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Rob Macomber Picks Sanken Stereo Mic for Jazz at Lincoln Center

Adjustable Dual Capsule CUW-180 Captures Historic Performances
Sanken_Macomber_350px
Pictured in the Music Studios at Jazz at Lincoln Center is chief engineer Rob Macomber holding the Sanken CUW-180 stereo microphone.

As Chief Engineer of the Music Studios at Jazz at Lincoln Center for SiriusXM Satellite Radio, Grammy and Emmy Award-winner Rob Macomber puts his extensive knowledge of audio, technology and music to use to ensure that the world-class artists performing there nightly sound just as good on live radio, television and internet broadcast as they do in the concert hall.

One of Macomber’s favorite microphones is the unique Sanken stereo CUW-180, comprised of two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detent, providing a versatile microphone for a variety of stereo and Surround recording applications.

“The CUW-180s perform wonderfully anywhere and everywhere,” says Macomber. “On a regular basis I use them as a pair over the stage for ambience. That’s my standard main stereo pickup over the stage. Eight feet up or so, at the lip of the stage angled at 45 degrees. I also use them for ensemble sections, like trombones and trumpets. As a section mic it is fabulous.”

In his nine year tenure at SiriusXM, Macomber has worked with a who’s who of modern day musical giants, including Wynton Marsalis, Bobby McFerrin, Eric Clapton, Willie Nelson, Paul Simon, Sting, Beyonce, Santana, Andrea Bocelli, Chic Corea, Dave Brubeck and Joshua Bell, helping them all sound their best on-air.

“The stereo Sanken mics give me the full frequency spectrum,” remarks Macomber. “On the low end, the proximity effect is very minimal, although I’m primarily not in close-miking situations. The 180 is very flat throughout the frequency spectrum. No boominess, no having to roll off the low end, very smooth on the top end. Off-axis it’s very natural sounding.”

Over the course of his prolific career, Macomber has recorded and/or mixed music for highly-rated television broadcasts such as the Tony Awards, the MTV Video Music Awards, Country Music Awards, American Music Awards, Victoria Secret Fashion Show, Fashion Rocks, VH-1 Divas, VH-1 Storytellers, AOL Sessions, Live from Lincoln Center Series and numerous DVDs and concert films.

Macomber comments on the unique dual capsule design and the precise detente adjustment. “It’s a killer design in a fairly fast-paced environment, where I do get a sound check, but it’s still a live show. Each show is different and when it’s happening I can’t stop the show and say, ‘Hey, we need to reposition that mic.’ I can get that mic position spot-on and know that one click wider or one click narrower on both capsules will land me where I want to be. Then if need be, I can simply adjust the panning on the desk on the fly. The quick paced broadcast environment for a live show is quite a challenge — the Sanken is a great performer.”

Macomber has been honored with many awards and accolades, including two Grammy Awards (for his engineering work on Arturo O’Farrill’s “Song for Chico” and Kurt Elling’s “Dedicated to You,” in 2008 and 2009, respectively). He was also a member of the sound team that received the 2010 Emmy Award for Best Sound Mixing for a Variety or Music Series or Special for “The 25th Anniversary Rock and Roll Hall of Fame Concert.” He is also a two time TEC Award nominee.

To read the entire interview with Rob Macomber,
visit: http://tinyurl.com/nzu6xef
Learn more about Sanken microphones: http://sankenstudio.com

See the entire family of Sanken microphones at AES in LA Booth #1034

Anthony Marinelli Chooses Barefoot Sound

Composer/Producer Works in Film, TV, Commercials and Stage
Barefoot_Marinelli_6_400px
Pictured in his Los Angeles studio with his Barefoot MM27 monitors is composer/producer Anthony Marinelli. Photo by David Goggin.

“Before I got the Barefoots, I had 4 pairs of very high-definition monitors,” says award-winning composer/producer Anthony Marinelli. “I had 8 of them, because I rotate them into the 5.1 arrays I’ve had since I bought the first pair from Michael Jackson. They were his speakers and I just liked them and never could find any replacements. Then the Barefoots showed up and they were the first speakers that truly spoke to me and said I’m your new speakers.”

