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Mastering Engineer Colin Leonard Gets Dangerous in his Highly Customized Analog Studio ‘SING Mastering’

Atlanta-based ‘SING Mastering’ uses Dangerous Master, Monitor and BAX EQ at the core of a unique mastering setup —

...Mastering engineer Colin Leonard

…Mastering engineer Colin Leonard

Edmeston, NY – October 29, 2014 – Mastering engineer Colin Leonard works a lot with major record labels on singles, albums and custom masters for the very latest music videos – as well as hit Indie artist projects. At his Atlanta, GA, ‘SING Mastering‘ studio he’s built a unique and highly customized analog setup based around a core of Dangerous Music’s Master transfer console and Dangerous Monitor combination, and the Dangerous BAX EQ – among many other pieces of choice equipment and speakers. As Leonard says “It’s a no compromise mastering facility.” Some of Leonard’s recent mastering credits include Echosmith, Kimbra, Icona Pop, Leona Lewis, Justin Bieber, Mastodon and Mystery Skulls, working with record labels such as Warner Bros., Sony Music, Atlantic Records, Republic Records and Universal Records.

“I am currently using a Dangerous Master, a Dangerous Monitor and a Dangerous BAX EQ,” states Leonard. “I’ve never mastered a song without a Dangerous Master! And I can’t imagine it (laughs). The Master is one of those pieces that is just the ‘heart’ of the system. When I came into mastering, that was the very first mastering console that I used. The Master is an awesome piece for me.”

Although he has lots of gear, and most of it quite unique, he still goes for less-is-more, “I’m kind of a simplicity guy, all of the processing on my masters is analog. I don’t usually use plug-ins, and I try to keep cables real short between each piece of equipment, we make our own cables and use quality materials,” he says.

EDIT-SING-Mastering-WEB2Inside the Master
Leonard has compared “Mid-Side” systems and finds the implementation of the “S&M” feature built into the Dangerous Master far superior, “With the S&M feature on the Master, you can really fix some problems in mixes, and address balance issues. I have a couple EQs that I can use with that circuit to adjust stuff in the side, or if I need to bring a vocal out in the middle I can do that. It’s a really great sounding circuit. Comparing it to Mid-Side processors in the digital realm I just think it’s a ‘Day and Night’ difference. I don’t really know why technically the Mid-Side available on plug-ins sound so weird to me, but it does. The biggest thing is, you can kind of get away with cutting dBs in a plug-in, but as soon as you try to boost the Mid or the Side it sounds terrible to me; With analog, there is a lot more headroom. To me, the Dangerous Master’s Mid-Side circuit sounds a lot better.”

Describing how his outboard connects to the Dangerous Master, Leonard says, “I can either run into the input of the Master or I can run into the input of some other gear to have a different sound. I can bypass the input stage on the Master if I want to and run into the inserts. The inserts are set up really simply using my six different EQs and a couple of compressors. I don’t do a lot of compression, I am more of an EQ person, especially these days when mixes are usually compressed already! (laughs) But I have a lot of EQ flavors.”

And finally, he relates, “Another thing that’s really cool about the Dangerous Monitor in combination with the Dangerous Master is the ‘input monitor offset’. That way I can take an unprocessed mix and turn it up as loud as my master in the analog domain with an offset, and I can compare the original mix to the master at exactly the same volume. That’s really important. Without the offset you’re comparing the mix that might be 6dB quieter with a master that’s loud. It’s kind of impossible to compare the two sonically. Other than just saying, ‘Wow! That one’s a lot louder!’ When you use both the Dangerous Master and Monitor to do that, it’s seamless, Dangerous Music thought it out really well.”

BAX And All That
Although on SING Mastering’s website Leonard alludes to some ‘secret boxes’ that he uses to get his sound, he quickly relates, “The Dangerous BAX, honestly, is one of my favorite EQs for real small adjustments and it has some really unique EQ curve shapes obviously. I think it can be really great in combination with other EQs. I actually use the BAX differently than other people I’ve talked to, I use it at the beginning of my chain and use it as a really broad stroke and then fine tune afterwards with other pieces of gear.”

Monitoring The Dangerous Way
On his history with the Dangerous Monitor, Leonard recalls, “Actually when I started mastering I was just lucky to have access to a Chris Muth 2040 monitoring setup. After a few years I changed to the Dangerous Monitor, and at first it was a little weird because it has a stepped volume control, and the Muth 2040 that I had used had originally been ordered with the ‘Alps big blue’ control which was a continuous pot, so it took me a little while to get used to the Monitor’s stepped volume control. But then the accuracy and repeatability of the stepped control on the Monitor was awesome.”

Adding a bit more background, he adds, “The Muth 2040 didn’t have a DAC built in, so you had to use a ‘room’ DAC, which was normally a less sophisticated DAC in those days because when you were switching back and forth between digital sources, an old high-end DAC usually had some delay while switching and re-clocking so the thing to use was a DAC that was fast. The DAC that’s built into the Dangerous Monitor is really good and it’s fast. I really fell in love the with Dangerous Monitor. For me it’s an improvement over the 2040, having used both of them. The DAC in the Monitor is my only monitor path DAC.”

Leonard has a last point on controlling his listening, first, “I love the Dangerous Monitor for its transparency and accuracy with tracking with the stepped volume control. As a mastering engineer it’s really a necessity to have instantaneous digital switching with a common converter – and that’s what the Monitor supplies! I can get real world comparisons between different sources at the same time instantaneously with the same converter.”

Customized Is The Deal
Customizing practically all his equipment puts Leonard is a unique position of knowing his own gear better than anyone could, but it isn’t that unusual in a mastering studio he relates, “I am really picky about equipment and I think that incremental improvements add up at the end of the day. I try to make the quality of my gear as good as possible, and with mastering kind of everything is custom anyway it seems.”

He reveals some of his top outboard pieces beyond his ‘Dangerous BAX starting-point’, “I have a couple custom Neumann W495B units, a set of modified Neumann OE DUO EQs, some old Motown style inductor EQs that are customized Electrodyne circuits, a Fred Forsell Millennia NSEQ-2, and an SPL PQ. My speakers are custom too,” adds Leonard. “They are the last pair of the Tyler Acoustics D1′s, they were made by Ty Lashbrook, with two Pass Labs amps drive them and custom crossovers with cabinet modifications. Then I have a couple custom subwoofers, the sub cabinets are designed by Ty with the servo drivers designed by Danny Richie.”

SING-Mastering-Main-WEB2As in any great studio, gear is often only half the equation, “The SING Mastering room is a very cool design, it uses a ratio by acoustician M.M. Louden, he’s kind of the king of rectangular room ratios,” states Leonard. “My room is really an optimized Louden ratio. It’s over 30 feet long and really wide and has tall ceilings, it’s a big, open natural space. It’s a ‘dead end’ in the front and a ‘live end’ in the back, which is pretty common for mastering rooms.”

Check out SING Mastering and more about engineer Colin Leonard at: http://www.singmastering.com

About Dangerous Music
Dangerous Music, Inc. designs and builds award-winning hardware products that are indispensable to any DAW-based recording, mixing or mastering environment. The Company pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today, Dangerous Music offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source, Dangerous BAX EQ, and the Dangerous Compressor.

