Archive for February, 2009
LAS VEGAS, NEVADA – FEBRUARY 2009: TUBE-TECH, maker of contemporary high-end, all-tube-based pro audio gear based on an elegant design philosophy, is pleased to announce the launch of a completely revitalized website (www.tube-tech.com). TUBE-TECH’s founder, president, and designer of nearly thirty years, John G. Petersen, commissioned the site to provide an elegant clearinghouse for information on TUBE-TECH products, insider tips and tricks for getting the most out of the TUBE-TECH sound, and access to TUBE-TECH’s story and uncompromising design manifesto. In addition, the site is targeted to help younger, aspiring engineers and musicians discover the long lasting sonic quality of the TUBE-TECH units.
Visitors to TUBE-TECH.com will find relevant news on the home page and links to products, company information, distribution, users, and tips & tricks sections. The product pages neatly detail the features of each TUBE-TECH unit together with downloadable specifications and manuals. The company section includes an introduction to TUBE-TECH’s six employees, who handle, quite literally with their hands, everything from design to assembly to billing. The TUBE-TECH story, which includes references to Petersen’s garage as the assembly site of the earliest TUBE-TECH units, and the bold TUBE-TECH design manifesto also link from the company tab. The distribution section includes up-to-date contact information for TUBE-TECH distributors throughout the world.
The user section provides quotes from and links to TUBE-TECH users, including everyone from the industry’s “household names” like Al Schmitt to the project studio down the street. TUBE-TECH encourages users to send in their stories together with photos, a web address, and a list of TUBE-TECH gear for inclusion in the user section. In tips & tricks, visitors will find a sizable (and growing!) collection of both printed and video descriptions of TUBE-TECH uses that will prove both demonstrative and inspirational. And again, users are encouraged to send in their own tips and tricks!
“TUBE-TECH defines “analog” more than almost any other company in the business,” noted Brad Lunde, president of TransAudio Group, TUBE-TECH’s U.S. distributor. “All of the product information and downloads are at your fingertips. The users section connects you with other TUBE-TECH users. The tips & tricks open your eyes to uses you hadn’t thought of. And the company section underscores the unique history of that famous blue faceplate. The new website is a nice complement to everything else that TUBE-TECH has going for it.”
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.
HOLLYWOOD, CALIFORNIA – FEBRUARY 2009: So far this year has been all about change and ABC’s telecast of the 81st Academy Awards on February 22nd was no exception, as producers radically reworked the show to attract more viewers with a new, more intimate production design and a previously untried host, triple threat – actor, dancer and singer – Hugh Jackman. But behind the scenes, both onstage and out on the red carpet, there was at least one constant: Sennheiser and Neumann microphones.
Orchestra mixer Dan Wallin was in charge of all of the live and pre-recorded music. Working in Remote Recording’s “Silver Studio” backstage, Wallin selected Neumann TLM 193, TLM 170 and Sennheiser MKH 8040 wired mics to capture the orchestra. This year, the orchestra, conducted by music director Michael Giacchino, was moved from the pit to onstage in order to recreate a 1940s nightclub ambience. Once again, Ed Green mixed all of the stage vocal and dialogue mics. On the red carpet outside the Kodak Theatre, Burbank-based wireless specialists Soundtronics fielded four Sennheiser SKM 5200 RF handheld microphones and four SK 5012 miniature transmitter belt packs with lavalier mics for ABC pre-show hosts Robin Roberts, Tim Gunn and Jess Cagle as they greeted and interviewed arriving nominees and attendees.
Wallin, a veteran, scoring mixer who has worked on over 500 films so far in his sixty-year career, used a very similar collection of microphones at Capitol Recording Studios during the days leading up to the telecast for the show’s prerecorded orchestral music. Sennheiser MKH 8040 cardioid mics, introduced last year, were positioned over the woodwind/saxophone sections, the harp and the timpani. For the recording, he also used Neumann TLM 193s on the trumpets, trombones and French horns, with TLM 170s on the piano, guitar, drum overheads and the string entire section. Wallin elected to use his personal collection of TLM 170 Jubilee mics at Capitol. “The pattern is right on it, and the Jubilees have such a sweet sound,” he explained.
