Boston, MA – December 2007… The Boston Symphony Orchestra is, without question, one of the world‘s premier orchestras. Hence, one would only expect that those tasked with recording the orchestra‘s performances be every bit on par in terms of their application knowledge and the quality of the recordings they produce. Such is the case with Boston-based Soundmirror, Inc., a fully digital recording and post-production company specializing in acoustic music and sound for picture. For quite some time, the recording crew responsible for capturing the orchestra‘s performances wrestled with the best means of recording the celli. They found their solution with a wireless microphone system from Lectrosonics. more
Archive for December, 2007
SAN FRANCISCO, CA – Attendees of MacWorld 2008 will be able to experience firsthand the ease of use and superior sonic quality of Holophone®‘s (booth# S-2402) H4 SuperMINI, the world‘s first camera-mountable surround microphone, as they create their own 5.1 recordings using the mic along with a variety of HD and SD cameras.
The H4 SuperMINI offers an easy way to incorporate surround into a multi-channel, Mac-based production workflow by allowing users to record an accurate surround mix from a single point source. The SuperMINI comes equipped with Dolby Laboratories‘ Dolby® Pro Logic II® encoding technology, which allows audio from the H4‘s six mic elements to be encoded from multi-channel to stereo so it can be recorded directly to any broadcast camera or a separate stereo recording device such as an M-Audio stereo recorder–or even an Apple iPod (when used with the proper adapter).
“The H4 SuperMINI makes a great front end for any Mac-based production setup,” says Holophone CEO Jonathan Godfrey. “In addition to its minimal learning curve, the H4‘s recordings can be simply decoded by Final Cut Studio 2 as well as other programs with a Pro Logic II or Pro Logic II-compatible decoder, providing a seamless transition from the field or the studio to the editing suite.”
In addition to the encoder, the H4 SuperMINI features an integrated multichannel pre-amplifier and monitor. Offering users added flexibility, the mic also comes equipped with an audio zoom button, which increases the forward bias of the pick-up pattern and an auxiliary center channel microphone input (XLR) for attaching an external shotgun or wireless lavalier microphone. For monitoring in the field, the H4 SuperMINI has virtual surround headphone output with gain control and an intuitive tri-colored LED Holophone monitor that indicates sound level and direction.
For more information, visit the Holophone website, www.holophone.com.
Composers Create Music for Film, TV, Commercials, and Games
The composers at Mutato Muzika, the production company founded by Devo co-founder Mark Mothersbaugh, have found Avastor hard drives to be the ideal choice for producing, archiving and backing up the more than 200 projects created at the studios each year.
“Avastor drives are rock solid and extremely reliable,” says senior composer Albert Fox. “I have all my projects and backups on these drives. In the past we‘ve had drives from a number of big name manufactures fail on us, but Avastor has a perfect track record.”
The Mutato Muzika scoring team was nominated in 2007 for Outstanding Achievement in Music Direction and Composition for their work on “Shaggy & Scooby-Doo Get a Clue!”, the #1 show on Kids WB!. Other TV shows include Rugrats, Pee-Wee‘s Playhouse, HBO‘s Big Love, and the films Rushmore, The Royal Tenenbaums, and Bottle Rocket, among numerous others
“We also like the fact that Avastor drives have no powerbrick Walwarts,” explains Albert Fox. “You plug the drives right into the wall and don‘t have to give up two spaces on an already cluttered power strip. And the HDX-800‘s triple interface means that you can connect anywhere you go. You don‘t have to worry about whether the connection will be right.”
The scoring team at Mutato Muzika has also provided distinctive music for commercial clients such as Apple, Nike, Hummer, Burger King, and McDonalds. Video game projects from the Mutato studios include Sims 2 and Crash Bandicoot.
Avastor offers one of the most comprehensive lines of external hard disk products, including over 20 configurations of drive interfaces and capacities for virtually every audio and video application.
For more info about Mutato Muzika, visit: http://www.mutato.com
For info about Avastor, visit: http://www.avastor.com
–ASR ProEvents & Martin Audio Back Legendary Singer-Guitarist‘s Annual Florida Tour–
When Jose Feliciano tours Florida every year, ASR ProEvents in Orlando provides full audio and backline support. ASR, a successful production company that works with most of the leading artists appearing in the Sunshine State and throughout the South, invariably relies on a complement of Martin Audio speakers and monitor wedges to ensure the level of sound quality expected by their high profile clients.
