Archive of the News Category
Become a better producer with unlimited access to online audio tutorials for about the cost of 2 cups of coffee a month!
Austin, TX – October 30, 2014 – Beyond one-day events like Black Friday or Cyber Monday, Groove3 has launched the Black November Sale and is offering new customers an All Access Annual Web Pass for just $99 during entire month of November. Normally $150, customers gain instant online access to every video tutorial currently available on Groove3.com as well as new videos that are added during their 1-year membership.
Groove3.com hosts nearly 900 hours of innovative, inventive and progressive online video training for music producers of all levels, covering all of the top digital audio workstations, plug-ins, and virtual instruments on the market as well as essential audio topics like recording, mixing, and mastering. Groove3’s expert trainers are working musicians and audio professionals that know how to get the most from their gear and apply that knowledge to real-world workflow. New content is added weekly and is accessible with the All Access Annual Web Pass.
While there is plenty of video instruction on YouTube, Groove3 takes the guess work out of finding consistently high-quality instruction backed by more than 10 years of experience in working closely with audio experts and directly with manufacturers. This saves the end-user countless hours of searching the web for relevant, high quality video instruction.
“My schedule is so hectic that I don’t have the time it takes to fully learn the latest and greatest software,” said Trace Foster, engineer and guitar tech for Joe Perry of Aerosmith. “Now I just put on a Groove3 video while we’re flying or on the bus and before long, I’m so far ahead of the learning curve! It really makes my life easy.”
There has never been a better time to become a Groove3 member. In addition to the Black November Sale price of $99, members will have access to new content from a recent development partnership with publishing giant Hal Leonard, which will include titles on drums, guitars, bass and keyboard playing and more. Several new titles are due out in November and December as well as many more in 2015.
For more information and to purchase an All Access Annual Web Pass for just $99 during the Black November Sale, visit http://www.groove3.com/str/access-it-all.html.
For over 10 years, Groove3 has been on providing informative and effective training and content that is in-depth yet easy to follow. Their products are currently in use by thousands of musicians, engineers, producers, project studio owners, colleges, universities, trade schools, and working professionals. They were the first to offer training videos specifically targeted to the pro audio community via online access and the first to offer regular video content updates for their members. Groove3 offers the most flexible options for purchasing their training and viewing the content with DRM free downloads, iOS and Android apps, as well as an intuitive streaming player.
Ozone 6 features a redesigned interface, standalone application, and new Dynamic EQ module
Cambridge, MA (October 30, 2014) – iZotope, Inc., a leading audio technology company, has launched the latest version of its critically acclaimed line of mastering software, Ozone.
Ozone 6 is a creative mastering platform that enables both project studio producers and mastering engineers to easily add a final level of professional polish to their mix.
The modern new workflow is centered around creativity. A fully redesigned interface and real-time visual feedback in every module assist users in creating masters with ease.
“Our goal was to create an elegant visual aesthetic and fluid workflow,” says iZotope Product Manager Brett Bunting, “in order to bring the creative elements of mastering front and center and allow users to define their own sound.”
Ozone 6 takes the guesswork and the manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices. Using Ozone’s presets as a starting point, pros and newcomers alike can immediately achieve authentic sounds in any genre.
Ozone also produces great sound, providing the warmth and character of analog sound without the restrictions of hardware. And since Ozone 6 works as either a standalone application or a suite of plug-ins, users can choose to work exclusively in Ozone, or to complement their audio editor of choice.
For professional users, the Advanced version’s Dynamic EQ module lives and breathes with your music, harnessing the precision of an equalizer and the musical ballistics of a compressor. It’s an ideal tool for transparently sculpting audio.
“Ozone is full of great mastering tools,” says Adam Ayan, GRAMMY-winning mastering engineer at Gateway Mastering, “and it just keeps getting better!”
Learn more at www.izotope.com/ozone6.
Watch the video at http://youtu.be/GZMvIxPZ-50.
Ozone 6 is available now at www.izotope.com/ozone and at select retailers.
Ozone 6 – Promotional Price: $199 USD, Regular Price: $249 USD
Ozone 6 Advanced – Promotional Price: $599 USD, Regular Price: $999 USD
Upgrade from Ozone 1-5 to Ozone 6: Always available at a special price of $99 USD
Upgrade from Ozone 1-5 to Ozone 6 Advanced – Promotional Price: $399 USD, Regular Price: $750 USD
Upgrade from Ozone 5 Advanced to Ozone 6 Advanced: Always available at a special price of $299 USD
For international customers, check with your local reseller for Ozone 6 pricing.
