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Archive for February 26th, 2009


break-forth-canadao-nexo-geo-d-system.JPGBUENA PARK, Calif.⎯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 evenings’ 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.breakforth-2009-yamaha-pm5d.jpg

“When I was asked to head up audio for Break Forth 2009 in Edmonton Alberta Canada, one particular challenge arose⎯how to choose the right PA to accurately re-enforce both speech, and full bands in an acoustically unfavorable venue with 8,000 people,� states Cory Papirny,senior audio tech, Allstar Show Industries and FOH Engineer for Breakforth Canada 2009.“After hearing that Yamaha was involved, my choice became quite easy. NEXO’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.�

Having previously toured across Canada with David Copperfield and Charley Pride using NEXO’s GEO S12’s with extraordinary results, Papirny said he was very excited to have the opportunity to work with the S12’s bigger brother. “Using 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. “The 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.�nexo-geo-d-break-forth-2009.jpg

Filling out the sub bass for the PA were NEXO CD18’s. Pirpirny noted that the cardioid subs completely surpassed all of his expectations. “Even 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 weren’t wrong.�

“As far as consoles go, my first choice always is the PM5D-RH,� 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 performer’s in-ear monitoring systems. And, the ability to load guest engineers’ 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 Yamaha’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.

“The 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,� states Justin Snow, head sound tech, Spirit Street Stage. “This is called “Alternate Directional Configuration� 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.� Snow said one of the features he likes about the NEXO PS15 monitors is that real ‘in your face’ 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. “With the eight space virtual EQ/effects rack, I was able to load 6 – 31 band EQ’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.� 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 – a basic M7CL console training course; Art and Science of Audio Part 1 – EQ, compressors, Effects; Art and Science of Audio Part 2 – Getting the Basic Mix in 7 Minutes; The Output Side – speakers and amplifiers; and Basic Analog Audio – overview of an analog audio system.

“LET ME GET THIS STRAIGHT … 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. “That 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

For more information on Yamaha and NEXO products, visit

For more information on Break Forth Canada, visit


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.

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eastwest_studio.JPGHOLLYWOOD, 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, a division of TransAudio Group, is the launch pad for the brands of tomorrow. The goal of is to provide unique equipment, useful information and long-term support to their clients. (702) 307-2700 •

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.

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— 5.1 surround audio broadcast utilizes Genelec 8200 Series DSP monitors in surround sound configuration —

Genelec Monitors GRAMMYs

NATICK, MA, February 18, 2009 — At the 51st Annual GRAMMY® Awards Show, telecast on CBS from L.A.’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 Music’s L7 truck for the live music mix, as well as in the mirrored system in the Nova offline remix booth. The EMMY® 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 Academy®, 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 company’s proprietary DSP (Digital Signal Processing), GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (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 Music’s long-time use of Genelec active monitors, including employing the identical system used at last year’s GRAMMY Awards, made the Genelec DSP monitors an easy decision.

John Harris stated, “Genelec 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 we’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.�

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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The Recording Academy® Producers & Engineers Wing Holds Its Second Annual GRAMMY® Week Event at the Legendary Village Recording Studios

Recording Academy Chair Jimmy Jam, Producers Nile Rodgers and Jimmy Douglass Join Leading Members of the Recording Community to Pay Tribute to the Legacy of These Visionaries

Rock My Soul

SANTA MONICA, Calif. (February 24, 2009) — On Thursday, Feb. 5, days before the 51st GRAMMY® Awards telecast, The Recording Academy® Producers & Engineers Wing held its second annual GRAMMY Week event. Titled “Rock My Soul,” it honored the work of legendary music innovators Tom Dowd, Ahmet & Nesuhi Ertegun, Arif Mardin and Jerry Wexler. The event was hosted by the Village Recording Studios, birthplace of scores of classic recordings from GRAMMY-winning artists including Aerosmith, Fleetwood Mac, and Tom Petty.

