Archive of the News Category
The MKH 416 Shotgun Mic Helps Navigate Saulsberry Through a Sea of Diverse Work, Ranging from Television Promos, to Motion Picture Work, to Political Ads
New York — July 15, 2014: An incredibly diverse voiceover actor, Rodney Saulsberry’s ‘breakout moment’ in behind the scenes narration came as the popularity of the voiceover movie trailer peaked in the late ’90s. Following his work on the 1998 film How Stella Got Her Groove Back, Saulsberry’s career skyrocketed and he has since become one of the industry’s most in demand voice actors, working on spots for television, motion pictures, video games and more. Since his early days of doing movie trailer work, the Sennheiser MKH 416 shotgun microphone has played a foundational role in his success.
In addition to his trailer narration work on Red Tails, Friday, The Best Man, Diary of a Mad Black Woman and many others, Saulsberry is also known for his work on Twix and Zatarain’s commercials and is the author of two published books on voice acting. As an on-screen actor, he has appeared in Beginners, The Philadelphia Experiment, Tango and Cash and has been nominated twice for his role as Anthony on CBS’ The Bold and the Beautiful — for which he was nominated for two Best Actor NAACP Image Awards.
Currently, in addition to his recurring work as the Zatarain’s man and The Bold and the Beautiful, Saulsberry’s voice can be heard around the world doing English promos for the international television network Telemundo. Saulsberry says that his vast experience as an actor has helped him remain top of mind among voiceover agents in an industry that is constantly changing.
“What makes me get the call is my ability to deliver the ‘real person read’,” he says. “Today, the challenge is to get rid of the ‘announcer style’ and make the copy more conversational. This is when the actor inside me comes out and why it is so important to know that voice over is really voice acting. You also need to hone your improvisation skills. When I improvise, I am not changing the script or rewriting, but I am making it my own.”
Sennheiser MKH 416: The ‘Instrument that Captures the Voice’
No matter what kind of voice acting he is doing, the Sennheiser MKH 416 remains Saulsberry’s standard ‘go-to’ microphone. He began using the MKH 416 during the 1990′s, especially doing movie trailer work: “When I would go to the major trailer houses around town, this was the microphone that I would be speaking into most of the time,” he recalls. Currently, he uses an MKH 416 at home in his soundproof isolation booth, which can connect to studios around the world by using a Telos Zephyr Express ISDN codec.
“I don’t even have a preamp — I plug my MKH 416 right into the back of the Telos Zephyr and it sounds great,” he says. “I work for a company in London and with my Sennheiser mic and the Telos unit, it makes me sound like I am in England, 3,000 miles away. Engineers notice and appreciate this.” Saulsberry says that he often does singing parts as well as spoken word, and that the MKH 416 is versatile enough to handle both tasks without any trouble.
Saulsberry appreciates the incredibly accurate response of the MKH 416, yet considers the mic extremely accommodating to whatever signal is being presented: “It sounds contradictory, but the microphone is very detailed but also very forgiving. It is almost saying, ‘I am out to get the best of you and will make amends so it sounds right.’ As far as my own technique is concerned, I move closer on the mic if I want to accentuate the low frequencies, or back up if I want to shout. The mic just adapts.”
No matter what kind of session Saulsberry is working on, he knows his Sennheiser MKH 416 will be there to capture ‘the real person read,’ “It captures every detail where other microphones might miss, including the ‘air’ at the end of phrases,” he observes. “It brings the presence out of my voice and I love that.”
For more information on Rodney Saulsberry, please visit www.rodneysaulsberry.com.
Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.
You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.
633 Production Mixer and USBPre 2 Power Through in Even the Most Challenging Conditions
NEW YORK, NY, JULY 15, 2014 – As an expedition-style-documentary sound mixer, David Ruddick has worked in some of Earth’s most extreme environments. From scorching heat to blistering cold, Ruddick knows the importance of having reliable gear on location. That’s why he’s made the Sound Devices 633 Production Mixer the backbone of his compact audio rig.
Weight, battery life and quality are his top priorities, so when Sound Devices introduced the six-input, 10-track 633, Ruddick incorporated the all-in-one recorder/mixer into his audio rig. “I knew the 633 would be a bag-changer for me due to its compact size and functionality,” he says. “When you’re hiking with gear on your back, less is definitely more. The 633 is a pretty amazing tool in a small box.”