Grace Period Purchases
Customers who purchased Ozone 5 after September 1, 2014, will receive a free upgrade to Ozone 6 upon release.
Customers who purchased Ozone 5 Advanced after September 1, 2014, will receive a free upgrade to Ozone 6 Advanced upon release.
About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit www.izotope.com.
Pino Daniele, one of Italy’s best known singer/songwriters and a man whose career spans both genres and decades, has recently started using a range of DPA microphones, including the company’s ground-breaking d:facto™ Vocal Microphone.
Fabrizio Facioni, Daniele’s sound engineer, jumped at the chance of using d:facto when the opportunity presented itself.
“I like its sound. It’s so ‘present’ and natural,” he says. “This microphone reproduces exactly what it is given in terms of the vocal, and that greatly simplifies my job.”
The d:facto Vocal Microphone joined a range of DPA mics that were used over the summer for the NERO A META’ tour, which reunited Daniele with band members from the 1980s alongside special guests. For his forthcoming theatre tour, the line-up is more intimate and includes Pino Daniele on vocals and acoustic guitar, a second acoustic guitar, an upright bass, piano and drums played by internationally acclaimed producer and arranger Alfredo Golino, who regularly works with artists such as Laura Pausini.
Facioni says: “The decision to use DPA microphones initially came about when I needed a microphone for Pino’s acoustic guitar. I spoke to Agora, our PA rental company, and they recommended DPA’s d:vote™ 4099 Instrument Microphones. After trying one, I knew it was perfect for the task. Both Pino and I were so impressed that we decided to use d:vote 4099s on his guitar and on the second acoustic guitar.”
Facioni adds that the improvement in sound made him question the microphones he was using on the other instruments in Daniele’s intimate line-up. It was at this point that Alfredo Golino suggested he got in touch with Salvatore Zocco from DPA’s Italian distributor M. Casale Bauer for more advice on the DPA range.
Salvatore Zocco says: “Alfredo is a great ambassador for DPA and has used the company’s microphones for a long time, so it was perfectly natural for him to put Fabrizio in touch with me. I was able to recommend the most appropriate microphones for Fabrizio’s requirements.”
The final choice came down to d:vote 4099 Instrument Microphones for the high hat, snare (top and bottom) and toms. DPA d:dicate™ ST4011C and ST4015C Recording Microphones were respectively chosen to handle overheads and percussion. The acoustic guitars and upright bass are also miked with d:vote 4099s, while Pino Daniele has two d:facto Vocal Microphones – one for when he’s standing and the other for when he performs with his acoustic guitar.
“I have been very satisfied with the results these microphones have delivered,” Facioni adds. These were exactly the mics I needed to give me a natural sound. I am a studio engineer as well, so I already knew DPA mics for piano and orchestra and I like them a lot. But this is the first time I have tried them for percussion and bass and I am definitely impressed.”
And perhaps more importantly, Pino Daniele himself has also been impressed with the performance of the d:facto Vocal Microphone which he used consistently during his summer tour of Italy’s sports arenas.
“We are now planning more dates in smaller theatre venues during November and December and the d:facto will once again be part of our microphone set up,” adds. “It has worked for Pino and he really like it. He says he now recognises his own voice!”
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
BOSTON, MASS. Berklee College of Music opened the doors to its 160 Massachusetts Avenue, residence tower in January 2014. The building now features one of the largest, most progressive, and versatile professional audio teaching/production/performance complexes in the U.S. Over three years and $100 million have been invested in the development and construction of this cusp point educational compound. Situated over four dedicated floors in a striking, sixteen-story, 155,000 sq. ft. William Rawn Associates building, the ten-studio Walters-Storyk Design Group – designed, audio education component represents a pinnacle of contemporary studio planning.
A commanding floor-to-ceiling glass wall overlooking Massachusetts Ave. distinguishes the 21,400 sq. ft., 400-seat ‘Berklee Café.’ Originally conceived as a student-dining hall, early in the design phase, Berklee senior staff recognized an opportunity to utilize the space (replete with a 38′ high ceiling, and a gracefully curved, 2nd floor balcony), as a live performance/recording venue for students. WSDG was tasked with devising optimal acoustical treatments for the showplace and with providing total connectivity to multiple control rooms throughout the 23,800 sq. ft.’ A & B level, recording education complex. Nightly student performances began in January, quickly establishing the room as a superb talent platform and (not incidentally), an outstanding ‘live recording room.’