After some experimentation at the Kodak Theatre, comparing the Sennheiser MKH 8040s to the MKH 40s, Wallin discovered that the newer mics suited his preferred mixing style of allowing instruments to ‘leak’ in from adjacent sections. Indeed, reported Wallin’s assistant engineer, Mike Aarvold, “Dan had me raise the MKH 8040 woodwind mics about three or four inches to get a bit more leakage and increase the apparent size and excitement of the overall sound. Dan really liked the uncolored, off-axis leakage of the brass into the woodwind mics.”
Remote Recording president David Hewitt, returning for his sixteenth Academy Awards broadcast, agreed that the Neumann microphones, especially the TLM 170s, performed very favorably on the telecast. “They’re so transparent and smooth,” he said. “A lot of it has to do with the proper off-axis response of those things, so that the leakage doesn’t give you a lot of colored sound. What leakage you do get is complementary to the overall mix.”
In past years the string overhead mics were balanced with individual clip-on mics, but this year there was almost no need for them. He elaborated, “I was surprised, because (without naming names) the mic we usually use does seem to bring up way too much drum leakage. But the MKH 8040s on the overheads were tight enough that they didn’t bring up all the drum leakage and wash us out. What leakage there was, was coherent and added to the overall mix without detracting because of phase cancellation.”
Wallin enjoyed working for the first time with the MKH 8040s on the Oscar telecast: “The last few years, Sennheiser has come out with some really sweet microphones, first with the MKH 800 then the MKH 8040. The MKH 8040 is a really a good mic – really smooth, really flat, and really solid, almost like an MKH 40 on steroids. I can see me using them a lot, even on drum kits, because there’s so much headroom,” he concluded.
ABOUT SENNHEISER Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.
For more information, please visit www.sennheiserusa.com
PHOTO CAPTION The 81st Academy Awards held at the Kodak Theatre on February 22nd featured a gorgeous blue-hued stage, framed by a glittering 92,000 Swarovski-crystal curtain, and an onstage orchestra beautifully miked with Neumann TLM 193, TLM 170 and Sennheiser MKH 8040 wired mics to capture the magic. (PHOTO CREDIT: (c) 2009 Getty Images)
JESSUP, MARYLAND – FEBRUARY 2009: API announces that Dale Pro Audio is now an official dealer of both, API and Arsenal Audio by API, product lines. With over fifty years in business, a staff with hundreds of combined years of experience in the pro audio industry, and a Walters-Storyk-designed showroom, Dale Pro Audio is Manhattan’s premier pro audio retailer. It sells to broadcasters, post-production studios, recording studios, and installed-sound contractors throughout New York and the country.
“API represents one of the greatest values in the industry today and will form the cornerstone of our outboard sales,” said Ken Patnaude, vice president of sales and marketing for Dale. “Put simply, our customers want gear that sounds fantastic, that will last a long, long time, and that is priced fairly. All are so true of API products. Our customers will especially appreciate the affordable Arsenal Audio by API products and API’s 500-series modules in these tough economic times.”
“Buying gear from Dale is a unique experience, and we’re happy that API will now have a strong presence in their showrooms,” said Dan Zimbelman, director of sales for API. “It’s easy to confuse Dale for a functioning studio. They don’t sell guitars, keyboards or drums, so there’s no music store vibe. The ‘showroom’ is split between four Walter-Storyk-designed ‘studios,’ one of which allows customers to easily compare outboard gear with input from knowledgeable sales staff who don’t work on commission. If that weren’t enough, they have a relaxed loaner policy so that users can test drive gear in their own studio!”
ABOUT API API remains the leader in analog recording gear, with the Vision surround production, Legacy series, and 1608 recording consoles, and the classic line of modular signal processing equipment.
PHOTO CAPTION One of the Walters-Storyk-designed showrooms at new API dealer, Dale Pro Audio.
Hollywood, CA, February 27, 2009 â€“ SonicPool, one of Hollywoodâ€™s leading post production facilities, specializing in sound and picture finishing, production and edit suite rentals, and full post production services, has announced its current roster of episodic television projects. The announcement was made by Patrick Bird and John Frost, co-founders, SonicPool.
One of MTVâ€™s newest hit television shows â€œRandy Jackson Presents: Americaâ€™s Best Dance Crewâ€? has enlisted SonicPool for the Sound Mix. The show, which is in its third season, recruits nine dance crews to compete for the coveted title of â€œAmericaâ€™s Best Dance Crewâ€? and $100,000. The show airs Thursdays at 10p ET on MTV.
