Prism Sound has released two new versions of its SADiE 6 software, which was recently nominated for a TEC Award in the Workstation Technology category.

SADiE 6 Professional and SADiE 6 Lite are designed to bring this ground-breaking audio production and recording software to a much wider audience by allowing users to access the software at a lower price point.

Graham Boswell, Sales Director of Prism Sound, says: “SADiE has always excelled in roles where the most sophisticated editing capabilities are required and where reliability and robustness are paramount. However, we have recognised that not every user needs a full complement of features and functionality, so we have tailored specific versions of SADiE 6 software to suite different budgets and applications. SADiE Professional and SADiE Lite are the latest additions to our product suite.”

SADiE 6 Lite presents the core capabilities of SADiE in an entry level package, while SADiE 6 Professional can handle unlimited tracks and incorporates one year’s free support including all major updates. Both SADiE Lite and SADiE Professional include SADiE’s unique and streamlined array of flexible and non-destructive editing tools such as the Playlist, Trim and Region editors. They also provide a slimmed down core set of iZotope VST plug-ins and the well-established palette of SADiE channel strip processing.

“SADiE Professional and SADiE Lite are designed to appeal to radio producers who want the core functionality of SADiE 6 so that they can edit on their own lap-tops,” Boswell adds.  “These versions are ideal for users who don’t need integration with networked radio automation or facilities to master or restore audio.”

SADiE Professional retails at £949 plus VAT, while SADiE Lite retails at £450 plus VAT. Both versions are available now as a download or on a dongle.

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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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

Supersonic Wide-Range Omnidirectional Mic Goes to 100kHz

Renowned recording engineer/producer Bruce Botnick recorded the orchestral score of Tom Cruise’s “Jack Reacher” with five Sanken CO-100K microphones. As the music score mixer, he worked with a 100-piece orchestra performing the music of composer Joe Kraemer at Sony’s Barbara Streisand scoring stage.

With a 20Hz ~ 100kHz range, the Sanken CO-100K omni-directional condenser microphone is the world’s first 100kHz microphone designed specifically for professional recording. Botnick utilized a Decca Tree arrangement with three CO-100Ks and two additional Sanken mics for the Surround.

“The clarity and the musicality of these Sanken mics is astounding,” commented Botnick. “You don’t need an equalizer to enhance the high end. No need to boost the 5K, or grab the 16K on a shelf and turn it up. It’s not that they are brighter, it’s just that they extend your frequency range and give more sonic reach and clarity.”

Botnick is well known for his work with The Doors as both their engineer and then producer of their final album with Jim Morrison. Botnick also worked on The Rolling Stones’ “Let It Bleed,” and produced Eddie Money’s first two albums. Botnick had a long-running association with film composer Jerry Goldsmith as his scoring mixer. Botnick first met Goldsmith on 1979′s Star Trek: The Motion Picture and they worked together on most of Goldsmith’s film projects – numbering over 100 – from the 1980s through to Goldsmith’s death in 2004.

“The music recorded for ‘Jack Reacher’ with these Sankens worked especially well with the dialogue,” Botnick continued. “The clarity and musicality of the 100k’s gave Joe Kraemer’s score great transparency, which allowed the music to emotionally enhance the film to its fullest.”

“Jack Reacher” depicts a city thrown into chaos following a shooting that leaves five dead. What at first seems like a simple case to solve becomes complicated when the accused requests that Jack Reacher be put on the case.

Sanken’s CO-100K features very fast transients with an extremely smooth response curve, resulting in great clarity and unprecedented transparency. With the ability to capture sounds in the ultra-high frequency range, the microphone also produces very rich results in the low and mid-range of the audible frequency range.

“Jack Reacher” is now available on DVD and Blu-ray.

