Archive for July 23rd, 2009
MELVILLE, NY, July 22, 2009 â€” Marshall Amplification announces that it was recently chosen as an equipment sponsor for the 2009 Florida GRAMMYÂ® Showcase held in Miami Beach, Florida. The distinctive sounds of Marshall amps were heard throughout the event, which consisted of live performances from six unsigned acts selected from hundreds of entries. Miami-based bands ArtOfficial and Awesome New Republic took home grand prize and runner-up honors, respectively.
This yearâ€™s Florida GRAMMY Showcase was part of the opening night of the 2009 Florida Music Festival and Conference, which was hosted by Mel Taylor of Orlandoâ€™s rock station WJRR and also featured a performance by DJ John Debo.
NEW YORK, NEW YORK – JULY 2009: Since opening Great City Productions in the Chelsea district of Manhattan in 2003, owner Britt Myers is constantly busy. Myers and Ian Stynes split – or rather double up – the role of chief engineer and tackle projects that range from indie rock records to TV spots with the support of an accomplished team of freelance engineers and composers. Until recently, Myers felt obligated, not only to work through the weekend but, to burn precious time testing mixes on every sound system he could get his hands on. But with the purchase of two Klein + Hummel 5.1 active monitoring systems, which translate beautifully, Myers has reduced his stress level.
Myers received a tip from mentor Harvey Goldberg, accomplished producer (Soft Cell, Ramones) and long-standing mix engineer for the Late Show with David Letterman. “He had been using the same monitors I was using for a long time and was elated after having made the switch to Klein + Hummels,” recounted Myers. “I was just on the cusp of upgrading studio A to surround sound and thought they might be worth checking out. They sounded nice, but pretty much what I expected from very high-end reference monitors – a lot of detail and a neutral, controlled sound.”
He recognized that the Klein + Hummels were a significant step up from what he was using and ordered three O 300s for left, center, and right along with two O 110s for the rears. To wow clients and, truth be told, for some convenience, Myers placed the middle O 300 on a motorized stand. It ducks out of the way for tracking but returns for mixing, all with no unsightly lifting or placing. “The translatability of these speakers is ultimately what was so impressive,” said Myers. “I used to run around like crazy listening to various stereo systems, never fully trusting a mix. But I find that with the Klein + Hummels, I don’t sweat it. I know that if I get it sounding good in the studio, it will sound good no matter where I take it.”
Great City Productions continues to bustle, and Myers placed a second 5.1 set of Klein + Hummel monitors around an SSL Duality in the facility’s new second studio. The new monitors have helped him and Stynes finish a host of projects in less time and with greater assurance. Great City Productions and the new speakers are responsible for the score mix for Spike Lee’s latest creation, “Passing Strange,” Chairlift’s critically-acclaimed “Does You Inspire You,” and the Cartoon Network’s Adult Swim favorite “Superjail!” along with dozens of other projects.
KLEIN + HUMMEL Klein + Hummel is a Sennheiser Group company. For over 60 years, Klein + Hummel is revered in the professional audio industry for its advances in sound reinforcement combined with unparalleled quality and innovative solutions. Klein + Hummel products are distributed exclusively in the United States, Mexico, Central and South America, and the Caribbean by Sennheiser Electronic Corporation, located in Old Lyme, Connecticut.
The Sennheiser Group is also proudly affiliated with Neumann (Technical Grammy(r) award-winner) and the joint venture Sennheiser Communications (technologically advanced headsets for PCs, offices and call centers).
PHOTO CAPTION Two Klein + Hummel 5.1 monitoring systems transparently detail the variety of mixes created by Ian Stynes (engineer) (left) and owner/engineer, Britt Myers of Manhattan’s Great City Productions. (PHOTO CREDIT: Robert Wright)
Los Angeles, CA – July 2009â€¦ Known for her exceptional vocal ability, bold approach to music videos, and her ever-changing image, multiple GrammyÂ® Award winning singer/songwriter Christina Aguilera is one of the most successful recording artists of the decade, selling more than 42 million albums worldwide. Ms. Aguilera is, once again, in the studioâ€”working on tracks for her next album. Aguileraâ€™s personal studio is filled with a stunning assortment of world-class recording equipment and, like all artists, she and her creative staff rely on their reference monitors to make critical decisions about her recordings. To ensure that no detail is overlooked, Aguilera and her team look to Equator Audio Research for the accuracy so essential when making a high profile recording. more
This year, the iTunes Festival was relocated to The Roundhouse in North London with over 60 artists playing live at the free event, which runs throughout July.
