Archive by Clyne Media, Inc.
— Colby relies on the Genelec 8250A Bi-Amplified DSP Monitoring System to maintain a consistent perspective for balance and sound quality, no matter where the show takes him or what’s between him and the PA —
— Colby’s use of the 8250A’s demonstrates an ongoing trend that sees more
studio-quality pro audio components integrated into live mixing environments —
NATICK, MA, June 21, 2012 — At a time when live music has become the financial backbone of the music industry, more emphasis is being put on the quality of the sound of concerts, including at that most critical point in the monitoring chain: the front-of-house position, where the FOH mixer can hold the key to the quality of the entire concert experience for the artist and the audience. So when award-winning live-sound mixer Rob “Cubby” Colby needs to ensure he’s hearing everything and hearing it absolutely accurately at a show, he’s developed a technique in which he integrates studio-quality speakers into his monitoring protocol at the FOH position. And there’s only one brand of speaker that Colby will use for this unique but highly effective technique: monitors from Genelec. For instance, on the current Pat Benatar & Neil Giraldo tour, which will continue into the fall of 2012, Colby has been using a pair of Genelec 8250A Bi-Amplified DSP speakers at the FOH mix position, supplied by tour SR systems provider Sound Image. “This approach, using Genelecs as part of the monitoring solution for a live show, has made a huge difference in the quality of the live-sound mix for everyone,” he says.
This is a technique that Colby, who has mixed live sound for artists including Prince, Juanes, Shakira, Phil Collins/Genesis and Janet Jackson, and who has won an EMMY® Award and numerous other plaudits for his work, has been using for several years. He recalls the first time he employed it, at the Viña del Mar International Song Festival in Chile, where the FOH position is located in a concrete blockhouse 170 feet away from the stage and with only a narrow aperture through which the FOH mixer can see and hear. To deal with this challenging monitoring environment, Colby brought in studio-quality monitor speakers – a pair of small Genelec 6000 Series speakers that he often carries on the road for mixing recordings of shows. “I time-aligned them and ran them through a solo bus on the console; as the show got louder and the ability to hear it got harder, I would bring them up slowly, to compensate what I was losing as a result of the position of the mixer,” he explains.
The result was so successful that Colby continues to listen through speakers as he mixes live shows, adding the speakers into his field of hearing as the physical situation in front of the FOH console changes, such as when crowds stand up. “As the artists get into the back half of their shows, as the hits start being played one after another, more of the audience stands up and stays standing, and how I can hear the direct sound changes with it,” he says. “So I add more of the Genelecs into what I’m hearing. It assures me that I’m always hearing accurately what’s coming off the stage, and it really reduces the amount of listening fatigue, because I’m not straining to hear anymore.”
Colby makes use of Genelec’s renowned GLM™ and AutoCal™ technologies of Genelec DSP Monitoring Systems, accurately and automatically time-aligning the speakers for the environment they’re in. “The Genelec speakers and the Genelec DSP are my secret weapon for live sound mixing,” he says. “They bring the mix closer to me and keep it realistic. They take all of the guesswork out of the monitoring situation. And Genelec is what I use in the studio, and we’ve been seeing more and more studio-level products find their way into live sound lately, such as the ribbon microphones that I use. So having Genelec at the front of house with me just feels very natural.”
For more information, please visit www.genelecusa.com/.
— 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.”
— 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 email@example.com
— 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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