Archive of the New Products Category
BUENA PARK, Calif.—Hurricane Sandy couldn’t have struck this regionally known restaurant/bar/catering facility on the Barnegat Bay at a more inopportune time. The Ziegler family had just purchased the Water’s Edge in Berkeley Twp, New Jersey weeks before when Sandy made its mark on the Jersey Shore. Unfortunately, the structure took a huge hit and the new owners had to rebuild from the ground up.
Calling on the services of Boulevard Pro of Ridgefield Park, N.J., Water’s Edge co-owner Dave Ziegler, requested a completely designed audio/video system solution. “We believe in the Yamaha CIS (Commercial Installation Solutions) Series complete system solution approach, and that is how I presented the new system recommendation to our client,” states James Cioffi, co-owner, Boulevard Pro. “Our experience and reputation combined with the Yamaha support network secured our involvement on this project.” Boulevard also recommended and installed POS, CCTV and DTV systems.
The Water’s Edge venue consists of three large indoor catering spaces including the restaurant, and is used for wedding and large events. An 8,000 sq. ft. outdoor space houses the Tiki Bar and Edge Live, which when weather permits, features live music. Patrons arrive all summer long by land and by sea.
“Our major challenge in designing and installing the new system was time itself! says Ziegler. We had to have a functional Tiki Bar for the summer or we risked losing our loyal customers. Our other major challenge was complying with the sound ordinance and containing the sound within the four wind-break glass walls that surrounded the Tiki Bar that literally sit on top of the water. With the help of Boulevard Pro, we were able to design several zones throughout the Tiki Bar to manage the sound levels out of respect for our neighbors. James Cioffi was one of my most patient vendors, able to do all of this with NO structure in place, plotting zones on our ever changing architectural drawings, and continually modifying the design until we had a final set of drawings.”
The indoor space is outfitted with a Yamaha CIS MTX3 audio processor, two DCP1VS keypads, and 48 Yamaha VXC4W ceiling speakers. The system controls eight audio zones and is using all 12 of the MTX3 inputs. “THE MTX3 is super powerful and sounds great,” says Cioffi. The Yamaha keypads are located in the head end interior location of the space and in the outdoor bar/lounge area, controlled completely via iPad/iPhone. The waterfront bar/lounge system consists of a Yamaha LS9-16 digital audio console, Yamaha TX4n amplifier, Yamaha DXR 12×2 monitors, and IF2112M95 speakers. The Yamaha StageMix App on the LS9 runs live entertainment via an iPad. “The entire venue is beautiful and really impressive, and the Yamaha system is working great,” Cioffi exclaims.
“We are proud to say that we are the premier spot on the Barnegat Bay hosting the best entertainment both inside and out, notes Ziegler. Bands and DJ’s couldn’t be happier coming to play at our venue because they no longer have to haul all of their heavy equipment in to play. It’s a win-win situation. When my general manager isn’t around, I like to take this Ferrari of a sound system for a true test drive!”
For more information on The Water’s Edge, visit www.watersedgeonthebay.com.
For more information on Boulevard Pro, visit www.blvdpro.com.
For more information on the Yamaha CIS Series, visit www.yamahaca.com.
PHOTO ID #1: Water’s Edge Lounge
#2: L to R Boulevard’s James Cioffi and Water’s Edge co-owner Dave Ziegler
PHOTO CREDIT CM PHOTOS
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 technica
“I am now at the stage where I am sure I would miss Live if I had to revert to my previous system”
OXFORD, ENGLAND – When the company’s owner mandates the use of its latest technology for its first major tour, you can be sure everyone involved, knowing his perfectionist approach, gives it their full attention and then some. Peter Gabriel’s Back to Front tour made full use of the new SSL Live consoles supplied by Britannia Row Productions for the first part of the tour in Sept/Oct 2013, and will continue to demand perfection from the console when the tour resumes in April 2014. Happily, the hard work paid off and artists, engineers and SSL’s design team were all thrilled with the results – as were audiences across Europe.
Three Live consoles were employed to handle the Back to Front performances. One at front-of-house, one was for the band’s monitors and one was used for Peter Gabriel’s monitoring system. All the consoles performed flawlessly.
