Archive by Clyne Media, Inc.
Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, and the exclusive U.S. distributor of the famed Ocean Way Monitoring Systems, is pleased to announce the introduction of the HR-3 High Resolution Reference Monitor System. Intended as a high-definition reference point to sonically judge and discern intricate musical balances for final mixes, the Ocean Way HR-3 monitors will satisfy the most discriminating audiophile, yet still be capable of meeting the most demanding dynamic range and accuracy required by studio professionals. What separates the HR-3 from other high-end audiophile loudspeakers, apart from its use by professionals, is its capacity to provide virtually unlimited dynamic range while maintaining absolutely matched uniform frequency response between channels.
Designed by Allen Sides, the GRAMMY® Award-winning engineer, producer and mixer who founded Ocean Way Recording, the new HR-3 monitor system is the culmination of almost 40 years of his experience designing high resolution studio speaker systems for his many studios and a wide variety of commercial installations, including George Lucas’ Skywalker Ranch scoring stage; Trevor Horn’s Sarm Studios in London; and Walt Disney’s Hollywood Records, as well as private installations for musical artists like Gwen Stefani, Dave Grohl and Beck.
The two sides from 1k to 20k typically fall within 1dB of each other, creating absolute symmetry in regards to stereo imaging. The HR-3’s uniform dispersion, coupled with very smooth off-axis response from its 15-inch mid bass driver, allows for a very wide listening window, helping to eliminate the narrow “sweet spot” effect. The HR-3’s twin 12-inch subwoofers also produce extended and detailed low end to 20Hz. The unit’s power handling is an impressive 800 Watts continuous for the twin sub bass woofers, 400 Watts continuous for the mid bass woofers and 100 Watts continuous (650 Hz and up) for the high frequency driver. The HR-3 is capable of producing a maximum SPL of over 110 db at six (6) feet, 20 to 20kHz.
The Ocean Way HR-3 (in addition to the HR-2) was deigned to bridge the gap between superb audiophile speakers and accurate professional studio monitors. There is nothing currently manufactured anywhere in the world at any price that looks, sounds or performs like the Allen Sides Signature Series monitors. The monitors integrate brilliant horn designs, never fully realized from the late 1950s, with exceptional wide bandwidth, low distortion drivers and a tri-amplified / equalized electronic package second to none.
Like all Ocean Way monitors, the HR-3 is specially engineered to reveal things in users’ best recordings and mixes they may have never heard and provide dynamics they may have not thought possible. Every nuance is clearly and starkly evident. From a recording engineer’s standpoint, these are invaluable assets, allowing for the best recording and mixes possible, and from the audiophile’s standpoint, their best recordings will sound simply exceptional.
The Ocean Way HR-3 specifications are impressive:
- Frequency response +/- 2dB, 20Hz – 20kHz
- Symmetry between channels +/- 0.5 dB, 1k to 20kHz
- Maximum SPL – Over 110 dB at 6 feet, 20Hz to 20kHz
- Maximum Power Handling Capacity:
- High Frequency Driver Max 100 Watts continuous, 650 Hz and up
(Note: 1 watt in at 1k measured at 3 feet produces 108 dB)
- Mid Bass Woofer max 400 Watts continuous
- Twin Sub Bass Woofers max 800 Watts continuous
- High Frequency horn with a 90-degree by 40-degree dispersion has a 500Hz cutoff
- Crossover points: 650Hz and 80Hz, 18 dB per octave
- High Frequency driver has a 19,000 gauss magnetic structure and titanium diaphragm with aluminum voice coil, two-inch throat
- Mid Bass woofer is 15-inch and has an 11,000 gauss magnetic structure with an aluminum voice coil
- Sub Bass woofers are twin 12-inch and have 11,000 gauss magnetic structures
Weights and size:
305 lb, 28″ width x 29″ max depth x 46″ height, each cabinet
— Enhanced iPhone® re-creation of the palm-sized Korg Kaossilator instrument gives users Korg’s acclaimed Kaoss X-Y touchpad on the go —
Korg has added the iKaossilator for iPhone® to its lineup of music apps. The app is an enhanced version of Korg’s hardware Kaossilator instrument, and uses the iPhone’s sophisticated touchscreen to mimic the functions of the Kaoss X-Y touchpad on the original. The iKaossilator app can also run on iPad® and iPod Touch® (third generation and higher). The iKaossilator for iPhone joins Korg’s existing iPad Apps – the iElectribe Series and the iMS-20. Korg’s WIST (Wireless Sync Start Technology) feature provides new versatility.
