Archive of the Industry News Category

Remembering PreSonus CTO Bob Tudor

PreSonus sadly announced today the passing of Bob Tudor, the company’s widely admired, respected, and beloved Chief Technology Officer.

A legend in the pro audio/MI industry, Tudor followed a long and winding road to PreSonus. A child prodigy, he studied piano with Arthur Rubinstein protégé and Julliard fellow Josephine Bacher. Tudor later studied electrical engineering at the prestigious Rensselaer Polytechnic Institute but switched to the Berklee College of Music, where he studied film scoring, jazz, and music production. He cofounded Boston’s Metropolis recording studio and recorded such well-known acts as Peter Wolf/J.Geils Band, Extreme, Aime Mann, New Kids on the Block, and Bobby Brown. He also played keyboards and acoustic piano on numerous records as a studio musician and remixed “Cradle of Love” for Billy Idol.

Fascinated with how gear worked, Bob eventually combined his passions for music and engineering, creating a long list of companies, products, and technologies. As one of the pioneers at Mackie Designs, he created the company’s line of digital mixers, hard-disk recorders, and control surfaces. After leaving Mackie, he founded SaneWave, where he developed products for a wide assortment of pro audio manufacturers.

Overall, Tudor and the SaneWave team had designed more than 100 products, including such hits as the TASCAM US-2400 Control Surface and X-48 Hard Disk Multitrack Audio Recorder, Electro-Voice DC-1 Speaker Processor, M-Audio ProjectMix, and Lexicon MX-500 FX Processor. He did additional projects for QSC, Samson, Shure, Alesis, Gibson, Fender, and many others. One of SaneWave’s best clients was PreSonus, for which he helped define and design the FaderPort and the StudioLive digital-mixer line. That led to his decision to join the company full time in 2008. His products have garnered five TEC Awards, five MIPA Awards, and numerous other awards. As Tudor put it, “I enjoy developing disruptive products”—that is, innovative products that can potentially shake up and energize the market.

As Chief Technology Officer, Tudor oversaw all PreSonus advanced development activities and evaluated and implemented emerging technologies that have been utilized in many of the companies most successful products. Along with PreSonus CSO Jim Odom, he developed the strategic direction of the company’s innovative products and technologies.

Said Jim Mack, PreSonus CEO, “Anyone who has ever had the pleasure of working with Bob, or even interacting with him at events or trade shows, was likely touched by his energy, enthusiasm, and passion for technology—and specifically, technology that allowed people to make better music. He was always fascinated with what could be done and was never really deterred by challenges or technical hurdles. He not only made things that no one else could see or do possible, he made them look easy. We have not only lost a truly amazing engineer but a very dear friend to so many people in this industry.”

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L-ACOUSTICS Grows North American Team With Three Hires

Left to right: André Pichette, Chris "Sully" Sullivan and David Brooks

David Brooks, André Pichette and Chris “Sully” Sullivan join L-ACOUSTICS US

OXNARD, California — Bolstering its commitment to both the permanent installation and touring markets, L-ACOUSTICS announces the strategic appointment of three new employees to its US team: David Brooks, André Pichette, and Chris “Sully” Sullivan. The announcement comes from Laurent Vaissié, General Manager, L-ACOUSTICS US.

Having served as Applications Engineer for L-ACOUSTICS’ worldwide headquarters in Marcoussis, France for the past nine years, David Brooks has now joined the Oxnard, California office as Applications Engineer, Touring Liaison, USA. With 30 years of experience to his credit – including running monitor mixes for N’Sync, among many other artists – Brooks is now tasked with providing additional support for touring clients, liaising with production and sound companies, and facilitating education for FOH and system engineers.

André Pichette, who most recently served as Director of Integration and Operations at Solotech Las Vegas since 2010, comes to L-ACOUSTICS as Head of Applications, Install, USA. Similarly bringing three decades of audio experience to his new role with the loudspeaker manufacturer, Pichette has performed audio design and engineering work for numerous Cirque du Soleil productions, Olympic Games, and high-profile tours like Billy Joel and Elton John, Backstreet Boys, and Barenaked Ladies over his career.