For more information on Dangerous Music visit http://www.dangerousmusic.com phone 845-202-5100 or email: info@dangerousmusic.com

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

Amadeus Installs Massive Custom-Designed Speaker System for French ‘National Museum of Natural History’ in Paris

Over 180 Amadeus speakers installed in vast French ‘National Museum of Natural History’ space, new speakers specifically designed and hand-crafted by Amadeus for the updated 20th Anniversary re-opening —

Amadeus install

The Great Gallery of Evolution

Paris, FranceOctober 15, 2014 – At the French ‘National Museum of Natural History‘ in Paris, September saw the 20th anniversary re-opening of the updated Great Gallery of Evolution space featuring an install of site-specific custom-designed Amadeus speakers. Based in France, Amadeus is one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers in the world. The museum install features an assortment of Amadeus speaker and sub-woofer models to offer the public a Hi-Fi audio experience throughout the vast museum. Merging Technologies, Solid State Logic and Flux also added key ingredients to the new museum install to control the Amadeus speakers.

Amadeus’ Director of Research & Development, Michel DELUC, and designer Bernard BYK, created completely new speaker and subwoofer configurations for the massive, over 180-speaker, sound system install at the National Museum of Natural History. The new speaker design has extended the Amadeus PMX Series with a super-compact 4-inch coaxial driver model, the PMX 4. Bernard BYK and Michel DELUC also designed two new compact sub-woofers specifically for the install, the ML 8, and the ML 12 SLIM, with 8-inch and 12-inch drivers respectively. The ML 8 is the smallest of the Amadeus ML Series of subwoofers; likewise the PMX 4 is the smallest of its series. Custom-made product manufacturing, solving acoustical or technical issues, and addressing market demands, are all strong traditions at Amadeus, and the large and complex Museum of Natural History install is an excellent example.

1024-Museum-lrg-3Bernard BYK, co-founder and CEO of Amadeus comments, “I have been trained as an architect, and this training definitely influences both the products we develop and the projects we work on. I think that for an architect, the starting point is to decrypt the space and to think of the way to put one’s work in a cultural, social and environmental context. That’s the way we design our sound systems…. We think about their integration in different places, and we supervise this integration. Each space has its own acoustical characteristics and above all its own architectural properties. Our work is to take these phenomena into account to increase the transparency of our sound systems.”

The previously released PMX 5, 5-inch driver model, was also used in the museum install with special finishes of high-gloss ‘Oyster White’ for the cabinet and a ‘Pearl Gold’ finish for the AirTex fabric for the speaker protection grill to specifically match the color of the main ceilings of the Museum. Additionally, a modified ML 12 subwoofer, (named the ML 12 SLIM), was re-designed as a slimmer version to be built-in some of the museum’s high-walled cabinets that were not deep enough to hold the standard ML model.

Several of the new ML sub-woofers are installed in prominent locations that the public can see and feature an attractive natural Beech wood exterior, matching the paired PMX 4 speakers in Beech wood. All the updated or newly created products, including the PMX 4 and ML 8 subwoofer, are now available for other installs as standard parts of the PMX and ML series Amadeus product lines.

On the amplification side, Amadeus developed and launched two prototypes, the MULTIAMP and A Series, (both to be released in 2015) to match the needs of the museum install. These two new Amadeus Amplifier Series extend, complete, and perfect the ‘HI-FI’ dimension and sound of the Amadeus speaker products. They integrate carefully listened to and selected components from among the most efficient and transparent of the audiophile market.

1024-Museum-lrg-5“The National Museum of Natural History install is a high-point of the many years in speaker and amplifier design by Amadeus. It is a perfect example of the outcome from the Amadeus brand philosophy that is built on the long-standing, close and productive relationships we have maintained with talented designers and scenographers, both in France and around the world, for over 35 years.” stated Gaetan BYK, Marketing Manager at Amadeus. Originally designed for the National Museum of Natural History, following the request of French designer, scenographer and composer Marc PIERA, the new PMX 4, ML 8, ML 12 SLIM, MULTIAMP and A Series amps are the concrete expression of this ethos.

Marc PIERA, co-founder and CEO of Comportements Sonores and scenographer for the museum install explains in detail how the install came about, “I tested many small and light speakers (weight was a major security issue) sold by well-known brands. I then turned towards PA systems. Leaving aside the brands whose systems didn’t meet relevant specifications – dispersion quality, frequency range, and impulse response around the speaker – I finally got in touch with Amadeus, a company I already revered for its high-quality PA products. I didn’t know they made small speakers, but I had used Amadeus products as I gave training seminars about controlled directivity, and during many shows and concerts, not to mention an acoustical study for the auditorium at Chelles (a commune in the eastern suburbs of Paris).”

Describing the audio for the exhibition areas, Marc PIERA reveals, “The audio sound tracks created by Frédéric ROCARD are based on natural ambient sounds, from thunderstorms to delicate ambiences, a tribute to the rich timbres and dynamic levels of all animal species shown in the Gallery; Dynamic margins between background noise level and reasonable listening levels is reduced. It was then mandatory to find how to best place the Amadeus loudspeakers to get an excellent covering in the public spaces, and to design a system with a high-quality stereo image faithful to the complex ambiences. Another key point to accomplish was that no spectrum changes would occur off-axis. In the end, 186 Amadeus sound sources were installed, including 28 subwoofers.”

Dominique BRULHART, Head Software Engineering at Merging Technologies describes their involvement with the install, “Merging was excited by the opportunity to work on this project, of an unprecedented scope for our product Ovation. We were equally pleased to note that the set-up, comprising 186 loudspeakers across seven zones, connected to two Horus converters, all handled by a single Ovation, worked without a hitch. We nevertheless learned a great deal from this installation and identified several ways in which our user interface could be enhanced. That’s the reason why these projects are so inspiring. We look forward to participating in many more alongside Amadeus in the future.”

“Management of the Amadeus speakers through Merging Technologies devices features specially designed Merging Technology software plug-ins for the museum install which can control dynamic EQ, expander/gate functions, as well as compressor and limiter capabilities for each of the Amadeus speakers individually. The Merging Technologies Loudspeaker Management System that was created is 100% Amadeus compatible and can easily be used in future installs,” adds Dominique BRULHART.

The ‘Grande Galerie de l’Évolution’ (Great Gallery of Evolution) is a more than 60-thousand cubic meter area. It is split into several public spaces: the first is 3,500 sq. meters by 2.5 meters high, the second, 2300 sq. meters by 15 meters high, plus 3 passageways – 1100 sq. meters each. Since the Gallery is a museum, there are many children’s groups and families attending, so the background noise levels are often between 55 and 70dB (A). The Gallery is also a conservation area-implying mandatory demands of integration of sound quality and other limitations.

Marc PIERA describes how he handled many of these issues in the museum space, “The Amadeus PMX 5, then the smallest speaker of the range, was too heavy to use everywhere. Amadeus quickly suggested that they design a variant offering the same sonic qualities but with a reduced weight. They created a prototype of the PMX 4, and after we tested and measured this new model in situ, it appeared it could be used to send sound in the passageways, with very high quality. Using a very tight distribution I got an incredible sound image and the finest details along these long corridors exactly as I had wanted.”

