Archive for July, 2012
WEST CHESTER, PA, JULY 31, 2012—Aviom, the exclusive developer of the world’s most powerful audio transport protocol, A-Net®, is now shipping the C4dio Digital I/O Card for the AllFrame Multi-Modular I/O System.
The C4dio Digital I/O Card is a 4×4 AES3 I/O card with BNC Word Clock Out, In, and In with Termination options. With this card, users have even more connectivity options and flexibility in terms of designing signal flow in a Pro64® audio network. At the center of the AllFrame Multi-Modular I/O System is the F6 Modular I/O Frame, a multi-purpose network frame with six field-configurable I/O card slots and integrated Cat-5e and fiber optic connectivity. The F6 can be outfitted to meet the audio I/O requirements of nearly any application with C4m Mic/Line Input Cards, C4o Output Cards or the new C4dio Digital I/O Cards.
Installing six C4dio Digital I/O Cards in an F6 Modular I/O Frame allows the AllFrame to be configured as a 24×24 AES3 digital audio interface. Sample rate converters can be turned on per input pair from within the Pro64 Network Manager™ software to allow asynchronous devices with digital outputs, but without Word Clock connections, to be used as input sources.
The F6 can be powered in multiple ways, including a four-pin XLR connector, a Euroblock connector or one of the Cat-5 A-Net ports. Installations that use Power Over A-Net must use the new Aviom-approved POA80 Power Supply.
The AllFrame Multi-Modular I/O System brings the flexibility of the Aviom’s powerful Pro64 audio network to the wall box and stage box. For both installations as well as on the road, the AllFrame Multi-Modular I/O system eliminates several expensive and labor-intensive stages of the signal chain while reducing cable clutter and enhancing flexibility.
Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.
*** Keith Jones ***
Los Angeles, CA – July 2012… Since 1995, Wicked Tinkers have been playing haunting, heart-pounding bagpipes and irresistible tribal drums as a professional touring ensemble. Combining the best of modern, almost rock-and-roll energy with the hypnotic, insistent grooves of their Gaelic ancestors, this might have been the music you would have experienced hundreds of years ago at a Scottish wedding celebration, or perhaps around the campfire of a Highland raiding party. Their music has a raw, exciting sound that touches you on a primal level—and part of the ensembles’ unique sonic signature can be traced to state-of-the-art microphone technology from Menlo-Park, CA-based Countryman Associates.
Keith Jones, drummer for Wicked Tinkers and owner of Musicians Performance Studios, Inc. of Rancho Cucamonga, CA, assists with many of the ensemble’s technical responsibilities and considers the Countryman B6 Omni lavaliere microphone an indispensable tool in the studio and during performances. Wicked Tinkers deploys the high overload level (W7 version) B6 microphones on both drum/percussion instruments and the bagpipes. more
Burbank, CA …
* Photo: James T. Hill (left) and David Carbonara (right) *
Set in the 60’s and broadcast on the AMC cable TV network; The Emmy® Award winning show Mad Men has earned a loyal following among TV viewers. Created and produced by Matthew Weiner, the show stars Jon Hamm as Don Draper, creative director of the fictional Sterling Cooper Draper Pryce ad firm. David Carbonara is the show’s composer and his winning mix of contemporary score and period jazz has inspired a number of Mad Men soundtracks as well as the Mad Men Revue, a live show starring cast members that Carbonara produced. When recording the show’s musical tracks, Carbonara insists on capturing every last musical nuance. Thanks to his combination of microphones from Mojave Audio and sister company Royer Labs, he gets exactly the sound he envisions. more
Oxford, UK – July 30, 2012: The Sheldonian Theatre in Oxford is among the city’s — and indeed England’s — most prized performance jewels. Designed by Sir Christopher Wren, one of the most highly regarded architects in history, and constructed between 1664 and 1669, it is still very much a part of Oxford culture and is used not only for music concerts, but also degree ceremonies for local University students, celebrations, lectures and a number of other events. Recently, over the course of a painstakingly detailed restoration, a state of the art K-array loudspeaker system was installed to help bring the acoustics of this priceless architectural gem into the modern age.