“The first thing to say about Live is that it sounds really good and makes mixing live audio very easy,” says Ben Findlay, FOH engineer. “You get lots of separation and clarity. The EQ is musical, never harsh, and the dynamics are transparent even when compressing a signal hard, as you would expect from an SSL console. The mixes come together quickly when starting from scratch. Because the audio is very clearly defined, you have more options regarding relative levels, so elements of a mix that may normally be masked with another console are still clearly audible. This leads to accomplishing the often illusive third dimension to a mix that live engineers strive for — and that is a real sense of depth. The console is also extremely reliable with not so much as a flicker during the whole tour. I am now at the stage where I am sure I would miss Live if I had to revert to my previous system. Live is a great console.”
The Live console was designed to appeal to engineers with a range of operational approaches and can be used very flexibly. The Back to Front shows provided clear evidence as the three highly experienced mixers took advantage of the adaptable bus architecture, processing tools and user interface options to support their personal approach to the differing tasks they were managing.
“Ben and I recorded a multi-track version of the Back to Front show during the U.S. tour in 2012, so we had a ready reference to run through the Live console when it became available before official show rehearsals,” says Richard Chappell, Peter Gabriel’s live show coordinator and personal monitoring and studio engineer. “When we first worked with Live, we realized how very exciting and pioneering this console was. This console sounds great. The first part of the learning curve was the impressive touch screen that allowed each of us to configure the setup the way we wanted to work. The needs of monitoring are, after all, different from FOH. For me, Live is the engineering equivalent of what a musical instrument is to a performer. I can now do what I do better with Live. Secondly, I’ve heard horror stories in the past about other new consoles going out and crashing or not working. With Live, we never lost a show, it always worked.”
“Live is a hybrid console that has a touch screen but it’s also button operated; a real crossover between two ways of working,” says monitor engineer Dee Miller. “For an engineer, it’s a very powerful tool and capable of doing a lot of things. What I’ve had to do is learn how to use the desk to mix the show my way, so Live is a tool for any particular job as opposed to bending a job around a different manufacturer’s tool. It’s got some great features on it and it’s very powerful. Live sounds great, the clarity is extremely good and I would just say that you can hear everything really, really well. From an engineering point of view, I made many performers happy with their monitor mixes using Live.”
Photography: York Tillyer
© 2013 Peter Gabriel Ltd.
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.
Partnering with The Continental Club, Nomad Sound, Jimmy Kimmel Live
TELEFUNKEN Elektroakustik of South Windsor, CT, will be showing its entire line of microphones again this year at Gear Expo, Booth #209, March 13 – 15 during South by Southwest in Austin, Texas.
TELEFUNKEN also has partnered with The Continental Club in Austin, which will have their entire main stage equipped with a variety of Tfunk mics, including the M80, M81 and M82 dynamics, in addition to DD5 Dynamic Drum sets. http://www.continentalclub.com/Austin.html
TELEFUNKEN also hosts their open SXSW party at the Gallery @ The Continental Club on Thursday, March 13th from 6pm to 8pm with performances by artist Gone By Daylight & others TBA.
In addition, TELEFUNKEN has partnered with Austin-based audio specialists Nomad Sound and will provide dynamic microphones for additional outdoor stages throughout the SXSW event.
The Continental Club’s production manager and Nomad Sound’s lead engineer Jamie Wellwarth, commented: “Telefunken has changed the whole sound of the Continental Club. Their M80 and M81 dynamic mics have brought out a clarity to the vocals that we just didn’t have before. We use the M82 on kick drum giving us solid boom and attack. It’s great working with Tfunk, because we are going for the same thing — great sound in a rockin’ nightclub.”
Lastly, TELEFUNKEN microphones will be used for the SXSW tapings of Jimmy Kimmel Live. Audio Engineer Bart Chiate remarked, “The TELEFUNKEN M80_s are my go-to mics for the live performances on JKL. But with the show happening in Austin it wasn’t logistically possible for us to bring our own mics, so we reached out to Tfunk and they fixed us up with all the mics we need for our crew at the festival. It’s gonna be a blast, especially since we know we have the sound totally nailed.”
