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Archive for January 25th, 2012

Moog Slim Phatty Receives Outstanding Technical Achievement Award During TEC Foundation Ceremony

ANAHEIM, Calif. – January 25, 2012 – Moog Music has announced that it has won an Outstanding Technical Achievement award from the TEC (Technical Excellence & Creativity) Foundation in recognition of its Slim Phatty analog synthesizer, launched in 2011. Mike Adams, CEO/President; Cyril Lance, Chief Engineer and Steve Dunnington, Product Development Specialist of Moog Music were all on hand to accept the award during a special recognition ceremony held at the 2012 NAMM show in Anaheim, CA on Friday evening.

“It is an honor to be recognized with an Outstanding Technical Achievement award by the TEC Foundation,” commented Mike Adams. “The Slim Phatty is an enormously flexible and expressive instrument and is of course a direct descendant of the Iconic Minimoog Model D.”

Massive Moog Sound in a Small Package
Based on the powerful Little Phatty sound engine, the Slim Phatty features the classic Moog Ladder Filter, the touchstone of analog sound design. In addition to shaping the sound of its on-board oscillators, the Slim Phatty’s filter is a valuable production tool that can be used to process external audio, or to sweeten a variety of audio sources with everything from smooth analog warmth through wet, resonant filter sweeps.

The Slim Phatty’s convenient size makes it an ideal voice expander for existing gear, with two oscillators of massive Moog sound that are always just a MIDI cable away. A new Tuning Scale feature and editor allows easy exploration of alternate scales and tunings. Microtonal, just intonation, quarter-tone, world music scales and more make the Slim Phatty suitable for international travel.

In addition to the world of MIDI and USB gear, the Slim Phatty’s Control Voltage inputs give it unlimited realms of expression and sound design possibilities. “Modular synth” style patching with Moogerfooger effects processors, the CP-251 Control Voltage Processor and other Moog synths creates soundscapes previously available only on large modular systems. Connecting to the Etherwave Plus Control Voltage Theremin adds unique and intuitive new modes of expression.

For more information on the Slim Phatty, visit

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PULLMAN, WASHINGTON – JANUARY 2012: To the students of Washington State University and the residents of Pullman, Washington, Beasley Performing Arts Coliseum is a cultural hub for arts, entertainment, and sports. Most notably, it is home to the women and men’s Cougar basketball teams, which often draw capacity crowds of 12,000. The coliseum opened in 1973 with the latest sound reinforcement technology available at the time, but the march of the decades recalibrated expectations such that, to modern ears, the reinforcement system at Beasley sounded like an AM radio in a world that had come to expect THX Surround. Thus, when the school contracted Daktronics, Inc. (Brookings, South Dakota) to install a state-of-the-art, center-hung scoreboard and video display, they also hired Anthony James Partners (Richmond, Virginia) to design a state-of-the-art sound reinforcement system to go with it. Daktronics not only installed the scoreboard but won the bid from Washington State University to install the sound system, which relies on the patent-pending Shaded Amplitude Lens Technology of Danley Sound Labs Genesis Horn GH-60s to provide consistent SPL at every seat.

“The original system consisted of a horn-loaded cluster hung in the middle of the facility,” said David Sturzenbecher, audio project manager who spearheaded the installation for Daktronics. “It definitely lacked the presence and impact of a modern sound system. Moreover, its location was in direct conflict with the location of the new scoreboard and video display. While the budget was still tight, everyone agreed that the old sound system should be replaced in the process of installing the new scoreboard and video display.” As in any bowl-shaped arena, the design challenge was to deliver consistent SPL to both the near seats and the far seats.

“The Danley Genesis Horn GH-60 uses a unique technology that they call ‘Shaded Amplitude Lens Technology, or S.A.L.T.’,” said Larry Lucas, director of audio engineering at Anthony James Partners. “With it, I was able to cover a wide section of seats with matching SPL.” The Shaded Amplitude Lens Technology preserves the point-source performance for which Danley designs are known, while allowing for different output intensity at different heights. S.A.L.T. is an ingenious way of working with the inverse square law. “Using the GH-60s and the other Danley boxes that were included led to a tremendous cost savings,” added Sturzenbecher, “Each box requires only one amplifier channel, which was not only good for the budget, but also for the small equipment room we had to work with.”

