Archive for November 19th, 2012

Antelope Audio Announces Black Friday to Cyber Monday Discounts on its Master Clocks and AD/DA Converters

As the holiday season rapidly approaches, Antelope Audio announced a comprehensive discount for customers on its entire product line, excluding the new Orion 32, which is expected to ship in December. By contacting selected North American dealers, customers can take advantage of a 15 percent discount on Antelope’s Isochrone line of master clocks – including the renowned Trinity and 10M – as well as its line of Zodiac DACs and the Eclipse 384 mastering AD/DA converter, which was released to critical acclaim last winter.

“This is a perfect opportunity for users to increase the performance of their infrastructures, whether they are project or commercial studio owners, live sound engineers or just music aficionados who favor listening to uncompromising audiophile-quality recordings,” commented Marcel James, Director of Sales for Antelope Audio USA. “Our clocks and converters are used in the most famous mastering houses and production facilities around the world and can make all the difference in attaining exceptional sound quality. What a great opportunity this is to step up to an Antelope system.”

Dealers participating in the seasonal discounts include Alto Music, AudioVision San Francisco, Calistro Music, Dale Pro Audio, Guitar Center, JSS, RSPE, SoundScienceCat, Sweetwater, Vintage King and Westlake Pro in the U.S.; Studio Econimik in Canada; and Audio Gate International in Mexico.

To learn more about the special offer, please visit manufacturer’s Black Friday Sale page or the websites of the authorized dealers. For complete product information, please visit Antelope Audio’s website.

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133rd AES Convention Rocks San Francisco

Hurricane Sandy Dampens Turnout but not Enthusiasm at Industry’s Premier Pro Audio Event

SAN FRANCISCO: The 133rd AES Convention at the Moscone Center was distinguished by a remarkably diverse program. In the face of an epic storm that gripped the nation and disrupted countless travel plans, thousands of conventioneers experienced an exhibition hall filled with new and exciting products and, a four-day program of scientific presentations and training events designed to hone their skills in an industry changing at the speed of sound.

From the revelatory anecdotes of multi-Platinum keynote speaker Steve Lillywhite (U2, Dave Mathews Band, Rolling Stones, The Killers), to the inspirational personal histories and career highpoints of legendary Platinum engineer/producers Jack Douglas (John Lennon), Narada Michael Walden (Whitney Houston) and Young Guru (Jay-Z, Kanye West, Beyonce); to an original live audio production, “Poe – A Life And Stories In Sound,” featuring Firesign Theater/Disney film voiceover star Phil Proctor; a packed screening of the “Wrecking Crew” documentary; AND, the debut of the highly acclaimed Project Studio Expo (see separate release), the 133rd AES Convention was an unqualified success.

“In the months leading up to the show we had strong pre-registration numbers and were on target for at least 14,000 people,” reports AES Executive Director Bob Moses. “The Exhibition Hall was packed on Saturday, but Hurricane Sandy took a lot of wind out of our sails. People fled for the airport on Sunday and Monday as flights were canceled around the country. In the end, some 11,000 attendees turned out, reflecting strong pre-registration but disappointing onsite sales. On the bright side, we were very happy with attendance in the inaugural Project Studio Expo – 1,680 people, nearly double what we anticipated.”

Despite the lower than anticipated turnout, many of the 296 exhibitors and sponsors offered positive perspectives on their Convention experience:

“M-Audio and Akai Professional’s Platinum Sponsorship of this year’s AES gave us the valuable opportunity to be a part of how AES itself is evolving. We appreciate the direction AES is headed, particularly with its healthy focus on project studios and the Project Studio Expo,” said Lee Cwiek, Tradeshow and Events Manager, inMusic Brands

“This year’s AES was extraordinarily exciting for Sennheiser,” remarked Joe Ciaudelli, Director, Advanced Projects & Engineering Services, “We debuted our Digital 9000 wireless system. Our Recording Sound Academy round table drew an SRO crowd. And, we introduced our Neumann KH 310 reference monitors at the NARAS Skywalker Sound event.”