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
Mobile interface for smartphones and tablets to be shown at the Broadcasting Show —
CEntrance 'MixerFace' mobile recording for iPhone/iPad
Chicago, IL – March 04, 2013 – Today CEntrance
, a leader in Digital Audio, announced that it will be participating at the 2014 National Association of Broadcasters (NAB
) Show in Las Vegas, NV. The CEntrance NAB exhibit will be located at booth 2453D. The show runs April 7-10, 2014 at the Las Vegas Convention Center.
CEntrance will showcase its full line of capture and playback products, including the new MixerFace(r) – a mobile recording interface for iPhones and computers. Combining battery-powered operation with boutique preamps and A/D converters, MixerFace is the perfect production tool for ENG, location recording, VO, guitarists and more.
Featuring two combo XLR and 1/4″ jacks, MixerFace connects professional equipment with smartphones, tablets and laptops. The hand-held device fits under an iPhone and features two studio-grade microphone preamps with line and Hi-Z inputs, studio limiters and rich digital connectivity options, enabling professional-quality location recording.
MixerFace integrates the smart phone into the audio production workflow, making mobile recording easy for the modern, on-the-go broadcaster, musician, or VO artist. The product was successfully funded via a crowd funding campaign, which allowed the user community to contribute suggestions for product design and important feature refinement. MixerFace comes on the heels of CEntrance’s successful “HiFi-M8″ (pronounced HiFi-Mate) portable DAC and headphone amp for the audiophile listening community, which will also be featured in the CEntrance NAB booth.
Michael Goodman, Managing Director of CEntrance, stated, “Our handheld recording products unlock the recording, editing and production power of the iPhone. Now you can capture, edit and upload the finished audio in minutes. This level of convenience in location recording was previously unavailable.”
“MixerFace shares battery-powered technology with the HiFi-M8 DAC and leverages our experience with small recording devices such as our popular MicPort Pro,” adds Goodman. “Today’s smart phones and tablets have become serious music production tools, and with Mixerface we are adding a professional, mobile audio capture solution.
With its two Neutrik(tm) combo jack inputs, MixerFace features boutique low-noise microphone preamps; independent gain controls with LED level monitoring, switchable 48V phantom power, limiters, and Hi-Z input for electric guitar and bass. MixerFace boasts sophisticated monitoring options, a powerful headphone amp and 24-bit/192kHz converters. Connecting to a laptop, a smart phone, or tablet for recording or playback is MixerFace’s key function. The attractive, handheld, battery-powered device is made from tough, road-worthy extruded aluminum and works for over 6 hours on a single charge.
MixerFace is set for release in May 2014 and will be priced at $599-US. Visit: http://centrance.com/products/mixerface/
About CEntrance, Inc.
Founded in 2000, CEntrance develops innovative audio products and licenses its technology to industry leading brands, such as McIntosh, Playback Designs, Bel Canto, Benchmark, PS Audio, and Lavry. The company’s portable recording and playback solutions have earned rave reviews, industry awards and enthusiastic endorsements from artists such as Harry Shearer, Nathan East and Will Lee, and mastering engineers Bob Katz, Brian Gardner, Tom Jung and sound designer Frank Serafine, among others. CEntrance is headquartered in Chicago and distributes its products worldwide.
CEntrance is expanding its dealer network. To inquire, please call +1 (847) 581-0500 or e-mail firstname.lastname@example.org.
All Trademarks are the property of their respective holders. MicPort(tm), AxePort(tm), DACport(tm), DACmini(tm), MasterClass(tm), Audiophile Desktop(tm), HiFi-M8(tm) and MixerFace(tm) are trademarks or registered trademarks of CEntrance, Inc. All Rights Reserved. Apple iPhone(r), iPad(r), and iPod(r) are registered trademarks of Apple, Inc.
AAX64 Support, New Features and a 33% Promotion Discount
Audiotech Digital Ltd has announced the release of the new Penteo 4 Pro plug-in that discretely converts stereo to 5.1, offering exacting control over sound image placement to create high-quality, sonic-free and natural-sounding surround.