Twelve Danley Genesis Horn GH-60s cover the lower bowl and much of the upper bowl in an exploded ring around center court. Eight Danley SM-60 full-range loudspeakers aimed downward from similar positions cover the floor. Twenty Danley SH-100s fill in the highest reaches of the bowl in a delay ring, and four muscular Danley TH-118 subwoofers provide low-end thump that cannot be denied. Fourteen Crown i-Tech 5000s power the full-range boxes, and two Crown i-Tech 9000s power the subwoofers. Two BSS Soundweb London processors networked with a System Architech user interface provide system conditioning, logic, and control. The existing front end, which was both functional and modern, remained intact.

Depending on the requirements of the coliseum, school technicians can select predetermined zones and volumes with presets, such as “basketball game,” or they can manually adjust the volume of each individual zone. System Architect also provides valuable amplifier monitoring of voltage, temperature, etc. “Tuning the system was relatively easy,” said Sturzenbecher, “The Danley units sounded great right out the box and they don’t require external crossovers and the like. I did little more than add some high pass filters for safety. Getting the delays right took some time, but now that they’re locked in and the upper bowl sounds great. The much larger challenges were working around the lighting fixtures and other existing hardware on the ceiling and ensuring that the flexibility of the space was maintained.” For example, Daktronics engineered robust quick-release attachments for loudspeakers that would be in the way during a theatrical performance.

The new scoreboard grabs attention, and, for most non-audiophile ticket holders, the vastly improved sound system is likely perceived as a side-effect of its wonderfulness. Each of its four LED video displays (one for each cardinal direction) measures fifteen feet wide by eleven feet high. Ten millimeter line spacing ensures a vivid, high definition image, and sophisticated video input technology allows the school to show all manner of content.

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.

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China’s Pop Superstar Hins Cheung Debuts WSDG Studio

World-Class Destination: Classic SSL & Neve + Symphony-Size Live Room

GUANGZHOU, CHINA: One hour by train from Hong Kong, in the thriving metropolis of Guangzhou stands China’s first true ‘destination’ recording studio. Technologically sophisticated and acoustically superb, Village Studios was conceived by international pop star Hins Cheung. Three years in development and construction, the complex represents the future of China’s recording industry. And, a carefully considered investment in a superstar’s long-term career plan.

Designed by Walters-Storyk Design Group, the project exemplifies the unique synthesis of several of its international offices. The project’s efforts were initially led by WSDG principal John Storyk, and required highly sophisticated analysis and auralization, developed by WSDG’s European and Brazil branches. Village Studios combines world-class acoustics and aesthetics in an exotic, yet fully cosmopolitan setting.

Graced with a striking interior design developed by WSDG partner, Beth Walters, the 12,400 sq. ft. ground up building is distinguished by an expansive 3000 sq. ft. live room, with an 18 ft. high ceiling. Village Studios features two autonomous 800 sq. ft. control rooms, each with spacious 640, and 230 sq. ft. ISO booths. Hins’ manager, Bella Fan reports that his affinity for vintage gear, inspired Studio A to be outfitted with a prized SSL9080K console. Studio B features a classic Neve VR72 and 8068.

WSDG’s initial drawings proved very close to the mark in terms of Hins’ expectations. Complex site lines between the orchestra sized live and dual control rooms, coupled with the double height ceiling and, the higher than average reverb time typically associated with China’s idiosyncratic music style, presented extremely interesting design challenges. To resolve these issues WSDG engaged a number of elegant, variable acoustic solutions including custom curtains and multi-format diffusion panels. WSDG also provided detailed construction documents, project construction administration and final studio commissioning/tuning for the complex. “To bring a project of this size and sophistication to reality on the other side of the world was a formidable challenge,” John Storyk remarked. “It was an honor to work with Hins and his team.”

