Famed studio opens recording and live schools, adds new studio based around Dangerous Music equipment: 2-Bus, Liaison, BAX EQ and Monitor STEdmeston, NY – December 3, 2013 – Blackbird Studio in Nashville, Tennessee, is one of the world’s best-equipped and favorite recording studio destinations for top musicians, producers and engineers. Artists such as Kings of Leon, The Black Keys, Jack White, Keith Urban, Sheryl Crow, and Tim McGraw have graced its live rooms. Studio owner John McBride brought in industry gear experts, musicians, and educators Kevin Becka and Mark Rubel to create a new studio and curriculum for McBride’s vision of The Blackbird Academy, Professional School of Audio. Becka chose Dangerous Music equipment for the new studio, including the company’s 2-Bus analog summing, the Liaison programmable analog router, the BAX EQ, and the Monitor ST monitor controller to complement and integrate with the AVID Pro Tools|HDX recording system. The new studio offers a hybrid analog and digital experience for the students, a reflection of today’s most popular direction for recording studio design. more
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Internationally acclaimed INA Groupe de Recherches Musicales (INA GRM) selects Amadeus to design and build customized reference speakers for its ‘Studio 116′ based in the Maison de Radio France —Paris, France – November 13, 2013 – French high-end sound reinforcement manufacturer Amadeus has been chosen to design a custom set of reference monitoring speakers for the National Audiovisual Institute’s (INA) ‘Studio 116‘ in Paris. Dedicated to the Groupe de Recherches Musicales (INA GRM), Studio 116 is one of the largest of the sixty-one recording studios included in the Maison de Radio France, which is located beside the River Seine in the 16th arrondissement of Paris. Founded in 1958 by French composer, writer, broadcaster, engineer, musicologist and acoustician Pierre SCHAEFFER, the Groupe de Recherches Musicales has focused on supporting research into electro-acoustic music and recorded sound, sponsoring major concerts and working with preeminent composers such as Pierre HENRY, Luc FERRARI, and Iannis XENAKIS, among many others. When INA wanted to acquire a first set of reference monitors for its GRM, they requested design ideas from almost every leading speaker manufacturers in the world, organizing a 6-month listening session at its Studio 116 in Paris. Members of the INA group slowly narrowed the selection down to 5 manufacturers, then to 2, and finally chose Amadeus to build them a custom pair of speakers. The new Amadeus reference speakers were installed in November 2013 in Studio 116 and are already being used for INA projects.
Philippe DAO, Musical Production Manager, Composer, Sound Engineer at INA GRM said, “Since Pierre SCHAEFFER created the Groupe de Recherches Musicales in 1958 – which became a part of the National Audiovisual Institute (INA) in 1975 – speakers play a primordial role in our musical research and creative activities. Since 1974, our ‘loudspeaker orchestra’ (a.k.a. ‘acousmonium’) ‘plays’ music at the GRM concerts. Each composer chooses the loudspeakers, according to their sound color and their personality. On the other side, our monitoring speakers are references, the equivalent of a tuning fork. They must therefore be of an immaculate fidelity during the production, recording, mixing or mastering stages of our projects.”
Describing the genesis of this project, Philippe DAO continues: “We have been looking for a genuine reference monitoring system since 2008. We finally decided to launch a call for applications in 2013. Each GRM member, composer, musician or sound engineer were able to listen to, and compare, a very large choice of products, either dedicated to studio monitoring or to mastering-oriented HI-FI, made by Danish, Finnish, Japanese, British and French manufacturers. A first draft of a soffit-mounted system, custom-designed by Amadeus, quickly caught our attention: every nuance, dynamic, even the tiniest details of a piece were reproduced without any coloration, embellishment or bias. As the initial form factor did not match our constraints, we asked Amadeus to design a column-shaped version, keeping the neutrality, the timbral precision, the dynamics and the liveliness, which had seduced us in the first place.”
Co-founder of Amadeus, Bernard BYK added, “Our first collaboration with the GRM dates back to 2011, when we designed a multi-diffusion loudspeaker ring for their concerts, made with coaxial Amadeus PMX 5 speakers and custom bass speakers. We feel very proud and honored about this new collaboration. Such projects continue the works we carry out with research institutes such as the IRCAM, The Royal Conservatory of The Hague or the French National Centre for Scientific Research (CNRS) for example, and allow us to push the sound limits even further, by always developing more innovative systems.”
