Archive for November 5th, 2012
Danny Abelson, Co-Founder of software startup Zeehi, announces that the CueCast Digital Mixing Console User File Conversion Service will support the DiGiCo SD7 platform beginning mid-November 2012. This raises the number of supported console models to five in CueCast’s latest Beta Release.
CueCast enables sound engineers, hire companies and production managers to quickly and easily convert complex show files between different digital audio mixing consoles.
“We’ve had a very positive response from the pro audio community since we released the first CueCast Beta version in July,” according to Abelson. “A growing number of engineers have been converting their files at our site, and new users from around the world are signing up for the service every week.”
CueCast gives every new user two free fully-featured conversions. That means anyone who’s interested can evaluate the service with no cost or commitment.
“We’ve been working closely with several of the large hire companies. One of their most frequent requests was that we add support for the DiGiCo SD7, since they have so many of these desks in their inventories. We were happy to oblige, and our development team is doing a great job implementing the new console. We’ve also made significant enhancements to the user interface.”
In its latest version, CueCast converts user files between Avid, Yamaha PM5D, and now three DiGiCo models: SD7, SD8 and SD10. The company plans to develop solutions for every major console model.
The web-based CueCast service solves a fundamental problem in audio engineering; transferring complex user settings from one console to another without the time-consuming headache of entering those settings manually.
“Converting show files on CueCast is reliable and takes just three easy steps,” says Abelson. “Simply upload your file to the secure Cuecast site, then specify the format you need, and download the converted file for installation in the new console. CueCast stores your files on a secure server for safe-keeping and future use.”
Abelson noted, “We are helping people improve the way they work by making the process of moving user settings to a new console fast and easy. We can bring the biggest benefit to the engineering community by expanding the number of different console models we support. Adding the SD7 was a significant step. Soon we’ll be announcing support for more Yamaha models, including the new CL range, as well as the Soundcraft Vista and Midas desks.”
The current Beta release of CueCast converts the most commonly used console features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support variable settings, snapshots and many other features.
Information on CueCast can be found at cuecast.com
—A leading audio resource for high-profile broadcast events, Audio-Technica has been outfitting the debates since 1988 —
133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” provided a wide selection of microphones to capture every word from the candidates, moderators and selected crowd members at the 2012 presidential debates. The events were held October 3 at Colorado’s University of Denver; October 11 (Vice Presidential) at Centre College in Danville, Kentucky; October 16 at Hofstra University in Hempstead, New York; and October 22 at Lynn University in Boca Raton, Florida. Larry Estrin, of Best Audio in Studio City, CA, serves as Audio and Production Communications Director for the Commission on Presidential Debates (CPD) and chose to use Audio-Technica microphones at these landmark events. Steve Savanyu, Audio-Technica’s Director, Educational Services, was also present at each debate for on-site support. Audio-Technica microphones have been chosen for the presidential debates since 1988.
Michael Abbott, A1 for the debates, stated, “The Audio-Technica microphones, which we’ve used on all the previous debates, performed flawlessly – which is exactly what you need them to do for an event of this magnitude of importance. Every word, every nuance has to be captured and captured accurately, and that’s what the A-T mics did, at all of the debate locations. Dependability and accuracy – that’s what A-T delivered.”
A leading audio resource for high-profile broadcast events, Audio-Technica provided a host of microphones from their comprehensive product line to pick up crisp, intelligible audio and cover the diverse needs of each debate.
Audio-Technica products used on both candidates at their lecterns (President Obama and Governor Romney) at the first 2012 presidential debate, held October 3, included Engineered Sound® ES991 dual-element podium microphones as well as AT898cW Subminiature Cardioid Condenser Lavalier Microphones with 5000 Series wireless. On moderator Jim Lehrer, wired and wireless versions of the AT898 Subminiature Cardioid Condenser Lavalier Microphones were used (AT898cW with 5000 Series wireless). Audio-Technica’s Broadcast and Production BP4071 Line + Gradient Condenser Microphones were used for room ambience.
Products used at the October 11 VP debate (conference table format) included A-T’s Engineered Sound® ES935ML6 MicroLine® Condenser Gooseneck Microphones on Vice President Joe Biden and Republican vice presidential nominee Rep. Paul Ryan. Two AT898cW mics with 5000 Series wireless were used for moderator Martha Raddatz. Audio-Technica’s BP4071 mics were used for room ambience. Backup mics at the event included AT898cW wireless lavaliers and AEW-T5400a handheld transmitters with 5000 Series wireless for the candidates, and AT898 wired lavalier mics for Raddatz.