However, in some parts of the installation the existing PMX 5 model turned out to be best, “The PMX 5′s attenuation is even and its coaxial speaker shows an excellent impulse response which helps to reduce ceiling reflections,” continued Marc PIERA. “Eighteen Amadeus ML 12 subwoofers, distributed around the passageways, handle bass extension.” Referring to the tight space for some subwoofer positioning he says, “Amadeus was able to fulfill the integration needs with a thinner version of subwoofer, the ML 12 SLIM. We set the crossover frequency between the PMX 5 speakers and ML12 SLIM subwoofers at 90Hz, allowing us to reduce localization problems.”

Wrapping up his assessment of the National Museum of Natural History project, Marc PIERA concludes, “This kind of integration job, filled with aesthetic taboos and security issues, requires not only very high-quality products, but also deeply involved partners. Amadeus really was exemplary in that matter, and this contributed to the final success of the project. Their commitment even led the company to create specific RAL colors and wood finishes, putting the final distinguishing touches on this successful integration. And, as if all this was not enough, Amadeus even developed the amplifier system to deal with these 186 independent speaker lines. Solid State Logic interfaced the system, and Merging Technologies dealt with the programming side using their Ovation system, even adapting their product for us, on the practical and ergonomic side. The system filtering issues were handled by Flux, Merging Technologies‘ long-time partner.”

1024-Museum-lrg-7“In the end,” adds Marc PIERA, “I was able to stay as close as I wanted to the sound that I had imagined, specified and championed for this type of electro-acoustical mission: To get as much definition as possible in the sound image and the timbre. ‘Traditional’ systems like Amadeus PMX speakers remain the safest solution to work with difficult acoustics.”

About PMX 4 Speakers and ML 8 Subwoofers
Revealing his challenge for the museum install, Michel DELUC says, “We had to create a product matching the Amadeus sonic philosophy, starting from the PMX 5 format and trying to reduce its size by 50% without making any sonic compromise. The PMX 4 loudspeaker comprises a 4-inch (100 mm) neodymium woofer, with a 0,8-inch (20 mm) tweeter mounted in coaxial mode. It draws 300 watts peak from the line, under a 8-ohm impedance and produces 112 dB peak SPL.”

The Amadeus PMX 4 speaker used in the museum install is designed for sound professionals wishing to combine high sonic fidelity with ultra-compact format for space-limited installation or live use. This new speaker, the most compact in its line, completes the Amadeus PMX Series speaker line which includes the 15, 12, 10, 8 and 5-inch models, each available in passive, self-powered and EtherSound-enabled versions. Initially available in a highly resistant black (water-soluble) paint finish, the PMX 4 is also available in several different standard colors. Every PMX 4 can also be ordered in a ‘made-to-measure’ finish, based on registered or non-registered colors and/or materials. It can be manufactured in standard premium-grade Baltic Birch or in special woods such as Wenge, Wacapou, Wamara, Ebony from Africa, and more traditional timbers such as White Sycamore and Oak. The Amadeus PMX 4 speaker is priced at 490.00 € each (VAT excluded).

Adding background on the new Amadeus ML 8 Subwoofer design, Michel DELUC says “We started to develop the ML 8 from the ML 12 ultra-compact format and tried to reduce its size by 25% while preserving both the sonic clarity, the real tonal accuracy and the extreme precision of the lowest frequencies specific to Amadeus LF loudspeakers. We achieved this through a quite complex internal structure, hosting several tuned notch resonators and a terrific 8-inch (200 mm) transducer with a 3-inch (75 mm) ventilated voice coil, designed to reduce all forms of distortion and coloration to a bare minimum.”

The ML 8 draws 600 watts peak from the line, under an 8-ohm impedance, and produces 118 dB peak SPL. The subwoofer is available in a highly wear resistant black (water-soluble) paint finish, but is also available in several standard colors. Or the ML 8 can be ordered in a ‘made to measure’ finish, based on registered or non-registered colors and/or materials. To offer more possibilities, the cabinet and the acoustical fabric covering the front grill can each have a different color. The Amadeus ML 8 is priced at 890 € each (VAT excluded).

The Amadeus speaker models installed at the Museum:

PMX 4 ultra-compact 2-way coaxial loudspeaker (4” LF + 0,8” HF) in natural Beechwood finish: 16 units
PMX 4 ultra-compact 2-way coaxial loudspeaker (4” LF + 0,8” HF) in Traffic Grey finish: 36 units

ML 8 ultra-compact subwoofer (1 x 8” LF) in natural Beechwood finish: 5 units
PMX 5 MKIII ultra-compact 2-way coaxial loudspeaker (5.25” LF + 1,5” HF) in Oyster White & Pearl Gold finishes: 106 units

ML 12 MKII high-power compact subwoofer (1 x 12” LF): 2 units
ML 12 SLIM high-power compact subwoofer (1 x 12” LF): 18 units

Amadeus amplifiers models installed at the Museum:

MULTIAMP 4X (4 x 190 W/8Ω + DSP): 8 units
MULTIAMP 6X (6 x 190 W/8Ω + DSP): 7 units
MULTIAMP 8X (8 x 190 W/8Ω + DSP): 13 units

A10:1 (1 x 1000 W/8Ω + DSP): 2 units
A20:2 (2 x 1000 W/8Ω + DSP): 9 units

About National Museum of Natural History
The Museum is a public cultural, scientific and professional establishment under the double authority of the French Ministry of higher learning and research, and the Ministry of ecology, sustainable development and energy. The museum comprises fourteen sites throughout France with four in Paris, including the original location at the Jardin des Plantes in the 5th arrondissement. The galleries open to the public are the Cabinet d’Histoire du Jardin des Plantes in the Hôtel de Magny, the Gallery of Mineralogy and Geology, the Gallery of Palaeontology and Comparative Anatomy, and the famous Grand Gallery of Evolution. For more visit: http://www.mnhn.fr/fr

About Amadeus
Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and various signal processing interfaces that combine its own custom innovative technology with stylish design, for the professional audio industry. Created in 1992 from the collaboration between the French designer Bernard BYK and the scientist and musician Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.

Contact Amadeus at info@amadeusaudio.fr or visit http://www.amadeusaudio.fr

Amadeus is a registered trademark. All rights reserved. All other registered trademarks are property of their respective owners.

CEntrance Announces ‘i5′ an Audiophile Case for iPhone

Audiophile-grade headphone amplifier & DAC case charges and improves sound of Apple’s iPhone

i5-angleDenver, COOctober 8th, 2014 - Today CEntrance, a leader in Digital Audio announced the i5 Audiophile Case(tm) – a sound card and an extended battery, built right into an iPhone case. The one-of-a-kind device works with Apple’s iPhone 5, 5S and iPod Touch 5G, wrapping the phone like a glove and creating the ultimate on-the-go playback system. The new i5 Audiophile Case will be featured at the Rocky Mountain Audio Show in Denver, CO., October 9th through 12th. CEntrance’s booth is located at the CANJAM pavilion (https://www.audiofest.net/2014/).

“iPhones store a lot of music, but their sound quality and battery life are not at the level our customers crave,” said Michael Goodman, Managing Director of CEntrance. “We took our award-winning DAC technology and miniaturized it to fit inside a phone case. The handheld i5 was developed to do three things: to offer incredible sound quality, to charge the phone, and to protect the phone.”

