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Sennheiser Mentorship Program Catapults Former Audio Student Zachary Templin into the Big Time With HBO Pay-Per-View

Templin Serves as A2 in HBO Pay-Per-View’s First Boxing Event Outside the U.S.

Las Vegas, April 9, 2014 – Dr. Fritz Sennheiser, the founder of audio specialist Sennheiser [NAB booth C3217] would often say, “Luck is chance plus preparation.” Since 2009, the company’s Student Mentorship Program has been providing audio students real-world preparation to become audio professionals in the sports broadcasting industry, working in collaboration with top broadcast networks such as HBO and Fox Sports.

Zachary Templin, who participated in Sennheiser’s Student Mentorship Program in 2012, recently got a chance to apply the knowledge he acquired as a participant in the program, having been hired by HBO to be lead RF coordinator on its first Pay-Per-View boxing match broadcast from outside the U.S. Templin, who already had three major national broadcast events under his belt under, one of them in the Mentorship Program, was recruited as an understudy to lead RF A2 Lloyd Jacobsen, who was not able to attend due to an emergency just six days before the crew was set to broadcast the Pacquiao vs. Rios boxing match from Macau, China.

“Zach’s situation represents the perfect scenario of the Sennheiser mentorship program,” commented Jason Cohen, director, sports production at HBO. “This is a young man who started with us in September of last year and quickly immersed himself into the audio team. Almost instantaneously, he became a person we wanted to use in a freelance capacity in an A2 role.”

Templin’s chance to lead as RF coordinator for the Pay-Per-View bout in China came about partly through being at the right place at the right time, but mostly by his being prepared. While shadowing lead RF A2 Jacobsen during the Ward-Rodruiguez bout at the Citizens Business Bank Arena in Ontario, Calif. on November 16th, Zach was asked to be an emergency fill-in for the event in China. “Not only did Zach finish the entire show by himself, but two days later, my lead engineer was supposed to fly to an island off of Hong Kong, Macau, to handle HBO’s first ever international PPV telecast.”

“When my lead RF A2 couldn’t do it, my options were either to cold call freelancers who may or may not know our show, or asking Zach, who just spent the past month working with Lloyd on the RF system, “When I asked Zach how well he knew the system, he said ‘I know it, I can do it.’ He had absolutely no hesitation or pause, and his response was so convincing that I knew he was ready.” Cohen then asked him to fly home to pick up his passport and his bag, and he was in Hong Kong six days later.

For the Macau production, HBO’s mission was to recreate a ‘Las Vegas’ style Pay-Per-View event, maintaining a similar standard of quality the company has firmly established in its domestic broadcasts. This required shipping a flypack setup with over 200 cases of equipment and overcoming other logistical hurdles such as working on off-hours in a foreign country alongside a mostly non-English speaking production crew.

“To achieve a smooth and seamless production, we turned to our friends at Bexel and they sent a Hercules Fly Pack, an elite production system that provided all the flexibility we needed,” said Cohen. “It was the most beautiful, pristine flypack I’ve ever seen and our team was blown away by its firepower and overall monster size.”

Randy Flick, senior audio mixer, HBO Boxing, worked closely with Zach throughout his participation in the Sennheiser Student Mentorship Program, which included many HBO productions including the Pacquiao-Rios bout in Macau. “He just performed wonderfully,” says Flick. “It is a really big deal moving this production outside of the U.S. and the engineering team knocked it out of the park.” As lead A2 RF coordinator, some of Templin’s responsibilities included coordinating frequencies on the RF software program, ensuring RF beltpacks and wireless microphones are operational and assembling RF antennas.

Lloyd Jacobsen has nothing but accolades for Templin: “I had done all the prep work for China, but I couldn’t go due to a last minute emergency,” he said. “Zach just went in my place and just tore it up. What he was able to pull off was very impressive. Having a few shows under his belt leading up to that was key.”

