Archive for May, 2009

DANLEY ADDS THREE-WAY SH-64 FOR HIGH-OUTPUT, NARROW COVERAGE APPLICATIONS

sh_64.JPGGAINESVILLE, GEORGIA – MAY 2009: Danley Sound Labs is introducing the new SH-64 loudspeaker at InfoComm in Orlando, Florida, June 17-19. Designed as a standalone system for the broad range of applications requiring high-SPL and low distortion, the SH-64 is a powerhouse three-way solution that incorporates nine drivers in a single horn enclosure.

Comprising four 15-inch woofers, four 4-inch mid-frequency drivers and a single more

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SENNHEISER DANCES WITH THE STARS

adelman_salisbury.JPGLOS ANGELES, CALIFORNIA – MAY 2009: ABC’s “Dancing with the Stars” continues to be a ratings juggernaut, pulling in 22.5 million viewers for the premier episode of the reality show’s eighth season on March 9, a seven percent increase over the previous season’s opener in September 2008. This season the show has made a number of refinements to its impressive complement of Sennheiser equipment, with production mixer Evan Adelman adding eleven MKH 8000 series condensers for coverage of the eighteen-piece orchestra. Two of the new crystallized SKM 5200 RF handheld microphones have also been added for use by the show’s co-host and guest performers.

Adelman has added a mix of MKH 8040 cardioid and MKH 8050 super-cardioid condenser mics for the current season. “I started using them on the woodwinds and on both acoustic and electric guitar. The others are on percussion and drum overheads,” he explains. “They’re really important on the reeds. These people go from flute to piccolo to baritone saxophone and everything in between – sometimes in the same song.”

“They’re very natural,” he remarks, “very clean sounding microphones with a natural warmth to them. They just sound a little more real. And when the musician gets close to it, it sounds just as good as when they’re a foot away.”

There’s more to the MKH 8000 series than great audio, Adelman continues. “One thing I like about them, aside from their sound, is that there are so many accessories available for them. For example, for television we’re supposed to be invisible. You can separate the head from the preamplifier. I did that with the drum overheads and put them on shock mounts, so they’re a little less obtrusive visually.”

Adelman adopted Sennheiser wireless and wired microphones last year across the board for the show, which made its U.S. debut in June 2005 and is produced at CBS Television City in Hollywood. The equipment, supplied by Burbank-based Soundtronics, includes SKM 5200 RF handheld microphones outfitted with MD 5002 and MD 5235 capsules for the co-hosts and guest artists, MKE Platinum lavalier mics and SK 5012 or SK 5212 G2 wireless transmitters for contestants and judges, plus instrument mics and HD 25 headphones for the orchestra members.

For the latest series of the U.S. version of the BBC Worldwide international franchise, which has now been sold to 38 countries and has become the world’s most popular TV program of any genre, show producers added two crystallized Elements versions of the SKM 5200 handheld RF vocal mics. “Our host, Samantha Harris, uses one all the time,” says Adelman. “The other is for special guests. Etta James recently used it.”

Sennheiser’s Crystal Customization Service created the special microphones, which are custom decorated with high-quality crystals. “Sennheiser has done a very nice job,” he says. “It worried me, because sometimes these thing can look cheesy and they can be fragile, and these are neither. I don’t know how they attach the crystals, but they’re bulletproof! And they look great.”

According to Adelman, performers visiting the show are always offered SKM 5200 handheld wireless microphones outfitted with MD 5235 heads. Musical guests on the show this season have included Jewel, Big Bad Voodoo Daddy, Boys II Men, Kevin Rudolph, Rascal Flatts and Adele, who brought along her own Neumann KMS 105-S vocal mic, he reports.

“Dancing With the Stars” pairs celebrities from all walks of life with professional dancers who must teach the stars dance sequences in specific styles, with the lowest scoring pair eliminated each week. This season’s roster of celebrities has included the Go Go’s singer Belinda Carlisle, actress Denise Richards, reality TV star/model Holly Madison, Apple co-founder Steve Wozniak, comedian David Alan Grier, “Jackass” / “Wildboyz” star Steve-O, retired footballer Lawrence Taylor, Olympic gymnast Shawn Johnson, rapper Lil’ Kim, actor Gilles Marini, rodeo champion Ty Murray, TV personality Melissa Rycroft, and country music artist Chuck Wicks.

