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Archive by Clyne Media, Inc.

Once Again, Carl Tatz Design (CTD) Goes to the Head of the Class as Mix Magazine Honors CTD with the “Class of 2012” Studio Design Award

— Nashville’s MontAnna Mix Room personal studio, featuring the Carl Tatz Design Signature Series by Auralex and CTD PhantomFocus™ System monitor tuning protocol, is chosen as one of the hottest new studios for Mix’s annual “Class Of” Studio Design Issue —

Nashville, TN: “It’s clearly the leading technology in monitoring,” comments uber-successful songwriter/producer Monty Powell about the new-generation PhantomFocus™ System (PFS) in his new MontAnna Mix Room designed by Carl Tatz Design LLC (CTD). “If I build ten more studios, which I hope I don’t,” jokes Powell, “everyone of them will have a PhantomFocus System in it – I can’t imagine mixing without it.”

Multi-award-winning, Billboard chart-topping songwriter/producer Monty Powell and wife, jazz artist Anna Wilson, called on personal studio guru Carl Tatz for a second time when they decided to downsize and move from their beloved Nashville home that housed a beautiful Carl Tatz Design studio with 20’ tall ceilings in the tracking room into a posh new townhouse mix room nearby. The mix room design features a custom application of the Carl Tatz Signature Series by Auralex acoustic treatment system, with its now-familiar trademark Acoustic Lens™ modules.

“We started with a small upstairs bedroom and broke through the rear wall to create a very effective wide-band low frequency absorber partition that separates the mix room from the equipment room,” explains Tatz. “And then we broke through the left wall into the former laundry room to add a very comfortable vocal/overdub booth with floor-to-ceiling glass that is mimicked on the right wall with the Acoustic Lens.”

The fit and finish of the room is very polished, but as Carl points out, “Even without the high customization that Monty and Anna requested, the combination of the PhantomFocus System along with my basic Signature Series by Auralex, audio professionals can have a truly world-class mix room, way beyond anything they could imagine, at an affordable price point.”

Since this successful couple is spending most of their time now in their Utah home when they are not gigging around the country at various jazz venues with Anna or songwriting on the road with the likes of country superstars Keith Urban, Rascal Flatts, Lady Antebellum and others, it makes perfect sense to make this transition. The move reflects a trend where many personal studio owners prefer to track in a commercial studio that has all the amenities you would expect in a professional tracking room and spend the remaining 90 percent of the time overdubbing and mixing in their own facility.

“It’s always a great compliment to be asked back by your client to design a second room, and Monty and Anna are so much fun to work with, both being very creative people with lots of enthusiastic ideas,” says Tatz. “And upgrading their PhantomFocus System was the maraschino cherry on top of the cake. They were very happy with their existing PFS, but when I convinced them that they should experience the new system at another studio, their mouths dropped – it sold itself.”

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Zeehi’s CueCast Technology Allows User File Conversion Between Mixing Console Platforms

— Revolutionary new file conversion service streamlines workflow for front-of-house and monitor engineers, sound reinforcement companies, broadcasters, performing arts facilities, and production managers —

BOULDER, COLORADO, June 13, 2012 — Danny Abelson, Co-Founder of Zeehi, an entertainment technology company dedicated to developing solutions to improve the workflow of global entertainment production professionals, announces the Beta Release of the CueCast Digital Mixing Console User File Conversion Service. CueCast provides front-of-house and monitor engineers, sound reinforcement companies, broadcasters, performing arts facilities and production managers the ability to quickly and easily convert show files between different digital audio mixing console formats.

The current Beta Release of CueCast converts the most commonly used features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support additional console platforms, and will provide conversion of variable settings, snapshots, and many other features.

