Archive of the Recording Category

WuTang Embraces Online Collaboration on Blend with New Project

Wu Tang invites music producers worldwide to create new versions of a new Wu Tang Parental Advisory song at Blend.io

New York, NY – Online collaboration is gaining more and more traction in all areas, and most noticeably when it comes to music creation. Many musical styles are built on borrowing and manipulating works by other musicians; Hip Hop, Ambient, EDM, Trance, Rap and many others. Originally, DJs would physically manipulate records to isolate and loop the best breaks for rappers to perform over. Later this evolved into sampling snippets of songs and reworking those elements by adding layers of production on top. Wu Tang Clan is now taking that idea one step further, putting the raw session files of a new song online for anyone to deconstruct and reassemble as they see fit.

This new digital collaboration is part of the new Wu Tang project called Parental Advisory. “Basically we’re looking to find and nurture the next generation of Shaolin,” explains Oliver Grant, who was an executive producer on many of the group’s albums and helped create the branding and commercial empire around the music. “It’s about trying to be in touch with what’s going on in technology and marry that to the traditional methods we know.”

Wu Tang is releasing the first track from Parental Advisory on Blend, the online music collaboration network that supports Ableton Live, Maschine, Pro Tools, Logic, FL Studio, GarageBand and more, allowing music creators to find, share and collaborate on music projects in their native (source) format. Wu Tang uploaded the session files for the new song, entitled “So Many Detailz”, in the three popular formats on Blend: Ableton Live, Pro Tools and Logic. Blend members will have access to original building blocks of the track, so they can take the song in new directions. Grant explains that Wu Tang is looking for inspired remixes of their own material.

The new track features Turnpike Ike, Mc Kash and Chunky, young rappers from the neighborhood where Wu Tang was founded. The hope is that Parental Advisory will help kick start the careers of some new Staten Island born rappers, but it will also rely on platforms like Blend to reach out to a much wider talent pool. “We’re gonna go through them and pick out the best remixes to make an EP,” says Grant. “We’re looking to be shocked, whether it’s EDM, or whatever version it is. It may be Switzerland, a guy who wouldn’t be on the hip hop sites, but he’s going to be on Blend, checking out what’s new.”

Blend has been the platform for the launch of tracks by other well-known musical acts, including Moby, who recently said: “The digital present we live in, you can’t control things, can’t lock them down. The best way to make a living as musician, I find, is to set this stuff free and let the love come back to you.” Wu Tang’s Grant has a similar mindset when it comes to giving away the sessions from Parental Advisory. Rather that fighting technology out of fear, the mindset is to embrace it and tap into the collective global talent that technology helps bring together.

Visit Wu Tang on Blend at https://blend.io/WPA.

Sublime’s Rome Switches to Studio One

Los Angeles, CA – July 2014…  Balancing the demands of being on the road with the need to stay creative is a challenge every touring musician faces. There’s often little time between tours to come up with new ideas for the next record, and the hustled pace of the road can make it hard to find time to tap into the creative muse.

For singer/songwriter Rome Ramirez, a busy touring schedule means grabbing inspiration when and where it appears. A professed “technology nerd,” Rome has long carried a mobile recording rig with him on the road. “I’ve tried pretty much every DAW program there is,” he says.

PRE-Rome4280 copyRecently, Rome switched from a well-known DAW to PreSonus® Studio One®, and he has made it clear there’s no going back. “I am a true Studio One convert, I really am,” he reports. “No other program comes close to Studio One for workflow and creativity. I can just open it up, and it’s a blank slate, waiting for me to lay my ideas down. It’s so immediate – it lets me focus on my music and be creative without getting bogged down by the technology.”

That said, Rome is hardly a stranger to technology. “I actually love being my own engineer,” he says. “Technology totally inspires me. I love getting into it and tweaking all my sounds, and I love all the old-school sounds I can get with Ampire and some of the other Studio One plug-ins.”