“WSDG has not only designed many of the world’s best studios, they closely monitor the smallest construction details to insure that they are built to impeccable standards,” states Roger H. Brown, President, Berklee College of Music. “We are delighted with the outcome, both in the studios they designed for our campus in Valencia, Spain and with this new suite of studios in our 160 Massachusetts Avenue building. Berklee students deserve the best, and now they have the best.”
Two stories below the Café, on Level A, the 2200 sq. ft. Studio 1 features a 1300 sq. ft., 13′/h, live room designed to accommodate an orchestra of up to 50 musicians. As the largest 160 Mass studio, this cutting edge recording/mixing suite includes: a 600 sq. ft. Control Room for classes of up to 16 students, and two oversized 110 sq. ft. ISO rooms. Extremely useful for multi artist recording projects, they compliment the WSDG-designed studios at the Berklee Valencia campus.
“Our Basel, Switzerland-based partners, Dirk Noy and Gabriel Hauser ran extensive auditory simulation and modeling tests to establish optimal acoustics for the performance café, the studios, and the critical listening environments,” reports WSDG Co-Principal/ Interior Designer, Beth Walters. “160 Mass. incorporates architectural elements and acoustic treatments which epitomize our 40+ years of studio design experience. These rooms are World Class.”
“Studio 1 engaged a number of innovative design elements,” reports WSDG Partner/ Project Manager, Romina Larregina. “Because it is clearly a ‘star’ attraction, Berklee College of Music President, Roger Brown and the executive team envision an on-going series of student tours through the complex. Faculty members were concerned that the panoramic 12′/w x 5′/h corridor window into the live room might prove a distraction to student musicians. To ameliorate this anticipated problem, WSDG recommended fitting the window with clear glass Quadratic Residue Diffusers. These custom-built treatments were precisely calibrated to diffuse the studio’s frequency range. Joined together as a single ‘sill-to-top’ installation they enhance the live rooms’ acoustics, provide visitors with an expansive view, and maintain the privacy required by working student musicians.
“The 1500 sq. ft. Studio 2 was designed for smaller ensemble recording projects, and features a 120 sq. ft. ISO Booth, and 360 sq. ft. Control Room,” Larregina continues. “The Lee Kennedy Co. Inc. contractors deserve tremendous credit for their contribution to this project. Each studio represents the latest word in room-within-room construction. Each studio is acoustically de-coupled and allows for zero tolerance in terms of sound leakage,” she adds.
Level A also features one of two 120 sq. ft. ‘tiered’ Central Machine Rooms (CMR), which represent a formidable achievement in ‘enhanced connectivity.’ “Due to the extensive amount of technology required by 160 Mass., we split the distribution within two fully integrated rooms, The Level A CMR is positioned directly above the Level B CMR,” Larregina explains. “This vertical configuration was extremely logical. Our long-time Systems Design & Integration Specialist Judy Elliott-Brown accomplished literal miracles in one of the most challenging wiring projects we have ever encountered.”
A twenty-five year WSDG veteran, Elliott-Brown has been involved with the 160 Mass. Ave. project since the project was awarded in 2011. Tasked with routing, running and connecting upwards of 100,000 feet of analog audio, video, CAT-6 and speaker wire with over 30,000 connections via some 5500 individual connectors throughout the three-floor recording, producing, mixing and teaching complex, Elliott-Brown considers 160 Mass one of the most complex assignments of her career, (a track record that includes NYC’s Jazz At Lincoln Center; SF’s Ex’pression College of Digital Arts; Village Studios, Guangzhou, China; and NYU’s James L. Dolan, Music Recording Studio/Teaching Complex). Collaborating with Berklee College of Music Chief Engineer Burt Price, and Jerry Smith, Senior Director of Technology for the Writing and Technology Division, and enlisting the creative design assets of the entire WSDG global team Elliott-Brown encountered and resolved innumerable systems infrastructure issues.
