Archive for September 5th, 2008
Daly City, CA â€” Dave Mustaine knows a thing or two about guitar sound. As one of the founding fathers of thrash metal, Mustaineâ€™s years of crunching power chords with his band Megadeth have placed his signature licks front and center on some of the genreâ€™s most memorable and oft-covered recordings. Beginning with the bandâ€™s 1984 debut, Killing Is My Businessâ€¦ and Business Is Good, Megadeth has sold more than 20 million albums worldwide and received seven GrammyÂ® nominations, with six of their eleven studio albums charting gold or platinum in the U.S. and Canada.
Like most artists, Mustaineâ€™s Pro ToolsÂ®-based project studio in Southern California is his creative nexus; the place where he and the newly regrouped Megadeth nurtured the seeds of the bandâ€™s latest release, United Abominations, and where Mustaine experiments with pushing the boundaries of the genre he helped create. Lately, heâ€™s been plugging in to more than just a stack of amps to find those new sounds, and is spending lots of time with Digidesignâ€™s acclaimed new guitar amp emulation plug-in, Elevenâ„¢
“When I fired Eleven up for the first time, I sat down on the couch in the studio and just closed my eyes, and I really felt like I had an amp rig in front of me,â€? Mustaine says. â€œItâ€™s not just the sound, because a lot of amp emulation programs can create a good distortion or overdrive or whatever. But Eleven goes even farther â€” itâ€™s the only emulation program Iâ€™ve tried that can actually get the sound of a speaker cone breakup, for example, and that does a lot for the whole realism factor.â€?
No stranger to technology, Mustaine has tried almost every amp emulation hardware and software product available. â€œSome emulation programs do a few sounds really well,â€? he says. â€œBut Eleven is the first app Iâ€™ve used that sounds and reacts so realistically across such a wide range of sounds. It actually interacts with my guitar and with my playing style in the same way a real amp and cabinet does. Thatâ€™s something Iâ€™ve never experienced with any other program before.â€?
Digidesign is a worldwide leading manufacturer of digital audio production systems and the winner of the 2001 Technical GrammyÂ® Award and 2003 OscarÂ® statuette representing the Academy Scientific and Technical Award for the design, development, and implementation of the Pro ToolsÂ® digital audio workstation. Digidesign provides the professional music, film, video, multimedia, and radio broadcast industries with tools for digital recording, MIDI sequencing, editing, signal processing, and surround mixing. Digidesign products are marketed in more than 40 countries worldwide through a distribution network of value-added dealers, distributors, and OEM relationships. Digidesign is a part of Avid Technology, Inc. For more information, visit www.digidesign.com.
About Avid Technology, Inc.
Avid (Nasdaq: AVID) is a worldwide leader in tools for film, video, audio, 3D animation, gaming and broadcast professionals â€“ as well as for home audio and video enthusiasts. Avid professional and consumer brands include Avid, Digidesign, M-Audio, Pinnacle Systems, Sibelius, Softimage and Sundance Digital. The vast majority of primetime television shows, feature films, commercials and chart-topping music hits are made using one or more Avid products. Whether used by seasoned professionals or beginning students, Avidâ€™s products and services enable customers to work more efficiently, productively and creatively. Avid received an Oscar statuette representing the 1998 Scientific and Technical Award for the concept, design, and engineering of the AvidÂ® Film ComposerÂ® system for motion picture editing. For more information about the companyâ€™s Oscar, Grammy and EmmyÂ® award-winning products and services, visit www.avid.com.
HOPEWELL JUNCTION, NEW YORK – AUGUST 2008: Metric Halo announces the immediate availability of the new “future proof” 24-bit/96kHz Mobile I/O 2882 Expanded multi-channel processor and FireWire interface for recording and mixing in the studio or on the road. The portable 18-input/20-output 2882 Expanded incorporates the new 2d Card, which provides a nearly six-fold increase in the DSP power available for processing, routing and mixing in Metric Halo’s world-renowned FireWire audio interfaces.
The 2882 Expanded features eight Mic/Line/Instrument analog inputs, eight mic preamps with individually switchable phantom power, eight analog outputs on balanced TRS connectors, 24-bit/96kHz converters on all channels, eight channels of ADAT I/O (switchable to TOSLINK), and AES-S/PDIF Digital I/O with selectable SRC. It also includes a headphone amp with front panel mute/dim, front panel metering, and remote level control on all channels. Newly added ADAT implementation includes optical S/PDIF support (independently switchable on both input and output) with asynchronous SRC for the optical S/PDIF input.
