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Hollywood Sound Designers Offer Free Sounds on Soundsnap.com

Hollywood Sound Designers Join Music Producers to Offer Free Sounds on Soundsnap.com

Contributors Include Paul Virostek & Ric Viers

Athens, Greece (January 31, 2008)- Soundsnap.com, a free online sound library and community, is now offering new sounds from notable film sound designers including Paul Virostek (Million Dollar Baby, Ali, Batman Begins) and Ric Viers (sfx libraries for Apple, Adobe, Sound Ideas, Hollywood Edge).

“Soundsnap is a great resource for finding that missing link in your sound library at 3 A.M.” says Ric Viers, President of Blastwave FX, whose credits include over 100 sound libraries.

Like a “YouTube for sounds”, Soundsnap.com is a community-powered Web 2.0 site which aims to facilitate collaboration and sharing between users. Soundsnap currently features more than 35,000 original (and legal) sounds and loops that can be downloaded for free to be used in any kind of film, video, music production or website.

The website has attracted a unique community of professional and amateur music producers, sound designers and musicians that constantly upload new material and share it with the world. Mike Dred, experimental techno DJ and producer on Rephlex Records, says “Soundsnap.com is revolutionizing the sample library industry with license-free audio made by the community for the community.”

“The support we‘ve received from leading industry sound designers and music producers has been amazing,” says Tasos Frantzolas, Soundsnap’s founder. “Our goal is to become the largest and highest-quality sound library on the Web. With contributors like Mike Dred, Paul Virostek, Ric Viers and the others, we may achieve this dream sooner than expected!”

Soundsnap‘s clean interface, wide selection of high-quality sounds and fresh social networking capabilities have attracted over 200,000 visitors a month and the numbers are steadily increasing.

Frantzolas adds “Soundsnap has gotten the attention of industry leaders such as Digidesign, Focusrite, Ableton, Native Instruments, Reason’s Propellerheads and GCPro, Guitar Center’s division for professionals, who have come on board as promotional partners. We hope their customers and the larger audio community will grow to rely on Soundsnap as a key creative tool for their production work.’

For more information, please visit: www.soundsnap.com

CARVIN INTRODUCES XD88 LOUDSPEAKER MANAGEMENT SYSTEM

San Diego, CA – January 2008… Carvin, the name musicians the world over look to for fine guitars, basses, signal processing equipment, PA systems, and related musical electronics, is pleased to announce its new XD88 Loudspeaker Management System. A crucial tool in any live sound reinforcement environment, the XD88 offers a wealth of equalization, limiting, delay, and related signal processing functions designed to maximize the performance of any loudspeaker system. With a large, backlit, variable contrast LCD display for easy reading, the new XD88 is an 8-channel, 2RU rackmount processor that is ideal in monitor applications–enabling each performer to have their monitor speaker optimally placed and EQ‘d so as to maximize their ability to hear clearly without feedback issues, high-end harshness, or “muddied” low frequency performance. more

Jack Johnson Gets Two New Telefunken | USA Mics

Engineer Robert Carranza Records New Album in LA and Hawaii

Pictured in LA (L-R) are engineer/mixer Robert Carranza and Jack Johnson, with the new U47 large diaphragm tube mic from Telefunken | USA. Photo by David Goggin.

Los Angeles, CA, January, 2008 – Jack Johnson has completed his new album, “Sleep Through The Static,” with longtime engineer/mixer Robert Carranza, who is a Grammy-nominee this year as Best Engineer, Non-Classical, for his work with Ozomotli. Johnson‘s album was recorded at his new facility in LA and at his studio in Hawaii, utilizing the U47 and Ela M 251 historic mic recreations from Telefunken | USA.

“Jack‘s voice has kind of a velvet sound,” remarks Carranza, “and I have always been searching for just the right mic for him. We had already started recording the new album, but the minute we tried out the new U47 we decided to go back and re-record all of Jack‘s vocals. All of a sudden, there was something different, almost magical. I hate to use that word, but this mic made such a huge difference on the record.”

Jack Johnson, born and raised on the north shore of Oahu, was a champion surfer before he entered college to study filmmaking. While studying at the University of California at Santa Barbara he produced a surf documentary called Thicker Than Water, with two friends, Chris and Emmett Malloy. It not only featured his talents as a cinematographer, but also included his abilities as a singer/songwriter.

“When I put a mic up and sit between the speakers,” continues Robert Carranza, “and I hear the vocal coming at me from above the speakers, and from the back and from the sides and the bottom – it is very rare. This mic has almost a binaural sound, and it made a big difference in the texture of the album. This is the sound I have been looking for.”