The iKaossilator is an expressive music synthesizer offering 150 diverse sounds, combined with a five-part loop sequencer for creating multi-part tracks. As with all Korg Kaoss products, the iKaossilator is controlled by touching, tapping or stroking its X-Y touchpad with the user’s finger. This intuitive form of control is instantly rewarding, and allows users to quickly create music regardless of their instrumental training.
Generally speaking, moving the finger across the iKaossilator horizontally will control the pitch, while vertical movements will control various synthesis and sound parameters. The ability to choose one of 35 musical scales and select a musical “Key” or “Root” lets users easily play musical phrases with no wrong notes. The scales range from traditional major, minor and blues scales to more ornate Ryukyu, Spanish and Indian Raga scales.
The 150 ready-to-play sounds produce a broad range of dance music styles including hip-hop, house, techno, dubstep, new disco and electro. Sounds are divided into popular categories – the synth Leads and synth Bass sounds one would expect from a synthesizer, as well as Acoustic sounds, sounds that simulate piano or guitar Chords and even the popular Sound Effects used by DJs. The Drum sounds provide complete patterns that can be played and manipulated through finger movements on the touchscreen.
The loop sequencer allows the recording and layering of up to five musical parts to create a “track.” The user would simply assign a loop such as synth, bass, chords, sound effects, or drums to each part. Fifty loops created by professional musicians are included in the iKaossilator to get things started quickly. The loop sequencer is also a great feature for using the iKaossilator in a live performance. The Mix Play feature makes it easy to enjoy live remixing; switching seamlessly to another loop or extracting a specific part from another loop as the playback continues.
WIST (Wireless Sync-Start Technology) allows wireless synchronized performances using WIST-enabled apps on two different iPhones or iPads. Korg’s WIST-enabled apps include the “Korg iElectribe for iPad” Series and “Korg iMS-20 for iPad,” or the hardware Monotribe when using the “SyncKontrol for Monotribe” app. Korg has recently made this WIST technology available to other developers for use in their apps such as Propellerhead’s ReBirth and Retronyms’ Tabletop for iPad.
iKaossilator for iPhone is now available for download from the iTunes App store at an introductory price of USD $9.99 (special pricing is in effect through November 30th, 2011). Click here to go directly to the app page.
iOS 4.1or later
iPhone 5 / iPhone 4 / iPhone 3GS / iPod touch after third generation / iPad.
*All trademarks are the property of their respective owners.
— Based on direct feedback from leading engineers/producers, Neve continues to expand its Genesys Console with enhanced functionality and many new features —
Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is pleased to announce new features and functionality for the Neve Genesys, a custom-crafted, expandable analog recording console that incorporates digital workstation control. Exclusively distributed in the U.S. by GC Pro, the Genesys was designed to address the new realities of the modern professional audio industry for music, postproduction and gaming, while building on Neve’s 40 years of accumulated technical heritage.
New features being unveiled at AES include:
New and updated Routing Implementation (L-C-R/Stereo)
Pro Tools track arm/disarm control from the console surface
Apple Logic Pro Integration:
Control of up to 6 Banks of 8 faders each (48 Channels)
Extensive control of Pans/Sends
Ability to ‘Flip’ Pans/Sends onto Faders
Channels Encoder in DAW simulates V-Pot
EQ/Dynamics processing can be placed in any order in the audio path using the keyboard/mouse with a graphical representation of the audio chain
EQ/Dynamics Link/Copy/Paste feature
Digital Line Enable on Channels with AES/FireWire
Ability to Lock Monitor Level
Improvements for Gangs/Trims, MTC operation, FireWire clock sync
About the Neve Genesys
With its unmistakable Neve qualities of exquisite design, peerless craftsmanship and legendary Neve sound, the Genesys is a comprehensive, cost-effective solution to the challenges of audio in the digital age. The base configuration offers 16 channels of mic/line preamps, 16-channel DAW monitoring, 32-channel analog summing at mixdown, DAW control for Pro Tools, Logic, Nuendo and more, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an internal power supply. What sets the Genesys apart is its remarkable combination of features and affordability — an affordable Neve analog console with Neve’s legendary sound and digital control at a cost of less than $50,000 enables the widest possible range of professionals to make a genuine Neve console the heart of their studios. Furthermore, the Genesys has the ability to upgrade as studio owners’ requirements change — it can be expanded to over 60 channels in a straight or articulated frame, with options including motorized fader automation, recall, mastering-grade A/D and D/A converters, digitally controlled EQ and dynamics, remote mic amp control and much more.
