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Hollywood Orchestral Percussion Completes EASTWEST’s Flagship Orchestral Series

Detailed and comprehensive orchestral percussion collection features unprecedented control of sound and instruments

Hollywood, CA – EASTWEST, the industry leader in virtual instruments for over 25 years, has released Hollywood Orchestral Percussion, produced by award-winning team comprised of Doug Rogers, Nick Phoenix, Thomas Bergersen, and engineer Shawn Murphy. This release completes the company’s flagship Hollywood Orchestra, which also includes Hollywood Strings, Hollywood Brass, and Hollywood Orchestral Woodwinds.

Hollywood Percussion Screen

Hollywood Orchestral Percussion is an utterly unique orchestral percussion library featuring one of America’s very best orchestral percussionists and his inspiring arsenal of instruments. A must have compositional tool for serious composers, Hollywood Orchestral Percussion includes PLAY 4 software, offering powerful scripting for ease of use and up to 5 microphone positions for unprecedented control over each instrument including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.

Recorded in the famous EASTWEST Studio 1, the home of major Hollywood soundtracks and television themes, Hollywood Orchestral Percussion perfects techniques pioneered in Stormdrum 3, using unique repetition sampling techniques and 8 way round robin that deliver a virtual live performance. The entire collection uses zero noise reduction resulting in a spectacular sound that will virtually jump out of the speakers.

Key features:

• Orchestral percussion staples include timpani, snare drums, cymbals, bass drums, and metals. Each instrument shines with exemplary detail and variety making it possible to find exactly the right sound for any piece of music.

• Specific instruments to handle extreme tempos.

• Most extensive and fluid timpani ever sampled.

• An unprecedented, extensive array of epic anvil samples

• Orchestral chimes are sampled to mimic the sound of real church bells, as the instrument was originally intended.

• Inspiring array of vintage field drums, such as Epic Bass Drum Ensemble and Mahler Hammer give this collection some serious punch.

• For the first time, the celeste has been captured in a multi mic position environment with extremely low noise.

For more details, please visit www.soundsonline.com/hollywood-orchestral-percussion

System Requirements
75GB free hard disc space, iLok security key (not provided), Diamond Edition is supplied on an optional hard drive for ease of installation (see website for more information).

Pricing & Availability
To purchase and more information, please visit www.soundsonline.com/hollywood-orchestral-percussion

• Diamond Edition: $599
• Gold Edition: $499
• Silver Edition: $249

Diamond and Gold Editions are available in September 2014. The Silver Edition will be available middle of October 2014.

About EASTWEST
EASTWEST (www. soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com, on Facebook and Twitter.

Hal Leonard Publishes Alan Parsons’ Art & Science of Sound Recording

Alan Parsons and Julian Colbeck to present ASSR, The Book based on the award-winning DVD set at the 137th AES in Los Angeles

Montclair, NJ (September 24, 2014) – Alan Parsons’ Art & Science of Sound Recording: The Book, is a complete rewrite and reappraisal of the award-winning video series. Parsons takes his approach to sound recording to the next level as the book provides ample space to present more technical background information, more detailed diagrams, and more in-depth discussion on each of the twenty-four topics, from “A Brief History of Recording “ to the now-classic “Dealing with Disasters.”

AlanParsons_cover

Written with the DVD’s co-producer, musician, and author Julian Colbeck, ASSR: The Book offers readers a classic “big picture” view of modern recording technology in conjunction with an almost encyclopedic list of specific techniques, processes, and equipment. The Book has a logical flow of chapters, looking at how sound is created and how it behaves before moving on to the different processes of manipulating sound recordings such as EQ, reverb, delays, compression; covering how to work and record with live musicians as well as the art and science that go into the mixing process.

“With the videos we strove to keep you visually and aurally entertained. Now, you can be reading this at home, or in a busy Starbucks, or on a plane… you can read one page at a sitting or one chapter, or just dive in here and there using the index or the glossary,” said Parsons.