The web-based service solves a fundamental challenge: how to take user settings from one mixing console to another without the time-consuming headache of entering those settings manually, according to Abelson, a thirty year veteran of the pro audio community. “Thanks to the console expertise and software savvy of our development team, converting the user data is reliable and takes just three easy steps,” notes Abelson. “Simply upload your file to our secure site – www.cuecast.com – specify the format you need, and download the converted file for installation in the new console. If you like, we’ll store your files on our secure cloud for safekeeping. CueCast technology supports files from 24 to 196 inputs, and the Beta release supports file conversion between the Avid Venue, DiGiCo SD8 and SD10 and Yamaha PM5D platforms. Soon you can expect us to add many other formats and features to the service.”

“We are very fortunate in our industry,” continued Abelson. “The manufacturers have designed mixing consoles with remarkable features and sound quality. Unfortunately the formats in which user data is stored in these different platforms are not compatible with one another. Our research with some of the world’s most prestigious sound companies, veteran sound engineers, broadcasters, and leading production managers indicates that this incompatibility results in a significant burden to users. For a variety of reasons engineers often need to transfer those settings to a different brand or model of mixer depending on touring conditions, a venue’s installed equipment, or the availability of a particular console. These users identified a number of different scenarios, including festivals, touring without a console, change of production truck, unexpected equipment loss or failure, or availability where switching consoles is simply a necessity.”

“The opportunities digital has given us have been remarkable, but with these improvements come greater expectations by performers and management for crews to do more in less time. On a surprising number of occasions, digital solutions unintentionally create obstacles for the production team. Our goal is to improve workflow for entertainment industry professionals by streamlining this process, and make changing to another desk fast and easy.”

Information on CueCast can be found at info@zeehi.com

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Lowell Manufacturing InfoComm 2012 Press Kit

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EAW infoComm 2012 Press Kit

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Bose InfoComm 2012 Press Kit

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Audio-Technica InfoComm Press Kit

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Auralex 2012 InfoComm Press Kit

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Aphex InfoComm 2012 Las Vegas Press Kit

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Aphex® Displays Complete Range of Microphone Preamplifiers at InfoComm 2012

— Aphex® offers sound contractors and integrators microphone preamplifiers for a wide variety of applications, from a single channel with processing to comprehensively featured remote-controllable eight-channel units —

At InfoComm 2012, Aphex® (Booth C11142), the leader in sound enhancement technology, will show its complete range of microphone preamplifiers. Models on display include the versatile Channel; two-channel Model 207D; eight-channel remote controlled Model 188; and flagship eight-channel Model 1788A microphone preamplifiers for applications such as live sound, broadcast and recording.

The Aphex Channel features seven of the company’s renowned processing technologies, five of them patented, laid out in an intuitive, easy-to-use workflow beginning with the company’s patented Reflected Plate Amplifier (RPA) tube preamp. The single-channel 1RU unit additionally offers compression, gating, de-esser, parametric EQ and Aphex’s renowned Aural Exciter for improved detail and intelligibility, as well as Big Bottom bass enhancement. Additional front panel features include comprehensive metering, plus low jitter digital clock.

The two-channel Aphex Model 207D is also built upon the RPA tube mic and instrument preamp, and offers extremely low noise and high gain. The unit offers a rear panel mic input and front panel instrument input per channel, with AES3 and S/PDIF digital output plus Word Clock connections, and supports sampling rates up to 96 kHz. With its patented MicLim limiter preventing unwanted clipping, the Model 207D is the ideal front-end interface to any digital recording system.

The Model 188 is a 1RU rack-mountable chassis housing eight channels of Aphex transformer-coupled mic preamps with eight analog outputs. Two ADAT Optical outputs offer redundancy or may be used together for 2X sampling rates (SMUX). The Model 188 features may be remote controlled via MIDI over Ethernet, by using the optional 5200 interface and the Aphex 1788SW control software (PC/Mac) or by specific Avid control surfaces or Yamaha digital mixers. Alternatively it may be controlled by the 1788A-RC hardware remote.

