Archive of the Sound for Picture Category
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
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.
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
London, England – April 2014…
** Photo: AC/DC’s Brian Johnson (left) and George - Aris Anastassopoulos (right) **
When your job is to capture the sound of cars, the ability to adapt quickly and accurately to the demands of the shoot is central to keeping production on track. If you miss the roar of the engine as the car passes the camera, you’ll likely end up looking for a new project! Such are the challenges of George – Aris Anastassopoulos, one of the location sound engineers for Back2Back Productions’ Pedal to the Metal, an upcoming TV show for the Discovery Channel featuring AC/DC’s Brian Johnson as host. This is challenging work with little margin for error. That’s why Anastassopoulos uses Digital Hybrid Wireless® microphone technology from Rio Rancho, NM-based Lectrosonics. more
LAS VEGAS—In response to an overwhelmingly positive reaction, Yamaha Commercial Audio Systems, Inc. has announced Version 1.5 software of the NUAGE Advanced Production System. Available in May via free download, the new version will allow remote control of R Series audio interface head amplifiers from NUAGE Fader/Master control surfaces. In addition to providing a broader selection of I/O options for NUAGE systems, the software also allows Yamaha CL Series Digital Mixing Console inputs to be shared via a Dante network for significant system expansion capability.
Although NUAGE already allows switching between up to three different DAWs, with V1.5 the “NUAGE PT Bridge” driver for Avid Pro Tools control gains OSX 10.9 compatibility so that Pro Tools running on Mac platforms is fully supported. Also, adding Quick Control to the NUAGE Master unit, specified parameters can be assigned to the multi-function display so the user has even greater customization control. The NUAGE Master unit now has the ability to instantly access a vast range of VST instruments from the display and knobs for more efficient, effective sound crafting. The multi-function knobs will also provide as much as 512 times finer control than has been available in the Fine Mode.
“All of the powerful refinements in NUAGE V1.5 add up to enhanced efficiency and improved workflow for end users,” states Marc Lopez, marketing manager, Yamaha Commercial Audio Systems, Inc. “With ongoing feedback from the field, NUAGE will continue to evolve as the new standard for DAW system performance.”
Launched in 2012, the flexible NUAGE system features tight DAW software integration, groundbreaking operability, modular architecture, and Dante networking capability. NUAGE systems are currently being installed in audio post-production and recording facilities around the world.
For more information on NUAGE V1.5, visit Yamaha Commercial Audio Systems, Inc. at NAB 2014, booth #C2143 or on the web at www.yamahaca.com.
About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.
Recording audio for film and TV within the confines of a car is hard enough, but actually capturing the sheer range of sounds that comprise car noise is an entirely different level of challenge. This, however, is something of a specialty for freelance sound effects editor Steve Browell who uses a range of DPA microphones and a variety of techniques to achieve spectacular results.
Browell, whose recent projects have included recording sound effects for Scarlett Johansson’s latest film Under the Skin, directed by Jonathan Glazer, says: “What I love about the job is that it’s so varied. From enhancing the physical sounds on screen to bringing inanimate objects to life; from designing effects to add to the emotion of the story to recording original sounds for each film, there is always a new challenge.”
Browell’s work involves many different locations, from race-tracks to mansion houses, from anechoic chambers to scrap yards. With him go a matched pair of DPA’s d:dicate™ 4011C Compact Cardioid Recording Microphones and a selected pair of d:screet™ 4061 Omnidirectional Miniature Microphones, which were supplied by DPA’s UK distributor Sound Network. Browell also owns a pair of d:dicate 4021 Compact Cardioid Recording Microphones in an DPA X/Y setup that have been customised to fit into a Rycote windshield.
“I have always liked the sound DPA microphones capture,” he says. “When I started my career I was involved in a lot of music recording and I can remember the first time I used a pair of DPA d:dicate 4011s when they were still Brüel and Kjaer. I loved the amazingly detailed and natural sound they were able to capture; it was like hearing the sound from the live source again. From then on I have always wanted to own my own pair.”
Browell first started experimenting with car recordings when he was asked to capture car sounds for a film he was working on. “Cars are fascinating machines that create a symphony of sound,” he says. “Also I liked the physical challenge of where and how to place microphones on a moving vehicle and still get a decent sounding recording with as little vibration and wind buffeting as possible.”
He explains that much of the action in Under the Skin takes place in the interior of a Mercedes Sprinter van. “To get a really authentic sound and the right coverage I spent a day recording the van with a multi-mic setup covering different aspects of the interior, the engine and the exhaust.”
