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TELEFUNKEN Introduces New THP-29 Extreme Isolation Headphones

Designed for Both Studio and Live Sound

The new TELEFUNKEN THP-29 Extreme Isolation Headphones.

TELEFUNKEN Elektroakustik has introduced the new THP-29 Extreme Isolation headphones, designed for both the studio and live sound environments. Ultra high-fidelity, high-input 40mm speaker drivers featuring TruSound™ Tonal Accuracy are integrated with 29dB of eco-friendly natural passive isolation. The result is a headphone designed to protect the eardrums from damage and improve the recording, performing and listening experience.

Ideal for use by live mixers who need to block out monitor speakers, or by drummers who need to be able to hear the mix without setting their volume at an unreasonably high level, the THP-29 is a perfect professional performance and recording tool. The closed back design, lightweight construction, adjustable head strap and padded ear cushions provide optimum comfort during lengthy recording or listening sessions. The advanced isolation capabilities eliminate extra bleed in the recording studio while giving an average of 29dB of noise reduction over a wide frequency range. The THP-29s can also be used as critical mixing headphones during post-production.

Developed in partnership with Direct Sound, the TELEFUNKEN THP-29 Extreme Isolation headphones come with padded adjustable headband, storage pouch, and jack adaptor, providing passive isolation with no batteries required.

MSRP $135.00 Learn more and order here:
http://store.t-funk.com/p/thp-29-isolation-headphones?pp=24

ABOUT TELEFUNKEN
TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside their own proprietary designs based around the distinctive tube mic sound, TELEFUNKEN has established a product line that expertly combines vintage style and sound with the reliability of a modern-day microphone design. TELEFUNKEN’s commitment to both the sonic excellence and quality of all of their products is rivaled only by their dedication to provide the best possible service to each and every one of their customers.
For more info, visit: http://www.telefunken-elektroakustik.com

Guitarist/Singer Ben O’Neill Uses HARMAN’s AKG Microphones To Achieve Pure Sound

PHILADELPHIA, Pennsylvania – As a guitarist/singer/songwriter who has performed as a sideman for the likes of Kanye West, Christina Aguilera and Kid Cudi, and has recorded with Jason Nelson, Ben O’Neill relies on HARMAN’s AKG microphones for his own rock/alternative country acts, home recordings, and guitar recording classes at the University of Arts in Philadelphia.

O’Neill is a true jack-of-all-trades, having been nominated for a GRAMMY Award and fulfilling more roles in the music industry than some do in a lifetime. However, his pursuit of clean, organic-sounding tones within the music that he makes or teaches has never changed, which is why he continues to use AKG microphones. Whether it is the AKG C414 XLS microphone for recording, the 415 B in the classroom or the D5 microphone onstage, he has always relied on them for consistency and clarity.

“Unlike simulated sounds on a lot of records you heard on the radio, I try to make real guitar tones that are super-clean,” said O’Neill. “Whether I’m playing Bakersfield country or contemporary R&B, I’m looking for compelling sounds that are beautiful and organic. That’s why I love the C414 XLS microphone, because it gives the vocals and the guitars a level of clarity that you just can’t get from a dynamic microphone.”

O’Neill’s love for AKG is underscored by years of unwavering performance from his microphones. While affordable, AKG microphones are also designed to remain consistent throughout the years, capable of taking abuse that would leave other microphones faulty.

“When teaching, I try to incorporate a technology element in my lessons,” said O’Neill. “We look at amps, guitars, microphones and how they work in conjunction. AKG microphones are great for this purpose, and it’s always a blessing to be able to work with them. I really appreciate the support that I’ve received from the company, and the service has been great.”

For more information on Ben O’Neill, please visit www.benoneillmusic.com

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Lady Antebellum Goes To Town On K1

Lady Antebellum performing at Toronto's Air Canada Centre on Sound Image's K1 system

Sound Image carries full L-ACOUSTICS rig on group’s latest North American tour

NASHVILLE — “Take Me Downtown” is Lady Antebellum’s third headlining tour, taking the GRAMMY Award-winning trio across North America and into a wide range of venues, including casinos, civic centers and amphitheaters, both indoors and outside. It began in January in Peoria, Illinois and ran nearly nonstop through June, when the band began its summer state fair itinerary.