Ruddick has already put the 633 through its paces around the world, from the super humid and wet conditions of the Philippines to the icy cold weather of Canada and Utah. In the Philippines, he recorded the Philippine eagle, one of the largest birds of prey in the world, for the Cornell Lab of Ornithology, a member-supported unit of Cornell University that studies birds and other wildlife. The super-long battery life of the 633 was crucial to this project, as accessibility to electricity was limited. Not having to constantly worry about battery power gave him the peace of mind needed while working in such a remote location.
Ruddick then headed to the cold of Canada and Utah to film skiing for the Teton Gravity Research series, Locals. “I literally went from hiking muddy hot trails to snowy mountains,” he notes. “The contrast of these two locations is a true testament to the durability of Sound Devices products. And of course, most importantly, the 633 sounds great. I have used Sound Devices equipment for a long time and its gear has consistently worked well in the harsh environments I have subjected them to; the 633 is yet another great product from the company.”
Ruddick found it easy to transition the 633 into his expedition-ready audio setup, finding it compatible with many of the mainstays of his rig, such as Lectrosonics wireless receivers and Schoeps and Sennheiser shotgun mics. In addition, Ruddick always packs a Sound Devices USBPre 2, a high-resolution, portable hardware interface for Mac- and Windows-based digital audio. He calls upon it for playback from a computer, which is extremely useful while on location. He also employs it to extend the number of preamps on the 633 so that he can capture surround recordings.
The powerful 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. The 633 also offers 10-track, 24-bit, 48-kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode-stamped MP3 recording to CompactFlash and/or SD cards. All six inputs, plus left/right and aux 1/2, can be recorded to individual tracks.
The 633 offers dual-card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card. The 633’s high-accuracy, Ambient-based timecode generator/reader assists in multiple-camera and double-system sound applications. All common production timecode rates and modes are available. Extensive file metadata is supported along with the timecode. The 633 also features a keyboard port for quick and easy metadata entry. Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology.
The two-channel USBPre 2 offers professionals a powerful yet easy-to-use portable interface to interconnect audio sources to both Mac OS and Windows computers over USB. The class-compliant plug-and-play device accepts mic-level, line-level, consumer-line-level and SPDIF-digital (coaxial or TOSLINK) inputs. Its microphone preamplifiers have selectable analog limiters, high-pass filters, 48 V phantom power and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required. Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCA-type output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain.
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.
Rui Da Silva, writer of international number one single Touch Me amongst many other diverse projects, describes himself as a Producer, Engineer, Beatmaker, Remixer, Writer, DJ and Programmer. He can now add Lyra 2 owner to the list as well, having recently bought one of the audio interface units from Prism Sound.
“I first heard about Prism Sound’s Lyra 2 through a magazine article,” he says. “I’ve been a longtime user of the company’s Orpheus audio interface and have also used the Dream AD-2 converter in the past. The Lyra 2 integrates perfectly in my new setup. Studio space is at a premium and while I still use the Orpheus in my studio in Windsor, Lyra 2 is the right fit for my central London studio and for travelling work. It has sufficient inputs and outputs to be able to run most of my sessions and has a small enough footprint for me to just put it in my backpack.”
For Da Silva, this makes Lyra 2 a ubiquitous tool in his kitbag. He not only used the unit to write, record and mix all of the debut album from Lisbon Kid, but also to record Chloe Howl and much of his latest solo productions and remixes.
“In fact, you can hear it on every single release I have put out in this past year,” he says.
The Lyra family of audio interfaces is proving to be an extremely popular one for Prism Sound. Built from a design brief that demanded Prism Sound quality at an even more accessible price point, Lyra has the same no-compromise analogue front and back ends as its bigger brother Orpheus, with the same fully-balanced-throughout architecture and the same isolation barriers protecting the analogue from digital and computer interference. And it achieves all this in a 2.1kg, 2/3 width, 1U 19in rack mountable unit.
“It has also allowed me to not have a mixer in the studio as I use the Lyra Control Panel instead,” comments Da Silva. “And it allows me to give a separate headphone feed to the singers when we are doing vocals. The latency — even if it is not an absolute zero — is very workable for almost every scenario.”