For all its heft and authority – authored by a man trained at London’s famed Abbey Road Studios in the 1970s – ASSR: The Book is also written in plain English and is packed with priceless anecdotes from Alan Parsons’ own career working with the Beatles, Pink Floyd, and countless others. Not just informative and packed with colorful pictures, but also highly entertaining and inspirational, ASSR: The Book is the perfect platform on which to build expertise in the art and science of sound recording.

Alan Parsons and Julian Colbeck will present ASSR, The Book at AES in Los Angeles with a book signing on October 10, 2014 at 12 pm in the Hal Leonard booth #1141.

About the authors
Alan Parsons’ recording career got off to a great start with the Beatles when he served as their assistant engineer on Let It Be and Abbey Road. With an illustrious engineering career that included The Dark Side of the Moon, Parsons went on to become one of the most sought-after producer/engineers of the seventies and eighties, scoring No. 1 hits with multiple artists. In 1976, he formed the Alan Parsons Project, enjoying multiplatinum success with hits such as “Eye in the Sky”, “Time”, and “Games People Play”. Parsons remains an active recording artist and producer.

Julian Colbeck was a professional keyboardist for over twenty-five years, working with Yes/ABWH, Steve Hackett, John Miles, and his own group, Charlie. He has also authored a dozen books on music and music technology, including the groundbreaking Keyfax series, and he has written and produced numerous instructional DVDs on recording, live sound, and synthesizer technology. CEO of Keyfax NewMedia since 1994, Colbeck has most recently been on active duty with the creative and advocacy platform Musicians Guild.

Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit alanparsonsbook.halleonardbooks.com.

Alan Parsons’ Art & Science of Sound Recording – THE BOOK
$49.99 (US)
Inventory #HL 00333735
ISBN: 9781458443199
Width: 8.75″, Length: 11.25″, 272 pages
alanparsonsbook.halleonardbooks.com

Win a Pro Tools Rig from Westlake Pro

Final Week of Westlake Pro’s 30 Days of Giveaways

Los Angeles, CA (September 23, 2014) – Westlake Pro, a leading retailer of professional audio, recording gear, live sound equipment, and technical services is heading into the final week of their month-long September Gear Giveaway and will draw the Grand Prize on September 30.

WP_Sept_Sweeps_2_border

Entry remains open until 12:00 noon (PST) on September 30 after which the Grand Prize of an AVID Pro Tools HD Native Thunderbolt System with an OMNI Interface, Pro Tools 11 and a premium AVID plug-in valued at $5498 will be drawn. Entrants can also win daily prizes drawn each day of September. Remaining prizes include a MOTU MachFive 3 software sampler, a Sound Radix Radical Bundle, Sennheiser HD600 headphones, a Mojave Audio MA-201fet, a Universal Audio Apollo Twin Solo, a Zynaptiq Zap Bundle and a Waves Gold Soundgrid Bundle.

Throughout September, Westlake Pro is giving away a total of $17,000 worth of gear from the top brands in pro audio. Winners have already claimed gear from Shure, Zoom, A Designs, Hosa, Rob Pappen, Toontrack, Synthology, Exponential Audio, Focusrite, iZotope, Vienna Symphonic, Slate Audio, JBL, Radial, McDSP, Anglebird, Furman, Spectrasonics, and SSL.

Enter Westlake Pro’s September Sweepstakes – 30 Days of Giveaways here.

About Westlake Pro
Based in Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.

Register for GameSoundCon and win EastWest’s Complete Composers Collection Pro 2!

Only 8 days left to receive $100 off admission to the premier game music and sound design conference GameSoundCon and be automatically entered to win a virtual instrument suite worth up to $5,000.

Click here to get a special coupon to register for GameSoundCon and for the chance to win EastWest Complete Composers Collection Pro 2!

GameSoundCon’s 10th conference will be held October 7-8 at the Millennium Biltmore Hotel in Los Angeles and features two days of sessions, panel discussions and hands-on workshops from over twenty of the game industry’s leading composers, sound designers and audio directors. This year’s featured keynote speaker will be Marty O’Donnell, creator of perhaps the most iconic game soundtrack of the recent era with his work on HALO and Destiny. The conference tracks will cover
* How to Write and Implement a Video Game Score
* How Creating Music and Sound for Games Differs from Traditional Media
* Essential Game Audio Tech
* Game Music and Sound Design Tools
* Integrating Audio Using Game Engines Such as UDK and Unity
* Navigating the Video Game Music Business
* and many more
EastWest sponsors this year’s GameSoundCon with a Complete Composers Collection 2 Pro – don’t miss out and enter to win now!