Eight years ago, a four-song Jack Johnson demo caught the attention of producer J.P. Plunier, who had worked with one of Johnson‘s heroes, Ben Harper. Plunier produced Johnson‘s 2001 debut album, Brushfire Fairytales, and also played lap steel guitar on the record. Johnson‘s second album, On and On, came out in 2003, followed by In Between Dreams in 2005. In 2006, he released the soundtrack to the animated film Curious George, which went to #1 on Billboard‘s Top 200 and Rock Album charts. Sleep Through The Static, featuring Merlo Podlewski on bass, Adam Topol on drums, and Zach Gill on keyboards, is scheduled for release February, 2008.

“The U47 that Telefunken sent me was a demo, but we loved it,” adds Carranza. “I told them I wanted that mic and wasn‘t giving it back. And we also bought a new Ela M 251. I first tried it on acoustic guitar, put it up and got a perfect guitar sound. No EQ, no compression, and it really sang. You can‘t beat that.”

For information about Telefunken | USA visit www.telefunkenusa.com
or call 860.882.5919
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AURALEX HITS THE PERFECT NOTE WITH NEW STUDIO PROJECT AT DUKE ELLINGTON SCHOOL OF ARTS

INDIANAPOLIS, IN, JANUARY 30, 2008 — Auralex Acoustics, Inc. is making beautiful music at the Duke Ellington School of Arts. The industry leader in innovative sound control solutions is doing its part in helping the inner-city public arts school transform a storage space into a fully functional recording studio by contributing its state-of-the-art acoustical treatment products.

Duke Ellington School of Arts, the only Washington, D.C. public high school that provides professional arts training and college preparation, recently began construction on a new recording studio in its facility, which will include a Live Room and a Control room. Through the efforts of Duke Ellington‘s Instrumental Parents Group (who initiated the project), led by Jim Shahin, and substantial funding from the Grammy Foundation as well as donations from several manufacturers, the creation of this studio is currently under way. Students, faculty and administration are making a personal impact on the project by continually volunteering their time.

“Without good recording space and equipment, a student‘s talent gets lost in the mix, which has been putting Ellington students at a competitive disadvantage when applying for scholarships and college admission,” said Shahin. “Once I was elected president of the Instrumental Parents Group, I made this studio our top priority. I am thrilled with the generosity of manufacturers such as Auralex Acoustics, who are enabling us to make this happen.”

The install, facilitated by Washington Pro, is expected to be complete this semester. Auralex Acoustics is one of several manufacturers that have provided materials at a significantly discounted price. The company has contributed substantial products to both rooms, including (15) Elite C24 absorptive panels, (5) Elite C44 ProPanels, and (16) Q‘Fusor diffusors for the Live Room, and (8) Elite CT45 corner traps, (12) Elite C24 absorptive panels, (3) C44 ProPanels, (8) pArtScience SpaceArray diffusors, (18) Q‘Fusor diffusors and (3) boxes of SonoFiber Class A absorptive panels for the Control room.

The main purpose of the studio is to record the students – mostly instrumental and vocal music students; but also literary media and technical theater students–which is about two thirds of Ellington‘s student body. Many students must submit audition tapes as part of the college admissions process as well as for scholarship applications – the students of Duke Ellington will soon have a professional space to create these materials. The studio can also provide a means of recording performances from the theatre as well as enable parents and students to obtain copies of these performances for their own libraries and memories.

“The creation of this studio will not just transform a room into a recording studio,” said Rory Pollens, Ellington‘s Head of School. “It will help transform the lives of our students, enabling them to become better musicians and artists.”

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 auralexinfo@auralex.com or by calling 1.800.959.3343.

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A PORTABLE PRISM FOR MR MASSENBURG

George Massenburg Takes Delivery Of A Second Prism Sound ADA-8XR

Cambridge, UK, January 2008: “The ADA-8XR has produced recordings that I’m very, very comfortable with, even after the passage of many months. That’s the most critical kind of listening, in a way — when you can revisit something after a long break, having forgotten the trials of recording it, and still go, ‘hey, that’s a stunning vocal sound…’ For me, the Prism is a part of that.”

Respected recording engineer and inventor George Massenburg has purchased another Prism Sound ADA-8XR interface, his second. This unit will travel with him for use on different studio-based projects, and on live recordings. Massenburg purchased the first ADA-8XR a year and a half ago for Blackbird Studio C, Nashville, where he works most frequently, but the first unit was in such demand there that he realised another was needed for his outside projects.

