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Yamaha YCATS Training Moves Toward Future In Networking

BUENA PARK, Calif.—Yamaha Commercial Audio Training Sessions (YCATS) is moving in a new direction with their console training programs. This year, YCATS has created two new console classes in order to eliminate the repetition between the CL, QL, M7CL and LS9 seminars as these consoles share many of the same software features. The new classes will initially be held at HB Live during the first week of August, HB Live is sponsoring a CL/QL Series Essentials Class in North Haven, CT and ATR/Treehouse is sponsoring the same class in Warwick, RI.

HB Live, a division of HB Communications will host new sessions Tuesday, August 5th between 8:30 – 5:00 pm at 60 Dodge Avenue, North Haven, CT. For more information, call 800-331-1804. Registration details below.

ATR/Treehouse sessions will be held Thursday, August 7th between 8:30 am – 5:00 pm at the Ocean State Theater, 1245 Jefferson Blvd, Warwick, RI. Complementary breakfast and lunch will be served. For more info, contact ATR/Treehouse at 401-751-3121. Registration details below.

“The new YCATS training direction will be much for efficient and streamlined for our customers,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “We are improving the YCATS programs for networking and acknowledge that our end user customers operate different Yamaha digital consoles from time to time with many common paradigms between the various models that enables us to improve the efficiency and effectiveness of our training programs.”

Console Operation – Level 1 is for those with little or no familiarity with Yamaha live sound consoles. Console Operation – Level 2, is more of an intermediate to advanced class designed for those familiar with the basic functions of Yamaha digital consoles. This new training format will allow YCATS more efficiency in terms of customer time. It will also reinforce that the software of Yamaha digital consoles is the same, and a user familiar with one should have no problem operating another. Right now, the largest demand is for training on CL, QL, M7CL and LS9; all sharing similar software.

In addition to the new Console Operation Levels, YCATS is adding “Digital Sound Reinforcement – Dante” and “CL/QL Series Essentials”. “DSR – Dante” is a one-day class covering design and use of Dante networks with Yamaha products as well as several third party products (i.e. Shure ULX-D and Aviom D800). “CL/QL Series Essentials” is a class for those who have been trained on the M7CL and LS9 and covers all new features with the CL and QL consoles and the set up of Dante networks.

For an end user looking for more in depth information on a particular console, YCATS has produced an online video series that can be used as a reference. New videos and webinars are on the docket for later this year.

Detailed descriptions of the new classes can be found online at:

Console Operation – Level 1: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=33
Console Operation – Level 2: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=34
Digital Sound Reinforcement – Dante: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=35
CL/QL Series Essentials:
http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=32

Look for the new YCATS classes coming in Chicago, IL; Hayward, CA’ Long Island City/Queens, NY; and Nashville, TN. A full list of locations for this year can be found at: http://www.yamahacommercialaudiosystems.com/training.php?catID=11001.

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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.

WuTang Embraces Online Collaboration on Blend with New Project

Wu Tang invites music producers worldwide to create new versions of a new Wu Tang Parental Advisory song at Blend.io

New York, NY – Online collaboration is gaining more and more traction in all areas, and most noticeably when it comes to music creation. Many musical styles are built on borrowing and manipulating works by other musicians; Hip Hop, Ambient, EDM, Trance, Rap and many others. Originally, DJs would physically manipulate records to isolate and loop the best breaks for rappers to perform over. Later this evolved into sampling snippets of songs and reworking those elements by adding layers of production on top. Wu Tang Clan is now taking that idea one step further, putting the raw session files of a new song online for anyone to deconstruct and reassemble as they see fit.

This new digital collaboration is part of the new Wu Tang project called Parental Advisory. “Basically we’re looking to find and nurture the next generation of Shaolin,” explains Oliver Grant, who was an executive producer on many of the group’s albums and helped create the branding and commercial empire around the music. “It’s about trying to be in touch with what’s going on in technology and marry that to the traditional methods we know.”