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Remix Moby’s “The Last Day” on Blend

Multi-award winning artist endorses collaboration and shares project files from the album Innocents on premier online network

NYC (September 18, 2014) – Project files for Moby’s single “The Last Day”, from his latest album Innocents, are now available exclusively on Blend in Ableton Live and Avid Pro Tools formats for music producers to re-interpret and remix the song on the online collaboration platform at http://blend.io.

Moby headphones

Moby is a phenomenon in electronic music. He has remained innovative and relevant through fads and trends, and today – once again – proves to be one step ahead by fully embracing technology through online collaboration. He appreciates and encourages input from musicians all over the world, which is why he made the stems of “The Last Day” available for Blend members to remix.

“When people try to control content in the digital world, there’s something about that that seems kind of depressing to me,” read a quote by the artist in an article on CDM. “The most interesting results happen when there is no control. I love the democratic anarchy of the online world.”

Moby’s album Innocents, recorded in his apartment and produced by Grammy-winner Mark ‘Spike’ Stent was released last October and features collaborations on 7 of the album’s 12 tracks. He now invites music producers on Blend to download “The Last Day” project files, deconstruct it and make their own versions of it.

The project is available to be remixed in Ableton Live and in Avid Pro Tools:

The Last Day – Ableton Live by Moby

The Last Day – Pro Tools by Moby

New users can sign up now at this exclusive link: https://blend.io/vip/moby

The Last Day video: https://www.youtube.com/watch?v=x5Dpz6w_jz4

About Blend
Blend was created for musicians to connect and share in-progress tracks and collaborate, or “blend” each other’s works. While other networks focus on publishing completed music, Blend provides a platform for musicians to collaborate directly with each other in their native (source) format, such as Ableton Live, Maschine, Pro Tools, Logic, GarageBand, FL Studio and Reason.

Audiofile Releases Loop Editor 2

Picks up where Apple Loop Utility left off

Minneapolis, MN (September 16, 2014) – Audiofile, a leading music technology company, today announced the availability of Loop Editor 2 on the Mac App Store. Loop Editor 2 is the perfect replacement for the now discontinued Apple Loops Utility and raises the bar with support for all loop types, beat detection, ACID files, and more.

loop_editor_screenshot_1
Key Features in Loop Editor 2:

• Slice: add, edit, and export slices
• Loop: supports all loop types and helps you quickly fine tune loop boundaries
• Tag: advanced editing including the Genre & Descriptors properties for Apple Loops files
• Script: Support for AppleScript allows automation of complex workflows
• Export: multiple formats including Apple Loops, AIFF, ACID, WAV and W64

Loop Editor 2 also includes two indispensable Audiofile utilities: ReCycle Converter converts Propellerhead ReCycle files for importing into Loop Editor and First Aid, which can diagnose and repair uncompressed audio files that won’t import or open in audio applications.

Pricing and Availability
Loop Editor 2 in available through the Mac App Store and is on sale for a limited time for $29.99. Regular price is $49.99.

About Audiofile
Audiofile is a boutique technology company building apps that power the world’s musicians and audio engineers. Founded by Ev Olcott and Matthew Foust in 2003, Audiofile is among the most innovative and experienced audio software developers for OS X and the iOS with a long history of industry firsts to their name. Learn more about Audiofile’s entire range of music apps for OS X and iOS at www.audiofile-engineering.com, www.facebook.com/audiofileeng and on Twitter: @weareaudiofile.

iZotope Launches RX 4: Complete Audio Repair and Enhancement

New functionality makes RX 4 ideal for accelerating workflows in TV Broadcast, Film, Video, and Music