Penteo 4 Pro is 100-percent ITU down-mix compatible to the original stereo. The plug-in features an intuitive visual interface modeled after vintage gear, and offers six automated preset modes as well as advanced manual controls for fine-tuning.
Mike Minkler, multiple Oscar-winning re-recording mixer at TODD-SOUNDELUX, explained, “I’ve used Penteo on almost every project for five years now, such as Django Unchained, Twilight Saga, and Inglourious Basterds. The new plug-in really shines. With a flick of a switch I can take a two-channel mix and get a quality 5.1 mix, which is a huge asset in these budget-conscious times, especially when independent films just can’t afford more than a stereo source for me to work with.”
Native AAX64 Support
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. As a result, Penteo 4 Pro AAX64 uses 52% less CPU processing power thereby allowing a sound designer more flexibility to simultaneously use more tracks in a mix than ever before.
“Penteo produces such a warm surround mix, and we are thrilled that now Penteo supports Avid’s AAX64 format,” said Ed Gray, Director, Avid Partnering Programs. “Now sound designers will benefit by being able to run more instances and tap all the new features of ProTools 11.”
* Touch Screen Controls – In addition to mouse operated controls, Penteo 4 Pro is the first up-mixer to support multi-touch controls. Mixing is not a linear, sequential process — Penteo’s unique multi-touch interface allows a sound designer to control more than one Penteo feature at once, thereby creating a natural mixing experience through simple hand contact. Penteo 4 Pro is the world’s first multi-touch plug-in designed for use with the Raven MTX Surround console.
* Pro Tools Automation Keyboard Shortcuts for all parameters – Quickly add and select parameters for automation using standard control/alt/cmd shortcuts.
* Usage Preferences – With choice of circular or vertical knob drag usage options, a sound designer can select the most natural feeling knob movement for mouse or multi-touch.
* New bypass channel routing – Stereo bypass channels now routes to the ProTools channel output standard.
Special Promotion Pricing
To celebrate Penteo’s AAX release, from March 4 to April 16th, 2014, new purchases of any format of Penteo will receive 33% off the purchase price. Free trials are available here:
Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is the exclusive U.S. distributor of this new plug-in. Penteo 4 Pro will be available beginning March 4, 2014 online at www.GuitarCenter.com, with demos available at multiple GC Pro locations.
About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro is the warmest and best sounding stereo-to-surround up-mixer, because only Penteo remains faithful to the original stereo mix; no artificial sound manipulation is used. The result is that the Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, the most crisp and discrete center-channel available, and only Penteo is 100% ITU down-mix compatible to the original stereo. Through its comprehensive controls, automation settings and advanced low-frequency management, Penteo 4 Pro provides the ultimate mixer experience. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. ADL specializes in the development and marketing of high-quality digital audio software applications.
Discover the world of Penteo at http://www.perfectsurround.com
Two-City National Debut at Vintage King a Huge Success
Pictured at the Avid S6 launch in LA are (L-R) Jeffrey Ehrenberg, Vintage King West Coast Sales Manager; Richard McKernan, Professional Console Sales Manager; Tom Graham, Avid Worldwide Marketing Mgr, Pro Audio; Ozzie Sutherland, Pro Audio Console Specialist; David Casey, Partner Account Manager; and Chris Bolitho, VK Post Sales Manager. Photo by David Goggin.
The simultaneous Los Angeles and Nashville Vintage King “Two-City” launch event for Avid’s highly anticipated all new Avid S6 console was a milestone success, with standing room only for attendees and a live webcast of the presentation.
Leveraging the best of the industry-leading ICON and System 5 product families in a revolutionary new modular design, Avid’s new S6 delivers superior ergonomics and intelligent studio control, providing an intuitive, immersive experience for the modern sound engineer.
Vintage King’s Avid launch events are a great opportunity for audio professionals to hear from Avid applications specialists about this revolutionary console. Built on proven technology and trusted by top audio professionals in the most demanding production environments, the S6 delivers the performance needed to complete projects faster and deliver optimum sounding mixes.
