Archive for December 12th, 2012
— 239th Guitar Center location features on-site lessons and repair services, along with GC’s vast inventory selection —
Westlake Village, CA (December 11, 2012) – On the evening of Thursday, November 29, 2012, Guitar Center held the grand opening of its new location in Midlothian, Virginia, located at 13357 Rittenhouse Dr., 23112. The Midlothian store is Guitar Center’s 239th retail location and the sixth in Virginia, as well as the first Virginia store to offer Guitar Center Studios. Local musician and Guitar Center veteran Curtis Marion serves as the store manager.
Guitar Center Midlothian’s grand opening introduces customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To celebrate the store opening, Guitar Center hosted a Grand Opening Weekend celebration featuring exclusive savings, gear giveaways and free events. Guitar Center’s Midlothian location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment and more.
The store features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which is already creating unrivalled opportunities for area musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios will be the most modern lessons facility in the area. Guitar Center Midlothian also features GC Garage, Guitar Center’s on-site guitar repair service.
As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Midlothian will offer unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry will be able to come to the store to interact with and pick the brains of several industry leaders.
Midlothian shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Midlothian’s inventory, but it also provides easy access to Guitar Center’s $400 million in new and used inventory located in hundreds of GC stores and warehouses nationwide. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.
In addition to special programs at the new Midlothian store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Midlothian residents will now be able to participate in these ongoing national events from their hometown:
Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crüe, KISS and Jane’s Addiction.
Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. Last year’s winner received a career-altering prize package which has included recording 3 songs with accomplished Grammy® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash.
Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Daniel “Boscoe” France, performed alongside Grammy Award-winning Producer Pete Anderson at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.
Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.
Guitar Center Midlothian is open seven days a week. Store hours are 11:00 am – 8:00 pm Monday-Thursday; 10:00 am – 9:00 pm Friday; 10:00 am – 8:00 pm Saturday; and 11:00 pm – 8:00 pm Sunday.
— Acclaimed sound designer’s credits include Jesus Christ Superstar, Never Forget, The Sound of Music, Cabaret, Chess, Daddy Cool and many more —
TEL AVIV, ISRAEL, December 7, 2012 — Waves Audio is proud to be the DSP manufacturer of choice for U.K.-based Sound Designer Richard Brooker in the new stage musical adaptation of the award-winning film The Bodyguard, which recently opened in London at the Adelphi Theatre.
Brooker has a long history as an acclaimed sound designer on some of the industry’s biggest theatrical performances, including such credits as Jesus Christ Superstar, Never Forget, The Sound of Music, Cabaret, Chess, Daddy Cool, I Dreamed a Dream and many more. He has witnessed his job evolve as audience expectations and the theaters themselves have changed, demanding a higher level of audio production, and he has come to rely on tools from Waves for both live situations and his personal studio.
For The Bodyguard, he is using a DiGiCo SD7T with Waves SoundGrid® and the following Waves plugins: Renaissance Compressor (his personal favorite Waves “problem-solver”) across all of the main vocals and bass; H-Delay for vocal effects and to create sound effects; Renaissance Reverb for drum kit and backing vocals; and Bass Rider.
Brooker reflects on the unique challenges of The Bodyguard: “This is a massively dynamic show, where we have to provide a filmic-sounding piece while capturing the raw edge of a live band and live vocals, while telling the story and supporting the narrative in a theatrical way. These can be quite opposing requests. What has been achieved is a show full of FX soundscapes with big, live pop numbers, breathtaking power ballads and a complex, tender, exciting storyline.”
Brooker continues: “For instance, Heather [Headley, lead actress] is enormously powerful and dynamic vocally. While she is a genius in terms of her vocal control, when amplifying her voice, we need to tame and control it to make it live perfectly within the overall mix. The Renaissance Compressor is my best friend for this task – it is a very effective but virtually transparent compressor, which means that I can really hit the compressor hard with the vocal and yet not really hear it working in the mix. Brilliant!”
Visit www.waves.com and www.waveslive.com for more information.
After experiencing the incredible portability, exceptional sound clarity and extensive control capabilities of the Bose L1 Model II portable line array and T1 ToneMatch® audio engine, Tajci says she can’t go back to conventional PA systems. Instead, she proclaims, “I want my Bose!”