Da Silva adds that Prism Sound support has been brilliant and staff are ‘a pleasure to deal with’. But it’s the Lyra 2′s portability along with that ‘Prism Sound’ that is the real advantage for him.
“I have to make a long trip to Portugal this year to record some new material for Lisbon Kid and, of course, the Lyra 2 will be in the bag with me,” he says.
About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com
New TELEFUNKEN C12 Mic For Hit Parodies and New Originals
Pictured with a TELEFUNKEN C12 microphone at Bedrock.LA are (L-R) "Weird Al" Yankovic, Bedrock.LA partners KamranV and Phil Feinman, recording engineer Brian Warwick, and studio manager Eric Rennaker. Photo by David Goggin.
“Weird Al” Yankovic returns July 15 with “Mandatory Fun,” his 14th studio album and first since 2011′s “Alpocalypse.” The reigning King of Pop Parody chose to work at Bedrock.LA studios in Echo Park, the new creative heart of Los Angeles music, art and culture.
“This was my first visit to Bedrock,” Yankovic said. “I was impressed by how enormous it is — over a hundred rooms. It’s really a wonderful experience to be here where there’s so much art going on, so many musicians, so many people rehearsing, recording.”
Few would have guessed that “Weird Al” Yankovic, who as a shy, accordion-playing teenager got his start sending in homemade tapes to the Dr. Demento Radio Show, would go on to become the biggest-selling comedy recording artist in history with over 12 million album sales. Now in his fourth career decade, he has won 3 Grammys (with 14 nominations) and countless awards and accolades for Weird Al classics like “Eat It,” “Like a Surgeon,” “Fat,” “Smells Like Nirvana,” “Amish Paradise” and “The Saga Begins.” His 2011 album Alpocalypse (featuring the Lady Gaga parody “Perform This Way”) debuted in the Billboard Top 10, and was nominated for two Grammy Awards (Best Comedy Album and Best Short Form Video).
“Bedrock has been so accommodating,” commented Al’s recording engineer Brian Warwick. “It’s got a great vibe, like working in an old studio where you constantly have people around, where there’s always something happening. Al and I were walking around here late one night, just trying to find out who was playing the interesting music we were hearing. In a lot of the bigger studios these days, they shut down late at night, but here it’s still really, really active. And everything we’ve recorded sounds great. This room in particular is really well designed for doing vocals and overdubs.”
The “new Mandatory Fun” album features parodies of some of the biggest hits of the past year, including Pharrell Williams’ “Happy” (“Tacky”), Robin Thicke’s “Blurred Lines” (“Word Crimes”), Lorde’s “Royals” (“Foil”), Iggy Azalea’s “Fancy” (“Handy”) and Imagine Dragons’ “Radioactive” (“Inactive”). The album also features several inspired originals and pastiches (“Lame Claim to Fame,” “Sports Song,” “My Own Eyes,” “Mission Statement,” “First World Problems” and “Jackson Park Express”) along with Al’s latest accordion-fueled medley, “NOW That’s What I Call Polka!”
"Weird Al" Yankovic is seen outside Bedrock.LA's 12,000 square foot mural by the art duo Cyrcle with a TELEFUNKEN custom red, white and blue M80 dynamic microphone. "There is just nothing like the natural reverb in Echo Park," he quipped. Photo by David Goggin.
For the vocal sessions at Bedrock.LA, Yankovic chose a new TELEFUNKEN C12 large diaphragm condenser microphone. “This mic is great, with all the characteristics of the classic C12,” Warwick continued. “If anything, I feel a little more secure using this one versus a vintage C12, because you never quite know the age of the tube. You don’t know when the last time the capsule was redone or if you have the right power supply. With a beautiful new C12, it just gives you a little more confidence when you walk into the studio.”
Al added, “The equipment at Bedrock is state of the art, and the studio just feels like home. I’ve been in situations before where I felt like I was in the middle of nowhere and sequestered away. That’s another way to work, but I prefer to be around creative people and feel like I’m part of a community.”
Further in the spirit of Mandatory Fun’s bid for world domination, beginning July 14th Al began releasing 8 music videos in 8 days. Yankovic’s production partners for the world premiere videos include Nerdist Industries, College Humor, Yahoo, Funny or Die and TruScribe, as well as talented auteurs like Liam Lynch, Jarrett Heather and Tim Thompson.