ABOUT SENNHEISER ELECTRONIC CORPORATION 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.

PHOTO CAPTION Dancing with the Stars production engineer, Evan Adelman (seated) and Sennheiser’s western regional sales manager, Thom Salisbury, find a moment to take their eyes off the action-packed “Dancing with the Stars” set and face the camera. This year, Adelman added eleven Sennheiser MKH 8000s and two crystallized SKM 5200s to the show’s collection of Sennheiser wired and wireless mics.

For more information, please visit www.sennheiserusa.com

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FROM BROADCAST STEREO TO 5.1 FOR HD WITH SOUNDFIELD’S UPM-1 • First Stereo-to-5.1 Converters Shipping Internationally

upm_1.JPGLAS VEGAS, NEVADA – MAY 2009: SoundField, the UK-based manufacturer and supplier of multi-capsule mic systems for stereo and surround audio capture in the broadcast and audio recording markets, has begun shipping the first quantities of its latest product, the UPM-1 stereo-to-5.1 converter, to satisfy international pre-orders.

Aimed at the broadcast market, the UPM-1 is a 19-inch rack processor designed to create 5.1 content from old program material that only has a stereo soundtrack. Such ‘legacy’ programming is a problem for companies broadcasting in high-definition with 5.1 surround audio, because listeners find it distracting when modern HD shows are broadcast in 5.1 surround and then the audio narrows to a very ‘flat-sounding’ two channels for older material. This kind of distracting switch can occur even within one show. All the modern content in an HD sports show will be in 5.1, but older clips of past sporting events usually have only a stereo soundtrack. To modern HD broadcasters, this kind of repeated expansion and contraction of the audio soundscape is unacceptable. The UPM-1 provides a fast, easy-to-use solution.

The UPM-1 distinguishes itself from other available stereo-to-surround processes in several ways. It works not by adding reverb or using phase shifts to generate new material for the rear channels in a 5.1 soundscape. In fact, the UPM-1 adds nothing ‘new’ to the audio at all. All of the material in the 5.1 mix that appears at the processor’s outputs is derived from spatial information present in the original stereo signal. What’s more, the UPM-1′s processing is adaptive, changing with the input signal, rather than remaining constant irrespective of input.

The UPM-1 generates 5.1 from two channels by analyzing the original stereo audio using a patented algorithm that separates the audio into its so-called Direct and Ambient components. The former encompasses the ‘dryer,’ less reverberant components in the original sound (for example those elements that would have been close to the microphone when the audio was recorded), while the latter refers to the more reverberant components (like those sound sources that would have been further away at the time of recording). These elements can then be processed separately and routed in different proportions to the 5.1 mix if required, using the UPM-1′s simple front-panel rotary controls. In addition to discrete controls for the input level and individual 5.1 output channels, the level of the direct sound component in the original signal may be adjusted independently from that of the Ambient sound in the rear channels, and the Ambient component in the front three channels. The UPM-1 also offers control over the perceived width of the front three channels, and over whether the material appearing at the front center of the 5.1 soundscape will be routed only to the center channel or equally to the left and right channels (‘phantom center’).

To take a practical example, if an archive clip of a sports broadcast in stereo is put through the UPM-1, it will be possible to alter the level of the acoustically dry commentary found in the phantom center of the stereo mix without affecting the reverberant crowd ambience. Similarly, sending some of the reverberant crowd noise to the rear channels of the 5.1 mix is possible without also routing the sound of the ball being kicked on the pitch or the voice of the commentator to the surround speakers.

“There have been solutions for broadcasters who want to use archive stereo material on 5.1 HD transmissions before,” comments Ken Giles, managing director of SoundField, “but the UPM-1 really has something to offer broadcasters in terms of its unique approach, operational speed and simplicity. You plug it in, put stereo into it, and immediately you have broadcast-ready digital 5.1 audio that still sounds like the original signal, not swamped with extra reverb and processing. We’re certain this ease of use has been a key factor in the high level of interest and the healthy pre-orders the UPM-1 has generated.”

The first UPM-1s began shipping from SoundField’s head office in early May, following pre-orders to Canada, the USA, Germany, Scandinavia, Italy, and within the UK, to the international satellite broadcaster Sky.