Framingham, Massachusetts, December 6, 2012 – Tajci regularly fills the venues on her “I Do Believe!” tours, from intimate church spaces to 1,000-seat auditoriums. What every gig has in common, though, are her amazing voice and the equally amazing sound of the L1® Model II system with B1 Bass from Bose® Professional Systems Division. Tajci, as she is known professionally, was a leading pop-music star in Croatia before the unrest in the region in the early 1990s. In 1992, she fled her homeland and took her talents to the U.S., where she has established herself as an inspirational artist with a national following. Her “I Do Believe!” tours host capacity crowds at churches across the country. A key element that has helped her maintain consistency in her live sound and helped keep overhead costs under control has been the L1 sound system and the T1 ToneMatch® audio engine, a digital multichannel mixer specifically designed for use with all Bose L1 systems. Taj?i tours with three L1 Model II systems – each one a 24-speaker articulated line array that delivers 180-degree horizontal sound coverage – three B1 bass modules and three T1 mixers that feature over 100 proprietary ToneMatch presets for instruments and microphones and include Bose zEQ, storable scenes and a suite of studio-class effects. These nine components are all Taj?i needs to take on the road to accommodate virtually all of her live-sound needs.
Denny Bouchard, Tajci’s long-time musical director, arranger and co-producer, also plays keyboards on tour with her, and he says the Bose L1 systems have made a remarkable difference in so many ways. “As musicians, we have total control over our sound,” he says, noting that Taj?i has one of the T1 controllers attached to her keyboard, allowing her to precisely control the level and effects on her vocals. “If we play a room that becomes less ‘live’ sounding as it fills up with people, she can add reverb to compensate, and she can do it in real time and exactly to her taste. And since the L1 Model II system performs so consistently from venue to venue, we’ve nearly eliminated formal soundchecks, which saves us a lot of time and effort.” Matthew Cameron, Tajci’s manager, co-producer and husband, says the Bose L1 systems have been cost effective for their tour, since they reduce the need for a separate sound person on the road, as well as the fact that the L1’s feedback avoidance capability means that they can perform in front of the speakers, eliminating the need for separate monitor speakers. “That reduces the amount of equipment we have to carry and reduces our set-up times,” he says. Cameron says Tajci was an early adopter of the Bose L1 approach to live sound, starting with the very first L1 system in 2006, and they upgraded to the L1 Model II with B1 bass as soon as it became available. “The sound and the control that we get from the L1 Model II and T1 audio engine is fantastic, but so is the customer support we get from Bose,” he says. “Working with Bose has positively impacted so many aspects of what we do.”
Perhaps the most heartfelt observations come from Tajci herself, who says the L1 Model II systems have done what no other sound system has ever come close to accomplishing. “Because we can play with speakers behind us, the audience is hearing what we’re hearing on stage, and because of the degree of control that the T1’s give us, that sound is like listening to the speakers in a recording studio,” she says. “It’s that clear. I also think it’s made me a better musician, because I can hear everything – my vocals, my keyboard – in ways that you never could before on stage in a live performance environment. I can hear every note. I can express more.” Tajci also evokes a terrifically passionate response from her fans at shows, and she says that by having a sound system that is essentially invisible on stage, it removes that perceptual barrier between her and her audience. She recalls the few occasions when in very large venues she’s had to work with installed PA systems with floor monitors. “The monitor mixers do their best, but it’s never the same as when you can hear yourself like you can with the Bose L1 systems. I don’t ever want to go back to traditional sound systems. I want my Bose!”
Following a record number of nominations for its coveted Awards, the Music Producers Guild has announced the names of those shortlisted in each of the 2013 Music Producers Guild Awards categories.
Albums by Florence & The Machine, The Maccabees, Alt-J, Ed Sheeran and Paloma Faith delivered nominations for UK producers Paul Epworth, Bruno Ellingham & Tim Goldsworthy, Charlie Andrew and Jake Gosling, while in the international categories, The Black Keys and Jack White delivered multiple nominations for their producers and engineers.
Now in its fifth year, the Music Producers Guild Awards recognises the enormous contribution made by recording professionals to the success of the UK’s music industry. The winner of the Music Producers Guild’s Producer of the Year Award also receives a BRIT Award for Best Producer, and both awards will be presented at the Music Producers Guild’s Awards ceremony, which takes place on February 7th 2013 at the Café de Paris in London.