The CEntrance I5 Audiophile Case streams asynchronous audio directly from the phone’s lightning jack. A 24-bit/192kHz Digital to Analog Converter (DAC) delivers extra sonic fidelity and the powerful headphone amplifier works in synergy with a variety of headphones.

* The i5 is a USB DAC and an audiophile ‘sound card’ for the Apple iPhone. It extracts digital audio from the phone and internally converts it to analog, for the purest sound reproduction, much exceeding the sound quality of the phone’s headphone output.

* i5′s integrated audiophile package combines 24-bit/192kHz resolution, over 11 hours of battery life and the ability to boost the phone’s battery on the go, for extra-long listening or working sessions.

* i5′s powerful headphone amplifier supports in-ear and over-the-ear headphones on a 3.5mm stereo jack.

The retail price for i5 is set at $599.99 USD. CEntrance has started a crowd funding campaign for the I5 Audiophile Case on Indiegogo: http://igg.me/at/i5 where early adopters can get a special deal or just help the campaign and spread the word to make this innovative project a success!

CEntrance products are known for their convenient features and mastering-quality sound. The new i5 takes this up a notch, defining a new product category of a compact audiophile battery case. Also on display in Denver will be the recently released portable amplifiers and DACs, such as HiFi-M8, Mini-M8, A1 and other CEntrance products.

For more information, visit www.CEntrance.com

About CEntrance, Inc.
CEntrance started in 2000 as designers behind industry leading brands, such as McIntosh, Wadia, Playback Designs, Benchmark, PS Audio, and Lavry. The company’s own portable recording and playback solutions have earned rave reviews, industry awards and enthusiastic endorsements from artists such as Harry Shearer, Nathan East and Will Lee, and mastering engineers Bob Katz, Brian Gardner, Tom Jung, and sound designer Frank Serafine, among others. CEntrance is headquartered in Chicago and distributes its products worldwide.

CEntrance is expanding its dealer network. To inquire, please call +1 (847) 581-0500 or e-mail sales@centrance.com.

All Trademarks are the property of their respective holders. i5 Audiophile Case(tm), DACport(tm), DACmini(tm), HiFi-M8(tm), and Mini-M8(tm) are trademarks or registered trademarks of CEntrance, Inc. All Rights Reserved. Apple iPhone(r), iPad(r), and iPod(r) are registered trademarks of Apple, Inc.

Audio Plus Services add Pro Audio Sales Manager for West Coast

15-year sales veteran, Troy Manning, to expand sales and support on West Coast for pro audio distributor

Troy Manning

Troy Manning, new West Coast pro audio sales manager for Audio Plus Services

Montreal, Canada - September 2, 2014 – North American Distributor Audio Plus Services (APS) have announced that Troy Manning will be the new West Coast sales manager for their pro audio division. Based in Montreal Canada, APS distributes pro audio brands including Focal monitors, Lauten Audio microphones, Vovox cables, and the Moon Professional line, while the Company also distributes several lines of Hi-Fi equipment throughout Canada and the US.

“We’re extremely happy to add an experienced professional like Troy to the Audio Plus sales force. Having someone based in Los Angeles is critical for us to offer a better service to our existing and future clients,” says Simon Cote, National Pro Audio Sales Manager at Audio Plus Services.

“I’m very excited to help develop the West Coast presence for Audio Plus and their pro audio lines,” adds Troy Manning. “I look forward to taking on existing business and provide a friendly local face for sales strategy and support.”

Manning spent the past 9 years working for RSPE Audio Solutions in Los Angeles, and before his move out west, worked at Atlanta Pro Audio. With close to 15 years in pro audio sales, Manning has also worked and engineered in studios while in both Atlanta and LA. He has experience selling internationally, and to all types of clients big and small, while recent sales have focused on post-production and film. Manning considers his music production background, mostly due to his time as a studio engineer, will be a boon for both Audio Plus Services and their clients. Troy Manning can be reached via email at: tmanning@audioplusservices.com

About Audio Plus Services
Established in 1979, Audio Plus Services is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal monitors, Moon mic pre, Vovox cables and Lauten Audio microphones. Based in Montreal with U.S facilities in Champlain, NY, Audio Plus has sales personnel located throughout the United States to professionally service their active roster of more than 300 specialty A/V and Pro Audio dealers. Audio Plus specializes in products and services for the professional audio and performing musician markets, and the home theater and custom integration (CI) market – both residential and commercial – for North America. For more information about Audio Plus Services visit their website at http://www.audioplusservices.com/ or call (800) 663-9352

All trademarks are the property of their respective holders.

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Amadeus Installs Sound Reinforcement System for New Cultural Center in Le Mans, France

‘Les Quinconces’ in Le Mans, France houses major events including Theater, Opera, Music, and Ballet in two theater spaces

Les Quinconces in Le Mans, France, features Amadeus sound reinforcement in its two theaters

Paris, FranceAugust 4, 2014Amadeus, based in France, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, announced their latest speaker system install for the newly opened Les Quinconces in Le Mans, France. The building houses two theaters, one 830-seats and the other 120-seats, and feature a full range of Amadeus speaker systems and subwoofers throughout the two concert halls. Amadeus speakers installed in the theaters include the DIVA XS, DIVA XS 15 line arrays, and the co-axial PMX 12, PMX 15, PMX 15 S plus paired subwoofers for each room: ML 15 and ML 18. All of the Amadeus speakers at Les Quinconces are powered by Lab.gruppen amplifiers, utilizing both the company’s ‘C Series’ and the newly released ‘IPD Series’.

Twelve years after planning began, and four years after the first brick was laid, Les Quinconces in Le Mans was inaugurated on April 26, 2014, in the presence of Stéphane LE FOLL, French Minister of Agriculture, Le Mans Mayor Jean-Claude BOULARD and Pascal LELARGE, Prefect of the Sarthe department. Also attending was Gérard BIENFAIT, President of Vinci Construction France.

Located close to the Cathedral of Saint Julian, the des Quinconces complex was mapped out following the classic, orthogonal attributes of the Parc des Quinconces. Designed by Babin-Renaud Architectes, the theatre is intended as a cultural showcase for the city of Le Mans hosting major events including Theater, Opera, Music, and Ballet. Its facade, a play on a theater stage curtain, is designed as a vast glass curtain made up of randomly alternating opalescent, transparent and translucent strips. Inside, the hall presents the attributes of a warm and surrounding cocoon made of ‘wooden scales’. A large cantilevered roof unifies the various units comprising the project.

Rémy DELAGE, scenographer and designer for Les Quinconces, reveals his insights during the project, “Equipment selection for the Theatre des Jacobins in Le Mans was part of the initial planning phase. By chance, desire, and a little bit of luck, I have become acquainted over the years with the most prestigious makers of audio equipment in general, and loudspeakers in particular, and became involved in the use, installation, and specification of their equipment. For the sake of interoperability with the other venue, a choice was made to use Amadeus systems. With the help of Michel DELUC – with whom I had previously collaborated, and Bernard BYK, whom I have known since starting out in the business – we launched into a designing phase based on the Amadeus line, with the constraint of staying within the initial budgetary limit. During that design phase I realized the expertise of the team at Amadeus! They put themselves at my disposal to care for all my needs.”