Wu Tang is releasing the first track from Parental Advisory on Blend, the online music collaboration network that supports Ableton Live, Maschine, Pro Tools, Logic, FL Studio, GarageBand and more, allowing music creators to find, share and collaborate on music projects in their native (source) format. Wu Tang uploaded the session files for the new song, entitled “So Many Detailz”, in the three popular formats on Blend: Ableton Live, Pro Tools and Logic. Blend members will have access to original building blocks of the track, so they can take the song in new directions. Grant explains that Wu Tang is looking for inspired remixes of their own material.

The new track features Turnpike Ike, Mc Kash and Chunky, young rappers from the neighborhood where Wu Tang was founded. The hope is that Parental Advisory will help kick start the careers of some new Staten Island born rappers, but it will also rely on platforms like Blend to reach out to a much wider talent pool. “We’re gonna go through them and pick out the best remixes to make an EP,” says Grant. “We’re looking to be shocked, whether it’s EDM, or whatever version it is. It may be Switzerland, a guy who wouldn’t be on the hip hop sites, but he’s going to be on Blend, checking out what’s new.”

Blend has been the platform for the launch of tracks by other well-known musical acts, including Moby, who recently said: “The digital present we live in, you can’t control things, can’t lock them down. The best way to make a living as musician, I find, is to set this stuff free and let the love come back to you.” Wu Tang’s Grant has a similar mindset when it comes to giving away the sessions from Parental Advisory. Rather that fighting technology out of fear, the mindset is to embrace it and tap into the collective global talent that technology helps bring together.

Visit Wu Tang on Blend at https://blend.io/WPA.

Martin Audio MLA Hyde Park Sound Evolution At BST

Proving last year that London’s controversial Hyde Park festival site could be uniquely protected from noise leakage into the surrounding neighborhood by deploying Martin Audio’s award-winning MLA technology, promoters AEG Live adopted a similar solution for this year’s Barclaycard presents British Summer Time Hyde Park festival—but with significant enhancements.

While Capital Sound again deployed MLA and MLA Compact to guarantee coherent site coverage, Martin Audio’s R&D Director Jason Baird, was determined that new optimizations would enable them to eke out as much as an additional 3dB at front-of-house without increasing offsite pollution.

As a result, 102dB(A) was achieved for McBusted, with 73dB(A) recorded offsite, comfortably within the maximum allowable of 75dB(A), while both Tom Jones (during his louder numbers) and Black Sabbath nudged 103dB(A).

Baird explained that the journey to accomplish this had begun three months earlier; with the concept tested and proven on the Glastonbury Festival delay rig the week before.

“We conducted the propagation tests based on what we learned last time around,” he said. One of the key offsite measurement points identified by both Westminster Council and acoustics specialists Vanguardia at Hyde Park was on top of flats in Mayfair’s nearby Upper Brook Street. “When I visited the property last year, I was able to look at the complete spectrum of the signal,” says Baird. “You could hear there was only LF and low mid that was contributing to the A-weighted measurements and we realized that if we could reduce that frequency band we could have a better differential.”

And so his R&D team set to work on the optimization routines across the full frequency range to improve the differential between on- and off-site levels without extending latency––and this trial optimization will in time feature in new data firmware. While Baird maintains that testing will remain ongoing he says the success at Glastonbury gave him the confidence to deploy it on additional arrays in Hyde Park including house left side hang and the two delays nearest to Park Lane.

He describes these early tests and the additional increase of around 2-3dB in max FOH levels over the previous year as “encouraging and significant”.

Capital Sound’s Technical Manager and Systems Designer, Ian Colville, confirmed, “It all worked well and there were no issues with the three arrays we used the new optimization algorithm on.”

His site design replicated last year’s when the stage was reoriented through 30° to point it away from sensitive offsite areas, and included 10 delay towers (in two rings of four plus one ring of two). However, there was one exception. “We dropped a delay position [in Ring 3] which didn’t need to be there because the design of the back of the field changed,” he said.

For the main PA, Capital deployed two hangs of 16 x MLA and 1 x MLD Downfill per side, with 12 x MLA and 1 x MLD Downfill for the sidefills. The sub array consisted of 21 x MLX in a broadside cardioid array, with a further 11 enclosures back facing.