The new position of Application Engineer, East Coast, USA has now been filled by Chris “Sully” Sullivan, who previously served as Optimization Engineer for Elite Multimedia in addition to mixing touring FOH sound for Gary Allan, Luke Bryan, Joe Nichols, Jaci Velasquez, and Point of Grace. Involved with live sound for almost 30 years as well, Sully takes charge of L-ACOUSTICS’ first technical support position based on the East Coast for increased support and future development in the Northeast.

“L-ACOUSTICS US experienced a steep 74 percent growth in permanent installations in 2013, as well as a very strong demand from production rental companies for our variable curvature products following the introduction of K2,” says Vaissié. “As this trend continues into 2014, I am pleased to announce the appointments of David, André, and Sully to key strategic positions in support of our touring and installation clients, and dedicated local support in the Eastern US, respectively. These men each share a passion for uncompromised high-performance audio, education, and customer support that fits perfectly with our values. Benefiting from nearly 90 years of combined experience, our North American customers and end users can count on, now more than ever, premium support for their L-ACOUSTICS sound systems.”

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

# # #

Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

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Mexican Rock Band Zoé Travels the World with SSL Live Console

“The SSL Live is totally different than other consoles: much warmer, far superior”

MEXICO CITY – One of Mexico’s most popular rock groups, the platinum-selling, Latin Grammy® Award-winning band Zoé is world renowned, having played concerts across North America, Europe and South America. For their latest world tour, which has already made more than 40 stops in the U.S. and Mexico, the band’s monitor engineer, Gustavo Zertuche, is using an SSL Live console to drive the group’s wedges and in-ear monitors. Supplied by Meridian Proaudio, the first rental company in Latin America to offer SSL Live, the console’s ease of configuration makes it perfectly suited to handle monitoring for a fast-paced tour such as Zoé’s.

“The board is really amazing,” Zertuche says of the SSL Live, which allows an engineer to choose their own balance of touch screen and hardware functionality. “You can use the control surface the way you want to, put any channel in any place and configure it the way you want. It’s great for an engineer because you’re not limited; you don’t have to conform to somebody else’s workflow.”

After selecting the SSL Live for Zoé’s world tour, Zertuche, owner of Audioarquitectura and considered one of Mexico’s leading engineers, flew to Los Angeles for a training session. “Live is very simple to learn,” he says. “I was taught how to use it in two days! I was very grateful that the training didn’t require a lot of time; the console is just that great. I used to use a different digital console, but when I heard the SSL, I said ‘no more!’ This is perfect for me now.”

“The audio is incredible,” he continues. “Our mic preamps are being split from our FOH console, but that doesn’t affect the sound. It’s the most clarity I have ever heard from a digital console. It’s like you are using an analogue board—the preamps are very accurate and sound excellent.”

Zertuche uses the console for all of his stereo mixes for in-ear monitors and mono mixes for wedges with a complex cue system that routes audio for three or four monitor switch boxes on stage. “I use this wonderful reverse communication function for the SSL Live,” he explains. “I use it for all of my talkbacks through an intercom matrix, which I also use to set my cues. Even if I’m just using one solo, I can still hear the musicians, which is great. It’s a unique way to mix, but it’s helpful for me. For instance, if my stage right technician needs something, he only has to press a button and he can speak to me directly.”

As part of their world tour, Zoé recently brought the SSL Live to the Stereo Picnic Festival 2014, a massive music event in Bogota, Columbia. According to Zertuche, the band members appreciate what the SSL Live has brought to their monitor mixes during this and other performances. “They love it! They are very impressed by the sound,” he says. “Live made its debut on the final day of rehearsals, following the auditions of competing consoles, and the guys could hear a clear difference between them. They said the SSL Live is totally different: much warmer, far superior.”

