Archive of the Recording Category

Oscar-winning Film Mixer Steve Maslow Plugs In Penteo 4 Pro

Upmixer Now Supports AAX – Free Penteo Contest from Pro Tools Expert

Pictured in a Warner Bros. session is award-winning re-recording mixer Steve Maslow. Photo by David Goggin.

Multiple Oscar- and Bafta-winning re-recording mixer Steve Maslow has upgraded to the new Penteo 4 Pro plug-in that discretely converts stereo to 5.1, offering exacting control over sound image placement to create high-quality, natural-sounding surround.

“If I get 2-track source music, I use Penteo,” Maslow comments. “It’s impressive to take a 2-channel mix and make it come out of 5 speakers. I just finished a film called ‘Tammy.’ Every cue in that movie, from source needle drops to music score was all 2-track. The opening cue was a stereo record by the Allman Brothers that was released in 1986, and it worked great. I used Penteo from reel 1 to reel 6 and everything worked flawlessly.”

When asked how he previously accomplished upmixing from stereo to surround, Maslow explained, “I would take the left and right track of a 2-track and run them through a couple of panners, fold it in a little bit so the left and right contributed to the center just a little bit. Then I would take a boom box, take a feed from the left and the right and return it to a fader to get the bottom end for the boom. That would give me left, center, right, boom. For left surround, right surround I would try to get a very short reverb to feed to the surrounds. That was the problem — it would always put some sort of echo into the track.”

Maslow, who is a 3-time Oscar winner and 2-time Bafta-winner, has worked on hundreds of films, including the recent “Non-Stop,” starring Liam Neesen, last year’s “The Great Gatsby,” and classics such “Raiders of the Lost Ark,” “The Empire Strikes Back,” and “The Last Waltz.”

“I used Penteo on last year’s ‘RED 2′ with Bruce Willis and Hellen Mirren,” Maslow recalls. “There was a lot of 2-track source music and even some of the score was 2-track. For me, Penteo is a very useful tool. I wouldn’t do another film without it if 2-track music comes in. It really makes you look good when you can take a 2-track mix and create a 5-channel mix.”

Maslow elaborates on the use of Penteo 4 Pro, “For the film I’m working on now, the music was 2-track strings, 2-tracks brass, 2-track percussion, so then I have to think about how I’m going to work with that. I can’t just put them all left-right. Sometimes I used to take the percussion and put it in the center, but with Penteo, I just feed all the 2-channel mixes in and it comes out as a 5.1 score. That’s what I want and it really sounds good.”

In addition to mouse-operated controls, Penteo 4 Pro is the first up-mixer to support multi-touch controls, allowing a sound designer to control more than one Penteo feature at once, thereby creating a natural mixing experience through simple hand contact. Penteo 4 Pro is the world’s first multi-touch plug-in designed for use with the Raven MTX Surround console.

“I find that a lot of 2-track mixes are very narrow and by using Penteo it gives me the hard center that I like,” says Maslow. “When you’re playing with a 2-track you just get left and right and a phantom center, not a hard center. Penteo gives me a hard center with that bottom end that I like, and it just fills the room up better than a 2-track does. Any two track that comes to me now is going through Penteo.”

It is customary for a re-recording mixer to deliver a preliminary mix and then get feedback on revisions. “I usually am asked to make changes, but on the last show I just finished, I didn’t get one note from the music department. Not one comment when we screened the film and they listened to it. Usually I would get some notes, but I got nothing, no critical notes at all. They loved everything, so it does make me look a little better because of the way the music comes out.”

Once a film with a surround soundtrack is ready for distribution, it must also be compatible in stereo, as well. Penteo 4 Pro is 100-percent ITU down-mix compatible to the original stereo. The plug-in features an intuitive visual interface modeled after vintage gear, and offers six automated preset modes as well as advanced manual controls for fine-tuning.
Read the entire Interview with Steve Maslow and other industry leaders in the Perfect Surround Master Class series:
http://perfectsurround.com/surround-master-class/

Enter To Win
Win a free Penteo 4 Pro license is being offered in conjunction with Pro Tools Expert, the largest independent community of Avid users. Contest ends May 31st, 2014, to enter, click this link: http://woobox.com/a2dvvk

Native AAX64 Support
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is the exclusive U.S. distributor of this new plug-in. Penteo 4 Pro is available online with demos available at multiple GC Pro locations. Learn more here: http://tinyurl.com/npc6j8v

