Archive for February 21st, 2012

Lady Antebellum Expands Tour and Sennheiser Endorsement

Old Lyme, Conn.– February 21, 2012: Few need an introduction to Lady Antebellum, who, in the four short years since its formation, has won six Grammys, scored six number one hits on country radio, has sold over six million albums across the globe and is currently on its 2012 Own The Nightworld tour. Sennheiser is supporting the tour with equipment, such as SKM 5200-II wireless vocal microphones and ew 300 IEM G3 wireless personal monitors, along with the expertise to ensure that no glitches ever distract from Lady Antebellum’s spellbinding performance. With an agreement brokered by Tim Moore, artist relations manager for Sennheiser USA, and Kristy Jo Winkler, Sennheiser global relations manager for the Americas and Canada, reigning Country Music Awards and Academy of Country Music Awards Vocal Group of the Year Lady Antebellum is now a Sennheiser Global Relations endorsed artist.

FOH engineer Brett “Scoop” Blanden was careful to select the perfect wireless vocal mic for the tour. “The stage setup includes a forty-foot runway that extends well in front of the house PA,” he said. “I needed a microphone and a capsule that would be well-suited to all six vocalists – who might all be on that runway at the same time! By using the same capsule, with the same frequency response and polar pattern, on all six mics, I am able to tune the PA without fear of the unpredictable interactions that can occur when different capsules are open on stage.” Blanden selected the Sennheiser MD 5235 dynamic capsule, which features a floating directivity that is super-cardioid at high frequencies and cardioid at low frequencies. The Sennheiser SKM 5200-II handheld RF transmitter completes the vocal setup, and two additional SKM 5200-II/MD 5235 combinations go to the opening acts.

Monitor engineer Peter Bowman organizes the RF channels for the show. “I have had zero RF issues since we made the switch to the Sennheiser 5000 series on vocals,” he said. “In addition, I’m also very happy with how useful the Command Function is for Lady Antebellum. Whether they need the guitar turned down or a cup of tea, they can communicate with ease from any point on the stage.”

Instrument mics include the Sennheiser e 901 on kick, the e 904 on rack toms, the e 902 on the floor tom, and a small diaphragm e 614 on the ride. “I’m particularly fond of the e 904 and e 902 on the toms,” said Blanden, who is himself a drummer. “I love the tonal picture of those dynamic mics – it’s familiar and comfortable to me. The frequency response and transient response are perfect. I can run those inputs flat on my channel strip because all the right color is captured by the mic. The convenient mounting hardware on the e 904 is also nice.” For all three guitar cabinets on stage, Blanden uses the classic Sennheiser MD 421-II. “What a standard! Even in my studio days,” he said, “I was always a fan of the MD 421 on guitars. It has the perfect combination of top-end bite and low-end growl to deliver the ideal rock ‘n roll guitar sound.”

In addition to the eight Sennheiser SKM 5200-IIs for vocals (and their associated command channels), Bowman manages eight Sennheiser EK 300 IEM G3 stereo wireless personal monitors, for a total of twenty-eight wireless frequencies. “I set them myself every day,” he said. “And with the scanning options available on both the G3 and 5000 series, that process is fairly simple. I love that when the monitor system is networked together, I have the ability to set all the transmitters to new frequencies using just one bodypack. I usually scan one bodypack during the day, even before I get power to monitor world, and then use it later to synch up all the transmitters.” For antennas, Bowman uses one Sennheiser paddle antenna and one Sennheiser A 5000?CP circularly polarized antenna. “Although I know there are several valid approaches, this system works well for me,” he said. “Our RF performance has been perfect.”

Even the band’s guitars and bass benefit from Sennheiser wireless technology. To navigate the tour’s large stage with the crowd-pleasing confidence that a wire won’t allow, every fretted instrument is equipped with a Sennheiser ew 572 G3 wireless transmitter, save for one acoustic guitar which uses an ew 572 G2 unit. There are eleven units in all. “Our RF performance has been absolutely flawless,” said guitar tech Steve Castro, who formerly worked with Sugarland. “We all work together to maintain clean channels. If someone gets stepped on, it’s a simple matter to use the scan feature to dial in a new clean channel.”