With nearly two decades of engineering and six years monitoring Zoé under his belt, Zertuche’s current lineup includes the band Caifanes, pop duo Ha*Ash, singer Benny Ibarra and MTV’s World Stage, as well as recording and mix engineer duties at Control Room Studio and MAS Audio Studio. He also serves as audio crew chief and monitor engineer for the Lunas del Auditorio Nacional, an awards show recognizing live musicians and sound companies in Mexico.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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TSL Products Introduces New Solutions for Audio/Video-over-IP Infrastructures at Broadcast Asia 2014

Products Include Cutting-Edge AVB Audio Monitoring Unit and New Managed Ethernet Switches

SINGAPORE, MAY 27, 2014 – TSL Products, manufacturer of audio monitoring solutions, surround sound microphones and processors, broadcast control systems and power management tools, will introduce new solutions that will help broadcasters with the migration to an Audio/Video-over-IP infrastructure at Broadcast Asia 2014 (Booth 5E4-03). On display will be the first of the company’s AVB-supported products: the PAM1 and PAM2 AVB Audio Monitoring Units and AXIUS Managed Ethernet Switches. The PAM AVB and AXIUS products demonstrate TSL’s continuing commitment to bring ahead-of-the-curve products to the broadcast industry. The PAM PiCo Loudness meter’s new PC Matrix Configuration software application will also be demonstrated, along with developments for its broadcast control systems and power management tools.

“TSL Products is proud to be one of the first to offer viable solutions that address the associated challenges of the Audio/Video-over-IP revolution,” says Chris Exelby, Managing Director of TSL Products. “This inevitable industry-wide technology shift will allow for more streamlined, cost-effective and comprehensive program production, opening up new possibilities when it comes to remote and facility-wide production – we’re incredibly excited to be at the forefront of introducing such poignant products to the buoyant and progressive Asian broadcast market.”

TSL Products has built upon its industry leading PAM precision audio monitoring systems to address the needs of an Audio-over-IP facility infrastructure with the launch of the new PAM AVB models. The units are designed to sit within a hybrid environment, offering a smooth migration path to AVB and where multichannel audio connectivity is currently linked over an existing SDI, analog and/or AES infrastructure. The PAM AVB provides extensive audio confidence/loudness compliance monitoring for operators to quickly access and monitor display data, metadata and loudness information. In addition to AVB inputs, each unit offers two HD/SDI, four AES and two analog pair inputs, with outputs including line level (fixed/variable), AES (fixed/variable), reclocked HD/SDI, composite video, downconverted video, headphone and integral loudspeakers. Both models also feature an external SDI monitor output used to display critical visual monitoring elements on external devices.

Developed from the ground up around accurate timing and synchronization, TSL Products’ new AXIUS range of IP switches is used to transport broadcast quality signals using Audio/Video-over-IP standards, such as AVB, AES67, Ravenna, Stagebox and SMPTE 2022. The switches feature fast, secure connectivity for critical applications that require PTP IEEE 1588 timing accuracies to synchronize Network Audio/Video timing, offering a new level of confidence to broadcasters to encourage and enable their transition from broadband to IP-based networks.

The AXIUS series to-date comes in two versions: MES-1, a 10 port managed Ethernet switch offering eight 10/100/1000 Ethernet ports and two 1Gigabit Ethernet SFP ports and MES-1-R; a ruggedized eight port switch, complete with Neutrik latching connectors for secure operations in challenging environments, which provides six 10/100/1000 Ethernet ports and two 1Gigabit Ethernet SFP ports.

An integral part of any Audio/Video-over-IP infrastructure is the control system and TSL Products’ future roadmap for TallyMan, the industry’s de facto broadcast control system, is also clearly focused in this direction.

Furthermore, the company has added the PAM PiCo PC Matrix Configuration software application to its PAM PiCo series of audio loudness and metering solutions. In combination with the loudness logging, screen grab and system update software application, the matrix configuration program completes a suite of tools that enable complete online management and configuration of meter setups, full audio signal routing capability for simple to complex monitoring modes and the ability to save and recall user presets to a central database. Offered as a free download available to all PAM PiCo users, the matrix application further validates the PAM PiCo as the most comprehensive compact, all-in-one loudness measurement and level metering solution on the market.

About TSL Products
TSL Products designs, manufactures and markets a range of hardware and software solutions that serve to simplify operations within the television broadcast, cable, satellite, IPTV and IT industries. Specializing in audio monitoring, surround microphones and processors, broadcast control systems and power management tools, TSL Products’ solutions satisfy and exceed the commercial, technical and operational requirements that exist in IT-based and traditional workflows, helping its customers to lower costs, generate revenue and streamline operations. For more information, please visit www.tslproducts.com.

