Archive of the Recording Category
Multi-award winning artist endorses collaboration and shares project files from the album Innocents on premier online network
NYC (September 18, 2014) – Project files for Moby’s single “The Last Day”, from his latest album Innocents, are now available exclusively on Blend in Ableton Live and Avid Pro Tools formats for music producers to re-interpret and remix the song on the online collaboration platform at http://blend.io.
Moby is a phenomenon in electronic music. He has remained innovative and relevant through fads and trends, and today – once again – proves to be one step ahead by fully embracing technology through online collaboration. He appreciates and encourages input from musicians all over the world, which is why he made the stems of “The Last Day” available for Blend members to remix.
“When people try to control content in the digital world, there’s something about that that seems kind of depressing to me,” read a quote by the artist in an article on CDM. “The most interesting results happen when there is no control. I love the democratic anarchy of the online world.”
Moby’s album Innocents, recorded in his apartment and produced by Grammy-winner Mark ‘Spike’ Stent was released last October and features collaborations on 7 of the album’s 12 tracks. He now invites music producers on Blend to download “The Last Day” project files, deconstruct it and make their own versions of it.
The project is available to be remixed in Ableton Live and in Avid Pro Tools:
The Last Day – Ableton Live by Moby
The Last Day – Pro Tools by Moby
New users can sign up now at this exclusive link: https://blend.io/vip/moby
The Last Day video: https://www.youtube.com/watch?v=x5Dpz6w_jz4
Blend was created for musicians to connect and share in-progress tracks and collaborate, or “blend” each other’s works. While other networks focus on publishing completed music, Blend provides a platform for musicians to collaborate directly with each other in their native (source) format, such as Ableton Live, Maschine, Pro Tools, Logic, GarageBand, FL Studio and Reason.
Eldon, MO (September 18, 2014) — ARGOSY Console is very pleased to announce the release of their new video interview with renowned producer/engineer/mixer/songwriter (and financial advisor) Glenn Rosenstein, the first in a series of video interviews with their outstanding customers, as part of the celebration of the company’s 20th Anniversary.
Glenn Rosenstein started his career in his native New York City at the Power Station Recording Studio, and then Sigma Sound Studios, where he became a highly sought-after mixer and remix engineer, working with artists such as U2, Madonna, Talking Heads, The Ramones, Lisa Lisa & Cult Jam and many others. As a producer, mixer and engineer, Glenn’s projects have won 3 Grammy Awards, garnered 5 Grammy nominations, and have won both an Oscar and a Golden Globe award. His music production & mixing credits for film & television include top shows such as The Sopranos, Married to The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy the Vampire Slayer. His music production and mixes continue to be diverse, working with artists from Ziggy Marley, Livingston Taylor and Andrew St. James to James Taylor, Carly Simon, The Soft White Sixties, and Bif Naked. In addition to music production, Rosenstein is also a partner in Wealthpoint Financial Group in Brentwood, TN.
And whether its making great records or great financial deals, Rosenstein recognizes the importance of having a great workspace, “As a record producer, I got used to the privilege of having a certain level of quality gear at my disposal, so I wanted to take it all with me into the financial world,” says Rosenstein. “My Argosy Aura desk gives me a sense of comfort and familiarity, with great design and ergonomics. It enhances my workflow, whether in music or financial services or whatever else I do.”
See the entire interview with Glenn Rosenstein at: http://www.argosyconsole.com/transformed/contest.html.
ARGOSY is the leading designer and manufacturer of high-end technical furniture for leading recording control rooms, post-production houses, film facilities and high tech venues worldwide. The company prides itself on responding to clients’ individual application-specific needs using a variety of custom materials and unique finishes, with careful attention to aesthetic design and ergonomic details. Since 1994, Argosy products have been installed at thousands of award-winning facilities in countries worldwide.
Build your own Dream Studio by visiting www.argosyconsole.com
ARGOSY® and Dream Studio® are registered trademarks of Argosy Console, Inc.