Currently a hit show on the Sundance Channel, â€œBig Ideas for a Small Planetâ€?, has turned to SonicPool for itâ€™s HD Online and Sound Mixing needs. The show presents innovators and innovations leading the way for a new green world, airing a new green theme every Tuesday at 9p ET/PT.
Up next is a brand new series that has been picked up by VH1 for eight episodes. â€œTough Loveâ€? chronicles a house full of women trying to find love with the help of matchmaker Steve Ward. The series is produced by Drew Barrymoreâ€™s production company, Flower Films. SonicPool will provide HD online and color correction services, Sound Mix, Closed Captioning, Mastering and Duplication of all shows.
In 2001, post production specialists Patrick Bird and John Frost co-founded SonicPool in the heart of Hollywood. Bird and Frost currently serve the company as President and CEO.
SonicPoolâ€™s 20,000sqft facility is comprised of 15 SD and HD Offline and Online Edit Suites, Theatrical Mix stages, Audio Editorial suites, Production offices, and a machine room fully stocked with all standard SD and HD decks. The companyâ€™s post production services include Sound and Picture Finishing, Edit Suite and Production Office rentals, and Media Duplication.
SonicPoolâ€™s clients run the full spectrum of the entertainment and broadcasting industries, with 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.
Las Vegas, NV, February 26, 2009 â€“ RF Central, part of The Vitec Groupâ€™s RF Systems business unit, and a leading digital microwave technology provider, is introducing its RFX-PHT-II HD upgradeable portable 2 GHz digital transmitter at NAB 2009 (Booth C3707). Utilizing RF Centralâ€™s signature RFX-CMT-II camera-mounted transmitter, the PHT-II is designed to turn any â€œnews carâ€? into a â€œlive broadcast vehicleâ€? and transform any â€œrun and shootâ€? car into a â€œrun and transmitâ€? vehicle. more
LAS VEGAS, NV, February 27, 2009 â€“ Anton/Bauer, a brand of The Vitec Group, and the worldâ€™s premier provider of professional camera batteries, chargers, lighting and other mobile power systems, is introducing its DionicÂ® HC high current camera battery at NAB 2009 (Booth C6021). more
Personal Mixers Provide Monitor Mixing and Communications System for Show’s Orchestra
LOS ANGELES, CA, FEBRUARY 27, 2009 â€” The 81st Academy Awards moved away from the format style of recent years, its producers opting for a more classic Hollywood approach by adding a Big Band feel. Because the show’s host, Hugh Jackman, performed in numerous musical numbers and much of the focus centered around music, communications between the broadcast crew, Musical Director Michael Giacchino, orchestra members, and the audio crew from ATK Audiotek was essential. Aviom’s Pro16Â® monitor mixing system was at the hub of the communication and monitoring setup, helping make each number a showstopper. more
BUENA PARK, Calif.âŽ¯Every year, Break Forth Ministries holds conferences and all-day intensive workshops throughout North America and Europe, and this year Break Forth Canada 2009 was held January 30-February 1 in Edmonton, Alberta. The events at Break Forth have been experiencing explosive growth over the years with over 15,000 attending the largest equipping and renewal conference in North America.
Over 160 classes and 20 workshops were held during the two-day conference including many by Yamaha Commercial Audio Systems, Inc. along with some of the best Christian entertainment performed at nightly festivals along with presentations by John and Stasi Eldredge and Christian artist Michael W Smith, who was also one of the eveningsâ€™ concert headliner. Other performers at the event included Frank Peretti, MercyMe, Erwin McManus, Paul Baloche, Shane Claiborne, Brian Doerksen, William P Young (The Shack), Matt Maher, Phil Callaway, Arlen Salte, and many, many more. Other events included the Faith Film Festival and Bananas Comedy Festival.
Allstar Industries provided audio production for the various events and supplied the Main Stage at the Shaw Centre with a NEXO GEO D system with CD18 subs and Yamaha PC9501N Amps. Monitors were NEXO PS15 W and PS15 WMR. PM5D-RH consoles were used for both FOH and Monitor Consoles were PM5DRH. Front Fill speakers were Yamaha IF2108′s with T4N amplifiers; Delay rig was NEXO GEO S8′s with Yamaha PC9501N amplifiers.