Jonathan Wyner Adds New ‘Dangerous Compressor’ to his Very Dangerous Mastering Studio

Cambridge-based engineer continues to grow his Dangerous Music-equipped studio adding the new Dangerous Compressor—

Jonathan Wyner adds new Dangerous Compressor

Edmeston, NYMay 27, 2014 - Longtime mastering engineer Jonathan Wyner has added the newly released Dangerous Compressor to his already well-stocked Dangerous Music-equipped studio. Wyner’s Cambridge, MA based studio sports the Dangerous Music Master, Liaison and BAX EQ as well. Wyner is a Grammy-Nominated engineer who has mastered over 5,000 CDs so far in his nearly 30-year career. “The first thing I noticed about the Dangerous Compressor was the signal path through the compressor,” he says. “It gives a subtly warm presence while remaining open and retaining transparency. Yesterday I was working on a single for Josh Groban and I was able to tighten the dynamics very gently while maintaining the subtlety and nuance of his incredible vocal performance. The sound of the box is superlative.”

When asked how Wyner found out about Dangerous Music products, he recalls, “I have known [Dangerous product designer] Chris Muth for many years. I’ve worked for almost 30 years as a mastering engineer, and Chris was occasionally a resource for us dealing with technical issues, or we had occasion to communicate about other things. It was really through Chris’ reputation that I was drawn to the Dangerous Music products when they established the company.”

Mastering engineers evaluate, choose and use audio gear for very specific reasons related to their craft, Wyner explains one of the most import gear tests for his ear, “I suppose the first thing that I would say related to the Dangerous Music Compressor is that mastering engineers are attracted to pristine and excellent components in their signal path, especially when it comes to processing analog audio. The sound of the signal path through the Dangerous Compressor, and the quality of the sound even when you just deploy the gain, is really quite lovely.”

“It’s not what I would call 100-percent transparent,” relays Wyner, “in the sense that you hear there is something there, but what it gives to the signal path has a subtle, kind of ‘euphonic bloom’ if you will, in the mid-range. But it’s really subtle enough so you don’t feel like you’re changing balances or losing depth or detail, it just adds a ‘niceness factor’ if you will. So just right off the bat: the sound of the box, the signal path, is excellent. So that clears hurdle number one for me as a mastering engineer.”

Diving into some specifics on the features of the Dangerous Compressor, Wyner says, “The Side-Chain facility that’s built into the Compressor has been showing up in more and more compression tools, both in the way Dangerous has implemented an internal side-chain filter, or the ability to plug in an external side-chain. It’s not a new concept, but it’s very well implemented in the Dangerous Compressor. Just having that facility integrated and being able to go with their relatively gentle high-pass filter – or something a little bit more specific if that’s what you need – that makes it very convenient.”

Noting some of the other controls, Wyner adds, “The way that the stereo controls are ganged is wonderful and makes a lot of sense. The ability to tweak time constants individually, but maintaining a single gain and threshold control is a neat feature. The detector is so very smooth, it reminds me of the classic compressors we have all come to love. The Auto-Time constants, the attack and release, work very well – of course sometimes you want to turn it off, but I leave it in Auto mode more often with the Dangerous Compressor than I do with other compressors.”

“The Smart Dynamics button is a neat feature where, from my impression, it’s almost like having a very subtle ‘transient designer’ on the top of the dynamic range,” he continues. “So in other words when the compressor is IN it doesn’t feel like the transients are ‘smeared’ in the same way that it does with other compressors. I find it’s really well designed, it’s really easy to use, it sounds great and you can really lay into it and not immediately recognize the signature of the compressor. It retains sonic purity with very little added distortion. The Smart Dynamics feature helps address the level issue in a really great way that let’s me use less of, or even turn off, my digital limiter!”

“At this point the Dangerous Compressor has taken the place of my main compressor, a place to start,” says Wyner about his overall mastering rig and gear choices, “should I need compression – but even without compression I’m often running audio through the Dangerous Compressor and just using it for gain. The ganged output control in stereo mode is genius.”

Even though Wyner is one of the top mastering engineers around, and knows exactly how to tweak a compressor to do exactly what he needs it to, he still says about the new Dangerous Music Compressor, “I appreciate just how easy it is to use…and the design is very attractive!”

