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Archive of the Sound for Picture Category

Sound Devices Streamlines Production Workflows with Launch of Firmware 2.10 for Rack-Mounted Recorders

Latest Firmware Update Incorporates New Release Candidate Screening Program

REEDSBURG, WI, OCTOBER 21, 2014 – Sound Devices, specialists in portable audio and video products for field, live event and studio production, introduces Firmware 2.10, the latest software update for its 970 audio rack-mounted and PIX 250i, PIX 260i and PIX 270i video rack-mounted recorders. New features and upgrades include enhanced metadata functionality, sound report creation and improved file/folder formats. In addition, Sound Devices now offers a Release Candidate Screening Program, which gives existing end users of its rack-mounted recorders a sneak peek into new features and changes under development in the firmware.Video Devices PIX 270i

Firmware 2.10 features a new Metadata screen so users recording audio can quickly access and edit the Scene, Notes, Take and Circle status of Previous, Current and Next takes. It also provides the same metadata editing functionality from PIXNet, the Web browser interface. Additionally, the PIXNet clips tab has been enhanced to display useful information about recordings, including start timecode, fps, user-bits, duration, codec and audio format.

With regard to reel folder formats, in previous iterations of the firmware, a Custom option enabled users to edit reel folder names with any alphanumeric value, whereas the 2.10 firmware offers a second Daily option. If set to Daily, new reel folders will automatically be named with the current system date in the YYMMDD format. These daily reel folders, which are containers for the recordings, are helpful in organizing deliverables for projects that span multiple days. This latest firmware also features a new Phrase List Manager, which lets end users create a list of commonly used phrases and then use them to quickly edit the Notes field of recorded WAV files. Users can also now enter notes from either the File list or the new Metadata screen, for the next recording.

For those devices operating in Audio Only Mono mode, it is now possible to have the system append the actual audio track name to the end of the file name. While recording, track names can now be edited from the audio screen and from PIXNet. This assists those in post production in determining which audio file is associated with which member of the cast, a feature that is particularly useful in high-track-count reality shows. In addition, the new Sound Reports feature creates CSV files based on WAV-file metadata.
Sound Devices 970 - front panel
Sound Devices’ new Release Candidate Screening Program provides the company with direct customer input on the usability of its updates, ensuring the stability of firmware updates in real-world applications. Initially, the program will target the Video Devices and Sound Devices rack-mount products, with the company planning to expand the program to other product lines over time.

“The goal of our new screening program is to work together with end users to identify and resolve any potential stability issues and get feedback on product performance in real-life workflows, so the best possible firmware makes it into upcoming official releases,” says Dan Desjardins, Manager of Software Development and Quality Assurance, Sound Devices. “Sound Devices enjoys a highly regarded, open-door relationship with its customers worldwide, and this program promises to expand on that bond.”

Each Release Candidate will come with a pre-determined expiration date and limited technical support. Firmware 2.10 is available as a free download for all existing rack-mount products. To download this firmware and offer feedback on the Release Candidate firmware version, participants simply need to fill out a convenient online form located at www.sounddevices.com/download/release-candidate/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

Yamaha NUAGE Ignites Post Market in Spokane

BBB-Nuage 1

BUENA PARK, Calif.—Bing Bang Boom! In Spokane, WA specializes in integrated music and sound design for film, television, advertising, video games, and the Internet. Their award-winning work can be heard on projects for CBS, ABC, NBC, Spike TV, HBO, Warner Bros. Films, and many blockbuster theatrical trailers.

The company recently added a new Yamaha NUAGE Advanced Production DAW System to their production arsenal. CEO Bill Byrne said that up until the purchase of the NUAGE system, he had been recording and mixing using multiple Mackie consoles, until Mackie was no longer providing the unlock
codes for their software, making it impossible to work on them.

“I have been a long time Cubase user and wanted to upgrade for at least the past five years having so many legacy projects in Cubase for Bing Bang
Boom Music and Sound Design Libraries, states Byrne. Even though stereo is still the main delivery format for the libraries, I still get calls to customize tracks, and to switch to ProTools or any other system with thousand of tracks would not have been cost or time effective. There really wasn’t any other system available that was completely integrated like NUAGE, plus it sounds amazingly good!”