The wide range of talent at iTunes includes commercial mainstays such as Oasis, Kasabian, Franz Ferdinand and Snow Patrol, acoustic performers like Newton Faulkner, quirky performance artists with wide dynamic ranges (like Bat for Lashesâ€™ Natasha Khan), and some good old fashioned R&B.
All of which added up to something of a Molotov cocktail for iTunes production manager Stuart Turvill, system tech Dave Roden, and the Martin Audio W8LM Mini Line Array System.
Turvill has chaperoned iTunesâ€™ steady growth to the Roundhouse, where he designed the audio infrastructure for the televised event, in collaboration with Martin Audioâ€™s Jim Cousins and Andy Pardoe, and consultant Nick Foots.
He was fortunate to have Dave Roden, the Stereophonicsâ€™ FOH engineer for 14 years, as his system tech, since Dave knows the Martin Audio signature sound inside out having worked with the full line array family on a succession of Stereos tours.
â€œWe have only generally used the Minis as side-hangs on tour,â€? Roden admits. â€œThis is the first time Iâ€™ve mixed through them as a main system, and I must say they are really versatile, and a miracle for the size of the box.â€?
Jim Cousins believes they are ideal for this kind of venue, and particularly appropriate for a TV shoot. â€œThey are physically unobtrusive, with good pattern control so they donâ€™t fire the room up too much.â€?
As for the speakers, there are ten W8LM per side with a W8LMD downfill, flown either side of the stage, and six more W8LMâ€™s (plus an W8LMD) rigged each side for outfills. Bass hangs consist of six WMX per side, hung equidistant behind the inner/outer arrays, and a further eight WS218Xâ€™s under the stage apron. The WMXâ€™s have been designed to deliver mid bass and thump straight to the chest while the 218â€™s provide the low bass rumble.
On stage there are 14 Martin Audio LE1500 floor monitors with Martin Audio W3â€™s for infill and W2â€™s on the VIP area. Martin Audio W2/W3 and Blackline S18 subs are used for drum fills.
Monitor engineer Will King added, â€œThe LE1500â€™s are pretty awesome, some of the best wedge monitors Iâ€™ve heard. Everyone has commented on how good they sound, though Iâ€™d like to think some of that because of me!â€?
The FOH system was set up using DISPLAY, Martin Audioâ€™s predictive software, processed by XTA DP226â€™s in the rack and two XTA 448s at FOH, running AudioCore.
â€œThis venue is in the round so you have a resonant frequency of 121Hz which shows up at 125Hz plus its relative harmonics,â€? notes Roden. â€œThat resonance really lingers and all you can do is compensate for it in the system EQ, to save visiting engineers from hacking it out on their GEQ’s. But in essence, itâ€™s the nature of the room and the system has actually dealt with it extremely well because itâ€™s such a versatile box.â€?
As every show is recorded for television broadcast, stage equipment needs to be discreet and not interfere with sightlines, so the hangs are set wide and trimmed high. â€œEverything is dictated by the iTunes set design,â€? says Stuart Turvill.
But for Roden, the event is just a blast, and not only for the chance to work with his favorite PA system. â€œI wanted to do this because it was an opportunity to work in a different role from my usual one, alongside a lot of people I already know and respect, and meet new colleagues in the bargain. After all, living in Wales I donâ€™t get to network a lot in London!â€?
For more information, please call 519.747.5853, email firstname.lastname@example.org, or visit www.martin-audio.com.
The Soundcraft Vi4 has already shown its versatility and power for Camp Digital remote recording projects including the Gospel Music Associationâ€™s Dove Awards, Gospel Dream and the Country Music Associationâ€™s Fan Fest.