Browell has been able to hone his techniques, not to mention widen the library of different cars he has captured, with work on the Need for Speed computer game franchise. As he says, though, it’s a delicate balance between the shielding stopping wind noise and it starting to colour the source sound.
“I also had to find materials that would withstand the high temperatures and a few Rycote windshields got burnt in the process,” he explains. “The McLaren MP4 12c was particularly bad for this; on overrun you can get a flame of three foot out of the exhaust. It can also be a problem fixing the microphones onto the cars and not damaging the paint and bodywork, which is important when some of them are valued at over $1m. Each car’s shape is so different and I need to be extremely flexible with my methods to get the microphones into a sweet spot: out of the direct airflow around the car but also avoiding some of the high temperatures and trying to dampen some of the vibration.”
For the future he says he would definitely like to own more DPA microphones, but adds that remembering petrol helps, too…
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
Industry Leader Launches Aggressive Educational Program for Budding Composers and Music Professionals
Hollywood, CA (April 2, 2014) – EASTWEST has been the market leader in virtual instruments and sound libraries for the past 25 years and their products have been used by leading composers for countless scores in blockbuster movies, video games, TV shows, and music production. Hollywood’s elite composers like Danny Elfman, James Newton Howard, David Newmann, JJ Abrams, and more, rely on EASTWEST/Quantum Leap instruments for their realism, depth and accessibility in scoring today’s biggest films, while musicians look for the same quality in their own productions. A high percentage of the music produced for all media today is produced using EASTWEST/Quantum Leap Virtual Instruments.
Musical instrument collections of this caliber come at a price that reflects their quality. They are often unattainable for the next generation but in order to compete with the world’s top composers, today’s young musicians need the same composing tools. For this reason, EASTWEST is launching an educational program with special pricing for active students and educators, starting with the Complete Composers Collection 2. This bundle, already discounted 70%, is now available for students at an additional 50% off. Qualifying students and music educators can choose any 7 or more collections from a total of 20, including:
Hollywood Strings Gold
Hollywood Brass Gold
Hollywood Orchestral Woodwinds Gold
Ministry of Rock 2
The Dark Side
Ministry of Rock
Stormdrum 2 Pro Bundle
Symphonic Choirs Platinum Bundle
Symphonic Choirs Platinum
Symphonic Orchestra Gold
Voices of Passion
If students were to choose the default set with the first 7 collections listed above, they would pay only $399.50 for this selection while the combined retail value of the individual collections is $2,685. The educational price represents an 85% savings! Students may customize their CCC2EDU by choosing any 7 or more of the 20 collections listed. While customization may change the CCC2EDU price, the discount will be at 85% off, regardless of which and how many products are selected.
Pricing & Availability
All of these EASTWEST collections are available for download athttp://www.soundsonline.com/Educational-Program. The price varies depending on the products selected and will be discounted by 85% off MSRP. The CCC2EDU may also be ordered pre-installed on a USB3 Pocket HD for an additional $99.
iLok is required. First time customers may purchase an iLok for 50% off: $20.
This limited time offer is valid for active students and educators enrolled in an accredited educational facility. Educational pricing for EASTWEST products is available exclusively at http://www.soundsonline.com/Educational-Program. EDU discounts of 50% on single collections will be available here as well throughout the year.
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 and soundsonline-europe.com.
After an exceptionally successful 12 month trading period, which culminated in a move to larger offices in the USA, internationally acclaimed manufacturer Prism Sound will be using the NAB 2014 platform to introduce post production and broadcaster engineers to its growing family of audio interfaces.
Alongside Orpheus, Lyra and Titan, the company will also be showing Atlas – the third new interface product that Prism Sound has launched in the last year.
“Launching three new products in such a short timeframe meant that our existing premises could no longer cope – to put it simply we needed more space,” says Janice Norton, Prism Sound’s VP US Operations. “We have moved to a larger, ground floor suite close to our former premises in Rockaway, New Jersey, and now have plenty of room to stock the extensive range of products that Prism Sound offers to both the recording and broadcast markets.”
Designed with Prism Sound’s latest and award-winning CleverClox clocking technology and incorporating eight of the company’s popular mic pre’s as standard, the new Atlas interface is aimed squarely at multitrack recording applications. It offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz via a simple USB interface. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot, which was first incorporated into Titan and announced at AES New York in October 2013. Using this miniature expansion slot users can, for example, directly connect to Pro Tools|HDX systems. A range of other MDIO interfaces is planned for later introduction. Atlas will also run with Apple and Windows native applications over USB.