The Sennheiser Student Mentorship Program has proven to be a win-win for not only for students and top broadcast networks, but also for the larger broadcast industry as a whole. “We want to make sure that the new people coming into our shows have the required knowledge, and the only way they can learn is by doing. Our partnership with Sennheiser has been a great and they have provided many capable mentoring students,” observes Randy Flick. Jason Cohen agrees: “The program gives my guys a chance to reach out to this community of younger talent and offer them opportunities that many others didn’t have when coming into this industry. At the same time we are able to build a pool of talent that we can rely on with young men who are eager to learn.”

For Zach Templin, the program has offered a depth of experience that he would not have otherwise been able to acquire: “It’s not experience you can get locally, because these are major national, and sometimes worldwide broadcasts that only happen a few times a year. There is no other mentorship program that I know of that gets you into the thick of things on such a large scale.”

Sennheiser:

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, Conn. 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. For more information, please visit www.sennheiserusa.com.

Photo captions:
1) The Pacquiao vs. Rios boxing match was broadcast on HBO Pay-Per-View from Macau, China in November, 2013.
2) Former Sennheiser Student Mentorship Program participant Zach Templin served as Lead RF A2 during HBO’s first Pay-Per-View boxing event broadcast outside the U.S.
3) Randy Flick, senior audio mixer, HBO Boxing.
4) The audio team shares a moment at the Pacquiao vs. Rios boxing match, broadcast from Macau, China in November, 2013.

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Dangerous Music Products In Demand at Busy Music Production Group

With top producers & songwriters at ‘The AND Group’ already using Dangerous Music gear, management is getting calls from their other clients to get Dangerous too —

Lucas Keller with artist David Hodges

Edmeston, NYApril 9, 2013 – When top producers and writers collaborate in the studio with other artists-DJs and like-minded music professionals – the exposure to key pieces of gear often gets noted and talked about as one watches the other and hears just how great it sounds. This is happening at a somewhat alarming pace with Dangerous Music equipment at The AND Group, a collection of music management and media companies who are working with some of today’s top music insiders and hit makers.

“We’re a hybrid between a traditional artist management company, a publishing licensing company, and an experiential marketing company for brands,” says company co-founder Lucas Keller. “The marketing we do is specific to music and entertainment, a field that we already understand well on the management side. We started The AND Group last summer as a boutique company, but additionally we have access to licensing in TV and film, the commercial ad world, and directly to brands.”

Their artists are loving the Dangerous gear already, “I haven’t found anything out there like Dangerous Music. Their D-Box ties my whole studio together,” says multi-Grammy winner David Hodges (Evanescence, Carrie Underwood, Kelly Clarkson, Celine Dion, Christina Perri). “As a monitoring system, it is intuitive and versatile, clean and powerful. As a summing unit, it gives a warmth and clarity to everything I work on – from pop tracks to country sessions, to rock mixes. The fact that I get two vital pieces of hardware in one without sacrificing any quality makes the D-Box a must-have.”

Keller adds, “Some of our artists are using the Dangerous gear in the studio and we are introducing it to some of the other artists we manage when they get together with those guys. I’m about to get our client, DJ LA Riots, turned onto Dangerous Music too, as there’s a need for gear of this quality in the DJ world. We are finding that a lot of our guys that we put together, they go in the studio with someone like David Hodges or Nolan Lambroza (Pit Bull, Christina Aguilera, Justin Beiber), and afterwards they are asking about getting the Dangerous gear for themselves. There’s a hundred pieces of rack gear in the studio and they say: ‘Hey, I was at Hodges’ place today, tell me more about Dangerous Music’ – which I found exciting! I actually am getting lots of calls and emails from our artists about Dangerous gear and wanting to put it into their own studios and production work flow.”

Other artists at The AND Group also love the gear, “The Dangerous D-Box brings depth and adds tasteful separation that you simply can’t achieve in the box,” states PJ Bianco (Demi Lovato, Sean Paul, Mya, Iyaz, Jonas Brothers). And Steven Miller adds, “I love the Dangerous D-Box. No other unit that I’ve seen accomplishes what it does. Between the monitoring, headphone amp and summing mixer, it makes my job increasingly easier; and the music I make sounds 100-times better.” Miller has worked with Pierce the Veil, The Veronica’s, and Skillet among many other acts.