NASHVILLE, Tennessee â€” What sets Camp Digitalâ€™s new Journey HD truck apart from other high-definition video/multichannel audio remote vehicles is its emphasis on sound quality and functionality. With a target client base of music and entertainment productions, audio is a high priority in the Nashville, Tennessee-based truckâ€™s technology complement. And at the heart of that is the Soundcraft Vi4 digital live sound mixing console, the latest addition to Soundcraftâ€™s highly successful Vi Series of digital live sound consoles.
â€œThere was a niche we saw developing in the entertainment market: the need for HD video coupled with high-resolution, multichannel audio recording in a single package at a price that was affordable,â€? explains Tom Gregory, Vice President of Business Development for Camp Digital. “A lot of companies are loading up their HD trucks so they can do any kind of work, and obviously you pay for that whether or not you use it — when you’re in one of those trucks you see a lot of equipment thatâ€™s not even turned on. The vast majority of the work we do is music and entertainment, so we wanted to build a truck that was more in the budget range of a flight pack and that would fill a gap in the marketplace between a $30,000-a-day 53-foot HD production truck and a flight pack.”
Thatâ€™s precisely what they accomplished with the 36-foot Journey HD truck, which was commissioned last December. Its video technology menu is formidable, including Sony HDC1500L cameras, Fujinon lenses, Sony HVR1500a VTRs and an Echolab Overture 2MD multi-definition switcher. But its audio capabilities are just as impressive â€“ the Soundcraft Vi4 digital audio console is coupled with a 64-track Pro Tools HD system and a Harris Panacea 8×8 digital AV router. â€œThe Soundcraft Vi4 is the keystone to the Journey HDâ€™s audio design,â€? Gregory explains. â€œIt has a small footprint, which lets us put a lot of power into a smaller space.â€? In just under 1.5m/5 feet of length, that power includes access to 72 inputs on 24 faders, with a total of 35 output busses available for use as masters, groups, auxes or matrices. And the features of the larger Soundcraft Vi6, such as the highly acclaimed Vistonicsâ„¢ II touch-screen user interface, Soundcraft FaderGlowâ„¢ fader function display and the unequalled audio quality, are all present on the Vi4.
Gregory says that the Vi4 performed flawlessly at all of the major events that the Journey HD truck has been used for, including the Dove Awards show and the Gospel Dream event, as well as the show at Fuel nightclub that kicked off the CMA Fan Fest and featured country music stars Kelly Pickler, Jason Aldean and Brad Paisley that will be broadcast on the ABC network on August 31. â€œThese are all major broadcast events, and the engineers who recorded them are all A-game audio guys, and all of them have loved working with this console, praising its sound and its ergonomics,â€? says Gregory. â€œThey like the way it integrates with the stage box at shows, which makes connections solid and simple, and we had one engineer download the software so he could pre-assign all of his groups ahead of time and he saved tons of time on location. In fact, every time someone sits down at this console, they find something new and useful. Iâ€™d say this truck and this console have both found their niche with each other.â€?
The Soundcraft Vi4 offers all the functionality and facilities of the Soundcraft Vi6, but in a smaller, more compact footprint more suited for space-conscious applications such as theatres, OB vehicles, Houses of Worship and venues or clubs with space-limited mix positions.
For sound designer and FOH engineer Dag Stephen Solberg, a trip from one end of the musical spectrum to the other could be made in the company of one Soundcraft Vi6 digital audio mixing console.
Well, more than one, if you count the additional desks being used for monitoring and submixing tasks. But it is the impressive sound quality of Soundcraftâ€™s front of house console that made it first choice for Scandinaviaâ€™s largest outdoor pop concert, the VG-Lista Topp 20 in Oslo, as well as the epic outdoor production of â€˜Turandotâ€™ by Opera Ostfold, with nearly 450 performers.
Solberg took charge of FOH mixing duties at both events, working with one of Norwayâ€™s leading concert services companies Frontlite AS to overcome some significant concert sound challenges.
