Mixonline Briefing Room

Archive for March, 2009


warren_huart.JPGJESSUP, MARYLAND – MARCH 2009: Both engineer/producer Warren Huart and the popular group The Fray were no strangers to the great API sound when they purchased one of the first API 1608 small-frame analog consoles back in 2008 to record their second album entitled The Fray. This record has done nearly the impossible for most follow-ups: it went gold in five weeks and debuted number one on the Billboard record charts.

Originally from southeast England, recording engineer Warren Huart recorded The Frays record from top to bottom. He is currently producing and engineering the new Better Than Ezra album and has worked recently with Sony artists August Ana and Howie Day. Huart comments, “I came to this country in 1995 and in 1999 the band I was in recorded an album with the legendary engineer/producer Dave Jerden at his Eldorado Studios. I loved the sound he got from recording everything using his rack of sixteen API microphone pre-amp cards he had pulled out of a console. He’s known as an SSL guy, but he records everything though APIs.”

In 2000, Huart partnered up with Phil Jaurigui at Swing House Studios in Hollywood, California. They had another brand of console and, as finances permitted, they started adding modules and more outboard gear to build up the studio’s profile. Huart comments, “Our biggest step was to buy a real professional console. We realized it’s the only way to break out of the demo studio world. We found a 20-input, 8-bus, 16-monitor ’70s era API console and the differences have been enormous! There is a tremendous difference in sound between recording a kit of drums using a disparate collection of mic pre-amp modules, and recording the same kit using a console with its built-in pre-amps.”

On The Fray’s first album, Mike Flynn asked Huart to record drums on a song called “How To Save A Life.” That song went on to be a huge hit with millions of downloads to date. They used the little API at Swing House to record the drum tracks. The Frays subsequently asked Huart to put together a Pro Tools rig to take on the road to record demos in preparation for their second album. Huart continues, “Look, if we’re gonna do this, lets buy real pre-amps – not Mickey Mouse prosumer stuff – quality professional gear just in case you record something we’ll want to use for the record. So we bought four API 3124 units – 16-channels of mic pre-amps.”

When it came time to record the second album and after period of expensive and low productivity at a commercial studio in northern California, it seemed to make more economical sense to record at the band’s studio in Denver, Colorado. Huart goes on, “But their studio had no console and I had heard good things about the 1608 – that had been out for only a few weeks – from drummer Hunter Crowley. I had only one question: Does it sound like a classic API console? I mix hot. So when you peg the meters does it still sound great? Well it does and so it was an easy sale.”

Both Huart and the band considered buying a vintage model but as Huart says, “If we bought an old board, you’re going to put $20K into it to get it usable. With the API 1608, we’ve got a real recording console with real mic pres, real EQs, bussing, professional monitoring facilities at a really good price. We didn’t have cut off an arm or sell one of my kids to buy it. It sounds like my other API or any vintage API console.”

The actual process of recording The Fray using the 1608 went smoothly due to Huart’s clever use of the entire console. “The artist is happiest when everything is running as seamlessly as possible,” he continues, “so I used absolutely every part of that board. There was not a single piece of that console that wasn’t being used. We were patching all over the bloody place. I recorded from the direct outs to Pro Tools and I used the sixteen fader input channels to develop monitor mixes – which worked out well for the two producers, Mike Flynn and Aaron Johnson, to work freely on the monitor mixes. Headphone mixes, when tracking the band, were derived from the mic inputs. Those additional API 3124 units came in handy. I connected their outputs to the Echo Return inputs to mix microphones for top and bottom snare, toms and the front and back mics on guitar amps. I had thirty-two mic pre-amps running total and I had all the drum kit mics in front of me on the console where I love them.”

If there is one constant in the Warren Huart, The Fray and API universe, it’s writing and recording hit records.

ABOUT API AUDIO 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 Engineer/producer Warren Huart used the popular API 1608 console to record the Fray’s second album entitled The Fray that went gold in five weeks and debuted at number one on the Billboard record charts.

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beiseman_hi.jpgAtlanta, GA – March 2009… As Atlanta’s premier professional recording studio, ICON Studios attracts many of the top music artists on the charts today. With cutting edge facilities, including four studios, four lounges, two writing rooms with booths, and an executive conference room among its numerous offerings, it’s no wonder that top artists and producers such as Akon, Jazze Pha, Shawty Red, and DJ Khaled are among the many music industry notables who choose to craft their sound there. To ensure the best possible sound for their impressive roster of clients, ICON Studios recently invested in a new state-of-the-art monitoring system from Equator Audio Research. more

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JBL VERTEC® Line Array System Stars In India’s 54th IDEA Filmfare Awards With SOUND.COM

NORTHRIDGE, California – On February 28, 2009, SOUND.COM Pvt. Ltd. deployed a JBL VERTEC® line array system for the 54th IDEA Filmfare Awards at the Yash Raj Studios in Mumbai. This marks the second straight year in which SOUND.COM has provided the audio services for the Filmfare Awards, informally known as the “Oscars of Bollywood.�

One of the oldest and most prominent events in the Indian film industry, the Filmfare Awards brings out the biggest and brightest stars of Bollywood. Two such stars, actors Imran Khan and Ranbir Kapoor, hosted this year’s awards ceremony.