“We were happy to find that DPA Microphones made a big splash at AES this
year thanks to the Yamaha/ResInno Grand Rossa piano and DPA hearing stations that were on display. We were frequently complimented for the open design of our booth, and for the inviting sound of the piano music,” reports, Eric Mayer, President of U.S. Operations, DPA Microphones

“Our booth position directly adjoining the Project Studio Expo was a blessing in disguise,” remarked Sonnox Sales & Marketing Manager, Nathan Eames. “We were initially concerned about potentially distracting noise, but were delighted to see the entire audience outfitted with wireless headphones. Other than occasional bursts of applause, there was there barely a sound from the Expo. And too, our proximity may have increased our booth traffic.”

“AES provided us with an excellent platform to engage our customers and the media. It was definitely a worthwhile show and we look forward to showcasing our new products and technology in the future!” Josh Rosen Account Coordinator, Fairlight

Support from the business community extended beyond the exhibition floor, as a number of sponsors supported tracks of events in the technical program. THAT Corporation and Audio Precision returned as co-sponsors of the Product Design Track, as did Dolby as long-time sponsor of the Broadcast and Streaming Track. Renkus Heinz sponsored the Live Sound Track, and Presonus, AVID, Lynda.com, and Sennheiser sponsored the Project Studio Expo. Perhaps most notably, inMusic brands M-Audio and Akai Professional served as Convention Platinum Sponsors, and were instrumental in bringing Young Guru to the event. “I deeply appreciate the moral and financial support these companies provided,” stated Moses. “I’m very firm in my commitment to serve businesses. The creative ways in which we were able to work together to make this event special for these companies and their customers is a sign of the future.”

The Exhibition is just one component of the AES convention, paralleling four days of events in the technical program. This year’s show provided a dizzying array of scientific paper presentations, workshops, tutorials, technical tours, platinum producer/engineer/ artist panels, special events, standards meetings, and Technical Committee forums on the latest trends in the audio business.

“Our outstanding convention committee, led by Co-Chairs, Jim McTigue and Valery Tyler worked tirelessly to produce an exemplary event. These folks contributed an incredible amount of time and energy while simultaneously juggling day job and personal obligations,” Moses said. “Their deep knowledge and experience, service to community, and deft skill in making all this happen smoothly should be appreciated by all who came and enjoyed this great event. “The entire Committee deserves a huge shout out,” he adds: “they are true San Francisco Giants!

“And kudos too, to the AES headquarters team: Deputy Director, Roger Furness; Director, Convention Management, Chris Plunkett; Publications Managing Editor William McQuaide, Senior Editor Mary Ellen IIich, Membership Director, Lori Jackson; Business Development Manager, Steven Green; and Chief Information Officer, Steve Johnson worked crazy hours to support this herculean effort,” Moses concludes. “I’m very grateful to the contributions everyone made as we pursue our mandate to the audio community to listen, learn and connect.”

###

Photo Captions:

1. 133rd AES Convention Opening Day crowds fill the Exhibition Hall

2. Young Guru meets fans after Platinum Producer/Engineer Panel

3. The 133rd AES Convention Committee’s all star-line up (L-R) Volunteers Co-Chair, Evan Peebles, Papers Co-Chair Alan Seefeldt, Director/Convention Management Chris Plunkett, Papers Co-Chair Veronique Larcher, Tech Tours Chair Jessica Livingston, Workshops Co-Chair Jeffrey McKnight, Convention Co-Chair Valerie Tyler, Special Events Chair Christopher Smith, Workshops Co-Chair David Bowles, Historical Chair Bill Wray, Live Sound Chair Michael “Bink” Knowles, Convention Co-Chair Jim McTigue, AES Business Development Manager Steven Green, AES Deputy Director, Roger Furness, A/V consultant Dave Molnar, AES Executive Director Bob Moses and Facilities Chair, Bob Megantz. Not pictured are: Broadcast/Streaming Chair David Bialik, Education Co-Chairs John Krivit and Ezequiel Morfi, Game Audio Chair, Steve Martz, Master Classes/Tutorials Co-Chairs, Mike Wells and Jose “Vene” Garcia, Networked Audio Chair, Nathan Brock, Sound For Pictures Chair, Brian McCarty, Product Design Chair, Conrad Cooke, Volunteers Co-Chair, Michael McConnell and, AES Chief Information Officer Steve Johnson.