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 been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats.
Discover the world of Penteo at http://www.perfectsurround.com

METRIC HALO ULN-8’s FRONT IMMERSIVE IDEAL – A RECORDING SESSION ON DISPLAY AT D.C. AREA MUSEUM

ARLINGTON, VIRGINIA – APRIL 2014: Beauty Pill is the musical brainchild of veteran producer and engineer Chad Clark, who founded the band in 2001 shortly after the dissolution of Smart Went Crazy. Both bands have received heaps of critical praise from outlets local to Washington D.C. and from the national press. Solid songwriting has turned Beauty Pill’s on-again/off-again status into something that promotes, rather than detracts, from its cult following. Beauty Pill recently teamed up with the Arlington, Virginia-based Artisphere museum to take on a unique artistic, musical, and sociological experiment. The band set up in a large room inside the museum with a windowed overlook and spent two weeks on display recording an album. Although they went in with racks of borrowed A-list studio gear, their initial recordings fell flat. It was only after Clark stripped everything down to just his Metric Halo ULN-8 interfaces that the recordings came alive, a testament to the ULN-8’s fantastic sound.

“Artisphere initially approached me to ask if I could do something ‘musical’ in the museum’s beautiful space,” explained Clark. “I was touring around, trying to come up with some ideas, when they showed me a large room with a window that overlooked it. It reminded me of Abbey Road Studio 2, where the Beatles made a lot of famous recordings. That put the idea in my head to do a recording there. It would be live in the sense that people would be watching us, but my plan was to record exactly as we would in a normal studio… including all of the discussions, overdubs, and the like. I thought it would interesting for the public to see that process – I have some non-musician friends who seem to think an album is made in almost the time it takes to listen to it!”

A musician first, Clark happily fell into engineering and production when other bands in the D.C.-area approached him because they liked the sound of Smart Went Crazy. He quit his day job in 1998 and spent nearly a decade between now and then as a mastering engineer at Silver Sonya. These days, he works mainly as a mix engineer, where he finds his passion for music is best nurtured. “It was working with Beauty Pill that first got me interested in the Metric Halo ULN-8,” Clark said. “It seemed to fit what I needed and what the band needed. Although I have nothing against low-fi recordings, I have no romance for them. I like sound that is vivid and the descriptions of the ULN-8 conveyed that idea. It’s turned out to be completely true – the ULN-8 is a miracle device! It’s incredibly flexible, and everything I record with it sounds amazing.”

Nevertheless, when someone goes to do a big studio recording – especially one that will be on display – there are certain preamps with legacies deep in the recordings of the late 1960s that engineers naturally assume will be the best choice for a rock record. With the help of friends at local studios, Clark amassed a rack of the choicest analog preamps and processors available. “We mic’d everything up with the best mics for each application and ran them to the textbook pro preamps that engineers have been using for decades,” he said. “The initial recordings were okay, but they weren’t fantastic. We all agreed that they fell kind of flat. So we simplified the mic’ing and pulled out all those great preamps, relying entirely on the Metric Halo ULN-8s for preamps and conversion to 24-bit/88.2kHz.”

He continued, “It was a revelation. The sound came alive. It was vivid and tactile. The ULN-8 preamps are just stellar. That was a convincing test, and now I never wonder about using anything but the ULN-8s now. I think it’s worth pointing out that although Metric Halo’s use of the term ‘archival quality’ is totally appropriate, it shouldn’t give anyone the idea that the ULN-8 is only for purists or documentary recording styles. Beauty Pill’s Artisphere recording is far from documentary. We use all kinds of overdubs and textures and found sounds. The quality of the ULN-8 simply makes that mode of recording more vivid and involving.”

Some of the band’s friends advised them against the experiment, citing YouTube’s “comment culture” as an example of how mean people can be when a band is vulnerable. “I suspect that if we had streamed the installation or posted video, things might have gotten ugly,” said Clark. “But the people who came to the exhibit were completely supportive. Sure, there were some uncomfortable moments when we were arguing amongst ourselves, but I mainly felt empathy from the window. They were wishing us well. It was an encouraging experiment!”

Ultimately, Immersive Ideal ran as an interactive multimedia photography and music exhibit with pictures from the recording sessions paired with a surround-sound mix of the final versions. Beauty Pill anticipates releasing it as a conventional stereo recording in the fall.