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.

www.transaudiogroup.com

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IDOL SHINES WITH SENNHEISER CHROME WIRELESS MICS

american_idol_2009.JPGHOLLYWOOD, CALIFORNIA – MAY 2009: Now in its eighth season, “American Idol” continues its domination of the prime time television ratings with millions of fans across the country tuning in to FOX every Tuesday and Wednesday night to witness the fate of their favorite singing contestants. Show producers made a few changes to keep things fresh for performers and viewers alike this season, but there was only one change made to the Sennheiser microphones that cover the band and the singers – the usual black finish SKM 5200 handheld wireless vocal mics were replaced by new chrome-plated models.

“The show producers like the way the chrome mics look,” explains the show’s mixer, Randy Faustino. “But they’re the same mic.” Faustino has been using the SKM 5200 RF handheld in combination with the MD 5235 dynamic capsule ever since Sennheiser introduced it. Along with fellow television sound mixers Gerald “Butch” McKarge and J. Mark King he established Creative Sound Solutions in 2007 and the trio have since worked with Sennheiser mics on a variety of shows, including “The Next Great American Band,” “Rock Star” and “Rock The Cradle!” After using the SKM 5200/MD 5235 combination on FOX’s “Don’t Forget the Lyrics,” Faustino adopted it for “American Idol” in 2008. “I love that mic,” he enthuses, “and the continual support I get from Dawn Birr, Sennheiser’s product manager for professional products in Old Lyme and Thom Salisbury, their western regional sales manager located in Los Angeles. Their quick response time and technical input really takes some of the pressure off.”

The Sennheiser RF vocal mics are very forgiving of the contestants, many of whom have not yet had an opportunity to perfect their technique, Faustino points out. “I’ve worked with people like Jeffrey Osborne, James Ingram, Patti Austin, Whitney Houston and Luther Vandross; people that have incredible mic technique. But overall the SKM 5200 is a really good mic, and it works for the contestants. They don’t have great mic technique, but they’re learning. If you go back to the first shows, you’ll notice they get better as the weeks progress. Plus, they get notes from us – ‘hey, pull back a little when you go into that scream!’”

“From a mixer’s perspective, the vocal mic is a dream to work with because of its inherent warmth and presence,” he continues. “My experience with Sennheiser microphones is that they sound really good out of the box, which is rare. In live work, as opposed to studio recording, it’s often necessary to apply generous amounts of EQ in order to overcome the stage environment. “With these microphones you end up doing a lot less EQ and get a really nice sound.”

Faustino uses a mix of Sennheiser evolution 600 and 900 series mics on the show’s backing band, which is led by former Whitney Houston touring musical director Rickey Minor. Drum mics include an e 602 II on the kick and e 604s on the toms, with e 914 condensers on overheads and hi-hat. Guitar cabinets are miked with e 906 dynamic cardioids. Backing vocals are handled by wired e 935s, a model that Faustino also favors for his talkback mic. “You can just plug a 935 into a console and go, wow, that sounds good already,” he says. “You start doing a little bit of EQ and you can really sweeten it up.”

With the visual appeal being as important to show producers as the audio quality, Sennheiser vocal mics, especially the wireless handhelds, have a further advantage, he adds. “You’ll notice we don’t use the windscreen, but we don’t have any problems with popping. We love that!”

ABOUT SENNHEISER ELECTRONIC CORPORATION 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.

PHOTO CAPTION What becomes an Idol? Some would say Adam Lambert has it all… looks, swagger, style, and consistently awesome performances delivered through a chrome Sennheiser SKM 5200 wireless microphone with the dynamic MD 5235 capsule. PHOTO CREDIT: Getty Images

For more information, please visit www.sennheiserusa.com

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DANLEY TAKES THE GH-60 GENESIS HORN TO INFOCOMM

genesis_horn.JPGGAINESVILLE, GEORGIA: The GH-60 Genesis Horn from Danley Sound Labs will make its InfoComm debut in Orlando, Florida, June 17-19. The company’s response to the limitations of the line array incorporates three of Danley Sound Labs’ patent pending technologies – Synergy Horn, Paraline and Shaded Amplitude Lens – that yield one of the most significant paradigm shifts in loudspeaker history.