Turning to another fairly new and unique piece of Dangerous Music gear in his setup, Wyner offers, “The Dangerous BAX EQ is a device that allows you to mimic the kind of tone controls that consumers find on old-school stand-alone amplifiers, and the shape of the filter – the ‘Baxandall filter’ – is different from what most audio engineers have on their mixing desks. It has a different sound. I’m not sure how many people have ever had the experience of being able to compare what happens when you turn up the treble on your home receiver verses turning up a shelving EQ on a mixing desk, but they sound different, they’ve got a different shape. So having that in the toolkit, something that’s very broad, that has a more gradual slope to the filter, so it’s not sharp – it’s airier – it’s a lovely tool to have.”

“The thing that really sold me on the BAX EQ is the high pass filter. An analog high-pass filter sounds different to me than one that is designed and implemented in DSP. I haven’t found a plug-in high-pass filter that sounds nearly as smooth. I think that the BAX has a high-pass that sounds very transparent for an analog filter. There’s less phase shift and the audio usually survives the path through the filter,” reveals Wyner. “The high-pass filter just sounds great.”

“There’s also a low-pass filter on BAX that has a setting all the way out at 70khz – which is way up above anything that we can necessarily hear – but, as it drops down and touches just the top part of the audible signal, it’s got a nice way of taking out a little bit of harshness, or edginess, that will creep into mixes when somebody is using a lot of signal processing. I’ve never found a Low-Pass filter to be of use in mastering until the BAX EQ. I really like the BAX filters a lot!”

“The Dangerous Liaison is incredibly exciting,” exclaims Wyner. Where some people may think of the Liaison as mainly an analog switching box with patching memory storage, Wyner says, “To have a device that lets you so facilely and easily switch between processors, swap the order of processors, do quick A-B comparisons of signal chains. It makes my work better!”

“I use all of the Liaison‘s facilities, it mates with my Dangerous Master so that I can use one path to feed one input and either do parallel processing or not. And the other path feeds the Dangerous Master’s integrated mid-side (“S&M”) processor. I can take any of my analog boxes and implement them either in parallel processing mode or in mid-side mode,” explains Wyner. The Dangerous Master’s mid-side capabilities allow separate control of the stereo signal in terms of “center and sides” as opposed to just “left and right,” letting the engineer correct problems and enhance the stereo image of the track in ways that are impossible to execute just working in straight L-R stereo.

“It’s just as important as your greatest EQ, to have something to help you do that kind of switching,” he continues about the Liaison. “It’s important in the same way that A-B comparison between processed and unprocessed audio is at the heart of the mastering engineers’ craft. So it’s really exciting! When I first saw the Liaison, I said, ‘I have to have this!’ – it was just the same kind of excitement that I get when I hear a box that does something and you say: ‘Wow! It sounds great!’” [laughs]

Asked if the transparency that a mastering engineer requires in equipment like the Liaison is evident, Wyner agrees, “Absolutely. I don’t notice the Liaison introducing any color whatsoever. It’s virtually noise-free.”

Like the Liaison, the Dangerous Master transfer console is key to Wyner’s mastering setup and the fact that it has a streamlined feature set is fine since it has all the correct ones for mastering. “The basic commentary about the Liaison applies to the Master,” concludes Wyner. “It’s just noise-free, simple, makes life better, it’s really easy to switch things in and out in my analog chain. Plus the Master offers excellent stepped gain on the input and the output as well.” The Master is the most current version of the ‘mastering console’ design that Chris Muth has been making customized versions of for many years, specifically for individual mastering engineers at studios such as Sterling Sound.

Jonathan Wyner has mastered more than 5000 CD’s during the last 25 years spanning every musical idiom. A few selected artists he’s worked with include, Aimee Mann, Apples In Stereo, The Magnetic Fields, The Residents, Steppenwolf, The London Symphony Orchestra, Richard Thompson, Phish, Nirvana, Miles Davis, Laura Nyro, Juliana Hatfield, James Taylor, Dizzy Gillespie, DEVO, David Bowie, Crosby Stills Nash and Young (CSNY), Aerosmith, Chicago, and Bruce Springsteen; and he’s worked with dozens of top record labels, from BMG, EMI, Geffen and A&M to Sub Pop, Sony, Arista, Capitol and Columbia.