Renowned for his dedication to finely engineered, high-quality audio products, whether those of his own company GML or others, it’s no surprise that Massenburg is fairly demanding in his choice of A-D and D-A converter. “I know what makes a difference in the design of an A-D converter — GML made a very good one right back at the dawn of digital recording. We have all kinds of converters at Blackbird, and we test them all pretty rigorously. And Prism’s ADA-8XR converter is just about the best out there. Of course, there are plenty of other well-designed converters, and I like a lot of them, but the ADA-8XR brought together all of the features I wanted in the most user-friendly package. I really needed a reliable converter that would work with Pro Tools HD, and audio over Firewire on PC and Mac platforms equally — because I work on a lot of different platforms, and often live.

“Because I move around a lot, I know I’ll have to use converters from time to time that I don’t like — converters I can hear — but I always reserve my best one for the most important thing on the project, whether that’s the lead vocal, or acoustic piano, or whatever it might be. Sometimes, on surround recording projects, it’s on the surround mics in the room being recorded at 192kHz, because clock stability and timing is crucial for localisation in surround. The Prism has one of the best clocks we’ve seen, and while it isn’t lightweight, it’s portable and I can plug it in wherever I need to — the one at Blackbird is fitted with the Pro Tools HD, Firewire and AES interface cards — so I wanted to be able to take it with me when I go out to work.”

Massenburg is often on the road these days; in addition to recording in many different studios, he teaches music technology at five schools in North America, including the Berklee School of Music in Boston, the University of Memphis and McGill in Montreal, Canada. The original plan was that the first ADA-8XR would travel with him when he needed it, but pretty soon, there was a problem…

“Once we’d installed it at Blackbird Studio C, everyone was using it. As I found myself working on projects in other rooms, I was using different converters, and having to, for instance, match new vocals with ones I’d already recorded on the Prism and being kind of… disappointed. I couldn‘t take it out of Studio C — they didn’t want to do without it. I just had to have one to move around with — and I will probably need two more in the near future…”

Currently in the planning stages are two live orchestral recording projects, one in the USA, and one in Australia, which the ever-active Mr Massenburg plans to record via two ganged ADA-8XRs to his laptop over Firewire. And in his role as a member of the USA’s National Recording Preservation Board, he recently recommended the ADA 8XR for use as the A-D converter of choice for the Library of Congress’s new archival facility at Culpeper, Virginia. “George is a bit of a dream customer for us,” comments Frank Oglethorpe of Prism Sound’s US sales office. “It might take a while to convince him of the benefits of a particular product, but once he’s established that what you’re saying is true, he’s on your side for life. I just wonder why I haven‘t been able to interest him in one of our EQs…!”

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ORPHEUS IS SHIPPING

Prism Sound’s New High-quality Firewire Audio Interface Is Now Available

Cambridge, UK, January 2008: Prism Sound, the respected manufacturer of premium-quality interfaces and converters for the recording and broadcast markets, have begun shipping their new multi-channel Orpheus Firewire computer interface to dealers and distributors worldwide. The first international pre-orders — to a variety of locations including France, Italy, the Ukraine and various locations in the USA and Canada — have already been fulfilled.

“It’s a pleasure to be shipping the first Orpheus units — the final stage in a long development process,” comments Graham Boswell, Sales & Marketing Director of Prism Sound. “Orpheus is the end result of several years of intensive R&D. Our starting point was that we wanted to be able to make a computer-based Firewire interface at a price point that would be attractive to serious project studio owners and professionals, but without sacrificing many of the features and the quality of our top-of-the-range products, like the ADA-8XR. Of course, that’s quite a tall order, so it’s taken a while. But hand on heart, we think Orpheus is as good as it can possibly be, and that the wait was worth it.”

First unveiled at 2007′s Frankfurt Musikmesse, Orpheus is named after the mythological Greek musician whose prowess on the lyre created music so beautiful it charmed wild animals. A 1U, 19-inch rackmount device, the 192kHz-capable unit offers eight simultaneous balanced analogue inputs, four line-level jack ins and four auto-sensing mic/line Neutrik combi jacks that will accept either jack or XLR connectors. The high-quality mic preamps allow the signal at the mic-level inputs to be boosted by up to 60dB (in 1dB increments), and each analogue input has its own adjustable patented Prism Sound Overkiller built in, to prevent signal overloads before the A-D conversion stage. There are also a switchable SPDIF/AES-EBU stereo digital input and an eight-channel ADAT optical input, allowing the Orpheus to handle a maximum possible total of 18 simultaneous inputs to any computer-based recording system hooked up to the unit’s main Firewire connector. A built-in mixer is included, driving eight analogue outputs, allowing users to monitor input signals with zero latency, insert analogue summing mixers, or control multiple stereo or multi-channel monitoring systems directly from Orpheus. One of Prism’s respected high-quality, low-jitter digital clock sources is also built in, along with synchronous sample-rate conversion and SNS noise-shaping, permitting accurate real-time reclocking or sample-rate conversion, or high-quality dithering of 24-bit material down to 16-bit for CD mastering.