The three delay rings comprised between seven and nine MLA element hangs (supported by MLD Downfill and MLX subs). Ring 3 featured eight MLA Compacts. These were set at distances from the stage of 295, 524 and 688 ft. (for the MLA Compacts). Distance from FOH to stage was 165 ft.

Capital and Martin Audio deployed a team of technical heavyweights, including Chris Pyne, who handles Martin Audio product support for SE Asia and has worked closely with Capital since piloting Kylie Minogue’s mix in the 1990s; Capital had Dave Roden babysitting consoles and the accomplished Toby Donovan once again acting as system engineer while Martin Connolly was the account manager.

(left to right: Martin Audio’s Jason Baird and Chris Pyne, and Capital Sound’s Ian Colville

With FOH engineers no longer worrying about trading offsite noise pollution with audience sound levels, it meant they could really focus on the mix they wanted and at the same time appreciate the musicality of the system.

One visiting sound engineer Chris Madden (working with Little Mix), had nothing but positive comments. “I used the Martin MLA system about two years ago with Jessie J and I enjoyed it then,” he said. “But I think it was even better this time. It’s a very interesting and remarkable piece of equipment …I didn’t EQ it at all at BST and it sounded great.”

Matteo Cifelli, FOH engineer for Tom Jones, who performed on the final Sunday, was equally effusive. “I was very happy with the results we achieved, the mix immediately sounded just as it was conceived,” he says. “This is the sign of a good cabinet, and also of a well tuned system.”

“I was very pleased with the purity and musicality of the cabinet. I also appreciated the consistency in frequency response at different levels. The sound image was among the best I have ever heard on a large system. Even mixing off center, I could hear all the reverbs and details of my mix clearly and the presence and sweetness on the vocals was great, in your face and never harsh.”

Summing up Jason Baird says, “What FOH engineers want at festivals is plenty of headroom and not to worry about offsite restrictions. Having reduced the low mid and LF spectrum this year, we’ve been able to further ensure this, and that means the power, depth and definition of the system can also really shine too.”

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.

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DPA Gets Up Close And Personal With Scarlett Johansson

DPA microphones turn up in some unusual places, but inside Scarlett Johansson’s t-shirt has to be one of the brand’s more exotic locations.
According to French sound engineer Stéphane Bucher, DPA’s d:screet™ 4060 miniature microphones were absolutely perfect for this role because they offered such exceptional audio quality. He used three of the mics to capture Johansson’s performance during the making of Lucy, a new film directed by Luc Besson that is due for theatrical release later this month.
“d:screet 4060 microphones are very small but that wasn’t the reason why I chose to use them,” Bucher explains. “It was all about their audio fidelity – when it comes to sound quality DPA 4060′s are much, much better than other lavalier mics on the market.”
As an internationally acclaimed sound engineer, Bucher has worked with numerous famous actors and directors including Morgan Freeman, Pierce Brosnan and Kevin Costner. In recent years many of the projects he has undertaken have come via major feature film producers such as EuropaCorp. He also owns and manages the Paris-based rental company, A4Audio, which supplies audio equipment to film and TV clients.
“During the filming of Lucy, it was important to take on board Luc Besson’s directing style,” Bucher explains. “He is not the easiest person but I was really happy to work with him. He shoots so fast and wants the actors ready to go when they come to set because he already knows exactly what he wants. Once the actors are here, it is too late, you’ll not have time to put a lavalier on anyone.”
Fortunately, the film’s costume designer Olivier Beriot completely understood Bucher’s problems and was able to work with him to devise a way of permanently attaching a microphone to Scarlett’s main costume.
“Olivier is the best costume designer I have ever worked with and I have huge respect for him,” Bucher says. “Scarlett’s main costume was a white, half translucent T-shirt so we used a white d:screet 4060 microphone which was inserted into the seam of the t-shirt by the dressmaker. We had three t-shirts ready at all times and the solution worked perfectly, giving us great audio but without any visibility issues.”
Bucher adds that this wasn’t the first time he’d used DPA microphones – indeed, he first started using them many years ago when he was recording classical music.
“Like every other sound mixer, my equipment is really important and I’m constantly looking for the best microphones, mixers, recorders, etc,” he says. “When I started working in film and TV sound, I was using the same lavalier microphones as everyone else because I didn’t really have a choice. Now I do have a choice and I can use the best mics available for cinema sound, which happen to be DPA. I originally chose them because I was tired of going to the cinema and hearing that recognizable sound you get with other lavalier microphones. DPA’s sound is really translucent and clear – to the point where sometimes I can’t tell if I’m listening to the boom or the 4060.”
Since completing Lucy, Bucher has been in the USA working with director Olivier Megaton on the film Taken 3, which stars Liam Neeson and Forest Whitaker. As the film requires audio to be recorded inside a car, DPA’s French distributor Audio2 equipped him with a number of d:dicate™ 4018 supercardioid microphones, which are ideally suited to this type of location work.
“They were great,” he says. “I used them for one particular car chase where Liam Neeson is driving very fast on the highway. I needed a very small mic to put into the car’s sun visor. We bought two new sun visors, opened them up and put the 4018 mics inside. This worked perfectly. We also tested them on a much simple car scene, in which Forest Whitaker is driving and talking, and they worked great for that, too.”
Stéphane Bucher is now in France preparing for his next film project, which will undoubtedly feature DPA microphones in a starring role.
“I’ve always been really happy with the audio quality DPA microphones deliver and that’s why I keep going back to them,” he says.
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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