The complex includes a 520 sq. ft. orchestra lounge with 18′ high ceiling, multiple smaller lounges, kitchen and offices. “This project was an extremely ambitious undertaking,” Beth Walters says. “China is expanding its international presence in virtually every area of art and industry. Village Studios sends a clear message that a new ‘destination recording studio’ has arrived.”

“John Storyk made his initial visit to the site in early 2009,” reports Project Manager Joshua Morris. “We began preliminary design work soon after he returned. Our US -based senior PM, Romina Larregina led the team that developed all designs and documentation. She also coordinated building permits and other pre-construction details with the local architect, engineering and construction teams. I completed the design and construction documents and made my first site visit in Sept. 2009,” Morris said.

While reviewing on site work, discussing technical issues and inspecting acoustic treatments and building materials, Morris was pleased to find a high level of construction and technical expertise among the local Chinese contractors, and technicians. “It is safe to say that this level of acoustic detail was a challenge for the construction team in China – a challenge that was successfully met. Wherever possible, local materials were used, although studio specialty items such as room isolation devices and acoustic doors were either directly imported or licensed for Europe and the USA,” Morris adds.”

As plans called for substantial A/V interconnectivity between the live and twin control rooms as well as numerous recording sites throughout the complex, systems integration and isolation were primary concerns. Hins’ team along with WSDG systems design engineers, Judy Elliot-Brown and Caroline Feldmeier held extensive online dialogues with their China-based colleagues. Further on in the project, Hins requested that Brown visit the site for a full review of the wiring program and to have her lead the installation of the final a/v conduit and raceway system.

Fully loaded with Pro Tools, Lynx Aurora, Studer, Prisim Sound, Apogee Lexicon, TC Electronics, Eventide, Mercury, GML Manley, Fairchild, API, Empirical, Crane Song, and a full complement of classic mics including AEA, Beyer, Neumann, Royer, Telefunken, Song C800G, DPA, Schoeps and Shure. The studio also features two Hammond B3 organs and six Fender Rhodes electric piano models. Mains monitors in the SSL Control Room are custom 15″ Augspurgers. The Neve Control Room features 15″ Dynaudio Acoustics custom Munro M6 mains. The technology package was coordinated by WSDG, in conjunction with US-based Professional Audio Design.

Beth Walters worked closely with Hins and Bella Fan, to determine the most appealing color schemes and furnishing details. “Village Studios is an extraordinary accomplishment from every perspective,” Walters says. “We were committed to providing Hins with aesthetic details to complement their superlative acoustic and technical elements. Initial reports seem to indicate that we have achieved that goal.

“It is interesting to note that neither distance nor language presented insurmountable barriers to our collaboration. We see Village Studios as a triumph of professionalism. Hins has already recorded sessions with a full 60-piece symphonic orchestra. His business plan is to make the studio available to both Chinese artists and an international client base,” John Storyk concludes, “We are proud of this truly international design effort and confident that China’s newest world-class studio will be a true asset to that country’s entertainment industry.”

To view a full 60-piece orchestra live recording session with Hins at Village Studios visit:

Photos: 1. Village Studios Presentation Drawing
2. Village Studios owner Hins with 60 piece orchestra in 3000 sq. ft. 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 Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, 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 seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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Peavey & Antares Announce the Peavey AT-200 Guitar Featuring Auto-Tune For Guitar Technology

Revolutionary Guitar Provides Perfect Pitch & Intonation, Forever Changing the Way Guitars Are Played & Recorded

Music and audio innovator Peavey Electronics® has partnered with Antares Audio Technologies, the creator of world-renowned Auto-Tune® pitch-correction technology, to announce the dawn of the new guitar revolution: the Peavey AT-200™ guitar featuring Auto-Tune for Guitar, a new musical instrument that electronically self tunes and intonates continuously as you play.

With the simple push of a button on the Peavey AT-200, guitar players can now create music in perfect tune and pitch. The Peavey AT-200 utilizes Antares Auto-Tune for Guitar, a DSP technology that works behind the scenes to bring the clarity of perfect pitch to a quality instrument in an unobtrusive manner. No bulky, unattractive hardware weighs down the playing experience—the Peavey AT-200 looks, plays and sounds just like a conventional guitar, exactly the way it should.

