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Archive for November 26th, 2012

LECTROSONICS DEBUTS DUAL-CHANNEL SLOT-MOUNT ENG RECEIVERS

**** Photo: Lectrosonics Dual-Channel Slot-Mount ENG Receivers ****

Rio Rancho, NM – November 2012… Lectrosonics, recognized the world over as a leading manufacturer of wireless microphone systems and audio processing products, announces the introduction of the SRB and SRB5P (domestic) and SRB/E01, SRB5P/E01 (export) two-channel slot-mount Digital Hybrid Wireless® diversity receivers . The new receivers offer two independent channels and fit into the standard video camera slots found on slot-equipped professional cameras such as those from Panasonic® and Ikegami® (SRB & SRB/E01) and Sony® (SRB5P & SR5P/E01) by using the appropriate optional mounting kits. The two audio channels can feed separate inputs or can be mixed internally to feed a single input. more

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Chris Mann Masters New “Roads” Album at Bernie Grundman’s

Debut on Faircraft/Universal Republic with Producer/A&R Ron Fair

Pictured (L-R) at Bernie Grundman Mastering in Hollywood are Susan Markheim, manager; Ron Fair, producer: Chris Mann; Peter Mokran, mixing engineer; Bernie Grundman, mastering engineer. Photo by David Goggin.


Chris Mann recently mastered his new album “Roads” at Bernie Grundman Mastering in Hollywood. Mann was a leading contender in the second season of “The Voice” and won an exclusive worldwide contract with Faircraft/Universal Republic, a new imprint headed up by A&R executive Ron Fair, who produced the debut. Album mixing was by Peter Mokran, whose credits include Christina Aguilera, Snoop Dogg, and Michael Jackson.

By the end of “The Voice” season, Mann had two songs on the iTunes Top 10 Pop Singles Chart. The program’s coach Cee Lo Green said of Mann, “He is by far one of the most incomparable vocalists I have ever heard.”

Hailing from Wichita, Kansas, 30-year-old Mann received a degree in opera from Vanderbilt University and left for Europe when cast in an Italian opera. His engagements includes touring with Grammy Award-winner India.Arie and Tony Award-winner Idina Menzel. He’s also performed at events including the Sundance Film Festival, the Academy Awards Young Hollywood Party and the American Film Institute Awards, among others.

“Roads” is available on Universal/Republic Records.
For more information about Bernie Grundman Mastering, visit: http://www.bgmastering.com

KARA Hits the Road with The Book of Mormon

(Photo credit: Joan Marcus)

Sound designer Brian Ronan specifies L-ACOUSTICS for touring productions

LOS ANGELES — The Book of Mormon, the recent Broadway smash that absolutely dominated the awards ceremonies by winning nine 2011 Tony Awards, five 2011 Drama Desk Awards and a 2012 Grammy Award, is now taking the show on the road with two North American touring productions, both of which are using KARA loudspeaker systems supplied by East Rutherford, NJ-based L-ACOUSTICS Certified Provider Masque Sound. more

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RMB Audio Deploys MLA Compact At NC State Fair

Raleigh, NC––RMB Audio has provided audio for the J.S. Dorton Arena at the North Carolina State Fair for 21 years, and even though they’ve used Martin Audio throughout that time, this year marked their first deployment of the MLA Compact system.

Dorton Arena is the venue for evening performance concerts held during the State Fair with performers such as Michael W. Smith, Brian McKnight, local hero and American Idol Winner Scotty McCreery and other artists over 11 nights.

A historic 7,610-seat arena built in 1952 that features an unusual parabolic shape with an elliptical outer wall; Dorton was listed in the national register of historic places in 1974. Though unique in its design, the venerable hall presents significant audio challenges according to RMB Audio owner, Cooper Cannady.