Byrne said he’s been doing more and more mixing “in the box” but with most projects having 100+ tracks, navigating with a mouse was becoming impractical. “I had been working with Ron Cheney from RSPE for at least three or four years trying to come up with a suitable system. Every year, we would meet up at NAB in Las Vegas and look at new systems along with trips I would take to the RSPE office every three or four months. While there are a lot of systems out there, I really needed total integration with Cubase, and no other system really offered that but NUAGE.” Last April, Byrne and Cheney met up again at NAB and were given at great run through on NUAGE, heading back to the Yamaha Commercial Audio booth over the course of the show with more questions for the NUAGE team who he said were quite helpful.
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“Ron Cheney was extremely patient and helpful; his goal was to make sure I had the right system for my needs and not to just sell me something, Byrne says. I am very impressed by how hard he worked to make this happen for me. At around the same time, I saw a NUAGE system on a magazine cover with Hans Zimmer and other film industry notables. They were discussing surround sound in headphone mixes, which was quite interesting. So RSPE arranged a private demo with the NUAGE team, and I was impressed to see their level of commitment, a good sign that they would be there to support the product.”

After a basic run through using the RSPE Mac and installing the tools for NUAGE on his Mac Book Pro and hook up the system, Byrne was able to run one of his projects off his laptop. “We spent several hours going through the system and the “what ifs” needed to integrate a large I/O system into the setup. We discussed the Yamaha NIO and RIO boxes and how they could be integrated. At the end of the demo, I knew the NUAGE system was perfect for me. I was also quite excited (for the first time in many years) about all the new creative and productive possibilities.”

One of Byrne’s biggest issues was the need to have at least 32 live inputs and multiple cue mixes for his tracking room as he still records with a lot of real instruments. “I needed something that wouldn’t tax the main CPU as I always have lots of virtual instruments playing in every project that hit the CPU hard. The NIO and RIO boxes totally solved that problem for me, and having remote control over the mic pre-amps through the RIO is fabulous! I’m able to work with a 128 buffer on the main CPU and that makes tracking live players while all my VSTi’s are running too a snap.”

Of course having total integration with Cubase made it a no brainer notes Byrne. “Having the knobs and buttons labeled and dedicated to Cubase/Nuendo functions meant I wouldn’t have to spend any time at all mapping functions like I would have had to do had I purchased a third party system. Getting around my projects is so fast now. When I was mixing “in the box” with a mouse and also my iPad remote, because of the time factor in navigating around or even just automating fader moves, I tended not to try and experiment with different mix options. Now, with the NUAGE and the touch sensitive faders, if I want to try something different, it’s so easy to do and I can instantly get back to where I was if I don’t like it. For Cubase, it’s brilliant!”

“For old school guys that have worked a lot on analog consoles like Tridents, APIs, and Neves,, the seamless integration of the live input NIO and RIO I/Os, channel control, master, and DAW functions really does make it feel like you are working on a console, adds Byrne. The way the knobs and buttons light up to give you hands-on access to the functions and being able to program lots of Quick Controls for the functions I use all the time is great too. The jog wheel
feels great and the transport functions make it a snap to navigate and edit very quickly.”

Byrne said he’s owned a lot of Yamaha products over the years that are still in use, “The fact that they are providing the hardware and also own Steinberg gave me great confidence that the product would continue to develop and be supported. I had been waiting a long time for the NUAGE system and Yamaha/Steinberg have delivered way beyond my expectations!

Bing Bang Boom! recent projects using NUAGE include a music track for the home video release of How To Train Your Dragon 2 and a new BBB trailer sound design library called Arsenal of Awesome.

For more information on Bing Bang Boom! visit www.bingbangboom.net.

For more information on the Yamaha NUAGE Advanced Production System, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Atlanta-Based Composer/Sound Designer Feels ‘At Home’ With Yamaha NUAGE

JP-FIlm-mixing_SL-6-14

BUENA PARK, Calif.—John Penn is an independent film/music composer, 3D sound designer, producer, media-tech entrepreneur, and owner of Undercurrent Labs, the company he founded in 2011. Part of the Atlanta tech community, the company is focused on virtual and augmented reality and content development for web and mobile applications. Working with several innovative companies that are pushing the boundaries on immersive surround, a networked infrastructure is key to the Company’s development. A software and content development company, it is focused on enterprise mobile apps for the MedTech and streaming video markets, and also currently developing augmented reality and location aware technology for mobile devices to help medical device manufacturers and hospitals reduce the risk of accidents, complications, and costs of operating complex medical equipment.

