Archive for February, 2013

GRUND AUDIO DESIGN ANNOUNCES NEW STP-8 / STP-5S LOUDSPEAKER SYSTEM

*** The Grund Audio Design STP-8 loudspeaker atop the STP-5S subwoofer. ***

Council Bluffs, IA – February 2013… Grund Audio Design, a pioneering manufacturer of loudspeaker and signal processing products for the audio professional, is pleased to introduce the new STP-8 / STP-5S loudspeaker combination. Designed as a loudspeaker pair consisting of a pole-mounted ‘top box’ and a subwoofer, the new STP-8 / STP-5S form a compact, portable sound reinforcement solution ideally suited to DJ’s, bands, houses of worship, and a myriad of other applications where the ability to quickly and easily set up a robust sound system is essential.

Designed to be pole mounted over the STP-5S subwoofer, the Grund Audio Design STP-8 loudspeaker utilizes an 8-inch low frequency (LF) transducer that is mated with a 1-inch high frequency (HF) compression driver to form a compact, 2-way design providing exceptional speech intelligibility and music reproduction characteristics. This enclosure is rated at 300 watts (program) at 8 Ohms. The enclosure includes a pole cup for convenient mounting and incorporates a pair of handles to ensure easy transport. more

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Expanded Role For WSDG’S Sergio Molho

New Offices – New Responsibilities

NEW YORK: Walters-Storyk Design Group co-principals Beth Walters and John Storyk have announced an expanded management role for Sergio Molho, a valued associate for 19 years, and long-term head of the firms’ Latin American office in Buenos Aires. “During the nearly twenty years of our working relationship, Sergio Molho has developed into a multi-faceted expert in every aspect of our architectural and acoustic design business,” Beth Walters said. “His creative design, technical and interpersonal skills have made him an indispensible member of our international team. We are delighted to name him Director of New Business Development as we continue our global expansion.”

“My new mission with WSDG is two-fold,” Molho reveals. “I will split my time on the development of new business both globally, and in the U.S., while continuing to manage the activities of our Latin American office. The synergy between our offices in the U.S., Switzerland, Spain, Argentina, Brazil, Beijing and Mexico City, flourishes thanks to technological and communications advances which enable us to collaborate with an extraordinary degree of creativity, efficiency and cost-effectiveness. I will now bring that message to an expanding client base.”

Molho began his association with WSDG in 1994 as a founding partner of the firm’s Latin America office. Over the next two decades, he has played an integral role in the development of WSDG projects ranging from MTV’s Latin America Broadcast Studios to Platinum artist Fito Paez’s Circo Beat, (Latin America’s only TEC Award-winning studio). He has initiated and supervised numerous global WSDG corporate, educational, House Of Worship and home theater projects, including full A/V Systems Integration for Phillipe Starck’s award-winning Faena Hotel & Universe in Buenos Aires; acoustic design and consulting for Latin America’s first IMAX 3D Cinema and, most recently facility design work for Qatar TV, a major broadcast complex in Doha on the Persian Gulf.

Molho will continue to work closely with his long-time WSDG colleagues: Dirk Noy, Partner/GM Europe, and Renato Cipriano, Partner/GM Brazil. In a related announcement, WSDG Latin America has moved their offices to a new location in Buenos Aires nearby the country’s Congress and Parliamentary buildings.

Photo: Sergio Molho named WSDG Director of New Business Development

###

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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SSL C10 HD Compact Broadcast Console Preferred Choice for TI Broadcast Solutions Group

“The C10 has performed flawlessly, and that is a must for high energy broadcast news operations”

ATLANTA – TI Broadcast Solutions Group, a company that designs, implements and supports major broadcast facilities for companies that include NBC, Telemundo, Univision, Sinclair Broadcast Group and Hidden Compact Digital Media, has specified four Solid State Logic C10 HD Compact Broadcast Consoles for two new major television studio facilities in Texas. The C10 was chosen for its powerful, yet familiar user interface, industry leading I/O options and the Dialogue Automix production assistant feature. SSL’s reputation for developing highly-functional and reliable, great-sounding consoles for use with live news programming was also a consideration.