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Manley Labs Promotes Hughley

Chino, CA – July 2014… Manley Labs, a leading manufacturer of high-quality hand-built professional audio products, has announced the appointment of Daniel Hughley to the position of Sales and Marketing Coordinator.

Hughley joined Manley Labs in 2011, and has held a number of positions within the company, including Assistant to company President EveAnna Manley, as well as working within the company’s Production and Finance departments. Most recently he has worked as Sales and Marketing Assistant, supporting the Sales and Marketing team in building brand awareness and growing sales. Hughley has also provided his engineering and production talents to commercial and private recording studios, including Grandmaster Recorders, The Pie Studios, and guitarist Steve Vai’s personal studio.

“Dan has been a valued member of the Manley team since day one, and has continued to contribute above and beyond even our highest expectations,” remarked Manley Labs VP of Sales and Marketing Rick McClendon. “He has more than earned this promotion, and we are confident he will continue to be a force within the company.”

“My work at Manley Labs has been a high point of my audio career, and I’m proud of what we have accomplished as a company,” Hughley added. “It’s an incredible group of people and an amazing collection of talents. I’m confident we will continue to grow and flourish, and I look forward to a long and rewarding relationship for myself and Manley Labs.”

Hughley continues to work out of Manley Labs headquarters in Chino, California.

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About Manley Laboratories, Inc.

Since the late 1980s Manley products have evolved from purist audiophile vacuum tube designs expanding into professional audio and digital converter systems. Manley’s legacy of design philosophies has been proven over years of real-world experience, using high quality modern components, many of which are fabricated in-house. Manley’s 11,000 sq. ft. building houses a machine shop, printed circuit board manufacture, audio transformer winding, engraving, and wire harness prepping facilities. All custom design, R&D, assembly, testing, and quality control processes are performed with precision and pride at the Manley factory, located just 35 miles east of Los Angeles, California. All Manley products are built in Chino, not China.

For more information, visit: http://www.manley.com

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Artspace Studio Buys a Prism Sound Titan Audio Interface

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.
“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed! I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”
Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.
“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”
Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.
Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.
“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.
Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”
For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.
“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”
Gillieron has recently remixed PHORIA and his re-mix can be heard at this link: https://soundcloud.com/phoriamusic/emanate-tom-gillieron-remix
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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com

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Martin Audio MLA Compact At New Hollywood Casino Event Center

Charles Town, WV––Control Point Technology of Lebanon, PA recently installed a Martin Audio MLA Compact loudspeaker system as part of the new high-tech Event Center at Hollywood Casino.