Among the Sheldonian’s unique architectural details are its arch layout and a large cupola; its shape allows it to be used in a variety of ways. For example, during degree ceremonies, a presenter will typically speak from one side of the theatre, while during conferences, speakers might address the audience from the opposite side. For each event, a decision is made on whether to involve all or part of the seating on each of the theatre’s three levels.
Since the interior restoration included delicate finishes and flourishes, a core requirement in the installation was to ensure that the sound system would not interfere or otherwise obstruct its unique architectural details. Additionally, the loudspeaker system needed to perform across variety of performance and event applications, while delivering an extremely high standard of audio quality. The chosen K-array system, distributed by Sennheiser, was able to gracefully meet and exceed these requirements.
“We had to design a system which could work in both directions, with various combinations of loudspeakers used at different times,” said Brian Hillson, managing director of B+H Sound, the company responsible for designing and installing the new system. B+H Sound installed (12) KV50W compact line-array modules comprised of eight 1” neodymium transducers and two KKS50W bass line array systems, powered by two KA7 compact amplifiers and one single KA10.
The KV50W was able to provide even sound coverage while minimizing reflections —which was important considering the semicircular shape of the space and the three superimposing orders of tribunes. The (12) speakers were discreetly placed along the handrail of the stairs leading to the organ, as well as on the doorframes and at the sides of the buttresses positioned on the ground floor and third floor. The chassis themselves were then painted to match the colors of the theatre, making them almost invisible. The two KKS50W units were then hidden within the stair structure.
“With DSP programming at the front end, the speakers could easily be controlled to suit any particular application, depending on which orientation the theatre is used in,” Hillson continued. A series of presets was created so that the theatre’s custodian can pre-select them depending on the intended use of the theatre.
The project was an important work of ‘technological restoration,’ carried out in close contact with both the contractor and the University building surveyor. “One of the professors, and Chair of Curators who had been involved in the project came in and asked where the speakers were,” says Hillson. “That to me said everything about the advantages of using K-array.”
Valencia, Spain –
**** Photo: On stage at Vina Rock ****
July 2012 … D.A.S. Aero Series 2 line array systems were back in action this year at the 12th Annual Viña Rock Native Art Festival in Villarrobledo, Albacete. Over the course of the four day festival more than 200,000 spectators descended on Villarrobledo to enjoy the explosive line-up, which included the likes of Barricada, Ojos de Brujo, Rosendo, Huecco and the legendary Barón Rojo. more
Top Mixers Address Digital Audio Cinema Techniques, Formats & Standards
SAN FRANCISCO: The 133rd AES Convention (Moscone Center, Oct. 26-29), will introduce a dedicated Sound For Pictures Track. Featuring award-winning presenters focused on key technical and creative issues related to digital audio production for feature films and TV, the Track is co-chaired by leading sound mixer/producer Brian McCarty (“The Big Lebowski,” “Dick Tracy,” “As Good As It Gets”) and by Steve Martz, Sr. Design Engineer, THX Ltd. Key issues to be addressed by the Sound For Pictures Track include: Post Production Techniques, Standards and Multi-Channel Formats for Digital Cinema.
“The AES is the leading forum for audio for film and TV sound,” McCarty says. “Top sound mixers have been attending the Convention for years to exchange ideas and information and kick the tires on new technology. Early this year we formed a Technical Committee on Sound for Digital Cinema & TV. Our objective is to adopt a consistent approach for Digital Cinema sound installations, and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this Committee, Executive Director Bob Moses felt it was time to develop a formal AES Convention Track for this increasingly important field,” McCarty adds.
