Archive of the Industry News Category
DiGiCo, Allen & Heath and Calrec announce the formation of a new ProAudio Group
The DiGiCo team has spent the last 18 months consulting with Electra Partners about the possible combination of both Allen & Heath and Calrec with the DiGiCo family. The culmination of this brings together three British console companies to create a new professional audio group, while retaining their unique skills, customer relationships and the identities of each brand.
James Gordon will become Group CEO supported by a strong and talented management from across the new group. When asked about what this means for the future, James said:
“We have bold plans for the group but it is imperative that each company maintains its own independence and style. None of these brands needs to trade off each other’s technology or reputation.”
“These are three great companies and all the brands currently in the group have enviable reputations for technology, audio quality, reliability and perhaps, most importantly, customer focus and care. The strategy is to share technology and resource across the group and allow some interconnectivity across the product lines.”
“The combined R&D teams are about to enter a new world of possibilities and we intend to take full advantage of their resource, passion and experience. It’s an amazing opportunity for us, and just maybe the whole British Pro Audio industry.” more
The Music Producers Guild has expressed its support for the Fair Digital Deals Declaration – a new initiative supported by over 700 indie record labels that want to see fair and transparent accounting of digital revenues for artists.
This massive show of support for artists to be treated and compensated fairly in the digital age has equal significance recording professionals, many of whom rely on royalties for a large proportion of their incomes.
“The music industry has a long history of unfairly exploiting the work of artists without whose creativity the industry would simply not exist,” says producer and MPG executive board member Mick Glossop. “The Fair Digital Deals Declaration is a welcome initiative, which seeks to address those injustices by promoting transparency and accountability.”
The initiative, coordinated by Worldwide Independent Network, states five primary guidelines that signees must adhere to. These include:
1. Ensure that artists’ share of download and streaming revenues is clearly explained in recording agreements and royalty statements in reasonable summary form.
2. Account to artists a good-faith pro-rata share of any revenues and other compensation from digital services that stem from the monetization of recording but are not attributed to specific recordings or performances.
3. Encourage better standards of information from digital services on the usage and monetization of music.
4. Support artists who choose to oppose, including publicly, unauthorized uses of their music.
5. Support the collective position of the global independent record company sector.
For more information about the Declaration and the MPG’s support for this important initiative, please visit www.mpg.org.uk
About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.
The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers.
BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. is one of many manufacturers that will be on hand at Clearwing’s Vendor Showcase on Tuesday, August 26, 2014 between 10:00 am – 4:00 pm. Mike Eiseman, District Manager, will be on hand bringing along the new Yamaha QL5 Digital Audio Console as well as a CL1 digital console, Rio3224-D input/output box, and DXR12 speakers. He will also demonstrate the Yamaha StageMix application and Nuendo Live v1.1.
Manufacturers include Robe, Clay Paky, Shure, Rane and others.
The event is free of charge and will be held at Clearwing, 11101 West Mitchell Street, Milwaukee. For more information, telephone 414-258-6333.
Watch the video
Everyone is familiar with the idea of a rock concert, but few events take the word ‘rock’ as literally as the recent series of outdoor gigs staged in Norway by the Pink Floyd tribute band Puls. Against the dramatic backdrop of the Kilden-Fjæreheia quarry in Grimstad, the band played six sold-out nights to audiences who were wowed not just by the music but by the spectacular projection-mapped backdrop that was created courtesy of AV Stumpfl’s Wings AV multi-image control technology.
Kilden-Fjæreheia quarry in Grimstad, Norway during the day. © Blank.
Birds-eye view of Kilden-Fjæreheia quarry, Grimstad, Norway showing previsualization of the projection area. © Blank.
Event design and production for the Puls concerts was the responsibility of Norwegian company Blank. Tomas Håvik, CEO of AV Stumpfl’s Scandinavian distributor Preqbi AB, recalls the project’s technical origins:
“Blank were searching for a solution that could deliver edge-blending and warping of multiple projected images, automated according to a timeline and with built-in media serving capability. We advised them that Wings AV could deliver exactly what they needed, and once the decision had been taken, we helped them with education and support.”
Kent Bakke, General Manager at Blank, explains: “Our challenge was that we wanted to map the actual face of the quarry that provides a backdrop to the band’s stage set. The face of this ‘mountain’ measures about 55 metres wide by 20 metres high, and our render size for the project was 3120 x 1200 pixels, with a 256 pixel overlap between the two halves of the image.
“The Vioso module of Wings split the image into a multi-display, blending and warping the output of six high-output HD projectors with ease. We also used Vioso to create and edit the video content, building up an exact replica of the ‘mountain’ in 3D.
“The content was stored and played back using the Wings Engine media server, with the Wings Avio control protocol allowing secure and perfectly synchronised connection via MIDI to the show’s lighting-control desk. This meant that the video timeline was perfectly sync’d to the music and associated lighting cues, every step of the way.”