Michel DELUC, Director of Research and Technical Development at Amadeus, details the physical properties of the new Amadeus speaker system, “The monitor designed and manufactured for the Groupe de Recherches Musicales, naturally named ‘INA 155′, was derived from the ‘Model 155′, a soffit-mounted monitor designed by Amadeus. This system was modified and optimized to be used in a freestanding mode, combining the ‘Mastering Monitor’ philosophy with a ‘Mains Monitor’ sturdiness. This 3-way system hosts a Dynaudio Esotar 1-inch dome tweeter for high frequencies, and an ATC 3-inch driver for the mid frequencies. Low end is reproduced by a direct-radiating 15-inch woofer, designed by TAD, mounted in a bass reflex box. Its cone-shaped diaphragm is able to withstand very high excursion levels, without any deformation. Each one of these transducers is an undisputed reference component in its class. All three have been carefully selected, evaluated, listened to and combined. The very high volume-box is manufactured with multi-layer panels, combining, among other materials, multi-wood walls, high-density modified bitumen ‘elastomers’ (polymers) and mineral fillers. This gives an optimal rigidity/damping ratio, allowing an extended frequency range of 25 Hz to 40 kHz. Several internal resonators and stiffening pieces work together in a complementary way to dissipate the vibrating energy, according to a perfectly controlled harmonic gradation. The baffle shape has been optimized to reduce diffraction effects, while minimizing waves in the frequency range to be reproduced.”
Noting the free-standing enclosure and internal electronics, Michel DELUC reveals, “Its totem-shape, its height and its precise ‘angulation’ create a large and comfortable sweet-spot for a sitting or standing listener, keeping a perfect alignment for the impulse response. Each system is tri-amplified, using a proprietary oversized amp section for a total power of 3 x 1000 Watts with an 8-ohm impedance. Every channel is equipped with a very powerful DSP engine, powering very low-latency IIR and FIR filters ensuring an excellent amplitude/frequency response and outstanding phase response. The technology combines solid-state and passive components, selected after intensive listening sessions, 6-layer PCBs, etc. to get the lowest distortion and noise levels.”
Amadeus is already working on an upgraded version of the ‘INA 155′ monitors. Bernard BYK reveals, “Moved by a desire to push to the ultimate level both the precision and transparency of this monitor, we thought about designing, in collaboration with the National Audiovisual Institute, an extension hosting a wide-band ribbon transducer with a double air gap. This would allow the sound to radiate the high-frequency sounds within an acoustic line, with a wide horizontal dispersion angle (almost 180°) and a very narrow vertical dispersion angle (less than 10°). Designed to be a very precise ‘sweet spot’ source only, this complementary transducer would make it easier to suppress the dominant vertical sound reflections, increase the harmonics definition, and would allow richness and extreme precision for the highest audio frequencies.”
Contact Amadeus for further information about its live sound reinforcement and custom speaker systems at firstname.lastname@example.org or visit their website at: http://www.amadeusaudio.fr
About INA GRM
The INA’s Groupe de Recherches Musicales offers a unique place for creation, research and conservation in the fields of electro-acoustic music and recorded sound. GRM follows new and major technological evolutions by conceiving of systems to project sound into a listening space. In recent years, INA GRM has concentrated on analysis, and putting electroacoustic music on-line for universities and schools. As a pioneer in electro-acoustic music, GRM (Groupe de Recherches Musicales) the organization has been working with leading composers for over 50 years, who have contributed to and developed ideas and created trends in 20th Century music. Leading musical beacons such as Pierre HENRY, Luc FERRARI, Iannis XENAKIS, Bernard PARMEGIANI, François-Bernard MÂCHE, and François BAYLE (who was the director of the GRM for more than 30 years), among many other highly regarded composers and sonic experimenters. They have all contributed in the exploration of music using technology. More than 280 composers have composed more than 1700 works to constitute a unique collection of works, many of them accessible on CD or online.