For the entire first half of the year, Lady A worked exclusively with touring sound provider Sound Image’s L-ACOUSTICS K1 line array system. Sound Image’s Mike L. Adams, who handles the account, comments, “The K1 system is reliable, consistent and never lets us down. When we deploy this system, every night sounds incredible and we never get one of those late night calls. The peace of mind is invaluable.”

For most of the group’s performances, Sound Image flew left and right main PA arrays of 14 K1 plus four KARA downfills, each flanked by six flown K1-SB subs. Outfills were comprised of 12 KUDO per side, while four SB28 subs per side groundstacked below in cardioid configurations anchored the low end reinforcement. Four more KARA – two per side – were additionally deployed as stage frontfills.

Tour openers Kip Moore and Kacey Musgraves join Lady Antebellum onstage

K1 proved to be as flexible as it was great sounding with the band’s longtime FOH mixer, Brett “Scoop” Blanden, and Sound Image’s Jim “Fish” Miller as the tour’s systems engineer able to perfectly configure the rig to exactly fit each venue. In some stops, as few as eight K1 enclosures per side were enough to fill the room; larger venues took the full complement, with 18 per side, and anything in between. Blanden estimates that they deployed an average of between 12 and 14 boxes per side each night, underscoring the range of room types the tour covered. Twenty-four L-ACOUSTICS LA8 amplified controllers housed in eight LA-RAK powered the system. What never changed, though, was K1′s sonic performance.

“The K1 is a really amazing PA system,” lauds Blanden, noting that the speakers’ frequency response is so full range that they were able to do at least one smaller corporate-event show in Tallahassee without subwoofers. “And when we did outdoor shows, the system would throw for days. It has tons of projection. With other arrays of similar size, you might need to use a delay array, but the K1 seems to out-throw them all. And its waveguide is really impressive, keeping the frequency response consistent at all times.”

Blanden was also appreciative of how that waveguide kept the sound dispersion consistent, allowing the band to confidently use the stage thrust without concerns about feedback. “I’d say that as much as 75 percent of the music is performed between 43 and 53 feet in front of the PA system,” he explains. “We had a peak show volume of 102 dB and an average between 99 and 100, and we were running at least four open dynamic RF vocal mics at one time on the thrust. But the K1′s waveguide is designed to compensate for the curvature of the diaphragm. It affords us even frequency coverage at distance, so I didn’t have to get into the graph like I would have had to using other PAs.”

But it’s the spectral neutrality of the K1 that allowed Blanden to make it the band’s own. “The flat frequency response of the K1 is incredible,” he says. “It’s like a blank canvas for music – it gives you back exactly what you put in, so it’s a great system for any type of music. It certainly has been for Lady A’s.”

For more details on Lady Antebellum’s schedule, visit www.ladyantebellum.com. Sound Image can likewise be found online at www.sound-image.com.

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 North America is handled by L-ACOUSTICS’ subsidiary in Oxnard, California.

# # #

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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Solid State Logic Live at Edinburgh Castle

“I actually said out loud, ‘wow, this is amazing’”

EDINBURGH, SCOTLAND, U.K. – This summer’s Commonwealth Games in Glasgow were preceded by Live at Edinburgh Castle, a 2.5-hour multi-act concert, televised live on the BBC from this unique location that dominates the Edinburgh skyline. The line-up for the event was extensive and included Culture Club, OneRepublic, Kaiser Chiefs, Motown legend Smokey Robinson, Jessie J, Paloma Faith and Il Divo. Various acts were backed by a 12-piece house band and the BBC Scottish Symphony Orchestra. To keep up with the fast-paced nature of the high-profile event, two SSL Live consoles were provided by Britannia Row Productions Ltd.