“The Sennheiser team has really gone above and beyond for us,” said Blanden. “Tim Moore has been there for us during the last four years. Throughout our trips to Australia, Europe and various television performances, Sennheiser is the gear we rely on for consistency wherever we are performing.”

Winkler added, “For decades, Sennheiser has supported emerging artists as well as mega-stars. All of us on the Global Relations team welcome Lady Antebellum to this special tier of artists and congratulate them on their creativity, musicianship, performance excellence, and industry dedication.”

(Photo Credit: © 2012 Adam Boatman)

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Waves Audio Releases InPhase Plugin

— New Plugin Corrects Track Phasing and Alignment Issues —

KNOXVILLE, TN, February 21, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, is now shipping its InPhase plugin. Designed for recording, mix, mastering and live FOH/monitoring engineers, InPhase has been developed to correct phasing issues between tracks. Phasing can cause drops in volume and wreak havoc on frequency response and stereo image; InPhase gives users a comprehensive tool to correct such problems.

As many engineers and producers know, phasing problems are encountered during all stages of the production process:

In recording, when multiple sources such as microphones and direct signals are used to capture the same sound (e.g., individual drums and drum overheads, guitars recorded using both an amp and DI, amps recorded using multiple mics, etc.).
In mixing, when phase issues that were not addressed during the recording process need to be corrected.
In mastering, when the stereo mix has phasing issues.

Even small timing differences can cause subtle drops in volume as well as reduced punch and clarity. Waves’ InPhase gives users the power to align their tracks and restore phase coherence.

InPhase is the ultimate phase correction plugin, featuring high resolution dual waveform displays with up-to-sample resolution zoom; phase shift filters with adjustable frequency and Q; and an intuitive correlation meter, which shows users just how much they are in or out of phase. Users can move their waveforms manually or using the delay control, and even align them in relation to a sidechain input. The phase shift curve window shows users the phase shift curve across the frequency line; the correlation meter shows to what extent tracks are in- or out-of-phase; and the plugin features dual second-order allpass filters. InPhase includes mono, stereo, and dedicated live components, plus InPhase LT, a simplified version that gives you easy access to creative phase manipulation.

InPhase Controls:

Alpha and Beta processing sections.
Process controls let us choose what to process.
Activity LED shows when there is input signal activity.
Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Monitor selects the output monitor configuration.
Output LED displays the peak signal output level.
Collapse closes the waveform display section.
Capture, with Automatic & Manual modes, captures up to two seconds of signal.
Scroll Bar scrolls the x axis of the captured waveform.
Correlation Meter displays general correlation metering between the Alpha and Beta waveforms.
Correlation Markers display the maximum value of the correlation meter.
Correlation Value Box displays the current correlation value.
Zoom X zooms in on the x axis, at up to sample resolution.
Zoom Y Alpha zooms in on the Alpha section y (amplitude) axis.
Zoom Y Beta zooms in on the Beta section y (amplitude) axis.
Zoom Y Link links Zoom Y Alpha and Zoom Y Beta.
Reset Zoom resets the zoom to its default setting.
Alpha Waveform is the waveform captured in the Alpha section.
Beta Waveform is the waveform captured in the Beta section.

InPhase LT Controls:

Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Output LED displays the peak signal output level.

Waves InPhase is now available with a special introductory price of USD $99.00 Native / $149.00 TDM. It is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage. InPhase LT, included with InPhase, is also available separately with a special introductory price of USD $59.00 Native / $99.00 TDM.

For more information, please visit www.waves.com.

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Union Editorial Takes Commercials Into 5.1 Surround with Genelec Monitoring

— From Fiat to Chevy, Diet Pepsi to McDonald’s, Los Angeles commercial post facility Union Editorial is working in the high end of broadcast post production, and their recent acquisition of a 5.1 surround monitoring array of Genelec 8250A and 8240A Bi-Amplified DSP Monitors and a 7260A Active DSP Subwoofer will help keep them there —