INA’s innovations have contributed to the safeguarding and enhancement of the world’s recorded sound heritage. GRM is developing world-renowned music production software such as GRM-Tools and Acousmographe. It also holds annual electroacoustic music concerts during the ‘Multiphonies’ musical season and the ‘Présences Électronique’ festival. As part of the National Audiovisual Institute (INA) since 1975, the Groupe de Recherches Musicales has been at the forefront of the electronic and electroacoustic musical scenes, thus reviving its historical repertoire whilst conducting an ambitious scheme of musical creation. Because it is essential to involve the public in this scheme, the concerts organized by the INA GRM as part of the ‘Multiphonies’ and ‘Présences Électronique’ festivals also provide a space for discovery and exchange. Today INA continues to make a difference in the music community with its ‘Studio 116′ featuring the new Amadeus custom speakers.
To learn more about the INA’s GRM and Studio 116, please visit: http://www.inagrm.com/
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 Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Atelier 33 headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.
Contact Amadeus at email@example.com for purchasing information. Or visit http://www.amadeusaudio.fr
ML 28, PMX, DIVA, UDX and Amadeus are registered trademarks. All rights reserved. Patents pending. All other registered trademarks are property of their respective owners.
Composer/Producer believes in the analog advantages of Dangerous Music gear —
A search for an analog summing device is how Hanke found Dangerous Music, “I had come up as a young composer working with large format consoles and 2-inch tape machines and when I came out to LA to collaborate with Hans Zimmer at Media Ventures, I had the opportunity to put a new studio and a new rig together. I wanted to make sure that what came out of my writing room would be mixes that could be distributed or would go right to mastering, and I’d never felt like ‘in-the-box’ mixing sounded like.”
“I was researching the idea of summing and I discovered Dangerous Music, so I invested in the Dangerous 2-Bus, the Dangerous MQ, and the Dangerous Monitor system,” recalls Hanke. “As soon as I started working with the Dangerous 2-Bus I could immediately tell the bottom end of my mixes was tighter. It did things that I was used to hearing in analog recordings. I felt like the depth of the music was much clearer too. And I think the most obvious thing was the stereo field just moved out to the left and the right when I was mixing through the 2-Bus, versus just doing a straight stereo bounce-to-disk in my computer.”
“I really wanted a monitoring section so I could snap back and forth from what I was hearing on input, such as virtual instruments, and also listen to my work after being digitally recorded as though you would between the repro and record heads on a tape machine,” adds Hanke. “I am able to do that on the analog side of the Dangerous Monitor system. And to have the stepped volume control was a big deal for me because I like to write and listen to things at the same levels to hear the current mix reacting in the room in the same way day after day”
Hanke chose the MQ for several reasons, “Because I record live in the studio, I wanted to make sure I had good sounding and powerful headphone feeds to the musicians and artists, and I wanted VU meters that I could see at a glance, that’s what the MQ gave me.”
Working in areas of music creation from composing for movies, TV and commercials, to pop music, with the Dangerous 2-Bus Hanke is able to use analog techniques he was used to, “In a pop application, I’ll mono things up just like I would on a large format desk.” Recently one of those pop projects Hanke co-wrote, produced and recorded on, “The Sirens” by recording artist Holly Conlan, featured one of his tracks as a chosen single – it was produced and recorded at his studio using the Dangerous Music setup.
On the movie side of his composing work, Hanke gets musicians into his studio to record as well, “We’ll do a lot of live recording before I score the movie. On certain projects I might compose pre-records and write to an imaginary scene, per the director’s notes and the script notes. We’ll record those tracks that will be played back on set and then I help direct those scenes as the musical director. When they edit the movie, we revise the music if needed and then I score the movie. That’s also why I like the Dangerous Music gear, because I’m not just writing in a rig and sending it off to a dub stage, there’s a lot of live music recording that’s done through the Dangerous gear here in my room.”
“I’ve built a number of rigs over the years around different Pro Tools systems and Apple Logic systems, using various digital interfaces, and they all sound fantastic through Dangerous Music gear, it’s the common thread. These three pieces of Dangerous gear are nearing 10 years in my control room and none of it is going anywhere. I’ve been a Dangerous user since 2004 and love their stuff.”