First Project Empowers San Francisco Teens
Pictured (L-R) at Studio Trilogy are students Mariacel Gutierrez and Kianna Farr-Zunig, FYR founder Jason Wall, singer Thia Megia, engineer Tyler Crowder, songwriter/producer Ben Thompson, and composer/producer/multi-instrumentalist Mo Pleasure.
Future Youth Records, which has a long-term association with San Francisco’s Studio Trilogy, has completed a preliminary chapter of the Mission Girls Remonstrance Project. Spearheaded by FYR founder and producer Jason Wall, the project aims to create music that rallies against songs and videos that objectify and degrade women in the hip-hop music community.
“We started out by creating an original song and music video that will be used to inspire and empower young women,” explained Jason Wall. “At the same time, this will serve to educate Bay Area residents about the growing problem of disesteem towards women in this musical community.”
“When we first came together on this partnership,” commented Mission Girls’ director Susana Rojas, “We expected to get a song out of it and for the girls to be exposed to a new field in a professional way. Mission Girls not only got the song and the exposure but so much more. Through this partnership we were able to build empowerment for our girls by hearing their own voices and without a doubt claiming that they are now rising up.”
Successful musicians who came to Studio Trilogy for the sessions included Morris Pleasure (Michael Jackson, David Foster), Nathan East’s brother Marcel East (Phil Collins, Phillip Bailey), and Thia Megia (Amercian Idol).
The long-range goal of the project is provide ten at-risk young women from the Mission Girls Services organization (MGS) with the tools and platform to draw awareness to the growing problem of women degradation and exploitation in rap and hip-hop music. Each participant will write and record one original song and produce a music video alongside professional songwriters, engineers and filmmakers.
The initial song produced at Studio Trilogy to launch the project was “Rise Up” “A couple of weeks after we finished,” recalled Jason Wall, “Susan Rojas, the director, told me that one of the girls was suicidal the week before coming into our program and through it was able to overcome those feelings and now wants to help other girls who feel the same way she felt.”
The proposed project will run March 3 – 27, 2015. Participants will work over a four-week period to write and record one original song at Studio Trilogy and spend two additional weeks creating a professional music video in San Francisco. Participants along with FYR and MGS will work with local merchants to secure physical distribution of free download cards. High profile musicians Dr Fink (Prince & The Revolution) & Marcel East are already confirmed to act as mentors.
To learn more about Future Youth Records, visit:
ABOUT STUDIO TRILOGY
Located in the creative heart of San Francisco, Studio Trilogy is a full-service recording facility that provides music recording and audio post-production services in a World Class recording environment. Designed by John Storyk of WSDG, Trilogy’s 8800 square foot facility houses three state-of-the-art control rooms, music and voice recording studios, multiple lounges, and a lush garden/bbq area. An on-site 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.
Learn more at: http://studiotrilogy.com
Picks up where Apple Loop Utility left off
Minneapolis, MN (September 16, 2014) – Audiofile, a leading music technology company, today announced the availability of Loop Editor 2 on the Mac App Store. Loop Editor 2 is the perfect replacement for the now discontinued Apple Loops Utility and raises the bar with support for all loop types, beat detection, ACID files, and more.
Key Features in Loop Editor 2:
• Slice: add, edit, and export slices
• Loop: supports all loop types and helps you quickly fine tune loop boundaries
• Tag: advanced editing including the Genre & Descriptors properties for Apple Loops files
• Script: Support for AppleScript allows automation of complex workflows
• Export: multiple formats including Apple Loops, AIFF, ACID, WAV and W64
Loop Editor 2 also includes two indispensable Audiofile utilities: ReCycle Converter converts Propellerhead ReCycle files for importing into Loop Editor and First Aid, which can diagnose and repair uncompressed audio files that won’t import or open in audio applications.