MPG Chairman Steve Levine says: “An MPG Award is highly sought-after by recording professionals because it represents an endorsement by your peers. Whilst anyone can nominate, only full members of the MPG are allowed to vote for the shortlist and therefore the results are relevant to the creative value of our industry. Those who win an MPG Award are recognised to be at the top of their game as a recording professional.”
The shortlists for each category (in no particular order) are as follows:
UK Producer of the Year, sponsored by The BRITS 2013:
Recording Engineer of the Year:
Mix Engineer of the Year, sponsored by Solid State Logic:
Mark ‘Spike’ Stent
Mastering Engineer of the Year, sponsored by Radial:
Live Production of the Year, sponsored by Shure:
Adele Live at the Royal Albert Hall 2011
Bon Iver at Air Studios
The Olympics – Opening Ceremony
UK Album of the Year:
Paloma Faith – Fall To Grace
Florence & The Machine – Ceremonials
Ed Sheeran – +
UK Single Song Release of the Year:
Paloma Faith – Picking Up the Pieces
Plan B – Ill Manors
The Maccabees – Pelican
Ed Sheeran – Lego House
Re-mixer of the Year, sponsored by Novation:
Breakthrough Producer of the Year, in association with Sound on Sound, sponsored Focusrite:
Bruno Ellingham and Tim Goldsworthy
Breakthrough Engineer of the Year, sponsored by Genelec:
International Producer of the Year, sponsored by British Grove Studios:
Danger Mouse (Brian Burton)
International Recording Engineer of the Year, sponsored by KMR Audio:
Studio of the Year, sponsored by Pro Sound News Europe:
Black Wookie Studios
The A&R Award:
Darcus Beese (Universal Island)
Korda Marshall (Infectious Music)
Richard Russell (XL Recordings)
The Unsung Hero Award:
Mark Thompson (Funky Junk/Snap Studios)
Sarah Liversedge (The Movement/BDI)
Rebecca de la Porta & Paul Walmsley (Polydor/Fiction)
The Outstanding Contribution to UK Music Award, sponsored by PPL, will be presented to Sir George Martin CBE, while the recipients of the MPG Innovation Award and the MPG Inspiration Award, both of which are in the gift of the MPG, will be announced at the Awards ceremony in February.
About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.
The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk or www.mpgawards.com
— Ongoing series of events sees Smith traveling to schools and conferences far and wide to educate and entertain students, faculty and industry veterans alike —
INDIANAPOLIS, IN, December 6, 2012 – Eric Smith, Founder and President of Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, has had a busy travel itinerary lately, as he has been a featured guest lecturer at a number of colleges and universities across the country. A highly-sought-after speaker, Smith has had the opportunity to speak to faculty and students at The New England Institute of Art; Middle Tennessee State University (MTSU); Nashville’s Belmont University, International Academy of Design and Technology, The Art Institute of Tennessee-Nashville, SAE and Dark Horse Institute; and others, with more such engagements planned indefinitely.
Smith, throughout his career, has been a strong advocate of education, and he has guest-lectured at high schools and colleges throughout the country on the subjects of acoustics, broadcasting, entrepreneurship and business ethics. Smith brings a wealth of personal experience, technical knowledge and a sense of humor to all of his presentations, which focus on basic acoustic theories, sound control issues and solutions, product design strategies, the challenges of a start-up company and what it takes to be successful in business.
During his recent travels, Smith was also the featured guest on the online webcast, The East West AUDIO Body Shop, hosted by studio designer George Whittam and voice talent/studio consultant Dan Lenard. Smith fielded numerous questions involving studio acoustic design and sound control issues, and the initial webcast was streamed by visitors from around the world and then downloaded or streamed by thousands more online. In addition to this interview, Smith has participated in streaming interviews with a number of schools around the country, most recently with a marketing class at Middle Tennessee State University.
Smith was also a featured panelist at the recent PotLuckCon 2012 Audio Conference. Eric participated in a panel discussion along with studio designers/acousticians Chris Pelonis, Wes Lachot, Carl Tatz and Larry Swist. The topic of the well-attended panel discussion was “Studio Acoustics: Design and Monitoring,” and the panel was moderated by engineer/producer and pro audio journalist Russ Long.