Delving into why they started The AND Group, Keller says, “Two things that I think for a lot of artists were really not available10 years ago to align themselves with: Nobody put their music in a TV commercial, nobody did a brand presenting a tour. We wanted to bring those services in- house. The name ‘The And Group” happened by accident, we are actually three sub-companies, Milk and Honey, which is our artist management company, Third and Verse, which is our music publishing and licensing company, we have offices in New York and Nashville for that as well, and then a company called Sneakers and Bowties, which is our brand marketing company. We needed to buy a ‘.com’ so that’s how the name came about, The AND Group.”

Lucas is using the Dangerous Source monitor controller with his speakers at his desk, and agrees that having a sound controller that you can trust and will really let you hear the music track is important. “The Dangerous Source is amazing. It’s important for us that we’re listening through the right amps and monitors and systems, so we hear the music as clearly and accurately as possible. For our work with Sol Republic headphones it’s all about audio, with very, very picky DJs, who are very choosy about which headphones they’ll use or not use. And it’s all about music. We’re creating everything from commercial spots, and syncing our music in them, to doing deals directly with these guys that are DJs and producers and creatives. People are constantly listening to music at our company – we have music in the hallways!”

Check out The AND Group for more information at: facebook.com/theandgroup

About Dangerous Music
Dangerous Music, Inc. designs and builds award-winning hardware products that are indispensable to any DAW-based recording, mixing or mastering environment. The Company pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today, Dangerous Music offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source, Dangerous BAX EQ, and the Dangerous Compressor.

For more information on Dangerous Music visit http://www.dangerousmusic.com phone 845-202-5100 or email: info@dangerousmusic.com

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

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Martin Audio AQs Excel At Amble Links Holiday Park

Country and leisure park operators Park Leisure recently undertook a major upgrade of its Amble Links ‘owners-only’ holiday park on the Northumberland, England coast.

Preferred AV integrators Promotiontime NE carried out the technology design and outfitting of its main entertainment areas, The Links Owners Only Bar & Entertainment Lounge and refurbished Old Storehouse restaurant/bar, exclusively using a Martin Audio AQ solution for all of its requirements.

Brian Graham, who took over Promotiontime NE ten years ago, has been a frequent user of Martin Audio systems over the years, particularly the Blackline series, but the compact AQ architectural range has opened up a number of new opportunities for him.

“Martin Audio is generally our ‘go to’ brand for most requirements above a basic bar, and I would probably have specified Blackline again for the entertainment room. But when we heard the AQ series, we knew this would be equal to the demands of the room.”

The stage system needed to reinforce small acts, as well as a resident DJ and karaoke, but also needed to be used for larger performances when required.

After sampling the AQ series Graham specified a pair of AQ28’s, with dual 8in drivers, one each side of the stage, as the main front-facing PA with an AQ10 on each wing providing outfills. Recessed into the stage on each side is an AQ215 (2×15) bass enclosure with a 42-way patch so that incoming productions carrying their own mixing console can plug straight in and override the house desk.

The Old Storehouse is divided into two areas; a restaurant and bar, with background music fed to eight AQ6 in the main restaurant and a pair of AQ5s in the overspill/annex area, while the dedicated bar area is served by an additional combination of AQ8, AQ6 and pair of AQ112 (1×12) subs.

The music extends to the outside patio area where Brian Graham has specified four Martin Audio C115 surface-mount weather-resistant speakers.

The entire system is powered by Martin Audio MA5.2K, MA4.8Q and MA2.8Q amplifiers and fed by a 16×16 audio routing matrix, which allows any sound source to be switched to any zone via the Martin Audio Engineer 818 DSP. Limiting and EQ settings are also stored in the Engineer, with inputs recalled and switched between the different operating modes via the Control4 audio and lighting environmental control platform (linked to Mode dimming packs for the lighting).

The installation needed to offer ease of use and the site is configured so that all audio and vision can be switched and controlled from two touch screens, one located in the main bar and the other in the performance area, to allow intuitive use throughout the complex.