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.

www.mhlabs.com

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Producer Bob Ezrin Listens to the Barefoot MM27 Sound

MicroMain27s Shine in Wide Range of Musical Genres

Pictured in his Nashville studio is producer Bob Ezrin with his Barefoot Sound MM27 monitors.

Top producer Bob Ezrin installed Barefoot Sound MM27 monitors when he moved into his Nashville studio in the famed Berry Hill neighborhood of Music City USA. His spacious control room houses an AWS console, an abundance of vintage outboard gear, numerous keyboards, and more than 40 guitars.

Ezrin first encountered the Barefoot monitors during a demo at Electric Lady Studios in NYC. The choice of music to listen to was Pink Floyd’s “The Wall,” which he produced. “I found the Barefoots to have exceptional depth of field and width of imaging,” he recalls. “The sound is very clear, distinct and remarkably colorless. It was easy for me to hear every single component of the mix, just the way it was intended to be.”

In an illustrious career as a music and entertainment producer that has spanned over 40 years, Toronto-born Royal Conservatory alumnus Bob Ezrin has worked in virtually all genres and media with many of the world’s most celebrated contemporary artists, including, Pink Floyd, Alice Cooper, U2, Peter Gabriel, Deep Purple, Lang Lang, Jay-Z, Taylor Swift, K’naan, will.i.am, Zucchero, Green Day, Elton John, Lou Reed, Rod Stewart and many others.

The new Barefoot Sound MicroMain27 Gen2 is a 3.5-way active system with 5 drive units housed in sealed enclosures spanning 30Hz to 45kHz with vanishingly low distortion, big dynamic range and ultra-fast transient response. The ring radiator tweeter is superbly detailed and produces very wide dispersion out to its highest frequencies. The new 5.25″ midbass features a phalanx of advanced technology, yielding midrange detail that rivals any driver available.

“I love the way the Barefoot monitors get loud but they don’t hurt,” Ezrin continues, “unlike many so-called professional speakers that sound really great at very low levels and then terrible at high levels, or the other way around, fantastic at high levels but horrible at low levels. The Barefoot’s sound consistent at whatever level one is listening. I like them because they’re clinical and not colorful. They make me work to get all the color, all the definition, and all of the essential components of the mix. They just give me a true picture of what it is that I’m doing.”

Ezrin has produced numerous major events including the re-opening of the SuperDome after Katrina and Pete Seeger’s 90th Birthday Concert at Madison Square Garden. Among numerous film and TV projects, Ezrin produced the award winning film “Fade To Black” starring Jay-Z, Beyonce and a wide variety of urban artists. His monitors must perform with a vast variety of musical sounds.

“The Barefoots have proven to be ideal speakers for any of the genres of music that I work in,” he adds. “They love the bottom end, they’re crispy-clear on the top end. They have great depth and breadth, and they give the truest representation of what I’m building and creating.”

Ezrin is also an innovator and entrepreneur having co-founded The Nimbus School of Recording Arts in Vancouver, B.C. in 2009 and Beat Kangz Electronics, a hip hop musical instrument manufacturer in 2008. He is a governor of the Nashville Symphony Orchestra, vice chairman of The Mr. Holland’s Opus Foundation, an advisory member of MusiCounts and, along with U2_s the Edge, a co-founder of Music Rising, an initiative to replace musical
instruments lost in natural disasters. He is also a past trustee and governor of The Recording Academy.

Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair

ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second guessing , Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.
For more info visit: http://www.barefootsound.com tel: 503. 894. 8602

TRUE COLOURS MIXES BIGGER PROJECTS WITH THE BOX® FROM API

PADUA, ITALY – APRIL 2014: Located in one of the oldest towns in northern Italy, True Colours Studio is dubbed a ‘well-heeled project’ by owner Mauro Santinello. What began in 2005 as a single recording and control room has now grown into a facility with three recording rooms for commercial audio projects, jingles, and most recently some major Italian recording artists. To accommodate the needs of its growing presence in the music scene, True Colours has added THE BOX® to its studio, citing its “high quality manufacturing, and the unique API sound”.

Mauro wanted a project console that would provide a cost-effective, versatile solution to handle the needs of his growing studio in the decades to come. Along with his booming presence in the recording artist scene, True Colours has a growing demand for complete post-production, musical arrangements, and the creation of music for movie productions and short films. “I chose THE BOX because it represents the right console for a modern studio.”