Orpheus is fully software-controllable via a cross-platform control application (available for PCs running Windows XP or Macs running OS X), and is therefore ideally suited to the computer-based musician who wants to work with the flexibility offered by modern computer-based DAWs but wishes to maintain the quality of signals from analogue recording sources or processors in his digital production environment. The interface has a recommended retail price of £2750 excluding VAT in the UK, and $4995 in the USA. For further details and international pricing, contact Prism Sound via www.prismsound.com, or come to the Prism Sound stand at the Winter NAMM show, Booth #1645.

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AURALEX ACOUSTICS RESONATES WITH PREMIER RECORDING AND MIX ENGINEER, MARK WILLIAMS

INDIANAPOLIS, IN, JANUARY 28, 2008 — Auralex Acoustics, Inc., the industry leader in innovative sound control solutions, provided acoustical treatments for Grammy-nominated engineer and mixer, Mark Williams‘ personal editing and mixing space.

Williams installed six pArtScience SpaceCouplers with two one-inch layers of SonoFiber onto varied sections of the drop ceiling of some rented office space, which was originally just used to store his personal equipment between projects. As an independent producer/engineer and mixer, Williams has worked all over the Eastern half of the US, recording and mixing in many different studios and mobile trucks. Due to shriveling budgets throughout the industry, Williams began to use that space for editing, vocal tweaking, etc. When he began utilizing the room to mix some tightly budgeted projects, he recognized the need for more effective acoustical treatments with the SpaceCouplers.

“The improvement in low frequency definition was immediate and so startling that I haven‘t stopped telling people about it,” stated Williams. “The Auralex SpaceCouplers are excellent devices and have really helped make my small room very useful. One of the great challenges for an engineer is to make mixes translate from the control room to the real world and Auralex‘s products help me achieve this.”

Designed by Russ Berger for Auralex Acoustics, the SpaceCoupler optimizes acoustical environments for a wide range of performance and recording styles. By providing an acoustical boundary interaction between loosely coupled spaces, the SpaceCoupler generates a low level reverberant tail to create a full, well-developed sound, even in small footprint spaces. Auralex‘s SonoFiber is a 1” thick charcoal gray natural fiber acoustic absorptive and is the perfect solution for those budget-conscious projects requiring a Class A fire rating.

“I was faced with a giant bass blob that I assumed was unavoidable in such a small space,” continued Williams. “I finally got Auralex‘s SpaceCouplers installed and was amazed to find the low end in my room hugely improved to the point that I have much more confidence in the mixes I can make there. I expected an improvement, but this is way beyond what I had hoped to achieve.”

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 auralexinfo@auralex.com or by calling 1.800.959.3343.

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Brian “Big Bass” Gardner and Bernie Grundman Earn Grammy Nods

Mastering Engineers Nominated for Work with Foo Fighters and Herbie Hancock


Pictured (L-R) are Bernie Grundman and Brian “Big Bass” Gardner. Photo by David Goggin.

January, 2008 – It‘s rare for two mastering engineers from the same mastering studio to be Grammy®-nominated for mastering the Album of the Year, but Bernie Grundman Mastering has achieved just that.

Brian “Big Bass” Gardner is nominated for mastering “Echoes, Silence, Patience & Grace,” Foo Fighters. Gil Norton produced the album with engineer/mixers Adrian Bushby & Rich Costey for Roswell/RCA Records.

Bernie Grundman is nominated for “River: The Joni Letters,” Herbie Hancock, Leonard Cohen, Norah Jones, Joni Mitchell, Corinne Bailey Rae, Luciana Souza & Tina Turner, featured artists. Herbie Hancock & Larry Klein share producer credits, Helik Hadar engineer/mixer, for Verve Records.

The 50th Annual GRAMMY Awards will be held on Feb. 10, 2008, at Staples Center in Los Angeles and once again will be broadcast live in high definition TV and 5.1 surround sound on CBS from 8 – 11:30 p.m. (ET/PT).
Bernie Grundman Mastering, responsible for a consistently large percentage of chart recordings, was launched in 1984, following Grundman‘s 15-year tenure with A&M Studios. In 1997, Grundman opened his Tokyo mastering studios and in 1998 relocated to expanded facilities in Hollywood.