“It’s a beautiful space, but the arena is very difficult for sound engineers,” Cannady explains. “It’s not a symmetrical room by any means and there’s a lot of concrete, glass and open space; it’s kind of like providing sound coverage over a Pringle surface. Plus it’s tough on the audience because in the elevated seating left and right of the stage, your seat faces the middle of the room so you have to turn from 30º to 60º to face the stage.”

Over the years, Cannady and RMB Audio have solved problems with carefully tuned Martin Audio loudspeaker systems. This year they decided to deploy the new MLA Compact and benefit from its software-driven approach to overcome any issues encountered with the arena.

The system consisted of 12 MLA Compact enclosures and six DSX218 ground-stacked subs per side, along with twelve W8LM boxes per side for outfill “which can generate 117 db alone without having it sound unpleasant,” adds Cannady.

Given the demand for MLA Compact, Cannady and his crew at RMB had to get an early start familiarizing themselves with the system: “Starting in May we’d been working up schedules to have the MLA Compact rig in that would match the timeline for the fair and also have the integrated training for MLA Compact. Somehow, we got all those things worked out. The third day of our training class, normally how you fly it, position it, design the room––all of that occurred on the day we would normally install the system.

“The training went well and we had Ferrit Rowe (Martin Audio MLA technical support specialist) who held over for the first performance night, which featured the local North Carolina University a Capella groups. And a Capella singing has taken on a whole new platform with soloists, background voice instruments, rhythm percussion voices and all things that fall into the category.

“The wonderful part was having Roger Dennis who’s been A1 audio for the Fair with us for 21 years, and that was the most I’ve seen him smile since I’ve known him. All of which had to do with the articulation from the MLA Compact loudspeakers that was so well defined with so little room reactivity.

“Because of the MLA Compact’s controllability via the software, we did a lot of design to avoid the room aberrations. At the back of room you have the PA, which has to clear a certain height to have no visual interruption for the seating, so we take a slice at that point and 180 feet in front of that is glass and two big 18 ft. load-in doors that are huge reflectors. In our programming, we designed it so the sound would stop 10 feet in front of the doors.

“We really enjoyed working with MLA Compact,” Cannady continues. “I liked the sophistication of it, especially the audience to speaker cabinet theory the designers Jason (Baird) and Ambrose (Thompson) had formulated this whole cabinet concept based on the close proximity between driver components and mathematically quantifying the box to box interference and/or enhancement that is corrected through algorithms that formulate sound direction to the start and stop positions. The speaker optimization software function has nothing to do with what the room’s reverb time or acoustic benefits and deficiencies. The software algorithms do all of the work to direct sound at the specified SPL that can be louder in the back than at the front if needed.”

“It all comes down to having good input dimensional data of the space to generate the design and then just input where the system will be located. Input where you want sound to start and stop and specifically where you do not want sound, specifically on stage, which is something I really love about it. You run the room design through the step-by-step operation of the system, allow the software to do its optimization, take a look at that and right out of the box you can mix off the console without doing a lot of outboard major EQ for the room.

“And they’ve done a fabulous job with the components in the speakers. When I first saw the specs, I had a lot of questions. But when I heard the rig I thought it sounded like any other Martin Audio rig that’s been fine-tuned, EQ’d and properly positioned. On first listen it sounded like a system where we’d spent three hours doing SMAART.”

Asked about reactions to the MLA Compact, Cooper concludes, “The touring engineers coming through were really impressed and in some cases, this was the first time they’d mixed with MLA Compact. The ones who didn’t have any preconceptions about the system and listened well before affecting their artistic EQ changes to the audio path did not make any changes after they heard it. Many of them wanted to hear MLA Compact in a much better sounding room. They were pleased enough to say, ‘I really want to hear this again.’”

Photos provided by Tobias Cannady
For more about Martin Audio, please click to www.martin-audio.com.

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DPA Captures The Drama Of The Tango

Richard Galliano, a musician widely regarded as the world’s greatest living accordionist, is currently touring the world with a quintet of musicians to celebrate the life and works of his mentor, Astor Piazolla.