Marinelli has composed, conducted and performed music for over sixty motion pictures, including “Hotel,” “American Gun,” “Young Guns,” “Internal Affairs” and “Timecode.” He also composed music heard in “Leaving Las Vegas,” the action film “Demolition Man” and hit comedies “Let It Ride” and “Planes, Trains & Automobiles.”

“The sound of the Barefoots translates the best,” Marinelli continues. “It doesn’t hype the sound when I’m recording. It gives me the full audio spectrum from lows to highs. They’re very quick. The transients are very rapid. I deal in a lot of different genres of music and it’s not like I use a certain kind of speaker for one kind of music and another kind of speaker for another. These speakers are just the truest that I’ve ever come across.”

Marinelli has also composed music for thousands of commercials including over 30 Apple Computer spots, spots for Microsoft, Nike, Mercedes-Benz, Chevrolet, Budweiser, Jaguar, Southwest Airlines, Boeing and the iconic “This Is Your Brain on Drugs” campaign.

“You pay now or you pay later,” he comments. “If the monitors make it sound better now, then I go somewhere else and it doesn’t have that enhancement, then I’m going to pay, because I’m going to be missing something or there’s going to be too much of something, whether it’s low or mid or high.”

Marinelli’s LS studio houses an array of choice instruments: two ARP 2600s, a Linn Drum machine, Jupiter-8, Prophet-5, Minimoog, Korg MS-20, ARP Omni, Roland Space Echo, Roland Vocoder, Echoplex, Clavinet Pianet Duo, and a Fender Rhodes. “My Doctor Click is really valuable for syncing all these various instruments and driving quick tracks and creating pulses,” he explains. “And my most prized instrument is a 9-foot Concert Grand handmade piano given to me by David Abell. It was the piano that was used for all the Disklavier recordings.”

Marinelli has been honored with numerous Clio, Silver Lion, Belding and Addy awards. He revolutionized post production workflow as co-originator of Levels Audio Post. By integrating a new style of mixing music and sound for picture, it quickly became the industry’s fastest growing and most in-demand facility. His state of the art complex located at the historic corner of Hollywood and Highland was the first choice of discriminating projects such as American Idol, The Bachelor, and the VH1, ESPN, Teen Choice and MTV award shows.
Read the entire Anthony Marinelli interview and learn more at the new Barefoot Sound website: http://barefootsound.com/audio/a-conversation-with-composer-anthony-marinelli/

Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair

See and hear the entire line of Barefoot Sound monitors at
AES in Los Angeles Booth #1031

ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second-guessing, Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.

For more info visit: http://www.barefootsound.com tel: 503. 894. 8602

RTW Announces Mastering Tools PlugIn at IBC 2014

Second Addition to Masterclass PlugIns Line of Software Offers Extensive Analysis and Display Functions

AMSTERDAM, 12 SEPTEMBER, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will introduce RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 2014 IBC Show (Hall 8, Stand D92). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms.RTW_Mastering_Tools

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. It provides support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“RTW’s development of the RTW Masterclass PlugIns Mastering Tools plugin is part of the company’s continuing efforts to give a wider range of our customers access to high-quality audio metering and measurement,” says Andreas Tweitmann, managing director, RTW. “It puts a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow.”
RTW_Mastering_Tools_Box
The RTW Mastering Tools plugin is the second product in RTW’s Masterclass PlugIns line, which provides users with software versions of some of the company’s most popular metering and measurement solutions. The first product in the series, the RTW Loudness Tools plugin, was announced earlier this year.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

RTW to Support the 2014 IBC Show with a Range of Loudness Metering Solutions

AMSTERDAM, 11 SEPTEMBER, 2014 – RTW (IBC Hall 8, Stand D92), the market leader in visual audio meters and monitoring devices, is once again providing the IBC 2014 show’s technology team with TM9 and TM7 TouchMonitor audio meters and SurroundControl 31960SD controller to support audio in the RAI’s D-Cinema auditorium featuring the IBC Big Screen Experience, as well as four TM3 TouchMonitor units to support the IBC News crew’s live and studio coverage of the show.RTW_Touchmonitor_TM9_Screen_web

“We are very happy to be back this year, supporting the IBC show with an assortment of audio metering tools from RTW,” says Andreas Tweitmann, CEO, RTW. “We are longtime collaborators with IBC and are happy that the technology team finds our metering solutions useful for their important productions. This show represents the epitome of innovation in the broadcast technology market and we look forward to another inspiring show.”