For more information, please visit www.gcpro.com.
ToneMesa, Inc. is a location/post audio service and rental company based in Los Angeles. Their high-profile clientele includes Nickelodeon, several major consumer brands and top-rated television shows such as The X Factor. Company partners Daniel McCoy and Stanley Gonzales were recently on location for an outdoor video shoot during filming for upcoming episodes of the popular TV show The X Factor. They needed a portable, modular and inconspicuous sound reinforcement solution, so John Karr at Rat Sound Systems, Inc., a local touring sound, sales, rentals and installation company, set them up with an HK Audio Elements system as an ultra-compact playback system.
As John Karr recounts, “I recommended HK Elements, as it’s the best sounding, most cost-effective solution for a portable line array within the allotted budget. The HKs sound much cleaner and more professional than the equivalent from other well-known lines, hands down. So, recommending Elements was a no brainer. It’s small and lightweight, with a professional sound that’s excellent for playback and small acoustic acts – a definite winner in our book for these types of applications.”
McCoy and Gonzales chose a “Band Two” configuration (four mid-high units, two amps, two subs, two active subs and mounting hardware) to provide the sound and power they needed in a discreet footprint that was also easy to set up and transport.
Partner Stanley Gonzales explains how it solved some of their critical requirements: “My partner Daniel is the audio supervisor for The X Factor. As with most clients, he was asked to ensure that the gear wasn’t visible, so we needed something low-profile and easy to hide, or if it was seen, it was something very sleek. The Elements system proved an easy solution for that challenge. They could put a small tree in front of it and it would disappear! The other challenge was that while the speakers needed to be unobtrusive, they still had to be close to the talent, and we found that feedback was never an issue, despite the high SPL. And of course, we needed something that sounded great. In fact, many of the top artists on the set took notice, were wondering what it was, and were amazed and impressed with the sound. HK really delivered for us, on all levels!”
ToneMesa is also using their HK Elements system for current Nickelodeon TV shows and other applications that require the gear to “disappear, yet deliver.”
For more information about HK Audio, visit: http://www.hkaudio.com/us; for Rat Sound Systems, please visit: www.ratsound.com; for ToneMesa, please visit www.tonemesa.com .
— “I’m thrilled with mine,” quotes multi-platinum, GRAMMY®-winning engineer/producer Ed Seay, who has recently tracked and mixed albums for Lee Brice, Mark Jordan, Blake Shelton, Diane Schuur and John Prine, to name a few —
Nashville, TN: Journeyman recording engineer and four-year Carl Tatz Design PhantomFocus™ System (PFS™) veteran Ed Seay is revered as Nashville’s “engineer’s engineer,” having mentored many up-and-coming young engineers during the course of his three-decade professional career, including Rascal Flatts’ engineer Sean Neff and L.A. mega mixer Dave Pensado.
Ed recently re-implemented his PFS at the Loud Recording complex on Nashville’s venerable Music Row after moving from the old Warner Brothers studio. Both rooms had their unique acoustic anomalies to tame – the former with too much low end ringing and the latter with over trapping and weak bass. The PhantomFocus System provided its signature frequency response curve in both instances, rendering the PFS performance that over sixty Nashville studios have come to trust and rely on. “I heard some of Carl’s systems and knew that that’s what I wanted to be listening to,” recalls Seay.
The PhantomFocus System will be successful in any room with any brand of monitors. In Ed’s case, his monitor/amp selection of choice was a Dynaudio M1/Bryston 4B complement after experiencing that combination at Rascal Flatts’ Jay DeMarcus’ Studio, The Grip.
Video URL: http://youtu.be/-pwqX3-PDGg
The recently completed movie theater located within the brand new Vaughn L. Beals Tour Center at the Harley-Davidson Vehicle Operations plant in York, Pennsylvania, includes A/V control products from Xantech, a leader in the field of audio/video remote control and distribution for 40 years. SDK Electronics of Lebanon, Pennsylvania, outfitted the theater, where visitors begin the one-hour factory tour, installing a Xantech CSPLCD39G 3.9-inch Smartpad LCD Graphic Touchpanel and a WIC1200 Web Intelligent Controller to manage the presentation’s audio, video and lighting.