In order to deliver the true acoustic feel of Piazolla’s acclaimed tango music, the tour’s sound engineer Rémi Bourcereau has chosen eight DPA d:vote™ 4099 Instrument Microphones, which his is using for Galliano’s accordion and bandoneón and also for the violins, viola, double bass and cello played by Galliano’s quintet. For the piano, Bourcereau is using two DPA 2011C twin diaphragm cardioid microphones, which are positioned on a stereo bar. All of these microphones were bought from DPA’s French distributor Audio².

“I first used DPA microphones a year ago on a different tour and was delighted with the results they gave me,” Bourcereau explains. “For this tour, we wanted the audience to feel as acoustically close to the instruments as possible and that is why I chose DPA. In close miking conditions they deliver a very natural sound, which is exactly what this type of music requires.”

Richard Galliano, who was born in 1950 of Italian/French parentage, was taught to play the accordion by his father when he was just four years old. In 1983 his musical talent was recognised by Argentine tango composer and bandoneón player Astor Piazolla, a man whose ability to integrate classical, modern and jazz music influences had elevated tango music to concert hall status and earned him the title of the ‘King of Tango’.

Piazolla invited Galliano to be the bandoneón soloist at the Comédie Française where his original music was being used to accompany William Shakespeare’s comedy A Midsummer Night’s Dream. This was the starting point of their decade-long friendship that lasted until Piazzolla passed away in 1992.

Galliano’s current tour, which is designed to mark the 20th anniversary of Piazolla’s death, has already taken him to numerous concert halls in the USA, Canada, South America and Europe. Most recently he has been in China where he performed a number of concerts in Guangzhou, Changsha, Shanghai, Wuhan, Xi’an, Beijing and Shenzhen.

“We have attached the DPA d:vote 4099s to Richard’s accordion and bandoneón using magnetic piano holders with scratch tape wrapped around the clips for added security,” Rémi Bourcereau says. “Richard is really enjoying the sound he is getting from the DPA microphones and, because they are now his regular microphones, he is finding that he can always get the dynamic that he wants.”

The other musicians in the quintet also appreciate the audio quality delivered by their DPA microphones – and the fact that having the same microphone in every venue means they know exactly how they are going to sound and don’t face any nasty surprises.

“The d:vote 4099s are very easy for the musicians to use because they simply clip onto their instruments – something that is really helpful when you are on tour,” Bourcereau says. “From my point of view, I’m really happy with the sound the DPA microphones are delivering, especially with the strings. The d:vote 4099s have a good sounding off axis response and this brings a lot of acoustic coherence on strings.”

Richard Galliano’s Piazolla tribute tour will continue into 2013, taking in more European dates. DPA microphones are now a permanent feature of this tour, ensuring the highest possible audio quality in every venue.

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Editors’ information:
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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Jünger Audio Appoints Oliver Harms In The Far East

 

Dynamics processing specialist Jünger Audio is delighted to announce the appointment of Oliver Harms, who has joined the company to handle Technical Sales for the Asia region.

Harms has extensive experience in audio and hardware development, having previously worked for Native Instruments, GSP-Audiotechnologies and Formac. He also has a thorough knowledge of Asian culture and speaks and writes fluent Mandarin.

Peter Poers, Managing Director of Jünger Audio, says: “We have noticed a significant increase in sales to countries in Asia, in particular China, and this appointment reflects the importance we place on further developing our business in this region. Oliver’s experience in audio and hardware solutions, along with his impressive communication skills, will help our customers integrate Jünger Audio’s Level Magic™ Loudness control into their broadcast workflow in a simple and effective way.”

Oliver Harms adds: “I am very happy to be working for Jünger Audio and to have this opportunity to channel my audio and hardware experience into the new and challenging environment of technical sales. It is also a delight to be working with such a great team.”

Harms will primarily be based in Jünger Audio’s head office in Berlin but will be making regular trips to the Far East to support sales activity in the region.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

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