Version 5 of the MIO Driver and MIO Console software, included with the 2882 Expanded, provides direct access to the power of Mobile I/O and the 2d Processing Architecture. It features a brand-new customizable mixer, as well as unified control of all the mixing and processing resources of all connected Mobile I/O Expanded hardware. Metric Halo’s exclusive Character processing, included in the v.5 software, selectively adds fifteen different flavors of euphonic low-order distortions, found in classic analog devices to the inputs and mix busses of the system.
The 2882 Expanded also includes a bundle of basic production plug-ins, including MIOStrip (a full featured channel strip with Gate, Compressor and six-band EQ), HaloVerb, Mid-Side Decoder, Sample Delay and Dither. The v.5 mixer also provides inserts that greatly simplify and accelerate the process of adding exceptional +DSP plug-ins to the signal path.
The integrated 2d Processing, based upon new, next-generation DSP, offers 5.5 times the available processing power of the original Metric Halo +DSP implementation, while a SIMD engine enables an additional doubling in power for certain operations, such as mixing. The 2882 Expanded is the only unit in its class with an on-board processing engine that supports fully instantiable processing, providing full access to Metric Halo’s world-renowned signal processing effects without sacrificing the computer’s processing power or introducing any additional latency in the monitor path.
This one-rack space audio interface, weighing only five pounds and about the size of a laptop, has the ability to run entirely from any DC power source (9V-30V), making it truly and completely mobile. Three 2882s may be chained together for 24 analog tracks of recording with processing on all channels in just three rack spaces.
MSRP of the 2882 Expanded is $1,895. A +DSP bundle software license, which adds literally hundreds of plug-ins and processors to the zero-latency 2d Processing environment, is $699.
Based New York’s Hudson Valley, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and hardware.
BUENA PARK, Calif.â”€Eight years after Linkin Park released their first CD, the band has embarked again on the Projekt Revolution Tour. This time around, monitor engineer Kevin â€˜Taterâ€™ McCarthy has taken along the new Yamaha DSP5D Expander for use in conjunction with a PM5D monitor console. â€œIâ€™m using the DSP5D for an extra 28 inputs and two extra outputs that Linkin Park required for this leg of the tour,â€? states McCarthy. â€œI was first introduced to the PM5D almost four years ago by the front of house engineer for Judas Priest, and I havenâ€™t looked back since. What initially attracted me to the 5D was that it is a stand-alone console; no need for extra stage racks.â€?
â€˜Taterâ€™ is using a PM5D cascaded to a DSP5D Expander with a Waves Y96k plug-in card, a Yamaha MY-DA96 card, and an MYAD-96K card. â€œI use no outboard effects or dynamics; they are all onboard,â€? adds McCarthy.
For more information on the DSP5D Expander, visit www.yamahaca.com.
About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. offers a complete line of integrated professional audio products for the commercial recording, production, broadcast, live sound, and sound reinforcement markets. The company has a dedicated dealer network, intensive field training, and 24-7 tech support in the U.S. and Canada.
The digital console that sets the standard for next generation user interface is now available in larger formats – â€œEngineers now have more power at their fingertips than ever before imaginable,â€? says Soundcraft & Studer President Andy Trott.
In a series of introductions that will further extend the remarkable success of the Soundcraft Vi Series, Soundcraft today introduced 96 and 72 channel upgrades to the Vi6 and Vi4, respectively. According to Andy Trott, President Soundcraft and Studer, the new additions will make the Vi6 and Vi4 even more potent and versatile tools for front of house and monitor engineers in a vast array of tour and fixed install applications including large houses of worship. The input-to-mix expansion is part of the new V3.0 software release.
â€œNever before has so much power and versatility been accompanied by such an easily navigable, application-engineered user interface,â€? Trott said today. â€œWe are very pleased to expand the Vi Series and from our continuous discussions with members of the engineering community, weâ€™re confident that the 96-channel and 72-channel variants will resonate strongly with the market.â€?
Appreciated worldwide for its advanced Vistonicsâ„¢ II user interface, the Soundcraft Vi Series provides engineers with a very intuitive operation via a touchscreen color TFT monitor with integral rotary controls and switches mounted on the glass that provide engineers with a unique ‘where you look is where you control’ working philosophy.
The Vi Series is also known for its stunning sonic performance, boasting an impressive input-to-mix capacity of 64 or 48 channels, mapped out on 32 or 24 motorized faders for the Vi6 and Vi4 respectively. These can be assigned to 32 or 24 outputs (plus a stereo and mono mix) that can be any combination of group and aux buses. Up to 16 matrix outputs can be configured from the pool of buses.