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

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MIAMI’S CIRCLE HOUSE STUDIOS CONTINUES SSL TRADITION WITH DUALITY IN THE CABANA STUDIO

”SSL’s commitment to sound quality over the years is evident through the success of the projects recorded here.”

NORTH MIAMI BEACH, FL – Circle House Studios, the Miami production powerhouse, has set up a Solid State Logic Duality SE as its primary mixing console for the Cabana Studio room. A recent project with the rapper Pharrell, which included Miley Cyrus, Mary J. Blige, Rico Love, the Madden Brothers and Good Charlotte, was mixed using Duality. Circle House has a long, successful history with several generations of SSL consoles. The addition of Duality reflects SSL’s commitment to continued sonic excellence that produces sterling results for Circle House clients. more

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The Recording Academy® Producers & Engineers Wing® Presented GRAMMY SoundTables® at the 133 AES Convention

The third annual installment of “Sonic Imprints: Songs That Changed My Life” gathered an eclectic group of legendary producers, engineers and mixers to explain what music moves them and why

The Recording Academy® Producers & Engineers Wing® reprised its popular GRAMMY SoundTables® event at the 133rd Audio Engineering Society Convention at the Moscone Convention Center in San Francisco, on Saturday, Oct. 27, 2012. The event, titled “Sonic Imprints: Songs That Changed My Life – Part 3,” was the third installment of the well-received series that explores songs that inspired and shaped the careers of recording industry and pro audio influencers.

Two-time GRAMMY® winner Ed Cherney, producer, engineer and mixer for artists such as the Rolling Stones and Bonnie Raitt, moderated an all-star panel that included Ryan Hewitt (Blink 182, the Avett Brothers), three-time GRAMMY winner Leslie Ann Jones (Kronos Quartet, Bobby McFerrin), multiple GRAMMY nominee Salaam Remi (the Fugees, Amy Winehouse), GRAMMY winner Dave Pensado (Black Eyed Peas, Pink), and seven-time GRAMMY winner Elliot Scheiner (Eagles, Steely Dan).

Panelists were asked to choose two songs that significantly influenced their career choices, and to break down the DNA of their favorite tracks and explain what moved them, what grabbed them, and why these songs left a lifelong impression. Songs chosen by panelists and played for the audience of more than 500 included the Allman Brothers’ “In Memory Of Elizabeth Reed” (Pensado), the Police’s “Spirits In The Material World” (Hewitt), Stevie Wonder’s “Think Of Me As Your Soldier” (Remi), Barbra Streisand’s recording of “Any Place I Hang My Hat Is Home” (Jones), and Steely Dan’s “Haitian Divorce.” Scheiner told the audience how his “one-stop divorce package trip” to the Caribbean inspired Steely Dan’s Walter Becker and Donald Fagan to chronicle it in song. The event was once again a huge success and gave the audience a rare insight into how music affects and influences even those at the core of the process.

Maureen Droney, Senior Executive Director of the P&E Wing, stated, “The GRAMMY SoundTables event continues to be a thought-provoking and entertaining highlight of the AES Convention. Once again, we brought together a diverse group of leading industry professionals who shared their thoughts on what inspired them to devote their lives to the art of recording music.”

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Bose Introduces New Ground Stack Accessories For RoomMatch® Array Module Loudspeakers

Today, the Bose® Professional Systems Division has expanded the flexibility of its RoomMatch® array module loudspeakers with new rigging accessories that allow easy-to-assemble ground stack arrays. Now, the 20 unique RoomMatch full-range coverage patterns and RMS215 subwoofer can support stage- or ground-mounted front-fill applications and temporary side-stage coverage in areas that require removable seating, such as performing arts centers.