“I believe music is an important form of medicine and I’ve been researching the application of 3D sound and music as a more natural application to improve medical conditions that affect the brain, nervous system, and chronic pain conditions. Harnessing song, sound frequencies, and rhythm as another tool in treating physical ailments is an emerging field, states Penn. Fundamentally, our biological existence is closely tied to vibrational energy, and tapping into 3D space and other dimensions that is hard for us to consciously perceive, but our core being understands, can ultimately render medically beneficial outcomes previously not thought possible. There is a connection between dimensional sound vibration, m-theory physics, and medicine that we have barely scratched the surface on.”

Penn says the company’s strategy to provide full-service and on-time delivery is built on the best network infrastructure available for audio and video that helps to scale dynamically to each project with post-production talent, workflow, and equipment. For that reason, Undercurrent Labs purchased the new Yamaha NUAGE Advanced Production DAW System. “I was sharing my studio upgrade plans with my brother Mark, also a Nuendo user, and had just seen the Yamaha announcement for NUAGE. “For years, we waited for the right control surface for Nuendo, so when we saw the pictures and specs for NUAGE, we knew the wait was over.”

NUAGE dealer RSPE recommended a demo, and so Penn reached out to Yamaha’s Chris Hinson for that purpose. “You don’t have a real appreciation of the presence and feel of NUAGE just by looking at pictures until you see it in person, touching the surface and realizing the freedom of not being confined to a box of semiconductors. Sitting at the NUAGE console and looking at the new Nuendo 6, I actually felt at home again, in a musical sense. The design is that good!”

The collaboration of Yamaha and Steinberg to harmonize the workflow of an established DAW like Cubase/Nuendo and Yamaha’s deep portfolio of digital mixers and their combined design and engineering philosophy helped Penn to affirm NUAGE as a great result, since he was already comfortable with Nuendo since Version 2 and the Yamaha 01V and 01V96 mixers. “It is kind of like mixing peanut butter and chocolate, for most folks, you’re going to get something great.”

Penn said he put NUAGE to the challenge on its maiden voyage in his surround mix room where he served as supervising sound mixer for Hollywood veteran actor and director, Tommy Ford (Martin on Fox; New York Undercover, UPN; The Parkers), editor Kevin Christopher, producer Shannon Nash and executive producer Bryant Scott of Tyscot Films, for a new film being released this year entitled “Switching Lanes”, starring Michael Lerner (GLEE), Marla Maples (Executive Decision), Terri J Vaughn (Steve Harvey Show), Victoria Staley (Raising Izzy), Doc Shaw (House of Payne, Pair of Kings), LisaRaye McCoy (All of Us, Single Ladies), and Fred Hammond, talented gospel artist, musician and friend of Penn’s from the Detroit music scene.

“Nuendo’s ADR mode enables me to accomplish more in vocal and Foley sessions by allowing multiple takes in one batch for scenes, providing more freedom for greater spontaneity in performance by the artist and guidelines from the director or producer, says Penn. “I’m currently test driving Yamaha’s Rio 32-channel I/O box to remotely control the head amplifiers from either the NUAGE Master and Fader control surfaces, by-passing my analog patch bay and cable snakes.”

“Touch is everything to me when I’m in a creative vibe, a real break from flat glass. I love the natural texture of the hand rest, stainless steel jog wheel and the frame accurate precision it provides as I nudge video or audio tracks. Designing in 3D space in real-time on a Sci-Fi Q-Bik Muz soundtrack “PsychoPlasmic” was nearly impossible without JL Cooper’s Surround Panner, enabling three axis of control and automation manipulating audio objects around 9 monitors. The integration of NUAGE to manage 3D audio for real-time 3D motion graphics for live video production, animation, and content branding, using virtual sets, and augmented reality, brings a level of creative collaboration to Georgia usually exclusive to LA and UK studios,” adds Penn.

“One of my film dialog editors, Elliot Glenn, a Pro Tools user said he never thought he’d be able to learn a new DAW using a control surface specifically created for that DAW. The integrated approach Yamaha has perfected not only sped up the learning curve but revealed many features of Nuendo sometimes hidden in software. Believe me when I say that the NUAGE integration with Nuendo is truly seamless.”