“I had the pleasure to again experience Michel’s knowledge and intuition, with a certain nostalgia for magical moments in the past when we had worked together,” added DELAGE.

“The Amadeus line array systems being defined and the peripherals chosen, all the equipment was installed in the theater. But Michel, true to his habits, kept tweaking the settings, even though I thought they were already perfect. Then came the time for the long-awaited listening phase: Everything was there, homogeneity, truthfulness and precision of timbres. Again, I couldn’t help but once more take notice that if technique cannot replace artistic quality, it can help enhance it. It turns out that technique and artistry are both in Amadeus products,” offered DELAGE.

As the theater design project in Le Mans finished, DELAGE, a respected master with a lifetime of major performance space designs in France and Europe, stated, “With this project coming to a close, I was glad to find out how, again, the dialogue between the team at Amadeus and the technicians in charge of installing the equipment at Les Jacobins could contribute to the ideal completion of a project. As for me, if I’m ever asked to specify a sound system, it will be… Amadeus.”

“Les Quinconces houses two 830-seat and 120-seat venues fitted with state-of-the-art technical equipment, offering a well-balanced combination able to host various types of performances (theater, opera, music, ballet, circus…) as well as amateur workshops, which attract a growing public. Furthermore, with its expanded audience capacity, the complex will help answer an increasing demand,” pointed out Jean-Claude BOULARD, Mayor of Le Mans, and President of Le Mans Metropole, in a recent Paris newspaper interview…

For more information on the theater at the Les Quinconces please visit their website at: http://www.theatre-espal.net/

About Remy DELAGE
Remy DELAGE, an electro-technical engineer by training, started out in the motion pictures industry, quickly joining in after graduating on the design of numerous movie post-production studios. Consultant to the Swiss composer, director and producer Rolf LIEBERMANN, Remy DELAGE collaborated with him on projects at the Vienna Opera, the Hamburg Opera and finally the Paris Opera. Remy DELAGE then worked on designing, building, restructuring and upgrading numerous theaters, operas and convention centers in France and Europe, among which the Comedie Francaise, Theatre National de Chaillot, Centre Georges Pompidou, Palais des Congrès de Nice (Acropolis). For over fifteen years, Remy DELAGE has been a consultant in technical scenography for electro-acoustics, stage lighting and video.

About Amadeus
Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and various signal processing interfaces that combine its own custom innovative technology with stylish design, for the professional audio industry. Created in 1992 from the collaboration between the French designer Bernard BYK and the scientist and musician Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.

Contact Amadeus at info@amadeusaudio.fr or visit http://www.amadeusaudio.fr

Amadeus is a registered trademark. All rights reserved. All other registered trademarks are property of their respective owners.

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Composer and Sound Designer Richard Devine Switches to Dangerous DAC & Monitor ST Controller

Atlanta-based electronic music and synthesizer wizard switches his monitor controller to the Dangerous Music Monitor ST & DAC ST and is astounded by the quality upgrade —

Richard_Devine studio

Richard Devine in his Dangerous Music equipped studio

Edmeston, NYJuly 29, 2014Richard Devine is renowned as an electronic music composer and producer, as well as sound designer extraordinaire. From his Atlanta, Georgia studio, and his company Devinesound, he specializes in the creation of custom sound, music and audio environments for film, television, video games, audio hardware and software, interactive web-based environments, and more. Devine recently switched out his monitor controller for the Dangerous Music Monitor ST with the integrated Dangerous DAC ST D-to-A converter in his massive electronic music studio. “I realized I needed to get a separate DAC that could accommodate multiple digital sources and at the same time output clean transparent audio with a non-fatiguing sound, I didn’t hear any distortion, and could hear so much detail even monitoring at the lowest listening levels,” says Devine.

“The end results that I’ve gotten in the last few months that I’ve used the Monitor ST are incredible,” he adds. “The ST and DAC ST are one of the best investments I’ve made in my studio. I’m a complete believer, it’s blown my mind.”

Devine has already completed several projects using the Dangerous DAC and Monitor ST including sound design and effects for the video game Wolfenstein: New World Order, trailer music for Twisted Tools DarkMorph Sound Effects Library, and the new iPad app “iMPC“-based on the iconic MPC-60 line of drum machine/samplers-for Retroymns and Akai Professional.

Testing 1, 2, 3…
To check the sound of the Monitor ST and DAC ST Devine did some very specific listening test, “I A-B’d the Dangerous gear against my Apogee DA conversion, and also did some comparison tests with the U.A. Apollo, and UFX RME card; and the DAC ST was just spot-on gorgeous.” Devine noticed a marked improvement in sound quality at low volumes with the Monitor ST as well, “I like to mix at lower volumes, and with the ST even at low volumes you get all that macro, beautiful detail, which was interesting to me. I thought, ‘Wow! There’s an immediate difference!’” With his previous controller the quality was not so good at lower volumes, but that is solved with the Dangerous Monitor ST. “I understand now, I’m a believer,” he says, “Having a dedicated DAC for monitoring is essential, especially with these features.”

“I did some tests where I was mixing for longer periods of time and I realized I’m not getting any ear fatigue. The DAC ST and Monitor ST combo has this very silky, clean presence. I don’t hear any distortion. It has a Hi-Fi quality to it.” Devine wondered if there was some kind of distortion in the DA conversion with his previous monitor controller that was causing fatigue in the past. Whatever it was, it’s not present with the Dangerous Music gear, “It’s become a non-issue now,” says Devine.

Detailing his first experience with the Monitor ST and DAC ST, Devine recalls, “I was using another monitor controller before this and I was using the D-A converter in it, and I was always unhappy with the sound quality, I couldn’t really put my finger on what was going on. When I got the Dangerous Music Monitor ST and the DAC ST it was an immediate night and day difference, I was actually shocked! Because in my head I was thinking, ‘I wonder how much of a difference it’s really going to be: huge difference, small difference, or something I am not going to even notice?’-Because the other controller made the claim that theirs was ‘completely transparent’, but it didn’t sound transparent to my ears. Immediately when I first hooked up the Dangerous gear I was in shock for the first 20 minutes, it was like ‘Wow!’ And then I felt kind of stupid, ‘How did I neglect one of the most crucial components of my signal chain, my monitoring solution? How did I overlook this for so long?’ Which is absolutely just as important as the monitors and the room you’re mixing in. So I was glad to get the ST, it has such a transparent, clean sound.”

Regarding the ST remote’s programmability, Devine also appreciates the ability to store level settings, “It’s so cool that you can set up each of your input and output settings and store them. That’s genius. It’s so nice to have that flexibility all built-in to the remote. It seems like Dangerous Music have thought out really well all the scenarios that you might run into, and it’s very elegant and graceful how they’ve done it. It offers so much more than what my other controller did. I can’t tell you how happy I am!”