The new ground stack accessories include a base frame that attaches to the RMS215 subwoofer and enables one or two full-range RoomMatch modules to be mounted on adjustable-pitch brackets. New subwoofer brackets allow the base frame to be used with up to three subwoofer modules, and through optional casters, be easily moved to different stage locations.

RoomMatch Array Module Loudspeakers
Introduced in 2011 and recently expanded with several new modules, the Bose RoomMatch series offers a new class of curvilinear array loudspeaker – the progressive directivity array – providing both concert-quality sound for live music and clear vocals for spoken word, with unmatched seat-to-seat tonal balance consistency for installed sound systems. The full-range modules are available in 20 different combinations: horizontal coverage patterns of 55, 70, 90 or 120 degrees, and vertical coverage patterns of 5, 10, 20, 40 or 60 degrees.

The progressive directivity array offers the ability to vary both the horizontal and vertical coverage patterns for each module in the array based on the room dimensions. More precise coverage control helps sound system designers ensure good intelligibility with spoken-word program material, especially in reverberant rooms, as well as the best possible tonal balance throughout the listening area.

Availability
The new RoomMatch® ground stack accessories will be available through authorized Bose dealers beginning October 31, 2012. Visit pro.bose.com for more information.

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Music Mix Mobile (M3) Continues to Choose Aphex® Model 188 and 1788A Microphone Preamps for High-Profile Television Programs and Broadcast Events

— Aphex® 188 mic preamps combine high efficiency with great sound for a variety of M3’s projects, and the 1788A offers added flexibility for hectic festival production schedules —

Music Mix Mobile (M3), a New Jersey/California-based remote recording, mixing and production company, are one of the most in-demand remote facilities teams in the country, and they continue to reaffirm their strong reliance on products from Aphex® as a vital part of their signal chain. M3’s services have helped several television programs and large-scale events broadcast the highest quality audio. Such programs include The GRAMMY®s, The Latin GRAMMY®s, VH1 Storytellers, The Daily Show with Jon Stewart, The Colbert Report, and Late Night with Jimmy Fallon’s live broadcast from the University of North Carolina. A key part of M3’s signal chain is the Aphex Model 188 Microphone Preamp. M3 has been relying on the 188 at various gigs through the summer months, including the Bonnaroo festival in Manchester, Tennessee; the Budweiser Made in America festival in Philadelphia; and the upcoming Latin GRAMMYs.

Joel Singer, Chief Engineer for M3, states, “We continue to use the 188 in our Voyager, OBU and flightpack systems. The Aphex 188 is an important part of making the signal chain work efficiently and effectively. I can say that as a package we’re thrilled with it because of the sound quality, size and feature set. It solves many of the challenges that come with working on complex music programs in remote broadcast shows. We’re able to save space and still have loads of channels for some of these bigger events. They perform so much better than their competitors in this preamp category, and plain and simple, they sound great. Add into the mix that they’re remote-controlled and already have optical outputs – it’s a win-win. You really get a lot of bang for your buck.”

At the recent IHeartRadio festival in Las Vegas, M3 brought two trucks for added flexibility to cover a hectic itinerary. The California-based M3 West truck Horizon is equipped with Aphex’s Model 1788A Premium Eight Channel Microphone Preamp. Singer adds, “You know what you’re getting with a 1788A and 188’s, and that’s a musical sounding pre. I love both products, and we’ll continue to use them on our future gigs.”

“We are extremely pleased that top industry professionals such as M3 continue to choose Aphex as part of their audio signal chain,” stated David Wiener, Aphex CEO. “When you only have one shot to get it right for a live broadcast event, it’s an honor to have such talented people know they can rely on our products in a critical situation.”

The Aphex Model 188 provides eight high-quality Aphex transformer-coupled mic preamps in a 1U rack-mount chassis. Like the popular Aphex 1788A, all settings of the Model 188 can be remote controlled via Ethernet or MIDI, using the 1788A-RC remote or the 1788SW control software (PC and Mac). It can also be controlled via the Aphex 5200 interface from an Avid Pro Tools or Yamaha control surface. The Model 188 has an eight channel analog output as well as two ADAT Optical outputs, each carrying eight channels of audio. The two outputs can be used for redundant operation, or in combination for 2X sampling rates (SMUX).