“Over the three years that this project evolved from initial drawings to fine tuning, our primary mandate was to remain open to change. Technology shifts, room repurposing and functionality remained fluid well into the construction period,” Elliott-Brown says. “The most significant refocus was the decision to refashion the Cafeteria from a traditional dining hall into a performance venue. In retrospect this seems like an obvious call, but it was a brilliant expansion of the iconic role this three story high, glass-walled hall will now play in this complex. It presented some interesting acoustic and wiring challenges, but the benefits to Berklee students and guests will be enormous. Fortunately, the decision was reached early enough in the construction stage for us to accomplish the changes in a timely and efficient manner.” Elliott-Brown supervised the system installation crew led by Redco Audio of Stratford, CT. She estimates that over the past three years she has devoted upwards of 2240 hours to 160 Massachusetts Ave.
Level B is comprised of five independent suites of varying size and purpose. Created for small ensemble recording, the 1100 sq. ft. Studio 3, features a 320 sq. ft. Control Room, a 140 sq. ft. ISO booth, and a 600 sq. ft. Live Room. Larregina refers to the 400 sq. ft. Mastering/ Critical Listening Lab, as a ‘self-contained Sweet Spot.’ “The precise acoustic tuning of this studio will provide classes of up to twelve students with an impeccable listening experience, one which will be difficult to match in the ‘real world,’” Larregina adds.
Another 160 Mass. ‘signature room’ is Level B’s 700 sq. ft. Dolby Atmos(tm) -ready Dubbing Stage which features twin 150 sq. ft. ISO Booths, and a 120 sq. ft. Overdub Booth. The 1400 sq. ft. Production Control Suite features four 170 sq. ft. Control Rooms, three of which are equipped with 100 sq. ft. ISO Booths, and all adjacent to a communal 400 sq. ft. lounge.
Fourth Floor Ensemble Rooms
The (7454 sq. ft.) fourth floor at 160 Mass. is dedicated to practice and rehearsal. Three conjoined, 250 sq. ft. Ensemble Practice Rooms were constructed with pro studio isolation and acoustic treatments to enable musicians to practice at peak volume without concern for sound leakage into neighboring rooms. Additionally, twenty Individual Practice Rooms of varying size were designed to accommodate a diverse range of rehearsal configurations. The fourth floor also houses a student fitness room.
Beth Walters, and WSDG interior design supervisor Silvia Campos Molho and interior designer Charlotte Ross collaborated with Berklee College of Music Assistant VP Carl Beatty on the overall 160 Mass interior design “VP Beatty suggested introducing subtle inflections of color to ‘warm and refine’ the atmosphere. To facilitate this goal, we developed a custom palette to compliment the college’s distinctive red and black motif,” Walters said.”
“As a former professional engineer I’ve logged countless hours in recording studios,” Carl Beatty remarked. “My interior design experience began with WSDG on Berklee’s Valencia, campus which has a ‘Destination Studio’ rather than a classroom vibe. Because 160 Mass. is a dedicated teaching facility, we envisioned an unequivocal pro studio setting. Beth and Sylvia prepared an expansive canvas of gold, ocher, lavenders, blues and other harmonizing colors, to enhance each room’s distinctive character. This complex bristles with technology, but its variable acoustic treatments, silver diffusers, dramatic ceiling clouds and other auditory elements are complimented by carefully considered aesthetics orchestrated by WSDG.”
Walters describes the three-year design/construction mission as, “An exceptional opportunity for WSDG to collaborate with brilliant clients and an outstanding architectural firm. Our challenge was compounded by the fact that we were simultaneously engaged in integrating our design for Berklee’s five studio Valencia Campus, in Spain,” she says. “The major differences between these two projects were scale and location. Berklee Valencia is set within the ultra-modern, Palau de les Arts Reina Sofia arts/performance complex, a world-renowned building. Boston’s four-floor, 52,654 sq. ft. audio education complex is the hub of a 16-story, ground-up building. Virtually every member of our international team made a meaningful contribution to both of these formidable endeavors. It is extremely gratifying to walk through 160 Mass. today, and know that WSDG helped to bring it to life.”
WSDG co-founder/architect/acoustician, John Storyk concludes, “Projects on this scale are extremely rare. Berklee College of Music President, Roger Brown, Assistant VP Carl Beatty, Jay Kennedy, Vice President for Academic Affairs/Vice Provost, and their entire executive cadre are among the most astute and forward thinking educators we have ever worked with. Their insights and recommendations were invaluable, particularly in proposing the Café as a performance/live recording space. A brilliant decision, albeit one, which presented considerable acoustic design challenges at that stage of the project. However, their prescience reflects a unique grasp of student needs. And, The Café was immediately recognized as the jewel in the 160 Mass. crown. Berklee College of Music has introduced a new standard of professionalism and commitment to a rapidly evolving career path. WSDG was privileged to contribute to this significant addition to America’s educational infrastructure.”