“Vintage King Audio became a full line Avid dealer and added its post division VK Post in 2012,” explained Chris Bolitho, Vintage King Post Sales Manager. “Just over one year later we are incredibly proud to have been awarded Avid’s Pro Audio America Dealer of the year award, and to be partnering with Avid on the first S6 launch event as a partner dealer here in Los Angeles. This product has great cross-discipline appeal, and Vintage King Audio is uniquely placed to provide systems incorporating S6, and all the equipment that will surround it in the studio. Our friends and clients from all walks of professional audio life are here, from Grammy-winning producers, and educators, to Emmy-winning sound designers. Vintage King will be leading the charge on the adoption of the S6.”
“We love the opportunity to get out and meet with mixing’s top pro’s and hear what their challenges are and the key workflows that they need,” added Tom Graham, Avid Worldwide Marketing Mgr, Pro Audio. “The S6 was born out of feedback from Pro’s and specifically designed to meet those needs. The VK events were really well attended and had a ton of excitement about S6. ”
Learn more about the S6 at Vintage King: http://vintageking.com/avid-s6
Watch the presentation here: http://youtu.be/v8a3p5FemD0
Check out photo’s from LA: http://goo.gl/8HI2jd
Check out photo’s from Nashville: http://goo.gl/6KXYNU
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals, from selecting a new microphone to designing a studio from the ground up, Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit: http://www.vintageking.com/about-us
MiniMain 12s for The Roost Plus MM27s for the Road
Pictured in his studio The Roost is producer/engineer Matt McClure and his new Barefoot Sound MM12 main monitors.
Top Nashville producer/engineer Matt McClure has installed Barefoot Sound’s flagship MiniMain12 monitors in his studio, The Roost. “The listening position is spot on and I just did a little bit of tweaking and man, the first listen would blow your mind,” McClure explains. “They’re ridiculous. I have worked in all of the big installs all over this town and my control room sounds as World Class as any of them.”
In the last few years, McClure has become one of the most in-demand mixing/tracking engineers in Nashville, working with some of Music City’s finest hit songwriters, including Tom Shapiro, Jim Collins, Tony Martin, Mark Nesler, Rodney Clawson, Wendell Mobley, Ashley Gorley, Shane McAnally, Wade Kirby, Jennifer Hanson, Doug Johnson, Kyle Jacobs, Lee Brice, Ben Glover, Terry McBride, and David Lee Murphy, whose combined success has resulted in over 150 #1 singles on the country and pop charts, a number of which were originally demoed, produced and mixed by McClure.
McClure’s experience with Barefoot Sound goes back eight years when he demoed a pair of the smaller MM27s through Vintage King Audio. “They brought them over and I stuck them up on the console and finished the mix and then gave it to the client and everybody passed it around. It translated perfectly. I got the biggest compliments I had gotten to date on any mix I’d done.”
Producers and record labels that have benefited from Matt’s work include Mark Bright (Carrie Underwood, Rascal Flatts), Doug Johnson (Doug Stone, Shenandoah, Ty Herndon, James Bonamy, Lee Brice), Phil O’Donnnell (Craig Morgan), Sony Music Group, UMG Records, Warner Brothers Nashville, Broken Bow Records, and Curb Records.
“I called Vintage King back and I told company co-founder Mike Nehra, ‘Man, I know these were demos, but I’m keeping them. I’ll pay you full price for them. I’m serious, you can’t have your demos back. I will not go another day without them.’ That’s how serious I was. And then later I got a second pair of 27s with cases so I could easily set up in tracking rooms and have the identical sound I had at my studio. And recently, I traded up from the 27s to the new MM12s in the studio.”
In 2008, McClure was asked to become a partner in a startup entertainment company, “The Fringe”, a joint venture between Matt and two hit songwriters, Kyle Jacobs and Ben Glover. Part publishing, part production, “The Fringe” became one of the fastest growing entertainment companies in Nashville.
Since August 2011, McClure and Jacobs have co-produced two #1 hit singles for Lee Brice, “Hard To Love” (penned by Glover), and “I Drive Your Truck” which became the 2013 CMA “Song Of The Year”, as well as earning two Grammy nominations in 2014, and 5 upcoming ACM nominations.