Weird Al, along with his band of over three decades, has performed thousands of live rock and comedy multimedia shows throughout the world, and will be back on the road in 2015 for The Mandatory Tour.
Check out “Mandatory Fun”:
Learn more about TELEFUNKEN Elektroakustik at:
Learn more about Bedrock.LA: http://Bedrock.LA
Understanding the need for professional equipment when learning how to play and record musical instruments and vocals, CAD Audio recently donated a number of MH510 studio headphones to music students in Cincinnati, Ohio.
Aaron O’Keefe, a private music instructor and owner/co-owner of the Loveland, Maineville and Lebanon music academies, describes how his students got involved with CAD.
“Carmen Mark ‘Squiggy’ DiGiacomo of the MAD Consulting Group contacted us about the manufacturer’s tent at the Rock On The Range Festival in Columbus where music product and audio manufacturers demonstrate their products. CAD Audio was one of those companies and they were good enough to donate a number of their professional headphones to our music school programs.”
Aaron’s students typically range from age six to 16 and he personally teaches piano, guitar, voice, drums, bass, double bass, vibraphone, mandolin and ukulele, to name a few. “We’ll usually take a song like ‘Heart Shaped Box’ by Nirvana or ‘Sober’ by Tool,” he explains. “I’ll teach the song individually to my drum, guitar, bass player and voice students, we’ll put them together in a band, rehearse the song, then actually record and videotape the final performance.
“These CAD headphones are going to be used in countless studio recordings, Aaron continues, “because too often, the kids have cheap, walkman-style phones that don’t do the job. The Sessions MH510s are perfect for the studio because they have a closed-back design and there isn’t any bleed through into the microphones, which is really important. Plus the audio quality is exceptional. We’re using them extensively for tracking and overdubs, which is great because they’ll eventually appear in our videos. They’re the best headphones we’ve ever used.”
Knowing that his students’ version of Tool’s “46 and 2” bit.ly/1rbMKFv on YouTube has had well over six million, four hundred thousand views to this point, appearing in their videos has added significance for supporting manufacturers such as Zildjian, Jackson, ESP, Dunlop, Kramer and CAD Audio.
Describing the adventure of taking young music students to a night out at Rock on the Range, Aaron concludes, “Guns ‘N’ Roses was headlining and the kids got to meet members of Killswitch Engage, Asking Alexandria and Matt Pinfield of MTV.
“Taking eight kids to a Metal show was a little stressful because I had a nine, ten and a few fifteen year olds and I didn’t have any other chaperones which was crazy. But it worked out fine, the kids got equipment, met their heroes and the nine year old, Eva, called it ‘the best trip ever.’”
For more information about CAD Audio, please call 800.762.9266 or visit www.cadaudio.com.
Zen Studio Delivers Unprecedented Track Count, Conversion Quality and Clocking Capabilities in a ‘Road Ready’ Compact Package
Nashville, July 14, 2014 – Leading professional audio gear manufacturer Antelope Audio [Booth 257] announced that it will be exhibiting at Summer NAMM, showcasing Zen Studio: its revolutionary new portable audio interface that features a total of 38 simultaneous inputs — including 12 studio grade mic pres — and 32 outputs. The Zen Studio, which also includes Antelope’s best in class clocking functionality and unprecedented channel routing, began shipping last month and is priced at just $2,495.
Antelope will conduct demonstrations between Thursday, July 17th and Saturday, July 19th, focusing on the various features and functionality of the Zen — including its powerful control panel, which makes it the perfect tool whether you are on the road or in the studio. Similar to other Antelope Audio products, Zen Studio has already attracted a high profile user base, including multiple GRAMMY Award® winning engineer Brian Vibberts [Aerosmith, Garth Brooks] and Ryan Shanahan [Lady Gaga, Orianthi].
In addition to Zen Studio, Antelope Audio will also demonstrate its Orion32 multi-channel interface, which features 32 channels of 192 kHz I/O through USB in a single 1U rack space unit. The Orion32 is a centerpiece in the playback rigs for artists such as Rihanna, Jay-Z and Justin Timberlake, and routinely used within the mixing and mastering studios of engineers like Eric Sarafin (aka Mixerman), Howie Weinberg and many others.