David Fischer, Auralex CEO, stated, “Everyone at Auralex is very proud that Eric Smith is able to impart his extensive knowledge and expertise to the wider audio community. Public speaking is really a strong suit of his, and he very much enjoys the opportunity to speak to students – the producers, engineers and studio designers of the future – and share his real-world experiences as a way of giving back to the industry that has given him so much.”
“This series of events has been very fruitful,” stated Eric Smith. “I love getting the opportunity to promote good sound and good listening environments to current and future engineers and members of the audio community. When I see tomorrow’s audio professionals asking great questions and paying close attention, I know that the industry is in great hands. I am lucky that I can make an impact on these minds in the process, and I look forward to participating at more of these events in the near future.”
For more information, please visit www.auralex.com.
— Aphex cures technology’s tin ear with iOS and Android app —
BURBANK, CA, December 6, 2012 — Listening to Holiday music on your mobile device just got better. Hear Bing Crosby and Eartha Kitt the way they were meant to sound with the Audio Xciter™ app – free to demo and now only $0.99 for unlimited play. Aphex, a leader in audio enhancement technology for more than 35 years, today released Audio Xciter app for Android devices (previously only available for iOS). Audio Xciter is the only music player app that dynamically improves the sonic quality of music, audio books and podcasts on mobile devices through its patented Aphex DSP.
Since 1975, legendary musicians from Paul McCartney to Led Zeppelin as well as today’s top artists including Flo Rida, Bruno Mars and Rihanna have relied on the technology behind Audio Xciter for audio mastering. This technology now allows music lovers to experience the detail and richness of an artist’s original sound created in-studio on their mobile devices.
The patented Aphex technology behind Audio Xciter restores missing harmonics to music and voice. Unlike EQ apps, which typically add gain and distortion, Audio Xciter is gain-neutral, resulting in increased brightness, clarity, spaciousness and presence.
“In this era of HD video and 4G download speeds, I’m amazed that smart phones and tablets still deliver compressed audio that sounds flat and boring. The quality of music downloads and streams has not improved in more than a decade. Consumers have been fooled into buying music that’s only good enough, not great,” said David Wiener, CEO of Aphex and founder of DWV Entertainment, Aphex’s parent company. “Audio Xciter turns compressed audio into a new listening experience by exposing the ‘quality gap’ – now vocals are clear and airy, the bass hits harder and you’ll hear instruments and voices appear that were previously buried in the mix.”
A free demo of Audio Xciter is available through iTunes for iOS and Google Play and Amazon for Android devices. An upgrade provides unlimited use (only $0.99 through the end of the year, $2.99 thereafter) and the professional Audio Xciter Studio ($4.99, regularly $7.99) allows users to fine-tune the Xciter DSP settings for a truly custom experience.
A portion of the proceeds from the sale of Audio Xciter goes to Respect the Music, Aphex’s nonprofit foundation supporting musical education in schools.
Additional information including demo videos and screenshots are available at http://AudioXciterApp.com.
— Boston-area eateries The Salty Pig, Canary Square and Trade get new indoor and outdoor sound systems specified and sourced by GC Pro to assure maximum integrated performance —
WESTLAKE VILLAGE, CA, December 5, 2012 — In today’s “foodie” culture, every new restaurant needs to immediately establish its own distinct look and feel, but also ensure that the customer experience there will be top notch. Where can three very different kinds of restaurants go to make certain that they have the best AV system design and components for their specific styles? Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, was able to answer that question definitively for a trio of new establishments in the Boston area. GC Pro drew upon its depth of resources, such as access to the full array of audio systems solutions from HARMAN Professional, to supply these three restaurants with sound systems that perfectly match their particular styles and are helping them each make their mark with their unique audiences.
At the Salty Pig, GC Pro Senior Account Executive PK Pandey designed a sound system that provides full-range music reproduction and intelligible paging with no compromises for either task. “The challenge here was the many hard, highly reflective surfaces, including wood and tiled floors and table tops,” explains Pandey, who assembled a system that uses seven JBL Control Series C67P/T pendant-type speakers, two JBL SB210 subwoofers, five JBL Control 24C ceiling speakers, along with a JBL CBT 50LA columnar line array on the restaurant’s outdoor patio, powered by Crown XLS 2000 and XLS 1000 amplifiers, and managed by a dbx 1260m zone controller. As critical as the audio equipment components was the Auralex acoustical treatment that Pandey also sourced for the design. “In addition to the highly directional speakers we used, we needed a lot of absorption around the dining areas to enable the sound be present and very clear,” he explains. “The results were excellent.”