AV Stumpfl Wings AV multi-image control technology.
Pink Floyd tribute band Puls at Kilden-Fjæreheia quarry, Grimstad, Norway. © Tomas Håvik, Preqbi.
Pink Floyd tribute band Puls at Kilden-Fjæreheia quarry, Grimstad, Norway. © Blank.
With an audience of around 950 people per night seated in a U-shaped amphitheatre exactly opposite the quarry wall, each show culminated in a spectacular climax that echoed the finale of Pink Floyd’s ‘The Wall’, with pieces of rock from the quarry appearing to break up and fall towards the stage and theatre.
Tobias Stumpfl, Commercial Director, AV Stumpfl, concludes: “From video editing to large-scale projection, interactivity and show control, our Wings platform does it all. With the support of local partners such as Preqbi AB and the superb creativity of customers like Blank, our technologies are delivering spectacular results that wow audiences all over the world.
“We congratulate everyone involved with the Puls concerts in Norway and look forward to many more exciting applications of Wings to come!”
More information about Preqbi AB can be found at www.preqbi.se.
About AV Stumpfl
AV Stumpfl is an award-winning Austrian company that designs, manufactures and markets a range of high-performance mobile and installation projection screens and multi-display and show control systems for professional and business applications. As a family business, its founders started the company out of a passion for the advancement of presentation and installation technologies. The product range is warranted for 24/7 usage. AV Stumpfl is located in Wallern, Austria, and is supported by a global network of distribution and service partners.
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 in his Dangerous Music equipped studio
– July 29, 2014
– Richard Devin
e 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.”
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: email@example.com
All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.
Minneapolis, MN––The Target All-Star Concert was held at the TCF Bank Stadium on the University of Minnesota campus a few days before the 2014 Major League Baseball All-Star game.
Slamhammer Productions provided audio, staging and video for the sold-out show that featured Grammy Award winner Imagine Dragons and local hip-hop phenomenon Atmosphere playing to an enthusiastic crowd of over 30,000.
To get the depth and impact of coverage required, Slamhammer set up a Martin Audio loudspeaker system consisting of 16 W8LCs a side for the main hangs; 10 (stage right) and 14 W8LCs a side as outfill; a hang of 2 W8LMDs as center downfill; 4 W8LMs across the front lip of the stage for additional front fill, and 40 WSX subs ground-stacked in front of the stage. Two delay towers with 12 W8LM speakers each were set up 175 feet back in the audience.
Even though Slamhammer had done three smaller shows at TCF Bank Stadium, there were still particular challenges given the size and high profile nature of the event.
According to company President Peter Skujins, “We were faced with long throws of over 400 feet and were limited in terms of rigging capacity. The mobile stage we were using is a beautiful structure with a huge total capacity, but you eat that up pretty quick with multiple hangs weighing over 6400 lbs on the roof. We were also concerned about having a major sightline problem with the delay towers because it was a seated house.
“Fortunately, these all turned out to be non-issues because the W8LM is a very compact box and the Martin Audio system did what it’s supposed to do. It sounded great and everyone was really happy with the coverage and audio quality, including our client Major League Baseball who called the concert ‘a huge success.’”
For more about Martin Audio, please click to www.martin-audio.com.
About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.
WINTER PARK, FLORIDA: Full Sail University’s flagship recording arts degree program, among the best-known and most-respected in the pro audio industry, commissioned a fully-loaded, 64-channel API Vision analog console. The new console went into Studio B of the university’s extensive studio complex just over a year ago, and has since been used for session recording courses. In addition to providing students with clear-cut examples of signal flow, the console provides the classic analog sound that continues to be revered as a benchmark of excellence in professional audio.
“The Vision a great match,” said Darren Schneider, session recording course director at Full Sail University. Schneider teaches students about signal flow, taking advantage of the Vision’s comprehensive signal path to illustrate his lessons. “Signal flow is easy to ‘see’ on the Vision,” he said. “We run it in-line, and every section falls in order – from the preamp, to the compressor, to the EQ, to the assignments. API also built us a custom switch which allows the compressor to insert pre- or post-EQ, which is also instructive.” Schneider notes that the Vision’s ability to simultaneously mix in stereo and surround also lends itself to new educational perspectives.
“Both our new and advanced students benefit from working with API’s undeniably great sound,” said Dana Roun, education director of audio arts at Full Sail University. “Just walking into the room is an experience for first-timers. As more and more students come in with exclusively digital experiences, the sight of the console inspires them. The sound is something most of them have never experienced before.”
Reliability is a big deal for Full Sail University, which operates 24/7. “The Vision has been used nonstop since it went in. There has not been a single problem… not a bum knob or switch… nothing! It’s been perfect!”