The small-format recording and mixing console offers features that are not provided by most DAWs, including mic preamps, input signal processing, a high-quality mix bus, cue sends with talkback, and monitor control – all in a compact and versatile package. True Colours has a growing number of external preamps, EQs, and compressors, which includes some existing gear from API. The ability to personalize setups was a major factor that drew Mauro to THE BOX. “I didn’t want a big console with 32 preamps and 32 EQs that are all similar.”

True Colours mixes and records music of all genres, with only metal and electronic music yet to make the list. The crew has recorded a wide-range of Italian artists including famed singer Zucchero, piano master Stefano Bollani, and jazz trumpet player Enrico Rava. Most recently, Mauro used THE BOX for a session with singer Alberto Micaglio, whose acoustic presence is expanding from Italy, to London and New York. He has an album due out later this year.

“I have always wanted to buy an API console,” admits Mauro. “THE BOX offers a high-quality analog sound, and no compromises.”

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.

www.apiaudio.com

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Legendary Guitarist Johnny A. Creates Musical Magic with SSL AWS 948 Hybrid Console/Controller

“The clarity and detail was excellent, the depth and width amazing and the bass was tight, punchy and round”

BOSTON – Johnny A., winner of the Boston Music Award’s Blues Artist of the Year 2010 and a Gibson Guitar Signature Artist, has installed a Solid State Logic AWS 948 Hybrid Console/Controller to complete his high-end home studio. Johnny A. has lent his talents over the years to projects with leading musicians, including vocalist Peter Wolf (J. Geils Band), percussionist Mingo Lewis (Santana), drummer Doug Clifford (Creedence Clearwater Revival) and keyboardist Bobby Whitlock (Derek and the Dominos), before releasing his first solo album in 2001. The AWS 948 gives Johnny A. the ability to capture and mix his upcoming projects with the same sonic purity and punch as the large, professional studios, but in a convenient and comfortable creative setting.

“I was first exposed to the AWS at an Art Institute program attended by my daughter, where I had the chance to work with some Live at Daryl’s House audio stems that were lent to the program,” says Johnny A. speaking about the popular program produced and hosted by Daryl Hall of Hall & Oates fame. “The stems were also recorded on an AWS, so basically I had the chance to just play around with the high-quality audio. It is difficult for me to explain what I was feeling and hearing, but it was almost like the tracks had a comfortable ‘this sounds right’ glow about them. The clarity and detail was excellent, the depth and width amazing and the bass was tight, punchy and round. This led to developing a relationship with SSL, and from there the purchase of the AWS 948 for my studio.”

Once the console was integrated into Johnny A.’s control room, he immediately started to run some raw, unmixed stereo stems from his current recording project Driven to get a feel for using the AWS with his Mac/Logic DAW rig. The difference in audio quality became immediately apparent.

“When I ran some previously recorded tracks through the AWS, I was completely amazed by the results,” states Johnny A. “That same audio glow I experienced earlier was right there in my monitors. When I started to break out the tracks and play with a mix, the sound was big and warm. Another thing I noticed was the spot-on phase coherency. I am getting the same level of sound quality now that I experienced in multi-million dollar studios, but in my home.”

Johnny A. is no stranger to SSL, as over the years the projects he has been involved with were mixed on SSL consoles. When it came time to build a home-based creative haven, he brought in the highest level outboard gear to accomplish tracking to Logic, but the mixing element was missing. The AWS 948 was purchased to pull everything together into a cohesive personal working space.

“When I record my guitar, I always go direct through analogue gear to whatever the recording media is,” continues Johnny A. “The AWS not only makes all my gear work together for mixing, it allows me to track as well. I have never put on the engineer hat before, and the AWS experience, while initially daunting for me, has been extremely rewarding. I also put in an SSL XLogic X-Rack filled with dynamics modules to add SSL compression to all of my drum tracks. I am very excited to be creating new projects with the AWS 948.”

Hear the AWS 948 in action on Johnny A.’s new release Driven, available at www.JohnnyA.com

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.

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SF’s Studio Trilogy and Ocean Way Nashville Linked By Source-Connect

G.A.N.G. Attendees in San Francisco Enjoy Recording of Nashville Orchestra

Pictured in San Francisco are (standing L-R) Studio Trilogy engineer/co-manager Willie Samuels, business operations mgr Cindy McSherry, Ocean Way Nashville's director of operations Pat McMakin, and (seated) Trilogy's chief engineer/co-mgr Justin Lieberman.

