piano, guitar, bass, drum and percussion loops — all in pristine 24-bit audio.

The enormous construction kits were developed from the often-sampled sounds of The Salsoul Orchestra, SOS Band, Evelyn Champagne King, D-Train, Chaka Khan, Quincy Jones, George Duke and Rockers Revenge. Each construction kit is also divided into individual instrument loops — down to every drum loop part. In addition to instrument sounds, the collection offers funky, disco vocal “whispering shouts” frequently used in Chic, Odyssey and Instant Funk chartbusters. Song samples are up to 16 bars long.

“Zero-G‘s Classic Disco successfully encompasses the fun and funk of the disco era,” says Doug Rogers, president and CEO of EASTWEST. “The huge variety of samples and loops provides producers all the tools necessary to add that retro feel to their dance tracks.”

Zero-G Classic Disco is available in the following formats: Acidized Wav files, AIFF Apple Loops, Stylus Compatible, Rex2 Files, EXS24 Instruments, Kontakt2 Instruments and Reason NN-XT. For more information, visit the EASTWEST Web site, www.soundsonline.com.

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SonicPool Promotes Daniel Stuart and Kristina Allison

Hollywood, CA, Nov. 1, 2007 – SonicPool, one of Hollywood‘s leading post facilities, specializing in audio and video finishing, edit suite rentals, and full post-production services, has promoted Daniel Stuart to the position of Audio Editor from his previous role as Production Assistant, and has also promoted Kristina Allison to Production Coordinator, from Production Assistant. The announcement was made by John Frost and Patrick Bird, co-founders, SonicPool.

ABOUT DANIEL STUART:

In his new position, Daniel Stuart is currently working on sound design for the feature film “Lonely Street,” specifically cutting effects, assisting with ADR and recording/editing Foley. That film was shot in Daniel‘s hometown of Albuquerque, New Mexico, where SonicPool co-owner John Frost hails from as well.

Daniel is also working on radio spots for ABC Daytime Television, as well as engineering VO sessions for various other clients. He is the catalyst behind the development of SonicPool‘s soon to be announced SFX (sound effects) library.

ABOUT KRISTINA ALLISON:

In her new position, Kristina Allison spends her days coordinating projects between clients and SonicPool‘s audio and video finishing departments and the edit suite rental facilities. She is the navigator that keeps the facility and all of its the various projects on track. Kristina is a recent graduate of the University of California, Santa Barbara, where she received a Bachelor of Arts Degree in Film and Media Studies.

ABOUT SONICPOOL:

Launched in Hollywood in 2001, SonicPool was co-founded by post production specialists John Frost and Patrick Bird. Each of the men currently serves the company as a President and CEO.

SonicPool is comprised of 14 SD & HD Offline and Online Edit Suites, 2 Theatrical Mix Stages and 2 Stereo Mix Suites, as well as complete Machine Room Services with all the standard SD & HD decks. The company‘s post production sevices include Audio and Video Finishing, edit suite rentals, and media duplication. SonicPool‘s creative services include radio production. Additionally, the company offers its clients production office space rentals to accompany Offline Edit Suites.

SonicPool‘s clients run the full gamut of the entertainment and broadcasting industries, which clients ranging from major studio releases, independent feature films, TV programs, and radio, to DVD menu sound design, TV commercials, gaming, mobile and Internet projects.

SonicPool is located at 6860 Lexington Ave, Hollywood, CA, 90038.
The phone is 323/460-4MIX, and the web address is: www.sonicpool.com

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HOLOPHONE®‘S H2-PRO GOES BOLLYWOOD

On his most recent project for the upcoming Bollywood action feature film “Ghajni,” a Hindi remake of the classic Tamil film, Sound Designer Resul Pookutty was posed with the challenge of capturing the ambient sounds of the busy streets of Bombay. “Ghajni” is a revenge film where the main protagonist searches the streets of the city to seek revenge on the man who has murdered his girlfriend. With much of the action sequences taking place in the city, Pookutty selected the Holophone®‘s H2-PRO as part of his audio setup because of its portability and superior audio capture.

To effectively create the sense of urgency the protagonist is experiencing, Pookutty wanted a mic that would be able to stay with the overhead camera as it followed the actor as he traveled through the city. Recording usable production sound on the streets of Bombay is a challenge, but the H2-PRO was able to provide Pookutty with accurate ambient sounds.

“I‘m a great lover of natural sound and like ambient sounds available from each location to use when I‘m cutting the final product,” Pookutty explains. “In Bombay, the H2-PRO followed the camera on the protagonist as he walked through the city streets. This way I can get dramatic 5.1 sound images when the camera makes a swish pan — a sound I would otherwise have to recreate in the edit stages. Here, I get it naturally.”