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Audio Incorporated Chooses Genelec Active Monitors to take Post Production Sound at Outpost Digital to the Next Level

— Noted East Coast post facility adds three new Genelec 5.1 surround-monitoring systems for their two color mixing and mastering studios and Pro Tools editing suite —

Genelec, the world’s longstanding pioneer in active monitoring, is pleased to announce that Outpost Digital, the leading New York City audio and video post production company whose clients include Dodge, Champion, ESPN, Cingular, IKEA and others, recently upgraded their audio system with the installation of three new 5.1 surround monitoring systems from Genelec. In the wake of an expansion last year that saw 13 new post suites added to the company’s existing facility, Outpost Digital’s two main coloring and mastering studios each now have a newly installed Genelec 5.1 monitoring system consisting of five 8240A Bi-Amplified Active Monitors for the L-C-R and rear surround arrays, and a 7270A Active Subwoofer. The facility’s Pro Tools editing suite is now equipped with a Genelec SE™ (Small Environment) Smart Active Monitor™ (SAM) System – aka Digital PowerPak – a 5.1 system using five 8130A Bi-Amplified Active Monitors and an SE7261A Active Subwoofer.

All of these new Genelec monitoring systems employ the company’s proprietary Smart Active Monitor (SAM) concept that includes GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. These products and technologies reflect Genelec’s recently introduced SAM concept, which allows monitors to be controlled with digital networking to enable the building of highly flexible computer-controlled systems of monitors. The Genelec system was sold to Outpost Digital by Audio Incorporated, of Roselle Park, NJ.

Genelec monitors are a favorite of post production facilities, says Mike Yorky, Director of Sales at Audio Incorporated. “Genelec’s DSP and Auto-Cal are well-suited for post facilities because they let those facilities adjust the focal point of the monitoring system to anywhere in the control room, which is brilliant for clients, who can have the sweet spot anywhere in any room customized for them,” he explains. “We sell a lot of Genelec speakers into the post market for that reason, as well as the fact that they sound great, offer incredibly accurate uncolored monitoring, and come with fantastic technical support after the sale.”

Chief Engineer Randy Main went with Genelec, he says, “because Genelec has been a trusted and reliable standard in the broadcast and film industry for years.” Outpost Digital is a full service post facility whose services range from offline editorial to final mastering. “When it came down to it, we were looking to standardize our facility on a monitoring technology that we could depend on to translate well inter-facility wide. When our clients are in the final mastering stage we know that the fidelity is reproduced perfectly and consistently through each stage of the process. Also it’s extremely important that the final sound translate well to any number of venues, whether it be theatrical, broadcast, live events, etc. The Genelec 8240s with their SAM technology was really a no brainer for us, especially with their intelligent auto calibration feature set. It was a critical tool in calibrating our listening environment to meet the acoustical challenges we faced when adjusting the sweet spots for both client and mix position.”

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

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The Recording Academy® Producers & Engineers Wing® Partners with UK-Based Music Producers Guild (MPG) to Advance the Crediting Process for Digital Media

Two Organizations Join Forces to “Give Fans The Credit”

The Recording Academy® (www.grammy.com) recently launched “Give Fans The Credit” (www.givefansthecredit.com) — a new campaign that will help enhance fans’ discovery of new music by ensuring that all music creators are credited for their work on digitally released recordings. Now, The Academy’s Producers & Engineers Wing® is teaming with its UK-based counterpart, the Music Producers Guild (MPG), which has for several years lobbied its own initiative, “Credit Where Credit Is Due,” to combine resources to find solutions to this serious industry problem.

Songwriters, non-featured performers, producers, and engineers make significant contributions to recordings, but as liner notes are becoming less common, these creators rarely receive credit on digital music devices. Currently, the only credits consumers are generally able to see are the song title, album and artist. Music fans should also have access to additional information: the songwriter who composed the work, the producers and engineers who shaped the sound, and the musicians who brought the song to life.