RTW_31960_078_ScreenIn the RAI’s D-Cinema Auditorium, RTW’s TouchMonitor TM9 (HW 20911) will be used for confidence monitoring between the outputs of the console in the auditorium and the input to the cinema system. The IBC technology team chose to also use RTW’s SurroundControl 31960SD controller with 3G/HD/SD-SDI de-embedder interface option, “in order to give us flexibility to meet any de-embedding or other signal requirements,” explains Terry Nelson, Technical Resources, IBC.

Also in the auditorium, engineers will use the TouchMonitor TM7 (HW 20711), that is connected to the control surface of the Cadac console, this will help to provide accurate monitoring of the cinema system feeds.

Meanwhile, the IBC News crew will make use of several TouchMonitor TM3 audio meters. These will be used in the different production areas of IBC News and were chosen to be an important element in controlling and verifying levels.RTW_TM3_DE_IB_134_51_Num_EBU_WEB

The IBC Big Screen Experience is the ultimate showcase that demonstrates how the disciplines between cinema and traditional broadcast are merging. For the full IBC Big Screen Experience programme of events, click here.

New Configurator Aims to Redefine Middle Atlantic Customer Experience

MAP Configurator web

Fairfield, NJ––Middle Atlantic Products is unveiling a new web-based configuration tool that enables customers to easily select, configure, quote and purchase the precise infrastructure system to fit their project needs. Based on extensive research and feedback from the company’s integration partners, the platform was developed to improve nearly every facet of the customer experience.

Available in October, this new tool will allow users to create a personalized design with the right products and accessories for any type of system along with a priced materials list. Further enhancing the company’s website, which was redesigned earlier this year, this new configuration tool will be accessible from anywhere in the world with internet access, on any browser-enabled device.

Designed for anyone from beginner to expert, users can be guided through the configuration process or they can choose to build a system at their own pace.

With built-in intelligence to ensure that only components that fit can be selected and smart recommendations along the way, the Configurator helps users build the most effective and reliable system.

Commenting on the new configuration tool, Middle Atlantic VP of Sales Dan Tarkoff said, “We wanted to build a solution that would radically improve the ease with which customers do business with us. We have the broadest range of products in the industry and wanted a way to simplify the process of finding the right fit for every project. The Configurator gives them the freedom to design configure, customize and order reliable systems whenever they want.”

The Configurator enables users to export CAD and other design documents to be easily integrated into their standard design process. It enables 24/7 access to a stored history of user projects, the ability to create new projects, and convenient direct online ordering.

Users interested in being the first to be notified when the tool goes live can sign up at http://www.middleatlantic.com/config.

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

There’s Still Time to Trade-up to DPA Microphones’ d:fine Headsets

LONGMONT, CO, SEPTEMBER 10, 2014 – DPA, Inc., the U.S. arm of DPA Microphones, is urging everyone to take advantage of its trade-up rebate program for its d:fine™ Headset Microphones, which concludes Friday, October 3, 2014. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, provided they additionally trade-in a competitor headset. The promotion is only valid on purchases made from an authorized U.S. dealer. DPA Microphones_dfine on Male Performer

The DPA d:fine Headset Microphones raise the bar for head-worn microphone solutions. Offering industry-leading sound quality, the mics are ideal for singers, public speakers, actors, musicians, house of worship leaders and broadcast professionals who insist on superior voice reproduction, comfort, ease of setup and a discreet look. They are available as both directional and omnidirectional mics, with single- and dual-ear mounts, to cover a broad range of applications. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

“This trade-in program is the perfect, cost-effective way to upgrade the tools that audio professionals need most,” says James Capparelle, Director of Marketing for DPA, Inc. “We’ve already seen a great response to the promotion from new and existing users, but there are only a few weeks left. We hope that all headset microphone customers continue take advantage of this opportunity.”
DPA Microphones_dfine Headset Microphone
This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset, customers must trade-in an equal number of competitor headset microphones. The following DPA and competitor microphones are included in the promotion:

Eligible d:fine Headset Mics:

d:fine Directional
d:fine Omnidirectional
d:fine 88 Directional
d:fine 66 Omnidirectional
Both single- and dual-ear mounts, as well as all colors, boom lengths and connector types are part of the campaign.