Feliciano, the prodigiously gifted singer/guitarist with a string of international hits such as his inimitable versions of “Light My Fire,” “Hi-Heel Sneakers,” and the Holiday classic, “Feliz Navidad,” keeps things fresh for his audience by rarely repeating the same song in successive concerts.
According to ASR‘s Director of Audio Productions Sergio Leenen who served as Monitor engineer, “Jose‘s shows are always very cool. He never works from a set list and loves to change things around. In the three days we worked with him, he only repeated two songs, offering his audience a variety of different material to keep things fresh and interesting.”
For this tour, two keyboardists, a percussionist, drummer and bass player backed Jose‘s incandescent guitar playing and vocals. He appeared at the Van Wezel Performing Arts Center in Sarasota (1736 seats), the Sunrise Theatre in Fort Pierce (1200 seats) and the King Performing Arts Center in Melbourne, Florida (2000 seats). According to Leenen, concertgoers included “a wide variety of people from young kids to older folks and everything in between. Jose obviously attracts a lot of Spanish-speaking fans as well.”
Leenen acknowledges that some of the venues presented unique acoustic challenges but that “ASR‘s experience in these theaters with rigs that have been flown and ground-stacked has taught us what we need to get an optimum sound.”
The FOH system for the first show consisted of 10 Martin Audio W8LC line array enclosures ground-stacked 5 per side; with two Martin WSX subs per side and two W8LMD mini downfill speakers for front fills. Other key components included a Yamaha PMSD-RH digital console, QSC PowerLight and Crown amplification, a KT DN9848 digital system controller and KT DN3600 equalizer. FOH engineer was Jim Durkin, Feliciano‘s Technical Director.
For Monitors, the system consisted of 8 Martin Audio LE1200 and two LE2100 high performance, high output wedges, along with a Yamaha PM5D and QSC amplification. Asked about the monitors, Leenen responded, “Working with Martin Audio is always a breeze. Jose has perfect pitch and hears everything on stage, and he kept saying throughout the shows that the monitors sounded awesome. And we wouldn‘t want it any other way.”
Gearhouse Broadcast, a leading international broadcast services company, has chosen Riedel Communications‘ state-of-the-art Artist Digital Matrix intercom system for updating its range of portable production units and flyaway broadcast packages. The project was handled by MI Broadcast, Riedel‘s UK distribution partner.
With offices located in the UK, Australia and the U.S., Gearhouse Broadcast provides comprehensive services including broadcast sales and rental, project solutions, outside broadcast solutions and systems integration to cover live and recorded events, particularly sporting and entertainment productions. Gearhouse Broadcast rental works closely with clients and manufacturers investing in the latest equipment to meet market needs.
Kevin Moorhouse, technical director of Gearhouse Broadcast says, “Riedel Communications provided us with a solution that is fully scaleable, ideal for rental applications and is truly flexible, surpassing all of our expectations. You can have several individual systems that can be used for smaller events and can easily be linked over fiber to form one big, non-blocking matrix for larger events. ”
As a first step Gearhouse Broadcast invested in two Artist 128 digital intercom matrix mainframes as well as 60 of Riedel‘s Artist 1000 premium control panels. The systems will be used for the first time for the Australian Open in January 2008, which are traditionally equipped by Gearhouse.
Riedel – one of the major suppliers of communications equipment to the 2007 Rugby World Cup in France – designs, manufactures and distributes the most sophisticated intercom and radio technology for customers worldwide in the broadcast, pro-audio, event, sports and theatre industries. The products reflect today‘s leading-edge technologies that expand conventional concepts into tomorrow‘s applications. The Riedel group of companies also includes a European based large rental operation that provides radio, intercom services, event accreditation & ticketing systems as well as fiber-based audio and video transmission systems. The Company was founded in 1987 and today employs over 150 people located within 7 locations in Europe, Asia and North America.
Toronto, Canada, December 20, 2007 — Power Group, LTD, a Canadian-based distributor of quality musical instruments and professional audio products, will kick off the New Year by rolling out The Highland Guitar Company and outfitting its electric and acoustic guitars with Elixir® Strings, pioneer of long-life strings. more
ARCS® loudspeakers providing enhanced front-/side-fill coverage for legendary venue
NEW YORK CITY – December 2007 — Long revered as one of the Big Apple’s most renowned live performance venues, Radio City Music Hall offers its visitors the opportunity to enjoy a wide cross section of musical extravaganzas, including the world-famous Radio City Christmas Spectacular starring The Rockettes, which this year celebrates its milestone 75th anniversary.