The Smartpad LCD Graphic Touchpanel and the WIC1200 in combination offer fully automated control of the movie presentation, which takes visitors through the famed motorcycle manufacturer’s history. The film starts with a single touch of the Xantech Touchpanel, explains Scott Koons, owner of SDK Electronics. “The system sits in idle mode until the tour guides bring the visitors in. They touch one button on the screen that says ‘play’ and the movie starts to run. The WIC box gets a signal, tells a Crestron lighting controller to dim the lights, and turns on an audio sense to the Blu-ray Disc player. As soon as it senses that audio is no longer present – in other words, the player is in full stop – it tells the Crestron to relight the room.”
The system is also programmed with an alternate mode for employee meetings. “When they hold a meeting in the theater they can touch a button that says ‘presentation’ and it will switch over to a presentation mode,” says Koons.
The Xantech products offered an affordable control solution for automating the theater’s A/V system, according to Koons. Although the system is relatively simple, the controller does need to support some specific interface capabilities. “I needed to have some way to automatically turn on the lights. The WIC1200 gave me the ability to do two-way communications as well as system status sensing.” A more complex and more costly unit was just not necessary, he adds: “It would have been overkill to spend that kind of money on a competing product for what little I needed to do, especially since the WIC box does everything I needed it to do for this system.”
The Xantech Touchpanel interfaces directly with the theater’s JVC projector. “The only codes we send to the projector are on, off and source select, so we use those straight out of the keypad because I don’t need any sense on that,” explains Koons, adding, “The only thing I need to send to the Lexicon DC2 processor is power on and source select.”
The rest of the theater’s audio system, which includes EAW loudspeakers in a 7.1 configuration with Crest amplification, is initiated through the use of a Surge X power sequencer. A 159-inch 16:9 HDTV format Da-Lite fixed wall screen completes the A/V presentation setup.
Koons also installed a Xantech CSPLCD64G 6.4-inch Smartpad LCD Graphic Touchpanel in the employee cafeteria at the new plant. “They can hold 450-person meetings there. It has four screens, four projectors, a scaler and an SPLCD64 controlling it, along with a couple of relay packs and a 1×8 RS232 router.”
The Harley-Davidson Vehicle Operations plant, established in York in 1973, assembles the company’s Soft Tail, Touring and Tri-Glide models. Following the demolition of 42 separate buildings and a year of construction, a brand new, robot-assisted manufacturing plant opened on the site on August 1, 2011, that combines all of its manufacturing lines and warehousing in one 600,000-square-foot facility. Over eight thousand tourists have reportedly visited the new Vaughn L. Beals Tour Center and toured the new factory in its first two months of operation.
For more information, please visit www.xantechcommercial.com.
— Complete professional PA system in a single, mobile, self-contained unit ––
HK Audio announces the SoundCaddy One system. The SoundCaddy One provides the benefits of a line array/woofer combo in a compact and portable format. Inside the SoundCaddy One are three six-inch bass speakers, six three-and-a-half-inch mid/high drivers, a 600-Watt class D amplifier and a complete four-channel mixer. This innovative PA system is completely self-contained, and can be used for both speech and music.
As a single, self-contained unit, the SoundCaddy One provides plug-and-play convenience. Easy to transport, the SoundCaddy One can be moved into position on its built-in wheels. A firm push on its top releases the mid/high array, which rises from the cabinet on a pneumatic lift. Once adjusted to the desired height, it can be twisted to lock into place.
The back panel offers access to a full four-channel mixer. The mono channels (Mic In and Combi In) are each equipped with a Neutrik XLR/Guitar combo input, a volume knob and a tone control. Next to those are two stereo channels (Line In, Aux In), each offering a Volume and a Contour control. The Combi In channel features two Neutrik combo inputs; the Aux In provides both stereo RCA jacks and a single stereo eighth-inch input. Using the XLR Line Out, a second SoundCaddy One can be connected to create a fuller stereo or dual-mono system. Recording Out (RCA Stereo) jacks allow connections to other equipment. The Bass Level control makes it easy to balance the highs and lows.
For power, the SoundCaddy One houses a 600-Watt Class D amplifier. Three six-inch bass drivers provide a tight, deep low-end sound. The pop-up line array contains six 3.5-inch broad band speakers that together deliver excellent reach, intelligibility, and an easy-to-aim 70-degree horizontal dispersion that provides deep coverage while eliminating unwanted reflections. The SoundCaddy One renders speech and music with authority and power, and can easily provide satisfying full-range sound for smaller concert venues.