Offer excludes the classic d:fine 4066 and 4088 Headset Microphones.

Eligible Non-DPA Head-worn Mics:

Audiotechnica – MicroSet or Microearset Series
Countryman – ED, E6, H6 or Isomax Series
Crown – CM Series
Samson – SE50 or DE50
Sanken – HWM Series
Sennheiser – Ear Set, HS or HSP Series
Shure – MX, WBH or WCM Series

To claim the $100 rebate, customers must mail in a completed form, proof of purchase of the new DPA d:fine and the non-DPA headset that is being traded to DPA’s U.S. office, postmarked no later than October 31, 2014.

For more information about DPA, Inc.’s promotion, please visit the Trade Up to d:fine promotion info page or contact your local authorized dealer.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

RTW Showcases Latest TouchMonitor Updates at IBC 2014

Upgrades to Timecode Reader and Logging Data Server Licenses Add Loudness Recalculation and More Plus Chart Displays to TM7 and TM9 Meters

AMSTERDAM, 10 SEPTEMBER, 2014 – RTW, the market leader in visual audio meters and monitoring devices, is pleased to debut two major updates to its highly regarded TouchMonitor TM7 and TM9 audio meters at the 2014 IBC Show (Hall 8, Stand D92). The meters’ Timecode Reader License SW20008 now permits recalculation during loudness metering, while their Logging Data Server License SW20014 has gained expanded chart-display functionality. RTW_TM9_Recalc-Chart_Fill

The new Loud.Recal (Loudness Recalculation) instrument helps mix engineers and editors save valuable time during a broadcast sound editing session. Jumping back and forth in a program segment with continuous timecode, it automatically calculates loudness measurements for the complete runtime of a segment at the time the user performs corrections to the mix or sequence (wherever located in the program). Logging Data Server License SW20014, meanwhile, now offers graphs with up to four different loudness and TP values, as well as real-time relative-gate display.

“When it comes to loudness monitoring, anything that helps the operator work more efficiently makes a huge difference. We had this in mind when we developed these latest upgrades,” says Andreas Tweitmann, managing director, RTW. “Now, users can recalculate the loudness measurements for a segment without having to pass through the program after corrections on overdriven program spots have been completed, and they have more options than ever to view loudness values. It all adds up to a faster, easier user experience, which can save time when it really counts.”

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a seven- and nine-inch touch-sensitive display, respectively, and pair unparalleled flexibility and modularity with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, and the CALM Act.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

Human Highway (Director’s Cut) – World Premiere at TIFF

Neil Young’s 1982 Film Restores Lost Sound & Dialogue using Unique Audio Techniques

HH_poster_250px

Toronto International Film Festival: Shakey Pictures is proud to announce the World Premiere of Human Highway (Director’s Cut) at the Toronto International Film Festival today. The director’s cut version of Neil Young’s mind-bending 1982 post-apocalyptic musical comedy conceived in the cauldron of Cold War America, in which the rock legend writes, directs and stars alongside an eclectic and eccentric cast including Dean Stockwell, Russ Tamblyn, Dennis Hopper and members of the band Devo. Human Highway was painstakingly restored using modern techniques for high quality sound but done without violating the intent of the original sound mix. Restoration difficulty was further compounded by the fact that several of the original masters were missing.

Human Highway – Take One
Production of the film began in the late 1970′s and led to an eventual screening at the Mill Valley Film Festival in 1982. However, mixed reactions from the assembled audience of film buffs and music fans gave the producers cause for reflection and they immediately went back to editing, resulting in parts of the movie being strewn about all over the cutting room floor and destined to be forgotten and left behind.

Thus began an epic journey to find the elusive missing footage that would help piece back together their original vision of a possible future. Digging through over thirty years of archives, the team at Shakey Pictures was then tasked with locating, cataloging and viewing every element ever associated with the film in the hopes of finding the masters.

