SAFETY HARBOR, FLORIDA: Without snow shovels and down jackets, Metric Halo is in the process of moving to the Tampa Bay area during the holiday break. A beautiful 10,000-square foot facility in Safety Harbor, Florida will serve as the company’s new management, manufacturing and research & development nerve center. Remarkably, every single member of the Metric Halo staff is moving with the company, which means no break in continuity creativity or sales for Metric Halo’s loyal users. Only the company’s address and phone number will change.

“After a lifetime of braving winter in New York, we’re done,” said Joe Buchalter, president of Metric Halo. “While I’m pretty sure that some of us will be back to the Northeast to visit friends and family, the operative word is ‘visit.’” Metric Halo is timing the move to minimize disruption. The office, shipping, and support departments more

NASHVILLE, TENNESSEE – DECEMBER 2011: The Country Music Television (CMT) Artists of the Year celebration honors five country music artists who stand at the top of the field with an evening of live music at Nashville’s Bridgestone Arena. This year, Rob Lowe hosted the proceedings, which included heartfelt performances by the five honorees: Taylor Swift, Jason Aldean, Lady Antebellum, Brad Paisley, and Kenny Chesney. As in the past, CMT hired Wireless First, a Clair Global Company to simultaneously provide live sound reinforcement and broadcast sound (the show aired in mid-December), along with RF equipment and expertise. In addition to the impactful Clair i3 line array system, which stays out of television sightlines, Clair Global brought two new products: a custom-built portable RF microphone podium and the CF 1090 Fractal Antenna. Both provided tangible benefits over existing technologies that allowed the crew to accomplish such more

Stand-Mounted StudioFoam Absorbers Offer Convenient, Portable Solution
ANAHEIM, CA, JANUARY 4, 2012 — Auralex Acoustics, Inc., the industry leader in innovative sound control solutions, officially introduces its new ProMAX Panels — stand-mounted, portable StudioFoam absorbers — at Winter NAMM 2012 (Hall A, Booth 6798).

Auralex’s new ProMAX panels are designed as a portable, lightweight, yet highly effective absorption treatment for such run-and-gun recording and performance applications as studio rentals, live events and temporary recording. They can be used in any location where mounting acoustical treatments to the wall are not possible or ideal.

The flexible absorption panels are simple to set up and transport and easily assembled and disassembled for convenient storage. Their lightweight and flexible design makes them ideal portable absorbers, as they can be moved easily and positioned to reduce audible reflections in any recording or listening environment.

Auralex ProMAX Panels can also be grouped together to form a portable vocal booth on the fly. They can also be positioned around a drum kit to “tune” room sounds in recordings and live performance venues. Able to be extended up to eight feet high, Auralex ProMAX Panels feature an adjustable contour for precision positioning.

“Based on the success of our MAX-Wall Mobile Acoustical Environment, we are proud to present this cost-effective portable absorption solution to the NAMM market,” says Eric Smith, founder and president of Auralex Acoustics. “As an extremely flexible acoustical solution, the ProMax is ideal for musicians and on-the-go recording applications.”

About Auralex Acoustics, Inc.
Located in Indianapolis, Auralex Acoustics was founded in 1977 with a mission to provide top-performing acoustical treatment products at the best value. Since then, thousands of satisfied Auralex customers have experienced improved acoustics, expert advice and exceptional customer service. Auralex products enjoy widespread use among prominent artists, producers, engineers, corporations, celebrities and government agencies.

Auralex Acoustics has become the industry leader in innovative sound control solutions and continues to enjoy rapid growth through an international network of authorized dealers. Visit the Auralex Web site at www.auralex.com. Auralex can be reached via email at auralexinfo@auralex.com or by calling 1-800-959-3343.

Top Drummer Uses British Audio Engineering Gear for Signature Sound

Pictured (L-R) are Matt Sorum and British Audio Engineering CEO Mark Loughman.

British Audio Engineering (BAE) will introduce the new Matt Sorum 312B microphone pre-amplifier at Winter NAMM. The 312B, based on the popular 312A model, carries the same excellent dynamic range, frequency response and noise performance the BAE 312 series is known for. The new Matt Sorum 312B features a modified gain structure that utilizes an alternative Jensen input transformer designed to complement louder sources before needing the pad.

Matt Sorum remarked, “l’ve always loved the 312A, but in certain situations I found them a little too hot. After talks with BAE, they came up with the solution, which I’m proud to say is now the Matt Sorum signature preamp.” Sorum is most famous for his seven-year stint in Guns N’ Roses (1990-1997) and supergroup Velvet Revolver (2002-present), which is comprised in part of former Guns N’ Roses members Duff McKagan (bass) and Slash (lead guitar).