The band also carries a 16-channel StudioLive 16.4.2 mixer on the road. “We use the StudioLive in our rehearsal studio, and it also travels with us on tour,” explains Eric Freedman, the band’s long-time engineer. “It’s really warm and big sounding. I use pretty much all of the onboard effects, and I love the Fat Channel.”

PRE-Rome5754 copyPairing the StudioLive mixer with Studio One enables Freedman to essentially always be in record mode, he observes. “I record all the shows, and any time they’re working on new material on the road, I’m able to set the whole thing up and be recording in Studio One with just a couple of clicks.”

For Rome, the ability to re-create a familiar workflow in Studio One was a big plus in switching from his previous DAW. “One thing that made it a smoother transition was the ability to map out all the keyboard shortcuts, meaning you can basically do a lot of things in Studio One the same way you’ve done them in any other program.”

“Workflow, to me, is everything, and I was completely blown away with the ease of using Studio One and how quickly I was able to get familiar with the program. The MIDI, the automation, the drag-and-drop — everything is just so easy. I always tell people, it’s the speed of thought. That is what Studio One is to me.”

As anyone who has spent time on tour will tell you, there’s plenty of down time between shows. For Rome, Studio One helps make good use of that time. “I guess it sounds kind of boring but I’m always working,” he says. “When I get off the stage, I hang out for awhile but then I go back to the bus or the hotel, and I work. I’m working on new tracks all the time, and Studio One gives me the freedom to be creative, wherever I am.”

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About PreSonus
Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Artspace Studio Buys a Prism Sound Titan Audio Interface

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.
“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed! I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”
Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.
“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”
Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.
Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.
“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.
Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”
For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.
“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”
Gillieron has recently remixed PHORIA and his re-mix can be heard at this link: https://soundcloud.com/phoriamusic/emanate-tom-gillieron-remix
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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

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iZotope Releases New BreakTweaker Expansion: Modern Grooves by Black Octopus

Cambridge, MA — iZotope Inc., a leading audio technology company, and Black Octopus, creators of high-quality sounds for music production, have released Modern Grooves, a new expansion pack for iZotope’s acclaimed drum sculpting and beat sequencing plug-in, BreakTweaker.

Featuring modern, clean, and crisp sounds with a dash of retro throwback, the expansion includes more than 300 sounds with 40 presets—all designed to have a timeless feel and work well with a wide range of material.

In an interview with iZotope, Black Octopus founder Toby Emerson describes his approach to creating Modern Grooves: “I hope the pack will provide something for artists of all skill levels. Users can start with the presets and then tweak the sounds to create something original… For people wanting to sketch ideas in the studio, I tried to lay out the patterns in a musically logical way—someone could jam out full tracks on the fly just by switching between the patterns using a keyboard or MIDI controller.”

Modern Grooves can be seen and heard on iZotope’s YouTube channel: http://youtu.be/y801efft7HU

Pricing and availability:

• Modern Grooves is available now at iZotope.com for $39.00.
• BreakTweaker is on sale now through July 31, 2014 for $199 (save $50) or BreakTweaker Expanded for $249 (save $50).
• BreakTweaker is available with demo content as a free 10-day trial at iZotope.com/BreakTweaker.

Visit the iZotope blog for more on Modern Grooves, including a full Q&A with Toby Emerson of Black Octopus Sound.

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®.

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Rui Da Silva invests in a Prism Sound Lyra 2 Audio Interface

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.
-ends-
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

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“Weird Al” Yankovic Has “Mandatory Fun” at Bedrock.LA

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”:
http://www.weirdal.com

Learn more about TELEFUNKEN Elektroakustik at:
http://www.telefunken-elektroakustik.com/

Learn more about Bedrock.LA: http://Bedrock.LA

Music Students Step Up To CAD Headphones

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.