AMSTERDAM, Netherlands, Sept. 11, 2014 - iZotope, Inc., a leading audio technology company, has released the next generation of its industry-standard audio repair toolkit, RX. iZotope’s award-winning software transforms flawed audio into pristine, usable material by removing noises, distortions, reverb, and other common audio problems. RX 4 and RX 4 Advanced incorporate significant new workflow-optimizing functionality, leaving more time for creativity in audio and video editing. For anyone in audio post production, broadcast, dialogue editing and mixing, independent filmmaking, or music production, RX 4 can make poorly recorded audio intelligible and ready for primetime. https://www.youtube.com/watch?v=EF6evbm_-Zg

RX 4 Advanced is the result of iZotope’s collaboration with working professionals to identify new ways of improving workflows. They’ve translated these insights into technologies that address common needs and reflect the way people naturally want to work. New features in RX 4 move beyond audio repair-letting professionals enhance their audio.

“Audio quality is a significant concern for media workflows worldwide, spanning professionals in film and TV post production to music mixing and mastering,” says Rob D’Amico, Senior Product Manager for iZotope. “iZotope has developed an audio solution that is equally valuable in the music recording studio, post production suite, on the film set, or in your home editing setup.”

RX 4 enables users to significantly speed up their workflow through the addition of new intelligent modules, time-saving features, and deeper levels of integration with their host.

Significant new features in RX 4 include:
Clip Gain: Easily adjust and balance the volume of vocals and instruments with this new non-destructive editing feature.
Dialogue Denoiser: Reduce distracting background noise from dialogue and vocals in real time (now a standard feature with both RX 4 and RX 4 Advanced).
RX Connect: Streamline the editing process with a round-trip workflow compatible with industry-standard hosts.

For audio professionals in post production, music production, and mastering, RX 4 Advanced boasts additional time-saving features.
Leveler: Automatically balance the volume of a mix, freeing more time for creative mix decisions.
Ambience Match: Match the environment noise or room tone of two different audio recordings with ease
EQ Match: Ensure a consistent-sounding mix by matching multiple recordings with varying sonic profiles.
Loudness: Process whole program mixes or segments to comply with international industry standards and network-specific guidelines.

Learn more about RX 4

RX in Amsterdam
IBC attendees will be able to get their first glimpse of RX 4 at Avid Connect Europe, or catch its public debut on stage at the CPUG Amsterdam SuperMeet. RX 4 will also be available for viewing at the Avid Booth (Hall 7 | Stand J20) throughout IBC.

Pricing and availability
RX 4 and RX 4 Advanced are available now.

Through September 25, 2014, RX 4 will be available for $299 (Reg. $349/ €285) MSRP and RX 4 Advanced for $999 (Reg. $1199 / €919) MSRP.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/en/account/ for upgrade information and special upgrade pricing.

Customers who purchased RX 3 or RX 3 Advanced after July 1, 2014 will receive a free upgrade upon release.

Compatibility

Both RX 4 and RX 4 Advanced can be used as a standalone audio editor or as a plug-in. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit www.izotope.com.

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Blend Adds Support for Propellerhead Reason

Veteran music creators post Reason material for the masses to remix

NYC (September 9, 2014) – Blend (http://blend.io), an online network where musicians share and collaborate on tracks, announces support for Propellerhead Reason music production software. Reason users can now share and collaborate on in-progress music projects, tutorials, and sample packs.

Veteran music creators Paul Wilson (Lauryn Hill, Erin Barra), Justen Williams (Kourtney Hart), and Chris Freeman (Manchester Orchestra, Bad Books) have joined Blend to celebrate the announcement with exclusive new material for users to pull and re-imagine. Users can browse Reason projects here: https://blend.io/explore/type/reason.

Reason features on Blend:
• Publish Reason projects on Blend for private or public collaborations and remixing
• Browse, preview, comment on and pull (download) publicly published Reason projects
• Share a preview widget for Reason projects on third party sites

Reason_logo

Propellerhead Reason is a full-featured music production software studio. Centered on its signature rack of instruments, effects, and sounds, Reason includes everything needed to write, record, remix and produce great-sounding tracks. Songs are built in Reason’s sequencer with the ability to add guitar, vocals, MIDI synths, or even record an entire band. Tracks are then polished and finished in Reason’s studio-grade mixing console.