Penn is currently working on several projects including music scoring, sound design and technical consulting for his daughter, Maya Penn whose animation series has captivated a vast audience of tweens and adults alike. He is also producing an EP for an indie rock band The Endangered Species, producing and composing the first Q-Bik Muz sci-fi film and music release entitled “Anti-Gravity Machine.” “It’ll be a lot of fun as I’m approaching this music project from the POV of a film director and sound designer focusing on next generation audio that includes both surround, layered height channels, and 3D space including Soundfield, Auro 3D, Dolby Atmos and 3D Link.”

For more information on Undercurrent Labs, visit www.undercurrentlabs.com.

For more information on NUAGE, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Marvel’s Guardians of the Galaxy Recorded with DPA Microphones

Simon Hayes 2

 

Oscar-winning production sound mixer Simon Hayes relied on DPA lavalier mics to record Marvel’s film adaptation of Guardians of the Galaxy, directed by James Gunn.

Hayes, who first used DPA microphones as Production Sound Mixer for the film adaptation of Mamma Mia in 2008, has turned to DPA d:screet™ 4061 and 4071 miniature mics on every film he’s worked on since then. Recently these have included Les Miserables (for which Hayes picked up the Oscar and BAFTA for Best Sound Mixing) and upcoming releases Tarzan, directed by David Yates and Kingsman: The Secret Service, directed by Matthew Vaughan.

Hayes chose DPA miniatures for Guardians of the Galaxy so that he could capture original dialogue, right at the point of shooting. Given that Director James Gunn’s vision for the film was to preserve the authenticity and emotion of the actors’ performances, he felt this was the best way to serve the film and its creative team.

“It was clear from the first meeting with James Gunn that he wanted to capture original performances, which of course isn’t always easy when you’re talking about large budget special effects and action-driven visual effects type movies,” Hayes says.

“We knew that we were going to be shooting three or four cameras at all times so the DPAs took precedence over the booms on a lot of scenes. This meant that, in the final mix, at least 75% of the dialogue that made its way into the movie was recorded on DPA [d:screet] 4071s and DPA [d:screet] 4061s.”

Leading man Chris Pratt was fitted with the DPA d:screet 4061 omnidirectional mic. “We felt that the 4061 added a little something extra in the bass region for his voice, which was quite exciting,” Hayes continues. “All of the other characters used 4071s on their chest rigs and if we were rigging microphones in their hair or in their helmets, we used 4061s to increase the bass.”

As the title suggests, the sets for Guardians of the Galaxy were not going to be small. Finding regular-sized Sound Stages a little small, set designer Charlie Woods had sets housed in old Ministry of Defence buildings to allow enough space. This provided Hayes with a few hurdles to overcome sound-wise.

“That kind of environment isn’t as easy to record sound in as a sound stage, so I had a lot of background noise and a lot of reverb to contend with,” he says. “Again, the DPA mics excelled at rejecting that reverb and just capturing dry, up-front vocals for me.”

One of the things that really sets Guardians of the Galaxy apart from its kin in the superhero film genre is its esoteric 70′s soundtrack, which was integral to the way the sound was mixed. Hayes explains why this was a huge consideration when recording:

“Mixed in with the huge space sound-effects that the sound design team built for us, we really wanted close-up dry dialogue so that we could push the music and the effects harder, and that’s what the DPA mics helped us to do,” says Hayes, who collaborated closely with Alexandra Byrne (costume designer) and Dan Grace (costume supervisor) to design the mic placements used within the actors’ costumes.

“We had some really interesting rigs. For instance, Lee Pace, who plays Ronan, was wearing a helmet for his whole performance and we actually placed two 4061 mics into the helmet because the microphones were creating a tiny bulge. We wanted to have the bulge uniform, so we put one above each eyebrow, which not only gave a uniform look to the helmet, but it also gave us the opportunity to have two tracks running on Lee Pace’s dialogue.”

Ronan has a particularly dynamic part in the film, as Hayes continues: “This placement allowed Lee Pace more creativity in the way that he was playing Ronan and I was able to assure him that because we had the two 4061 mics on him, he could literally go from a whisper to a shout without us having any trouble whatsoever.”

Dave Bautiste, whose character Drax the Destroyer goes through the whole film topless, presented another challenge altogether, which meant finding an ingenious solution.