In fact, the sound was so good that the Salty Pig’s owners asked GC Pro to work their same magic for their other restaurant, Canary Square, where Pandey redesigned the sound systems to include a dozen JBL C67 P/T pendants and four CBT 50LA line arrays on the outdoor dining patio, powered by Crown XLS 2000 and XLS 1000 amplifiers, and managed by a dbx ZonePro 1261m controller with ZC9 and ZC1 remotes. “The problems they were having at Canary Square were volume level and intelligibility – the same issues we were able to successfully tackle at the Salty Pig,” says Pandey, who also used carefully-aligned acoustical treatment panels to minimize reflections and maximize intelligibility, allowing the music to be present without being overpowering.
Trade, another trendy Boston-area eatery, called on GC Pro after experiencing the exceptional sound of the Salty Pig. “The owners of Trade liked the way we used the speakers to enhance the architectural/aesthetic appearance at the other restaurants,” Pandey says. “This was of primary importance to them, as well as great sound. We worked closely with the architect on the project to achieve both goals.” For Trade, GC Pro specified 10 JBL C67 P/T pendant speakers, eight JBL 226C/T ceiling speakers and a JBL SB210 sub, powered by Crown CTs 3000 and XLS 1500 amplifiers and managed by six dbx ZonePro 1261m controllers with ZC9 and ZC1 remotes.
These are just three of the numerous, recent restaurant projects where GC Pro has been able to help deliver great sound in challenging situations. “We can offer them what no one else can – access to great equipment, like the technology from HARMAN Professional, as well as system designs that are within the client’s budget, flexible installation options and project management from start to finish,” says Pandey. “We understand what our clients are attempting to accomplish, and we become their partners in helping to achieve it.”
For more information, please visit www.gcpro.com.
— ProPAD™ is designed for decoupling monitors and reducing structural vibrations —
INDIANAPOLIS, IN, December 5, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, is proud that its ProPAD™ Monitor Isolation Pad, the latest product in its ISO (Instant Sound Optimizer) line, has been chosen by leading artists, engineers and producers as a vital piece of their recording setup. ProPAD provides superior isolation from the vibrations and resonant energy created by studio monitors, preventing this energy from being transmitted into the supporting furniture, which would greatly color the monitors’ sound and degrade their imaging.
Guitarist/multi-instrumentalist, songwriter and producer Adrian Belew is noted for his work with Frank Zappa, David Bowie, Talking Heads and King Crimson, as well as his acclaimed solo career. He is blown away by the difference the ProPADs make in his monitor setup. “Once you listen to your monitors on the Auralex ProPADs, you won’t want to hear them any other way. They’re the best I’ve heard,” he states.
Producer/engineer Russ Long, whose credits include Wilco, Dolly Parton, Steven Curtis Chapman, etc., is also impressed by the contrast between his monitors with and without ProPADs: “After making records in my studio for nearly 20 years, I added ProPADs to my configuration, and my monitoring became more accurate than ever.”
Mixer/engineer/producer Peter Moshay has worked with such acts as Hall & Oates, Mariah Carey and Sean Lennon, and currently he serves as house engineer for Daryl Hall’s Live at Daryl’s House program. He states, “I never thought my monitors could sound better until I tried ProPADs. I’ll never be without them.”
Producer/mixer/engineer/songwriter Glenn Rosenstein’s CV features many of music history’s heavy hitters: Madonna, U2, Talking Heads, Ziggy Marley, etc. He adds, “The Auralex ProPADs are unlike any other professional monitor isolators I’ve used. No harmonic resonance … and no sonic artifacts!”
Paul Umbach’s tenure in the pop world has led him to a stint as a key producer at Jive Records, where he worked with superstars Britney Spears and ‘N Sync, to name a few. He has also collaborated with acclaimed singer-songwriter Matt White. He is similarly impressed with his ProPADs: “The new Auralex ProPADs are amazing. It’s like somebody pressed the clarity button.”
