—VENUE/D-Show compatibility for Waves Hybrid and PuigChild plug-ins further emphasizes Waves Live Division’s dedicated offerings for the live sound market sectors —

TEL AVIV, ISRAEL, July 9, 2009 — Following closely on the announcement earlier this year that more than 50 of Waves’ most popular plug-ins are now compatible for use with Digidesign® D-Show Software and VENUE consoles, Waves Live Division announces VENUE Compatibility for its successful Hybrid Line (H-Comp Hybrid Compressor and H-Delay Hybrid Delay) and PuigChild Compressor/Limiter. Users now have the benefit of being able to use these invaluable studio tools in live sound applications. These TDM plug-ins can run on Digidesign VENUE consoles using the Waves D-Show Enabler. Current Waves TDM users can purchase the D-Show Enabler, making their Waves products fully VENUE-compatible. more

New Album Tracks Debuted at Private Listening Sessions Using Focal Twin6 Be Monitors and Dangerous D-Box

Edmeston, NY – July 9, 2009 - In a joint announcement today Focal Professional and Dangerous Music announced that Imogen Heap has just finished a preview tour of her upcoming album ‘Ellipse‘ at private listening sessions around the US using Focal Twin6 Be monitor speakers and the Dangerous D-Box for monitoring control. RCA Records organized the listening tour and worked with Dangerous Music and Focal to create the high-fidelity playback system that was used in hotel suites in major US cities to preview several tracks from Ms. Heap’s upcoming album.

The British singer-songwriter-producer and two-time Grammy nominee is set to release her much anticipated new solo album ‘Ellipse’ on August 25th 2009 on RCA Records. At the listening events Ms. Heap previewed tracks including “First Train Home,” “Wait It Out,” “Earth” and the piano song “Half Life” which ends the album ‘Ellipse’ as its final track.

Commenting on the listening events, Ms. Heap said, “I was a bit nervous as it was the first time I’d played ‘Ellipse’ outside of the studio environment. But as soon as I played it through the Dangerous Music and Focal speaker system I realized I had nothing to worry about.” more

Burbank, CA… Mojave Audio, a company founded by David Royer (known for his work with ribbon microphones), is pleased to announce it has selected Digital Revolution to represent the company’s sales efforts in several Midwestern, Western, and Southwestern territories. Well known for its sales representation and strategic consulting capabilities within the professional audio and MI (musical instrument) communities, Digital Revolution will be tasked with increasing Mojave Audio’s presence in the states of Colorado, Utah, Arizona, New Mexico, Kansas, Missouri, Iowa, Nebraska, Illinois, Wisconsin, and Minnesota. more

Miami, FL – July 2009… D.A.S. Audio, a leading manufacturer of loudspeaker systems, digital signal processing, and power amplification for live sound reinforcement, recently experienced overwhelmingly enthusiastic reception to the company’s demonstration room at the 2009 InfoComm convention, held this past June in Orlando, FL. Throughout the three exhibition days, the D.A.S. Audio demonstration room played host to a steady stream of AV system designers, consultants, and installers who were seeking to audition the sound systems in addition to obtaining answers to their questions from the D.A.S. Audio technical staff. more

— As this Las Vegas recording studio and record label was ready to wager $7 million to create the ultimate facility, Guitar Center Professional was with them all the way, from cables to consoles, making sure that nothing was left to chance —

WESTLAKE VILLAGE, CA, July 8, 2009 — Risk may be good business for Las Vegas, but it’s not good business for recording studios in today’s changing music industry environment. That’s why Odds On Records & Studios, this global entertainment Mecca’s latest attraction, partnered with Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, when the time came to build out the company’s new 12,000-square-foot, multi-room tracking and mixing facility in the heart of Vegas. Through GC Pro, Odds On Studios added a third SSL console, a new Matrix SuperAnalogue™ 16 channel, 40 input, line-level mixing console with built-in signal router and multi-layer workstation control. Additionally, Odds On purchased their second set of Allen Sides-designed Ocean Way Audio monitoring systems, ADAM S2.5A monitors, three new Apple Mac Pro computers and the latest upgrades to the studios’ Digidesign Pro Tools HD 3 systems. Finishing up the project was enough outboard gear, microphones, cabling and interfaces to outfit the spacious three rooms that co-designers, acoustician Carl Yanchar and studio manager Bobby Ferrari, envisioned as a studio that could offer world-class talent everything they could ever need in a recording environment. more

First Project in New Film Mixing Studio is Disney’s G-Force

Pictured (L-R) in Record One’s Studio A are Tommy Vicari, mixer; Tom Hardisty, second engineer; Vincent Cirilli, ProTools programmer; Robbie Boyo, music editor. Photo by David Goggin.