Attendees at this year’s recent G.A.N.G. (Game Audio Network Guild) Game Developer’s Conference in San Francisco enjoyed a premiere event at Studio Trilogy: the live synchronized recording of a performance by a 30-piece orchestra from Ocean Way Nashville, Tennessee.

The live session was co-sponsored by Source Elements, whose software Source-Connect locked the Pro Tools rigs from each location together while sending the hi-resolution live orchestra feed from Nashville to SF. Source-Connect also allowed talk back capability between the two studios. Minutes into the session, the walls and distance disappeared and people on both ends communicated seamlessly.

“We also utilized a live camera feed from Nashville,” explained Justin Lieberman, Trilogy’s chief engineer. “We watched and listened in real time to the orchestra in Nashville while recording to our Pro Tools timeline. We have the capability to lock picture on both ends or just record to existing tracks and we can provide feedback on the performance and interaction with both the Nashville engineering team and the conductor from our studio in San Francisco.”

Composer David Shipps conducted the Nashville musicians while the visiting game composers and producers on the San Francisco end could check out the impressive facilities at Ocean Way Nashville and listen to talented orchestral musicians contracted by Nashville Music Scoring’s Alan Umstead, while in the pristine listening environment offered at Studio Trilogy.

“This was not only an exciting event during the SF conference,” remarked Pat McMakin, Director of Operations, Ocean Way Nashville Recording Studios. “It was also the premier of our new strategic partnership with Studio Trilogy, which offers composers and their music production teams a convenient way to take advantage of the terrific studios and musicians in Nashville while working in the comfort of one of California’s finest studios.”

“We believe this transcontinental partnership opens up a huge opportunity for San Francisco / Bay Area-based gaming and film companies to utilize the amazing Ocean Way Nashville orchestra and studio without ever leaving SF,” added Trilogy’s Justin Lieberman. “We can then edit and mix in surround and stereo right here in SF as soon as the session in completed.”

Both Studio Trilogy and Ocean Way Nashville are active in the film, TV, advertising, and game scoring industries. Composer Nathan Johnson recently scored at Trilogy “Young Ones,” which debuted at this year’s Sundance Festival. Upcoming is his score for “Don’t Kill the Messenger,” directed by Michael Cuesta (“Homeland”). Games scored at Trilogy include “Infamous 2″ for Sony Playstation and “BioShock Infinite” with composer Jim Dooley for 2K Games.

OWN has scored major games for Sony Playstation as well as the music for several of the nominees and winners at this year’s prestigious G.A.N.G. Awards, including “Thieves In Time,” composed by Peter McConnell, and “Last Of Us,” scored by Academy Award-winner Gustavo Santaolalla, which took home the top prize at the G.A.N.G. Awards.

The Source-Connect event was co-sponsored by Studio Trilogy, Source Elements, and Ocean Way Nashville. In addition to witnessing the historic recording session, there was a patio BBQ for attendees to catch up on the days events at the Game Developers Conference.

The system provided by Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only an internet connection.
http://source-elements.com/source-connect/

The Game Audio Network Guild (G.A.N.G.) is made up of composers, sound designers, voice over directors, game designers, producers and other associates and executives within the greater interactive entertainment industry. http://www.audiogang.org/

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

ABOUT OCEAN WAY NASHVILLE
Ocean Way Nashville Recording Studios, founded in 1996, are located in the heart of Nashville’s famous Music Row. Purchased from the founders in 2001 by Belmont University, the studio remains a fully commercial facility but has added an educational component in conjunction with the school’s College of Entertainment and Music Business. Housed in a 100 year old Gothic revival greystone church, Ocean Way Nashville provides an exceptional acoustical space tuned specifically for music recording in the rich visual beauty of a church sanctuary.
Learn more at: http://www.oceanwaystudios.com

SSL Live Console on the Road with Flogging Molly’s GREEN 17 TOUR

“Bar none, it’s the best digital console on the market”

LOS ANGELES - When an analogue stalwart front-of-house engineer who’s known to eschew digital consoles finally finds one that meets his standards it’s a milestone. Flogging Molly is named for their inauspicious start playing Molly Malone’s Pub in Los Angeles Monday nights in the Nineties. The seven-piece Irish/American, punk/folk ensemble is a rock band with traditional Irish instruments, fronted by Dave King on acoustic guitar and Bridget Regan on fiddle, with electric guitar, bass drums, accordion and banjo. An SSL Live console, supplied by VER Tour Sound, the latest addition to SSL’s Live partner network, was deployed at front of house for the group’s 10th Annual GREEN 17 TOUR, the band’s countdown to St. Patrick’s Day. Stopping at 27 cities, the tour started at Atlanta’s Tabernacle and ended five weeks later at New Orleans’ House of Blues.