Atlas, Titan and Lyra are all capable of aggregated operation in both MAC and Windows PC environments. This makes it possible to link up a number of different units for multichannel applications – for example 24 track, 32 track – or even bigger set-ups – while retaining a USB connection for each unit. In the Windows environment, Prism Sound provides a new driver that aggregates the units and presents a single multitrack interface to DAW applications for I/O routing.
At NAB 2014, Prism Sound is also showing its full range of Test & Measurement solutions, including the versatile dScope Series III Audio Analyzer. This award-winning unit features a freely-available test suite that can be used to evaluate the performance and compliance of any loudness meter on the market. As US broadcasters are now legally obliged to comply with the ATSC A/85 standards, Prism Sound’s test suite enables them to properly evaluate all loudness meters and ensure that their chosen product can deliver both ATSC and ITU BS.1770 compliance.
To find out more about the Prism Sound range and to demo the new Atlas interface, please visit NAB booth C1944. The company’s new address is Suite 1, 45 Pine Street, Rockaway, NJ 07866. The telephone and fax numbers remain the same.
About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com
In the US
Prism Media Products Inc.
45 Pine Street, Suite 1
Tel : +1 (973) 983 9577
Fax : +1 (973) 983 9588
e-mail : firstname.lastname@example.org
Now Occupies Former Ocean Way Mastering Space
Pictured in the new Ocean Way studio are (L-R) Robin Goodchild, Ocean Way manager; Fool's Gold's Luke Top and Lewis Pesacov, and producer/engineer Matt "Linny" Linesch. Photo by David Goggin.
Enterprising young producer/engineer Matt “Linny” Linesch has settled in to his new private studio, the space formerly occupied by Ocean Way Mastering in the renowned Hollywood recording complex founded in the 1950s. Linesch gained widespread recognition for the self-titled Edward Sharpe and the Magnetic Zeroes album that he mixed in Ocean Way’s adjacent Studio B.
Linesch’s first project in his new room was with LA group Fool’s Gold, fronted by Luke Top and Lewis Pesacov. Fool’s Gold music weaves together Western pop aesthetics with African rhythms and melodies. Previous Linesch credits include albums for Dave Mason, Insects vs Robots, The Cerny Brothers, and Wagons.
“After working at Ocean Way on Edward Sharpe and the Magnetic Zeroes, I really got a good feeling about the studio, the staff and the productive atmosphere,” says Linesch. “When this space became available, I jumped at the chance to move my equipment from our studio in Ojai and make Hollywood my new base of operations. It’s exciting coming to work every day and meeting the kind of musicians that gravitate to Ocean Way. It reminds me of the days where there was a feeling of community among music makers at good studios.”
Before his move to Ocean Way, Linesch resided in Ojai, CA, running a studio coined “The Ed Shed,” where he worked alongside Alex Ebert on Edward Sharpe and the Magnetic Zeros. While in Ojai, Linesch engineered two Edward Sharpe records, “Here” and “ESMZ”. He also engineered the Golden Globe-winning score for “All Is Lost,” composed by Alex Ebert.
Matt Linesch (aka Linny) was born and raised in Los Angeles. His deep love and dedication for creating music includes his passions as a producer/engineer, as well as being a musician himself. Linesch enjoys working with a wide-ranging diversity of artists, helping to develop their individual musical goals.
For information about Ocean Way, visit:
Contact Robin Goodchild for all booking requests.
Email: email@example.com or call 323-467-9375.
Major update to professional audio editor and post-production tool includes integration of Final Cut Pro X technologies
Minneapolis – April 2, 2014 – Audiofile, a leading music technology company, today announced the latest major update to Triumph, their acclaimed audio editor and post-production tool for Mac.
Currently featured as a “Best New App” and “Great App for Final Cut Pro” on the Mac App Store, Triumph 2.3 now supports Final Cut Pro X XML import and export complete with video preview, placing it among the App Store’s most powerful audio editors for sound designers, video editors and filmmakers.
“Triumph 2.3 represents a significant step forward for Final Cut Pro X integration,” according to Matthew Foust, Audiofile Managing Partner and co-founder. “With this release we’ve made it even easier for filmmakers the world over to create sound for their films that is as beautiful and polished as the their visuals.”
In addition to bridging the gap between sound design and Final Cut Pro X, Triumph 2.3 introduces iCloud support, adding to its already rich list integrated Mac technologies. With the inclusion of iCloud support, users are now able to share Triumph projects across all of their personal or studio machines and iOS devices.
“Support for the latest Apple technologies isn’t just a box we check,” says Ev Olcott, Senior Software Architect and co-founder. “Apple technology—from iCloud to Applescript and nearly everything in between—is quite literally at the core of what we do and it has been since the beginning.”