The “Give Fans The Credit” campaign addresses these issue on several fronts. First, music fans who want information about their favorite tracks can sign the petition at www.givefansthecredit.com. Second, the campaign ambassadors and other leaders at The Recording Academy will begin a series of discussions with digital music services to brainstorm ways to deliver more robust crediting information on digital music platforms. At the same time, the P&E Wing will continue its efforts toward technical solutions that will ensure accurate data is contained within the music files. The partnership with MPG strengthens all of these efforts moving forward.

Maureen Droney, Senior Executive Director of the P&E Wing, stated, “The P&E Wing is pleased to join forces with our colleagues in the UK at the MPG to gain attention and look for solutions to the growing international problem of lack of crediting for recording professionals. Our goal now is for the P&E Wing and the MPG to work together to move this initiative forward. Looking ahead, we intend to keep our organizations in closer touch on this issue as we enlist artists, other music professionals and the overall public to help with this initiative, and the P&E Wing is stepping up its discussions with digital music delivery services regarding technical solutions to this problem.”

Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, follow @TheGRAMMYs on Twitter, “like” The GRAMMYs on Facebook, and join The GRAMMYs’ social communities on YouTube, Tumblr, Foursquare, GetGlue, and Instagram.

Currently more than 6,000 professionals comprise The Recording Academy Producers & Engineers Wing, which was established for producers, engineers, remixers, manufacturers, technologists, and other related creative and technical professionals in the recording field. This organized voice for the recording community addresses issues that affect the craft of recorded music, including the development and implementation of new technologies, technical guidelines and recommendations, and archiving and preservation initiatives. For more information, please visit www.producersandengineers.com.

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Genelec Offers SpeakerAngle for Android and Update for iOS Devices

— Popular app allows users to correctly configure and match the angling of stereo or
surround-sound speaker systems —

Genelec, the world’s longstanding pioneer in active monitoring, is proud to announce the latest news regarding its highly successful TEC Award-nominated SpeakerAngle app.

First, in response to popular demand, the app is now available for Android devices (https://play.google.com/store/apps/details?id=com.genelec.apps&feature=nav_result#?t=W10), priced at just $ 0.99 USD. The Android version of SpeakerAngle is functionally and graphically identical to the popular iOS version released in August and already in use by thousands of audio professionals and home studio/theater owners. It works on all Android smartphones and tablets running OS 2.3 (Gingerbread) or later and equipped with a gyroscope chip, including the Samsung Galaxy II and III; the HTC Evo 3 and 4; the Google Nexus; and the Asus Transformer and Samsung Galaxy Tab.

Second, Genelec has announced the availability of SpeakerAngle version 1.2 for iOS devices as a free update on the Apple iTunes Store (http://itunes.apple.com/us/app/speakerangle/id549033688?mt=8). This latest version offers improved functionality that indicates when speakers are angled at +/- 3 degrees of 30 (the range of angles that will generally work best when speakers are equidistant from the listening position). All iOS versions of SpeakerAngle are fully compatible with iOS 6 and with the iPhone 4 and later (including the new iPhone 5), iPad 2 and later and iPhone Touch 4th Generation and later.

SpeakerAngle is the first digital tool that allows anyone to correctly set and match the angling (“toe-in”) of both stereo and 7.1 surround sound speakers, helping to ensure optimum audio fidelity. Easy and intuitive to use, SpeakerAngle was co-developed by Genelec and AudioApps (a new mobile apps company founded by industry veteran Howard Massey).

In the app, dedicated onscreen speaker icons move as the actual speaker is rotated, while number boxes below each speaker icon continuously display the angle of the speaker. The number boxes also change color to let users know when their speaker is angled within industry recommendations, and when it is angled to the same degree as the other one in the pair (i.e. left and right in stereo systems; front left / front right, rear left / rear right and side left / side right in 7.1 surround systems). Detailed information screens provide a tutorial on speaker angling, as well as step-by-step instructions for using SpeakerAngle.