Pricing and Availability
Loop Editor 2 in available through the Mac App Store and is on sale for a limited time for $29.99. Regular price is $49.99.
Audiofile is a boutique technology company building apps that power the world’s musicians and audio engineers. Founded by Ev Olcott and Matthew Foust in 2003, Audiofile is among the most innovative and experienced audio software developers for OS X and the iOS with a long history of industry firsts to their name. Learn more about Audiofile’s entire range of music apps for OS X and iOS at www.audiofile-engineering.com, www.facebook.com/audiofileeng and on Twitter: @weareaudiofile.
Stereo-to-5.1 Surround Upmixer Delivers Multi-channel Score
Pictured in the Anthony Quinn stage at Sony Pictures Studios with the Penteo 4 Pro plug-in onscreen is re-recording mixer Steve Pederson. Photo by David Goggin.
Academy Award-winning re-recording mixer Steve Pederson recently employed the new Penteo 4 Pro stereo-to-5.1 upmixer plug-in for the current film “Into the Storm” and upcoming, “The Equalizer.” Pederson used Penteo to create multichannel surround mixes from stereo recordings by Moby and Eminem.
“Penteo is the most clever upmixing tool I’ve encountered to create interesting surrounds and musical bass,” says Pederson. “It opens up the theater sound richly and with great detail. Penteo is simple to use and has a variety of useful parameters. It’s the perfect tool to ‘magically’ unlock a 2-track stereo file and fill the theater with surround in a very interesting way.”
Pederson has been nominated for numerous awards including three BAFTAs, and twice for an Academy Award. He won the Oscar for “Apollo 13″ in the category of Best Sound.
“I use Penteo as a ‘one stop shop’ tool to take any stereo track and generate a warm, precise and effective sounding surround mix,” Pederson continues. “I’m impressed how Penteo can isolate channels so cleanly, so discreetly and then spread them through the surrounds.”
Pederson took stereo sources and created multi-channel mixes for the recently released “Into the Storm” (5.1) and Sony’s upcoming “‘The Equalizer” (7.1) “Using Penteo 4 Pro, I upmixed both films to surround formats and was very pleased with the results. Penteo gets you to a great sounding upmix with no fuss, and is an efficient tool to have handy.”
Pederson elaborates on the way Penteo handles lower frequencies: “What I like about Penteo’s subwoofer is the definition. If you mute all the full range speakers in the theater and just listen to the sub you’ll hear a nice, tight, punchy bass. Penteo is more musical, it defines the beat of the music better. It doesn’t rumble and roll, it rocks and rolls.”
In the creation of a soundtrack, “temp” mixers are often used before the final music is composed and produced. “Another area where Penteo can really help is during the early stages of post-production. I take stereo tracks and run them through the Penteo plug-in to immediately give the temp score a full and rich 5.1 feel that emulates a proper mixed final score and really elevates the quality of the temp mix.”
Pederson has worked mostly at Warner Bros. Studios for more than fifteen years, and enjoys the talented community, the historic setting and the top-of-the-line facilities offered. Throughout his career, he has seen the contribution of film sound evolve with more and more channels, greater dynamic range, and higher fidelity to give the audience a more powerful experience to express the story.
“I love this work and I’m a fan of this plug,” he concludes. “I won’t go into a mix without it being part of my tool kit.”
Read the entire Interview with Steve Pederson and other industry leaders in the Perfect Surround Master Class series:
Native AAX64 Support
Penteo 4 Pro natively supports Avid Audio eXtension (AAX) for true 64 bit processing.
Hear the Penteo difference for yourself with a free trial: http://www.perfectsurround.com/request-a-trial
About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has won multiple awards been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64/RTAS32/VST32/AU32 formats. For more information, visit: http://www.perfectsurround.com
AMSTERDAM, The Netherlands – Featuring enhanced channel count architecture that allows customers of its Vista X and Vista V digital consoles to transfer a huge number of channels; HARMAN’s Studer is demonstrating the new D23m I/O system. The D23m works seamlessly with Studer’s new Infinity Core and A-Link interface technology.