In summary, Brian Graham confirmed, “In addition to raising the performance level, we had to make the installation look sleek which the AQ certainly does. And with only around 10 ft. ceiling height in the entertainment room, we are able to run the AQ28s in landscape orientation, flush against the ceiling. It was the perfect solution.

“Everything works seamlessly; the client is absolutely delighted, the feedback has been great and we have had nothing but positive comments.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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iZotope and Beatport® Play Launch BT Producer Challenge

Catch BT’s Ear with BreakTweaker™ and Win a Release on Armada Music

Cambridge, MA – iZotope Inc., a leading audio technology company, and Beatport® Play, the leading remix contest platform, have partnered with BT to launch the BT Producer Challenge. Through May 5th, create an original piece of music using BreakTweaker, the future beat machine designed by BT and developed by iZotope, for a chance to release your track with Armada Music.

To enter this Beatport exclusive BT Producer Challenge, sign-in, download a free 10-day trial of iZotope BreakTweaker, and use it to create your own original track. BT will pick one lucky grand-prize winner as well as two runners-up. The grand prize package includes BreakTweaker Expanded, Stutter Edit, and Ozone 5, and an official release on Armada Music.

Ready to make your mark and become the next big name in dance music? Get started here.

About iZotope
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®.

About Beatport®
Beatport, an SFX Entertainment company, is the world’s leading online provider of music, tools and resources customized for the unique needs and demands of DJs. Available in more than 230 countries, our flagship digital music service features high-definition dance tracks—from the latest exclusives to deep catalogue cuts—by the world’s top and emerging artists. As a result, our sales charts serve as the industry barometer for what tracks are currently jumping in the clubs before crossing over into the mainstream. The Beatport platform also offers tools to help DJs manage their careers, promote their productions and performances, and connect with the largest community of qualified fans on the planet. Founded in 2004, Beatport is based in Denver, CO, with offices in Los Angeles, Berlin and Tokyo. In March 2013, Beatport became part of the SFX network of companies focused on Electronic Music Culture.

About BT
GRAMMY-nominated composer and technologist BT is one of the most cutting-edge artists and producers for a dizzying array of musical styles. Whether composing intricate scores for blockbuster films such as Fast and Furious, and the Oscar-winning Monster; writing and producing for Sting, David Bowie, Peter Gabriel and Madonna to creating cutting edge proprietary software tools from scratch to make it happen – BT is at the heart of it all.

Juxtaposing memorable songwriting with sonic innovation and hand-designed technologies, BT crafts classically influenced electronic overtures, ringing with living textures that are an industry source book of new and highly copied signature techniques and ideas. For more information on BT, please visit www.btmusic.com.

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Genelec NAB 2014 Press Kit

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Barry Manilow and Bruce Sussman’s Harmony – A New Musical Captivates Los Angeles Audiences with Stellar Sound System from Masque Sound

Custom Audio Equipment Package Includes New Sennheiser Digital 9000 Wireless System

LOS ANGELES, APRIL 9, 2014 — When Sound Designers David Patridge and John Shivers returned for the second run of Barry Manilow and Bruce Sussman’s Harmony – A New Musical, they once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a new custom audio equipment package. The show’s Los Angeles production at the Center Theatre Group’s Ahmanson Theatre marks the second time the duo was personally chosen by Manilow and Sussman to create the sound design — and while the story remains the same, the sound design was completely different.

Harmony recounts the true story of the Comedian Harmonists, six talented young men who in 1920s Germany took the world by storm with their signature blend of sophisticated close harmonies and uproarious stage antics. The Comedian Harmonists sold millions of records, starred in dozens of films and packed the most prestigious concert halls around the globe until the world they knew forever changed with the commencement of World War II.

“After the Atlanta run [of Harmony] came to an end, the equipment we used went back into Masque Sound’s shop and we rebuilt the entire show for this second run in Los Angeles,” says Patridge. “Every theatre and venue is a challenge of its own. One of the obstacles was the theatre’s size, as the Ahmanson is a much bigger theatre than Atlanta. You can’t cookie cutter these things and they have to be morphed into whatever works for the architecture. Masque Sound did an excellent job accommodating our needs.”