Wyner holds an AB in French Horn and Composition from Vassar College, NY and is a professor of music production and engineering at Berklee College of Music in Boston. A recording engineer since 1983, Wyner began a career in Mastering in 1985 when the compact disc format was first released. He studied digital mastering with one of the pioneers in the field for 5 years prior to establishing his own company, M Works Mastering. In 2005 Jonathan received a Grammy nomination for producing a program for Deborah Henson-Conant with orchestra, entitled ‘Invention and Alchemy’ that aired nationally on PBS. Wyner prides himself in the fact that he is among the elite group of mastering engineers to have run the Boston marathon in under 3 hours repeatedly. This year he measured the SPL at the Boston marathon from a runner’s perspective. Talk about loudness wars!

Find out more about mastering engineer Jonathan Wyner at: http://www.m-works.com

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 http://www.dangerousmusic.com phone 845-202-5100 or email: info@dangerousmusic.com

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

More realistic than ever before: CAST releases beta version of wysiwyg R33

Ahead of its general product release, expected before the end of June, CAST Software announces the distribution of the beta version of wysiwyg R33 design and previsualization software suite – the second instalment in the graphics upgrade — with three of its new and significant features, many of which were evaluated and requested by CAST Software’s partner base.

 

WATCH THE VIDEO: R33 Beta LED Video Wall Glow Video:  rQaoazMZ7dI

http://youtu.be/rQaoazMZ7dI

 

LED Video Walls / Screen Virtual Point Light

As content changes on screens such as LED video wall displays, they emit a light ‘glow’ into the surrounding environment. wysiwyg perfectly replicates this effect so lighting designers will be able to produce the most accurate previsualization and deliver stunning designs for their clients.

 

Shaded View Profiles

Promising greater workflow efficiency, Enhanced Shaded View Profiles allows users to save a combination of lighting settings under a profile for future use.

 

200 Lighting Universes

Saving perhaps the best new feature of R33 to last, CAST Software has doubled the number of universes giving wysiwyg users access to 200 universes. This translates to 102,400 DMX lighting channels, ensuring that no project is too big for wysiwyg.

 

But what does an industry professional see when looking at wysiwyg for the first time? Really virtually real super rich graphics driven by the ultimate software application that is so comprehensive that it deals with all aspects of lighting, including those things, which affect lighting like moving props, LED video walls, and reflective surfaces. wysiwyg lets them design and pre-cue, and then previsualize, run a sequence or take screen shots to test or share, ultimately delivering a design that can be faithfully replicated for real.

 

One lighting designer working with the beta version is Emiliano Morgia who said: “On seeing the beta version of wysiwyg R33, my first impression was ‘Wow’. In our lighting design projects we are often working to very tight deadlines so the Shaded View feature will ensure that we’re even more efficient. Additionally R33 packs some punch in creating realistic previsualizations for clients, especially those who are increasingly requiring LED video wall displays.”

 

“R33 represents a huge leap forward in functionality and the next instalment of the on-going graphics upgrade. The speed enhancement, file handling and navigation improvements are a result of the direct feedback from our professional customer base.  R33 continues to unleash creative lighting for today’s needs and exemplifies what we are prone to say around CAST: it just keeps getting better!” explained Bruce Freeman, Chairman at CAST Group.

 

Meanwhile, over 100 beta testers, representing a cross-section of lighting professionals, are busy putting R33 through its paces and will be communicating their findings to CAST over the next weeks.

 

A full set of R33 features will be announced when the general release version of wysiwyg R33 becomes available, likely before the end of June.

 

SOME USEFUL LINKS:

R33 Beta LED Video Wall Glow Video: http://youtu.be/rQaoazMZ7dI

Twitter & Facebook: @CASTsoftware

CAST Forum: http://forum.cast-soft.com

 

Alford Media Invests in the Future With Martin Audio MLA

Originally founded in 1984 by Steve and Tom Alford, Alford Media is a Dallas-Fort Worth area-based company that specializes in staging high-end corporate events throughout the U.S. and around the world.