1. Berklee College of Music 160 Massachusetts Ave. Café / Performance space
2. Berklee College of Music 160 Massachusetts Ave. Control Room 1
3. Berklee College of Music 160 Massachusetts Ave. Control Room 2
4. Berklee College of Music 160 Massachusetts Ave. Control Room 2 (vertical)
5. Berklee College of Music 160 Massachusetts Ave. Control Room 3
6. Berklee College of Music 160 Massachusetts Ave. Dub Stage
7. Berklee College of Music 160 Massachusetts Ave. Equipment Closet
8. Berklee College of Music 160 Massachusetts Ave. Mastering Suite
9. Berklee College of Music 160 Massachusetts Ave. Production CR
10. Berklee College of Music 160 Massachusetts Ave. Studio 1 C v1
11. Berklee College of Music 160 Massachusetts Ave. Studio 1 Live Room v2
12. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v1
13. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v3
14. Berklee College of Music 160 Massachusetts Ave. Exterior Day
Photos by: Cheryl Fleming/James Lane www.CherylFleming.net
Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969′s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho, Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.
NEW YORK, NY, OCTOBER 30, 2014 – When the ambitious and original new musical FOUND opened at the Atlantic Theater Company’s Linda Gross Theater on October 14, Sound Designer Ken Travis enlisted the services of Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package to help audiences discover this Off-Broadway gem.
FOUND isn’t just based on a true story; it’s based on hundreds of them. FOUND is an original musical featuring scores of surprising and eccentric discarded notes and letters that have been “found” in the real world by every-day people. Inspired by actual events, the show follows Davy who, along with his two best friends, is lost and broke. When he finds a strangely revealing note on his windshield meant for someone else, it sparks an outlandish idea that finds him and his companions on a wild, comedic journey. By bringing a host of real notes and letters from Davy Rothbart’s popular FOUND Magazine to irreverent theatrical life, this insightful new musical tells a story of ambition, betrayal and loyalty while celebrating the weirdness in us all.
Travis’ biggest challenge in designing the sound was adhering to the very quick amplification changes in the theater, which was previously an old church. “Because of its architectural design, you can’t really hit the walls and you can’t activate the room,” says Travis. “We needed to be able to go from really loud to super intimate within a second and allow the audience’s ears to settle into that adjustment. It took a little while to figure out how we would accomplish that without losing any energy and without having the audience members miss a single word.”
For Travis, equipment selection proved essential to the show’s success. He found what he was looking for with a speaker system featuring d&b audiotechnik products. The sound system features a Q-Series rig, along with E3 loudspeakers for delays and B2 subwoofers. “In a matter of one minute, the actors can go through 10 songs, and, stylistically, each song is 100 percent different,” adds Travis. “It can range from something that pays homage to Queen and Bruce Springsteen, to 80s metal bands and country music. Dynamically, the shifts are huge, and the d&b system allowed us to really bring out the style of the various music genres in a rapid succession.”
Additionally, Travis wanted to ensure that no microphones were visible on the cast during the production, so he relied on Sennheiser MKE1 Professional Lavalier Microphones, along with one of Masque Sound’s pre-built Sennheiser 2000 Series wireless transmitter kits. Designed for quick and easy dispatch, Masque Sound’s pre-built kits provide 24 wireless channels and are targeted for the Off Broadway and regional markets. The orchestra was mic’ed with DPA 4011 Cardioid Microphones, DPA 4099 Instrument Microphones, Schoeps MK4 Cardioid Capsules and Beyerdynamic M 160 Hypercardioid Ribbon Microphones. Masque Sound also provided an Avid VENUE SC48 digital console.
Since the orchestra is present on stage, with musicians spread between a few small pods, Travis wanted the sound design to creatively capture and evoke a natural and intimate sound. To accomplish this, he utilized a Meyer Sound LCS LX-300 delay matrix. “We wanted the orchestra to be able to go from a chamber sounding musical, involving violin, cello, guitar, bass, drums and piano, to a heavy rock sound,” he says. “We used the delay matrix to time every single instrument on stage so that when we were amplifying it, it really sounded like it was coming from the specific instrument. We also divided the stage into zones, which ensures that the engineer has a lot of cues for the actors.”