Masque Sound provided the designers with a DiGiCo SD10T digital console, which not only provides the flexibility they were looking for but also comes complete with a software package that is designed specifically for the theatrical market. In addition, the show has a completely new PA design featuring L-Acoustics dv-DOSC speaker arrays built from scratch via Masque Sound’s inventory. The dv-DOSC delivers powerful, cost-effective coverage in a compact profile making it ideal for the designers’ needs.

Masque Sound also supplied a demo system of the Sennheiser Digital 9000 Wireless System featuring eight 9000 series radios. The Sennheiser Digital 9000 system was developed for all professional users who are unwilling to compromise on sound. Its unique uncompressed digital audio transmission offers artifact-free sound with great dynamics. The Sennheiser Digital 9000 wireless system not only delivers a unique sound quality but also lets its professional users experience a whole new kind of flexibility.

“With the Sennheiser 9000 series you can use a built-in software feature in the receiver rack, which will scan and allocate available frequencies,” adds Patridge. “Theoretically, you should no longer need the extra steps of doing an RF scan of the venue in advance or an intermodulation study. The 9000 series takes the hit or miss of pre-programming completely out of the equation. Masque Sound not only provided us with this impressive demo equipment, but they also set up an on-site visit with a Sennheiser tech who demonstrated the use and features of the new system. There is no question that the 9000 series will prove very valuable with a more and more crowded RF spectrum and sonically, they are great.”

Directed by Drama Desk Award-nominee Tony Speciale (Classic Stage Company’s Unnatural Acts, A Midsummer Night’s Dream), Harmony officially opened at the Center Theatre Group’s Ahmanson Theatre in Los Angeles on March 4 and is slated to run through April 13, 2014.

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.

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Waves Audio NAB 2014 Press Kit

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Audio-Technica NAB 2014 Press Kit

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Auralex® Supports Vintage King Audio Nashville and Carl Tatz Design™ at TEC Award Toast

— Auralex® President and Co-Founder Eric Smith was on hand along with other Auralex personnel to toast Vintage King’s recent TEC Award win for their innovative MixRoom™ —

INDIANAPOLIS, IN, April 3, 2014 – On Thursday, March 20, 2014, Vintage King Audio Nashville hosted an event to celebrate its recent TEC Award win with a champagne toast and keynote event. The award was initially presented in January at the NAMM Show in Anaheim, California, recognizing the Vintage King Audio Nashville MixRoom™ for outstanding creative achievement in the Studio Design Project category. The room employs the Carl Tatz Design™ (CTD™) MixRoom concept, which pairs a CTD PhantomFocus™ System with the Carl Tatz Signature Series™ acoustical treatment from Auralex® Acoustics, Inc.

On hand for the March 20th toast and keynote event were Eric Smith, President and Co-Founder of Auralex, accompanied by other members of Auralex’s management and sales team. Also in attendance were the following individuals: Mike Nehra, Vintage King Co-Founder; Chad Evans, Vintage King National Sales Rep; CTD Founder Carl Tatz; Todd Beeten, Sound Construction and Supply CEO; Mike Rhodes, SkinnyFish Studio Services owner; and a standing-room only crowd of some of Nashville’s top audio professionals.

Chad Evans addressed all assembled, recalling in detail the development of the Vintage King Nashville MixRoom and its significance as part of the larger Vintage King story. This room is the only facility of its kind in the world – a combination of a sales floor, an equipment demo room, and a working control/mixing room.

Eric Smith stated, “We are honored to be a part of the Vintage King MixRoom and this great celebration. Our ongoing relationship with Carl Tatz Design and Vintage King have fostered a spirit of teamwork and innovation, and thanks to the hard work of all involved, the result has been recognized by our peers at the TEC Awards. And we always love assembling with Nashville’s top engineers and audio minds and bonding over a drink to a job well done! A great experience from start to finish.”