“We collaborated with the Special Makeup FX department and were able to have a [d:screet] 4071 basically rigged into the special makeup effects, which was applied to his upper body so it became part of a scar in the middle of his solar plexus,” Hayes says. “This meant that even though we had a topless man through the whole movie, in every single scene we were able to have a perfectly placed 4071. DPA’s are so reliable that you can have it buried under makeup and you know that it’s going to work all day, you’re not going to have any problems from them.”

With a run of over 18 films on which he’s used DPA microphones, Hayes concludes, “In the marketplace today there aren’t any lavalier mics that sound as natural and as transparent as DPAs. I feel that when I’m using a DPA microphone, I’m hearing actors through their performance rather than the microphone factoring it.”

After the box-office success of Guardians of the Galaxy, a sequel has already been announced, due for release in 2017.

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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

Fairlight Delivers the Gift of Great Sound at Sky Vision Sound Studios

Robert Thompson Sky Vision

 

London-based Sky Vision Sound Studios, part of the BSkyB/Sky Vision family, has recently completed a major upgrade of its Fairlight equipment to bring it in line with BSkyB’s UK broadcasting facilities in Osterley. The three-studio complex, two mix rooms and a prep room, has upgraded its Fairlight Constellation console with a Fairlight EVO, six of which are already in use at BskyB. It has also upgraded its XYNERGI system by installing the latest software version – a move that is already improving workflow.

Sky Vision’s Audio Supervisor and Senior Dubbing Mixer Robert Thompson says: “Although we have handled work for external clients such as SKY, the BBC, Universal and Channel 5, the majority of our work comes from Sky Vision. As work often moves between BskyB’s sound studios and ours, it made sense for us to have identical equipment. The dubbing mixers at BSkyB were obviously very happy with their Fairlight EVO’s and this, combined with our own good experiences of Fairlight, meant we had no qualms about upgrading our own desk.”

Tucked away in a Georgian Mews in the heart of London’s Fitzrovia, Sky Vision Sound Studios handles a variety of programming covering wildlife, docudrama, documentary, children’s TV shows, scripted content, sports and comedy. The diversity of the projects Sky Vision Sound Studios tackles is mind-boggling, as is the speed of turnaround this facility achieves.

“Last year we completed over 70 hours of broadcast TV, which for two mix rooms is pretty good going,” Thompson says. “That’s just shy of three hours a month – a lot of work by anyone’s standards. Of course none of this would be possible without the Fairlight systems we have in both rooms. It really is a credit to Fairlight we achieve what we do because you simply couldn’t get through such a large quantity of work without having a system that is so reliable and flexible.”

Sky Vision Sound Studio’s affiliation with Fairlight goes back to 1999 when the facility was first set up by dubbing mixer Trevor Barber. Thompson, who was brought in some years later to help increase the facility’s output, says: “I got switched on to Fairlight by Trevor because he wouldn’t use anything else. I didn’t start out as a Fairlight user – in previous jobs, and as a freelancer, I had mostly used Avid Pro Tools. But when Trevor first set up the studios he installed a Fairlight MFX hard disk recorder in Studio One. As soon as Fairlight introduced their new Xynergi range, Trevor came on board straight away. In fact, the Xynergi system we own and use today is serial number 5. It still works perfectly. The only thing we have changed is the operating software, which we have just upgraded again to the latest version.”

Thompson adds that transitioning from Constellation to EVO has been very straightforward, mainly because all Fairlight systems are very intuitive.

“We have had no issues moving over to the EVO,” he says. “Both Russell Skellon, who mainly works in Studio Two, and myself have been using Fairlight for a long time and we have so much experience that the system is almost second nature to us. I would say the same about XYNERGI and the upgrade to the latest software version. Setting up the XCS controller on the EVO so that it works the way we are used to was very quick to master and it was all so seamless that we were up and running almost immediately. The only thing that is taking a bit of time is exploring the new software features. We are now finding out all the new tricks it can do and it is already offering much greater functionality.”

As many users will testify, one of the main benefits of Fairlight is the ability to build customised workflows.

“We often have to deliver shows to multiple broadcasters worldwide, and with Fairlight I am able to build consoles and workflows that produce all the deliverables I need very efficiently,” Thompson says. “I also find editing on Fairlight incredibly intuitive because I can use the Picture Keys on the XCS to make my own controller and editor, which I design around my personal preference. It’s also really nice to personalise my common functions and assign them a macro so they can be done with just the push of a button. It gets me away from mouse based editing. The whole XCS mentality is quite exciting as it has the potential to operate as a controller across multiple applications.”