“Exposure to API gives our students real life experience with the analog sound that everyone in the industry talks about,” comments Schneider. “It enriches, and often changes, their perspectives.”
ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.
ABOUT FULL SAIL UNIVERSITY Full Sail University is an award-winning educational leader for those pursuing careers in the entertainment and media industry. Founded in 1979, Full Sail has been recognized as one of the Top Five Game Degree Programs by Electronic Gaming Monthly, one of the Best Music Programs by Rolling Stone Magazine, and one of the Best Film Programs by UNleashed Magazine. Recently, Full Sail received the “21st Century Best Practices in Distance Learning Award” from the United States Distance Learning Association, was named the “School/College of the Year” by the Florida Association of Postsecondary Schools and Colleges, and was recognized as one of the Top 100 Social Media Colleges by Studentadvisor.com.
Full Sail offers on-campus and online Master’s, Bachelor’s, and Associate’s degree programs in areas related to animation, art, business, education, graphic design, film, marketing, web development, music, recording arts, sports, and video games. Full Sail graduate credits include work on OSCAR®, Emmy®, GRAMMY®, ADDY®, MTV Video Music Award, and Spike VGX Video Game Award nominated and winning projects.
www.fullsail.edu • www.twitter.com/fullsail • www.facebook.com/fullsailuniversity
LAS VEGAS, NEVADA: TransAudio Group, U.S. distributor of high-end professional recording equipment, is pleased to partner with Bettermaker, the creator and manufacturer of the world’s first analog equalizers that can be controlled, automated, and recalled from a plug-in or Eprom. The Bettermaker’s flagship EQ232 possesses two (strictly analog) audio channels, each with a mastering-quality switchable high-pass filter, Pultec-style passive equalization, and clean parametric equalization. The modular 500-series EQ502P and EQ542 possess only the passive equalizers and only the parametric filters, respectively, and are also stereo.
Although its 100% handmade construction and stunning sound quality puts it in league with the very best boutique analog equipment on the market, Bettermaker’s unique niche is plug-in control (available in RTAS, 32-bit or 64-bit VST, and AU), which gives it all of the convenience of a digital plug-in, including automation and recall. The plug-in provides an A/B comparison feature, which goes beyond “bypass/in” to allow comparison of two separate equalizer settings. It’s also worth noting that engineers who aren’t using the plug-in can still store up to 399 presets for instant recall from the front panel via Eprom.
Marek Walaszek, an accomplished mix engineer, producer, and DJ based in Warsaw, Poland and the chief engineer and owner of Addicted to Music Studios, conceived, prototyped, and is now manufacturing the Bettermaker. “It started with the dream of a stereo Pultec that I could use on my stems or my master bus,” explained Walaszek. “Because I’m a mix engineer, I mostly work with other people’s session files. I recognize the convenience of recall – I can work on a mix, send it to the client, and then make requested changes weeks later. I wanted that same convenience in my outboard gear.” Walaszek got together with a friend and began prototyping his vision for a best-in-class analog equalizer that could gracefully accommodate the modern workflow.
After the usual false starts and an abundance of tinkering, the Bettermaker emerged and quickly found an eager audience. Grammy Award-winning engineers, such as Bob Katz, Jaycen Joshua, Dave Pensado, and Jimmy Douglass, as well as mastering engineers, such as Tim Boyce and Ludwig Maier, immediately put the Bettermaker in their “indispensible” racks and praised it loudly. The industry as a whole took notice as well: the Bettermaker earned a Resolution Award nomination in 2013 and won the Music Tech Excellence Award in 2012 and NAMM’s Best In Show award in 2013.
“As often happens with great inventions, it may seem obvious in hindsight,” said Brad Lunde, president of TransAudio Group. “There is, of course, tremendous value in great analog processing paired with plug-in control, automation, and recall. But I should also emphasize that the Bettermaker is not merely a gimmick. The Bettermaker’s sound quality would win converts and awards in its own right, and the plug-in functionality is well designed and robust. These two zero-compromise features come together in the Bettermaker to create something extraordinary. We at TransAudio Group were excited to learn that Marek is already cooking up new Bettermaker products that will pair analog audio circuitry with plug-in control!”
In addition to the three “stock” Bettermaker models (the EQ232P rack mount with all equalizer channels, the modular EQ502P Pultec section, and the modular EQ542 parametric section), Bettermaker offers two optional modifications of the flagship EQ232P. The first option converts its dual mono operation into M/S operation, a popular choice among mastering engineers. The second option forgoes the front panel controls entirely (at a cost savings) for users who plan to use plug-in control exclusively. These two options can also be combined.
ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.www.transaudiogroup.com
The Bettermaker products are now shipping.