“This was definitely a team effort among Auralex, Carl Tatz, Sound Construction and Vintage King,” stated Vintage King Audio’s Founder, Mike Nehra. “Everyone’s collaborative vision is what makes the Vintage King Nashville Control Room so special and sound so good. We took great care in properly tuning the room to accommodate a wide range of monitors and gear. When you walk into the room you sometimes forget that you are actually standing in a retail location.”

For more information, please visit www.auralex.com.

Photo Caption 1: Personnel from Auralex Acoustics, Vintage King Audio Nashville, Carl Tatz Design, Sound Construction and Supply, SkinnyFish Studio Services and others gather at Vintage King Nashville for a champagne toast and keynote event celebrating Vintage King Nashville’s recent TEC Award win.

Photo Caption 2: Pictured L-R: Mike Rhodes, SkinnyFish Studio Services owner; Eric Smith, President and Co-Founder of Auralex; Mike Nehra, Vintage King Audio Founder; Carl Tatz, Founder of Carl Tatz Design; Todd Beeten, Sound Construction and Supply CEO; and Chad Evans, Vintage King National Sales Rep.

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Audio-Technica Microphones Employed by Recording Veteran Steve Smith on Northwest University’s Concert Choir

— Award-winning engineer chooses AT5040 and AT4047/SV mics for live recording of yearly choral concert, and continues to choose A-T mics in the classroom —

STOW, OH, April 1, 2014 — The Concert Choir at Kirkland, Washington’s Northwest University has a reputation as a premier performance ensemble, demonstrating a wide-ranging musicality on pieces from throughout the choral repertory. And they have an added ace up their sleeve in Steve Smith, an award-winning recording engineer and the Creative Director of Creatio, Northwest University’s innovative music business and recording arts degree tracks. At the Concert Choir’s recent annual concert at Seattle’s Benaroya Hall, Smith was tasked with recording and mixing the live performance, and he turned to microphones from Audio-Technica, a leading innovator in transducer technology for over 50 years. Although the recording will likely be used only for archival purposes and internal circulation rather than commercial release, Smith did not take any shortcuts, carefully miking the 100+ member choir, nine-piece brass ensemble and grand piano and mixing a stereo recording any classical label would be happy to release.

For the recording, Smith used five AT5040 Studio Vocal Microphones on the choir and one on the piano. Two AT4047/SV Cardioid Condenser Microphones were used on the brass ensemble. “I love the AT5040,” Smith states. “It’s super high quality. I’d put it up against anything. The AT5040 is extraordinarily transparent and beautiful-sounding.” And Smith’s AT4047/SV’s only scratch the surface of Creatio’s microphone arsenal, which includes nearly 40 A-T microphones.

Creatio is the only four-year accredited school in the Pacific Northwest to offer in-depth training in the recording arts and music industry business. Smith’s long list of credits includes achievements in recording engineering and producing, recording studio design and construction, motion picture and video game soundtrack recording, live sound installation and implementation, and audio production technology education curriculum – not to mention projects from such legends as Stevie Wonder, Garth Brooks, DC Talk, Donna Summer, Van Halen and countless others. As Creatio’s Creative Director, Director of the Recording Arts Technology Program, Chief Engineer of Creatio Studios and a principal instructor, Smith makes it a point of pride to go out of his way to impart his students with practical knowledge and nuanced listening skills. “I believe very strongly that educational institutions and music technology programs have an added importance in this day in age,” he muses. “People used to go to music stores to learn and listen – to A-B mics and signal processors and whatnot – but that is happening less frequently these days. Educational institutions are now the place where students learn both the formal science and art of recording, and that practical, real-world perspective. And we feel lucky that Audio-Technica places such a high level of importance on these programs as well.”

Smith continues, “In my classes, we compare microphone models and techniques with meticulous listening tests, and it’s great when a student can make a connection with a microphone. Our mic arsenal is deep and diverse, and Audio-Technica microphones continually impress the students. I have always loved them too. They are very consistent from mic to mic, with great quality control. I feel privileged to share microphones from Audio-Technica with tomorrow’s best engineers, who will be putting A-T mics to use for years to come.”

For more information, please visit www.audio-technica.com.

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