SATURDAY, Oct. 27, AES Sound For Picture Track Presentations Include:
POST PRODUCTION AUDIO TECHNIQUES FOR DIGITAL CINEMA & ANCILLARY MARKETS: Chair, Brian McCarty, managing director, Coral Sea Studios, Australia; Panel, Lon Bender, Oscar-winning, effects designer & mixer, Soundelux, LA; Brian Vessa, leading sound mixer, Sony Pictures, LA; Jason LaRocca, Emmy-nominated independent mixer. As the film industry rapidly moves towards full-bandwidth, multi-channel discrete formats for audio distribution, post-production techniques to provide high-quality audio continue to evolve. This workshop will address technical and creative changes being implemented to accommodate this shift.
RECONSIDERING STANDARDS FOR CINEMA SOUND – ALTERNATIVES TO ISO 2969: Chair, Brian McCarty; Floyd Toole, pioneering acoustical consultant/ retired, Harman Research, corporate VP; Keith Holland, University of Southampton, UK. For over eighty years ISO 2969 (aka SMPTE S202) has been a cornerstone of the audio reproduction “B-Chain.” Like the RIAA curve, it was originally implemented to compensate for defects in the delivery medium. This panel will examine the implications for these standards and the B-Chain as film rapidly shifts to Digital Cinema delivery, with, for the first time, full bandwidth soundtracks.
NEW MULTI-CHANNEL FORMATS FOR 3D CINEMA AND HOME THEATER: Co-Chairs, Christof Faller, Illusonic GmbH, Brian McCarty, Chair, AES TC-SDCTV; Erno Langendijk, Philips; Wilfried Van Baelen, Auro-3D, Belgium; TBD, Dolby Laboratories, SF; Kimio Hamasaki, NHK, Japan TBD, Iosono, Germany; Stefano Lacaito, Imm Sound, Spain. Several new digital cinema formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound “motion” in parallel with 3D pictures. This workshop presents a rare opportunity for the proponents of these leading systems to discuss their specific technologies.
“We have developed an extremely diverse and comprehensive Sound For Pictures Track,” Brian McCarty says. “Our Workshop participants are all outstanding leaders in their fields. The ‘New Multi-Formats For 3D Cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors.”
Sound For Pictures Track Co-Chair Steve Martz points to three related events, which will be of particular interest to Sound For Pictures Track attendees. “Academy Award-winner Ioan Allen, Sr. VP at Dolby Laboratories, will illustrate innovative audio mixing and editing techniques in his Historical Events presentation, The Egg Show: A Demonstration of the Artistic Uses of Sound on Film.
“And,” Martz adds, “Two concurrent Technical Tours should not be missed. “Roger Wiersema is coordinating a tour of the Polarity Post production complex, and Dave Nelson is hosting a concurrent tour of Outpost Studios. As both these facilities are located in the same building in SF’s popular Embarcadero District, participants will be able to attend both. This Convention promises to make a deep impact on industry thinking about sound for Digital Cinema,” Martz concludes.
The 133rd AES Convention will be held October 26-29 at SF’s Moscone Center. For details please visit www.aes.org.
Photo: AES Convention, Sound For Pictures Track Co-Chair, Brian McCarty.
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org
Anthony Taylor, MD Martin Audio (left) Keith Davis, MD Capital Sound
After an intensive market evaluation of well over a year, leading British rental company Capital Sound has made a significant investment in Martin Audio’s award-winning Multi-cellular Loudspeaker Array (MLA).
Confirming the purchase of a large arena system (and complementary MLX subs), Capital Sound general manager Paul Timmins stated that the inventory upgrade is designed to future proof the company—who number Take That, The Killers and Stereophonics among their regular accounts—for the foreseeable future.
Speaking of the purchase, he explained, “In the modern era it is no longer a case of buying a system simply because we’ve been associated with the same brand for 25 years. We reviewed and demoed every major market system, but in the end it was vital that we backed ‘second generation’ technology. And however good the other systems were, only the MLA offered us this, with the right size and weight package.”