Products used at the next event, a “Town Hall” format, included A-T’s 5000 Series wireless with AEW-T5400a condenser handheld transmitters and AEW-R5200 receivers for President Obama and Governor Romney (allowing the candidates to freely roam while answering the evening’s questions); AT898cW lavalier mics with AEW-T1000a body packs (doubled for redundancy) for moderator Candy Crowley; AE6100 Hypercardioid Dynamic Handheld (wired) microphones, connected to Audio-Technica’s AT-MX351a SmartMixer® Five-Channel Mixers, for audience members asking questions of the candidates; and BP4071 mics for room ambience. Candidate backup mics, required for redundancy, were additional AT898cW units with AEW-T1000a body packs and AEW-R5200 receivers.
The fourth debate (conference table format), held on the evening of October 22 in Boca Raton, Florida, wrapped the 2012 debate series. Microphones used included AT898cW lavalier mics (5000 Series wireless with AEW-T1000a bodypacks) on each candidate and moderator Bob Schieffer, as well as wired AT898 mics for backup and redundancy and BP4071 mics for room ambience.
Larry Estrin stated, “The primary reason that I chose to once again use Audio-Technica microphone and mixer products for the Presidential Debates is their ‘extra-mile’ support. We utilized the 5000 Series wireless, and we used the T5400a transmitter for the town hall meetings, giving us proven reliability and studio-quality audio. Two key features of the AEW-T1000a UniPak® body-pack transmitter are its safety cover, which protects the soft-touch controls from being accidently activated, and a superior locking microphone input connector. We used the AT898 miniature lavalier microphones at all the debates, and each candidate always wore two systems, for redundant backup. In most cases the wireless microphones were used as the primary mics while the wired microphones were the backup mics. In addition to the hardware support, Audio-Technica also sends one of their employees to all of the debates to assure the support we need from the factory.”
For more information, please visit www.audio-technica.com.
— Unique perspective of Omnicoustics LLC Owner shows how GC Pro has become the
single most comprehensive resource for AV technology and its installation —
WESTLAKE VILLAGE, CA, October 19, 2012 — When Braza Dancante, an authentic Brazilian churrascaria presenting the finest Brazilian cuisine to guests in Allen, Texas, opened last year, its menu drew from traditional South Brazilian churrascarias (similar to steakhouses), but its sound, lighting and video systems called for the most up-to-date AV technology. The restaurant’s PA and distributed audio systems feature components from Bose Professional Systems Division, a truss system was loaded with Chauvet Professional lighting products for the music stage and wash mood lighting, and a Key Digital video distribution system was put in place for televisions and digital signage.
The entirety of the system was sourced by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, and the installation and systems integration was handled by Omnicoustics LLC, a member of GC Pro’s expanding Affiliate Program. The Braza Dancante project illustrates how GC Pro has become the premier resource for AV systems integration projects, and how its Affiliate Program has grown into a principal source of installation and related services.
“Working with GC Pro is the simplest, most straightforward way to get a project done and done right,” says Adrian Gamez, Owner of Omnicoustics, the two-year-old AV systems integrator that installed, among other systems, the following Bose Professional Systems products: ControlSpace® ESP-88 engineered sound processor, FreeSpace® DS 100SE Loudspeaker, Panaray® MA12EX Full-Range Modular Line Array and MB24 Modular Bass Loudspeaker at Braza Dancante. “Even though we faced some challenges on the project, working around the general contractor, we always had every piece of equipment and product we needed exactly on time, thanks to GC Pro.”
Gamez should know how well GC Pro services projects like these – prior to opening his integration company, Gamez worked for the same GC Pro office in the Dallas area that serviced the Braza Dancante project. “I know what GC Pro can accomplish because I worked there,” he says. “They can get just about any piece of equipment you can think of, from a $30,000 audio console to a $3 connector, and have it all there on time for the job. When I worked for GC Pro, we prided ourselves on how well we could service AV systems integrators. Today, as one of those integrators and as part of the GC Pro Affiliate Program, I can really appreciate how well they do that. They have a great workflow.”
Jeffery McDaniel, GC Pro Senior Account Manager, stated, “This was a great project to work on because we were able to work with the customer from the conceptual blueprint stages all the way through the construction and final installation stages of the project, and we were able to make sure everything was perfect for their needs. It was also a pleasure to work with one of our affiliates, Omnicoustics LLC, throughout all of these stages, resulting in a project that exceeded the customer’s expectations at every step of the way. This is what it’s all about.”