For the main PA system at this year’s event, SOUND.COM provided a total of 16 VERTEC VT4887 compact line array elements, arranged in left-right hangs of eight each, along with three VT4880 arrayable subwoofers on each side of the richly-decorated stage set. Additionally, JBL VRX932LA compact constant-curvature loudspeakers were in use as flown onstage side-fill arrays. JBL VRX915M stage monitors were used for the opening act, Farhan Akthar, while JBL SRX712M monitors provided all the backstage sound. SOUND.COM also utilized a Soundcraft Vi6 digital mixing console at the front of house position, its first use at a major awards function in India. BSS Audio AR133 and AR204 signal processors and AKG C451 and 414 microphones rounded out the system.331jbl_filmfareawards.jpg “For prestigious events of this type, our entire crew feels an immense amount of responsibility and pressure to exceed everyone’s expectations and raise the bar for audio system performance,“ said Warren D’Souza, owner of SOUND.COM. “As far as speaker systems go for televised awards shows, it’s no secret that VERTEC is the de facto standard system in use, from the Oscars to the GRAMMYs, so there was no need to reinvent the wheel in our choice of speakers. We were actually so delighted with the sound of our VT4887 system on this show that after the first night of rehearsals, we immediately placed an order for more cabinets.�

SOUND.COM system engineer Sunil Karanjikar was assisted by Yasin Shaikh, Ranjit Singh, Gilroy Valladares, Yash Panchal, and Siraj Khan on the event, which spanned six days including rehearsals with the talent and TV crew.

“The use of VERTEC line arrays by SOUND.COM for India’s Filmfare Awards exemplifies the popularity and suitability of VERTEC for this type of application in one of the world’s fastest-growing regions for live sound,� said David Scheirman, Vice President, Tour Sound, JBL Professional. “With SOUND.COM leading the way in providing premium audio services for regional televised live-entertainment productions, we appreciate the company’s continued support of JBL loudspeaker products.�

For more information on SOUND.COM, please visit

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Company’s Popular Virtual Instruments in One Cost-Effective Package

FRANKFURT, GERMANY, MARCH 31, 2009 — Music, TV, film and game composers will now have access to some of EASTWEST’s high-quality PLAY-powered virtual instruments all in one package with the Complete Composers Collection PLAY Edition. Complete Composers Collection PLAY Edition will be making its industry debut at Musikmesse 2009 (Hall 5.1, Walkway A, Stand 71). more


Company Simplifies Network Management and Streamlines Workflow of Pro64 Series

FRANKFURT, GERMANY, MARCH 31, 2009—Aviom (Musikmesse/Prolight+Sound Hall 8, Stand J41), exclusive developer of the world’s most powerful audio transport protocol, A-Net®, will be previewing its Pro64® Network Control Application at this year’s Musikmesse/Prolight+Sound, April 1-4. While the Pro64 Series is uniquely designed with a simple, front-panel user interface that makes it possible to design sophisticated networks without PC-based programming, the company is introducing a software control application this year for those users who desire centralized control and status monitoring. more

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New Marcus Theatres® UltraScreen® At Orland Park Cinema Sports JBL ScreenArray® And AE Series Loudspeaker System

LAS VEGAS, Nevada – Continuing the successful relationship between Marcus Theatres® and Harman cinema products, the Chicago suburb of Orland Park, Illinois recently celebrated the opening of a new 70-foot-wide UltraScreen® at the Orland Park Cinema. The Orland Park UltraScreen theater seats 400 and is Marcus Theatres’ 12th UltraScreen to date.

Supporting the picture displayed on the large screen at Orland Park is a state-of-the-art audio system, comprised of JBL ScreenArray® and AE Series loudspeakers and Crown Audio’s Digital B-Chain. Located behind the screen are three JBL ScreenArray 4632 3-way loudspeakers for screen channels, along with six 4642A subwoofers. Additionally, a total of eight AC2212/95 compact 2-way loudspeakers are mounted on the side walls (four per side), with an AM4315/95 3-way loudspeaker in each rear corner. The system is powered by Crown CTs amplifiers, loaded with DBC network digital audio modules.

“The system at the Orland Park UltraScreen has worked out great since opening in December 2008,� said Mark Collins, Director of Projection Technology, Marcus Theatres. “We have incorporated JBL and Crown components for similarly designed systems at other UltraScreen locations, and it has proven to be a successful model to follow. That said, as Harman products evolve, so will our systems, as exemplified by a new UltraScreen at the North Shore cinema in Wisconsin, which will include JBL’s new ScreenArray 4732 loudspeakers and Crown I-Tech HD amplifiers. We look forward to hearing the new system when the theater opens in mid-May.�

“The new UltraScreen at Orland Park not only exemplifies the outstanding performance of the Digital B-Chain technology, but also the ability of JBL loudspeakers across different product categories to work optimally together, in this case the ScreenArray and AE Series loudspeakers,� said Chuck Goodsell, Director of Cinema Marketing, JBL Professional.