Just as Auto-Tune changed how vocals are recorded, the Peavey AT-200 with Auto-Tune for Guitar will forever change the way guitars are played and recorded. Players won’t have to stop to retune during live performances. Producers and engineers will no longer waste precious time on tuning and intonation issues during recording sessions. With the AT-200 guitar, perfect pitch is the new standard.

The Peavey AT-200 is also the gateway to a growing collection of powerful new Auto-Tune for Guitar features. With its built-in software upgrade capability, new features from Antares can be easily loaded into the AT-200 and controlled by any MIDI source, from MIDI foot switch controllers to iPad or iPhone devices running dedicated Auto-Tune control software.

Combining Peavey’s 47-year legacy of innovation in music and audio with Antares’ history of creating game-changing audio technologies is a natural partnership, said Peavey Electronics founder and CEO Hartley Peavey.

“Peavey has always been a ‘different’ kind of company, one that is driven by the desire to innovate and advance the possibilities in music and audio, while serving players and professionals with attainable, quality products,” said Peavey. “Partnering with Antares to bring their revolutionary Auto-Tune technology to guitars is the gateway to the next generation of music creation. As always, we’re proud to be leading the way.”

As countless players and producers know, less-than-perfect intonation can seriously muddy a guitar’s tone. The Peavey AT-200 guitar with the Antares Solid-Tune™ intonation system constantly monitors the precise pitch of each individual string and electronically makes any corrections necessary to ensure that every note of every chord and riff is always in tune, regardless of variables like finger position or pressure. The technology is even smart enough to know when players intend to manipulate pitch, so bends and vibrato sound as natural as they always have. As a result, listening to a guitar with Solid-Tune is a revelation, offering a purity of tone that has simply never before been possible.

“We knew that our Auto-Tune had the power to change the sound of guitars, creating sonority and clarity,” said Dr. Andy Hildebrand, founder of Antares Audio Technologies. “Partnering with a company revered for quality and reliability like Peavey was very important to this project. Peavey has been a leader in musical instruments for decades, and the AT-200 with Auto-Tune for Guitar is a high-quality guitar that any musician can appreciate.”

Peavey’s legacy of innovation includes pioneering the use of computers in guitar making and in creating the first digitally configured and controlled audio system. In addition, Peavey’s ReValver™ amplifier modeling software has changed the way musicians and producers think about recording guitar tone forever.

The Peavey AT-200 electric guitar will be available in July 2012 from authorized Peavey retailers. Please visit to find a dealer near you.

About Antares Audio Technologies
Antares Audio Technologies is the worldwide leader in the development of unique vocal processing tools. Having revolutionized vocal production with the ground-breaking Auto-Tune pitch correction technology, Antares is committed to providing producers, engineers, sound designers and musicians with powerful, innovative, easy-to-use tools for enhancing and manipulating the human voice. Now, with the introduction of its revolutionary Auto-Tune for Guitar technology, Antares is profoundly expanding the flexibility and creative potential of the electric guitar. Antares Audio Technologies is located at 231 Technology Circle, Scotts Valley, CA 95066. Email: Web:

About Peavey Electronics®
Founded in 1965, Peavey® is one of the world’s largest manufacturers and suppliers of musical instruments and professional sound equipment. Peavey has earned more than 180 patents and distributes to more than 130 countries. Peavey and its MediaMatrix®, Architectural Acoustics®, Crest Audio®, Composite Acoustics® and Trace Elliot® brands and affiliates can be found on concert stages and in more than 10,000 airports, stadiums, theme parks and other venues around the world. To find out more, visit

Peavey AmpKit LiNK HD Guitar Interface Brings Ultimate Fidelity & Features to iOS Platform

Music and audio innovator Peavey Electronics® and 2010 Apple® Design Award winner Agile Partners proudly announce the Peavey® AmpKit LiNK™ HD, the next generation of the award-winning iOS guitar interface.