FOH engineer Kevin Lemoine describes the touras “theaters and larger clubs, like the House of Blues, with loudspeakers ranging from a very nice d&b J-series outside where everything is pristine and clean, all the way down to 15-year-old EV boxes.”

Lemoine has mixed Green Day for 13 years and is known for carrying an analogue console during most of his tours. He has mixed a number of other well-known acts, including Sugar Ray, Buck Owens, the Luna Chicks, Iggy Pop, Ice-T, Jane’s Addiction, The Black Crowes and The Reverend Horton Heat, among others.

VER’s Jason Vrobel has worked Green Day shows with Lemoine since 2004 as crew chief and system engineer. “I’ve known Kevin for a very long time,” Vrobel states. “He’s always been anti-digital. Always uses analogue as much as he possibly can. Anytime there’s analogue/digital situation, it wasn’t his choice. This was the first time he was extremely happy.”

“I didn’t have any time on the SSL Live before we went out on tour,” says Lemoine. “Back at VER, Jason programmed the inputs, effects sends and returns, groups, basically assigning the whole console before the tour. So no training, a little bit of YouTube searching about how things work, how it was set up, how it operated, but the rest of it was hands-on right there. It’s not a very difficult console to get around on.”

SSL Live is designed to provide a flexible workflow with several operational approaches, combining a large multi-touch daylight screen, with a second channel control screen surrounded by dedicated encoders, and up to three five-layered, 12-channel fader tiles plus, under the hood, there’s abundant, adaptable bus architecture. “The first day, was a little nerve-wracking because I was just learning the console,” says Lemoine. “Second day, I got a little deeper into what was available on each input; compressors, limiters, gates and how things worked. For the stuff that you use every day, it’s laid out pretty well. The sound was great on the first day and throughout the tour, I just refined the great sound.

“There are two schools of thought from a FOH perspective,” continues Lemoine. “Pretty much, it boils down to digital versus analogue consoles. To my ear, and to most of my friends’ ears, analogue consoles sound the best, but the one negative factor is transport, size, weight and all that stuff. On the other hand, you have the digital realm where the console is small, light and easy to pack around, but their sound is usually kind of inept, I think. The features are there, but in the end, the sound isn’t really what you’re looking for. So now, you have this SSL Live, which seems to be in its own realm. It’s a small digital console, easy to pack around and fits into any venue, but it doesn’t sound like a digital console, it sounds like an analogue console. It’s very pleasing to the ear.

“It’s a very wide sound stage,” adds Lemoine. “A lot of consoles don’t go that wide. It’s nice to hear your drummer’s toms go from left to right and hear a true stereo image on your cymbals. It’s definitely a wide sound stage. Bar none, it’s the best digital console on the market. I have no doubt in my mind. I really like Live’s mic pres, they’re pretty amazing.”

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

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L.A. Reid Masters Michael Jackson’s “Xscape” at Bernie Grundman’s

Eight Previously Unreleased Michael Jackson Songs

Pictured (L-R) in session at Bernie Grundman Mastering are executive producer L.A. Reid and mastering engineer Bernie Grundman. Photo by David Goggin.

Epic Records Chairman/CEO L.A. Reid was in session recently at Bernie Grundman’s for the mastering of Michael Jackson’s “Xscape.” The collection of eight previously unreleased Jackson songs was curated by Reid, who also decided on the final tracklist.

“Michael left behind some musical performances that we take great pride in presenting through the vision of music producers that he either worked directly with or expressed strong desire to work with. We are extremely proud and honored to present this music to the world,” Reid said.

Grundman mastered most of Michael Jackson’s albums, many times with recording engineer Bruce Swedien, including “Thriller,” the most successful album of all time with more than 40 million in sales. L.A. Reid recalled that his very first mastering session was with Bernie Grundman in 1983.