For more information on Marcus Theatres, please visit

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riley_hi.jpgMiami, FL – March 2009 … As one of the world’s premier cruise line operators offering unique cruisetour vacations from both coasts of the United States, Alaska, Asia, Australia, Canada, Europe, South America, and New Zealand, Royal Caribbean International knows quite a bit about entertaining its passengers. With twenty ships ranging from 70,000 Gross Tonnes and carrying 1,900 passengers, up to ships that are 160,000 Gross Tonnes that carry 3,700 passengers, entertainment is, without question, Royal Caribbean’s business. The company uses a wide range of live sound reinforcement products to equip its Broadway-style theaters, lounges, piano bars, and other entertainment venues and recently began outfitting their entertainers with new wireless headset microphones from Da-Cappo, distributed throughout the Americas by Buena Park, CA-based Hosa Technology. more

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Nashville, Tennessee, March 31nashville-09-booth-low-res.jpg, 2009 -The AES Nashville Section, in conjunction with the international AES organization, held a two-day conference and gear expo on February 20-21, 2009, at Nashville’s legendary Musician’s Hall of Fame and Museum. The successful inaugural event focused on recording musicians, songwriters recording demos, and recording engineers working in personal production spaces. The 341 attendees came from 28 states in the U.S., Costa Rica, Canada, the U.K., and Germany.

Thirteen-time Grammy Award winning artist, label and studio owner, Ricky Skaggs gave the keynote address to set the tone for the event, reminding the audience that “it all comes back to the music.” Skaggs also set the stage for the parade of engineers, producers and other high-profile industry professionals serving as presenters, panelists and moderators for the various workshops. This group included Rich Adler, Tim Akers, Jeff Balding, Ben Blue, David Davidson, Tony Darren, Tommy Dorsey, and Casey Wood. Traveling to contribute to the conference were NY-based mastering engineer Alan Silverman, giving a Mastering 101 workshop, and CA-based engineers Tony Shepperd and Jeff Markham offering a ProTools 101 workshop. A sizeable student contingent (many from local schools as volunteer workers) was also in attendance

The conference was designed to give the recording and songwriting community access to the experience and knowledge of the AES and its affiliates, and to provide real-world insights into technology and techniques that can help attendees achieve professional results, even on shoestring budgets.

Beyond workshops, attendees could also browse the offerings of the sold-out ‘Expo’ portion of the conference, with gear, products and services demonstrated by ADK, AEA, Prodigy Engineering, Purple Audio, Quest Marketing, Raxxess, RMGI, Robert Wolf, Royer Labs, Rupert Neve Designs, Solid State Logic, Sonicraft A2DX Lab, Sony Pro Audio, Source Elements, Steinberg, Tannoy, TC Electronic, Genelec, The Recording Academy P&E Wing, Sennheiser USA and, the reception sponsor, Sweetwater Sound. AES President Jim Anderson and Executive Director Roger Furness were among the VIP guests.

“Whether a musician recording performances, a songwriter laying down demos or a professional engineer creating in his or her own production space, NRW+E provided insights and essential information geared toward boosting the careers of attendees,” said Nashville Section chair Mike Porter. “In addition to exhibits and product demos from leading manufacturers, workshops, and roundtable discussions, NRW+E provided attendees with an outstanding networking opportunity. Essentially, we introduced a mini-AES Convention targeted to a specific audience. We are looking forward to making this an annual event in Nashville.”

For additional information on The Nashville Recording Workshop + Expo or to view pictures, visit and for additional information on Audio Engineering Society (AES), Inc., visit

Caption: Ricky Skaggs gives the keynote address at the first Nashville Recording Workshop + Expo.
(Photo by Harry Butler; Nashville, TN)

Caption: Exhibitors and attendees partake in networking opportunities at the first Nashville Recording Workshop + Expo.
(Photo by Harry Butler; Nashville, TN)


ABOUT AUDIO ENGINEERING SOCIETY (AES), Inc – The Audio Engineering Society, now in its sixth decade, is the only professional society devoted exclusively to audio technology. Its membership of leading engineers, scientists and other authorities has increased dramatically throughout the world, greatly boosting the society’s stature and that of its members in a truly symbiotic relationship.


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PHOENIX, AZ, MARCH 31, 2009 – audioEngine, a post production facility with studios in New York and Phoenix, recently expanded its Phoenix facility with the addition of a new suite for composer Jason Camiolo. With the new space came new sound quality issues that audioEngine staff composer and producer Jason Camiolo needed to address in order to achieve consistent and balanced audio between the two locations. In order to solve such challenges, audioEngine turned to Auralex Acoustics to analyze and outfit the space with its best-selling acoustical treatment products. more

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Top Level Talent Working With Top Level Console for Creative Sessions

BEVERLEY HILLS, CA—When searching for that perfect combination of equipment to live within the space confines of a home creative environment, top engineer Oscar Ramirez, who has worked with Kanye West, P. Diddy and Aftermath Records, suggested a Solid State Logic AWS 900+ console to drive the resident Pro Tools® system for Christina Aguilera’s private studio. The AWS 900+ was the perfect console for the space confines of a private facility and for fulfilling the mission of creating finished tracks for future release. more

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