“This is the first time we directly specified an SSL console, and the results from the first control room we completed are very satisfying,” says Michael Wright, President of TI Broadcast Solutions Group. “The C10 has performed flawlessly, and that is a must for high energy broadcast news operations. Our design philosophy is based on a rigid set of rules, practices and checks and balances that yield superior, reliable and repeatable results, taking the worry out of the design and implementation of a new facility. When we specify a system, it must always work the first time. Our experience with the SSL C10 console certainly supports our philosophy.”

The first station to reach completion was a 10,000 square-foot facility with a studio and a control room, which was built for the second-largest Spanish-language content producer in the world. The second facility, a 150,000 square-foot space with five studios and three control rooms, will be completed during 2013 and will serve the Dallas/Fort Worth Metroplex area for a major national broadcaster. In each of these cases, TI Broadcast Solutions Group followed its disciplined design process, compared all the major broadcast console manufacturers and landed on the C10 HD for all four control rooms.

“First of all, we felt that the overall architecture of SSL’s I/O was superior to anything else out there,” continues Wright. “SSL gave us the ability to get the I/O centralized and in the format that we needed, whether that was SDI or MADI inputs, analog or digital. It also provided all the scalable I/O that our clients needed, the way they needed it. Also, the look and feel of the C10 was just right, from the touch screens and the large channel displays to the layout of the buttons, down to the size of the lettering. The user interface was superior in the case of the C10.”

The features that sealed the deal for all four consoles were SSL’s powerful production assistant options. Each console sports the Dialogue Automix and Production Automation options, while the single studio additionally features the C-Play option. Dialogue Automix, however, was the star of the group.

“The Dialogue Automix option is a standout feature of the SSL product,” concludes Wright. “These stations deal with fast-paced, panel-based programming, and the Dialogue Automix really streamlines the workflow. Even with a lot of open mics, the system tames the process with superior results. From the design power and flexibility of the C10 to working with SSL as a company, the entire experience has been grand. The company has been a great partner in supporting our efforts during both sales and ongoing implementation, and that is very important to the success of both projects.”

TI Broadcast Solutions Group (TI BSG), a division of Technical Innovation, provides professional consulting, designing, building and managing services for broadcast systems and facilities in broadcast entities, corporations, government agencies, houses of worship, universities, professional organizations and more. As an experienced systems designer and a leading design-build integrator, TI BSG is uniquely positioned to provide customers with a vast array of services, from comprehensive design to turn-key, design-build services such as integration, project management, training and ongoing customer support. For more information about TI BSG, please visit www.tibsg.com. For more information about Technical Innovation, please visit www.technical-innovation.com.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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LECTROSONICS WIRELESS TECHNOLOGY HELPS CAPTURE AUTO SOUNDS FOR POPULAR ANIMATED TV SHOW “CTYRLÍSTEK”

** Photo: Petr Novák with his Lectrosonics equipment **

Prague, Czech Republic – February 2013… Similar in popularity to shows like Jim Henson’s Muppets, ?ty?lístek is a show that follows the lives and adventures of four animated characters: Myšpulín, a badger; Bobík, a pig tough guy; Fifinka, a pretty dog woman; and Pin?a, a rabbit. Originally introduced in the form of comics, the stories have evolved into animation. As is typical of any sound for picture project, the production staff of Bystrouška Sound Studios frequently finds themselves in challenging production environments. To help them meet the demands of the show’s audio, they recently deployed wireless microphone technology from Rio Rancho, NM-based Lectrosonics. more

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The Viper Room Nightclub Carries On Legacy of Great Sound and Diverse Music with Sennheiser

Andrew McMahon (Jack's Mannequin / Something Corporate) performs at The Viper Room through a Sennheiser e 935 (photo courtesy Genie Sanchez)

West Hollywood’s The Viper Room routinely hosts performances by over 150 performers a month. As one of greater Los Angeles’ more illustrious nightclubs since 1993, The Viper Room has been an evening destination point for many of Hollywood’s elite and was once owned by mega-star Johnny Depp himself. The club continues to host a ‘who’s who’ of musicians passing through Los Angeles, as well as up and coming independent acts and still maintains a reputation as one of the best sounding venues in West Hollywood — partly as a result of its usage of Sennheiser microphones.

Five years ago, Matthew Andrade began working at The Viper Room and within six months, he was promoted to production manager and head engineer. Andrade says he always wanted to work at The Viper Room, having attended many shows there while also enjoying the sound. “When there was a possibility of working here, I jumped on it,” he recalls.