Thompson adds that Fairlight’s ability to accept and export multiple file formats is useful when the facility gets project from outside clients, “but to be honest we’ve honed the workflow between ourselves and Sky Vision to a point there this isn’t really relevant,” he says.

“What is useful, though, is Fairlight’s ability to give users two picture tacks at the same time.
If you are re-versioning and don’t get an EDL file that tells you what has been cut where, this can be a very tedious and time consuming process. With Fairlight’s integrated video we can streamline the process by running two picture tracks and comparing them in real time. This makes it much faster to manually make the cuts. It’s a great feature and one that really helps us.

“For example, the nature of our work is that we do quite a few versions of a specific programme mix. With the new software, we can easily conform all of our edits, including the mix, which was something we couldn’t do with previous versions. We’ve always had a good dialogue with Fairlight and this is something we’ve been specifically asking them to do, so having it now is just fantastic because it means we can work even faster as the whole reversioning process is now far more automated. Most other systems rely on third party software for this.”

Thompson adds that he is also looking forward to exploring the latest software’s new background recording feature, which offers lots of sound design potential.

“I’m still checking this out but it looks like another really useful feature,” he says. “You can record while you are scrolling and jog shuttling. It basically records anything passing through a specified output as a background task. I can also see this being useful for ADR because it saves the timeline becoming littered with takes.”

Having proved that Sky Vision Sound Studios can handle an annual output of more than 70 hours of broadcast TV on Fairlight’s previous software, Thompson is confident this can be exceeded now that the new version is in place. But despite all the time saving features the new EVO console delivers, he still feels the best thing about Fairlight is its sound quality.

“I suppose I’m a bit of a musician at heart,” he laughs, “which is why I really like the smoothness of the Fairlight I/O. Some of our clients are composers and musicians as well so it’s no surprise they also comment on how good this system sounds.”

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About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

Barefoot Introduces New MicroMain45 Monitors at AES

Renowned Power, Resolution, and Accuracy
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Barefoot Sound is introducing their newest studio monitor, the MicroMain45 at AES 2014 in Los Angeles, Booth #1031. Featuring the same revolutionary signal path, amplifier and driver technologies as the flagship MiniMain12, the MicroMain45 is stripped down to the bare essentials to deliver the renowned Barefoot power, resolution and accuracy at a more affordable price.

The new Barefoot MM45 is a 3-way active monitor with controls for equalization contour and an input level stepped attenuator. The cabinet has a total of 14 liters internal volume, sealed woofer and midrange enclosures, machined aluminum baffle plate, and long fiber wool acoustic damping throughout.

The MM45 tweeter has a 1″ ring radiator, advanced geometry motor, and rear waveguide chamber, with 180W Hypex amplifier. The midranges have two 2.5? aluminum cones, advanced geometry motors, and +/- 2 mm linear excursion, with 180W Hypex amplifier. The woofer has an 8? aluminum cone with high linearity motor, and +/- 13 mm linear excursion with a 250W Hypex amplifier.

Specifications:
Input Impedance: 50k Ohm
Frequency Response: 40Hz – 45kHz (±3dB), 53Hz – 40kHz (±1dB)
Bass Response: -3 dB @ 40Hz, Q = 0.707, Slope = 12 dB/octave
Crossover Frequencies: 600 / 2500 Hz
AC Power Input: Nominal 115 VAC or 230 VAC selectable
Power Consumption: Idle: 18W, Maximum: 400W
Weight: Speaker: 37.5 lbs. each (17 kg), Shipping: 47 lbs. each (21 kg)
Dimensions HxWxD: Cabinet: 11.0 x 15.5 x 10.75 inches (279 x 394 x 273 mm)
Overall: 11.0 x 15.5 x 11.0 inches (279 x 394 x 279 mm)

See and hear the new MicroMain45 at AES Booth #1031

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 compact studio monitors with huge sound and astonishing clarity, Barefoot has set an entirely new standard. Handcrafted in the USA.

Learn more about the new Barefoot Sound MM45 at : http://barefootsound.com/micromain45/

Penteo 4 Pro Demonstrations at AES Avid Booth 1201

Award Winning Stereo-to-Surround Up-mixer

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Award-winning Penteo 4 Pro will be demonstrated on the Avid S6 pro mixing pod at Avid’s Booth #1201 at AES, October 10 – 12. Penteo 4 Pro discretely converts stereo to 5.1, offering exacting control over sound image placement to create high-quality, natural-sounding surround. Penteo has won the 2014 Editor’s Choice award by Pro-Tools Experts and has been nominated as one of 2014′s plug-in of the year by Resolution Magazine.