Asked about the company’s criteria for choosing a new speaker system as part of an equipment upgrade, Manager of Audio Services John Caswell said, “We’ve been using another system for about 11 years and wanted to take it up several notches to offer our customers a high end solution that could stay on the cutting-edge of technology for years to come.

“We demoed many of the top lines before talking to some of our freelancers who’d used the Martin Audio MLA System and had a lot of good things to say about it. Tom Alford spoke with Mario Educate, CEO and founder of On Stage Audio, who strongly recommended that we listen to the system before making a final decision.

“That got us listening to MLA,” John continues, “discussing the product and the technology in terms of a loudspeaker system that’s still going to be ahead of the curve many years from now. When we looked where Martin Audio was headed with MLA, we felt it would be the longest-term solution and stay well ahead of other companies technologically. This explains why we made the decision.”

Declaring that Alford Media is “glad to be part of the MLA family,” Caswell affirms how impressed they were when his team first demoed MLA at a Walmart show at the Orlando Convention Center. “This is one of the biggest and most acoustically challenging convention centers in the country, which truly helped demonstrate MLA in its element. We were extremely impressed with the results on that show, and so was our client. The system covered the areas it was supposed to cover with a balance across the spectrum. The ability to control sound and quickly achieve optimization was what sold us on MLA.”

Alford initially opted for a system comprised of 32 MLA Compact, 32 MLA Mini, 18 DSX and 8 MSX subs. Taking delivery early, the audio team quickly had half of the system hanging in the MGM Grand for a corporate focus group event and the other half on a truck headed to San Antonio for a Pizza Hut show.

According to John, “Initial feedback from our audio team was that the system was covering exceptionally well and had more horsepower than we needed for these events. Overall, when you factor in the system’s cutting-edge technology, product cycle longevity, superior performance and exceptional audio quality, the reasons for choosing Martin Audio MLA just go on and on.”

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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Audio DAWg to Host Yamaha NUAGE Open House

BUENA PARK, Calif.—Yamaha Commercial Audio Systems and Audio DAWg is pleased to host a product showcase of the Yamaha NUAGE – Advanced Production System on Tuesday, June 3 at Audio DAWg, 400 E. Royal Lane, Ste. #300, Irving, Texas.

NUAGE is a highly refined, scalable hardware/software production environment for recording, video post-production, ADR, music production and mixing. NUAGE features many unique and exciting features such as an integrated ADR system, efficient content management, advanced media access system, and much more.

A joint collaboration between Yamaha and Steinberg, NUAGE is a hardware and software system that adds the power of Dante audio networking, and is a complete, flexible system that allows engineers to choose and combine components to perfectly match individual application and workflow requirements.

Join Audio DAWg’s Spunky Brunone, the NUAGE Team, and special guests for an open house to be held from 3:00 pm – 6:00 pm with Q&A and product showcase. A NUAGE overview will be held from 7:00 pm – 9:00 pm.

Please RSVP as seating is limited. Telephone (972) 759-1131.

-END-

SAE Institute Student Signs Production Deal with Beatology Music

Richard “Freeverse” Lopez, a student in the Audio Technology Program at SAE Institute Los Angeles, has signed a multi-year production deal with Beatology Music, a production company in North Hollywood that represents platinum-selling producers, writers, and musicians.  Lopez’s music tracks will be made available to record labels, film companies, ad agencies/commercial production houses, and television producers around the world.

Richard “Freeverse” Lopez, a student in the Audio Technology Program at SAE Institute Los Angeles, has signed a multi-year production deal with Beatology Music.

Lopez grew up in Sylmar, in California’s San Fernando Valley.  His father was a club DJ, and he shared his enthusiasm for spinning with Richard by giving him a pair of turntables when Richard was in fifth grade.  He began taking drum lessons while in middle school, and when he entered Sylmar High School in 2002, Lopez was playing in local punk, indie, and ska bands.  Lopez added songwriting and music production to his repertoire in his junior year, and he graduated from high school in 2005.

I discovered SAE when I was researching Los Angeles recording schools,” says Lopez.  “After going on numerous tours, I realized that the flashy, overpriced schools that I had visited weren’t for me.  I wanted a school that would teach me what I needed to learn without the empty glitz and glamour, and SAE had exactly what I was looking for.”