After quickly rising through the ranks to become head engineer, Andrade essentially disassembled the sound system – carefully evaluating every component and connection – before embarking on a new vision to make the sound of The Viper Room even better. “I really wanted to extend our legacy for great sound and build a new vision,” he says. “It was very important for me to uphold the reputation of quality The Viper Room has, as well as share that vision with the other engineers and technical personnel who work here.”

Andrade, who was educated at Los Angeles Recording School and played in a band for over a decade, was originally introduced to Sennheiser microphones while admiring their sound on the drums: “I had a chance to audition Sennheiser drum microphones while working at other venues and I noticed that there was a difference in clarity, and it was very audible.”

Now, The Viper Room features a full complement of Sennheiser mics – not only on the drums, but on vocals and other instruments as well. This includes six e 935s and one e 945 for the vocals. “I especially like the e 935s, which have a very rich sound that is not boxy or nasally as many other mics I have used.” says Andrade. “I don’t have to run the gain very hot on these, which allows me more headroom so I can push them without getting feedback.”

The Viper Room’s collection of Sennheiser microphones help the low frequency and percussive elements translate throughout the room, which Andrade acknowledges can be difficult to mix in from his side-facing loft upstairs in the rear of the room. He uses the combination of the e 901 and e 902 microphones on the kick drum. “I love the combination of these two mics, as well as their proximity effect,” he says. “You can get more or less low end based on how close the beater is and simply adjust this as needed.” It is simple to set up and make adjustments to the e 904s microphones, which clip conveniently on the rim of the toms. “There are three adjustments you can make to lower or raise these mics,” observes Andrade. “Those parameters are really useful in helping me capture the right sound. The small footprint of these mics also means that I can use them when space is at a premium.”

He also uses a Sennheiser e 905 on the snare and a pair of e 914s small diaphragm condensers as overheads – which come in useful especially during recordings. “We have a Pro Tools set up where we send a stereo feed from the board and the recordings sound very, very good. I really like the high pass parameters and 10-15 dB padding on the e 914, since this gives me a lot more flexibility at the outset.” Finally, it is a common sight to see Sennheiser e 906s on the guitar amps and MD 421 IIs on the bass amps. “The thing I love about the e 906s is that you can just hang them over the side and they sound great,” says Andrade. “This eliminates mic stands and other hassles.”

“With Sennheiser microphones, I get a ‘whole body experience’ that you can feel, especially at the low end,” Andrade concludes. “I really make an effort to understand the sound and vision all the artists that play here really have. I want to stay true to the sound, and with Sennheiser, I feel like I am able to do that at a high level.”

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MASQUE SOUND HEADS TO CHICAGO, ON TOUR WITH THE BOOK OF MORMON

CHICAGO, February 27, 2013—The Book of Mormon, winner of nine Tony Awards® including Best Musical, has made its way to Chicago’s Bank of America Theatre. For the Second National Tour, sound designer Brian Ronan once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events, to supply audio equipment for the satirical musical.

“For this production, one of our main concerns was ensuring that our sound system and speakers would not interfere with the layout of the staging for the show,” says Cody Spencer, Brian Ronan’s associate sound designer. “A lot of our process involves strategizing ways to provide optimal sound coverage—so that every word is heard throughout the theatre—while making the scenic department happy by keeping our system out of audience view and preventing it from inhibiting the main frame of the show.”

For The Book of Mormon at the Bank of America Theatre, Masque Sound is providing Sennheiser MKE-1 microphones for the lead actors and MKE-2s for various other cast members. Other gear included DPA 4061 microphones, L’Acoustics speakers and a Digico UB MADI interface sound console – used to route a QLab directly to a Digico SD7, digitally.

Spencer also notes that Masque Sound was extremely helpful in getting him and his team urgent pieces of equipment when necessary. He noted, “If there was something that we were in need of, we just called over to Masque and they took care of us. They were able to get us the equipment within a day or two, which was great. We really enjoy working with Masque Sound.”

Throughout the years, many world premiere productions and pre-Broadway performances have called the 2,016-seat Bank of America Theatre home. Steeped in history, dating back to the vaudeville era, this Chicago performance venue has presented such iconic performances as Movin’ Out, Irving Berlin’s White Christmas, Jersey Boys and Monty Python’s Spamalot, among others.