Hollywood Casino at Charles Town Races describes itself as “a world-class resort destination, offering visitors a truly Las Vegas-style experience that includes 2750 slot machines, 98 table games and 26 poker tables, and both live and simulcast thoroughbred horse racing year round in a safe and hassle free environment.”

An intimate 1200-seat venue designed to get guests as close to performers as possible, the new Event Center opened on the July 4th weekend with Creedence Clearwater Revisited and is scheduled to feature artists such as The Spinners, The Romantics, The Smithereens, Marshall Crenshaw, Tommy Tutone and Sinbad.

Control Point was tasked with Audio, Video and Lighting for the new facility, including a Martin Audio MLA Compact loudspeaker system. The actual system consisted of seven MLA Compact enclosures a side with six DSX subs and four DD6s for front-fill mounted sub-stage just under the stage lip. Two Martin Audio WT3s in the back of the room provide outfill for the rear seats and a stage monitoring system consisting of eight LE1200s, two LE1500 monitor wedges and a pair of Blackline H3+ for sidefill.

Asked why they chose Martin Audio for the sound system, Control Point Project Manager Aaron Replogle replies, “We wanted a system that was world-class and accepted by whatever bands and tour riders came through the venue. We knew Martin Audio would be accepted especially with the technology behind MLA being top of the line and cutting-edge, with capabilities no one else has. The sound quality is important to us and the MLA Compact’s ability to have the system direct the output just to the audience and not the side walls, ceiling or back walls was critical in terms of maximizing the audience experience. It’s really a fantastic system for this application.

“The FOH engineer for the first show was happy with the system. He’d been in many facilities and often ran into problems with new systems, but he indicated that this was an easy day for him.”

The audio system also includes a 48-channel Avid Profile consoles for FOH mixing and an Avid Profile Mix Rack for monitors along with Lab Gruppen amplification.

According to Aaron, the multifaceted video system includes “HD SDI distribution to a pair of Christie HD10K M Series projectors with projection surfaces that flank the proscenium opening left and right to display what’s happening on stage. There’s also an Ikegami broadcast-style camera located in the catwalk for image magnification, which again outputs HD SDI with jacks located throughout the event center area so they can send other video sources in or out of the system.”

The lighting system includes a front of house truss and over stage truss consisting of 72 LED RGB color-mixing PAR lights, 10 RGB LED Ellipsoidals for specials and additional effects lights.

Summing up about the Martin Audio MLA Compact, Aaron concludes, “we’re very pleased with the audio quality and system stability—there were no issues with the system––it sounded clean and wonderful and everybody was happy, which is always our goal.”

For more abut Control Point Technology, please click to www.control-point.com

For more about Martin Audio, please click to www.martin-audio.com

About Control Point Technology
Control Point is a Pennsylvania-based company founded in 2007 with the vision to utilize the most current AV trends, technology and concepts to design totally functional audio visual and communications systems for businesses ranging from casinos and pari-mutuel venues to hotel and entertainment companies.

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.

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PreSonus Delivers Complete Mobile Recording Solutions for Mac, Windows, and iPad

Baton Rouge, Louisiana, July 2014…PreSonus is excited to announce the USB 2.0 bus-powered AudioBox™ iOne audio interface and AudioBox iTwo audio/MIDI interface for Mac®, Windows®, and Apple iPad®. These next-generation mobile interfaces include PreSonus’ easy-to-use Studio One® Artist DAW for Mac and Windows, new Capture™ Duo recording software for iPad, and a Nimbit® Free account for online direct-to-fan distribution of music, merchandise, and more. With Capture Duo or Capture for iPad and an AudioBox iOne or iTwo, you can record with an iPad, then wirelessly transfer your recordings directly to Studio One Artist. The result is an integrated, end-to-end, mobile solution that includes everything needed to record, edit, mix, and share music anytime and anywhere.