â€œWhen I was asked to head up audio for Break Forth 2009 in Edmonton Alberta Canada, one particular challenge aroseâŽ¯how to choose the right PA to accurately re-enforce both speech, and full bands in an acoustically unfavorable venue with 8,000 people,â€? states Cory Papirny,senior audio tech, Allstar Show Industries and FOH Engineer for Breakforth Canada 2009.â€œAfter hearing that Yamaha was involved, my choice became quite easy. NEXOâ€™s Geo D tangent array elements would provide more than enough horsepower and clarity to fill the harsh listening environment of the Shaw Conference Center.â€?
Having previously toured across Canada with David Copperfield and Charley Pride using NEXOâ€™s GEO S12â€™s with extraordinary results, Papirny said he was very excited to have the opportunity to work with the S12â€™s bigger brother. â€œUsing the GeoSoft2 software, I was able to accurately predict SPL level and frequency response from various locations in the venue, and upon using acoustic measurement software, was utterly amazed at how accurate the GeoSoft software was. I was able to maintain a consistent SPL level throughout the 315-foot hall with minimum high-end frequency loss.
Deploying the PA turned out to be an absolute dream, Pipirny continues. â€œThe compression rigging meant that I could link all clusters together from an upright position, alleviating the need to be fussing with front and back motors to get the speakers to properly align. Once everything was connected, a simple ratchet bent the speakers to their proper angles. Genius.â€?
Filling out the sub bass for the PA were NEXO CD18â€™s. Pirpirny noted that the cardioid subs completely surpassed all of his expectations. â€œEven at 250 feet back the low end was still tight and punchy while keeping the stage free of annoying low end. All of the guest engineers commented that there was no shortage of low end, and they werenâ€™t wrong.â€?
â€œAs far as consoles go, my first choice always is the PM5D-RH,â€? adds Pipirny. Our monitor engineer, Dave Pallet (Alanis Morrisette, Loreena McKennitt, Sarah McLaughlin) and myself both find being able to run the console at 96K a huge asset. The crisp and clean high end from the console was well represented by the NEXO GEO D10 speakers as well as in the performerâ€™s in-ear monitoring systems. And, the ability to load guest engineersâ€™ files onto the console drastically shortened sound check times and cut out worry-some hard patches between bands, making changeovers remarkably smooth. I truly believe that Yamahaâ€™s involvement took this event to the next level. The caliber of the audio was second to none.
The Spirit Street Stage events used 12 NEXO GEO S12 speakers with four RS15 subs, five PS15s wedges for stage monitors, Yamaha T5n amplifiers and two Yamaha M7CL-48 digital consoles for front of house and monitors. The Breakout Education Classes and small stages used Yamaha STAGEPAS 300s and STAGEPAS 500 portable sound systems along with NEXO PS10s with LS500 subs and PS 8s.
â€œThe subs were placed horizontally, one on top of the other with grills pointed in opposite directions, and with the sides the sides of the stacks pointed at the audience,â€? states Justin Snow, head sound tech, Spirit Street Stage. â€œThis is called â€œAlternate Directional Configurationâ€? and creates a cardiod pattern allowing the low frequency to be controlled and aimed a provides a much cleaner sound with good low end punch even in the back rows.â€? Snow said one of the features he likes about the NEXO PS15 monitors is that real â€˜in your faceâ€™ sound with any vocal, and very little equalization.
Monitors were run from the Yamaha M7CL FOH console. House left and right and four monitor mixes were done from the M7CL easily accommodated through the use of its 16 mix buses and 16 Omni outputs. â€œWith the eight space virtual EQ/effects rack, I was able to load 6 â€“ 31 band EQâ€™s, four monitor and one each for left and right mains. The two remaining rack spaces were used for two of the built-in effects, one Hall Reverb and one mono Delay. Each channel of the M7CL has a 4-band parametric EQ, and with the Dynamics 2 section on each channel, I was able to add a gate and a compressor to any channel. This allowed me another level of control without adding any additional outboard gear.â€? Snow notes that he also appreciates the ability to wirelessly interface his notebook to the console by plugging a wireless router into the network port on the board giving him the option to view or control the console from his laptop.