Project Usage: A New World Order
“I finished designing sounds for a game called Wolfenstein: New World Order, and I was tasked to make all these impact sounds, sounds that have a lot of low frequency content, a lot of metallic resonating drones, a lot of sounds of actual metal that I recorded,” he explains. “So there was a lot of low-end material, a lot of subwoofer action, because they wanted the sounds to be bigger than life. I have a wireless Bluetooth bar speaker system that’s in the middle of my monitoring area that I do references on for TV work and video games, to test what people might listen to on more of a conventional Hi-Fi-like system. And what was great about using the Monitor ST is that I was able to very quickly do comparison tests with the subwoofer and soundbar setup to see how accurate the bass levels were. And they translated almost perfectly every time for me, which was exactly what I was looking for. So I feel that I can trust the Monitor ST. You feel a lot more comfortable and confident in what you are doing if you can trust the equipment you are working on. I feel that I can be creative and not worry that there’s something not correct in the signal chain, something causing distortion, or jitter in the clock. Transparency is truth to me and I feel that the Monitor ST has revealed everything to a point where I can very-well trust it.”

On his sound design work, Devine has need for just what the DAC ST delivers, easily selectable inputs, “I use multiple sources for sound design and TV projects, I switch around from Pro Tools to Nuendo, to Logic, there’s lots of formats using various hardware. So I wanted to have a system where I could switch between having 4 different sources digitally and several analog sources that I could A-B against really quickly, and the ST was perfect for that. I have an Airport Express modem running into one port of the DAC ST so I can monitor iPod, iPhone, and then I have a CD player and analog outputs from my main mix down card, my Universal Audio Apollo. Then I have another source, my Yamaha DM2000, where I have all my synths and drum machines connected. It’s nice to be able to level match all these sources, you can do that very quickly with the ST remote. You have a reference of how loud things are irrespective of different devices that you have connected to the ST. I think that is really cool. The Monitor ST has been a dream.”

Dangerous Details
In his studio Devine uses several speakers including the Genelec 8250, with auto calibrated DSP and the Genelec sub, the Avantone Mix Cubes, and he is planning on getting a third pair of monitors. The Monitor ST can control switching between all three at the touch of a button on its remote control. “I have separate on and off switches for my Genelec sub, but what’s nice about the ST remote that I really love is that it’s all in one place, everything is easily right at your fingertips,” states Devine referring to the dedicated Subwoofer on and off and the subwoofer lo-pass filter buttons on the ST remote.

On the ST’s headphone monitoring, Devine says, “The headphone output is really nice and beefy and loud, it’s pristine, and you hear all the dynamics really well. I like to do a lot of headphone tests when I’m doing a mixdown on any project. I was pleasantly surprised about the headphone amp level, it has a super loud and clean, clear, and transparent un-fatiguing sound.”

Remembering how he first heard about Dangerous Music equipment, Devine explains, “I have a friend that’s a mastering engineer in the San Francisco Bay Area, Shawn Hatfield, and he’s mastered a good number of records for me. He used to be a producer making electronic music back in the early 90s like me. He’s got an incredible setup and an incredible set of ears for mastering electronic music. I had many discussions with him about correcting certain things in my studio and I noticed that he used the Dangerous Music gear and I was curious about that. He said it’s ‘mastering grade studio gear’ and said you ‘just can’t go wrong’ with it. He has the BAX EQ, and the Liaison to switch the signal chain up, he swears by that. He’s a firm believer. He raved about Dangerous Music to me: ‘If you want clean, pristine results without any kind of coloration – transparent and rock solid – you should check this gear out.’ That’s a good enough recommendation for me! If Shawn digs it then I will definitely go check it out. I really trust his ears.”

For more information about Richard Devine visit his website at: http://devinesound.net/

About Dangerous Music
Dangerous Music, Inc. designs and builds award-winning hardware products that are indispensable to any DAW-based recording, mixing or mastering environment. The Company pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today, Dangerous Music offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source, Dangerous BAX EQ, and the Dangerous Compressor.

For more information on Dangerous Music visit www.dangerousmusic.com phone 845-202-5100 or email: info@dangerousmusic.com

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

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Amadeus, Solid State Logic & Sonic Emotion Collaborate on ‘Palais en Jazz’ Live Music Event

Amadeus, Solid State Logic and Sonic Emotion offer listeners a Hi-Fi sound experience live outside in an historic square featuring international jazz greats Kelvin JONES, Thomas DUTRONC and Michel LEGRAND —

Amadeus, Solid State Logic and Sonic Emotion collaborated on the 2014 'Palais en Jazz' event in France

Paris, France – July 28, 2014 – Amadeus, based in France, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, collaborated with Solid State Logic consoles and Sonic Emotion, with their ’3D sound’ Wave 1 processor, on an amazing outdoor event June 28 and 29, ‘Palais en Jazz‘ located at the Imperial Palace Compiègne, a royal residence built for Louis XV and restored by Napoleon located in northern France.

The event featured AmadeusPMX, DIVA and MAESTRO speaker systems, delivering a Hi-Fi sound to the outdoor audience who enjoyed internationally renowned jazz artists Kelvin JONES, Thomas DUTRONC and Michel LEGRAND. This is the third year for the Palais en Jazz event and the sold out crowd enjoyed every minute of the music performances, responding with enthusiastic applause throughout the evening. The event was co-sponsored by Amadeus, Solid State Logic and Sonic Emotion and produced by ROCKSQUARE, a French production company.

Philippe GUERINET, Director of International Sales for SSL and CEO of SSL France, said about the event, “True to the high quality standard of the ‘Palais en Jazz’ event, the synergy between high-end digital equipment worked to the fullest extent possible, whether it was the digital SSL, Sonic Emotion’s Wave 1 processor or Amadeus’s DIVA sound reinforcement system. The whole system was easily and quickly set up by the technical staff, in spite of very challenging weather conditions.”

“With partners of such quality as Amadeus and Sonic Emotion, and the support of excellent technicians, we knew that a exceptional technical event was to come, on top of an exceptional musical event. The performances by the musicians on stage allowed us to appreciate the musical excellence of the digital chain set up for the occasion, as well as its reliability, in view of the exacting operating conditions imposed by the weather,” explains Philippe GUERINET.

Offering some background on the new SSL Live console, Philippe GUERINET adds, “From the onset, the SSL Live L500 console caused an exceptional stir, whether in France or abroad. As soon as the system became available, it was adopted by major tours: Peter GABRIEL, Carlos SANTANA, and in France by Christophe MAÉ, Amel BENT and Chinese Man. In parallel to these achievements on the touring side, prominent fixed installations such as the Théâtre National du Quartz and INA, have also adopted the SSL L500.”

Live L500 console Solid State Logic

“The ‘Sonic Wave I 3D‘ sound processor maximizes the listening experience of a live show by creating spatial sound reinforcement to entertain the entire audience, no matter where they are positioned,” explains Etienne CORTEEL, Chief Science Officer at Sonic Emotion Labs. “This unique experience of producing a pure high definition 3D sound experience complemented by Amadeus loudspeakers is a simplified adaptation for any live venue transitioning from a stereo format with the ability to precisely position and move sound sources allowing even further control over the audio environment.”

“Based on sound field control with its foundation of wave field synthesis, the 3D sound created from Sonic Emotion’s technology allows the professional venue and sound designer the ability to create a natural 3D sound field using a limited number of loudspeakers, or as many as 64, to provide listeners with an experience of a ‘sweet spot’ that expands across the entire room, no matter where listeners are positioned,” adds Etienne CORTEEL.