The 1788A is Aphex’s flagship multi-channel remote-controllable mic preamp, and features eight balanced Jensen® transformer-coupled microphone inputs with two sets of analog outputs for each channel. The Aphex 1788A incorporates MicLim limiting on every channel to prevent input clipping, while the inclusion of LeNA, Aphex’s patented digitally controlled Low Noise Amplifier, allows the input gain to be adjusted in 0.25 dB steps without noise or glitches. The 1788A may be configured with an additional three digital outputs (24-bit AES/EBU and ADAT Optical), extending the versatility of the unit and allowing it to be used as a mic splitter. The 1788A may be remote controlled from Avid and Yamaha consoles using Aphex’s Model 5200 interface. Aphex 1788SW controller software (Win 95/98/2000/XP® or Mac OS X® compatible) displays all parameters, status information and metering for up to 16 units, and allows 20 user definable scenes to be saved, modified and recalled.
“Outside of our reputation for designing and manufacturing high-quality audio products, Aphex has one of the widest ranges of microphone preamplifiers available in the industry today,” stated Aphex Chairman/CEO David Wiener. “Because of the breadth of our product line, there is an Aphex preamplifier to suit every installation situation and client’s budget, all featuring, of course, our legendary Aphex sound.”

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THE RECORDING ACADEMY® PRODUCERS & ENGINEERS WING® AND THE TEXAS CHAPTER HOST “QUALITY AUDIO – THE FUTURE IS NOW,” FEATURING GRAMMY® AWARD-WINNING ENGINEER CHUCK AINLAY

As Part of the Texas Summer Speaker Series, the Event will take place Saturday, June 16, 2012

In its ongoing mission to promote both sound quality and the overall art and craft of recording music, The Recording Academy®’s Producers & Engineers Wing® and Texas Chapter will host “Quality Audio – The Future Is Now,” featuring GRAMMY® award-winning engineer Chuck Ainlay. As part of the GRAMMY GPS: Texas Summer Speaker Series, this event will offer members an up close and personal opportunity with Ainlay, who will discuss the current and future state of audio quality. This series will take place on Saturday, June 16, from 2 – 5 p.m.at the Studio CBC (located behind the Community Church, 2477 North Loop 1604 East in San Antonio, TX).

Recently Ainlay opined on the state of high-resolution audio in today’s music industry: “Mastered for iTunes, HD Tracks and premier headphones are all new consumer indications that there is a demand for high resolution audio. We have to stop thinking that just because people have been listening on ear buds to low-res downloads, that is the way it will always be. The music we record today must exceed the resolution of tomorrow.”

“We strive to provide our membership the most up-to-date information on the current state of recording technology,” stated Maureen Droney, Sr. Executive Director of the P&E Wing. “Our session with Chuck Ainlay reinforces the Wing’s position to advocate and educate on how important the role of sound quality is in communicating the artist’s vision in recorded music. Chuck’s passion for this subject along with his extensive and ever-growing discography puts him in the perfect position to share a unique insight on these topics.”

The program will be followed by a catered networking reception providing members the opportunity to continue the conversation. Admission is free for Recording Academy members. RSVP at RSVP_Texas@grammy.com.

About Chuck Ainlay:
Multiple GRAMMY and ACM Award-winning producer/engineer Chuck Ainlay is one of Nashville’s top recording engineers and a leading pioneer in the world of surround sound. Currently a member of The Recording Academy Producers & Engineers Wing Steering Committee, he has recorded and mixed more than 200 albums, including work with legendary country music artists Chet Atkins, the Dixie Chicks, Reba McEntire, Vince Gill, Emmylou Harris, Waylon Jennings, Miranda Lambert, Lyle Lovett, Willie Nelson, Dolly Parton, George Strait, Sugarland, Taylor Swift, and Lee Ann Womack. In addition, Ainlay has placed his distinctive production and engineering stamp on projects with mainstream pop artists such as Mark Knopfler, James Taylor, Peter Frampton, Lionel Richie, Melissa Etheridge, Everclear, Chuck Leavell and Sheryl Crow, earning him widespread international recognition. His work in 5.1 mixing has resulted in ground-breaking projects such as the 25th anniversary surround remix of Peter Frampton’s Frampton Comes Alive and the GRAMMY-winning 20th anniversary surround remix of Dire Straits’ Brothers In Arms.

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