The line array concept suffers from two major drawbacks: destructive self-interference and uneven pattern control, especially in smaller units at low frequencies. The combination of Danley’s Synergy Horn, Paraline and Shaded Amplitude Lens technologies enables a single Genesis Horn to supply even coverage out to several hundred feet, whereas it requires multiple line array cabinets to produce performance anywhere close. This is accomplished as Shaded Amplitude Lens Technology produces as much as 20 dB of gain out of a single cabinet, compared to the more typical 6 dB of gain generated by all other discrete cabinet designs – even those deemed line array cabinets.

The Genesis Horn is a true three-way, full-range horn (50-60 Hz depending on array configuration) that offers a horizontal dispersion of 60 degrees, seamlessly expandable to 120 degrees with the addition of a second unit. Each of the cabinet’s eighteen drivers is positioned less than one-quarter-wavelength from the adjacent driver, as well as the drivers covering the adjacent pass band, resulting in seamless combining and proper horn loading in a single large-format horn. Danley’s Genesis Horn is available self-powered or externally powered and does not require a proprietary processor.

Synergy Horn technology was introduced by Danley Sound Labs three years ago and helped earn the company’s flagship SH-50 consistent rave reviews as the best loudspeaker many had ever heard, regardless of price or category.

Danley’s Paraline technology enables multiple high-frequency devices to sum together free of interference even at the extreme upper frequencies while properly loading the horn. As more output is needed additional Paraline lenses can be added.

The ability through Shaded Amplitude Lens technology to contain the energy to the desired listening plane and away from certain areas offers a huge benefit in outdoor concerts or festivals where noise ordinances are in effect. Shaded Amplitude Lens technology was a key technology in the recent, and hugely successful, Turner Field upgrade – home of the Atlanta Braves.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

Danley Sound Labs • www.danleysoundlabs.com

STOP BY AND SEE US AT INFOCOMM 2009 BOOTH #6741 – DEMO ROOM #W204C

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METRIC HALO’S NEW GEAR USED ON BLUMLEIN RECORDS NEW XYtri SURROUND MIC TECHNIQUE

blumlein_records.JPGHAMBURG, GERMANY – MAY 2009: The compact size of Metric Halo’s eight-channel Mobile I/O 2882+DSP and two-channel ULN-2+DSP interfaces has been of significant benefit to Andrew Levine, a location recording engineer based in Hamburg, Germany, who frequently uses public transportation, or even a bicycle, to travel to local jobs. Levine, who is founder of blumlein records, is making use of Metric Halo’s powerful new 2d upgrade to record, monitor and mix stereo and surround sound projects, several of which use his unique XYtri microphone setup.

Having been using Metric Halo equipment for about seven years, Levine, who owns a 2882+DSP, two ULN-2+DSP interfaces, and, as he can officially state as of the AES Munich introduction, two flagship ULN-8s, comments, “It’s essential to my work because I’m doing mobile recording, so my studio has to travel with me, usually on my back. For small jobs needing two to four channels in Hamburg, if the weather permits, I go there on a bike. Bigger jobs I travel to by train, with my gear in a metal box mounted on a sack barrow. So it’s environmentally friendly!”

Levine records everything from orchestras, small ensembles and vocal groups, to more avant-garde music, jazz and spoken word. Even on the occasion of his first professional location recording – of the Argentinean tango ensemble, Sexteto Mayor, in Berlin in 2003 – he not only tracked stereo (an AB pair before and above the musicians), but also two tracks of ambience from behind the stage. He says that he has always had the idea of recording in surround in the back of his mind, leading to the development of the XYtri mic setup.

His XYtri method not only solves the problem of reliably monitoring multichannel surround with headphones, but it also maps discretely to a 7.1 monitoring environment by extracting sum-and-difference information in the front-most channels, and folds down nicely to 5.1, stereo and directed mono, he says. “Most people doing location work don’t have a separate room where they can set up a monitoring system, and I can’t lug around that much stuff. So I was thinking of what I can do to make surround recordings that I can monitor with more confidence. I thought, maybe I could have a Decca tree but using three 45-degree XY pairs. You have three XY perspectives, and you also have these runtime stereophonic perspectives, one facing frontal left, one frontal right.”

He continues, “This is where the Metric Halo interface and the 2d mixer come in. It’s so flexible to set up a matrix while you’re auditioning stuff, even if you do it from scratch, and also while you do a down mix. While you’re setting up or recording you can monitor each microphone pair separately. This way you can listen to all the different angles and you know that every angle is okay, which you can’t do for setups that are not based entirely on traditional stereophonic configurations.”