One of the finest specimens of France’s architectural heritage and the former residence of the kings of France, and emperors Napoleon and Napoleon III, the Imperial Palace Compiègne hosts the ‘Palais en Jazz’ festival every year, on the last week-end of June. Initiated in 2012 by Emmanuel STARCKY, director of the national museums and the estates of the Compiègne and Blérancourt castles, along with and producers Hugo BRUGIERE and Gaetan BYK, from ROCKSQUARE, Palais en Jazz was born of a common ambition to blend times and cultures and eliminate the boundaries between them.

“Our goal was to create a popular event that would bring alive modern music in a historical setting ordinarily very removed from the genre,” says Emmanuel STARCKY, Director of the National Museums and the estates of the Compiègne and Blérancourt castles. Following in the footsteps of Manu KATCHÉ, China MOSES, Kyle EASTWOOD, Dee Dee BRIDGEWATER, Dominique FILLON and Peter CINCOTTTI, who performed in past year’s events, this year Palais en Jazz presented French singer and musician Thomas DUTRONC, and Michel LEGRAND, a pianist, singer, author, producer and famed composer of hundreds of film scores, songs, operas and cult jazz albums.

Michel Legrand on stage at 'Palais en Jazz'

“The success of Palais en Jazz rests, among other things, on the quality of the team of partners behind it and the support they provide. In addition to the festival’s established associates, public and private, several equipment manufacturers stepped in and acquired prominent roles in the event’s production,” explains Hugo BRUGIERE, co-producer of the festival. “The quality of the solutions and technologies implemented by Amadeus, Solid State Logic and Sonic Emotion, some of which were specially developed for the occasion, makes this great human, entrepreneurial and artistic adventure also a technological one!” adds Hugo BRUGIERE.

Describing his initial experience at the Palais en Jazz event, FOH engineer Emmanuel FEYRABEND (who has mixed Brad SCOTT, Veronique SANSON, Claude NOUGARO, Mylene FARMER, Johnny HALLYDAY, Florent PAGNY… and many others) recalls, “When I arrived on site, I was introduced to the WFS process by Arnault DAMIEN from Euphonia. He had been charged by the festival to implement this arrangement, in connection with the standard Amadeus-built system, designed by Michel DELUC. There was little time to do the Michel LEGRAND Trio sound-check. It was pouring rain, and the ‘horizontal’ system was shielded from the rain. Given the time constraints, I opted for safety and focused on the vertical DIVA XL system.”

“After the sound check, with engineers Arnault DAMIEN and Lucas HOURDIN from Juke Box Limited, we decided to feed the WFS system with post-fader stems from all instruments and voices. Arnault was able to deliver to each and every listener an identical spatial imaging of the show! It was just staggering. The FOH system simply disappeared in terms of where the sound sources originated. Of course, the very subtle characteristics and the natural color of the Amadeus system were essential that night in achieving this compelling sonic image. The combination of Amadeus, WFS and SSL Live was fantastic. My only desire would be to work with the same arrangement again, as soon as possible,” said Emmanuel FEYRABEND, obviously having enjoyed the working with the sound system. “It’s an experience that’s halfway between the power of a sound reinforcement system and the subtlety of the best Hi-Fi loudspeakers. Strange, and incredibly good at the same time.”

Emmanuel FEYRABEND is currently in residence as an engineer at Paris’ Studios de la Chine, which features acoustic design and custom mains speakers by Amadeus, and he equates his experiences both in the studio and live in a similar fashion which is quite unique in the sound reinforcement industry, “Color, perfect stereo imaging and low-end detail spring to mind when I’m lucky enough to work with Amadeus systems. The Studio de la Chine is an outstanding achievement in terms of acoustics. The marriage between Amadeus and acoustics, devised by Michel DELUC, is a noteworthy accomplishment.”

For more information on Amadeus please visit www.amadeusaudio.fr and Solid State Logic at www2.solidstatelogic.com and Sonic Emotion at www2.sonicemotion.com

About Amadeus
Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and various signal processing interfaces that combine its own custom innovative technology with stylish design, for the professional audio industry. Created in 1992 from the collaboration between the French designer Bernard BYK and the scientist and musician Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.

Contact Amadeus at info@amadeusaudio.fr or visit http://www.amadeusaudio.fr

Amadeus is a registered trademark. All rights reserved. All other registered trademarks are property of their respective owners.

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Focal Now Shipping New “Alpha” Powered Studio Monitors in 3 Models

Three new models of active near field monitors offer Focal quality-sound with home studio affordability now shipping in the US and Canada —

New Focal powered monitors, Alpha 80, Alpha 65, & Alpha 50

New Focal powered monitors, Alpha 80, Alpha 65, & Alpha 50

Montreal, CanadaJune 25, 2014 — Renowned French speaker designer Focal Professional, with their North American Distributor Audio Plus Services, have announced that their latest “Alpha” monitors are now shipping in the US and Canada. The new monitors are available in 3 sizes, Alpha 50, Alpha 65, and Alpha 80, with 5”, 6.5” and 8” woofers respectively. The new monitors offer legendary Focal sound at an affordable price for home studio musicians and DJs creating and listening to their own music and remixes. The monitors are easily integrated into many types of music environments; even small untreated home studios. Focal Alpha monitors are very natural sounding, yet highly revealing and present a very even tonal balance from low to high volumes. In addition, the new monitors were designed to have a ‘wide sweet spot’ to help mixing in challenging, smaller studio environments. Priced per monitor, the Alpha series ranges from $349 for Alpha 50, $449 for Alpha 65 to $599 for Alpha 80.

“Focal is famous for great sounding monitors that professionals around the world in many types of music production rely on daily,” says Simon Cote, National Pro Audio Sales Manager at Audio Plus Services. “Previously the realm of mastering engineers, top mix and recording engineers, and high-end post production studios, now everyone can afford the Focal quality sound and unique monitor design in their own home music studios with the new Alpha monitor series. These new monitors use many of the same technologies in our CMS series such as the polyglass woofers, but are available at a lower cost. We did not compromise the amplifiers in the Alpha series and use the traditional Focal bi-amped Class AB models.”

Key ingredients in the success of previous Focal monitors such as the Solo6 be, Twin6 be and SM9 models are also used in the new Alpha series including custom made Focal inverted dome tweeters which offer more dynamics and less directivity, manufactured in rigid aluminum for lower distortion. The Focal-designed polyglass cones in each woofer reveal a neutral sound with less distortion in the low mid and mid frequencies. And Focal has voiced each model the same regardless of the woofer size, even with the increase in mid and low mid output with the size of the woofer, the monitor’s character is designed to remain the same. The 8-inch model is specifically designed not to create a ‘scooped’ mid range sound (like many other comparably-sized monitors), but to balance the mids and add more punch.

As commonly found on all Focal monitors is a bass-reflex front-ported cabinet allowing placement of monitors nearer to walls while still projecting correct imaging and low-end. The speaker drivers are paired with powerful bi-amped Class AB amplifiers allowing increased dynamics, high SPL, and also include thermal protection and electronic protection with a built-in limiter and compressor. Alpha monitors include a unique ‘Auto-Standby Mode’ where if no audio signal is present for 30 minutes, the speaker automatically goes into power standby, while ‘Auto-Power On’ is activated in the monitor by audio signal detection. The monitors have balanced XLR and unbalanced RCA inputs, 6dB of gain sensitivity, and Low Frequency and High Frequency variable shelving to help match the monitor’s output to their studio environment.