Join the Blend community with an exclusive invitation from Propellerhead, visit https://blend.io/vip/propellerhead and enter the code: REASON.

About Blend
Blend was created for musicians to connect and share in-progress tracks and collaborate, or “blend” each other’s works. While other networks focus on publishing completed music, Blend provides a platform for musicians to collaborate directly with each other in their native (source) format, such as Ableton Live, Maschine, Pro Tools, Logic, GarageBand, FL Studio and Reason.

Westlake Pro and A-Designs Host Mixing Master Class with Producer Tony Shepperd

WHAT: Mixing Master Class with Producer Tony Shepperd

WHEN: Thursday, September 11 at 7:00pm

WHERE: WestLake Pro, 4101 Lankershim Blvd, Universal City (L.A.) 91602

COST: FREE (space is limited – sign up today)
more

How Much Do Game Audio Professionals Really Make?

Current state of income levels among video game composers and sound designers revealed in the recent GameSoundCon report

Los Angeles (September 8, 2014) - With the assistance of the Game Audio Network Guild (G.A.N.G.), Brian Schmidt, Executive Director of GameSoundCon, the premier conference for video game music and sound design, conducted a comprehensive survey among composers, sound designers, audio directors, and others involved in writing music and/or sound content for video games. The goal of the survey was to establish an updated and realistic picture of the income possibilities and parameters for video game composers and sound designers, including the freelancer segment.

GameSoundCon received over 500 responses to questions related to compensation, work and environment, additional compensation, use of live musicians & middleware, and contract terms within the categories “large budget games”, “casual games” (smaller budget but professionally produced and marketed), and “independent games” (self-financed, such as Kickstarter projects, etc).

“The changes in the overall game industry are certainly reflected in the game audio industry,” said Schmidt. “Especially in smaller scale games, composers are also creating sound effects and doing integration or other technical work. One thing that surprised us was that compensation had two definite peaks, one at around $55,000 and one around $110,000. We believe this reflects the premium that top composers and sound designers with the right skills can demand, even in a very competitive market.”

The results of the GameSoundCon report reveal important findings for working professionals in the game sound industry:
- Game Music and Sound is predominantly a freelance gig (60%)
- Game Music is overwhelmingly “work for hire” (95%) and “per unit” royalties are rare.
- A salaried employee makes $70,532 per year on average, whereas a freelancer in the large-budget game category can make more than that with just one project. More details, such as project fees for indy/casual games can be found in the report at GameSoundCon.com
- Most game composers, particularly for smaller games, also deliver sound effects and/or do integration or other technical work
- Even in large-budget games, most of the music is produced virtually as opposed to predominantly by live musicians(54%).
- Women are underrepresented in the industry, at less than 5%

“It’s hard to define our industry”, says Brian Schmidt, “It is impossible to draw a sharp line between the categories. Nevertheless, we believe it serves as a useful distinction so that we’re not comparing the compensation from a blockbuster like Call of Duty with that of a, 2-person development company making an iPhone game in their basement.”

In addition to compensation information, the survey reported on
+ Work and Environment
+ Additional Compensation (Royalties, Bonuses)
+ Use of Live Musicians in video game music
+ Use of Middleware in games
+Contract terms, Soundtracks & Performance Rights clauses

The complete report with details, graphs, and remarks on the statistical validity of the GameSoundCon survey can be found in the complete downloadable PDF at GameSoundCon.com
The 10th GameSoundCon conference will be held in Los Angeles, October 7 – 8. Go to GameSoundCon.com for details.

About SoundCon LLC
SoundCon LLC is dedicated to education on the art, technology and business of composing for video games and video game sound design. With award-winning speakers and panelists from throughout the game and traditional audio industries, GameSoundCon is the leading music and sound conference specifically for the professional audio community. GameSoundCon creator and speaker Brian Schmidt received the Game Audio Network Guild’s 2008 Lifetime Achievement Award, and is a 27 year veteran in the game audio industry, having composed award-winning game music and created sound effects for over 130 interactive games.

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