The ProPAD is sold in stereo pairs and is designed to work with nearfield monitors employing up to 8″ woofers. ProPAD’s updated design features a 0.75″ layer of laminated black MDF covered with a thick layer of Auralex’s proprietary IsoPuck™ isolation material, which is made of recycled rubber. Six stick-on feet, also made from IsoPuck material, are supplied for flat or angled applications. The ProPAD is the perfect solution for decoupling monitors and reducing structural vibration in all manner of sound-critical spaces, including recording studios, post-production/edit suites, mobile recording facilities, hi-fi listening rooms, home theaters or anywhere a monitor/speaker isolation platform is needed to improve sonic purity.
For more information, please visit www.auralex.com.
SANTA MONICA, CALIF. (Dec. 3, 2012) — The Recording Academy® Producers & Engineers Wing® Manufacturer Council Breakfast was held on Sunday, Oct. 28, 2012, during the 133rd AES Convention. At their biannual meeting, the group of industry leaders — who are dedicated to the advancement of sound quality and to the overall growth of the professional audio industry — shared ideas and discussed issues with the goal of raising awareness about the importance of high-quality audio and the professionals who create it, as well as topics of mutual interest to pro audio manufacturers, retailers and the producers and engineers who use their products.
A key topic of conversation was the P&E Wing’s recent partnership with the Consumer Electronics Association (CEA) in debuting www.qualitysoundmatters.com, an online portal launching in early December 2012, aimed to promote enhanced consumer awareness of higher-quality sound for music.
— REDD.17 and REDD.37-.51 plugins truly deliver the enhanced dimension, richness and depth of the original coveted classic consoles —
TEL AVIV, ISRAEL, December 3, 2012 — Waves Audio, a leading provider of audio DSP solutions for professional, broadcast, and consumer electronics audio markets, has again teamed with London’s legendary Abbey Road Studios to introduce the new REDD Console plugins. Abbey Road Studios were at the epicenter of a seismic shift that rocked the world of music during the 1960s, and changed the course of popular culture forever. The Beatles, The Hollies, Pink Floyd and countless other luminaries made musical history at Abbey Road Studios, trailblazing a revolution that resonates to this day. And at the heart of it all were REDD consoles, custom-designed, built by and named after Abbey Road Studios’ in-house Record Engineering Development Department (REDD). Renowned for their silky smooth EQ curves, extraordinary warmth and lush stereo imagery, there’s something magical about the REDDs that simply sounds like no other console. Waves meticulously recreated the unique color, character and tonal complexity of the original desks: the REDD.17 still belonging to Abbey Road Studios, and the REDD.37 console now owned by Lenny Kravitz. The result is REDD: an impressive pair of plugins that truly deliver the enhanced dimension, richness and depth of these coveted console classics.
Mirek Stiles – Head of Audio Products, Abbey Road Studios, stated, “Ever since I first heard the word REDD at Abbey Road Studios almost 13 years ago, to me these consoles have had a legendary almost mythical aura around them. Most of the original REDD consoles have been lost over time but by using the few examples left over and studying the original schematics and design notes from the archives I believe Waves and Abbey Road have revived an important part of musical history that will enable producers of all generations to discover and fall in love with the lost sound of REDD.”
Amp Type determines the type of amplifier (REDD.37-.51 only).
Channel Select determines the channel configuration.
Bass Lift controls the 9 dB low shelf that compensates for low frequency loss caused by using condenser microphones in a Figure 8 configuration.
EQ Select toggles between Classic and Pop EQ types. The Classic treble EQ features a shelf boost or cut at 10 kHz; Pop EQ is a peak boost centered around 5kHz, with a shelf cut centered at 10 kHz. Both Pop and Classic settings feature a continuous 10 dB of boost or cut at 100 Hz. (REDD.37-.51 only).
Tone High controls high shelf equalization.
Tone Low controls low shelf equalization.
Monitor controls the source of the monitor output.
Spread selects stereo processing mode (Stereo component only).
Drive controls the amount of drive added to the signal. Lower values result in a cleaner sound; higher values result in a more distorted sound.
Analog controls the level of modeled noise and hum.
Output controls the output level of the signal.
VU Meters display output VU readings.
Both REDD.17 and REDD.37-.51 are Native- and SoundGrid®-compatible and are available at a U.S. MSRP of $349.00, with a special introductory price of $199.00.
Visit www.waves.com for more information.
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