The D23m is fully compatible with D21m systems already in the field; all existing D21m I/O-cards are fully compatible and can be used in the new D23m frame. Plug-and-play features like automatic card detection are also available with D23m.
The D23m offers a new and robust I/O frame for all future Studer mixing consoles using A-Link technology, wherever a high channel count is required. The ability to use D21m cards protects existing customer investments and offers a cost-effective solution. The use of different I/O modules, be it existing D21m cards or new I/O higher capacity and new format interfaces, provides an I/O system tailor-made for customer needs.
The audio between the mixing console or router system and the D23m connects via the A-Link interface. The A-Link HD card hosts a powerful processor to operate all required patching and may be used as the sync master to the system, or may be slaved to a variety of external synchronization signals.
The D23m can host up to 12 I/O cards with a total of 1,536 inputs and 1,536 outputs, dependent of the I/O cards fitted.
The new D23m I/O system comes with two A-Link ports and two hot-swappable power supplies (including secondary regulators) for secure, redundant operation. Status displays on the front panel indicate the status of the frame or the status of installed cards.
HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.
BUENA PARK, Calif.—A Yamaha NUAGE Demo will be held by Yamaha Commercial Audio Systems and hosted by CTS Audio on Monday, October 13 between 7:00 – 9:00 pm at 7108 Crossroads Blvd, Suite 308, Brentwood, TN. The event is free of charge.
A joint collaboration between Yamaha and Steinberg, the NUAGE Advanced Production System is the brainchild of workflow efficient hardware and Nuendo 6 software operating together in perfect harmony. Offering unprecedented productivity and flexibility as well as premium audio quality in an innovative design, NUAGE is making waves across the world.
David Lees and Chris Hinson from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system
and discuss the latest news, tips and tricks of Nuendo recording software.
For more information and to register, email email@example.com.
Adjustable Dual Capsule CUW-180 Captures Historic Performances
Pictured in the Music Studios at Jazz at Lincoln Center is chief engineer Rob Macomber holding the Sanken CUW-180 stereo microphone.
As Chief Engineer of the Music Studios at Jazz at Lincoln Center for SiriusXM Satellite Radio, Grammy and Emmy Award-winner Rob Macomber puts his extensive knowledge of audio, technology and music to use to ensure that the world-class artists performing there nightly sound just as good on live radio, television and internet broadcast as they do in the concert hall.
One of Macomber’s favorite microphones is the unique Sanken stereo CUW-180, comprised of two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detent, providing a versatile microphone for a variety of stereo and Surround recording applications.
“The CUW-180s perform wonderfully anywhere and everywhere,” says Macomber. “On a regular basis I use them as a pair over the stage for ambience. That’s my standard main stereo pickup over the stage. Eight feet up or so, at the lip of the stage angled at 45 degrees. I also use them for ensemble sections, like trombones and trumpets. As a section mic it is fabulous.”
In his nine year tenure at SiriusXM, Macomber has worked with a who’s who of modern day musical giants, including Wynton Marsalis, Bobby McFerrin, Eric Clapton, Willie Nelson, Paul Simon, Sting, Beyonce, Santana, Andrea Bocelli, Chic Corea, Dave Brubeck and Joshua Bell, helping them all sound their best on-air.
“The stereo Sanken mics give me the full frequency spectrum,” remarks Macomber. “On the low end, the proximity effect is very minimal, although I’m primarily not in close-miking situations. The 180 is very flat throughout the frequency spectrum. No boominess, no having to roll off the low end, very smooth on the top end. Off-axis it’s very natural sounding.”