The Yamaha training sessions led by house of worship marketing manager, Dan Craik were very well attended, and were followed up with one on one hands on sessions in the trade show booth. The front of house positions in the performance spaces were turned into question and answer booths, with Allstar and Yamaha Commercial Audio Systems staff answering questions about the systems in use at the show. Training sessions included Intro to Digital Mixing â€“ a basic M7CL console training course; Art and Science of Audio Part 1 â€“ EQ, compressors, Effects; Art and Science of Audio Part 2 â€“ Getting the Basic Mix in 7 Minutes; The Output Side â€“ speakers and amplifiers; and Basic Analog Audio â€“ overview of an analog audio system.
â€œLET ME GET THIS STRAIGHT â€¦ go all the way up to Edmonton Alberta to participate in a worship conference in the dead of winter where the temperatures get down to -30 degrees? Are you kidding?” recalls Dan Craik. â€œThat is what I secretly thinking when I first met Arlen and Elsa Salte on a nice warm, spring day in Nashville, Tennessee. But the more I learned about Break Forth Canada, the more intrigued I became. To make a long story short, Break Forth was everything they said it would be and more. After a week of putting up numerous sound systems, teaching classes, showing off our gear on the exhibition floor, having fellowship and making new friends with some of the 15,000 people that attended the conference, I left there feeling like I had been privileged, given a gift as it were, to be there. In spite of all the work it takes to put on an event like this, it was certainly worth it. I am eagerly looking forward to doing it again.â€?
For more information on Allstar Show Industries, visit www.allstar-show.com.
For more information on Yamaha and NEXO products, visit www.yamahaca.com.
For more information on Break Forth Canada, visit www.breakforthcanada.com
About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the recent purchase of NEXO loudspeakers by Yamaha Corporation Japan, the company remains the official U.S. and Canadian distributor for all NEXO models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.
HOLLYWOOD, CALIFORNIA: Doug Rogers, founder of the EastWest software instrument company, has purchased and re-opened the recording studio located at 6000 Sunset Boulevard in Hollywood, the site of historic recordings by a who’s who of the last four decades, from Bing Crosby and Frank Sinatra through The Beach Boys to Green Day and Madonna. In the process of restoring the facilities to their former glory and relocating EastWest’s operations to the complex, Rogers outfitted the three principal control rooms with soffit-mounted ATC (Acoustic Transducer Company) SCM300ASL reference monitors. A pair of ATC SCM150ASL monitors is also available for near field mixing.
“We just wanted the best monitors we could put in,” comments Rogers. “For my line of work I need brutal accuracy, and that’s what these speakers deliver. That’s my lifeline – if they’re not telling me the truth I’m in trouble. And, I felt that the people that are going to be working in EastWest Studios are the best in the business and they deserve the best equipment with which to work. The monitors might cost close to $50,000 a pair, but when your profession depends upon it, it’s like a violinist having a Stradivarius. You’re only going to deliver the best if you have the best equipment.”
The SCM300ASLs are great for tracking, according to Rogers. “They’re very smooth across the range and you can really pump them. They can be used at very loud levels without distortion – which is their claim to fame. There’s a lot of headroom built into the system that allows them to be used in recording studio control room playback conditions and they’ll hold up to it.”
The ATC monitors correct what Rogers and his staff felt was a problem with the monitor systems previously installed at the former Cello Studios, which started life in the 1960s as Bill Putnam’s Western then United Western Studios. “None of us really liked the sound. They sounded disjointed between the different drivers with no smoothness across the range,” he explains. But with the new monitors, he says, “I like the fact that the new monitors are balanced because ATC supplies you with the whole system. They supply the speakers and the amps, which are very good, and everything is matched up. Most other speaker solutions are components where you have to get your own amps and wiring.”
Rogers recounts that he initially flew in acoustical consultant Nick Whitaker of U.K. firm Electro-acoustics to advise on control room improvements. “We really didn’t want to do anything to the studios because the sound has been raved about for years, but the control rooms needed some updating. The first thing he mentioned was that he really liked the English ATC monitors that they were using at Astoria studio [owned by Pink Floyd's David Gilmour] and a lot of the other places where he was involved with the acoustics, like Abbey Road, and studios that he had built. But, Nick said, they’re relatively expensive. I said, well, no expense spared here!”
Whitaker also mentioned that James Guthrie, who mixed the surround version of Pink Floyd’s “Dark Side of the Moon,” among many, many other projects, also uses ATC monitors, says Rogers. He had Brad Lunde of Las Vegas Pro Audio, the U.S. importer for ATC, arrange a visit to listen to the SCM150ASL monitors at The Mastering Lab in Ojai, California. “[Owner and legendary mastering engineer] Doug Sax has probably some of the best ears in the business. We knew then that was the way to go,” says Rogers.