The new Peavey AmpKit LiNK HD pocket-size iOS guitar interfacefeatures twice the fidelity and convenience of the original AmpKit LiNK. Based on USB digital audio technology, AmpKit LiNK HD eliminates crosstalk and feedback for pristine high fidelity, even with authentic high-gain amp models in AmpKit, the companion amp app from Agile Partners. more

Peavey Announces PVX Series Active & Passive Loudspeakers

Peavey Electronics® set the standard for affordable, feature-packed powered P.A. solutions more than four decades ago. The new Peavey PVX™ Series of active and passive loudspeakers are the culmination of decades of R&D and experience building the best portable, all-in-one audio solutions—bringing legendary Peavey performance and reliability to audio pros and musicians of all levels.

The compact and portable PVXp 12 and PVXp 15 active (powered) loudspeakers deliver high fidelity and impressive power using Peavey’s legendary speaker and power amp technology. The PVXp Series powered enclosures bring 800 watts peak of crystal-clear highs and deep low end, while using exclusive DDT™ compression technology to maintain clarity throughout the mix. A module bay allows for use of expansion modules to increase the functionality of the enclosures. more

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Peavey Announces New Expansion Modules for Powered Enclosures

Peavey® powered enclosures are legendary for their superior sound, rugged reliability and versatility in music applications. With the release of the new Peavey Expansion Modules for powered enclosures, the Peavey EU™ Series, Impulse 12D, and the new PVXp™ model powered enclosures are more versatile than ever.

The Peavey 9-Band Graphic EQ Expansion Module aids users in controlling feedback using the built-in, patented FLS® Feedback Location System, which makes accurate feedback elimination simple and intuitive. The 9-Band module gives users greater control over shaping and accenting live or recorded vocals and live instruments, as well as increases control over general sound equalization, and removes 60 Hz AC hum. The Peavey 3-Band Parametric EQ Expansion Module provides robust fine-tuning capabilities with gain, frequency and bandwidth (Q) control.

The Peavey 3-Channel Mixer Expansion Module expands the powered enclosure’s input options by three input channels, with each channel featuring level control, high and low equalization control, and a combination XLR and ¼” input.

Engineered for superior sound and reliability, the Peavey EU Series and the Impulse 12D combine Peavey’s revolutionary IPR™ amplifier technology with premium Peavey loudspeakers and innovations including titanium compression drivers, patented Quadratic Throat Waveguide™ horn and woofer servo circuitry. The new Peavey PVXp 12 and PVXp15 deliver Peavey power and reliability to audio pros and musicians of all levels in durable, injection-molded enclosures.

The new Peavey Expansion Modules for powered loudspeakers will be available in Q2 2012 from authorized Peavey retailers. Please visit to find a dealer near you.

9-Band Graphic EQ Expansion Module
Compatible with Peavey PVXp™, EU™ and Impulse® 12D powered speakers
Nine frequency bands: 63, 125, 250, 500, 2k, 4k, 8k, 16kHz
Features Peavey’s patented FLS® Feedback Locating System
+/- 15 dB boost and cut
Nominal distortion:
Hum and noise
Made in the U.S.A.
U.S. MSRP $59.99

3-Band Parametric EQ Expansion Module
Compatible with Peavey PVXp™, EU™ and Impulse® 12D powered speakers
Three frequency bands: Low 40 to 800Hz; Mid 200 to 4kHz; High 1kHz to 20kHz
+/- 12 dB boost and cut on each frequency band
Q adjustable from 0.1 to 1 on each frequency band
Hard-wire bypass
Nominal distortion:
Hum and noise
Made in the U.S.A.
U.S. MSRP $49.99

3-Channel Mixer Expansion Module
Compatible with Peavey PVXp™, EU® and Impulse® 12D powered speakers
Three channels of additional inputs
Combination XLR female and ¼” TRS input
Microphone and line-level input range
Two-band EQ on each channel
Switchable phantom power global for all three channels
Nominal distortion:
Hum and noise
Made in the U.S.A.
U.S. MSRP $79.99

Features, specifications and pricing are subject to change without notice.