The H2-PRO is able to effortlessly capture 5.1, 6.1, or 7.1 channels of discreet audio with no mixing or signal manipulation required. Harnessing the way the human head receives and interprets sound, the elliptical casing of the mic houses eight microphone capsules arranged so that they correspond with the speakers typically found in a studio or home theater setup (left, right, center, sub [LFE], left surround, right surround, top, and center rear). As a result, the H2-PRO eliminates the need for complicated mic setups, while still providing a clean sonic image.

“I have used all kinds of stereo mics, made XY patterns with various shotguns, and used Double M-S mikes for surround recordings, but I have never heard such clean, wide images as I receive from the H2-PRO,” says Pookutty. “It‘s easy to record surround sound on-location with the H2-PRO because it‘s just one mic with all discrete outputs and no confusion.”

Pookutty is able to set up the H2-PRO as he would a stereo mic — following the camera. He keeps the left, center and right channels of the surround mic in line with the camera angle so the front and back sound distribution corresponds with the image size and angle. Audio from the H2-PRO is recorded to a PDR 2000 or DEVA IV multi-channel recorder.

“Ghajni” is set to release in early 2008. For more information on Holophone‘s products visit, www.holophone.com.

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NUCOMM TO PROVIDE HD MICROWAVE EQUIPMENT TO CHINA‘S CCTV FOR OLYMPIC GAMES BROADCAST

Hackettstown, NJ, October 29, 2007 – Nucomm, a leading provider of digital and analog microwave systems for the broadcast industry, common carrier, cable, government, military and international marketplace, announced today that it will supply HD microwave equipment to China‘s national broadcaster, CCTV, for use during the Opening Ceremony outdoor events at the Beijing Olympics in 2008. This is the first HD airborne microwave system sold to a broadcast network in P.R.China.

During the Beijing Olympics, Nucomm will equip a helicopter with its CamPac 2 microwave transmitter; a small, lightweight HD/SD COFDM unit intended for wireless/moving camera applications, and Newscaster DR, a lightweight HD/SD COFDM microwave receiver for portable and mobile video applications. Also included in the package is a high-performance two-axis steered antenna from Troll Systems.

“Overhead shots are an important aspect of sports broadcasts and we wanted a solution that would provide our network with exceptional performance and the greatest possible flexibility,” stated Mr. Ding Wen-Hua, the Chief Engineer of CCTV. “CCTV is honoured to provide coverage of the Olympic Games to our nation and Nucomm‘s technology will play a critical role in bringing viewers across the country closer to the event.”

As well as providing overhead shots, the helicopter will serve as an airborne repeater for CCTV during the games. On the ground, two motorcycles will send pictures up to the helicopter where they will be relayed back to a complementary Nucomm portable receiver terminal.

“Nucomm continues to expand its reach in the Asian market, and a successful partnership with CCTV will further our efforts substantially,” commented Dr. John Payne, CEO of Nucomm. “As the world turns its attention to Beijing next year, Nucomm is excited to help create coverage of the highest quality. With an exceptional design team consisting of highly qualified engineers, Nucomm is positioned to assist broadcasters around the globe in their efforts to shift to HD.”

About Nucomm
Nucomm, Inc. is a worldwide provider of premier analog and digital video microwave systems (using both COFDM and VSB modulation) for the broadcasting industry‘s portable and fixed link applications. Offering video microwave transmission equipment for the military, law enforcement, telecom and cable television circuits, Nucomm‘s products have helped revolutionize live broadcast coverage of major outdoor events including sports, auto racing, marathons and parades. Nucomm, along with RF Central and Microwave Service Company, forms the Vitec Group RF Systems business unit, part of Vitec Group Broadcast Systems Division. For more information about Nucomm, visit www.nucomm.com.

About The Vitec Group
The Vitec Group supplies a wide range of equipment and services to the broadcasting, entertainment and photographic industries. Its products are distributed in nearly 100 countries, either through dealerships or direct to the end user or corporate customer. Vitec is based on strong, well known, premium brands that professionals rely on. Vitec is organized in three divisions: Imaging & Staging, Broadcast Systems and Broadcast Services. For more information, visit www.vitecgroup.com.
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SOLID STATE LOGIC EXPANDS XLOGIC X-RACK WITH TWO NEW MODULES

Solid State Logic, the world‘s leading manufacturer of professional digital and analogue consoles, proudly announced two new components for the X-Rack modular rack system: the VHD Input Module and the Stereo Bus Compressor Module. Solid State Logic exhibited X-Rack and the entire XLogic range at the 123rd Audio Engineering Society Convention at The Javits Center in NYC.