Hanke is currently providing scores for TF1 Television in France and scoring advertising through his commercial production company, Sovereign. Recent movies include the jazz-inflected drama “Notes from Dad” and the upcoming romantic comedy, “Cupid’s Bed & Breakfast.” Before attending Northwestern University to study composition, he was already playing B3 organ with Ray Charles at 16 years old. Since then he’s done commercial advertising for Nike, Coca Cola, Apple Computer and BMW, and sung on stage with Frank Sinatra. In 1997 he was invited to join Media Ventures/Remote Control as a composer in-residence for Hans Zimmer, where he contributed to classic movies such as “The Thin Red Line,” “The Prince of Egypt” and “As Good As It Gets.” Today Hanke has completed more than 1,000 scores for film, TV and commercials and collaborated with many directors including Jason Reitman, David Fincher and Robert Altman.
About Dangerous Music
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company 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 and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source and Dangerous Bax EQ.
For more information on Dangerous Music visit http://www.dangerousmusic.com phone 607-965-8011 or email: firstname.lastname@example.org
All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.
Uniquely designed, powerful new subwoofer with dual 18-inch speakers now available in European and Asian markets.
Prestigious Studio in the heart of Paris features architectural acoustics and custom-designed ‘Mains’ speakers by AmadeusParis, France – September 4, 2013 – Matching the pristine analog sound of Studios de la Chine‘s wrap-around 72-fader ‘SSL 9072 J’ console are the soffit-mounted speaker mains custom designed by Amadeus. While Amadeus is highly regarded as a leading manufacturer of live and installed sound equipment, the company also boasts a top team of designers that work with large commercial studios to offer them custom speaker designs for each specific control room space. Amadeus’ Michel DELUC designed the one-of-a-kind speakers for the main control room at Paris’ Studios de la Chine working with studio owner Hubert MONTOYA. Located on a quiet street in the 20th Arrondissement, local mix engineers are calling it the ‘Best studio in Paris.’ more
Famed Capitol Studios chooses a suite of Dangerous Music mastering gear to update studios
Audiophile-grade headphone amplifier improves sound of smartphones, tablets and computers.Chicago, IL – August 15th, 2013 – Today CEntrance, a leader in Digital Audio released the HiFi-M8(r) – a battery-powered, portable D/A Converter (DAC) and Headphone Amplifier that refines the sound of the Apple iPhone(r), iPad(r), and iPod(r). Pronounced “Hi-Fi Mate,” the device streams high-resolution audio from smartphones*, tablets and laptops, creating the ultimate playback system for on-the-go listeners. HiFi-M8 is offered in several models with various audio output configurations including XLR, 1/8″, 1/4″ and SPDIF Optical connectors. more
64-bit Omnisphere, Trilian and Stylus RMX Virtual Instruments Updated to ‘AAX’ plug-in platform for Pro Tools 11 Compatibility
BURBANK, CALIF – July 26th, 2013 – Spectrasonics today released an ‘AAX Public Beta’ version of the company’s three popular virtual instruments Omnisphere, Trilian and Stylus RMX for Avid’s new Pro Tools(tm) 11. Registered users of the Spectrasonics instruments can log into their user accounts to download the Public Beta versions. The new versions are available at no charge to registered users to test with the new 64-bit version of Pro Tools. Omnisphere, Trilian and Stylus RMX are all native 64-bit software instruments designed to work with Pro Tools 11 on both OS X and Windows. more
Multi-instrumentalist on drums, bass & guitar, flies high playing live and engineering in the studio with Dangerous Music Gear
Edmeston, NY – June 25, 2013 – The journey from being a musician to becoming a mastering engineer began with Nate Wood making his own album and preferring the approach of recording and mixing the music himself, compared to going to a studio and trying to get someone else to make his music sound the way he was hearing it. After mixing his own album and projects for friends he found a new companion career to his live performances in mastering other people’s projects. Based in New York, Wood has outfitted his studio with the Dangerous Music D-Box for monitor control, reference D/A conversion, and analog summing for his mix path, along with the Dangerous Liaison programmable analog router with parallel processing for his six key pieces of outboard gear, two compressors and four EQs. The Liaison proved to be an elegant solution to his tedious practice of hand re-patching outboard gear for mastering sessions. more