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SSL Live Free Offline Software now Available for Download

New software enables engineers to pre-configure Showfiles offline and is a superb way for anyone to explore and learn the SSL Live console

OXFORD, ENGLAND – Solid State Logic is proud to announce that its Offline Setup software for the SSL Live console is now available for free download. The SSL OffLine Setup Application, or SOLSA, allows creation and editing of Live console Showfiles on a laptop or desktop PC. Almost anything that can be done on a Live console can now be manipulated and configured ‘offline’ when access to a console is not possible.

Software functionality includes console architecture configuration and setup of Fader Tile Layers and Banks. Stageboxes and I/O routing can be assigned along with the creation of scenes and other automation editing. SOLSA also allows you to add effects, manipulate channel processing settings, bus routing and VCA assignments. SOLSA includes the same Help System as the Live console software, offering a built-in user guide with tutorials and reference sections.

SOLSA is intended to enable engineers to configure Showfiles in preparation for shows but it is a fantastic way for anybody to explore and learn about the SSL Live console.

You can download the software at: www.solidstatelogic.com/live

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

DPA Shows Its New d:screet™ Necklace Microphones At IBC 2014

DPA Microphones has always been renowned for its ability to deliver superb audio, even in the most challenging conditions. Now, thanks to a new range of body worn microphones, the company has overcome the biggest challenge of all – how to give control of mic placement to non-technical actors or reality show contenstants without compromising sound quality.

DPA’s solution, which will be on show at IBC 2014, is the d:screet™ Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace.

“These microphones are perfect for situations where fast costume changes are necessary – or for reality TV shows where the contestants have to place microphones without help from a trained audio engineer,” says DPA’s CEO Christian Poulsen. “The necklace design ensures that the microphone sits in exactly the same place on the body every time, so there is no need for EQ-ing between different recordings.”

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 com (18.3 or 20.9 inches).

At IBC 2014, DPA is exhibiting alongside its Dutch distributor Amptec on booth 8.D70. At 5pm every evening it will be holding a prize draw, which will give one lucky show visitor the opportunity to win a DPA d:screet Miniature or d:fine™ Headset Microphone. At that same time, the company will challenge one of its mics to see exactly how much stress it can withstand. Could it be used as a drumstick, for example? IBC visitors need only come along to 8:D70 at 5 pm to find out.

While there, they can also see DPA’s new heavy-duty d:screet™ 4060 Omnidirectional Miniature Microphones and classic d:screet 4060 Omnidirectional Miniature Mics with reinforced cable relief, making them even more durable for demanding use. These microphones satisfy market demand for high-quality sound combined with a highly-durable housing and cable.

“Incorporated on all d:screet Miniature Microphones, our new robust strain relief version brings much needed reassurance to people who are not used to handling miniatures,” Christian Poulsen adds.

The heavy-duty 4060 microphone is ideal for people who require even more security and for whom the visual appeal is of less importance. It is perfect for placement in rigorous filming situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. Featuring a stainless steel housing, sturdy cable relief and a thicker 2.2 mm (.09-inch) cable, both enhanced versions are exceptionally durable and ideally suited to the rigors of broadcast productions.

DPA will complete its IBC 2014 line-up with its new d:fine™ 66 and 88 Headset Microphones, which are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or one on a stand.

Combining the flexible mechanics of DPA’s modern d:fine ear mount solution with the sound qualities of the legendary 4066 Omni and 4088 Cardioid headworn mics, the new d:fine™ 66 and 88 Headset Microphones join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine family. With so many sound handling and size options to choose from, DPA’s d:fine family now addresses every need that actors, musicians and singers face when working in a live television environment.

“There is a growing need for durable body worn microphone solutions with excellent sound reproduction for stringent use in live environments and similar settings,” Poulsen adds. “When we launched the d:fine Headset Microphones we believed that they would define a new generation of headsets. They have certainly met our expectations, which is why we have decided to expand the d:fine Headset Microphone series with this brilliant solution to give users a broad assortment of styles and features.”

For more information please visit DPA at IBC 2014. Hall 8, Stand D70.