Learn more about Sanken at distributor http://www.plus24.net or phone 323.845.1171

 

The sound team at the Parco Della Musica Auditorium in Rome recently turned to DPA Microphones’ Reference Standard 4017 Shotgun Microphones to record the audio for a specially commissioned double DVD of two operas that were being performed as part of the Santa Cecilia Opera Studio, a master programme devoted to Bel Canto.

With high quality audio a prerequisite – and with strict instructions from the director that no microphones were to be seen anywhere in the video footage – sound engineer Giacomo De Caterini was initially struggling to work out how he could comply with the director’s brief.

“The director wanted to avoid any microphones that could be visible because he was determined to maintain strict focus on the performers,” De Caterini explains. “Due to bad experiences in the past, especially on video productions where close-up shots revealed poorly concealed microphones dangling from the singers’ wigs, he was very keen not to have any microphones on the singers’ heads. This ruled out the use of miniature microphones such as the DPA 4061s, which we had initially been considering.”

To add to De Caterini’s difficulties, some of the backgrounds were being video projected, which meant that microphones hanging from the ceiling were also out of the question.

“I was quite worried as the only option left was to use shotgun microphones positioned on the edge of the proscenium,” De Caterini says. “I realized this would only be OK if we had a sufficient quantity and if they were strategically placed to capture the audio properly.”

Luckily, Salvatore Zocco, product manager at DPA’s Italian distributor M. Casale Bauer, was able to come up with a solution. He gave Giacomo De Caterini some DPA Reference Standard 4017 Shotgun Microphones and suggested he tried them out as an option.

“Although I expected the high quality sound and trustworthiness that invariably comes with DPA microphones, what I did not expect was the ability of these microphones to deliver a sound unlike any other shotgun I have ever tried,” De Caterini explains. “They were much more akin to a pair of traditional cardioids, and with the amazing ability to behave more like ‘wide cannons’ than strict shotguns. In other words, instead of the typically coloured audio that becomes almost unusable as soon as the pickup is slightly off-axis, these microphones delivered great audio that required minimal tweaks and remained readable and clean even when picking up vocalists who were right as the back of the stage. Thanks to their new, dedicated preamps, they also delivered lower noise than any other shotgun microphone I have tried. Ultimately, what set them apart was something you certainly don’t expect from shotguns: sheer musicality.”

The two operas being recorded for this DVD project were Ravel’s “L’Heure Espagnole” and Puccini’s “Gianni Schicchi”. Both were performed in the Petrassi Hall, which has roughly 700 seats and is the smallest of the three halls that form the Parco Della Musica Auditorium complex. The double DVD production was co-produced by the Accademia Nazionale di Santa Cecilia and Infocamere, the IT company for the Italian Chamber of Commerce, and distributed as a special gift to major Chambers of Commerce clients.

After completing the recordings for the DVDs, Giacomo De Caterini was so impressed with the performance of the DPA 4017 Shotgun Microphones that he refused to return them to M. Casale Bauer.

“They were definitely a keeper,” he says, “and they have now joined the Auditorium’s stock of DPAs. I’ve used a lot of DPA in the past – and B&K before them. I love all the classics like the 4006, 4015, 4011 etc., and I also use the DPA miniature microphones for live work, especially the brilliant d:vote™ 4099 Instrument Microphones and the compact cardioid 4021 microphones, which I consider to be the most treasured tools of my trade.”

Recently, De Caterini had the opportunity to use a pair of DPA 4041s (running at 130V with the dedicated preamp) and was completely blown away by their performance.

“They combine the best features of DPA’s classic omnis with the low/mid ability that has previously been the trademark of DPA’s competitors. Using them for the first time provided me with a rare moment of illumination – not to mention an almost irrepressible urge to reach for my wallet!”

Since completing the opera DVD project, Giacomo De Caterini has been working on a number of other high profile recordings including engineering and post-producing a CD of Verdi’s music for EMI Classics, which features the Orchestra di Santa Cecilia with Sir Antonio Pappano.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

 

Following a record year for sales in the Asia and Pacific regions, DPA Microphones is consolidating its success by opening a new regional office in Hong Kong.