The improved, flexible routing matrix functionality in the new 2d upgrade also allows a stereo down mix to be generated and recorded alongside the individual mic inputs, he says, although sometimes a little rebalancing is required after the fact. “I use Metric Halo’s SpectraFoo [analysis software] as an extra aid. There are some things like power balance that you can’t judge reliably with headphones – really small things where I pull down one side by a decibel or half a decibel in the studio. But on more than half of the recordings that I do, I already have the stereo mix finished at the end of the performance.”

He adds, “Even if I tweak the mix at the beginning, the only thing I have to do, while I’m tearing down after the concert has finished, is bounce the first few minutes with the settings I established after the start of the concert. Then I just splice that together with the rest of the recording. So 2d has been an amazing time saver for me.”

Symmetry is very important to his recording technique, says Levine, which aids the surround sound mix. “If I have a mic thirty degrees on the left I might have an equidistant spot mic thirty degrees on the right side of the axis. So the positions and runtime delays are symmetrical to the central setup. That enables me to usually do orchestral recordings even of big works with no more than eight microphones. If the acoustic space is less than ideal I feed the back facing pair of microphones on the left and right of the XYtri to Altiverb and generate a very nice reverb to fill in the back.”

The routing matrix within the Metric Halo software additionally streamlines the workflow when Levine brings the recordings back to his 5.1 mix room, which he plans to upgrade to 7.1 shortly. “The monitor controller within Metric Halo maps my analog line-level outputs onto the physical studio layout, controlling inter-channel gain with 0.5 dB accuracy and all DSP-processing occurs with nearly no latency. It’s very, very easy to use,” he says. “I have templates to do mixes from the XYtri to stereo or 5.1 or quadraphonic. If I place the XYtri setup inside a curved ensemble, I can then unfold the soundstage then pull it out, and this maps into a 7.0 or 7.1 setup.”

Levine believes that Metric Halo’s level of support may be unique. “I think it’s the only company with support that goes back so far and so deep,” Levine adds. “They came out with the 2d card that you can put into a box that’s seven years old and improves it. No one else does that. It’s amazing!”

Recalling his initial experiences when editing a recording of Debussy’s 24 Préludes for piano after receiving his 2d-enabled ULN-8s at the end of 2006, he says, “I always mark the beginning and ends of recordings. The end is always the point where I can’t hear any sound anymore. It’s gone beyond the noise floor. Suddenly I noticed I was able to hear four more seconds beyond that. I thought I’d made a mistake, but it was the same for all the takes. Stuff came out of the noise floor like Atlantis!”

ABOUT METRIC HALO 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.

PHOTO CAPTION Andrew Levine, a Hamburg, Germany-based location recording engineer and beta tester for the new Metric Halo ULN-2+DSP has successfully used MH gear for years to record stereo mixes, surround sound and his unique new XYtri microphone setup.

www.mhlabs.com

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ASHLY INTRODUCES TWO NEW PROTEA SPEAKER PROCESSORS AT INFOCOMM 2009

protea_processors.JPGWEBSTER, NEW YORK – MAY 2009: Ashly Audio, Inc. is introducing two new speaker processors for live sound and fixed installation applications to its line of Protea DSP products at InfoComm in Orlando, Florida, June 17-19. The Protea 4.8SP four-input/eight-output and Protea 3.6SP three-input/six-output 1RU digital signal processors offer an extremely intuitive user interface, plus PC control software, and comprehensive DSP, including crossover, equalization, delay and limiter functions.

Gain, delay and six filters (each a choice of parametric, low or high-shelf) may be applied to every input, each of which employs 24-bit, 48 kHz delta-sigma A/D converters with 128x over sampling. Outputs may be assigned from one or a combination of inputs. Butterworth, Bessel and Linkwitz-Riley crossover filters with up to 48 dB/octave slopes are available on the outputs, along with four parametric, low or high-shelf filters plus compressor/limiters to control feedback problems. Time delay adjustments, output gain and polarity reverse may also be applied to the outputs, which include limiters for speaker protection.