The 19-millimeter birch cabinet construction features cutaway handles, integrated wheels and protective skid guards. A protective cover is included.
HK Audio SoundCaddy One is now available at select U.S. retailers with an MSRP of $4000.00.
Learn more at www.hkaudio.com/us/soundcaddy.
Over the course of the past decade, The Recording Academy® Producers & Engineers Wing® has illuminated those who labor behind the scenes to create music by highlighting their achievements and educating about best practices. The P&E Wing provides a forum where all recording professionals — from producers, engineers and studio personnel to retailers, manufacturers and educators — can work together to preserve and grow their industry. Now, as both the music industry and consumers are rediscovering the value of high fidelity recordings, the Wing has taken a leading position with a revitalized effort to advocate and educate about the important role sound quality and audio professionals play in communicating the emotional and artistic intent of recorded music. As part of this effort:
*At the 131st AES Convention the P&E Wing will present a second iteration of GRAMMY SoundTables® “Sonic Imprints: Songs that Changed My Life” on Saturday, Oct. 22 at 2:30 p.m. at Jacob K. Javits Convention Center. Exploring music that has inspired and shaped influential careers, and moderated by GRAMMY®-winning engineer Chris Lord-Alge, the panel will feature a diverse, New York-centric group of panelists including producers/engineers Ken “Duro” Ifill, Steve Lillywhite, Ann Mincieli, Phil Ramone and Al Schmitt.
*In July, in a first-of-its-kind event, the P&E Wing brought music producers together in Washington, D.C. with Congressional leaders, including the Chair and Vice Chair of the House Judiciary Subcommittee on Intellectual Property, for meetings, a panel discussion and musical demonstrations. The event addressed pressing industry issues and provided insight into the essential role that producers and engineers play in the music recording process.
* A new version of the influential, committee-created white paper “Delivery Recommendations for Master Recordings” will be released in October reflecting current recommended best practices for master media delivery and storage, along with guidelines for delivery of audio mix stems and recording personnel credits.
*The establishment of a working council of audio manufacturers, retailers, and other related entities with a stake in the future of high quality audio and a goal of working together to grow the professional audio industry. This group will hold its fourth meeting during the 131st AES Convention.
Audio-Technica, a leading innovator in transducer technology for over 45 years, has announced the appointment of Doug Swan to the position of Director of Sales, MI/Pro Audio. Michael Edwards, Vice President Professional Markets, made the announcement and indicated that Swan’s appointment will serve to propel A-T toward continued growth in the Musical Instrument and Professional Audio market sectors.
In his new position, Swan will be responsible for the overall management of the MI and Pro Audio channel within Audio-Technica. He will focus on driving sales for A-T U.S. and its dealer network by working closely with A-T’s internal sales force and their accounts, as well A-T’s independent manufacturer’s representatives. Additionally, he will be developing new sales programs that will allow all dealers to grow and maintain even more profitability.
With an impressive background in music and business, Doug is a very experienced MI and Pro Audio industry professional who has lived in California and Florida for most of his adult life. In addition to managing his own rep firm, his previous positions have included sales and marketing responsibilities for Sennheiser USA and the Roland Systems Group.
“Doug is an industry veteran who has a rich history in both MI and Pro Audio,” stated Michael Edwards. “His extensive background in music, business and retail sales makes him uniquely qualified not only to lead our sales team, but also to work closely with and reinforce our unparalleled commitment to our dealers and end users. We welcome Doug to the Audio-Technica family, and I look forward to working with him.”
Please visit www.audio-technica.com.
Audio-Technica, a leading innovator in transducer technology for over 45 years, has promoted David Marsh to the position of Director of Sales and Marketing, Installed Sound & Broadcast. Marsh’s appointment was announced by Michael Edwards, Vice President Professional Markets. In his new role, David Marsh will be responsible for managing and directing all sales and marketing activities within the Installed Sound and Broadcast markets.
Marsh has been with Audio-Technica since 2000, when he joined the company in the position of Customer Support representative. Over the past decade with Audio-Technica, Marsh was promoted to A-T’s Assistant Regional Manager and then on to Territory Manager, a position he held until his latest promotion. Marsh will help to identify emerging market dynamics and trends, while continuing to address the needs of contractors, consultants and end users, concerning the increasingly intricate requirements of complex installations and challenging applications.
“David has done an outstanding job in his past positions with Audio-Technica,” said Michael Edwards. “I’m confident that he will continue to thrive in this new leadership role.”
Please visit www.audio-technica.com.
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