Over the course of his prolific career, Macomber has recorded and/or mixed music for highly-rated television broadcasts such as the Tony Awards, the MTV Video Music Awards, Country Music Awards, American Music Awards, Victoria Secret Fashion Show, Fashion Rocks, VH-1 Divas, VH-1 Storytellers, AOL Sessions, Live from Lincoln Center Series and numerous DVDs and concert films.
Macomber comments on the unique dual capsule design and the precise detente adjustment. “It’s a killer design in a fairly fast-paced environment, where I do get a sound check, but it’s still a live show. Each show is different and when it’s happening I can’t stop the show and say, ‘Hey, we need to reposition that mic.’ I can get that mic position spot-on and know that one click wider or one click narrower on both capsules will land me where I want to be. Then if need be, I can simply adjust the panning on the desk on the fly. The quick paced broadcast environment for a live show is quite a challenge — the Sanken is a great performer.”
Macomber has been honored with many awards and accolades, including two Grammy Awards (for his engineering work on Arturo O’Farrill’s “Song for Chico” and Kurt Elling’s “Dedicated to You,” in 2008 and 2009, respectively). He was also a member of the sound team that received the 2010 Emmy Award for Best Sound Mixing for a Variety or Music Series or Special for “The 25th Anniversary Rock and Roll Hall of Fame Concert.” He is also a two time TEC Award nominee.
To read the entire interview with Rob Macomber,
Learn more about Sanken microphones: http://sankenstudio.com
See the entire family of Sanken microphones at AES in LA Booth #1034
JESSUP, MARYLAND – SEPTEMBER 2014: Since introduced at the 123rd AES Convention in New York City in October 2007, the API 1608 console continues to make its way into colleges and universities across the globe. In the past year alone, more 1608s have been placed in educational institutions compared to any other year since 2007. These full-featured consoles, each with various channels of recording and mixing capabilities, now grant students, ranging from high school to graduate school, the opportunity to learn on the analog technology used in professional studios all over the world.
“We’re very pleased to have placed so many of these highly-versatile consoles in the past year,” said Larry Droppa, president of API Audio. “Each of these 1608s will now join the ranks of top audio schools including the New England School of Communications, American University, and California State University.”
Since the summer of 2013, nearly a dozen consoles have been placed in schools including Nashville’s Pearl-Cohn Entertainment Magnet High School, and Blackbird Academy. Colleges and universities in the United States include Emerson College in Massachusetts, Mesa Community College in Arizona, Broward College in Florida, Glendale Community College in California, and the University of Michigan in Ann Arbor. Locations outside the United States include the University of Western Ontario, Canada, Technologico de Monterrey in Mexico, the University of Örebro in Sweden, and Hochschule für Musik Nürnberg in Germany.
The 1608 offers sixteen input channels, each with a mic pre and equalizer. It also has the option of adding sixteen-channel expanders, allowing for a 16, 32, or 48 channel console in total. API also offers its optional motorized fader automation system called P-Mix. Derived from the technology used extensively in API’s large format consoles, P-Mix offers a host of features found only in the most sophisticated console automation systems, often costing many times more.
“Since the 1608 is built to the same standards as our Vision and Legacy large-format consoles, it’s a powerful tool for students to learn with,” said Droppa. “It’s the same equipment used in some of the best recording facilities around the world, where many of the students will want to work after graduation.”
ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.
(PHOTO CAPTIONS) IMAGE 1: Hochschule für Musik Nürnberg in Germany; IMAGE 2: State University of New York (SUNY) Purchase.
STOP BY AND SEE US AT AES 2014 BOOTH #1219
NASHVILLE, TENNESSEE – SEPTEMBER 2014: Mix engineer Billy Decker scored his first #1 single in 2006 with Rodney Atkins’ “If You’re Going Through Hell,” which is among the first (if not the first) #1 country song to be mixed entirely in Pro Tools and bounced to disc. He recently celebrated his eighth #1 single with Parmalee’s “Carolina.” An in-demand engineer stationed in Nashville, Decker gracefully negotiates the happy demands of a 22-year marriage and two children by maintaining a rigorous work schedule. “I come in at 8:30 in the morning and leave by 5:30 or 6:00,” he said. “I mix entirely in Pro Tools, where instant recall of everything allows me to juggle multiple projects at the same time.”