Ashly’s Protea Software Suite is provided for remote PC control via USB (one is located on the front panel and another on the rear, and a six-foot cable is provided) or RS-232 port. The software provides a very intuitive visual representation of the audio routing and control process as well as greater preset capacity. Both units store up to thirty presets, which are snapshots of all current settings. Existing .pcc files from previous Ashly units such as the Protea 4.24C may be loaded into the new units.

Front panel buttons on both units provide direct control of all audio functions and system tools without the need to access sub-menus. A backlit, two-line, twenty-character LCD displays all channel and function settings.

Inputs and outputs are balanced and on XLR connectors. There is front panel metering of all individual inputs and outputs.

ABOUT ASHLY AUDIO INC. With over a thirty-five year history, Ashly Audio Inc. is recognized as a world leader in designing and manufacturing quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets.

STOP BY AND SEE US AT INFOCOMM 2009 BOOTH #6761

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SAVANNAH COLLEGE OF ART AND DESIGN TAKES A GIANT STEP FORWARD WITH LECTROSONICS

lectro_damski_hi.jpgSavannah, GA – May 2009… With more degree programs and specializations than any other art and design university in the United States, the Savannah College of Art and Design (SCAD) encompasses a dedicated program for sound design students that includes opportunities to work with dialog, sound effects, and Foley in a setting that incorporates many of the latest technological advancements. With student films approaching an astonishing 40 projects in a single quarter, the school’s equipment receives heavy use. While capturing location sound used to be an arduous chore with their antiquated equipment, this is no longer the case—thanks to new wireless technology from Lectrosonics. more

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Will.i.am Masters Black Eyed Peas at Bernie Grundman’s

New Album The E.N.D. Mastered by Chris Bellman

will.i.am
Pictured (L-R) during mastering sessions at Bernie Grundman Mastering are Dante Santiago, A&R creative executive producer; will.i.am, artist/executive producer; Dylan “3D” Dresdow, mixer; Padraic “Padlock”Kerin, recording engineer; Chris Bellman, mastering engineer. Photo by David Goggin.

Renowned rapper/producer will.i.am booked Bernie Grundman Mastering for sessions with mastering engineer Chris Bellman to finalize the new Black Eyed Peas album for manufacturing and distribution. The Interscope album, The E.N.D. (Energy Never Dies), is set for June 9 release on the Interscope label.

Will.i.am rose to fame as frontman and founder of the hit rap group The Black Eyed Peas, with pop singer Fergie, and rappers Taboo and apl.de.ap. After the 2008 U.S. presidential election, will.i.am released “It’s a New Day.” The video depicts historical events that led to the election of the first African-American President of the United States and features celebrities such as Fergie, Olivia Wilde, Kanye West, Harold Perrineau, Kevin Bacon and his wife Kyra Sedgwick. It first debuted on The Oprah Winfrey Show, and appears on the 2009 compilation album, Change is Now: Renewing America’s Promise.

In honor of the inauguration of Barack Obama as President of the United States, will.i.am collaborated with producer David Foster on the patriotic song “America’s Song”, with contributing vocals from Seal, Bono, Mary J. Blige, and Faith Hill.

In the just-released film X-Men Origins: Wolverine, will.i.am plays Wraith, a teleporter who befriends Wolverine (Hugh Jackman) during a mutant military mission to Africa. Years later, Wolverine tracks down his pal at a nondescript boxing gym in Las Vegas and the two take off on a fact-finding adventure.

“Boom Boom Pow,” the first single from the new Black Eyed Peas album, is now available. For more information about the The E.N.D.,
visit: http://www.dipdive.com

For info about Bernie Grundman Mastering, visit the NEW WEBSITE:
http://www.berniegrundmanmastering.com

EASTWEST HEATS THINGS UP WITH ITS “BUY ONE GET ONE FREE� WORLDWIDE PROMOTION OF PLAY PRODUCTS

HOLLYWOOD — Summer is coming and EASTWEST is heating things up by offering a Buy One Get One Free Promotion for its top-selling PLAY-powered products. Included in this offer are some of its most popular PLAY-powered products, such as Quantum Leap SILK, EASTWEST/QUANTUM LEAP Symphonic Choirs PLAY Edition, EASTWEST/QUANTUM LEAP Symphonic Orchestra PLAY Edition, EASTWEST FAB FOUR and QUANTUM LEAP Goliath. more

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