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

FOR THE LAST TWO YEARS ED CHERNEY HAS USED HIS ATC SCM25As TO MIX EVERYTHING

LAS VEGAS, NEVADA – JULY 2014: Ed Cherney needs no padding on his resume. A veteran producer and engineer with 35 years logged in the control room, Cherney has worked with the top talent in the industry, including Iggy Pop, Bob Seger, Bette Midler, Bonnie Raitt, Eric Clapton, Jann Arden, Jackson Browne, Keb’ Mo, Bob Dylan, and the Rolling Stones, to name just a few. His work has earned him six Grammy nominations and three wins, along with seven TEC nominations and five wins. He is a founding member of Producers and Engineers Wing of The Recording Academy and served as the Governor of the L.A. Chapter of The Recording Academy. Until last year, Cherney was also an avid, collector of studio reference monitors, learning to work around the faults of each model before relegating it to the closet when a newer model came through the door. That cycle ended with the arrival of a pair of ATC SCM25A 3-way nearfield monitors. Cherney now uses his ATC SCM25As for almost everything he does because they’re exciting to listen to and because the work he does on them translates flawlessly on any other pro or consumer system.

“I am always looking for speakers because they’re my eyes in the studio, my window to the world,” said Cherney. “I get a lot of inquiries from younger engineers, asking me if I can recommend a good pair of monitors for five-hundred bucks. I can’t. And it’s crazy that they’ll spend thousands on microphones and outboard gear without first giving themselves the one tool they need to actually hear what they’re doing. It’s like an artist buying expensive paints and then turning out the lights. That said I’ve had a hard time finding the ideal speaker at any price. I guess I’m something of a collector now.”

Cherney first heard a pair of ATC SCM25As at a studio in New York, and he liked what he heard. Shortly thereafter, he was working at a studio in his hometown of Chicago that had no good options for monitors. “I spoke to Brad [Lunde] at TransAudio Group [ATC’s U.S. distributor] and he sent out a pair of ATC SCM50ASLs for us to try. They were spectacular as well! We could turn them up loud, and the low end was defined, the midrange was smooth and silky, and the high end was sweet. The sound was thrilling; it could wash over me and punch me in the chest. These were the first mid-size speakers that could give me the experience of the soffit-mounted loudspeakers that the big studios have.”

He continued, “I’ve been dissatisfied with 2-way speakers in the past. The challenge is always to get the right vocal tone and volume, and it often depends on which side of the crossover the vocal is sitting. Sometimes the same singer can be below the crossover in the verse and above it in the chorus. In the past, I always took my mixes around to different systems – different speakers, my house, my car – to make sure the vocals were sitting in the mix correctly. Now that I have the ATC SCM25As, I rarely have to do that anymore. The vocals sit nicely in the midrange driver, and I’m always within a half dB. Every song. For the first time, I really trust the quality of the mixes in the studio. I don’t have to take them out and check them. I nail it and they translate to the rest of the world. That’s a huge improvement.”

Cherney has already used the ATC SCM25As on a number of projects. He produced, recorded, and mixed the main title for the Disney film Planes called “Nothing Can Stop Me Now,” as well as Robben Ford’s Bringing It Back Home and Eric Burdon’s Till Your River Runs Dry. He mixed Love for Levon on DVD, CD, and broadcast using the SCM25As, and he mixed Road to Forever by Don Felder of the Eagles. Currently, he’s working on a debut album from Athena Perez, a rising country artist from Chicago, and a new Bette Midler album.

In addition to how well his mixes translate on the ATC SCM25As, Cherney is also inspired by their clean, fatigue-free volume. “If I’m recording drums, I like to turn it up!” he said. “If the band’s in the control room, I have to turn it up! When I’m doing the final balances, I may be down around 75dB, but getting there, I want to feel it pop, physically! I want to move air in the room! With the 25s, I can. And I can do it all day long and still be as clear-headed and energized at the end of the day as I was at the beginning. My ATC’s make recording and mixing music much more fun.

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

(Photo Credit: © 2014 Lynn Fuston)

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