Reid curated the final list of recordings to deliver to the producers, who retooled the production to add a fresh, contemporary sound that retains Jackson’s essence and integrity. It’s a process Reid calls “contemporizing.” The album’s lead producer, Timbaland was one of a handful of producers Reid believed had the gravitas, depth and range to creatively engage with Jackson’s work. Additional producers include global hitmakers Rodney Jerkins, Stargate, Jerome “Jroc” Harmon and John McClain.

For the ultimate fan experience, “Xscape” will also be available in a Deluxe Edition, which includes all of the sourced Michael Jackson recordings in their original form. The “Xscape” standard and Deluxe Edition’s are available for pre-order iTunes.com/MichaelJackson and elsewhere, and available at all retailers worldwide on May 13.

Learn More about Bernie Grundman Mastering at:
http://berniegrundmanmastering.com

Wisseloord Studios Unveils New ‘Vintage’ Studio, New Mastering Suite And New Website

The Legendary Wisseloord Studios Are Expanding With A New Mastering Suite, A Small Vintage Recording Studio, And Two Additional Mastering Engineers.

The New Vintage Room at Wisseloord Studios

The New Vintage Room at Wisseloord Studios

Hillversum, Netherlands, April 2014. March 25, 2014 marked the two-year anniversary of the re-opening of Wisseloord Studios in the Netherlands. Coinciding with the anniversary, Wisseloord unveils its new Studio4, known as the ‘Vintage Room’: a one-room concept studio, with the look and feel of a living room, but with technical amenities catering to smaller productions, tracking sessions, collaborative songwriting, and the like. This feel-at-home space features a Neve 8014 desk with 1073 preamps, and a 12-channel 1960’s EMI console, reputedly to be the one used to record the demos for The Beatles’ landmark album, ‘Abbey Road’. Recording via these vintage desks can be to a ProTools rig, but for those preferring the ‘old school’ approach, 16-track and 8-track tape machines are available in the vintage room package.

The mastering department has also been expanded with the addition of two mastering engineers and an additional mastering suite. The two world-class engineers joining the team are; Dutch mastering icon Sander van der Heide, and the up-and-coming Pier-Durk Hogenterp. As for Mastering1, Mastering2 features an SPL console, Jochen Veith acoustics, and EgglestonWorks monitors powered by Krell.

To tie this all together, Wisseloord is also launching its new website where visitors to the site will be able to check out the facility, meet the team, and stay informed about what they’re all up to. Visit www.wisseloord.nl and see what’s happening there.

Frederic Gervais, Commercial Manager of Wisseloord comments on the two-year anniversary “The folks at Wisseloord would like to express their sincere thanks to the many artists, musicians, and music professionals who have helped them reach this two-year milepost. With the right combination of team, talent and technology, the future looks bright once again for this musical treasure.”

The legendary recording facility, which originally opened its doors in 1978 attracting the likes of Mick Jagger, Elton John, The Scorpions, and Golden Earring, was sold into new ownership in 2011. It subsequently underwent a major transformation, returning the historic studio to the forefront of technology and efficiency.

Since re-opening, the Wisseloord team have made significant steps in putting Wisseloord back on the map. In the last six months, no less than ten album projects facilitated at Wisseloord have reached the top position on the music charts, for outstanding artists such as Peter Maffay, Vandenberg’s Moonkings, David Garrett, Hooverphonic, and Ilse DeLange to name a few. Wisseloord has also added a Grammy Award, an additional Grammy nomination, and Resolution Magazine’s Audio Facility Of The Year Award to its list of accolades. www.wisseloord.nl

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EQUATOR AUDIO D8 MONITORS CENTRAL TO UNDERCURRENT LABS’ PRODUCTION

** Photo: John Penn with his Equator Audio monitors **

Atlanta, GA – April 2014… Whether it’s recording, mixing, sound design, audio post production, or a multitude of other audio-related functions, accurate studio reference monitors are crucial to ensuring that one’s projects translate well to a variety of playback mediums. Without a true reference system, audio playback on other equipment can be an extremely frustrating—and costly—experience. That’s why John Penn, CEO of Undercurrent Labs, producer, 3D sound designer and songwriter, insists upon the sonic accuracy of his D8 studio reference monitors from San Diego, CA-based Equator Audio. more

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Related Topics: News, Recording, Studio News |

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