Furthermore, with regards to timing, this production requires that the audio is perfectly synched up to the show’s video images. Travis relied on MIDI to achieve this, using one big MIDI loop to ensure that the design teams could send information back and forth. This was an easy way to simplify a very technically challenging show on an Off-Broadway budget.
“This was a great team effort,” concludes Travis. “My associate, Justin Stasiw, A1 Jillian Walker and A2 Laura Brauner all did a wonderful job, and it was terrific that the whole design team was able to come together for this fun and original production. Masque Sound was once again great to work with and very accommodating in providing me with the equipment I wanted to use.”
FOUND began previews on September 18 and is slated to run through November 9 at The Atlantic Theater Company’s Linda Gross Theater, located at 336 West 20th Street in Manhattan. To learn more about FOUND, visit atlantictheater.org.
About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.
Company’s d:facto™ Vocal and d:vote™ 4099 Instrument Mics are mainstays for all recent performances
LOS ANGELES, CA, OCTOBER 30, 2014 – Michael Feinstein and the Pasadena POPS recently concluded their 2014 Sierra Acura Summer Concert Series at the LA County Arboretum to an audience of nearly 5,000 people. DPA microphones was among the star-studded lineup, not only for this concert series but for Feinstein’s additional performances, with its d:facto™ Vocal Microphone and d:vote™ 4099 Instrument Microphones for Piano.
Michael Feinstein’s long-time Production Manager and FOH Engineer Andy Brattain was introduced to DPA Microphones a few years ago at a show at the Palladium in London. Brattain secured the mics for Feinstein’s Jazz at Lincoln Center Series and has been using the microphones ever since.
“We were heading out on the road and had a lot of different types of shows scheduled throughout this past summer, which included everything from the outdoor symphony shows to a small trio show in a club setting,” says Brattain. “I made sure that I had a couple of DPA mics with me and this is when we really started liking them, as they worked perfectly in so many different applications with all different types of sound systems.”
As a baritone, DPA’s d:facto Vocal Microphone matches well with Feinstein’s voice. “He can get a little hot on the low end, but the d:facto is able to smooth some of that out without any coloration,” adds Brattain. “Also, the proximity of where Michael holds the mic in relation to his mouth, whether really close or really far away, works nicely with the d:facto. He has the freedom to move around and the d:facto evens out the sound, leaving me with minimal EQing.”
In addition to the d:facto, Brattain relies on DPA’s d:vote 4099 Instrument Microphones for Piano. “We play with the piano lid closed for 99 percent of our performances and with most microphones you are fighting the low end that produces a harsh sound. With the d:votes you can position the mics exactly how you want and when you close the lid you have this great open and natural sound,” continues Brattain. “I’ve had an engineer tell me it’s the best sounding close-lid piano they’ve heard. It’s such an easy installation too, some pianists don’t want me to tape mics to their piano, but with the d:vote magnet mounts I don’t have to worry about scratches or a gluey mess, it leaves everyone happy.”
Not only is Brattain happy with the quality of DPA’s microphones but the system tech and other FOH engineers that were at the Pasadena POP performances commented on how well they sounded. “Everyone was pretty blown away about not having to do a lot of EQing, just take the high pass up a little bit and call it a day, it was great,” concludes Brattain.
Feinstein is a multi-platinum-selling, two-time Emmy and five-time Grammy® Award-nominated entertainer dubbed “The Ambassador of the Great American Songbook.”
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit www.dpamicrophones.com.
Compact, Cost-Effective, and Packed with Features
Westlake Village, CA – October, 2014… Harbinger, a provider of powerful, affordable sound reinforcement solutions, introduces the new LvL Series of compact mixers. Available in multiple channel configurations, LvL Series mixers offer great sound and exceptional performance at an affordable price.
As with all Harbinger gear, LvL Series mixers are designed with quality and attention to detail. Offered in 12, 8, and 5-channel configurations, LvL Series mixers are loaded with features that will upgrade your sound and streamline your workflow.
Every LvL model is equipped with professional grade, studio quality preamps for ultra-clean, crystal clear sound and performance with headroom to spare. Standard features include integrated LvL Series EQ, Input/Peak indicator LEDs on every channel, and a 5-segment LED main mix meter. All models feature switchable phantom power for condenser mics, convenient headphone outputs, and RCA inputs for easy connection to computers or external recorders, as well as a robust AC power supply. Plus, all mixers are housed in a rugged, all-metal chassis.