At 8 p.m., the doors to The Village were opened to nearly 600 guests, consisting of GRAMMY-winning engineers and producers such as Jimmy Jam, Roy Thomas Baker, Chris Lord-Alge, Phil Ramone, Jimmy Douglass, Geoff Emerick, Al Schmitt, Brooks Arthur and more, as well as other award-winning industry figures, including legendary producer/engineer Eddie Kramer; artist/producer/remixer Carmen Rizzo; artists Keb’ Mo’, Lucinda Williams, Billy Morrison (The Cult, Camp Freddy) and Weezer; KCRW Music Director Jason Bentley and syndicated radio personality Shadoe Stevens; EMMY® Award-winning actress Alfre Woodard; and former NBA player Rick Fox. The event paid special tribute to Dowd, the Erteguns, Mardin and Wexler, producers and engineers who made an indelible mark on music history. From John Coltrane and Charles Mingus to Aretha Franklin, Ray Charles, Led Zeppelin, Cream, and the Rolling Stones, these five “record men” charted the course for rock and roll and left an incredible heritage of music.

Addressing top industry guests and members of The Recording Academy Producers & Engineers Wing, P&E Wing Sr. Executive Director Maureen Droney and Co-chair Glenn Lorbecki, along with the Village Studios CEO Jeff Greenberg, gave opening remarks on the night’s presentation. The event’s Co-chairs, producers Nile Rodgers and Jimmy Douglass, shared personal favorite experiences regarding working with the event’s legendary honorees, and Recording Academy chairman Jimmy Jam concluded the presentation with eloquent comments about the importance of those who work behind the scenes to create music.

The Village’s various studios featured playback sessions of songs with which each of the event’s honorees were involved. Studio A, the Rock and Pop Room, was sponsored by Fender® Musical Instruments. The playlist in Studio A included tracks that ranged from Bobby Darin’s “Mack the Knife,” to Cream’s “Sunshine of Your Love,” to Led Zeppelin’s “Whole Lotta Love,” to Norah Jones’ “Don’t Know Why,” and more. In Studio B, the Shure-

sponsored Jazz Lounge, attendees were treated to such classic jazz tracks as John Coltrane’s “My Favorite Things,” Charles Mingus’ “My Jelly Roll Soul,” and the Modern Jazz Quartet’s “Night in Tunisia.” Studio D, the Rhythm & Blues suite, was sponsored by Universal Audio. Their playlist included Albert King’s “Born Under a Bad Sign,” Ray Charles’ “What’d I Say,” Aretha Franklin’s “Respect,” Otis Redding’s “Sittin’ on the Dock of the Bay,” and much more. A VIP suite, sponsored by GenAudio, showcased GenAudio’s new AstoundStereoâ„¢ technology. Other sponsors of the event included West L.A. Music and Westlake Audio, JBL Professional, Digidesign, Sennheiser/Neumann, Neve, Korg and MIX/ReMix magazines.

“The volume of musical work that Ahmet and Nesuhi, Jerry, Arif, and Tom gave to the world is simply unsurpassed,” stated Maureen Droney, Sr. Executive Director of The Producers & Engineers Wing. “The P&E Wing is honored to be able to pay tribute to these great men, who not only helped shape the course of musical history but who personally influenced the P&E Wing’s members in very profound ways.”

Photo File: PE_RockMySoul1.JPG
Photo Caption: Pictured L-R: P&E Wing Co-chair Glenn Lorbecki, P&E Wing Sr. Executive Director Maureen Droney, honoree family member Joe Mardin, Event Co-chairs Nile Rodgers and Jimmy Douglass, honoree family members Cheryl Dowd, Dana Dowd and Paul Wexler, Recording Academy Chair Jimmy Jam, and Village Studios CEO Jeff Greenberg, at the P&E Wing’s recent event “Rock My Soul,” which honored the work of legendary music innovators Tom Dowd, Ahmet & Nesuhi Ertegun, Arif Mardin and Jerry Wexler. Photo Courtesy of The Recording Academy®/ ©2009. Photo by Rick Diamond.

Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit

Currently, 6,000 professionals comprise the Producers & Engineers Wing, which was established for producers, engineers, remixers, manufacturers, technologists, and other related creative and technical professionals in the recording community. This organized voice for the recording community addresses issues that affect the craft of recorded music, while ensuring its role in the development of new technologies, recording and mastering recommendations, and archiving and preservation initiatives. For more information, please visit

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