“The Vintage King crew, especially Jeff Leibovich in Chicago and Chad Evans here in Nashville, have made tremendous strides in taking care of us,” adds McClure. “Jeff understands that I’m doing this every single day of my life, 12-14 hours a day. Most of the time when I’m calling them, I already know pretty much what I want. I don’t need someone trying to steer me in a different direction because there’s a product that’s being pushed on the shelves and they’re going to get more commission. That doesn’t happen with Vintage King.”
Learn more at : http://vintageking.com/barefoot-sound-minimain12-pair
Barefoot Sound’s MiniMain12 is a 4-way active system with 7 drive units housed in sealed enclosures spanning 20Hz to 40kHz with vanishingly low distortion, exceptional dynamic range and ultra-fast transient response. Every driver has an under-hung voice coil moving inside an advanced geometry motor that enables it to make extremely long linear excursions. The ring radiator tweeter is incredibly detailed and produces very wide dispersion out to its highest frequencies. The aluminum cone subwoofers, woofers and midranges radiate as perfect pistons to at least 2.5 octaves beyond their respective bandwidths.
Barefoot teamed up with the brilliant Bruno Putzeys of Hypex to develop the powerful and completely transparent amplifier stage of the MM12. Melding the system together is a groundbreaking DSP crossover that has taken Thomas Barefoot more than 4 years to develop. With beautifully designed high end converts and cutting edge proprietary filtering techniques the MiniMain12 produces a seamless and coherent wavefront that allows a listening distance of less that 3 feet with no sonic compromise, yet work perfectly at far field distances as well, producing SPLs equivalent to large monitoring systems.
ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second guessing , Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.
For more info visit: http://www.barefootsound.com tel: 503.894.8602
Lightweight Camera-Side and Two 1RU Truck-Side Units Maximize Application Compatibility
LAS VEGAS, FEBRUARY 26, 2014—Studio Technologies, Inc., the manufacturer of tailored high-performance audio, video and fiber-optic products for the professional audio, installation and broadcast markets, is introducing the Live-Link Mini Remote Camera Interface System at the 2014 NAB Show (Booth C11149). Live-Link Mini is a highly-integrated and powerful camera extender system with a choice of two 1RU truck units and a compact camera unit that weights only 3.6 lbs (1.6 kg). Live-Link Mini addresses the desire for a cost-effective, compact system that still delivers the inherent power of the signature Live-Link products in which SDI, IFB, comms and program audio are present in an easy-to-deploy system.
“We are constantly listening to the industry to get feedback about what equipment engineers and camera operators really need. In this case the resources required for efficiently supporting single-camera live events.” says Gordon Kapes, president of Studio Technologies. “The Live-Link Mini was born from this industry input. The system is optimized for electronic news gathering (ENG), uplink truck and focused broadcast applications, and offers the quality build, excellent audio quality and reliable operation that are at the core of the Live-Link family of products.”
The Live-Link Mini Remote Camera Interface System offers one SDI path in each direction, supporting a wide range of SD-, HD-, and 3G video signals. The system features integrated party-line and 4-wire intercom support, line-level “dry” and powered “wet” talent cueing (IFB) and is fully compatible with SMPTE standards. The camera and truck units interconnect through one single-mode fiber for quick and reliable field deployment, and incorporate standard optical, video and audio connectors for maximum flexibility. The camera-end unit features an integrated battery mount, which allows for the use of a broadcast-standard rechargeable battery.
Unlike other systems from the Live-Link family, the Live-Link Mini’s camera-end unit does not provide microphone- or line-level inputs for supporting on-air audio signals. Instead, it relies on the associated camera or camcorder to embed on-air audio signals into audio group 1 of the source SDI. This minimizes the camera-end unit’s size, reduces cost and simplifies setup. The embedded audio signals are transported, along with picture data, to the associated Live-Link Mini truck-end unit.