For contact info, visit: http://www.berniegrundmanmastering.com

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EASTWEST PREVIEWS QUANTUM LEAP “FORBIDDEN PLANET” SAMPLE-BASED SYNTH AT NAMM 2008

ANAHEIM, CA — EASTWEST, leader in soundware development and distribution, is revolutionizing the industry with its preview of Quantum Leap Forbidden Planet, a virtual sample-based synth collection of more than 1,000 cutting-edge presets which allows users to combine, morph, process and modulate sample-based sounds in any way they desire. Forbidden Planet was previewed at NAMM 2008.

Geared towards film, TV and game composers as well as hard-driving electronica, gothic punk, industrial and ambient composers, Forbidden Planet will “wow” composers with sounds that jump out of their speakers, and ease-of-use that will quickly make it an industry favorite. Forbidden Planet gives users the best of both the analog and digital worlds. The collection offers more than 1000 presets that are based on sampled analog waves, modulators and sampled filters recorded through a custom Neve 8078 console and vintage Fairchild 670 compressors. For added variety and flexibility, Forbidden Planet offers parallel programs using the unprocessed analog waves and all of the digital filters, modulators and fx. Additional presets are provided by Troels Folmann and other leading sound designers.

Using the collection‘s new convolution technology, Q-FusionTM, users can create unique sonic combinations such as a very detailed electric cello that is modulated by an electrical disturbance or a theremin that morphs into an ethnic vocalist. Forbidden Planet also features Riptide™, a cutting-edge wave sequencer that incorporates real acoustic waveforms, unusual custom sound design elements, as well as sampled analog waveforms. The 3-dimensional audio image can be controlled using the collection‘s Q-Space™ function. Musicians can expand their sound options by selecting the type of analog filter model used.

The collection also provides users with a comprehensive set of built-in multi-effects including the new “Déjà Vu™” effects processor. “Déjà Vu” is a self-contained multi-fx sampling engine that gives musicians access to imaginative, sampled fx chains such as demonic effects and processors like tuned feedback, ring modulation and dozens of psychotic effects. To control rhythmic, glitched and melodic waveforms, Forbidden Planet also comes equipped with an industry leading time and pitch machine.

“Forbidden Planet goes way beyond sample sounds – it is a cutting-edge creative tool,” says Quantum Leap producer Nick Phoenix. “With no other collection can a user have alien vocal phrases echoing inside of a giant bronze bell. The combination options are endless.”

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EASTWEST INTRODUCES QUANTUM LEAP GOLIATH AT NAMM 2008

ANAHEIM, CA — Continuously developing products which give its users access to the most powerful and accurately recorded sounds available, EASTWEST has expanded upon its popular Quantum Leap Colossus collection by introducing Quantum Leap Goliath. Ideal for composers and songwriters, Quantum Leap Goliath is a complete collection of quality instruments and sounds from the multi-award winning EASTWEST/QUANTUM LEAP production team, spanning various genres and musical styles all with the company‘s new PLAY sample engine. Quantum Leap Goliath made its debut at NAMM 2008.

Quantum Leap Goliath encompasses the entire Colossus collection plus 8 Gigabytes of new content. With Goliath, users will now have more than 180 high-quality instruments and more than 600 patches including drums and percussion, guitars, basses, acoustic and electric pianos, keyboards and mallets, pop brass, orchestral instruments, choirs and vocals, ethnic instruments, new age ensembles, morphing atmospheres, synth basses, synth leads, and synth pads–all at their disposal. As part of the additional content, Goliath features the full collections of sounds from the EW/PMI Bösendorfer 290 Piano collection.

“Goliath was created to provide users with a comprehensive composing toolkit along with the added power and speed of the PLAY sample engine,” says Quantum Leap Producer Nick Phoenix. “Colossus‘ versatility and ease of use has made it an industry favorite and winner of “Virtual Instrument of the Year.” Goliath expands upon Colossus‘ reputation while incorporating the future of computer music creation by providing access to 64-bit support, enabling users to utilize all of the system RAM they have installed, and to load many more instruments than was previously possible.”
Goliath comes equipped with EASTWEST‘s PLAY sample engine as a standard feature.

In addition to purchasing the entire Goliath collection, current Colossus owners have the option to purchase an upgrade (customers will need to submit Colossus serial number at the time of purchase in order to receive the upgrade). This gives current users the access to the new content of Goliath along with the added power of PLAY at a discounted rate.

The full version of Quantum Leap Goliath carries an MSRP of $495.00 and the upgrade an MSRP of $149.00.

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