Gamez also appreciates the fact that the Affiliate Program has also helped his company grow, allowing him to bid on and spec more projects than he could have on his own. “I’ve been on both sides of the fence with GC Pro – selling products and now buying them,” he says. “And from that perspective you can really see how good GC Pro is at what they do.”
For more information, please visit www.gcpro.com.
— Treme’s use of live music in the show is unique on television, and Bigelow relies on A-T microphones to capture the sounds of street musicians, parades and club shows —
— A-T further supports Bigelow’s educational efforts as a teacher of recording and mixing techniques at the University of New Orleans, providing microphones and other support materials —
133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — When viewers of HBO’s hit series Treme watch a parade of street musicians leading a crowd through New Orleans’ French Quarter or listen as a blues trumpet wails late into the night in a jazz club, they’re not hearing music dubbed in later in post production. They’re hearing that musician play those actual notes. That’s what sets the work that the show’s Music Recordist, Robert C. Bigelow, has done for the last three seasons of the program, distinct from most music in television drama. On Treme, the music is as real as can be because it’s recorded on site as the show is shot, and Bigelow chooses microphones from Audio-Technica to capture Treme’s music.
“The big challenge for Treme is that the music you hear on the show is what we film live on location,” says Bigelow. “Most television shows will shoot to pre-recorded music and mix it in later; on this show, we record the musicians playing live in front of the camera, so you’re hearing the real thing. This really sets Treme apart from any other drama on television.”
Bigelow says Audio-Technica offers him what no other microphone manufacturer can: the ability to capture a huge palette of sound using just a few key microphones. He uses the A-T BP4027 and BP4029 Stereo Shotgun Microphones to create the ambient sound foundation for the show’s music. “They give me the big picture and context for the music, and we build the package on them,” he explains. A-T’s ATM350 Cardioid Condenser Clip-on Microphones are used for the brass instruments in parades and club scenes. “They’re incredibly versatile and I’ll use them on instruments from a trombone to a piano,” he says. “They’re very easy to hide – unlike other clip-on mics, I can just take the capsule of the 350 and attach it to the horn, yet they still give me full-range sound.” One very cool trick Bigelow has developed is to tape the 350 to the back of a shirt collar of a musician in a marching band to record the sound of the horns that are behind him.
Bigelow uses several microphones from A-T’s Artist Elite® wireless Series, including the AE5100 Cardioid Condenser Instrument Microphone and AE4100 Cardioid Dynamic Handheld Microphone, on both vocals and instruments, and the ATM450 Cardioid Condenser Instrument Microphone for nearly invisible miking of guitar amps and pianos, as well as overheads for drum kits. “The 450 has a really low profile so it’s great for capturing a little guitar amp on a street corner, and on drum overheads it’s got a pristine high end with absolutely no sibilance – crisp highs with no shrillness,” he raves. “The real beauty of this is that I’m able to capture the entire range of music for this show with just a few key microphones. You don’t need a big microphone closet to do this show.”
In addition to his groundbreaking work on Treme, Bigelow also heads a mentoring program in audio recording for film/TV at the University of New Orleans, helping the school further develop its film/TV production program. And A-T is a big part of that, too, providing microphones for classes and educational support materials for students. “One of the nice things about A-T microphones when it comes to teaching is that A-T mics are a great value without giving up any performance, so they’re the microphones that students can build their own tool kits with affordably, and those microphones will stay with them for the rest of their careers,” he says. “And it’s great that I’m able to teach using the very same microphones that I’m using on a multi-million-dollar film production. These are really the only microphones that can truly do it all.”
For more information, please visit www.audio-technica.com.
— GC Pro continues to expand this acclaimed service with the addition of technical support personnel in Nashville, which joins GC Pro’s location in Hollywood to offer access to complex systems design, installation and integration services —
— The initiative will also be fully integrated with GC Pro’s acclaimed Affiliate Services Program to create a truly comprehensive turnkey system solution —
WESTLAKE VILLAGE, CA, October 22, 2012 — As part of its continuing effort to add useful and valuable services and products to its client offerings, Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, today announced the extension of its successful new Technical Support Group initiative to the Nashville professional audio market. The program, which provides a number of technical support services, including customized Macintosh®-based audio systems solutions for clients in all of the market sectors it serves (recording studios, post production facilities and installed A/V), will now benefit Nashville’s music recording and production community. The Technical Support Group was initially launched in May 2011 at GC Pro’s Hollywood, California location. Additional personnel for the Technical Support Group are planned for other GC Pro locations in the U.S. in the future.