As one can imagine, complex productions like the Christmas Spectacular require that intelligible, uniform audio be not only delivered to the audience, of course, but to the dozens of dancers gracefully executing their choreographed moves across the Great Stage. With this in mind, Radio City Music Hall’s production crew and owner, Madison Square Garden Entertainment, chose to ultimately update the on-stage monitoring system with a dozen L-ACOUSTICS ARCS® front- and side-fill cabinets supplied by Clair Brothers Systems. more
Hollywood, CA – As the castaways held their collective breath waiting for the million-dollar prize to be awarded, the grand finale of Survivor: China put CONEQ to the test as well.
The much talked about invention from Latvian technology company Real Sound Lab, CONEQ survived close scrutiny during the setup and rehearsals of Survivor: China, to become a Tribal Leader in its own right. As the host loudly proclaimed “Live from CBS Television City,” the scene shifted seamlessly from taped footage of the last Tribal Council in a remote part of China, to Sound Stage 46 at CBS in Hollywood. The 16 “castaways” of this popular reality TV show were all present, the final three contenders were on the edge of their seats, and the million-dollar winner was about to be announced. The audience was going wild!
Standing for CONvolution EQualization, CONEQ is an advanced audio processing system that flattens and naturalizes the sound quality of loudspeakers to a degree that has previously been unknown. Suitable for applications ranging from large-scale PA systems all the way down to studio monitors, a CONEQ measurement, and the resultant 4096 point amplitude correction, is based on Acoustic Power instead of the standard SPL measurements that have previously dominated the sound industry. On the Survivor set, ten channels of CONEQ correction were used to equalize the sizeable system provided by Production Resources Group (http://www.prg.com/people/bdaly).
While Survivor provides its loyal fans with the opportunity to bond with the contestants and live vicariously through them as they go through the process of reaching the finish line (without having to actually eat bugs and chicken feet), CONEQ ensured that the live audience at the finale could clearly hear and enjoy the final moments leading up to the election of the sole survivor.
As challenging as it is to “survive” on a remote island, it‘s perhaps equally challenging to mic 16 diverse contestants, none of whom are trained actors, and enable them to be heard over the substantial crowd noise generated by the loyal fans of the show. CONEQ did this effortlessly, as well as significantly streamlining the workflow for the CBS crew.
“The CONEQ tuning process is about as painless as it gets,” stated Bill Daly, Survivor‘s sound designer and lead mixing engineer. “The usual time I allocate for system tuning with an FFT was cut in half, while the results were better than I could have imagined. On a major live telecast like Survivor, I normally allocate two nights for system tuning. With CONEQ, I was ready for rehearsals in just one.”
A CONEQ measurement is made by moving the measurement mic around the sound source for a period of about two minutes, during which time several hundred data points are acquired. The data points are then processed by the CONEQ computational engine, revealing the true Acoustic Power of the sound system. Simultaneously, CONEQ synthesizes a 4096 point correction curve which is then uploaded to a two-channel APEQ equalizer.
“My rack of ‘emergency graphics‘ was literally left untouched, as were the EQ filters on my 10 channels of XTA loudspeaker processors,” observes Daly. “The ten channels of CONEQ correction were all that I needed. The sound for the telecast was smooth as silk, and in particular, I‘ve never heard the main arrays sound better.”
“During the show,” he continues, “I‘d occasionally introduce a small amount of channel EQ to the dialog mics. I‘ve never heard a sound reinforcement system respond to these small touch-ups like this one did. CONEQ is the most effective system alignment tool I‘ve ever used.”
The Survivor system included five CONEQ APEQ Acoustic Power Equalizers (ten channels), left and right dV-Dosc main arrays, two arrays of Meyer M1Ds for down-fill, a row of d&b C-6s for delay fill, and 72 Apogee SSMs plus 64 Apogee SAT-3s for front fill and under-seat fill. Two Yamaha M7-CLs were used for house, while a PM1D and a PM-4000 handled monitor duties.
“CONEQ has changed my way of working,” Daly stated emphatically. “In the past, I‘ve always set the PA at a comfortable level for the air mixers, and then I use my cue speakers at the console to mix the show. That was the only way I could catch the nuances I needed to hear, in order to make fractional EQ and level decisions.