The new Alpha series monitors are available now from dealers in the US and Canada, for more information on the monitors visit the Focal Professional website: http://www.focalprofessional.com/en/239-alpha

About Focal
Since its foundation, Focal has grown to become one of the world’s leading Hi-Fi and professional loudspeaker companies. Headquartered in Saint-Etienne, France, it is now internationally recognized as a world leader in the design and manufacture of drivers for Hi-Fi and professional loudspeakers. Focal is also a pre-eminent designer and manufacturer of for car-audio and pro-audio. The company’s key strength is its complete integration and quality control of the loudspeaker manufacturing process, from the design of speaker driver units, cabinets and crossovers, to the assembly of the finished product. Focal maintains an intense, continual research program and development in speaker driver technologies. Five patents have been registered to Focal since 2003. Please visit: http://www.focal-fr.com and http://www.audioplusservices.com

About Audio Plus Services
Established in 1979, Audio Plus Services is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal monitors, Moon mic pre, Vovox cables and Lauten Audio microphones. Based in Montreal with U.S facilities in Champlain, NY, Audio Plus has sales personnel located throughout the United States to professionally service their active roster of more than 300 specialty A/V and Pro Audio dealers. Audio Plus specializes in products and services for the professional audio and performing musician markets, and the home theater and custom integration (CI) market – both residential and commercial – for North America. For more information about Audio Plus Services visit their website at http://www.audioplusservices.com/ or call (800) 663-9352

All trademarks are the property of their respective holders.

Amadeus Chosen as Winner in French ‘PM’Up’ Business Development Contest

Amadeus is sole audio company to win in prestigious Ile-de-France economic competition that rewards companies with funding for future development —

Amadeus have won the prestigious PM'Up Ile-de-France economic development competition

Paris, France – June 10, 2014 – Amadeus, based in France, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, announced today that it has received the honor of winning the ‘PM’Up’ Ile-de-France economic development competition (http://www.iledefrance.fr/competence/pm).

Amadeus was the only audio company to win out of over 228 entries. The funds are to be used over 3 years for supply diversification, international development and equipment and material investments. Amadeus has recently seen growth in the Asian audio markets and regionally in Europe and especially France in institutional installations, such as the National Museum of Natural History (France), French Institute for Science about Music and Sound (IRCAM), National Audiovisual Institute (INA), and the Philharmonie de Paris. The funds won by Amadeus, 99 110 €, will help spur investment in furthering these and other business directions for Amadeus.

Established in 2008 by the Région Île-de-France, PM’Up supports small and medium-sized businesses that exhibit a high potential for growth and job creation. Île-de-France is the wealthiest and most populated of the twenty-seven administrative regions of France.

Jean-Paul HUCHON, the President of the Conseil Regional (Regional Council) of Île-de-France points out, “PM’Up was established to support innovating, dynamic and responsible businesses with their structuring projects, in order to stimulate their growth.”

“Joining the PM’Up network alongside hundreds of high-potential SMB in the Île-de-France region’s ecosystem is a true honor,” declares Bernard BYK, head of Amadeus. “It also provides Amadeus with a wonderful opportunity to benefit from custom assistance and advising, and financial support from the Region Île-de-France. It will allow us to increase our production capacity, invest towards the launch of new products and services, create new jobs, gain new markets abroad and confirm our sustainable growth strategy.”

“Amadeus embodies the alliance of high technology and traditional know-how,” explains Antoine PALLUD, SMB advisor at the Direction du Développement Economique et de l’Innovation. “The Region Île-de-France is committed to championing businesses who believe in innovation, values, and job creation. It supports Amadeus in its expansion, most notably abroad, confident that the company will contribute to extending the influence of the region, as well as its economic growth.”

Companies who apply to PM’Up must submit an ambitious program, which may include launching new products, optimizing the company’s value chain (quality process, modernizing, partnerships, economic intelligence). The plan can also pertain to exports development, sales growth such as setting up subsidiaries or a franchise, or implementing a Corporate Social Responsibility program. The nominated businesses can obtain up to 250,000 euro in funding and benefit from assistance in the definition and implementation of their growth strategy.

The selection of PM’Up winners is made by a jury of individuals intimately involved and knowledgeable about each of the business sectors targeted: Eco-activities, Mechanics, Materials and Industrial Performance, Sustainable Mobility and Transport, ICT, High Tech, Digital and Digital Design, Health and Life Sciences, Design / Culture / Entertainment, and more.

About Amadeus
Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and various signal processing interfaces that combine its own custom innovative technology with stylish design, for the professional audio industry. Created in 1992 from the collaboration between the French designer Bernard BYK and the scientist and musician Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.

Contact Amadeus at info@amadeusaudio.fr or visit http://www.amadeusaudio.fr

Amadeus is a registered trademark. All rights reserved. All other registered trademarks are property of their respective owners.

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CEntrance Releases New “Mini-M8″ at T.H.E. Show

New, slimmer version of best-selling HiFi-M8 designed for In-Ear Monitors —

The new Mini-M8 portable DAC from CEntrance

Newport Beach, CAMay 28, 2014CEntrance, Inc. a leader in portable digital audio technology is heading to the T.H.E. Show Newport. The Newport Beach exhibition is Southern California’s largest gathering of the audiophile community. At the show, CEntrance will release its new Mini-M8(tm) (‘Mini Mate’) portable DAC. The new product is a slimmer version of the Company’s best-selling HiFi-M8, and has several enhancements including compatibilty with in-ear monitors (IEM). The Mini-M8 will be available for pre-ordering at the show.

“We are very excited to be offering a version of our HiFi-M8 specifically designed for in-ear monitors,” said Michael Goodman, Managing Director of CEntrance. “The new Mini-M8 has a longer battery life, two additional inputs and it’s thirty-percent slimmer than the original, all for under $600.”

“Our customers will also be happy to know that the ultra-powerful HiFi-M8 is back in stock as well!” added Goodman.

In addition to the new product announcement, CEntrance is revealing “GloveAudio,” a brand extension, which will focus on small amplifiers for existing MP3 players.

Come meet CEntrance in the Headphonium Pavilion at the 2014 T.H.E. Show in Newport Beach, CA, May 30-June 1, and say hello to Managing Director Michael Goodman and Business Development Director Bill Ford. For more information on the show visit: http://theshownewport.com/visitors/index.html

CEntrance is expanding its dealer network. To inquire, please call +1 (847) 581-0500 or e-mail at sales@centrance.com.

About CEntrance, Inc.
Founded in 2000, CEntrance develops innovative audio entertainment products and licenses its technology to industry leading brands, such as Playback Designs, Bel Canto, Benchmark, PS Audio, and Lavry. Our portable recording and playback solutions have earned enthusiastic endorsements from artists such as Harry Shearer, Nathan East and Will Lee, and mastering engineers Bob Katz, Brian Gardner and sound designer Frank Serafine, among many others. CEntrance is headquartered in Chicago and distributes its products worldwide. For more information, visit http://www.CEntrance.com

All Trademarks are the property of their respective holders. Mini-M8(tm), HiFi-M8(tm), MicPort(tm), AxePort(tm), DACport(tm), DACmini(tm), MasterClass(tm) and Audiophile Desktop(tm) are trademarks or registered trademarks of CEntrance, Inc. All Rights Reserved.

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