The AudioBox iOne sports one instrument input and one mic input, while AudioBox iTwo offers two combo mic and switchable line/instrument inputs. Both feature high-performance Class A mic preamplifiers with phantom power and 24-bit, up to 96 kHz converters with 105 dB of dynamic range. The DACs feed balanced ¼-inch, line-level outputs and a loud, clear headphone output with independent level control. The AudioBox iTwo also includes MIDI In and Out. Each interface has an internal analog mixer with zero-latency monitoring, enabling you to monitor recorded tracks and overdubs without audible delay.

Small, lightweight, and USB bus-powered, the AudioBox iOne and iTwo can sit on a tabletop or fit in the pocket of a backpack or laptop bag. They’re built to travel, with a metal chassis and knobs and jacks secured directly to the enclosure to reduce strain on the internal circuit board.

Both interfaces work with any recording software that supports Core Audio (Mac) or ASIO (Windows).

Introducing Capture Duo and Capture for iPad

Capture™ Duo two-track recording software for iPad, free from the Apple App Store, is based on PreSonus’ Capture live-recording software for StudioLive mixers. Capture Duo lets you record and play two tracks with 24-bit, 96 kHz fidelity and includes basic mixing and editing as well as an integrated metronome.

PreSonus also offers Capture for iPad, which can record up to 32 tracks with the same features and 24-bit, 96 kHz fidelity. Capture for iPad is available from the Apple App Store for an expected price of $9.99.

For more information please visit www.presonus.com/products/AudioBox-i-Series.

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About PreSonus Audio Electronics, Inc. – Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Rui Da Silva invests in a Prism Sound Lyra 2 Audio Interface

Rui Da Silva, writer of international number one single Touch Me amongst many other diverse projects, describes himself as a Producer, Engineer, Beatmaker, Remixer, Writer, DJ and Programmer. He can now add Lyra 2 owner to the list as well, having recently bought one of the audio interface units from Prism Sound.
“I first heard about Prism Sound’s Lyra 2 through a magazine article,” he says. “I’ve been a longtime user of the company’s Orpheus audio interface and have also used the Dream AD-2 converter in the past. The Lyra 2 integrates perfectly in my new setup. Studio space is at a premium and while I still use the Orpheus in my studio in Windsor, Lyra 2 is the right fit for my central London studio and for travelling work. It has sufficient inputs and outputs to be able to run most of my sessions and has a small enough footprint for me to just put it in my backpack.”
For Da Silva, this makes Lyra 2 a ubiquitous tool in his kitbag. He not only used the unit to write, record and mix all of the debut album from Lisbon Kid, but also to record Chloe Howl and much of his latest solo productions and remixes.
“In fact, you can hear it on every single release I have put out in this past year,” he says.
The Lyra family of audio interfaces is proving to be an extremely popular one for Prism Sound. Built from a design brief that demanded Prism Sound quality at an even more accessible price point, Lyra has the same no-compromise analogue front and back ends as its bigger brother Orpheus, with the same fully-balanced-throughout architecture and the same isolation barriers protecting the analogue from digital and computer interference. And it achieves all this in a 2.1kg, 2/3 width, 1U 19in rack mountable unit.
“It has also allowed me to not have a mixer in the studio as I use the Lyra Control Panel instead,” comments Da Silva. “And it allows me to give a separate headphone feed to the singers when we are doing vocals. The latency — even if it is not an absolute zero — is very workable for almost every scenario.”
Da Silva adds that Prism Sound support has been brilliant and staff are ‘a pleasure to deal with’. But it’s the Lyra 2′s portability along with that ‘Prism Sound’ that is the real advantage for him.
“I have to make a long trip to Portugal this year to record some new material for Lisbon Kid and, of course, the Lyra 2 will be in the bag with me,” he says.
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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com

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“Weird Al” Yankovic Has “Mandatory Fun” at Bedrock.LA

New TELEFUNKEN C12 Mic For Hit Parodies and New Originals

Pictured with a TELEFUNKEN C12 microphone at Bedrock.LA are (L-R) "Weird Al" Yankovic, Bedrock.LA partners KamranV and Phil Feinman, recording engineer Brian Warwick, and studio manager Eric Rennaker. Photo by David Goggin.