About Peavey Electronics®
Founded in 1965, Peavey® is one of the world’s largest manufacturers and suppliers of musical instruments and professional sound equipment. Peavey has earned more than 180 patents and distributes to more than 130 countries. Peavey and its MediaMatrix®, Architectural Acoustics®, Crest Audio®, Composite Acoustics® and Trace Elliot® brands and affiliates can be found on concert stages and in more than 10,000 airports, stadiums, theme parks and other venues around the world. To find out more, visit

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Peavey Debuts Feature-Packed PVi 8500 & PVi 6500 Powered Mixers

Peavey® set the standard for affordable, feature-packed powered P.A. solutions more than forty years ago. The new Peavey PVi™ 8500 and PVi 6500 powered mixers bring together decades of R&D and design experience to create the best portable, all-in-one audio solutions for musicians and audio professionals.

The Peavey PVi 8500 and PVi 6500 are 400-watt powered mixers that combine exclusive Peavey innovations, the Peavey legacy of quality and reliability, and modern amenities such as an input dock for iPhone® and iPod®. Eight combination XLR and 1/4″ inputs (six on the PVi 6500) based on Peavey high-quality, low-noise Silencer® mic preamps provide versatility and clear audio reproduction, while Peavey’s proprietary Mid-Morph® EQ control improves the tone and clarity of vocals and complements the low and high EQ bands by boosting high-mids or cutting low-mids.

Both models feature a nine-band graphic EQ that is assignable to the main or monitor output and features Peavey’s patented FLS® Feedback Locating System, which makes accurate feedback elimination simple and intuitive. Exclusive Peavey Kosmos®-C technology provides spectrum enhancement to both the low and high end of the frequency range, while the footswitchable 24-bit digital effects section includes multiple varieties of rich, highly detailed reverb and delay.

Dual power amplifiers provide 400 watts total, with independent level control and parallel (main and monitor outputs) or stereo (both amps on main output) operation. Users can connect virtually any audio device to this versatile mixer via the onboard 1/4″, RCA and 1/8″ mini jacks.

The Peavey PVi 8500 and PVi 6500 will be available in Q3 2012 from authorized Peavey retailers. Please visit to find a dealer near you.

PVi 8500 and PVi 6500
400 watts (dual 200W power sections, assignable with independent control)
Eight input channels (PVi 8500) or six input channels (PVi 6500)
Patented FLS® Feedback Locating System
Exclusive Mid-Morph® EQ
Onboard 24-bit digital effects
Combination XLR and 1/4″ input jacks
Selectable 9-Band Graphic EQ for Mains or Monitors
Patented Kosmos®-C low frequency and spectrum enhancement system
Master Mute
Phantom Power
Footswitchable effects defeat and Master Mute
Input dock for iPod® and iPhone® devices
RCA and 1/8″ media input
RCA record output
LED Meter bridge
Power amp subsonic filtering
25 lbs. (11 kg) for both models
U.S. MSRP $399.99 (PVi 8500); $329.99 (PVi 6500)

Features, specifications and pricing are subject to change without notice. iPad®, iPhone® and iPod® are registered trademarks of Apple Inc.

About Peavey Electronics®
Founded in 1965, Peavey® is one of the world’s largest manufacturers and suppliers of musical instruments and professional sound equipment. Peavey has earned more than 180 patents and distributes to more than 130 countries. Peavey and its MediaMatrix®, Architectural Acoustics®, Crest Audio®, Composite Acoustics® and Trace Elliot® brands and affiliates can be found on concert stages and in more than 10,000 airports, stadiums, theme parks and other venues around the world. To find out more, visit

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Martin Audio MLA Boosts Brixton Academy For Rock Legends

When Brixton Academy was built in art deco style during the cinema boom of the late 1920s, it never expected to be hosting high-octane rock bands like Chickenfoot (led by former Van Halen legend Sammy Hagar).

Ghosts of Brixton’s cinema past remain within this Grade II-listed building, and the bulging balcony facade has proved the downfall of many a sound system, returning the firepower off the stage and bouncing the sound waves back at the band.

But Martin Audio was able to pull off a rare feat when their Multi-cellular Loudspeaker Array (MLA) made its debut there (via Capital Sound).

To the amazement of FOH engineer Michael ‘Ace’ Baker, Martin Audio‘s R&D Director Jason Baird and system tech Mark Edwards simply notched out this chunk of the coverage pattern in the dedicated optimization software.