Though the event was headed by Brit Row Project Manager Lez Dwight, with Stefan Krista managing the inputs and cross-patch from scores of 12-way sub-snakes, Nahuel Gutierrez operated one SSL Live for the 75-member orchestra, generating group stems for FOH, monitors, BBC broadcast and 16 personal monitor stems for the orchestra. Niccolo Antonietti used the second SSL Live console to mix monitors/IEMs for the house band, along with guest vocals, guest backline and Pro Tools® tracks, totalling 60 outputs for 30 stereo mixes. Both SSL Live consoles were located remotely with only a BBC program shot to watch. As freelance engineers, rehearsal for the Edinburgh Castle concert was the first time Gutierrez and Antonietti had the opportunity to use an SSL Live console.

Antonietti’s console handled the house band, made up of drums, bass, guitars, two keyboards, percussion and three backing vocals, as well as director Mike Stevens’ keyboard and guitars. He also controlled the handheld microphones for guests, ambient microphones, intercoms, BBC feeds and 16 channels of Pro Tools, bringing Antonietti’s desk to 120 input channels. The two SSL Live consoles also had a MADI connection between them to feed stem subgroups back and forth.

“The orchestra was using personal monitors, so I sent them band stems, like guitar, rhythm section, keyboards and vocals, as well as Pro Tools stems,” Antonietti explains. “I then received a premix of the orchestra and of all of the other channels that I couldn’t get on my desk.”

Antonietti found the stems feature extremely advantageous. “The stems are especially important when you have that much to mix, with guests coming and going that you have to mix for and keep track of in such little time,” he says. “I could just mix the guest IEMs using stems, so it was really, really helpful. It was one of the best features on SSL Live for this show, because you can have a lot of channels that don’t need full processing.”

Over on the orchestra’s SSL Live console, Gutierrez used channel delay to synchronize the orchestra’s inputs. “The delays made everything sound a lot fatter and we loved it,” he says. “We measured the distances on stage and then put natural time delays from back to front, so percussion had the biggest delay and the first violins and cellos up front had the shortest delay.

With just a minimal amount of time to acquaint themselves with SSL Live at southwest London’s CATO Rehearsal space, Antonietti and Gutierrez had no trouble getting a feel for the console. “I felt very comfortable because SSL sent product specialists to help us out; after they showed me how to get into the system, it was really easy,” explains Antonietti. “We set up on Wednesday before the show on Saturday, so we only had a few days for the guests to rehearse with the orchestra and band. The quick learning curve of the SSL helped made rehearsals simple.”

Antonietti mentions SSL Live’s sound quality as his favourite feature. “The sound quality on the console is amazing; its preamps and its stereo capabilities are great,” he says. “I only needed to make slight gain adjustments to make it perfect and some EQ’ing to the really high and low ends to make it sound balanced for the IEMs. The console just sounded really good.”

“The most amazing thing about the desk is the sound,” echoes Gutierrez. “I’ve never played with an SSL before and the sound is crisp and very, very nice. It also has a wider stereo image than other desks. Don’t ask me why; that’s what I’m hearing with my ears.”

Gutierrez also mentioned SSL Live’s cueing. “One of the things that really amazed me was the solo feature,” he adds. “Being able to route the solos on any output, once you get your head around it, is really brilliant. Not having to preset the solo is really amazing. I actually said out loud, ‘Wow, this is amazing.’ ”

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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Fairlight Demonstrates Ongoing Innovation at IBC 2014