In Oslo, despite appalling weather, 90,000 people packed into the Radhusplassen for a free concert of the best pop music that Norway has to offer, including Eurovision winner Alexander Rybak, the countryâ€™s most popular live band BIG BANG, and the legendary A-Ha as headliners. Sponsored by the largest Norwegian newspaper, and broadcast live on NRK, the one-day event is staged in the centre of the city on a site bordered by the harbour as well as civic offices.
Although the VG20 concert is well-supported by the local administration, Frontliteâ€™s team canâ€™t let rip! At FOH, Solberg is limited to 103dB (weighted). He describes his objective at the desk as â€œtrying to make it sound fat so that you can feel the SPL without it tearing your head off!â€? His tools are a substantial and highly directive line array system, and a Soundcraft Vi6 handling 48 channels of digital audio.
â€œAlthough Iâ€™ve tried and liked all the other digital consoles, my first choice is the Vi6,â€? says Solberg. â€œIt is a third of the size of some alternatives, and perfect for a festival situation like this where we have visiting engineers. People find it really intuitive to use, and itâ€™s still possible for two engineers to work on the surface â€“ one can grab the band, the other the vocals. And it offers excellent automation.â€?
Solbergâ€™s colleague Espen Andersen works the monitor mixes from another Vi6 stage-side, a partnership that was repeated for the Ostfold Operaâ€™s season of â€˜Turandot.â€™ Staged in an old fort in Halden, near the Swedish border an hour from Oslo, this yearâ€™s production featured 350 people on stage, in addition to an 80-piece orchestra.
Once again serviced by Frontlite, one of the only companies in Norway capable of handling a production of this size, the FOH platform included a Soundcraft Vi6 delivering 96 inputs, and a Soundcraft Si3 as sub-mixer handling another 56 channels. Solberg mixed sub-groups of the orchestral string sections to the 96-input Vi6 monitor console.
â€œI must emphasise the sound quality of the Vi6,â€? says Solberg, â€œI believe it is one of the best-sounding boards on the market. Itâ€™s become my number one tool for mixing. This was my first chance to use the new Si3, and I was very impressed, both for its ease of use and for its audio performance.â€?
For this production of â€˜Turandot,â€™ Solberg and his team needed a large number of wireless channels. â€œIn Halden, there is a big problem with the availability of wireless frequencies because of the digital TV transmission. Bearing this in mind, I consulted with LydRommet, the Norwegian distributor of AKG, and we were able to specify the new AKG DMS-700 digital wireless system for the shows. With very little prep time, we were still able to get 44 wireless channels up and running satisfactorily in less than 30 minutes. I believe we were one of the first users in the world!â€?
In what seems to be a never-ending string of musical events and cultural celebrations coming out of India these days, emerges another festival; the â€˜Fete de la Musiqueâ€™ and yet again it was a SoundcraftÂ® Si3 digital mixing console at front of house that delivered an action-packed â€˜World Music Dayâ€™ with the â€˜Alliance Francaise de Delhiâ€™.
The festival was presented through the 64-input Si3 and other Harman products including a dbx 4800 system controller, JBL VRX932LA, SRX728S and SRX712M loudspeakers, and Crown I-Tech IT4000 amplifiers.
The event featured three groups, namely: Indian grunge band October; modern alternative band Poured on Ice; and Tarang, a musical ensemble conceived by leading Indian artists fusing Indian and Western classical music through instruments including the veena, sitar, mridangam, tabla, manjira and flute, drums, octopad, saxophone, piano and bass guitar.
Yogesh Dhawan, of Dhawan Electricals Pvt. Ltd piloted the Si3 at front of house: â€œI used about 32 channels on the board with all its four Lexicons and a lot of compressors.
â€œThe Si3â€™s GEQ was used for all the AUX’s and main PA. Iâ€™m happy to say that the GEQ on the Si3 has surpassed all other EQ’s and I will personally suggest that there is no need to use any outboard graphic EQ’s. The amount of headroom provided by the GEQ is excellent and the best part that I noticed after using the board is that unlike any other external GEQ there is no loss in quality of sound even after a number of frequencies have been cut to avoid feedback. Iâ€™m happy to say that one does not need to spend extra money in purchasing outboard equipment like GEQ’s, reverb units, compressors/limiters and gates after one has bought this mixer.â€?
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