NATICK, MA, February 21, 2012 — Prime-time broadcast commercials have followed sports and entertainment programming into the domain of discrete 5.1 surround sound. That has raised the bar for post production facilities in that business, and those looking to produce the best have found Genelec Active Monitors to be the optimal solution. That’s what Union Editorial discovered when it recently needed to upgrade the monitoring in the larger of its two audio production and mixing studios. The facility regularly handles high-end agency clients, including Chevy, McDonald’s, Fiat and Diet Pepsi, and a hit commercial featured on the 2011 Super Bowl broadcast, Volkswagen’s “The Force” (which won five AICP Awards), as well as its sequel at the 2012 Super Bowl. And the L.A.-based firm also does a fair share of feature film work and movie trailers, so it needs 5.1 monitoring that can cover the gamut of media needs. And that’s just what they now have, thanks to a new monitoring system that consists of three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7260A Active DSP Subwoofer. The system was purchased from Universal City’s RSPE Audio Solutions and installed late last year.

Senior Sound engineer Milos Zivkovic had been a fan of Genelec performance for some time, and when the upgrade was approved, he whole-heartedly endorsed going for Genelecs. “We were looking for a speaker that could serve as a good mid-field monitor — not too big and not too small, because we have a pretty sizeable control room,” he explains. “I decided to go with the 8200 Series because they are just the right size and they also come with a lot of great features like the Genelec AutoCal™ automatic calibration system. Having things like an adjustable crossover in a speaker is fantastic. But the bottom line on the Genelec speakers is their clarity. You can hear everything and hear it accurately and without coloration. Clients are always judging our facility based on what they hear at other studios, and they know that Genelecs have got a reputation around Hollywood for being the best. That’s a reputation we like being a part of.”

For more information, please visit www.genelecusa.com/ .

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MonkMusic Studios… An East Hampton Showcase By WSDG

Grammy Winner Cynthia Daniels Debuts New Recording /Mixing Complex

EAST HAMPTON, NY: Multi-Grammy winning engineer Cynthia Daniels, has added MonkMusic a sophisticated recording studio to her East Hampton home. Catering to a first-tier client base, which includes ‘local’ residents Paul McCartney and Alec Baldwin required superb acoustics and elegant aesthetics. To meet these goals, Daniels reached out to Walters-Storyk Design Group .

“I was on a fast track to get up and running as quickly as possible,” Daniels says. “I’ve worked in a number of WSDG studios, and was very familiar with their credentials. On his first site visit, in October 2010, WSDG principal John Storyk assured me that ‘we would never be waiting for drawings, design elements or architectural issues.’ And,” she adds, “WSDG was on the mark throughout the process. We couldn’t be more pleased with the results.

“Our client base ranges from high energy rock sessions where we spend hours in the high volume stratosphere to jazz, orchestral, pop, ADR for film and TV, and of course, narration recording.” Daniels explains. “Because my home is set in a suburban/rural area, we needed to be sensitive to sound leakage both into and out of the studio. We needed sand-filled cinderblock wall construction, along with lots of soundproof windows and sliding glass doors for complete isolation and to take advantage of the East End’s beautiful natural light.”

MonkMusic is a 650 sq. ft, state-of-the art recording/mixing studio housed in a new, ground-up wing attached to Daniels’ home. Although hardly the norm in residential construction in the Hamptons, the addition was built with a decoupled concrete floor system, created for optimal isolation. The complex includes: live, isolation booth and mixing rooms; 5.1 Genelec DSP monitors; a hybrid AVID console; fully digital and analog signal processing. And, a full complement of microphones, preamps, instruments, amplifiers and outboard gear.

WSDG project manager Matt Ballos reports the studio design is based on a combination of optimal room proportion, membrane absorbers used for critical low frequency room respons, and specifically placed diffusers (in some instances transparent), for high frequency reflection control. Allowing the studio suite to relate to the home and to the beautiful Hamptons surroundings was very important to Cynthia and to the final design. Cynthia collaborated with WSDG associate Judy Elliot-Brown of Rocket Science and Mike Donahower on the critical wiring program and systems integration/installation.

“I’ve known Judy for years, she is an absolute wizard at her job,” Daniels says. “Collaborating with her and Mike was one of the best parts of this project. WSDG was also highly recommended by Alan Silverman, my first-call mastering engineer, and former mentor from my A&R Recording days,” Daniels adds. “There was never a doubt about my decision.”