The Stereo Bus Compressor Module answers the clamor from customers for the audio legend that is the center section compressor from SSL G-Series Consoles to be made available for the X-Rack system. The module, which is the first double width module occupying two X-Rack slots, is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to the mix without compromising clarity. The Stereo Bus Compressor Module delivers the classic tonal characteristic of the G-Series Compressor but with the added benefit of the ultra high bandwidth, ultra low noise SuperAnalogue™ circuit design. The classic Threshold, Attack, Ratio, Release and Make Up controls make the module extremely simple to operate. True Stereo Side Chain Input is accompanied by a ‘link‘ feature that enables multiple Stereo Bus Compressor Modules to be combined for surround processing.

When loaded with Stereo Bus Compressor, 4 Input, 8 Input & Master Modules, X-Rack can now be configured as an exceptionally high quality analogue summing mixer with instant ‘audio glue‘ appeal that can breathe life and power into cold ‘inside the box‘ DAW mixes.

Key features of the X-Rack Stereo Bus Compressor Module include:
• Classic sonic character and mix finalizing capabilities of SSL Stereo Bus Compression.
• True Stereo side-chain Input for external signal keying.
• Link control enables several modules to be combined for surround compression.
• Gain reduction meter as fitted to the classic SSL console range.
• Electronically balanced XLR connections.

The VHD Input Module combines some classic SSL heritage with a generous helping of cutting edge circuit design to deliver a devilishly warm and dirty alternative to the pure X-Rack Mic Amp Module. The VHD Input Module is based on the input section of the popular SSL E-Signature Channel 1U rack processor. The VHD Input module combines five key elements; a high bandwidth mic amp stage that can handle mic, instrument or line inputs, SSL‘s innovative Variable Harmonic Drive circuit, an additional line input/ trim control section, a set of High and Low Pass Filters and the classic Listen Mic Compressor.

SSL‘s unique VHD system is a 100% analogue circuit that adds a variable blend of 2nd or 3rd harmonic distortion to your signal. At relatively low input gain settings ‘VHD‘ preamps deliver ultra-clean recordings. Increase the input gain and adjust the VHD control and the user can inject his source recordings with anything from ‘50s valve-style overdrive through to hard-edged ‘70s transistor-style grit or any blend of the two.

When loaded with Mic Input, VHD Input, EQ and Dynamics Modules, X-Rack can now be configured as an exceptionally high quality and extremely versatile recording and processing system to serve as the perfect front end with the capacity to add analogue shimmer to potentially cold DAW recordings.

Key features of the X-Rack VHD Input Module include:
• Electronically balanced ultra high bandwidth Mic input with +20dB to +70dB gain control and phantom power
• Hi-Z and Pad Switches on Mic Amp Input.
• Dedicated Additional XLR Line Input.
• Variable Harmonic Drive circuit; adds a controllable blend of 2nd or 3rd Harmonic distortion.
• Dedicated Trim control after the VHD stage.
• Classic Listen Mic Compressor with fixed attack and release curves… ideal for drums.
• High and Low Pass Filters.

Based on SuperAnalogue™ electronics from SSL‘s XL 9000 K Series console, X-Rack is a modular rack system with Total Recall™ that delivers the classic SSL sound in a uniquely versatile form. Each X-Rack chassis holds up to eight modules in any configuration; with the introduction of these new modules eight different modules are offered. The hugely popular X-Rack delivers the very highest-quality analogue recording and summing path and is the perfect configurable solution for studio or live applications.

In the words of SSL Marketing Manager Dan Duffell, “The release of these new modules takes the evolution of the X-Rack system to a new level of versatility. X-Rack has caught the wave of understanding out there of the vital role of analogue depth in the often clinical modern DAW powered studio. The Stereo Bus Compressor Module makes X-Rack the must have analogue summing solution that will breathe depth and power into mixes. The VHD Input Module expands the power of X-Rack as a tracking system, bringing a collection of controllable warmth and grit characteristics to the recording engineer‘s palette that will really make sounds cut through a mix.”

Solid State Logic is the world‘s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solid-state-logic.com.

MARTIN AUDIO ENSURES SEAMLESS COVERAGE FOR BULL DURHAM BLUES FESTIVAL

–RMB Combines Mobile Stage & Martin Audio W8LC Arrays For Maximum Sight & Sound At North Carolina Blues Festival–

Durham, North Carolina–Presented by the St. Joseph’s Historic Foundation, Inc., the 20 annual Bull Durham Blues Festival was held at the Historic Durham Athletic Park in downtown Durham and featured an impressive lineup of blues and R&B legends including Buddy Guy, Booker T. & The MG‘s, Percy Sledge, Shemekiah Copeland, Big Bill Morganfield (Muddy Waters‘ son), Betty Pride and a host of stellar North Carolina blues artists.