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The Who Reign O’er Quadrophenia With DiGiCo

The Who‘s 1973 rock opera Quadrophenia—which sets the tale of teen Jimmy Cooper amidst the global sociocultural upheaval and psychological angst of the times and the rivalry between Britain’s mods and rockers—has been reprised in a multimedia display on the band’s latest outing. The 37 date tour, which began in November and runs through the end of February, celebrates the four-decade anniversary of the album’s release and marks the band’s first major North American tour in four years. Even long-departed drummer Keith Moon and bassist John Entwistle make cameo appearances, joining remaining original members Pete Townshend and Roger Daltrey. Entwistle’s virtuosity and famous bass solo on “5:15″ are showcased in live footage shot at the Royal Albert Hall in 2000, which streams onscreen. They also pay tribute to the late Keith Moon; their performance of “Bell Boy” incorporates video footage of a 1974 performance, with Moon’s vocals dubbed in from the LP (one of the only times in Who history his vocals were heard on an album).

The Quadrophenia tour also reunites the band with production partners Eighth Day Sound, who have worked with the iconic rockers on their last three major tours. This time out they’re carrying a pair of DiGiCo SD7 desks (each running the latest MACH III software) for FOH and band monitors, plus an SD-Rack at FOH and a d&b audiotechnik J-Series PA. The audio crew is comprised of longtime Who FOH engineer Robert Collins, Simon Higgs on monitors with support from Eighth Day’s Senior Audio Engineer Mark Brnich, and sound techs Drew Marbar and Carl Popek. [Pictured: Popek, Marbar, Collins, Higgs and Brnich.]

Collins started with the band in the late 1990s-early 2000s, and has also worked with Roger Daltrey and Pete Townshend on their solo projects, trading tours with engineer Paul Ramsey in between tours with Eric Clapton and others. “Paul used to look after me; he was my systems tech on The Who. I made sure the team was put in place, you know, ‘cause an English band should have an English engineer—or British, I should say. I’m Welsh, though. So here I am back. They wanted to get me back for this, and luckily it worked out timing-wise with the schedule. It’s worked out with Eric so I can go do that as well this year.”

A relative newcomer to the SD7, Collins is certainly no stranger to DiGiCo (he’s an early D5 adopter and part of the DiGiCo family). Collins says he wouldn’t part with his trusty D5 until this tour. “She’s been really good to me. Y’know? Obviously, I’ve grown up with the D5, so I was like, ‘I’ll just stay on my D5, thank you very much.’ I wasn’t ready to go to the SD7 until I knew we had the new racks… and honestly I couldn’t justify going to an SD7 working with a four-piece (like Clapton) playing blues and such, you know? I mean, that thing can run a small country, can’t it?! But for this tour, it seemed like it was time.”

Right out of the gate, he was floored by the SD7’s sonics. “It just sounds great, doesn’t it? And the biggest thing for me personally with digital desks is, I’m old-school. I come from the old analog school. I feel like I’m a part of the band. I learned the music. I’m into the music. I do the music. I know what everybody plays, what everybody does. That’s my thing. I’m not into the technical side. I just want a bass drum to sound like a bass drum. I want the piano to sound like a piano. And if you don’t get a feeling off a desk… I find that this console is musical. I feel musical on it. I feel as if I’m doing something on it. Not to mention any names, but there are other digital desks and I don’t get anything out of them. It’s like working a laptop, for God’s sake! That’s one thing about all the boys at DiGiCo: they came from the old school. They knew what we wanted. They spoke to engineers. But they didn’t just speak to them like every other company; they listened to them.

“I think DiGiCo consoles are the best out there. What you can do with this one is way beyond me. I don’t need to go down that line. Don’t tell James [Gordon, DiGiCo’s managing director], but I’m still not using Snapshots! I still do it all myself; I like to do it myself. I want to be part of it. I want to switch the guitar on when it’s supposed to be on. I feel part of it, and that’s what I want to feel. I don’t think in the digital domain.”

Monitor engineer Simon Higgs presides over the other SD7 at stage left, managing approximately 112 inputs for IEMs and such for the nine-piece band. He’s also a veteran Who member, starting in ’98 with Townshend on his Lifehouse project. He’s a diehard DiGiCo engineer, having also used the consoles since their release a decade ago.