Technical manager, Ian Colville, agreed, “From a technical standpoint MLA quite simply is the next generation. Unlike line arrays, MLA calculates and controls each individual transducer throughout the array to create a uniform sound field across the length and breadth of the audience area. Parameters that have traditionally been difficult to predict and control—SPL variation, frequency response and coverage cut-off—can be accurately defined in the prediction software and re-calculated, if necessary, ‘on the fly’.”
He added that having spoken to technicians and engineers that had used MLA extensively the verdict so far had been unanimous: “MLA is very accurate, very responsive and very very loud!”
Sheer power was one criterion that Capital Sound had examined closely during the review period. Conclusive proof that this was a stadium system was provided in a shoot out against the Martin Audio Longbow system outdoors at Silverstone. Having been the first company in the world to use MLA (beta-testing with Enter Shikari at HMV Hammersmith Apollo in 2010), Capital Sound was able to assess its coverage and cut-off parameters during last summer’s outdoor season (at LED Festival), its speech and intelligibility on a comedy show at O2 Arena, and its ability to deliver high octane sound in smaller venues (with Whitesnake).
Other factors also played a part in the decision-making, continued Timmins. The arrival of Andy Davies, mirroring the appointment of Jim Jorgensen at Martin Audio in the States, provided the company with real application support in the touring sector, while Capital Sound felt confident that a global community of users was rapidly building. “We are aware of the sales that have taken place in the States and Pacific Rim and are confident that this is becoming a fully global system, which will be recognized and used by rental companies around the world.”
The final factor that drove the purchase was simple touring economics; with the fully powered and processed system not only eliminating the need for separate amp racks, but also, in many cases, delay speakers, truck space becomes more efficient.
Said Martin Audio sales director, Simon Bull, “As one of our longest-serving partners, we are delighted that Capital Sound have joined our growing community of MLA users. The fact that they carried out such an exhaustive review of other market leaders’ systems before reaching their decision makes the sale all the sweeter.”
Capital Sound has already earmarked the new MLA system for a major global arena tour, beginning this fall.
Photo Caption: Martin Audio Managing Director, Anthony Taylor (left) with Capital Sound Managing Director, Keith Davis
For more about Martin Audio, please click to www.martin-audio.com.
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.
Buena Park, CA – July 2012…
* Photo: Hosa Technology’s Elite Series guitar cable *
Hosa Technology, the leading innovator of analog and digital connectivity solutions for the modern musician, is pleased to introduce a significant upgrade of the company’s popular Elite Series guitar cables is now shipping. Available with Neutrik X-Series straight and right-angle plugs plus a new nylon webbing over the cable’s PVC jacket, the Elite Series takes advantage of the latest technological advances and state-of-the-art manufacturing processes to deliver performance attributes that are every bit on par—if not superior to—more costly boutique cables. more
Gold, Silver, and Bronze M80 Dynamic Mic Awards
TELEFUNKEN Elektroakustik of South Windsor, CT, is hosting the first TELEFUNKEN Mix Olympics, coinciding with the 2012 Summer Olympics taking place in London, England. Three mixing events will be held, and for each event winners will be awarded Gold, Silver, and Bronze M80 dynamic microphones.
Starting on July 27th, participants will be able to download audio files from three multi-track sessions provided by TELEFUNKEN in 44.1k/24-bit format. Each of these complete song session files will be used as the three main events for the Mix Olympics. The competition will conclude on August 19, shortly after the closing ceremony of the London games. Winners will be announced the week of August 20th.
TELEFUNKEN Multi-Track Session Files are an excellent source for pristinely recorded audio. These sessions can be used as teaching tools, for microphone auditioning / comparative analysis, and in this case, to have a little competitive fun while gaining valuable experience.
All three songs have been recorded using only TELEFUNKEN Elektroakustik microphones, and many of the sources will have been recorded with more than one microphone. Mixing participants can listen and choose which of the microphones supplies the most pleasing aesthetic for their competitive mix efforts. As mixes are submitted, they will be shared on TELEFUNKEN’s Soundcloud page, and each song mixing event will have its own set of Soundcloud postings for the participants and general public to reference.