“With CONEQ it‘s a new ball game. I‘m mixing entirely from what I hear out of the PA, which is the way it ought to be. I use the cue speakers just to preview channels before bringing them up in the house,” he concludes.
CONEQ is the development of Real Sound Lab, Riga, Latvia (www.realsoundlab.com).
Indianapolis, IN – December 20, 2007 — With a reputation as the industry leader in innovative sound control solutions, Auralex Acoustics, Inc. recently detailed several of the Music Garage‘s rehearsal spaces at its Chicago facility with state-of-the-art acoustical treatments. The Music Garage is a high-tech studio where artists can rehearse, record, upload, download and manage all aspects of their careers.
The Music Garage houses over 100 rehearsal rooms including its elite Pro Suite, reserved for established musicians, as well as three recording studios. The space caters to both upcoming and veteran artists as well as a wide range of musical genres. Many of the rooms at the Music Garage have Auralex‘s 2” Studiofoam Wedges, an affordable solution that knocks the reverb out of a room, and LENRD Bass Traps in the corners, which smooth out low frequency room nodes.
Essentially, the Music Garage purchases Auralex‘s products and passes them along to its clients to use in the studio at no extra charge. This allows each artist to customize their rented rehearsal/recording space. Several movable Auralex ProPanels are also on site so the studio can cater to its customers‘ distinctive sounds. As an added convenience for its musicians, the Music Garage is a reseller of Auralex products, offering customers a way of ordering Auralex acoustical treatments on site.
“We may have a rock band in one day and a folk band in the next – each requiring its own acoustical retrofitting,” said Jon Pope, co-founder of the Music Garage. “Through our relationship with Auralex, we are able to acoustically cater each room to meet the needs of our diverse client-base. We are so pleased with the outcome and the positive client response, that we are currently looking to retrofit our New York location with Auralex products.”
The Music Garage‘s Pro Suite is a private and segregated area of the facility for more established artists who are looking for complete isolation and luxury. The Pro Suite is divided into a tuned live room with adjoining control room, both treated with Auralex‘s 4” Studiofoam diamond wedges, MegaLENRD Bass Traps, LENRD Bass Traps, Venus Bass Traps, T‘Fusor Diffusors and pArtScience AudioTiles. The live room also features Auralex‘s pArtScience SpaceCouplers, while the control room features diffusion panels on its back wall and absorption panels above the windows.
“At the Music Garage, we offer our artists the full-package,” continued Pope. “We also host a no-cost lecture every month, ranging from recording techniques and tips to the industry as a whole. This gives us an opportunity to recognize the great artistic minds that have come through the facility while educating the newcomers.”
About The Music Garage
The Music Garage is a state of the art, high tech, rehearsal studio, built to professional standards. We offer competitive prices, high security, quality construction, soundproofing and acoustics, state of the art electrical systems, hard wired Internet connections in every room, an onsite supply and repair shop, and outstanding customer service. At the Music Garage artists can rehearse, record, upload, download and manage all aspects of their career in a supportive and professional environment. To tour the facilities in New York, call Tom at 718-218-9127, in Chicago call Jon at 917-613-9472. Visit The Music Garage online at www.musicgarage.com.
About Auralex Acoustics, Inc.
Located in Indianapolis, Auralex Acoustics was founded in 1977 with a mission to provide top-performing acoustical treatment products at the best value. Since then, thousands of satisfied Auralex customers have experienced improved acoustics, expert advice and exceptional customer service. Auralex products enjoy widespread use among prominent artists, producers, engineers, corporations, celebrities and government agencies.
Auralex Acoustics has become the industry leader in innovative sound control solutions and continues to enjoy rapid growth through an international network of authorized dealers. Visit the Auralex web page at www.auralex.com. Auralex can be reached via email at firstname.lastname@example.org or by calling 1.800.959.3343.
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ELKHART, Indiana – December 2007 — Crown International proudly announces that Gerald Stanley, the company’s senior vice president of research, has just been selected by the Audio Engineering Society’s awards committee and board of governors to receive the distinguished AES Fellowship Award in 2008.
According to AES Secretary Han Tendeloo, Stanley’s award for “significant contributions to power amplifier design and electronic networking of communications systems” will be presented in San Francisco next October during the 125th AES Convention, which also marks the Society’s 60th anniversary year. more