Triumph has been completely rebranded when Creative Director Joseph Kuefler joined the Audiofile team.
Triumph 2.3 is only the latest in a planned roadmap of major updates, all in an effort to further distinguishes it as the flagship Audiofile app for Mac.
For more information about Triumph, visit http://www.audiofile-engineering.com/triumph/
Audiofile is a boutique technology company building apps that power the worlds musicians and audio engineers. Founded by Ev Olcott and Matthew Foust in 2004, Audiofile is among the most innovative and experienced audio software developers for Mac OS X and the iPhone with a long history of industry-firsts to their name.
Learn more about Audiofile’s entire range of music apps for Mac and iOS at www.audiofile-engineering.com, www.facebook.com/audiofileeng and on Twitter, @weareaudiofile.
“The best microphone I’ve ever put on a human voice.”
Pictured is producer Mitch Allan with the TELEFUNKEN ELA M 251E in his studio, The Guest House. Photo by David Goggin.
Top producer/songwriter Mitch Allan is also a gifted engineer and good at multitasking with a variety of artists such as Melissa Etheridge, Miley Cyrus, Demi Lovato, and Selena Gomez. Up until recently his main mic was a vintage AKG C12, but now his first choice is a new TELEFUNKEN ELA M 251E hand-crafted in America, a stunning re-creation of the time-honored large diaphragm tube microphone.
“My first wow microphone was my vintage C12,” he recalls. “I explained to Chris Bolitho at Vintage King that this mic changed my view of microphones and asked him what else I might need.” Allan then took a tour of the new showroom at VKLA. “To look at all the gear you want in one room, it’s not online, it’s not a picture, it’s in the room. It kind of blew me away. They handed me a flight-case with the Telefunken ELA M 251E and I took it back to my studio to try it out.”
Writer-producer Mitch Allan has sold over a million records as an artist, and over 20 million as a producer and songwriter. He’s had two #2 singles, was nominated for a Grammy and has worked with such diverse and respected artists as Chris Daughtry, Faith Hill, Kelly Clarkson, Simple Plan, The Jonas Brothers, and Bowling For Soup. Besides his undeniable gifts as a songwriter, his biggest strength has been his intuitive ability to get the most out of creative collaborations.
Back at his studio, The Guest House, there is a fine array of recording gear, including a Dangerous Monitor ST, BAE and Chandler pre-amps, with API 512s and Shadow Hills pre-amps for guitars. Compressor/limiters are Urei 1176s and 1178s, plus a Distressor, among other vintage and current gear.
“I set up the new Telefunken mic and I had no idea what to expect,” Allan explains. ” I turned it on and sang with headphones; that’s how you know when something sounds so great. Then I came out here to listen back, and I’ve heard myself on the C12 a lot and I know the color — it was drastically different, it’s a great microphone, crystal clear.”
The TELEFUNKEN ELA M 251E was the 2003 winner of the TEC award for studio microphone technology. It features an amplifier designed around the GE 6072a vacuum tube, a newly manufactured CK-12 capsule, output transformer custom made by the original European manufacturer, and a three-position, sliding polar-pattern selector.
Mitch Allan’s impressive writer-producer career started out as the principal songwriter for Baltimore, Maryland pop-rock band SR-71, which sold a million records and had two #2 singles with “Right Now” (2000) and “Tomorrow” (2002). His songwriter career outside the band began when a song not a fit for SR-71 was submitted for the well-known pop-punk band Bowling For Soup. The track was BFS’s hit “1985.” It has since gone on to be certified Digital Triple Platinum and at the time of it’s release, held the iTunes record for the most downloads in a single week.
“After my initial testing, I tried the Telefunken mic on some of the talented ladies I’ve been working with,” Allan continues. “Chris at Vintage King said this mic really comes to life with a big vocalist and he was right. I had never heard anything like it before. It is literally the best microphone I’ve ever put on a human voice.”
Allan tailors his creativity to enhance each session. “When I enter a room, I figure out what an artist or co-writer’s biggest strength is and give them their space to create,” he says. He then offers what is needed, providing lyrics, melodies, vocal coaching, and of course, topnotch recording gear.
TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside their own proprietary designs based around the distinctive tube mic sound, TELEFUNKEN has established a product line that expertly combines vintage style and sound with the reliability of modern-day microphone design. TELEFUNKEN’s commitment to both the sonic excellence and quality of all of their products is rivaled only by their dedication to provide the best possible service to each and every one of their customers.
For more info, visit: http://www.telefunken-elektroakustik.com
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global 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. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit:
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