Due to its high gain structure, the 312A occasionally required the pad to be used with louder sources, such as a hot microphone on drums. BAE designed an option, adding an alternative Jensen transformer to create the Matt Sorum 312B. The new model provides equal performance and 7dB less gain to assist recordings with a more adequate level for louder sources without losing the unique dynamic characteristics of the 312A. This allows engineers the option of owning the 312A as a pre-amp geared toward higher gain and the 312B for lower gain.

The 312B, as with the 312A, features the Avedis(r) 1122 Discrete Op-Amp with Jensen input and output transformers, which use direct-coupled circuitry with no capacitors in the signal path. The input impedance of the 312B has been enhanced to remain consistent, even after the pad is engaged, providing a steady load to the microphone. The characteristics of the 312B offer excellent dynamic range, frequency response, and headroom before clipping. The result is noise performance for a punchy sound that works well with a broad range of microphones.

The 312B comes in a 500 Series module format or as a fully loaded lunchbox. It includes a custom pull-on switch tailored to accentuate higher frequencies, a DI for instruments, a Phase Reverse switch, 48V for phantom power, and a PAD switch.

In 1999, BAE carved out a premium niche in the vintage Neve/API market as the first company to remanufacture the 1073 mic-pre/equalizer since its discontinuation by Neve in the 70s. After years of repurposing and racking up mic-pre’s and EQ from classic Neve and API consoles, BAE now faithfully recreates new versions using original sources, including Jensen transformers, Carnhill transformers, and Elma gold-plated switches from Switzerland.

“Our gear is all discrete and completely hand-wired,” explains Mark Loughman (pronounced Lofman), who after serving as chief engineer for many years is now CEO and owner of BAE. “The original Neve 1073 mic pre/EQs are known as the Holy Grail of outboard gear, but manufacturing was discontinued in the 70s. Eventually that supply has dried up, so we have gone to the original component suppliers to continue the legacy.”

To learn more about British Audio Engineering visit: http://baeaudio.com

Hear the entire line of British Audio Engineering gear at Winter NAMM Booth # 1769

About BAE
BAE (British Audio Engineering; formerly Brent Averill Enterprises) manufactures high-end microphone pre-amplifiers, equalizers, and compressors. Faithful to the designs and fabrication of vintage gear from the 60s and 70s, BAE uses the highest quality components from the original suppliers, such as Carnhill (previously St. Ives) and Jensen. All BAE products are entirely hand-wired and soldered using discrete electronics with no circuit boards. All products come with a full 1-year warranty, with a 5-year option.
BAE is not affiliated with Neve(r) or API(r)

NEW YORK: A two-year search for the ideal NYC location led producer/engineer Louis Benedetti to a former bank building on one of Soho’s chicest streets. A collaboration with a NY contractor resulted in a handsome, ingeniously designed studio with, when the dust settled, unanticipated isolation issues. A call to the Walters-Storyk Design Group provided invaluable design recommendations, which culminated in Thompson Studios the realization of a dream, and the introduction of a perfectly tuned and leak free recording option for local and international artists.

“The location we discovered has all the attributes for a successful studio,” Benedetti says. “Our initial design maximized the use of the space and took full advantage our primary window with an elegant in-studio glass placement program. Windows between our (2) primary control rooms and shared live room provide invaluable natural light and clear site lines between artists, producers and engineers. Unfortunately at the completion of construction we discovered a significant sound leakage issue.”

WSDG project manager Joshua Morris reports that our initial review of Thompson Studios revealed seriously compromised isolation issues between the live room; SSL Control A; and Neve Control B, all of which are structured around a common lounge. We also encountered leakage from Control room A into a neighboring space on the same floor. Studio C, a small writing/production room equipped with Pro Tools, Logic and Final Cut Pro; and the galley kitchen were unaffected by the isolation issues,” Morris says. “Our tests determined that, even though the control rooms were completely floated, room-within-room installations, and had been tuned with low frequency control treatments, the interior walls between control rooms A and B and the live room needed to be replaced. This complex design problem was resolved by removing the original walls, replacing them with non-acoustic walls and re-sealing them with a third fully treated wall. These corrective measures provide the boundary required to completely eliminate sound leakage. The entire complex now offers a fresh, open look and, exceedingly accurate sound translation,” Morris adds.

Thompson Studio A features an SSL 4000G Series console fitted with Automation and Total Recall completely recapped and restored by 81series.com; Pro Tools; Boxer T5 Main Monitors, coupled by Two Genelec 1094 Sub-Woofers, Yamaha NS-10s, Genelec 1031s and Auratone Speakers and a Studer 827 24 track tape recorder. An Iso booth and a substantial array of hand-picked analog outboard gear plus an impressive list of keyboards, synthesizers, instruments and microphones, make the room ideal for production, tracking, mixing, over-dubbing, film scoring and composition.