Headed by Ken Kimura, DPA’s general manager for the APAC region, the new office signals DPA’s commitment to its partners and customers by acting as a hub for sales, marketing and after-sales service.  It will also enable the company to expand its sales network and develop new business channels in market sectors that have yet to discover the benefit of DPA’s high quality microphone technology and products.

Kimura, who was previously based in Shanghai, says: “Establishing our new office in Hong Kong makes sound economic and geographic sense. By basing our office here we can significantly expand our reach as well as visibility within the entire region and thereby aim our ambitions much higher.”

During the last trading year, DPA’s sales have been on the increase in virtually every APAC country with some showing growth as high as 40%. This incredible success has been achieved by DPA developing strong partnerships with its distributors and dealers so that they can fully support their customers.

Christian Poulsen, CEO of DPA Microphones, says: “The increased consciousness of good quality in the Asian markets, combined with our ability to develop fantastic products, has resulted in our huge success in this region. To follow up on this we take the next important step by establishing this new office to support our sales partners even more and encourage their commitment to the brand. This support has been delivered in a variety of ways, including listening to our partners’ needs and implementing specific activities such as customer events.”

Renowned for their audio accuracy, reliability and superb engineering, DPA microphones are the first choice for numerous recording and touring artists and sound engineers. The company’s extensive product range also encompasses many other industry areas including broadcast, film, theatre, installation, conferencing and security.

“The breadth and depth of our product range is really quite staggering and gives us plenty of scope to develop our customer base around the world,” Kimura says. “The APAC region is no exception – there are many applications for our technology that have yet to be exploited and our aim is to be highly visible so that we can make the most of these new business opportunities.”

DPA plans to supplement its existing team in Hong Kong with new sales staff and is interested in hearing from any suitable candidates.

For more information please contact Ken Kimura at kek@dpamicrophones.com.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Rio Rancho, NM – May 2013… For those with a fascination for body art, Spike TV’s Ink Master is ‘must-watch’ TV. Sixteen of the country’s most skilled tattoo artists compete for $100K and the title of Ink Master. ‘Living Canvasses’ are permanently marked in a series of extreme challenges that push the contestants to their limit in this high-stakes elimination competition, hosted by rock legend Dave Navarro and judged by tattoo icons Chris Nunez and Oliver Peck. The show’s production utilizes a lot of wireless microphones and audio processing / networking technology—all of it coming from Rio Rancho, NM-based Lectrosonics. more

Creative Workspaces Feature Designs by Pilchner and Van Haaff

Hit record producer/engineer Tony Maserati (Lady Gaga, Beyoncé, Jason Mraz) is teaming up with LA’s hip Bedrock.LA studios in an ambitious strategic partnership with the Standard Oil Investment Group. Bedrock.LA is well-established as the rehearsal center for local and touring musicians throughout the creative Echo Park/Silverlake music community. Maserati, looking for expanded facilities for his Mirrorball Entertainment production group, is relocating to the new Bedrock.LA music center designed for the creative community of LA songwriters, producers and composers.

Multiple Grammy-winner Maserati explained, “I’ve looked all over LA for a place to take my team to the next level — the potential for this project is like no other. The aim is to pioneer a new music environment, a center for production, technology and media, creating a synergistic powerhouse.”

Located a block from the legendary Park Plaza hotel, the 50,000 square foot building owned by The Standard Oil Investment Group already includes fashion designers, filmmakers, software developers and equipment manufacturers. Focused on modern music production studios, the building will combine the modular multi-purpose studio designs of Martin Pilchner (Pilchner-Schoustal) with the innovative vision of designer Vincent Van Haaff. The new venture will house the first campus of acoustically accurate and identical Pilchner rooms within a large multi-floor facility for music production, as well as a variety of site-specific designs by van Haaff.