“It’s the only digital console that I really care to use and the only one I really like,” Higgs explains. “I used a D5 with the Los Angeles band Sparks when they did 21 albums in 21 shows back in 2007, and that was the first time I really used the D5 for an extended tour… 150-odd songs, all programmed in. The Who’s monitor mix was analog for a long time until it started getting bigger and bigger and we realized we had to move to digital. So we started using two D5s, but that filled up quick. We currently are using an analog console for Pete, who has his own operator, and I look after the rest of the band on the SD7.”

With nearly 112 channels of odds and sods, Higgs says he has a lot going on managing the band’s in-ears, a few random wedges around the stage and submixing stems for Townshend’s mix. “My desk is pretty full; 112 channels and they’re pretty much filled up. A lot of outputs. I’ve still got some floor monitors up there. I’m mixing down to the analog console as well, which is just a 16-channel desk, so I’ll mix all the drums, drum floor monitors, drum sub, floor shakers [drum thumpers] under his seat…”

Having everyone on in-ears has made his job a bit easier. “Roger decided that in order for The Who to work again, he had to get used to in-ears… he couldn’t have a half-dozen wedges all around him like he used to. So he’s gone through the whole process of getting used to in-ears. They’re all on Jerry Harveys, and that’s really enabled the band to work again. Pete’s still got conventional fill monitors; he’s got four around him, just split up, one doing vocal, a stereo pair doing something else, and there’ll be acoustic guitar in the wedge, and then a monitor behind him that has sound effects for ‘Quadrophenia’ or the loops that are in ‘Who Are You’ and ‘Baba O’Riley.’”

For effects, he’s primarily using what’s in the console, save a few outboard pieces, including a Lexicon PCM 60 for the snare drum, and a Bricasti M7 reverb for Roger’s vocal that he says “is absolutely amazing.”

‘Amazing’ is often the tone of reviews streaming in from critics and fans, not only heralding the show but also the durability of both Townshend and Daltrey. Their “My Generation” anthem notwithstanding (”I hope I die before I get old”), the founding members did just that (both are now in their late ‘60s) and if the Quadrophenia tour is any indication, they still have a lot of rockin’ left to go. As for engineer Robert Collins, it’s a full-circle homecoming of sorts, having grown up on their music.

“I got a good memory on me,” he laughs. “It’s very short. But The Who have been part of my musical thing. Them, the Beatles, the Stones, the Kinks—that’s what I grew up on. In fact, I was pissed off at them, actually. As a teen, I queued up in the top rank in Swansea in Wales to see The Who, and they didn’t fucking turn up! I was pissed off. They had a fight or something. This was the ‘60s. But it’s kind of funny… Who’d have thought that when I was growing up trying to play in little bands and not very good, listening to all these great singers, that I’d end up engineering for many of them?”

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Sennheiser + Paste Interactive Studio & Lounge Celebrates Creativity, Innovation and Music at SXSW Interactive and Film 2013

Audio specialist Sennheiser announced that it has partnered with Paste Magazine to present the Sennheiser + Paste Interactive Studio & Lounge, an official SXSW showcase event scheduled to take place between Sunday, March 10th through Tuesday, March 12th at The Blackheart, 86 Rainey St. The three-day event will feature interviews every half hour between noon and 6pm each day with film directors, actors, app developers, technologists and musicians. The audience will be invited to listen to the live Q&As via Sennheiser wireless headphones, while tweeting questions to participants using hashtag #SennheiserSXSW.

Each night, music starts at 8pm and will feature artists including Quiet Company, Moon Taxi, The Lone Bellow, Jason Isbell, Houndmouth, Foi Chen, Nicki Bluhm & The Gamblers, The Last Bison, The Spirit Family Reunion and many others. Sennheiser and Paste will also host musicians on the front porch of the cottage-style venue during each day, including Emily Wolfe, Micah Dalton and Seryn. For the duration of the event, attendees will have the opportunity to audition Sennheiser’s latest Momentum headphones, which combine premium sound, style and comfort.