His knack for delivering radio-friendly mixes that play to the artists’ strengths has earned him work with a who’s who of country music talent: Darius Rucker, Kenny Chesney, Jason Aldean, Colt Ford, Montgomery Gentry, Frankie Ballard, Brett Michaels, Bubba Sparxxx, Josh Thompson, Josh Kelly, Kenny Loggins, Trace Adkins, John Michael Montgomery, and Billy Dean, in addition to the already-mentioned Rodney Atkins and Parmalee. As far back as he can remember, Decker has been using Metric Halo’s ChannelStrip plug-in, including all of his #1 songs, and he recently added Metric Halo’s Production Bundle plug-in collection to his streamlined workflow.
“I once found myself in a situation without ChannelStrip, and I tried to mix anyway,” Decker laughed. “It didn’t work. The mix sounded terrible, and I won’t ever try it again. ChannelStrip is absolutely indispensible to everything I do.” Basically, everything he’s ever mixed has ChannelStrip all over it. Apart from handling all of his routine and unusual equalization tasks, Decker relies on ChannelStrip for the all-important vocal compression. “I typically run three or four instances of ChannelStrip to get multiple compressors going at the same time,” he said. “Each compressor does a little bit, and in a different way, so that in the end I get a vocal that’s locked right in your face and that requires almost no gain riding. Recently, I’ve started adding ChannelStrip’s limiter at the end, which gives me a little bit more control and smooths out the top end.”
To keep his workflow speedy, Decker doesn’t fool around trying to listen for the right frequency to de-ess. He uses Metric Halo’s SpectraFoo sound analysis software, which is always running in the background to quickly diagnose issues. “That gives me the right starting point, and from there, yes, I use my ears to dial it in,” he said. “I use Metric Halo’s Precision DeEsser plug-in to do the de-essing; actually, I use two instances. One for traditional de-essing and the second for what I call ‘de-honking.’ Using so much compression brings a lot of junk to the surface, including the nasty nasal sound that pretty much every voice has between 1.5kHz and 2kHz. By setting the second Precision DeEsser to that frequency, everything smooths out and sounds much nicer. I’ve used a lot of de-esser plug-ins, but I find that Metric Halo’s version is noticeably smoother and more transparent. Where other plug-ins can sound grainy and degrade the signal, Precision DeEsser is colorless and pleasant.”
Decker has also been enjoying Metric Halo’s TransientControl plug-in for snares and toms. “Sam Hunt’s ‘Leave The Night On’ is climbing the charts, and it’s got TransientControl all over the drums,” Decker said. “It set a record for the most-added debut for a male country artist. I love the sound I get from TransientControl. I used to use its main competitor, but Metric Halo’s version sounds smoother. It tops a little tighter, has a better release, and a cleaner decay. I’d say that TransientControl rolls over each peak rather than falling over it. I’ve been very pleased.” Hunt’s single also contains Metric Halo’s HaloVerb on the snare. “I usually like plates on my snare drum with no pre-delay,” Decker continued. “For Sam’s single, I used a medium plate preset with a 700-800ms decay. It’s the perfect snare reverb – very thick and three-dimensional. After every snare hit, I can hear the little bits of dust crumbling in the background, little fairies floating around in the background. It’s very deep!”
Although collaborators frequently ask Decker to mix on a console at such-and-such famous studio, he staunchly refuses. “Technology has come a long way,” he said. “Digital has caught up, and it’s a much faster way to work. If you can turn on the radio and tell me which songs were mixed in the box and which were mixed on a console, well, I’ll buy you dinner. Hell, I’ll buy ya the whole restaurant!”
ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.
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