Going Mobile: Zen Studio and You:
Zen is a world-class quality interface that easily fits inside a backpack or gear bag and is perfectly suited for traveling musicians, location sound engineers, field recordists and many other end users seeking the ultimate in portability and sound quality. Equally useful as a stand alone device or as the perfect companion to an Orion32, Zen was born out of the need for a studio-quality portable recording solution that can go anywhere.
For more information on Zen Studio, please visit http://antelopeaudio.com/en/products/zen-studio-portable-audio-interface.
• 20 analog inputs, 14 analog outputs (includes headphone outs)
• 12 Class A mic preamps, with phantom power
• 8 mic/line inputs
• 4 mic/line/instrument inputs
• 2 Independently assignable headphone outputs
• 2 DSUB-25 connector (8 channels I/O)
• 1 Stereo monitor out
• 4 ADAT connectors (up to 16 channels I/O)
• 2 SPDIF RCA connectors (I/O)
• 2 Inserts over TRS
• 2 Word Clock BNC connectors (I/O)
• 1 Low-latency high-bandwidth USB 2.0
About Antelope Audio:
Antelope Audio is a leading manufacturer of master clocks, A/D & D/A converters and the pioneer in the adoption of Atomic clock generators.
The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.
Antelope is the first to design a 32-channel AD/DA USB audio interface and extremely precise master clock in only 1U. Orion32 is a breakthrough technology, offering both studio and live-recording audio engineers great productivity and flexibility.
The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.
Please click here or graphic below to vie Bose Professional InfoComm 2014 Press Kit
Framingham, MA, July 10, 2014 – André Cholmondeley knows guitars and he knows the road, and he’s applied that knowledge and tour management to the benefit of a throng of guitar greats over the years, including Al Di Meola, Derek Trucks, Greg Lake (Emerson, Lake & Palmer) and multi-instrumentalist Adrian Belew (Frank Zappa, King Crimson, others). Recently, for both Belew and Lake, he has employed the L1® Model II portable loudspeaker system with B2 bass module from Bose® Professional Systems with great success.
“I love all kinds of music, but in my tour work I really do skew towards prog-rock, as you can see,” says Cholmondeley (pronounced “CHUM-lee”), referring to his resume filled with bands that defined the progressive-rock genre of the 1970s and ‘80s. “I really love listening to the progressive players and bands, and I’ve been lucky to get to work with several of them.” It’s not just prog-rock that he loves, though; for much of his life, he has also been enamored with Bose – he recalls that his step-father had a pair of large Bose stereo speakers in the house when he was growing up, through which he first encountered many of the guitar greats that he would one day come to work with.
So it wasn’t surprising that when he was to go on the road as the guitar technician and tour manager with both Lake and Belew on separate tours in recent years, Cholmondeley recommended that they take the Bose L1 portable loudspeaker system on the road with them, on tours that spanned North America, Japan, Europe and the U.K. He says it was a decision that’s made everyone very happy.
“First, the system sounds great,” he says. “Everyone agrees on that point. Greg is a master producer and he knows what guitars are supposed to sound like. When he plugs his Gibson J-200 acoustic into the L1 system, what he gets is amazing. PA systems can often pull the mids and the lows out of acoustics, but the L1 system gives you a full spectrum of what an acoustic guitar has. Greg loves the sense of ‘depth’ that the L1 system adds to his stage sound.”
He continues, “For Adrian Belew’s electric guitars, the L1 system gives him that absolute silence he needs, and gives him all the fidelity he wants for all of his effects and samples. He’s especially happy with how synth sounds are handled with ease by the L1 subs. Then there’s the portability, which is my personal favorite feature. We often play clubs and small theaters, and the L1 system loads in and sets up fast and easily; I can quickly tell a couple of stage hands what to do, and they have it up and running within minutes. And it interfaces with the house PA systems so easily when we want it to – just run a cable to the quarter-inch input and we’re ready to go.”
Cholmondeley will go back on tour with Greg Lake this year, and may rejoin the Belew tour in the future. In both cases the Bose L1 system will be back out with them. “No way I can ever leave that behind,” he says.