The Live-Link Mini truck-end units come in two flavors to accommodate different missions. The standard version of the truck-end unit is powered by 12 volts DC and relies on the SDI output to provide the on-air audio to the connected equipment. This meets the need of “all embedded” applications in which the audio is always transported along with picture information. The advanced version of the truck-end unit offers flexibility in powering and adds analog audio de-embed outputs. A source of either AC mains voltage or 12 volts DC can provide power for the advanced version. If both AC and DC sources are connected, then the DC source will serve as a backup. Some applications may benefit from having analog outputs associated with the audio embedded by the connected camera or camcorder. The advanced version de-embeds the four channels associated with group 1, converts them to analog and presents them on four balanced line-level outputs.
The Live-Link Mini joins the growing family of Live-Link systems, which includes the original Live-Link, Live-Link Jr. and the ready for 4k Live-Link 07X systems.
About Studio Technologies, Inc.
Studio Technologies, Inc. provides tailored, high-performance video, audio and fiber optic products for the professional audio and broadcast markets. The company was founded in 1978 with a commitment to design and manufacture dependable, individualized solutions for broadcast studio, stadium and corporate environments. Known for “designing for the way professionals work,” the company is recognized as an industry leader that has never wavered from its individualized design pledge. Product categories include fiber-optic transport, broadcast support, mobile broadcast, intercom and IFB, announcer consoles, loudspeaker monitor control systems and sound pressure level monitor systems. For more information, please visit the Studio Technologies website at www.studio-tech.com or call 847.676.9177.
Up to 70% off – until February 28, 2014!
Hollywood, CA (February 26, 2013) – EASTWEST is offering an additional 10% discount on their award-winning Complete Composers Collection 2. This promotion ends on February 28, 2014.
The Complete Composers Collection 2 is perfect for music, film, TV, and game composers: a choice of 20 award-winning virtual instruments that cover virtually every musical genre, including seven new additions:
- The Hollywood Gold series with Strings, Brass and Woodwinds
- The Dark Side
- Ministry of Rock 2
- Quantum Leap Solo Violin
Each of these virtual instruments is a veritable masterpiece with truly authentic sounds. With Complete Composers Collection 2, any musician has access to the instruments and articulations used by some of the most successful composers in the world. The massive library comes on a 1TB pocket-size “Plug n’ Play” external hard drive. All samples are installed for quick and easy access. Every instrument included is powered by EASTWEST’s PLAY 4 software, and is now fully compatible with ProTools 11 supporting AAX, plus most other popular hosts (see compatibility chart).
For details, rules and conditions, please visit http://www.soundsonline.com/CCC2-PRO (or to http://www.soundsonline-europe.com/CCC2-PR for European customers).
Chris Muth-designed compressor redefines “sidechain” while offering a uniquely transparent take on both transient and average level control for tracking, mixing, as well as mastering —
The new 'Dangerous Compressor' for tracking, mixing & mastering
– February 25, 2013
– Dangerous Music
has released the new ‘Dangerous Compressor
‘ a dual-mono/stereo compressor for tracking, mixing and mastering designed by legendary mastering gear guru Chris Muth. Like all Dangerous Music equipment, the compressor achieves musical, yet transparent results; in the words of producer and mixer Michael James
(New Radicals, Hole, Robben Ford, L7, Edwin McCain, The Coronas) “The new Dangerous Compressor is a ‘must have’ in my world. It’s a refreshing complement to the currently fashionable boxes that indiscriminately add color to your sound-whether you want it or not.” The new ‘Dangerous Compressor’ is available through dealers worldwide and has a street price of $2799 USD (2520€ Euros, 2090£ UK pounds).
The Compressor was field-tested and tweaked for almost two years before being previewed at the 2013 New York AES show. For example, Sterling Sound mastering engineer, Greg Calbi, (Tame Impala, The National, Sara Bareilles), stated, “From simple dynamics control to complete mix balance transformation, the Dangerous Compressor does both and everything in between.” While record producer and mix engineer Rob Chiarelli (Charlie Wilson, Mary Mary, Kirk Franklin), exclaimed, “I love this compressor! It’s perfect on Hip-hop, R&B tracks, vocals, drums, and the mix buss. It does it all.”