The Soundcraft Vi6 will now be available in 64 or 96 input models (the Vi4 having 48 or 72 inputs), while existing consoles can be upgraded with the purchase of an additional DSP card. The 96 channels to mix (for the Vi6) can then comprise the 64 stagebox mic/line inputs, the 16 line inputs on the local rack, and the eight stereo Lexicon effects returns. The â€˜additionalâ€™ 32 inputs will be assigned to Fader Bank C on the surface. Alternatively a second stagebox can be added to bring in mic/line inputs from the stage to all 96 input channels. Through desk patching, the inputs can also encompass the 64 MADI channels, or 16 AES/EBU inputs. Further options are available for expanding the I/O to use additional remote stageboxes, or other audio formats.
Another highly significant feature of the V3.0 upgrade is that the Vi4 will now be able to access all 35 output busses, with the addition of eight busses fixed in â€˜Auxâ€™ mode, and this feature does not require the additional DSP card.
Further enhancements in the new V3.0 software include sophisticated snapshot filtering, which will be particularly welcomed by theatre users. In addition to the existing ISOLATE function where a channel may be isolated from snapshot recall, high-granularity filtering can now be applied both globally and on each snapshot, right down to individual parameter level (for example, a PAN setting or an individual Aux send). A completely revised Cue List Management suite now allows Apply Changes, where parameter changes can be applied to multiple snapshots, and cues can trigger or be triggered by MIDI or GPIO events, including MIDI Timecode. Harmanâ€™s HiQnetâ„¢ VENUE RECALL function is tightly integrated within this manager.
Other new features in V3.0 include finer adjustment of input and output delay trims, and enhanced metering on the master bay which includes Gain Reduction metering. It is also now possible to import and export channel labels from and to spreadsheet files using a USB key.
Needless to say, these powerful mix capacity and snapshot extensions are also available in the latest Virtual Vi software, so functionality can be tried and learned offline. The introduction of the Virtual Vi offline editor has proved extremely popular with engineers who are now able to set up their shows in advance, before simply downloading them to the console via a USB memory stick.
The software has had extensive beta trials, and on August 30th, Norwegian band Secret Garden finished off this yearâ€™s tour with a special concert including a symphony orchestra using V3.0 software.
The last concert of the tour was a special outdoor show incorporating a 27-piece symphony orchestra in the bandâ€™s hometown of Kristiansand, Norway. With the orchestra and nine musicians/singers on stage, Espen Andersen, Production Manager and Monitor Engineer, added a DSP card and a second stagebox to run the required 95 channels from one console.
Espen concluded, â€œEvery thing worked perfectly, and it was a special night and a fantastic ending to a great tour.â€?
More information and a free download of the Virtual Vi software is available at www.soundcraftdigital.com.
To read more or to download images, please click here.
August 30th saw the very first show with the new Soundcraft Vi Series V3.0 software in use as Norwegian band Secret Garden finished off this yearâ€™s tour with a special concert including a symphony orchestra.
Secret Garden has been touring China, Korea and Norway since April with two Soundcraft Vi6 consoles and AKG microphones.
The last concert of the tour was a special outdoor show incorporating a 27-piece symphony orchestra in the bandâ€™s hometown of Kristiansand, Norway. With the orchestra and nine musicians/singers on stage, the need for more than 64 channels was obvious.
â€œWhen we planned this gig earlier this summer we aimed to use a third Vi6 for the orchestra, but the timing for a stable beta version of the new V3 software was perfect to make it possible to just add, a DSP card in the FOH local rack and a second stagebox to run the required 95 channels from one console,â€? reported Espen Andersen, Production Manager and Monitor engineer.
The monitor console also ran the new V3.0 software, but with â€œonlyâ€? 64 channels as it received four stereo mixes of the orchestra from Dag Stephen Solberg, who mixed the band and orchestra from FOH. The V3.0 software with the upgraded snapshot automation made it possible to add new channels and Aux sends to the existing show with extensive use of the scope and parameter-specific global filtering.
Espen concludes, â€œEverything worked perfectly, and it was a special night and a fantastic end to a great tour.â€?
To read more or to download images, please click here.
Greensboro, NC â€“ September 2008â€¦ WorxAudio Technologies, a leading manufacturer of loudspeaker systems for the pro touring and install markets, is pleased to announce that Poway, CA-based ShowTec has taken delivery of a sizeable line array system consisting of loudspeakers from the WorxAudio TrueLine Series catalog. The new ShowTec system, which will be used extensively for corporate industrials and other special events, consists of twelve TLV8T-P line array modules, two TLV8TDF-P down fill elements, the TrueLine Series rigging grids, and four TL215ST-P subwoofers. more
Fairlight Xynergi Media Production Centre
Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.