TEL AVIV, ISRAEL, July 10, 2014 — Live FOH, broadcast, and monitor mixing engineer Antonius Kern is part of a growing trend of live audio professionals using tools from Waves Audio’s WavesLive division (http://www.waves.com/live-sound), a leader in all live sound market segments and an innovative developer of solutions for live platforms. Kern’s credits include German TV productions Popidol, Popstars, The Voice of Germany and The Voice Kids,and music acts such as Patrice, Max Herre, and Joy Denalane. Recently, Kern has been putting Waves tools to use on The Voice of Germany and The Voice Kids as both programs continue their successful runs.
While doing pre-production for the forthcoming 2014 run of The Voice Kids, Toni shared his thoughts about using Waves tools: “In The Voice Kids, some of the performers are obviously performing on a live stage for the first time in their lives. In order to give them confidence, I use Waves tools to provide them with the best mix possible. Initially, I naturally gravitated toward the tools I was familiar with from the analog world, meaning emulations of actual analog devices. Working with the DiGiCo SD7, it was great having all my Waves tools available to me from the console’s screen and touch-and-turn knob/button. The Waves-enabled SD7 console is equipped with Waves SoundGrid Server One in a redundant processing setup, which gives me the confidence I need for the broadcast environment.”
Toni adds, “My favorite Waves plugins are the SSL G-Master Buss Compressor for parallel compression; the CLA-2A Compressor/Limiter as a buss compressor for different audio subgroups and also as an input channel compressor for vocals and snares; the PuigChild compressor on the master compressor for some subgroups; and the SSL G-Equalizer for nearly all master subgroups. Working with Waves MultiRack SoundGrid, I only need one internal system – no D/A-A/D conversion or class-A signal processing tools. Waves tools are essential in meeting the challenge of mixing a dynamic band on TV.”
Visit http://www.waveslive.com for more information.
Photo Caption: Pictured L-R: Antonius Kern and Stefan Kling (Vocals mix engineer)
New York, NY, July 10, 2014 — The AES 55th International Conference, focusing on Spatial Audio, is set to take place August 27-29, 2014, at the Helsinki Music Centre in Helsinki, Finland. Registration is open for this multi-day conference, which will bring together researchers and practitioners from all aspects of spatial audio, including recording and reproduction, perception, transmission, coding and more. Dedicated workshops will give a cutting-edge view of the practical implementation of spatial audio in applications such as broadcasting, game audio and the recording industry. Conference chairperson for this event is Lauri Savioja, along with Technical Program chair Ville Pulkki, Paper chair Tapio Lokki, and Workshop chairs Kalev Tiits and Florian Camerer. Conference sponsors are Aalto University, Genelec, Neumann, Nokia and the Sibelius Academy.
Spatial Audio – one of the largest research topics in the field of audio – has taken on ever-increasing importance and interest for both the professional and consumer audio markets. The 55th Conference will address the fundamental production and reproduction issues of multichannel audio systems, as well as techniques for creating and controlling multidirectional perceptions through headphones and loudspeakers.
The conference kicks off on Wednesday with an opening presentation titled “The Adventure of Spatial Sound Reproduction” given by chairperson Sascha Spors, which will be followed by three days of workshops, posters, papers and tutorials on Spatial Audio-related topics. Each day will offer up a variety of events on spatial sound techniques, engineering and psychoacoustics. Topics will include Sound Field Capture with Microphone Arrays and Proximity Microphones; Decoding of High Order Ambisonics; Sound Field Reproduction of Vibroacoustic Models; Immersive Multi-party Conferencing Systems; Evaluation of Sound Field Synthesis Techniques; and more. Additional events include a pre-conference tutorial entitled “Psychoacoustics and Technologies of Spatial Sound” given by Ville Pulkki and other spatial audio demonstrations at Aalto University, as well as a Thursday evening AES banquet in downtown Helsinki.
“Spatial Audio and its realized potentials have become hot topics at our conventions and conferences for several years now, and continue to grow,” states AES Executive Director Bob Moses. “With the increased challenges and opportunities brought about with ever-changing immersive audio products and entertainment, we continue to explore and set the standards, through conferences such as these, that will dictate production rules of audio perception for future generations. We are very excited to see what comes out of this conference as we look forward.”
For program details, registration, and travel information, visit http://www.aes.org/conferences/55/.
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