“Chickenfoot is one of the loudest bands that have played through the system, so we stood onstage and switched the MLA’s DSP from a setting that didn’t notch it out to one that did, using the tablet PC over the WiFi link,” explained Baird. The difference was plain to hear, with an obvious reduction in reflections off that deep balcony front.

Ace Baker had wanted to pilot the MLA since hearing it in demo Las Vegas last summer. Knowing that his monitor engineer Jim Jorgensen was about to join Martin Audio he applied pressure; so that by the time production arrived in Brixton, there were nine MLA elements and an MLD Downfill ready to be rigged each side, with six MLX’s ground stacked on either flank.

“I had been hugely impressed with MLA and could see the math behind it, but there’s only so much you can learn under demonstration conditions. I had to get the system out there,” declared Ace.

“Some people were doubting whether this was a true rock ‘n’ roll box––but this is one of the most rocking boxes I have ever mixed through. In fact it is a true concert arena PA, capable of producing a ‘big’ PA sound rather than just pumping out pure volume. I noticed it particularly around the kick drums and toms and yet I’m barely tickling it, there’s just so much headroom.”

He was also amazed that despite the consistency of coverage in the house, none of it was blowing back at the band onstage. “That’s what got me so excited. Initially, all that computer stuff looked like something I wouldn’t be able to handle, but then Mark showed me how simple it was––all you need to be able to do is measure correctly and you are done.”

Baker says that MLA has given him the freedom to exploit “extra places where it can go, the incredible spatial and panning effects that I was running through.”

The engineer started working with rock legend Sammy Hagar four years ago––who in this configuration was fronting a top line-up comprising Joe Satriani (guitars), Michael Anthony (bass, vocals) and drummer Kenny Aronoff (filling in for Chad Smith, who was off with the Red Hot Chili Peppers).

At Brixton, he was able to mix the sound flat on a Yamaha PM5D and that, according to Mark Edwards, is because MLA sets itself up to produce a neutral, balanced sound. “Because the system is so responsive to system EQ, if there’s a bit too much sub in the room it is easy to notch a tiny bit out.”

Edwards also commended Martin Audio’s Display predictive software. “The Drag & Drop approach to loading the optimization is as transparent as it could possibly be and at Brixton I was surprised how little room interaction there was. Overall, I was extremely pleased with the sound.”

As was ‘Ace’ Baker who has now publicly stated that MLA has become his ‘go to’ PA.

“There are a lot of good systems out there but only a few have been truly groundbreaking;” Baker concludes. “Right now, this is the one that has everyone talking about it.

“There will be a lot of touring ahead this year and MLA is the system I want to use from now on.”

For more about Martin Audio, please click to

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Sound Devices to Expand Operations with Purchase of New Facility

REEDSBURG, WI, JANUARY 25, 2012 — Sound Devices, makers of production sound and video products for field production, announce the purchase of a new facility for its U.S. headquarters in Reedsburg, WI. The company is expected to relocate and settle into the 27,000-square-foot facility in the first half of 2012, where it will continue to manufacture audio mixers and recorders, and video recorders for feature film, episodic television, documentary, news, and acoustical test and measurement applications.

“This move is part of Sound Devices’ continued commitment to our customers, our community and to the marketplace,” says Jon Tatooles, managing director, Sound Devices. “It gives us the necessary room to grow, and to have all departments, including engineering, manufacturing, and sales, under one (much larger) roof. We look forward to continued success in our new home this year and beyond.”

Equipped with state-of-the-art technology, the new facility will enable Sound Devices to continue its focus on designing and building new, innovative field-production products.

In addition to the improvements to logistics and operations, the newly renovated facility, which sits on 27 wooded acres, can accommodate training meetings for its sales representatives and distributors. It also has space for permanent product setups to assist in product training.

Sound Devices new facility is located at 7556 State Highway 23/33 in Reedsburg.

Sound Devices, LLC designs and manufactures portable audio mixers, digital recorders, portable video recorders and related equipment for feature film, episodic television, documentary, news-gathering and acoustical test and measurement applications. The thirteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website,

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