In the newly opened Nashville location, GC Pro Technical Services Technician Frantz Verna says that key services have already been provided for a range of professional clients there, such as loading and authorizing customers’ plug-in packages and integrating key applications including AVID’s Pro Tools® HD systems and others, and designing and building Mac-based audio systems equipped to the customers’ specifications for hard drives, video cards, RAM and other parameters. Such clients include producer/drummer Mike Marsh of the band Dashboard Confessional, legendary vocalist/composer/actress Bonnie Bramlett and Sound Emporium Recording Studios.
Verna says that many of these tasks, such as loading and authorizing software, are time- and labor-intensive, and pull music professionals away from their real work. “Musicians in Nashville definitely have better things to do with their time,” he says. “The advantage we bring to them, that they cannot get at a computer store, is that GC Pro understands how to optimize and maximize computer hardware, software and peripherals for music applications and integrate computers with their outboard equipment. We know how a computer best fits into a professional audio system. We’re able to give our clients a computer that’s ready to plug and play, which is exactly what they want and what no computer store could ever offer.” And all systems from the Technical Support Group will also be available for integration by members of GC Pro’s acclaimed Affiliate Services Program, which offers the services of certified studio designers, acousticians, systems integrators and other technical services to all GC Pro customers. No other professional audio retailer can offer such a comprehensive package of high-end products and programs.
“We are proud to expand our Technical Support Group endeavors to the rich market of Nashville,” stated Rick Plushner, GC Pro Vice President. “Nashville’s music community is growing larger and larger every day, and with such a large concentration of artists, players, composers, producers, engineers and post-production professionals, it is the type of market that can clearly benefit from the services of our Technical Support Group.”
For more information, please visit www.gcpro.com.
Stadiums, arenas and open air venues across Asia, Europe, North and South America are hosting Madonna’s 2012 MDNA Tour, with all featuring a large Sennheiser wireless microphone and monitoring system that helps deliver a flawless performance, night after night. Madonna has six Sennheiser SKM 5200 mics for each show, which, as monitor engineer Matt Napier explains, get tested to the limit.
“The 5200s get a real battering. The whole first section of the show is highly stylised with an almost comic book aggression. There is a lot of staged violence and the microphones get hurled around and are frequently being thrown to and from dancers and onto the floor,” commented Napier. “We’re going through a new microphone every ten shows or so. But given that the 5200 is not a microphone designed for such abuse, I think they are standing up remarkably well. Of course we have a whole drawer of spares from Sennheiser!” he concluded.
Audio rental company Eighth Day Sound provided the Sennheiser equipment after purchasing from Sennheiser Electronic Corporation, USA. The tour features six further SKM 5200s with MD 5005 capsules for backing and guest vocal microphones. Together with Madonna’s vocal mics, these use seven EM 3732-II wireless receivers. Fourteen 2000 series wireless systems are used for in-ear monitors, with 14 more for guitar systems. In addition, a percussion trio uses SKP 2000 plug-on transmitters, taking the overall wireless channel count to around 50.
“The plug-on transmitters are a very useful solution, because the trio comes on stage, does its section and goes off again. There’s no time to cable the musicians up. It’s a very neat way of using RF,” says Napier. “On top of everything else, there is also a wireless comms system, so we are probably up to 70 channels of RF at each show and we have had no problems at all.
“Everything is using the built-in networking, all programmed on the Wireless Systems Manager, which saves a huge amount of time. Every show so far has been trouble free.”
Madonna.jpg: Madonna’s 2012 MDNA Tour uses Sennheiser microphones and monitors
(Photo credit: Kevin Mazur)
Composer Jack Wall Joins Mastering Engineer Patricia Sullivan
Pictured in session at Bernie Grundman Mastering are (foreground) Patricia Sullivan (mastering engineer), and (standing L-R) Jack Wall (Composer, Black Ops II), Brian Tuey (Audio Director, Treyarch), Alex Hemlock (Music Editor, Composer Assistant). Photo by David Goggin.
Multi-award-winning composer Jack Wall (Mass Effect, Mass Effect 2, Jade Empire, Myst), has written the music for “Call of Duty: Black Ops II” and mastered the soundtrack album at Bernie Grundman Mastering with engineer Patricia Sullivan.
“Call of Duty: Black Ops II” is an adrenaline-fueled, emotional and diverse musical palette that takes the blockbuster series in adventurous new sonic directions. From epic symphonic and hybrid ethnic sounds to classical, folk and unique futuristic treatments, Wall’s ambitious score fully immerses players in the game’s cinematic experience.