Now in use in 22 countries and by major studios and independent mixers, Penteo has been featured in several of this year’s blockbusters including the recently released “The Equalizer.”

“Since Penteo 4 Pro natively supports Avid Audio eXtension (AAX) for true 64 bit processing”, said Jeffrey Read, President of Penteo Surround. “Our customers now can support over 50% more Penteo instances in ProTools 11 – great for complex surround sound design mixes.”

Penteo 4 Pro adds zero unwanted sonic effects to an up-mix, and 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.

To set up a Penteo demo at AES, please email: sales@perfectsurround.com

About Penteo
Developed by Audiotech Digital Limited (ADL), Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Penteo 4 Pro is the optimum sounding stereo-to-surround up-mixer, remaining 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, the most crisp and discrete center-channel available, 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.
Free trials are available here:
http://www.perfectsurround.com/request-a-trial

iZotope Announces New Version of Mastering Software

Ozone 6, a complete mastering platform featuring an elegant and modern interface, will preview to the public at AES 137

Cambridge, MA (October 8, 2014) — iZotope, Inc., a leading audio technology company, has announced an update to its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-box

Launching this fall, Ozone 6 is the latest version of iZotope’s complete mastering system. For the first time, the mastering workflow is centered around creativity: Ozone 6’s modern visual paradigm guides and inspires users of all experience levels at every step, so they can freely experiment with ease—or dial in their signature sound in just a few clicks.

Whether they are mastering engineers or home studio producers, Ozone 6 gives users everything they need to effortlessly produce professional-sounding masters in one elegant standalone application.

iZotope at AES 137
iZotope product specialists will preview Ozone 6 to the general public at AES (Booth 1100) in Los Angeles from October 9 – 12. AES attendees can view a demo of Ozone 6, hear from top audio industry figures, and learn the latest research and technology information. iZotope plans to release further information about Ozone 6’s features throughout the coming weeks.

Pricing
Ozone 6 - $199 USD Promotional Price ($249 USD Regular Price)
Ozone 6 Advanced – $599 USD Promotional Price ($999 USD Regular Price)
Upgrade from Ozone 1-5 to Ozone 6 – Always available at a special price of $99 USD
Upgrade from Ozone 1-5 to Ozone 6 Advanced – $399 USD Promotional Price ($750 USD Regular Price)
Upgrade from Ozone 1-5 Adv. to Ozone 6 Adv. – Always available at a special price of $299 USD

For international customers, check with your local dealer for Ozone 6 pricing.

Grace Period Purchases
Customers who purchase Ozone 5 after September 1, 2014, will receive a free upgrade to Ozone 6 upon release.
Customers who purchase Ozone 5 Advanced after September 1, 2014, will receive a free upgrade to Ozone 6 Advanced upon release.

Availability
Be among the first to hear when Ozone 6 and Ozone 6 Advanced become available. Sign up for the iZotope newsletter and learn more at www.izotope.com/ozone6.

Learn more about AES 137 at www.aes.org.

About iZotope, Inc.
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®.

For more information on iZotope products, please visit www.izotope.com.

Vintage King Audio Rocks LA at AES 2014

Shuttles Carry Attendees Back and Forth to Vintage King Los Angeles
VKLA_Avid_s6_400px
Pictured: The AVID S6 control surface in the Vintage King Los Angeles Critical Listening Room.

Vintage King Audio, the leader in professional audio sales, studio consulting, and comprehensive gear servicing has teamed up with key manufacturers and partners to make this a very special AES in honor of its return to Los Angeles. Vintage King will have representatives in booth #1025 at the AES Convention and will be providing a shuttle back and forth to Vintage King’s flagship store and demo studio (1176 Sunset Blvd Los Angeles, CA 90012) just minutes away from the LA Convention Center, giving patrons a chance to listen to listen to gear in a gorgeous, fully immersive listening environment.

Throughout the day at the store Avid reps will be giving presentations about the S6 control surface, HDX and their “Avid Everywhere” initiative. Universal Audio has also signed on to help create the “UA Lounge 1176″. This is a dedicated area in the store where Universal Audio reps will be on hand to talk about the their gear and new software on display.