Fairlight’s international reputation for pushing the boundaries of technology will be reinforced at IBC 2014 (7.H17) when the company shows a range of innovative products.
Leading the parade is Fairlight’s Live console family, which includes the Award-winning EVO.Live digital audio mixing system – a dual function console that allows engineers to switch between live and post modes at the touch of a button. Designed for the most demanding on-air and live productions, Fairlight’s versatile Live family covers a wide range of consoles, processing and I/O solutions, giving users highly scalable audio processing capabilities. In addition, Fairlight is showing its expanded range of live production tools, which includes the highly acclaimed iCan customisation software.
At IBC 2014, Fairlight will also be reinforcing the industry’s drive towards the ultimate in cinematic and immersive sound delivery by launching a new platform for Object Oriented 3D Sound Production.
This new platform supports traditional standard and custom bussing in simultaneous 2D and 3D, along with NHK’s 22.2, Dolby Atmos (via RMU) and DTS MDA. It also supports third party client applications such as Avid Pro Tools 10.x and Nuendo 6.0.
IBC 2014 will give new and existing Fairlight users their first opportunity to see the company’s fifth major software release, based on the brand new second generation CC-2 FPGA audio engine. The CC-2 audio engine with V5 software is perfectly suited to the demanding delivery requirements of today’s broadcast industry. By providing over 1,000 playback channels, 100 live inputs and 100+ output buses, the system is the most powerful audio engine ever made.
Fairlight will complete its IBC 2014 unveiling by showing how to deliver complex multi-sourced workflows by combining its open platform Media GateWay with its unique iCan workflow automation tools. These Gateways offer a glimpse into the future of broadcast post production by embracing collaborative editing environments such as Quantel’s Qtube, with internet based video source reference, original source audio and faster-than-realtime layback.
To learn more about Fairlight, please visit IBC 2014 Booth 7.H17, or www.fairlight.com.au for English information and www.fairlighteu.com for German information.
-ends-
About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlightau.com

DPA Helps The Voice Australia Deliver a Great Live Experience


Thanks to DPA’s d:facto™ Vocal Microphone,  vocal deliveries for the live broadcast of Australia's The Voice were significantly improved, ensuring an even more enjoyable experience for TV viewers.

As with many TV singing/talent shows, the culmination of The Voice Australia relied on wireless microphone technology to ensure that the contestants could move freely about the stage. DPA's award winning d:facto Vocal Microphone fitted the bill perfectly thanks to its state of the art adapter system that allows the high quality condenser capsule to be seamlessly integrated with many professional wireless systems or used in conjunction with DPA's wired handle.

The decision to try DPA's d:facto Vocal Microphone on the show was taken by Australian rental company, JPJ Audio.

John Simpson, Senior Audio Director of The Voice, says: "JPJ’s Brad Adamson told me he had DPA's d:facto's and we were keen to try them on a couple of TV shows we were working on. DPA has a great reputation for high quality mics and this interested me because I hadn't been happy with any capsules on the RF systems we were using."

Simpson knew that, being DPA, their pedigree would shine through the moment he brought up the faders.

"I realised we wouldn't be needing that old EQ curve anymore," he says. "The sound was natural, present and uncoloured, like having a top notch studio condenser available as RF. We don't have to process anywhere near as much as we used to and everything sounds better; vocalists and presenters, male or female. The d:facto's make it much easier to sit voices in a mix."

Simpson adds that the Vocal Coach for the programme was also a fan. "He thinks they are a significant step up from anything he has heard and is very impressed, as are the operators at Monitors, FOH and Broadcast."

"Just keep making them," implores Simpson. "The capsules are the best thing we've heard for RF mics in a long time and have been an asset for us."