Songs to be mixed are:
* Human Radio – “You & Me & The Radio”
* Sunshine Garcia Band – “For I Am The Moon”
* O.A.K. Team – “Girls with Glasses”
For each song, three M80 mics will be awarded. Gold will be judged and awarded by the artist; winner will receive a Gold M80. Silver will be judged by a panel of professionals assembled by TELEFUNKEN Elektroakustik; winner will receive a Silver M80. Bronze will be judged by the guys in the shop that actually make the microphones; winner receives a Bronze M80.
Complete TELEFUNKEN Mix Olympics information can be found at:
About TELEFUNKEN Elektroakustik
TELEFUNKEN Elektroakustik(tm) produces a comprehensive line of fine microphones, ranging from meticulously engineered replicas of historic vintage microphones handcrafted in the USA, to the R-F-T series of microphones that take advantage of the globalization of technology, as well as innovative dynamic microphones for live and studio performance.
To learn more about TELEFUNKEN Elektroakustik, visit: http://www.t-funk.com
STOW, OH, July 25, 2012 — Audio-Technica is pleased to welcome alternative rock act Neon Trees to its stable of artist endorsers. The announcement was made by Roxanne Ricks, Audio-Technica Artist Relations Manager, and reflects the ongoing expansion of A-T’s artist roster in all music genres. With two acclaimed albums (2010’s Habits and this year’s Picture Show) and irresistible hit singles like “Animal,” Neon Trees are rising stars in the music world with an energetic, highly danceable sound and must-see live show. On tour, the band (Tyler Glenn, Elaine Bradley, Branden Campbell and Chris Allen) and their trusted production manager Mike Bangs have come to rely on Audio-Technica microphones for their sound quality, durability and versatility.
The band’s arsenal includes the Audio-Technica Artist Elite® 5000 Series UHF Wireless System with AEW-T6100a transmitter, used for lead vocals, as well as the following hardwired models: AE6100 Hypercardioid Dynamic Handheld Microphone, ATM250 Hypercardioid Dynamic Instrument Microphone, AE4100 Cardioid Dynamic Handheld Microphone, ATM450 Cardioid Condenser Instrument Microphone, ATM650 Hypercardioid Dynamic Instrument Microphone, AT4040Cardioid Condenser Microphone and AT4033/CL Cardioid Condenser Microphone.
Bangs is impressed by the mics’ sound and power: “The AE4100 and AE6100 give high output that rivals many condensers, without becoming a roaming overhead. When Tyler [Glenn, lead vocals/keyboards] is running all over the venue, the 6100 really shines – the longer front pattern lets him really work the mic, and it survives ‘cupping’ issues better than most other mics. And then we use the 4100s on the background vocals, because it doesn’t have the same rear lobe as the 6100 and sounds more natural off-axis.”
Bangs singles out a few more mics and applications: “The ATM450 is one of my favorite mics. The capsule is comparable to or better than most pencil condensers, but the side-address gives me placement options I can’t get from any other mic. I use it under snare and under hi-hat – I love going under the hat, and with the 450 I can get it right under Elaine’s [Bradley, drums/percussion] contact point, and the snare is in the null. Then, on guitar cabinets, we use the AT4040. I love the AT4050 too, but I chose the AT4040 since I don’t need the adjustable pattern. We’ve also just started using the AT4033/CL on overheads – I am loving the ‘openness’ and natural feel of the high frequencies. They remind me of a much more expensive condenser.”
The stability of A-T mics puts the band at ease on the road. Notes Bangs, “I carry my mics and console everywhere we go. It gives the band a familiar feeling, no matter where we are. We use layering of inputs on almost every instrument. The A-T mics allow us to build a huge sound with relatively little backline. They are also incredibly durable – our lead vocal 6100 has taken serious punishment with little cosmetic damage and no change in audio quality.”
Neon Trees’ current tour began in Philadelphia on July 9 and will run through August 22. For more information, please visit www.audio-technica.com.
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