“Weird Al” Yankovic returns July 15 with “Mandatory Fun,” his 14th studio album and first since 2011′s “Alpocalypse.” The reigning King of Pop Parody chose to work at Bedrock.LA studios in Echo Park, the new creative heart of Los Angeles music, art and culture.

“This was my first visit to Bedrock,” Yankovic said. “I was impressed by how enormous it is — over a hundred rooms. It’s really a wonderful experience to be here where there’s so much art going on, so many musicians, so many people rehearsing, recording.”

Few would have guessed that “Weird Al” Yankovic, who as a shy, accordion-playing teenager got his start sending in homemade tapes to the Dr. Demento Radio Show, would go on to become the biggest-selling comedy recording artist in history with over 12 million album sales. Now in his fourth career decade, he has won 3 Grammys (with 14 nominations) and countless awards and accolades for Weird Al classics like “Eat It,” “Like a Surgeon,” “Fat,” “Smells Like Nirvana,” “Amish Paradise” and “The Saga Begins.” His 2011 album Alpocalypse (featuring the Lady Gaga parody “Perform This Way”) debuted in the Billboard Top 10, and was nominated for two Grammy Awards (Best Comedy Album and Best Short Form Video).

“Bedrock has been so accommodating,” commented Al’s recording engineer Brian Warwick. “It’s got a great vibe, like working in an old studio where you constantly have people around, where there’s always something happening. Al and I were walking around here late one night, just trying to find out who was playing the interesting music we were hearing. In a lot of the bigger studios these days, they shut down late at night, but here it’s still really, really active. And everything we’ve recorded sounds great. This room in particular is really well designed for doing vocals and overdubs.”

The “new Mandatory Fun” album features parodies of some of the biggest hits of the past year, including Pharrell Williams’ “Happy” (“Tacky”), Robin Thicke’s “Blurred Lines” (“Word Crimes”), Lorde’s “Royals” (“Foil”), Iggy Azalea’s “Fancy” (“Handy”) and Imagine Dragons’ “Radioactive” (“Inactive”). The album also features several inspired originals and pastiches (“Lame Claim to Fame,” “Sports Song,” “My Own Eyes,” “Mission Statement,” “First World Problems” and “Jackson Park Express”) along with Al’s latest accordion-fueled medley, “NOW That’s What I Call Polka!”

"Weird Al" Yankovic is seen outside Bedrock.LA's 12,000 square foot mural by the art duo Cyrcle with a TELEFUNKEN custom red, white and blue M80 dynamic microphone. "There is just nothing like the natural reverb in Echo Park," he quipped. Photo by David Goggin.

For the vocal sessions at Bedrock.LA, Yankovic chose a new TELEFUNKEN C12 large diaphragm condenser microphone. “This mic is great, with all the characteristics of the classic C12,” Warwick continued. “If anything, I feel a little more secure using this one versus a vintage C12, because you never quite know the age of the tube. You don’t know when the last time the capsule was redone or if you have the right power supply. With a beautiful new C12, it just gives you a little more confidence when you walk into the studio.”

Al added, “The equipment at Bedrock is state of the art, and the studio just feels like home. I’ve been in situations before where I felt like I was in the middle of nowhere and sequestered away. That’s another way to work, but I prefer to be around creative people and feel like I’m part of a community.”

Further in the spirit of Mandatory Fun’s bid for world domination, beginning July 14th Al began releasing 8 music videos in 8 days. Yankovic’s production partners for the world premiere videos include Nerdist Industries, College Humor, Yahoo, Funny or Die and TruScribe, as well as talented auteurs like Liam Lynch, Jarrett Heather and Tim Thompson.

Weird Al, along with his band of over three decades, has performed thousands of live rock and comedy multimedia shows throughout the world, and will be back on the road in 2015 for The Mandatory Tour.

Check out “Mandatory Fun”:
http://www.weirdal.com

Learn more about TELEFUNKEN Elektroakustik at:
http://www.telefunken-elektroakustik.com/

Learn more about Bedrock.LA: http://Bedrock.LA

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