-ends-

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

The Music Producers Guild Declares Nominations Open For Its 2015 Awards

The Music Producers Guild has announced that the nominations process for its 2015 Awards ceremony will officially open on September 1st 2014.
This prestigious event recognises the achievements of the UK’s top producers, engineers, remixers and mastering engineers and has rapidly established itself as a must attend event on the music industry calendar. Following a highly successful move to its new venue, the 2015 Awards will once again take place at the Park Park Plaza Riverbank Hotel in Vauxhall, London. The date has been set for Thursday February 12th, 2015.
“The enormous success of this year’s event has certainly set the bar high,” says MPG Chairman Steve Levine. “An exclusive performance by Trevor Horn’s band The Producers, which included a guest appearance from Seal, was really well received and we have every intention of repeating that success in 2015 with yet another exclusive performance from a ‘surprise’ band.
“But star performances aside, what really make the MPG Awards special are the people we celebrate. These are recording professionals who make a massive contribution to the success of the UK music industry but don’t always get their names in lights. On February 12th 2015 they will be firmly in the spotlight and we hope the industry will once again get behind these Awards and give our winners the recognition they deserve.”
Now in its seventh year, the MPG Awards count the likes of Alan Moulder & Flood, Paul Epworth, Brian Eno, Trevor Horn and Sir George Martin CBE amongst previous winners. There are 15 different award categories including UK Producer of the Year, the winner of which automatically wins a BRIT Award for Best Producer. Other categories include International Producer of the Year, Breakthrough Producer of the Year and Outstanding Contribution to UK Music.
The online nominations process runs until September 30th 2014 and is very straightforward. Anyone can nominate record professionals in 12 of the Award categories, while the remaining three are in the gift of the MPG. Nominations can be made via www.mpgawards.com with producers and engineers being actively encouraged to nominate themselves.
The MPG 2015 Awards categories open for public nomination are:
UK Producer of the Year
International Producer of the Year
Breakthrough Producer of the Year
Recording Engineer of the Year
Breakthrough Engineer of the Year
Mix Engineer of the Year
Mastering Engineer of the Year
Re-mixer of the Year
UK Album of the Year
UK Single Song Release of the Year
Studio of the Year
The A&R Award
The MPG 2015 Awards categories in the gift of the MPG are:
The MPG Innovation Award
The MPG Inspiration Award
Outstanding Contribution to UK Music
Tickets for the MPG Awards 2015 are now available to order through the website, including a limited number of ‘early bird’ discounted tickets. For full details of prices and offers please visit www.mpgawards.com/tickets.
Sponsorship opportunities are also available for the MPG Awards 2015 and any company that would like to be part of this exciting event should contact Joe Edwards at FM First Monday. Telephone: +44 (0) 7701 030 513 / Email: joe@fmfirstmonday.com.
-ends-
About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.
The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Cher Tour Dressed To The Nines With DiGiCo SD7s

Cher FOH engineer Dave Bracey at the house console

BERLIN, Germany — Cher recently completed the first North American leg of her Dressed to Kill (D2K) tour, which is scheduled to resume in Albany, NY in mid-September and run through early November, encompassing a grand total of 74 shows. The tour features three DiGiCo SD7 consoles supplied by Black Box Music of Berlin, Germany, the live sound production provider for the entire tour, which are operated by Dave Bracey at front of house with Jon Lewis mixing monitors for Cher and Horst Hartmann supplying monitor mixes to the seven-piece band, dancers and technical crew.

Cher is the only artist to reach number one on the Billboard singles chart in each of the past six decades, and has sold over 100 million solo albums worldwide, plus more than 40 million records with husband-and-wife pop duo Sonny & Cher. The D2K tour, Cher’s eighth solo venture, reunites the three engineers, as well as system tech Ulf Oeckl, other crew members and some of the musicians, who all worked together on P!NK’s 140-plus-date The Truth About Love tour, which wrapped in early 2014.

Band monitor engineer Horst Hartmann at one of the two monitor desks

Bracey, who made the transition from DiGiCo’s D5 to the SD7 for Massive Attack’s 2008 European tour, and whose resume includes extensive touring with The Cure, Robbie Williams and Björk, reports that he typically does a lot of programming in the console. With Cher going through nearly a dozen costumes during the 18-song show, the D2K tour features numerous film and video montages while the star is offstage changing. As Bracey reports, some of the audio for the archival footage is less than pristine: “You have to process it in a way that makes it intelligible in the room,” he says. “So every interlude between every song needs its own snapshot. Some of the archival movie clips have such disparate audio signatures that only some well-adjusted multi-band comp and a channel of dynamic EQ would make the whole segment intelligible. The SD7 offers so much that I am yet to use a plug-in.”

The programmable features of the SD7 are part of the reason that Bracey has used the console exclusively for the past six years. “It’s infinitely controllable, but it never controls you or gets you into a situation where you’re too scared to call up the next snapshot. It makes life easy.” Like the D5 before it, he says, the SD7 allows the operator to update a single snapshot or apply changes across every snapshot, on the fly. “No other desk does it as well – that’s the reason I still use it. I see no reason to mix on any other console,” he says.