The Quest for Lost Audio
The first step in the search was to identify the master analog multi-track tapes so they could be restored and transferred at high resolution for digital assembly and surround sound mixing. To begin with the highest possible sound quality, the original 2″ 16-track multis were converted at 24-bit/192-kHz. However, it was discovered that that the music and dialogue tracks were not on separate tracks but rather were already mixed on these master reels.

HumanHighway_reels_300px
Montage of the original Human Highway tapes and reels – Shakey Pictures

The team went back in the vaults again to find the 16-track reels with isolated dialogue and music, but other than locating music on 1/4″ reels, there was no source material with the master dialogue. So as a final step, the search was on to find the original Nagra reels to get clean dialogue. The dialogue reels were located, and incredibly – the original Nagra IV-S machine was found – the exact same machine that had actually been used on set in 1982. Originally introduced in 1971, the Nagra IV-S recorded two-track stereo. It had dual level pots, limiters, and equalizer presets and was considered the highest quality in its time.

With the tapes and the reels in hand, each Nagra reel had to be reviewed to locate the exact takes that were used for the film. There were then transferred to high resolution so that the post-production process could begin using the best sounding and cleanest sources. “As I listened through boxes of Nagra reels, I really felt like a fly on the wall of the set” said Will Mitchell of Shakey Pictures “Often tape was rolling wild both before and after takes, so I got to experience the process and understand just where the crew was in capturing the master performances. As with many films, the improvised lines on alternate takes were incredibly creative and fun. It was clear that this was a fun shoot.”

“Worldizing” Re-Mixing Technique
A unique audio technique – called “Worldizing” – was applied to scenes for the Director’s Cut. Rather than applying a plugin or an effects processor to flat or dry audio, Shakey Pictures used Worldizing to give the sound great depth, dimension and realism by playing the audio back in a suitable acoustic space and then re-recording it. This resulted in real world ambience and reflections, something that digital production can only approximate. Some examples of Worldizing can be heard inside the garage at Otto’s Corner, during the radio broadcasts and in some of the music. These Worldized tracks were also used as a blended effect to create the foundation for post-production.

Surround for Climactic Dream Sequence
Once in post-production, one of the major challenges of mixing Human Highway was dealing with all the separate elements. Because it was mixed so long ago, it was difficult to find the pieces all in one place. Quite often each mix would start with a partial stem with dialogue and effects and music all mixed together. Then, later in the workflow, the effects and music were mixed together, but the dialogue separate and isolated.

But this was not always the case; often the discreet stems would have just dialogue and no effects and music, or just effects and no music and dialogue and so on.

It was a significant and time consuming effort to equalize and blend multiple sources into a seamless track. “Working with all these sources was very much like an Easter-egg hunt”, said Tamara Johnson, Sound Designer and Re-recording Mixer of Post-Apocalyptic Studios. “The goal was to make the film’s ‘Linear Valley’ setting seem very normal – although was far from it! So to lull the audience into this normalcy, the background mix is stereo and dialogue and effects, mono. No panning was used, the sound is pure and comes straight up the middle into the audience.”

The film then builds up to the climactic scene when Neil Young’s character “Lionel” suffers a bump on the head and drifts into an intense ‘dream sequence’ that sees Lionel become a rock star and performs a ten-minute studio jam scene where Young and Devo play together.

HumanHighway_still_400px
Neil Young and Devo in Human Highway’s Dream Sequence – Shakey Pictures

Now that the audience is conditioned to the stereo/mono effect, the goal was to shock them by introducing new sound elements for this dream sequence. The objective was to make Lionel’s dream sequence ‘huge’ using surround elements with wide and isolated channels swirling around the room. “We tried to make this scene larger than life”, said Johnson. “It was vital to have a high quality surround mix with no phasing or delays so I used Penteo to upmix backgrounds and music into 5.1 Surround for this pivotal dream sequence”.

The crowd surround elements were mixed around the room, effectively placing the viewer in the middle of the scene so that the audience becomes ‘Lionel’ for that intense moment. The film closes when Lionel wakes up and finds himself back in ‘normal’ Linear Valley – the dream is a fantastic contrast to reality.