According to Raleigh Music Brokerage‘s Cooper Cannady, a longtime audio provider for the festival, “the weather was excellent and on Friday night, they set a record for attendance with 12,800 people filling the entire park. The night before, they had an excellent tribute show at another venue celebrating the 20th year of the festival, which honored Piedmont and Carolina blues legends John Dee Holman, Joe Thompson and the late Etta Baker. Opening was this really unique and fantastic group, the Carolina Chocolate Drops, an African-American string-band under the tutelage of Joe Thompson, the last of the great North Carolina string-band players.”

Asked about the audio challenges for this year‘s blues and roots music get-together, Cannady describes one significant change: “We had been talking to the client about reconsidering everything, a new look, new stage, everything. After a course of three years, we finally got them into a mobile stage, which tightened up the sightlines, gave us more room and brought the visual focus into the stage. And with that stage, we could fly line arrays without having them look obtrusive. It gave us a nice clean look, with excellent access and the company we used for the mobile stage, Main Stage, did a terrific job.”

In order to provide maximum audio quality and coverage from the front to the back of the crowd, RMB flew nine Martin Audio W8LC compact line arrays.

As Cooper explains, “We really needed coverage from fifteen feet in front of the stage at the barricade lip to 400 ft. back, and we didn‘t even need to go that far because we wanted to keep it enclosed in the park. Nine W8LCs gave us a very comfortable level and everywhere you walked the coverage was absolutely seamless. It really sounded exceptional, all the way to 400 feet back within the park without any of the concert sound going into the neighborhood, which was important. The nice part was that the sound stayed on the field and all the seats.”

In addition to six Martin Audio W8S subs a side, LE700 biamped wedges and S18 drum subs, the sound system consisted of Yamaha M7CL consoles for Front of House and Monitoring. Lab Gruppen and Chevin Research amps, BSS Minidrives and a microphone complement that included Shure UHF wireless with Beta 87 capsules, Shure Beyer, Sennheiser, Crown and AKG.

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SonicPool Spooks Up New Audio Projects for Horror and Dramatic Films

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Hollywood, CA, Oct. 26, 2007 – SonicPool, one of Hollywood‘s leading post facilities, specializing in audio and video finishing, edit suite rentals, and full post-production services, has announced the company‘s most recent work in the areas of audio services for a variety of horror and highly dramatic films. These projects include the company‘s work in the areas of providing mixing/sweetening, online and offline services. The announcement was made by John Frost and Patrick Bird, co-founders, SonicPool. more

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Sony PCM-D1 Survives A Bite From The Strongest Jaws On Earth

Hyena Finds Sony Digital Field Recorder Too Tough To Swallow

TANZANIA: Globe-trotting DP Jim Kinsey took a Sony PCM-D1 digital field recorder on a recent 21 day African safari. The game plan was to capture high-quality animal sound effects along with footage he was shooting for a stock library.

One evening Kinsey left the unit in an enclosed leopard blind they‘d built to surreptitiously film the animals. When he returned the next morning, the PCM-D1 was gone. At first he thought it had been stolen by poachers, but the ground around the blind was peppered with distinctive hyena tracks. A careful search of the area turned the unit up. “It was covered with mud, and the furry windscreen had been chewed up and spat out,” Kinsey reports. “But the stainless steel roll bar protected the twin electret condenser mics. There were two serious canine bite dents on the front, the glass covering the VU meters was scratched, but not broken, and the rear battery compartment lid was cracked. Considering the fact that hyenas have the strongest bone crushing jaws in the jungle, the PCM-D1 came through remarkably unscathed. Hopefully,” he adds, “a taste of battery acid has taught that scavenger a lesson he won‘t forget. Don‘t mess with Sony.”

The value of the rugged titanium case was driven home when Kinsey secured a spare battery pack in the unit with black electrical tape and powered it on. “It worked flawlessly throughout the two week shoot,” he says. “We captured elephant trumpets, leopard roars, monkey cries and wild bird calls. The sound quality is impeccable. I purchased the unit because of its reputation for extremely high quality audio, and because I‘m generally working in rugged wilderness locations. I need a light weight, hand-held recorder that will hold up under severe conditions. The titanium body is clearly worth the investment. With 96 kHz-24 bit, noise-free recording, a 4GB Internal Flash Memory and built-in X-Y configured mics, I‘ve been able to capture extraordinary stereo sound in some seriously extreme locations. It‘s like taking a full-blown recording studio along in your knapsack.”

Jim Kinsey is co-owner of Shoshone Wilderness Productions, Hamilton, MT., and a partner in Wildfirestockfootage.com. He has shot for National Geographic‘s Ultimate Explorer, Women Smoke Jumpers and many outdoor video productions including the 2007 Silver Telly Award-winning The Nolser Story for the Nolser Bullet Company.

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SSL Releases X-EQ for Duende

Solid State Logic, the world‘s leading manufacturer of professional digital and analogue consoles, showcased a new plug-in for the Duende DSP powered DAW plug-in platform at the 123rd Audio Engineering Society Convention at The Javits Center in NYC. more

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