With Cher making so many costume changes it makes sense to have one mixer focusing solely on her needs, according to Jon Lewis, who has worked with AC/DC, David Gilmore, Paul McCartney and many others. “DiGiCo is my go-to board,” says Lewis, not least “for the support that you get from the guys, especially initially setting it up.”

The three SD7s are on an optical loop that allows the three engineers to share anything on the network, including video and communications. “That gives us the ability to throw something to each other at the click of a button, as opposed to having to go and find some XLR cables and patch it,” says Lewis. “If Dave suddenly needs her talkback mic, he can get it. If I need Dave’s effects returns, they’re there. It’s very quick and easy. And the ability to send video feeds around the system is great as well.”

“Even simple things like text chatting during the show,” Bracey chimes in. “If there’s something that’s not worth disturbing someone over, you just send them a message and they can answer in their own good time.”

Hartmann, whose credits include Kraftwerk, Scorpions and Sade, generates 12 stereo and 12 mono sends from his SD7. He manages all of the wireless equipment and crew communications while also feeding mixes to the musicians, who are all on in-ear monitors, several of them with separate ButtKicker low frequency effects feeds, and the dancers, via floor wedges and flown sidefills. “Every musician has a talkback mic, every crew member has a talkback mic,” says Hartmann, noting that all of the technicians are either under the stage or off to the sides. “There’s a lot of communication going on.” Since their sightlines are obscured, Hartmann and Lewis are able to follow the on-stage action on their consoles’ video screens.

At front of house, Bracey multitracks the entire show at 96 kHz to a laptop using DiGiGrid MGB coaxial MADI interfaces, both as an archive and as an aid to perfecting his mixes. “Two little boxes, a couple of Ethernet cables into an Ethernet bridge and into the computer – how easy is that? Most days I feel the need to listen back to it,” says Bracey. “It’s always very revealing.”

For more information on Black Box Music and Cher’s D2K tour, visit: www.black-box-music.de/en

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Phonophobia Adds HARMAN’s Soundcraft Vi3000 Digital Console to Expanding Hire Fleet

KENT, United Kingdom – After recently investing heavily in HARMAN’s Soundcraft Vi platform, Mark Chant’s Kent-based Phonophobia has now added a next-generation Soundcraft Vi3000 digital console to its inventory. The console was sold through Sound Technology Ltd., HARMAN’s UK and ROI distributor.

“Having MADI and Dante built into this desk gives Soundcraft a massive advantage as does the additional functionality, with the local ins and outs on the board,” Chant observed.

The Vi3000’s first high-profile appearance was at a University of Kent Summer Ball in Canterbury, attended by around 4,000 students and headlining Ella Eyre, supported by several DJs. Phonophobia’s Vi1 was down at the stage and the company also brought its Vi rack, running 60 inputs over 30 outputs.

“Visiting engineers patched in through Dante or MADI, and since we have a lot of riders now showing Vi1 or Vi6, most seemed excited to be using the new desk,” Chant added. “They turned up with their show files and used the Universal Audio plugins.

“Although it was a stressful gig, none of my headaches came from the console—we could leave it and just walk away from it,” Chant said.

Summing up, Chant said, “This feels like a Vi desk—but is vastly superior, and the Vi3000 will be out constantly. Since we have advertised it on our website, we have received a steady flow of inquiries and the interest has been incredible.”

For more information on Phonophobia, please visit www.phonophobia.online.co.uk

For more information on Sound Technology, please visit www.soundtech.co.uk

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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HOLLAND’S NEWEST RISING STAR VOCALIST CHOOSES LECTROSONICS

** Photo: Barbara Straathof. **

Amsterdam – August, 2014… Singer Barbara Straathof is enjoying unexpected success after her exposure in season 3 of the TV show ‘The Voice Of Holland’. It was the third season of the Dutch reality singing competition, created by media tycoon John de Mol, and the first sophomore season ever of the show’s format. After rising demand for her appearances following her participation on the show, Straathof’s first professional decision was to choose a microphone system for her rapidly building live schedule. more

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