LvL Series mixers are ideal for compact and portable applications, including rehearsals and small to mid-sized combos. Small broadcasters and podcasters will find the LvL Series a great fit for voiceovers, interviews, and webcasts. And LvL Series mixers are a great addition to the small songwriter’s setup or DAW-based project studio.
LvL Series mixers include the 12-Channel L1202FX, 8-Channel L802, and 5-Channel L502 models. The most compact of the series, the L502, features five inputs including XLR imic preamp and dual 1/4-inch stereo inputs, along with 2-band LvL Series EQ and assignable Tape In routing. The mid-sized L802 offers dual XLR mic preamps and two dual 1/4-inch stereo inputs with +4/-10dB sensitivity selection, 3-Band LvL Series EQ, as well as unexpected features like assignable Tape In routing, separate Main and Control Room outputs, and a dedicated Aux Send/Return. The flagship L1202FX model packs even more features into its compact footprint, including four XLR mic preamps with 1/4-inch TRS balanced/unbalanced line inputs, four more 1/4-inch balanced/unbalanced stereo inputs with +4/-10dB sensitivity selection, four channels of 3-Band LvL Series EQ, 75Hz high-pass filters on each mic input, dedicated Aux Send/Return, on-board digital FX including tap tempo delay, and a full-sized master fader.
“Harbinger has long been a leader in live sound, with a complete line of powered mixers, portable PA systems, and powered monitors with integrated mixers,” stated Harbinger Product Merchandising Manager Greg Riggs. “The new LvL Series mixers continue the Harbinger legacy and once again offer a high-quality, affordable alternative in today’s competitive market.”
Harbinger LvL Micro Mixers are available now at Guitar Center stores, guitarcenter.com, and Musician’s Friend. Street pricing on the L502 is $44.99; the L802 sells for $64.99, and the L1202FX streets for just $109.99.
For more information, visit the all-new Harbinger website at www.harbingerproaudio.com.
ABOUT HARBINGER PRO AUDIO - Harbinger Professional Audio brings together advanced engineering and manufacturing technology to deliver high quality sound reinforcement components that offer performance, power, and reliability in an affordable package. Harbinger products are built with rugged, professional components and construction for dependable, rock solid performance.
For more information on the complete range of Harbinger Pro Audio products, contact Harbinger, P.O. Box 5111, Thousand Oaks, CA 91359.
Company Says FCC Should Retain Two Blocks of Clean UHF for Hypercritical Mics and Ear Monitors, and Mic Owners Should Receive Compensation As a Result of Spectrum Repacking
Old Lyme, CT, October 29, 2014: Audio specialist Sennheiser, which continues to file comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction now scheduled to take place in early 2016, recently filed a Petition For Reconsideration with the FCC on its Incentive Auction Ruling. The company also encourages microphone owners and customers to write to the FCC in support of the Petition for Reconsideration before the initial reply deadline of November 12th, 2014, and is offering to help with any filing or procedural requirements.
Sennheiser’s recently filed Petition For Reconsideration argues two primary points:
• There should remain two blocks of clean UHF for hypercritical microphones and ear monitors (the FCC plans to eliminate the two reserve mic channels);
• Mic owners should be compensated by the auction winners for their equipment, purchased to comply with the previous 700 MHz reallocation, that will be displaced as a result of this next spectrum repacking.
“The FCC has an enormously difficult task to repurpose spectrum from traditional over-the-air TV broadcast to mobile broadband services — this is a matter of content distribution,” says Joe Ciaudelli, Spectrum Affairs, Sennheiser. “However, spectrum is crucial for content creation as well. It is essential that productions have access to reliable prime spectrum for their most critical wireless links. Also, responsible mic owners invested in new equipment just a few years ago to comply with the Commission’s mandate to vacate the 700 MHz band. They should not be subjected to another premature obsolescence of their gear without some compensation. In our petition we detail options for addressing these important issues.”
Last April, Sennheiser launched a website to keep its customers informed on developments concerning the future of wireless microphones and the UHF spectrum. The website [http://sennheiser.com/spectrum] also contains a template for a sample support letter that microphone owners can download and use to express their own views to the FCC concerning equipment replacement costs they will incur as a result of spectrum reallocation.