Since opening MonkMusic Studios Cynthia Daniels has worked with such artists as: Barbara Cook, Randy Brecker, veteran rocker Joe Delia, Sarah Jessica Parker, Julie Andrews and Bob Balaban

Photos:

1. MonkMusic Studios, East Hampton, NY
2. Cynthia Daniels (left) with WSDG co-principal Beth Walters
3. MonkMusic Studios, East Hampton, NY Exterior

###

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 seven-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.

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Gand Adds GEO S12 to NEXO Arsenal

BUENA PARK, Calif.—Gand Concert Sound (GCS) of Glenview, Illinois, aka “The NEXO Guys” have added an 18-box GEO S12 system to their rental inventory. “Yamaha brought in a road rig for a demo at the Viper Alley rock club in Lincolnshire, and not only did they like the system, our own crew was knocked out,” states Gary Gand, President, Gand Concert Sound. The new Gand NEXO system includes (16) GEO S1210 cabinets, two GEO S1230s, six NEXO NX4x4 amplifiers and four RS18 subwoofers.

“Beyond our extensive inventory of world-class GEO Ts and our micro sized GEO S8 systems, we can now offer a mid-size rig for weight restricted spaces such as small theaters and lighter duty outdoor roof structures,” says Tim Swan, Vice President and General Manager at Gand. “No sooner did the rig come back to the warehouse, it was sent out for a Poi Dog Pondering show followed by an extended theatrical run of “A Chorus Line” at the Paramount Theater in Aurora.” The Paramount also upgraded their outdated 1960s cluster system to a GEO S12 system installed by Gand Installation Division in September of 2010. The 12-box LCR system is hidden behind a permanent soffit over the proscenium. “It made perfect sense to add additional matching left and right flown GEO S12 columns utilizing the Paramount’s existing points,” states sound designer Adam Rosenthal. “It gave me the ability to widen the stereo image for the musical, and take care of the hard-driving, sold-out Poi Dog Pondering show with matching NEXO cabinets and amps

Gand Concert Sound was the first company in the USA to embrace the NEXO GEO T system when it made its debuted at NSCA in 2003, ordering an arena- sized system for shows at the Georgia Dome that summer. GCS is celebrating their 35th year in the concert audio business. Gary Gand founded the company in 1977 after taking time off from his 14-year career as a professional musician. “All my band buddies started calling me to come mix their live gigs,” says Gand. Dissatisfied with the gear that was available at the time, Gand starting building his own PA cabinets in his garage. “Next thing I knew, I was on the road with Emmy Lou Harris.” Today GCS is one of the midwest’s most respected audio providers working with a who’s who of national artists coming through the “Mid-coast” including local favorites Buddy Guy, Cheap Trick, Richard Marx and Chicago.

For more information on Gand Concert Sound or the Gand Installation Division, visit www.gandconcertsound.com.

For more information on NEXO products, visit www.yamahaca.com.

-END-

PHOTO ID: GEO S 12 rental System at the Paramount Theater adds to existing GEO S 12 system owned by the theater.

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

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AVIOM PERSONAL MIXERS IGNITE THE SESSIONS AT GASOLINE STUDIOS

NASHVILLE, TN, FEBRUARY 21, 2012—An Aviom Pro16® personal mixing system is an essential component on the gear list at Gasoline Studios, owned and operated by producer and songwriter Joe West from his farm in Franklin, Tennessee, just outside of Nashville. With his primary focus on country music, West has hosted several renowned country artists at his studio, including Jimmy Wayne, with whom he recorded the three-week, number-one hit “Do You Believe Me Now.” West credits Aviom for offering up excellent audio monitoring on several of the number-one albums he has produced. more

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LECTROSONICS ON LOCATION IN THE GLADES

**** Photo: Mark Weber CAS ****

Miami/Ft. Lauderdale, Florida – February 2012… Recently renewed for its third season, A&E’s popular police drama The Glades is preparing to return to production. For homicide detective Jim Longworth (played by Australian actor Matt Passmore), his transition from Chicago to the seemingly sleepy town of Palm Glade, Florida proves far more difficult than expected—considering that people keep turning up murdered. The suspense never ends and capturing the location sound is no easier than solving the crimes. That’s precisely why when the going gets tough; the show’s production sound mixer gets going with his wireless equipment arsenal drawn from the catalog of Rio Rancho, NM-based Lectrosonics. more

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