Equally well-suited for tracking, production and mixing, Studio B features a Neve 8108 console, (impeccably restored by 81series.com). In addition to Barefoot MM27 and Yamaha NS10 monitors, the room is outfitted with Pro Tools HD3 System, Logic, Cubase and an Iso Booth.

“Flexibility was a priority for this project.” John Storyk says. “Louis Benedetti has assembled a considerable collection of keyboards, synthesizers, analog and digital gear. Because he works on a wide range of projects, from jazz to rock, to movie sound tracks, he needed a studio that would function flawlessly for any type of artist. Thompson Street is one of NY’s coolest neighborhoods. This impressive space is situated in a rock solid building. Louis’s original design was extremely creative. By engaging sophisticated room tuning technology and resolving critical isolation issues, we’ve polished a true gem. Artists will come for the vibe and the quality of the rooms, and then take advantage of the surrounding clubs and restaurants to feed their creativity,” Storyk concludes.

“I’ve worked with many indie labels and artists, and have strong relationships with a number of European colleagues,” Benedetti says. “Our initial clients have been blown away by the accuracy, technical support and overall vibe of our new studios. We put all our experience into making this a very special place. In addition to John Storyk’s and Joshua Morris’s initiatives for resolving our accuracy and isolation issues, WSDG interior design partner Beth Walters made a number of extremely helpful recommendations which improved the look and feel of the facility. My Swiss-based associate Robert Kostadinovich and I are confident that we will attract a wide range of clients. Recording artists, engineers and producers seeking a comfortable, fully-equipped, carefully maintained studio need look no further than Thompson, here in the heart of Soho.” Thompson Studios are located at: 54 Thompson St.in NYC (212) 925-4400 www.thompsonstudiosnyc.com or music@thompsonstudiosnyc.com

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For a virtual studio tour created by Cheryl Fleming and Patrick St. Clair please visit:

http://www.stclairphoto-imaging.com/360/360tours/Thompson/TourWeaver_Thompson.html

Photos: Thompson Studios’ principal Louis Benedetti in Studio A Control Room
Thompson Studio Control Room A
Thompson Studio Control Room B
Thompson Studios Live Room

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio, private studios for Goo Goo Dolls, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith; Green Day, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a six-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

Long-time SADiE user David Bowles has been nominated for a GRAMMY Award in the Best Orchestral Performance category for his recording of Haydn’s symphonies 104, 88 and 101.

The recordings are part of a series of projects undertaken by David Bowles for the Philharmonia Baroque Orchestra, conducted by Nicholas McGegan, OBE. The Haydn symphonies were recorded live at the First Congregational Church in Berkeley, California using a SADiE LRX2 location recorder. They were subsequently edited, mixed at mastered at Swineshead Productions LLC on a SADiE H64 system incorporating a Dream DA-2 converter, a Bryston BP20 pre-amplifier and PMC AML1 monitors.

Since 1995, Bowles has been the driving force behind California-based Swineshead Productions LLC, a classical recording production company that specialises in high-resolution surround sound recording. The two-studio facility offers a range of services including audio production, engineering, editing, mastering and location recording.

Bowles, who is also a member of the Audio Engineering Society (AES) Board of Governors, has been using SADiE equipment for many years and is particularly impressed with the flexibility the LRX2 has brought to his work.

He explains: “What really attracted me to the LRX2 was the ability to record to an external “mirror” hard drive, thus giving me a safety copy right at the sessions. After buying an LRX2 and a Dell Precision M65 laptop, I retired my multitrack recorder, which meant that I had less gear to haul around. The integrated architecture of the analogue mic/line slither also eliminated an output stage and an input stage but I can still use outboard mic pres when they are needed.”

Bowles has also acquired a Prism Sound Orpheus, which he uses as a second remote rig for projects requiring no more than 8 channels. “The Orpheus is the best external interface available, therefore I’m able to guarantee clients the same level of quality whether using the H64, LRX2 or Orpheus,” he says.

Since founding Swineshead Productions LLC, David Bowles has produced and engineered over 80 projects for commercial release, recorded 500 live concert performances, and produced live recording broadcasts.

The Haydn symphonies, for which Bowles has received his GRAMMY nomination, are described by the New York Times as “really fine performances.” The New York Times critic goes on to say: “Seldom have his (Haydn’s) elemental dynamic contrasts sounded so properly in proportion or so mercurial, with the 50 or so players able to play out lustily in fortes and pull back quickly to quieter modes, whether playful, subtle or mysterious…beautifully produced and engineered.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com