He concludes, “There are a few studios in the U.S. that have cottoned on to ATCs, such as Blackbird, a very good studio in Nashville. But I’m sure we’re the most ATC-equipped studio in L.A., and I guarantee, by the end of this year, when we have had a lot of top engineers through here, ATCs will have a much bigger name in this country.”
ABOUT ATC ATC products are manufactured by Loudspeaker Technology Ltd, UK. ATC is a registered trademark of Loudspeaker Technology Ltd. Acoustic Transducer Company is a trading style of Loudspeaker Technology Ltd. All trademarks acknowledged.
ABOUT LAS VEGAS PRO AUDIO LasVegasProAudio.com, a division of TransAudio Group, is the launch pad for the brands of tomorrow. The goal of LasVegasProAudio.com is to provide unique equipment, useful information and long-term support to their clients.
www.lasvegasproaudio.com (702) 307-2700 â€¢ www.atc.gb.net
PHOTO CAPTION Newly-opened in Hollywood, the stunning East/West Studio’s the three principal control rooms are outfitted with soffit-mounted equally-stunning ATC (Acoustic Transducer Company) SCM300ASL reference monitors with a pair ATC SCM150ASL monitors at the ready for near field mixing.
â€” 5.1 surround audio broadcast utilizes Genelec 8200 Series DSP monitors in surround sound configuration â€”
NATICK, MA, February 18, 2009 â€” At the 51st Annual GRAMMYÂ® Awards Show, telecast on CBS from L.A.â€™s Staples Center on the evening of Sunday, February 8th, XM Productions/Effanel Music employed Genelec 8200 Series Active DSP Monitoring Systems. Genelec DSP systems consisting of 8250 and 8240 active monitors, along with the 7260 subwoofer, were used in XM Productions/Effanel Musicâ€™s L7 truck for the live music mix, as well as in the mirrored system in the Nova offline remix booth. The EMMYÂ® Award-winning GRAMMY show takes full advantage of the highest-resolution broadcast quality offered by CBS, which distributes HDTV and 5.1 channels of CD-quality surround sound in a number of major markets on its High Definition Television Network.
The HDTV/5.1 broadcast was mixed and monitored by a team of top-tier professionals, relying on Genelec to provide them with an accurate monitoring environment. The audio portion of the broadcast was supervised by Phil Ramone and Hank Neuberger, leading members of the Producers & Engineers Wing of The Recording AcademyÂ®, while the Music Mixers included John Harris and Eric Schilling. Peter Gary was the XM Productions/Effanel Audio EIC (Engineer in Charge).
The Genelec 8200 Series Bi-Amplified Active Monitors employ the companyâ€™s proprietary DSP (Digital Signal Processing), GLMâ„¢ (Genelec Loudspeaker Manager software) and AutoCalâ„¢ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. This, combined with XM Productions/Effanel Musicâ€™s long-time use of Genelec active monitors, including employing the identical system used at last yearâ€™s GRAMMY Awards, made the Genelec DSP monitors an easy decision.
John Harris stated, â€œGenelec active monitoring is the industry standard for high-end monitoring solutions, without a doubt. Their performance is absolutely consistent show after show, and the sound is the most musical weâ€™ve ever used. With the ability to adapt the surround speaker field with the DSP technology, Genelecs offer the peace of mind of knowing our monitors are exactly what we need them to be.â€?
Photo File: Genelec_GRAMMYs09.JPG
Photo Caption: 51st GRAMMY Awards Music Mixers Eric Schilling (L) and John Harris (R), with Genelec 8200 Series Active DSP Monitors in XM Productions/Effanel Music’s L7 truck.
Genelec, the pioneer in Active Monitoring technology, was founded in 1978 and has concentrated its efforts and resources into the design and manufacturing of active monitoring loudspeakers with unparalleled sonic accuracy. Genelec has been credited with promoting the concept of active monitors, a trend in technology that some manufacturers are just now incorporating into their products. Genelec has a complete line of active main, mid-field, and near-field monitors for application in the music recording, postproduction, project studio, broadcast, TV, and CD mastering markets.
Other brand and product names may be trademarks of the respective companies with which they are associated.
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