Among the confirmed interviewees are LeVar Burton (Star Trek: The Next Generation), Alex Winter (Downloaded, Bill from Bill & Ted’s Excellent Adventure,) and Jim James (My Morning Jacket). There will also be interviews with directors Neil LaBute, John Sayles and Joe Swanberg. All interviews and musical performances will be broadcast using Sennheiser and Neumann microphones; attendees will be able to listen to interviews and performances via wireless headphones, which will be available both indoors and outdoors.

Look for updates and interview announcements at Sennheiser’s Facebook page. For more information and to RSVP, please visit http://www.sennheiserusa.com/sxsw2013.

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Orange Humble Band Rides Again at Ardent

Dwight Twilley Joins Band as Guest Singer/Songwriter

Pictured (L-R back row) are Rick Steff, (keyboards); Dwight Twilley, (vocals/guitar); Ken Stringfellow, (lead vocals); Jody Stephens, (drums); Mitch Easter, (Electric guitar, percussion, co-producer); and foreground (L-R) are Darryl Mather, (songwriter/co-producer, acoustic guitar); Pete Matthews, (engineer); Dave Smith, (bass).


Orange Humble Band founder and principle songwriter since 1995, Darryl Mather has returned to Ardent Studios in Memphis to continue the remarkable journey of this historically Australian-based, pop-infused melodious rock and roll band. This latest recording continues to reflect the band’s striking fusion of the best elements of guitar-based pop rock, folk, country and soul.

The Band’s line up for this 2013 release, “Depressing Beauty,” remains largely unchanged from their last effort “Humblin Across America,” with core members Ken Stringfellow (formerly of The Posies); lauded American indie producer Mitch Easter (Let’s Active); Darryl Mather (formerly of the Someloves and Lime Spiders) and Jody Stephens (Big Star) again all present, along with new members, Memphis’ highly respected Dave Smith (bass) and Rick Steff (keyboards, Lucero member).

Also, for the first time, joining Mather and the band in the studio as guest singers/songwriter, was the iconic pop figure Dwight Twilley and the equally respected Jon Auer (Posies, Big Star) culminating in the completion of 13 new songs and a cover of one of Dwight’s pop classics.

“Returning to Ardent was like a homecoming,” commented Orange Humble co-founder Darryl Mather. “So many significant ups and downs have happened both within my life and the band members lives over the past 10 years that we realized, whilst all together in Austin, April 2012, it was time to again finally reunite to create some fresh new music which not only honored our varied musical roots, but also the many fallen friends we have sadly lost over this period of time.”

Additional special musical guests for this momentous recording include the legendary figures Susan Cowsill (background vocals); Spooner Oldham, (Wurlitzer piano), along with the talented mult- instrumentalist Shawn Lynch, (backing vocals, guitar, keyboards and percussion).

The brass section was comprised of Memphis stalwarts Kirk Smothers, (baritone and tenor sax); Jim Spake, (tenor sax and clarinet); and Scott Thompson, (trumpet and flugal horn). Finally, a most welcoming inclusion, string arrangements were created and scored by the highly regarded Carl Marsh, who most famously wrote and conducted strings for the revered Big Star’s ‘Third’ album of 1974, with famed pop luminary Chris Stamey also providing additional string arrangements.

Ardent’s Pete Matthews was again engaged as the album’s principal recording engineer, alongside additional engineer Bob Engel, stationed at Mitch Easter’s Fidelitorium NC studio.

For more info about the Orange Humble Band and music, visit:
http://www.facebook.com/pages/The-Official-Orange-Humble-Band/444870488900902?fref=ts

For information about Ardent Studios, visit:
http://www.ardentstudios.com

Ford Audio Drives Pacific Northwest’s First L-ACOUSTICS KARA Rig

Ford Audio Service owners Angela and Gary Ford

BURBANK, Washington – February 2013 — Tri-Cities-based sound reinforcement and AV service/rental provider Ford Audio Service, Inc. has now taken delivery of the first L-ACOUSTICS KARA system in Washington State. The initial order was comprised of 24 KARA, accompanied by 12 SB18 and eight SB28 subs, four 12XT coaxial monitors, and eight LA8 amplified controllers.

Located on the southern edge of the state — a five-hour drive southeast of Seattle — Ford Audio is well positioned to service corporate clients, venues, festivals and regional tours throughout Washington, Oregon, Idaho and Montana. more

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