After five years of lock out by producer Dr. Dre, Ocean Way’s famed Record One studios have reopened. The first project was mixing Trevor Rabin’s score for Disney’s upcoming “G-Force,” about a specially trained squad of guinea pigs out to save the world from evil. Tommy Vicari and Steve Kempster were mix engineers.

The newly reopened Record One features a half-million dollar remodel and in Studio A, the installation of the largest and most sophisticated SSL Film console ever built, which was acquired from Todd-AO Scoring when it shut down operations in Studio City. Studio B features a large tracking room and an SSL custom 9080J console. All studios feature LCR custom-designed Ocean Way monitor systems. Additional amenities include private lounges, full gourmet kitchen/dining room and a sumptuous living room with classic furniture and artworks.

In addition to recent top sellers by Dr. Dre, Eminem and 50 Cent, some of the many historic albums recorded at Record One include Quincy Jones’ “Back on the Block.” Also completed at Record One was his follow-up,” Juke Joint,” and Michael Jackson’s “Bad,” “Dangerous,” and “HIStory,” all of which were recorded by Bruce Swedien and received Grammys for Best Engineered Album and sold in excess of 65 million records collectively.

For information about Ocean Way/Record One, visit: http://www.oceanwayrecording.com

Contact Kelly Erwin for all booking requests.
Email: Kelly@oceanwayrecording.com or call 323-467-9375.

––Sacramento Production Services Provides Crystal Clear Audio Front To Back With W8LCs––

Boonville, CA––A yearly touchstone for Sacramento Production Services, this year’s 3-day Sierra Nevada World Music Festival featured a plethora of roots music talent from around the globe including King Sunny Ade, Sly & Robbie, Femi Kuti (Nigerian superstar Fela Kuti’s oldest son), Junior Reid, The Heptones, The Abyssinians and many more.

The main challenge for the SACPS crew––Keith Wackford (System Tech & Monitors), Dwaine Wise (FOH) and Rich Stansby (Monitors & Stage Tech) was, in Keith’s words, “the large number of bands each day, most of them between 8 and 12-pieces, with only ten or fifteen minutes between sets and no sound checks. And because the expectations for audio quality are high and we’ve been doing this show successfully for 14 years, you have to have your A Game on and be well prepared.�

Designed with the help of Martin Audio’s Display software for maximum reach and coverage, the system consisted of 24 Martin W8LC Line array enclosures and 12 W8LS subwoofers.

Onstage, 12 Martin LE1500 monitors and eight Martin LE12j monitors, along with four W8Cs and S218 subs for side fills and two W8Cs for drum fills handled the monitoring. A Soundcraft MH4 console was used for FOH and a Yamaha LS7 for Monitor console. FOH processing included Drawmer compressors and noise gates, TC and Yamaha multi-effects processors.

Monitor processing consisted of Xilica DP4080A processors and XTA GQ600 Graphic EQs. Shure R series wireless mics and a Cable Factory 52-channel, 3-way transformer audio splitter completed the system.

With crowds for the main stage averaging around 3,500 and the distance to the back of the venue about 275 feet, Keith reports that “the mix was set a bit further out than we would have like, but the sound was crystal clear from front to back.�

Asked about the choice of Martin Audio, SACPS President Steve Palmer is typically straightforward: “Duh. Because it sounds great right out of the box.� Elaborating on that a bit, Keith adds, “People love Martin Audio speakers. They sound so warm and it’s easy to build a nice, decent-sounding mix. You don’t have to work very hard or do a lot of processing.

“It’s a very British sound,� Keith continues. “Martin Audio has a very unique low-mid sound to it. Many of the artists who were on stage with LE1500’s absolutely fell in love with the monitors. Our clients are always happy with the PA, which explains why we’ve been doing this for as many years as we have.�

For more about Martin Audio, please call 519.747.5853, email infona@martinaudio.com, or click to www.martin-audio.com.