MSPRs: EQ502P: $1,775.00 • EQ542: $1,775.00 • EQ232P: $6,100.00
SEATTLE, WASHINGTON: Symetrix, manufacturer of a wide range of DSP solutions for the installed sound market, from turnkey Jupiter processors to Dante-based, open architecture Radius and Edge processors, announces the appointment of North Carolina-based Millar Electronics as its rep in the Southeast. Millar Electronics will cover North Carolina, South Carolina, Georgia, Tennessee, Alabama, and Mississippi, where it has a deep history and a well-established network of connections. Millar Electronics was founded ninety years ago – in 1924 – as a components company selling capacitors, resistors, and the like. Over the decades, it grew with the times to become an audio/video manufacturers rep firm.
“Millar Electronics has built its success on relationships,” said Craig Richardson, vice president of global sales with Symetrix. “When I talk with people who do business with Millar Electronics, they always relate the trust they have in the salesmen they work with. Those salesmen are always out in their territories, talking with their clients, and keeping on top of what’s going on. They help their clients make the right choices for success now and in the long run.”
“We’re excited to work with Symetrix,” said Pete Petty, sales manager with Millar Electronics. “Symetrix builds cutting-edge DSP solutions, and its Edge and Radius products use Dante as a networking platform. Of course, Dante is becoming a big part of the industry, and Symetrix’ native Dante capacity will work hand-in-hand with a lot of the other equipment we represent and provide our clients with a complete solution. Moreover, great people work to make Symetrix what it is, and, having personally worked with them before, I know they’ll make it easy for us to go out and do our job. We’re looking forward to delivering a substantive increase in Symetrix’ market share in our territories.”
ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.
For more information on Symetrix products visit www.symetrix.co
BUENA PARK, Calif.—From June 26-July 5 at venues across Montreal, the annual Montreal Jazz Festival featured a boat load of musical guests from Earth, Wind & Fire, B.B. King, Tony Bennett, and Diana Krall, to Aretha Franklin, Diana Ross, Terence Blanchard, and Nikki Yanofsky to name a few.
Solotech of Montreal provided the majority of the audio production for the 30 stages and stacked them with Yamaha digital audio consoles. Yamaha Commercial Audio Systems pitched in for five of the stages: Scene TD, the main outdoor stage, was outfitted with two Yamaha CL5 digital consoles and three Rio-3224D input/output boxes. Two CL5s and two Rio-3224Ds were in position at Theatre Maisonneuve, Lounge Heineken used a QL5 and one Rio-3224D, and Club Soda and Savoy both had new Yamaha QL5 digital audio consoles. The Savoy also used a Rio-3224D.
Front of House engineer, Guy Vincent, has been mixing sound for over 30 years and says he has worked with a lot of digital boards but his favorite is the Yamaha CL5. “The feature I like the most Is the Premium Rack. It is amazing how warm the sound is by activating any of the plug-ins. I also like the custom faders.” Vincent used a CL5 at the Maisonneuve Theater during the Festival mixing Terence Blanchard and others. He is currently on tour with Florence K using a CL5.
Front of house engineer, Richie Forte, used his own personal Yamaha LS9-32 console at the Metropolis during the Festival for artist Nikki Yanofsky. “According to my dear friends at Yamaha, my LS9 was one of the very first in eastern Canada, a fact I’m very proud of,” states Forte. “I’ve taken this little workhouse and pushed it beyond its limits. With the use of a fiber optic snake capable of transporting 32X8 of the LS9′s 32X16 i/o, plus one channel of bi-directional high speed EtherSound transport built in, I am able to use the two MY card slots on the LS9 to connect to my two Yamaha SB168-ES stage boxes for a total on stage analog i/o of 64X24.”
Forte said that his current console as well as the two Yamaha digital consoles he previously owned, have preformed flawlessly and reliably. “It’s this ease of use, size, weight, flexibility, and “bang for buck” price point that has kept me a loyal Yamaha user and owner since 1997.” He’s now in Europe and using a Yamaha CL5 and says he’s “truly blown away by the sound of the console” and equally happy that its flexibility and workflow has been greatly refined and fulfills everything on his wish list. “I’m looking forward to upgrading to a QL5, my fourth Yamaha console very soon!”
Stephane Grimm, who mixed The Jordan Officer Trio and Betty Bonifassi Chants on a new Yamaha QL console at both Club Soda and Club Savoy, said he’s really into the new QL and has used a Yamaha CL a number of times. “I was really impressed by the QL, and having the touch screen makes it totally easy to use, Grimm says. The four user layers is a wonderful feature especially now that you are able to color identify the faders, making it impossible to miss the channel you’re looking for. I also like the fact that it is fully compatible with the CL series, without even having to convert the file. WOW!” Grimm also said the new plug-ins is a great feature. “The 2-band Dynamic EQ, works very well especially on vocals and other instruments that change tones.”
For more information on Yamaha digital consoles, visit www.yamahaca.com.
About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.
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