“Bedrock.LA is a thriving creative hub for developing and established artists,” remarked Marc Bohbot, CEO of Standard Oil. “It means a great deal to for us to develop this ambitious real estate development with Bedrock and Tony.”

KamranV, co-founder of Bedrock’s thriving creative hub, added, “Teams lead by folks like Tony and his Mirrorball Entertainment partners reflect a new workflow in music. This new space is made for the innovators who are re-shaping the music industry.”

At its core, the facility operates around a future-thinking philosophy towards music making. “My colleagues and I have watched the evolution of the music industry over the years,” says Maserati. “This is a really exciting time for music, and we are focused on the latest momentum in music production and delivery to the market.”

Learn more about Bedrock.LA: http://Bedrock.LA
Learn more about Tony Maserati: http://mirrorballentertainment.com/
Learn more about Standard Oil Investments: http://www.thestandardoil.com/

Contact: http://Bedrock.LA/contact

Compact Digital Recorder Captures Dynamic Audio in Studio and on Location Around the Windy City

CHICAGO, APRIL 30, 2013 — When it comes to recording dynamic audio for the hit NBC show Chicago Fire, Blair Scheller, the program’s production sound mixer, turns to a range of Sound Devices gear, including its 788T and 744T Digital Audio Recorders, 552 and 442 Production Mixers, and CL-WiFi Interface for 788T, to provide a rock-solid performance and consistent deliverables. Filmed primarily at Cinespace Chicago and at field locations in and around the city, Chicago Fire chronicles the lives of the men and women of Chicago Firehouse 51.

Along with his sound team, which includes Utility Jim Gaudio and Boom Operator Jason Johnston, Scheller’s approach to production sound on Chicago Fire is typical of today’s dialog-oriented episodic productions. Much of the photography is done with two cameras, so boom mics, typically Schoeps CMITs, are not practical for large ensemble group shots. In these cases, all actors with speaking parts have a wireless microphone. Scheller utilizes 12 channels of Lectrosonics wireless with SR transmitters and Venue receivers. Wireless receivers are connected to an Audio Developments AD 146 analog console. The production recorder on set is Sound Devices 788T, recording simultaneously to both CompactFlash and the 788T’s internal hard drive. For backup, a Sound Devices 552 records the mix to SD cards. CompactFlash cards are turned in, transferred and then cleared after breaks in the day.

“The more I can provide to post production, the better the chance of getting great audio, as the post-production team can do quite a bit with isolated tracks,” says Scheller. “We often shoot in on-location environments that may not be ideal for sound, but with both my mix- and iso-tracks, we dramatically minimize the need for ADR.” The series typically relies on ADR only for those scenes on the “fire” set, where the actors are suited with respirators.

Another important aspect of Scheller’s system is Sound Devices CL-WiFi. “The CL-WiFi is essential for the way I use the 788T. I can quickly reset after a false take right then and there with it,” he says. For more portable applications on location, Blair’s bag rig consists of a Sound Devices 744T recorder, 442 mixer, and a Lectrosonics VR field receiver.

Scheller began his career as a boom operator working on a wide range of projects, everything from local Chicago-based productions to Hollywood blockbusters. During the production of Michael Mann’s Public Enemies, Blair transitioned from boom to mixer, mixing second unit. Since then he has relied on the 788T for several shows, including the Playboy Club and MTV’s Underemployed.

Chicago Fire, produced by Universal Television and Wolf Films, airs on NBC on Wednesdays at 10/9c.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

All Equator speakers ship free in the US

San Diego, California, United States, April 2013… Equator Audio Research recognized globally as a leading manufacturer of highly accurate studio reference monitors for mission critical recording applications has announced that for the remainder of April and for all of May 2013 all speaker shipments within the United Sates will be shipped for free.

D5 sales have been on an extended upward trajectory and continue to make their way into acclaimed hands for mission critical work. “The best way to further their advancement is to ship them for free” Commented Equator general manager Marty Bradley.