The road to Lopez’s deal with Beatology began at “Beat Camp”, a hip hop education seminar presented by iStandard, a producer networking company.  The “Beat Camp” event, which was held at SAE Los Angeles in September ’13, included a beat-making competition featuring the work of aspiring LA-based producers.  Lopez’s beats, which he entered into the competition, impressed the “Beat Camp” directors.

“When I first heard Freeverse’s work at ‘Beat Camp’, I instantly noticed how smooth his sound was,” says Joseph Loya, an executive at Beatology Music.  “Given his background as a drummer, it was easy to notice his superb musicianship, especially his control over the ‘pocket’.  A lot of producers who I’ve worked with have strengths in specific areas, but Rich is very well-rounded and crafts an atmosphere that’s unique to him as an artist and beatmaker.”

“I’m thrilled to be offered this awesome opportunity from Beatology,” says Lopez.  “It never would have come about if I wasn’t a student at SAE, and I couldn’t have chosen a better school to help me build my skills, experience, and career.”

“SAE’s staff and teachers are talented, knowledgeable, and are always willing to lend a hand.  The classes are fast-paced, but they equip you with the important skills and vital tools to make it in this business – with 100% honesty and no sugar coating.”

Take a tour of SAE Institute Los Angeles

Lopez began his full-time studies in SAE Los Angeles’ Audio Technology Program in January ’14.   He’s scheduled to graduate in October ’14 with an Audio Technology Diploma.

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TSL Products’ SoundField X-1 To Meet The 5.1 Upmix/Downmix Challenges Presented By the Brazil 2014 FIFA World Cup

RIO, BRAZIL, MAY 21, 2014 – TSL Products, manufacturer of audio monitoring solutions, surround sound microphones and processors, broadcast control systems and power management tools, announces that BBC Sport will rely on two SoundField X-1 Upmix/Downmix Processors during its production of the 2014 FIFA World Cup. The two devices will supplement the existing six that are permanently installed at the broadcaster’s MediaCityUK base for other regional and international major events and tournaments throughout the sporting calendar.

“The various audio elements that contribute to a sports programme, from studio and location dialogue, commentary, voice overs, phone calls, music, sound effects, actuality sound to crowd atmosphere will come into us from a wide variety of mono, stereo and 5.1 sources,” says Dave Lee, lead sound supervisor for BBC Sport. “With such diversity of contribution quality and width, the sound supervisor is tasked with mixing a show that immerses 5.1 viewers in the surround sound atmosphere of the event whilst maintaining clear, consistent imaging of dialogue and music.

“The SoundField X-1 anchors dialogue and reality audio to the front, whilst offering near-instantaneous upmix/downmix processing. This is essential during a live, action-packed broadcast, such as the World Cup, as it helps to ensure that the sound will never fall out of sync with the associated vision.”

During the World Cup, long periods of the transmissions use genuine 5.1 actuality sound and crowd atmosphere, along with panned commentary and studio dialogue. However, when broadcasting out of match play time, the majority of audio is stereo or dual mono content. BBC Sport will route this audio material through a signal path to an X-1 in upmix mode. The upmixed audio will then contribute directly to the 5.1 mix bus.

Despite being presented with an inconsistent variety of stereo and dual mono sources TSL Products’ SoundField X-1 Upmix/Downmix Processor successfully separates the dispersed crowd sound, reflections, reverb and atmosphere – offering the user adjustable parameters to position this diffused sound as desired into 5.1 image.

The UK’s public service broadcaster has been working closely with TSL and SoundField in the development of upmixing techniques and algorithms to achieve a high quality and reliable process for use in live sport programme mixing chains. SoundField allows the BBC to ensure that the dialogue is clearly audible, and the mix is compatible for broadcast throughout the various platforms and outlets that they offer.

About TSL Products
TSL Products designs, manufactures and markets a range of hardware and software solutions that serve to simplify operations within the television broadcast, cable, satellite, IPTV and IT industries. Specializing in audio monitoring, surround microphones and processors, broadcast control systems and power management tools, TSL Products’ solutions satisfy and exceed the commercial, technical and operational requirements that exist in IT-based and traditional workflows, helping its customers to lower costs, generate revenue and streamline operations. For more information, please visit www.tslproducts.com.

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