Vintage King has also invited other manufacturer reps including Audient, Barefoot Sound, Overstayer Recording Equipment and others to spend time at the store to be on hand to answer questions from the continuous flow of people coming from the convention center via the shuttle.

Here is list of other activities that Vintage King will be participating in during AES, including the Sixth Annual Afterglow event that is being held high above the city on the famous rooftop of the Standard, Downtown LA hotel.

Vintage King AES Schedule:

Thursday Oct 9th | 7pm-9pm: Dave Pensado and Herb Trawick: Book signing of The Pensado Papers @ Vintage King Los Angeles
Friday Oct 10th | 10am-6pm: Show opens, Vintage King and Avid running shuttles back and forth form convention center to Vintage King Los Angeles
Friday Oct 10th | 6pm-10pm: TELEFUNKEN Elektroakustik full band recording session @ Vintage King Los Angeles
Saturday Oct 11th |10am-6pm: Vintage King and Avid running shuttles back and forth form convention center to Vintage King Los Angeles
Saturday Oct 11th | 6pm-9pm: Vintage King’s Annual AES Afterglow event on the rooftop of the Standard, Downtown LA
Sunday Oct 12th | 10am-4pm: Vintage King and Avid running shuttles back and forth form convention center to Vintage King Los Angeles
Sunday Oct 12th | 11am-2pm: Gearslutz event at Vintage King Los Angeles / Eat to the beat with the Gearslutz Brunch Bunch

For more info about Vintage King @ AES, visit: http://www.vintageking.com/AES

ABOUT VINTAGE KING AUDIO
Vintage King Audio is a leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals – from selecting a new microphone to designing a studio from the ground up – Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. For more information, visit: http://www.vintageking.com/about-us

Hollywood Orchestral Percussion Completes EASTWEST’s Flagship Orchestral Series

Detailed and comprehensive orchestral percussion collection features unprecedented control of sound and instruments

Hollywood, CA – EASTWEST, the industry leader in virtual instruments for over 25 years, has released Hollywood Orchestral Percussion, produced by award-winning team comprised of Doug Rogers, Nick Phoenix, Thomas Bergersen, and engineer Shawn Murphy. This release completes the company’s flagship Hollywood Orchestra, which also includes Hollywood Strings, Hollywood Brass, and Hollywood Orchestral Woodwinds.

Hollywood Percussion Screen

Hollywood Orchestral Percussion is an utterly unique orchestral percussion library featuring one of America’s very best orchestral percussionists and his inspiring arsenal of instruments. A must have compositional tool for serious composers, Hollywood Orchestral Percussion includes PLAY 4 software, offering powerful scripting for ease of use and up to 5 microphone positions for unprecedented control over each instrument including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.

Recorded in the famous EASTWEST Studio 1, the home of major Hollywood soundtracks and television themes, Hollywood Orchestral Percussion perfects techniques pioneered in Stormdrum 3, using unique repetition sampling techniques and 8 way round robin that deliver a virtual live performance. The entire collection uses zero noise reduction resulting in a spectacular sound that will virtually jump out of the speakers.

Key features:

• Orchestral percussion staples include timpani, snare drums, cymbals, bass drums, and metals. Each instrument shines with exemplary detail and variety making it possible to find exactly the right sound for any piece of music.

• Specific instruments to handle extreme tempos.

• Most extensive and fluid timpani ever sampled.

• An unprecedented, extensive array of epic anvil samples

• Orchestral chimes are sampled to mimic the sound of real church bells, as the instrument was originally intended.

• Inspiring array of vintage field drums, such as Epic Bass Drum Ensemble and Mahler Hammer give this collection some serious punch.

• For the first time, the celeste has been captured in a multi mic position environment with extremely low noise.

For more details, please visit www.soundsonline.com/hollywood-orchestral-percussion

System Requirements
75GB free hard disc space, iLok security key (not provided).

Pricing & Availability
To purchase and more information, please visit www.soundsonline.com/hollywood-orchestral-percussion

• Diamond Edition: $599
• Gold Edition: $499
• Silver Edition: $249

The Diamond Edition is available for immediate download or supplied on an optional hard drive for ease of installation. For more details, please visit
www.soundsonline.com/hollywood-orchestral-percussion. The Silver Edition will be available later in October 2014.

About EASTWEST
EASTWEST (www. soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com, on Facebook and Twitter.

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