What’s so Different about the Dangerous Compressor?
The ‘Smart Dynamics’ feature employs two independent slopes in the detection circuit. One stage of the detector controls the average level. The other handles only rapid transients. Normally a spike would shove down the entire track, creating an audible faux-pas moment. Instead, with the Dangerous Compressor, the normal slope stage handles the smoothing of the entire content and the other deals with the spikes. This results in a higher average level relative to peak, without the stereo image collapsing. “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!” says mastering engineer Jonathan Wyner (Javier Limon, Josh Groban, Nirvana, David Bowie).
By default, the unit is set to ‘Auto Attack / Release’ mode which uses time constants carefully selected for versatility. Engaging the ‘Manual Attack/Release’ button allows the manual use of the attack and release knobs. Michael James says, “I was shocked to find that the Dangerous Compressor’s auto attack/release preset always sounded ‘just right’-so good, in fact, that I found myself trying to match it manually!”
The Dangerous Compressor may be operated in either ‘Stereo’ or ‘Dual Mono’ mode. Dual Mono has two completely independent paths; for example, kick drum in one channel and snare in the other. Stereo Mode may be applied to stereo instruments, stems or complete mixes. Many stereo compressors sum the left and right channel audio and feed that signal to one detector, resulting in any out of phase material will either not get compressed or will be under compressed. This will over-represent mono (content in the middle of the mix) and under represent panned instruments to the VCAs, making normal single-detector compressors potentially overreact to kicks, snares, and the lead vocal while ignoring the panned toms, guitars and keys. The stereo button on the Dangerous Compressor still uses both its detector circuits to drive each channel’s VCA for a more musical result. Michael James explains his experience, “The Stereo button is NOT an image killer! So many compressors collapse when you push the Link button, but the Dangerous Compressor stays wide open.”
The audiophile ‘Sidechain’ circuit offers both Bass Cut – sensitivity reduction to low frequency energy to keep the compressor from “dunking” with loud bass or kick drum levels-and Sibilance Boost, which increases sensitivity to high frequency energy causing the compressor to react more to the top end, taming the harshness without resorting to EQ changes. Users can control sibilance by reducing “S” sounds from a singer or gently tame the harshness from cymbals recorded with cheap condenser mics or poorly sampled loops. “This stuff remains natural sounding while doing heavy gain reduction. And it manages to not duck down the mix when the kick shows up. Is it really made by humans?” quips, mastering engineer Alex Saroudakis (Sony music, Universal music, Virgin).
Because of its transparency and audiophile sidechain and detector circuitry the Dangerous Compressor performs like an automated fader for riding vocals: no more manual volume drawing; Just a natural, transparent vocal sound, and it boasts extremely low distortion, even with 20dB of gain reduction. “If I were able to conjure up the compressor of my dreams, I’m pretty sure this would be it. It just works,” says mix engineer Ryan West, who has engineered records by Jay Z, Eminem, Rihanna and T.I.
Mastering engineer Mike Wells tried the Compressor and said, “With multiple sidechain options, the innovative ‘Smart Dynamics’ feature, and the signature transparent musicality Dangerous Music brings to all their products-we have a winner!” Wells has mastered projects for Nicki Bluhm and the Gramblers, Tony Sly, and STS9 among many others.
Chris Muth has spent over 20 years working in top studios as a chief technician, and designed custom gear for them, including Sterling Sound, The Hit Factory and Masterdisk, and has worked as a recording, mixing and mastering engineer himself. Dangerous decided it was time the world had an alternative compressor that was both easy to use and powerful, and in the mold of all Dangerous Music gear: transparent. They also wanted a compressor that is useful in recording and mixing-as well as mastering-and designed for both professionals who are at ease with manual settings and up and coming engineering talents as well, who would welcome professional ‘auto’ compression modes. Enter the Dangerous Compressor.
The new ‘Dangerous Compressor’ is available through dealers worldwide and has a street price of $2799. For more information visit: http://www.dangerousmusic.com/products/compressor
About Dangerous Music
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company 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 and its Additional Switching System expansion units, 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: email@example.com
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