About Shakey Pictures
Shakey Pictures, founded in 1972 by Bernard Shakey has over 40 years filmmaking to its credit and has produced such memorable titles as “Journey Through The Past”, “Rust Never Sleeps”, “Human Highway”, “Solo Trans”, “Muddy Track”, “Weld”, “Year Of The Horse”, “Silver and Gold”, “Greendale”, “CSNY/Déjà vu”, “Heart Of Gold’, “Trunk Show” and “Journeys”. For more information see the official Toronto International Film Festival Website: http://www.tiff.net/festivals/thefestival/programmes/specialpresentations/human-highway
or our website: http://tinyurl.com/ncfn2yu

About Penteo
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by Audiotech Digital Limited, Penteo remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. For more information, see our website http://www.perfectsurround.com

DK-Technologies Appoints Anders Kjempff As New Sales and Marketing Director

Anders Kjempff

DK-Technologies has announced the appointment of Anders Kjempff to the position of Sales and Marketing Director, with responsibility for promoting the company’s range of audio and video metering products including the award winning DK Meter. He will be based at DK-Technologies’ head office in Herlev, Denmark.

Kjempff brings extensive management experience to the role having previously run his own IT sales company, which he sold earlier this year. Prior to that he spent nine years with broadcast transmission company ProTeleVision Technologies (PTV) where he was Sales and Strategy Director.

Karsten Hansen, CEO of DK-Technologies, says: “There is a real sense of ‘Sliding Doors’ about Anders’ appointment because, in a parallel dimension, he should have joined the company in 2001 when DK bought the Studio Products Division of PTV. At that stage he was working for the part of the company that we didn’t buy, and that’s why he didn’t come across then. I am really delighted that our paths have finally come together. Anders has so much industry experience and is such a consummate sales and marketing professional that this is really great news for the future of DK-Technologies.”

Commenting on his appointment, Anders Kjempff adds: “I have known about DK-Technologies for many years and have always admired its approach to product design and development. DK products are conceived from a blank sheet of paper – there are no third party algorithms or components because everything is designed from scratch with no compromise. That is why the company has such a strong international reputation for quality. I am delighted that I am now part of this because I share the same values. Coming to DK really does feel like coming home.”

Under Kjempff’s guidance, DK-Technologies will be looking to promote its world class products and expand its sales network on a global scale.

-ends-

About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

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Blend Adds Support for Propellerhead Reason

Veteran music creators post Reason material for the masses to remix

NYC (September 9, 2014) – Blend (http://blend.io), an online network where musicians share and collaborate on tracks, announces support for Propellerhead Reason music production software. Reason users can now share and collaborate on in-progress music projects, tutorials, and sample packs.

Veteran music creators Paul Wilson (Lauryn Hill, Erin Barra), Justen Williams (Kourtney Hart), and Chris Freeman (Manchester Orchestra, Bad Books) have joined Blend to celebrate the announcement with exclusive new material for users to pull and re-imagine. Users can browse Reason projects here: https://blend.io/explore/type/reason.

Reason features on Blend:
• Publish Reason projects on Blend for private or public collaborations and remixing
• Browse, preview, comment on and pull (download) publicly published Reason projects
• Share a preview widget for Reason projects on third party sites

Reason_logo

Propellerhead Reason is a full-featured music production software studio. Centered on its signature rack of instruments, effects, and sounds, Reason includes everything needed to write, record, remix and produce great-sounding tracks. Songs are built in Reason’s sequencer with the ability to add guitar, vocals, MIDI synths, or even record an entire band. Tracks are then polished and finished in Reason’s studio-grade mixing console.

Join the Blend community with an exclusive invitation from Propellerhead, visit https://blend.io/vip/propellerhead and enter the code: REASON.

About Blend
Blend was created for musicians to connect and share in-progress tracks and collaborate, or “blend” each other’s works. While other networks focus on publishing completed music, Blend provides a platform for musicians to collaborate directly with each other in their native (source) format, such as Ableton Live, Maschine, Pro Tools, Logic, GarageBand, FL Studio and Reason.

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