The free shipping in the US promotion is not limited to the D5. Any speaker purchased and shipped from Equator headquarters in San Diego to any US destination will ship free of charge. Including the much heavier Q Series monitors

About Equator Audio Research
Equator Audio Research is committed to delivering studio reference monitor solutions that overcome the myriad of challenges faced in today’s production environment. From our phase and time accurate coaxial designs to our matched transducer manufacturing to our sophisticated Q Series Room Analysis and compensation software; our products meticulously provide solutions to existing sonic obstacles. Equator products are used daily in mission-critical applications at many of the world’s finest recording studios. For additional information on all Equator Audio products, visit the company online at www.equatoraudio.com.

OSAKA, JAPAN, APRIL 22, 2013 ? Clear-Com®, a global leader in critical voice communication systems, is providing the Japanese broadcaster, Kansai Telecasting Corporation (KTV), with a unified communications infrastructure for its remote productions. The Clear-Com Eclipse-PiCo Digital Matrix Systems and V-Series Intercom Panels have been installed in KTV’s fleet of mobile production vehicles and integrated with the station’s other communication systems. This has enabled KTV crew members in the field to communicate easily and collaborate effectively with those back in the studio. more

Popular Composer/Arranger/Conductor Sets Up Composition Suite

Popular Hollywood composer, arranger, and conductor Chris Walden has taken up residence in Ocean Way’s new Studio C production suite. Walden, who has worked often in Ocean Way’s big Studio’s A and B tracking/mixing rooms is now at work in the new adjacent writing room.

“The advantage of having my own writing room here at Ocean Way is that when I am done with the writing, the recordings can be done right here, as well,” explained Walden. “When the musicians arrive, I can just walk across the hall to conduct the big bands or orchestras.”

Walden previously worked at Ocean Way on such projects as the Paul Anka Christmas album “Songs of December”, which was recorded by Al Schmitt in Studio A, and for the NBC series, “The Playboy Club”, produced by Richard Marx in Studio B.

“I won’t be doing much recording or mixing in Studio C,” added Walden, “but I do have a little Pro Tools HD rig to maybe record a single instrument, listen to a rough mix, or do some editing. I have Finale notation software, which is like pencil and paper for me, and my Yamaha KX-88 is an old master keyboard, but the action feels really nice, like a real piano.”

“We couldn’t have a better client to launch Studio C, the first of a number of our planned production suites,” remarked studio manager Robin Goodchild. “And with our new affiliation with the film/TV Sunset Gower Studios next door, it makes for an even better creative fit.”

Walden is a four-time Grammy nominee, has scored more than 40 feature and TV films, and has written more than a thousand orchestral and big band arrangements for artists including Christina Aguilera, Michael Bublé, Faith Hill, Aretha Franklin, David Foster, Paul Anka, Elton John, Stevie Wonder, Christopher Cross, and for orchestras like the Chicago Symphony Orchestra, Los Angeles Philharmonic, Boston Pops, among many more. He has orchestrated for Barbra Streisand, Diana Krall, and Natalie Cole.

Walden’s recent film credits include the feature film “Monster Mutt”, TV movies “Alien Siege”, “Crimson Force”, Gene Wilder’s “The Lady in Question”, and the CBS mini series “Blonde”. Since 2007 Walden has also been a principal arranger for “American Idol” and now works as arranger for “The tonight Show with Jay Leno”. He has been musical director on many TV shows and series, and has worked on more than 100 CDs. As an arranger and bandleader he has worked with jazz artists including Michael Brecker, Peter Erskine, Ernie Watts, Tierney Sutton, Bobby Shew, Pete Christlieb, amongst others.

For more info about Chris Walden, visit:
http://www.chriswalden.com

For information about Ocean Way, visit:
http://www.oceanwayrecording.com
Contact Robin Goodchild for all booking requests.
Email: rob@oceanwayrecording.com or call 323-467-9375.