In early 2016, the FCC plans to hold an ‘incentive auction” with the intent of transferring spectrum currently allocated for over-the-air (OTA) TV service to mobile broadband. The auction offers TV broadcasters the opportunity to relinquish or share their spectrum license in exchange for a portion of the proceeds generated by the auction. The broadcasters that operate on channels in the 600 MHz range that choose to stay on the air will be moved to a different TV channel during the subsequent repacking process, scheduled to be completed 39 months after the new channel assignments are determined.
For more information, please visit http://sennheiser.com/spectrum or contact Joe Ciaudelli directly at firstname.lastname@example.org.
The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.
More up-to-date information about Sennheiser is available at www.sennheiser.com.
With its new Meyer Sound M’elodie® line array loudspeaker system, TrinityLife Church in Lutherville, Md. has given new life to the congregation’s high-octane, music-centric worship services.
“We feature both choral music styles and high-energy, band-driven styles, and the M’elodie system lends itself wonderfully to both,” says Michael Smith, technical director at TrinityLife. “Our congregation feels more engaged because the sound is smooth. Even when we push up the level, you can hear everything clearly, and it never attacks you. It makes for an intimate, immersive, and enjoyable worship experience.”
The system’s main arrays each comprise 11 M’elodie loudspeakers under two 500-HP subwoofers. Six under-stage 600-HP subwoofers supply additional low end, while two UPQ-1P and six UPM-1P loudspeakers cover side galleries and close front seating, respectively. A Galileo® loudspeaker management system with one Galileo 616 processor provides drive and optimization.
George W. Raduano, senior pastor, also notices the new system’s uniform coverage and flat response. “Our pastor likes to come down and speak from the very front of the thrust stage,” says Smith. “That’s out in front of the arrays, where they start to overlap. Like most pastors, he likes to sense his voice presence in the room. The system’s incredible gain before feedback gives what he wants to hear.”
Smith also has high praise for the new system’s low-end reinforcement. “The bass is very warm, smooth, and responsive. It’s pleasing, but you’re not being beaten down by it.”
Feeding the new Meyer Sound system from FOH is a DiGiCo SD10 digital console. Other front-end gear includes an Aviom personal monitor system, a Shure PSM 900 wireless IEM system, Shure UHF-R wireless microphones, and a Countryman E6 earset microphone for Senior Pastor Raduano. Design-build services for the complete audio renovation were supplied by Special Event Services (SES) of Winston-Salem, N.C., with project supervision by Greg Slape.
The most comprehensive orchestral collection on the market includes Hollywood Orchestral Strings, Brass, Woodwinds, and Percussion
Hollywood, CA (October 29, 2014) – With the recent release of Hollywood Orchestral Percussion, EASTWEST now offers the most detailed and comprehensive orchestral virtual instrument collection on the market: Hollywood Orchestra. The company’s flagship product includes Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds and Hollywood Orchestral Percussion, all produced by award-winning team comprised of Doug Rogers, Nick Phoenix, Thomas Bergersen, and engineer Shawn Murphy.
“This has been our labor of love – we’ve worked over a five year period as we completed each of the sections,” says Doug Rogers. “We are proud to now offer a complete professional orchestra that is able to meet any demands composers might have. It’s a true EASTWEST milestone.”
Each individual section of Hollywood Orchestra has received multiple awards from the international press for its unprecedented detail, superior true legato, sound quality, and sound control with five user-controllable mic positions, including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.
Producer Mark Linthicum says: “I love the realism of these Hollywood instruments. For the first time I can go for a big bombastic Hollywood sound, or an intimate sound with the mic options included. There’s really nothing else that can do this. It’s a game changer!”
Truly the Holy Grail for serious film, television, videogame, and music composers, Hollywood Orchestra is the culmination of over five years of recording in the famous EASTWEST Studio 1, the home of major Hollywood Soundtracks and Television Themes. It includes PLAY 4 32-bit/64-bit software, powerful scripting for ease of use, and more user control than any other virtual instrument.
For more details, please visit www.soundsonline.com/Hollywood-Orchestra
680GB free hard disc space, iLok security key (not provided)
Pricing & Availability
Gold and Silver versions are downloadable, Diamond is supplied on a hard drive due to the size of the collection. To purchase and for more information, please visit www.soundsonline.com/hollywood-orchestra
• Diamond Edition: MSRP $2996, Introductory price $1495
• Gold Edition: MSRP $1996, Introductory price $995
• Silver Edition: MSRP $996, Introductory price $495 (coming soon)
EASTWEST (www. soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com, on Facebook and Twitter.
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