Jack Wall creates a dynamic, narrative-driven score recorded with full symphony orchestra at the world-famous Abbey Road Studios. The score features hybrid orchestral music blended with contemporary and futuristic electronic sounds.
“I created different musical directions for each time period,” says Jack Wall, “Orchestral music for the ’80s Cold War-era setting, and more of a hybrid sound blending intense electronic drums and synths for the near future setting. I wanted to have the best musicians in the world and these musicians are amazing at what they do. Their interpretation of what I write brings something new and fresh to the music. ”
“Call of Duty: Black Ops II” is the sequel to the universally acclaimed “Call of Duty: Black Ops,” which, following its launch in 2010, set the record for the biggest entertainment launch in history. Set in the year 2025, the sequel propels players into global conflict featuring advanced weaponry, robotics, and drone warfare in a new Cold War scenario whose seeds are being sown in today’s headlines.
For more information: http://www.callofduty.com/blackops
Jack Wall : http://www.jackwall.net Press Contact: Greg O’Connor-Read
702-407-0935 / email@example.com
For more information about Bernie Grundman Mastering, visit: http://www.bgmastering.com
DiGiCo rocked the house at the grand opening celebration of Mick Fleetwood’s new restaurant and club, Fleetwood’s on Front Street, in the heart of downtown Lahaina, Maui. The four-night musical celebration boasted a star-studded roster of performers. Night one kicked off with the Grammy-nominated Mick Fleetwood Blues Band, featuring guitarist/singer Rick more
DPA Microphones’ new hand held d:facto™ Vocal Microphone made its debut on Chinese television this summer when it was used extensively during the production of The Voice of China, a show produced and screened by Zhejiang Satellite TV that topped the nationwide ratings.
Based on the same concept as NBC’s The Voice, the Chinese show featured four judges/coaches who used blind auditions to identify teams of singers they wanted to work with during the series. The prize for the winning artist, Liang Bo, was a recording contract.
Heading up sound production for the show was Mr Jin Shao Gang, a famous sound designer and one of China’s most important sound engineers. During an extensive and illustrious career, Mr Jin has worked with many of the country’s top recording artists and was also heavily involved in the opening ceremony for the Beijing Olympics in 2008.
Mr Jin used two DPA d:facto Vocal Microphones for the singers and also specified them for the judges when they sang with their teams.
He says: “I knew that DPA microphones were among the best in the world so I was very keen to try the new d:facto microphone. We tested two d:facto capsules with our Wisycom wireless systems and I was so satisfied with the results that I decided to use them for this show. The sound quality was exceptional – clean, natural and with splendid high frequency response and awesome ambient noise restriction. I was very happy with their performance.”
The show judges included renowned musician Liu Huan, who sang the Beijing Olympics theme song You and Me with Sarah Brightman; pop diva Na Ying; top Chinese artist Yang Kun and Harlem Yu, a singer-songwriter from Taiwan. DPA’s d:facto was also used by Taiwanese singer A-Mei, who was the guest artist in the show’s finale.
Pike Xin, Product Manager at DPA’s Chinese distributor DMT Pro that supplied all of the DPA microphones used during the show, says: “As professional musicians, the judges are familiar with many different microphones but they all really liked working with the d:facto. Indeed, Na Ying was so impressed that she went on to use a d:facto for her own concert, Na 20 Years, while Yang Kun has expressed an interest in buying one.”
To comply with Zhejiang TV’s brief to deliver the best sound quality, Mr Jin also specified DPA cardioid headset microphones for the judges to wear while they were making their comments on the artists’ performances.
Pike Xin adds. “Mr Jin also specified a number of DPA d:vote™ 4099 Instrument Microphones which were used to mic piano concerts by two of the artists taking part, Lang Lang and Li Yun Di. He was very impressed with these and plans to use them again in the future.”
The Voice of China finals were broadcast live and in 5.1 surround sound. To ensure that the excitement of this spectacular finale was transmitted to the viewing public, Zhejiang TV audio engineers used a DPA 5100 Mobile Surround microphone, which was positioned in the middle of the audience so that it captured the entire ambience.
The Voice of China was so successful that it grabbed higher rating than any other Chinese music show this year, and even managed to beat foreign format shows like American Idol and You’ve Got Talent. Part of this success was down to Zhejiang TV, which upheld the principle of selecting really good voices and keeping a friendly and sober tone, which attracted viewers.
Chinese commentators are now hoping that The Voice of China will lead the way for more Chinese adaptations of popular western TV shows – and ultimately a successful home-grown reality/talent show format.
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com
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