“The Genelec SpeakerAngle app is a convenient and intuitive way to quickly set and confirm the angle of your speakers in your listening environment, and it was important to us that we listen to our loyal customers and meet their request for an Android version while continuing to offer enhanced functionality for iOS devices,” stated Will Eggleston, Genelec USA Marketing Director. “This is a perfect tool for recording engineers, system installers, home theater owners and anyone else working to get optimum sound from any loudspeaker system. The possibilities are exciting, and we look forward to audio enthusiasts everywhere putting it to good use.”

To use SpeakerAngle, simply select the desired mode of operation (Stereo or Surround), then place your Android or iOS device on top of the speaker you want to angle. Set the speaker so that it is facing straight towards you, then touch the corresponding speaker icon so that it lights up. Next, touch the icon’s number box to let SpeakerAngle know that the selected speaker is currently at “zero-axis.” Now physically rotate the speaker inwards (that is, towards the listening position). The selected speaker icon will move accordingly, and the number box below it will display the degree to which the speaker is angled. When the speaker is angled within the industry recommendation of 20 degrees to 45 degrees, the number box changes color, from red to green (light green when angled between 27 and 33 degrees). When you touch the speaker icon once again (or select any other speaker icon), the number box changes color to orange, and “freezes” the currently displayed angle. Next, touch the paired speaker icon (for example, the right speaker in a stereo system if you have just angled the left speaker). Pick up your Android or iOS device and place it on top of that speaker, then touch the number box below the speaker icon. Physically rotate the speaker inwards until the number box changes color to yellow, indicating that this speaker is now angled to the same degree as the first one. To continue experimenting with different speaker angles, you can start from scratch at any time by pressing SpeakerAngle’s RESET button.

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

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Audio-Technica Launches Flagship 50 Series with New AT5040 Cardioid Condenser Vocal Microphone

— The ultimate studio condenser vocal microphone, the AT5040 represents a milestone in design, build quality, and the depth, presence and purity of its sound quality —

Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is launching its flagship 50 Series of elite studio microphones with the AT5040 Cardioid Condenser Microphone. A-T’s ultimate studio vocal microphone, the hand-built AT5040 side-address condenser offers remarkably musical high-fidelity performance, with profound realism and depth, presence and purity of sound. Featuring a proprietary breakthrough element design, the AT5040 employs four ultra-thin (2 micron) rectangular diaphragms that function together providing combined surface area unachievable in a standard round diaphragm. Designed as a first-choice vocal microphone with smooth top end and controlled sibilance, the AT5040’s large-diaphragm characteristics and fast transient response also make it ideal for recording acoustic instruments such as piano, guitar, strings, and saxophone.

The first of A-T’s design criteria for the AT5040 was purity of sound. To achieve this, A-T engineers developed a four-part rectangular element, the pinnacle of recent breakthroughs in sound-capture technology. Four exquisitely matched diaphragms function together (with outputs proprietarily summed) as a single high-performance element – effectively the largest element Audio-Technica has ever created. By using four diaphragms as a single capsule, the AT5040 achieves remarkably large surface area without the increased weight and decreased transient response that are the expected limitations of expansive size.

Another key AT5040 design feature is advanced internal shock mounting that effectively decouples the capsule from the microphone body. For additional isolation, each AT5040 is also provided with Audio-Technica’s new AT8480 shock mount. Featuring a proprietary design, the AT8480 was engineered not only to isolate the microphone, but to rid the apparatus itself of any unwanted resonances and other audio aberrations that could be transmitted to the microphone. It also features a unique locking mechanism that holds the microphone securely in place.

Every AT5040 is hand-assembled and inspected for 100% quality control and is housed in an elegant case of aluminum and brass with gray chrome plating for durability and low reflectivity. Discreet components have been selected for optimized capsule performance; in fact, every aspect of microphone has been carefully considered to minimize any effects on the audio signal. To protect the AT5040, each microphone comes in a custom-designed hard-shell carrying case, padded with die-cut foam compartments for the microphone and shock mount.

The AT5040 Cardioid Condenser Microphone, the first model in Audio-Technica’s new flagship 50 Series of elite studio microphones, will be available January 2013 with a U.S. MSRP of $2,999.00. For more information, please visit www.audio-technica.com.

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