Archive of the Sound for Picture Category

DPA Gets Up Close And Personal With Scarlett Johansson

DPA microphones turn up in some unusual places, but inside Scarlett Johansson’s t-shirt has to be one of the brand’s more exotic locations.
According to French sound engineer Stéphane Bucher, DPA’s d:screet™ 4060 miniature microphones were absolutely perfect for this role because they offered such exceptional audio quality. He used three of the mics to capture Johansson’s performance during the making of Lucy, a new film directed by Luc Besson that is due for theatrical release later this month.
“d:screet 4060 microphones are very small but that wasn’t the reason why I chose to use them,” Bucher explains. “It was all about their audio fidelity – when it comes to sound quality DPA 4060′s are much, much better than other lavalier mics on the market.”
As an internationally acclaimed sound engineer, Bucher has worked with numerous famous actors and directors including Morgan Freeman, Pierce Brosnan and Kevin Costner. In recent years many of the projects he has undertaken have come via major feature film producers such as EuropaCorp. He also owns and manages the Paris-based rental company, A4Audio, which supplies audio equipment to film and TV clients.
“During the filming of Lucy, it was important to take on board Luc Besson’s directing style,” Bucher explains. “He is not the easiest person to work with but he knows exactly what he wants. He shoots very fast and wants the actors ready to go when they come to set. This means that you simply don’t have time to put a lavalier microphone on anyone.”
Fortunately, the film’s costume designer Olivier Beriot completely understood Bucher’s problems and was able to work with him to devise a way of permanently attaching a microphone to Scarlett’s main costume.
“Olivier is the best costume designer I have ever worked with and I have huge respect for him,” Bucher says. “Scarlett’s main costume was a white, half translucent T-shirt so we used a white d:screet 4060 microphone which was inserted into the seam of the t-shirt by the dressmaker. We had three t-shirts ready at all times and the solution worked perfectly, giving us great audio but without any visibility issues.”
Bucher adds that this wasn’t the first time he’d used DPA microphones – indeed, he first started using them many years ago when he was recording classical music.
“Like every other sound mixer, my equipment is really important and I’m constantly looking for the best microphones, mixers, recorders, etc,” he says. “When I started working in film and TV sound, I was using the same lavalier microphones as everyone else because I didn’t really have a choice. Now I do have a choice and I can use the best mics available for cinema sound, which happen to be DPA. I originally chose them because I was tired of going to the cinema and hearing that recognizable sound you get with other lavalier microphones. DPA’s sound is really translucent and clear – to the point where sometimes I can’t tell if I’m listening to the boom or the 4060.”
Since completing Lucy, Bucher has been in the USA working with director Olivier Megaton on the film Taken 3, which stars Liam Neeson and Forest Whitaker. As the film requires audio to be recorded inside a car, DPA’s French distributor Audio2 equipped him with a number of d:dicate™ 4018 supercardioid microphones, which are ideally suited to this type of location work.
“They were great,” he says. “I used them for one particular car chase where Liam Neeson is driving very fast on the highway. I needed a very small mic to put into the car’s sun visor. We bought two new sun visors, opened them up and put the 4018 mics inside. This worked perfectly. We also tested them on a much simple car scene, in which Forest Whitaker is driving and talking, and they worked great for that, too.”
Stéphane Bucher is now in France preparing for his next film project, which will undoubtedly feature DPA microphones in a starring role.
“I’ve always been really happy with the audio quality DPA microphones deliver and that’s why I keep going back to them,” he says.
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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

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Sound Devices Goes on Expedition with Veteran Sound Mixer David Ruddick

633 Production Mixer and USBPre 2 Power Through in Even the Most Challenging Conditions

NEW YORK, NY, JULY 15, 2014 – As an expedition-style-documentary sound mixer, David Ruddick has worked in some of Earth’s most extreme environments. From scorching heat to blistering cold, Ruddick knows the importance of having reliable gear on location. That’s why he’s made the Sound Devices 633 Production Mixer the backbone of his compact audio rig.

Weight, battery life and quality are his top priorities, so when Sound Devices introduced the six-input, 10-track 633, Ruddick incorporated the all-in-one recorder/mixer into his audio rig. “I knew the 633 would be a bag-changer for me due to its compact size and functionality,” he says. “When you’re hiking with gear on your back, less is definitely more. The 633 is a pretty amazing tool in a small box.”

Ruddick has already put the 633 through its paces around the world, from the super humid and wet conditions of the Philippines to the icy cold weather of Canada and Utah. In the Philippines, he recorded the Philippine eagle, one of the largest birds of prey in the world, for the Cornell Lab of Ornithology, a member-supported unit of Cornell University that studies birds and other wildlife. The super-long battery life of the 633 was crucial to this project, as accessibility to electricity was limited. Not having to constantly worry about battery power gave him the peace of mind needed while working in such a remote location.

Ruddick then headed to the cold of Canada and Utah to film skiing for the Teton Gravity Research series, Locals. “I literally went from hiking muddy hot trails to snowy mountains,” he notes. “The contrast of these two locations is a true testament to the durability of Sound Devices products. And of course, most importantly, the 633 sounds great. I have used Sound Devices equipment for a long time and its gear has consistently worked well in the harsh environments I have subjected them to; the 633 is yet another great product from the company.”

Ruddick found it easy to transition the 633 into his expedition-ready audio setup, finding it compatible with many of the mainstays of his rig, such as Lectrosonics wireless receivers and Schoeps and Sennheiser shotgun mics. In addition, Ruddick always packs a Sound Devices USBPre 2, a high-resolution, portable hardware interface for Mac- and Windows-based digital audio. He calls upon it for playback from a computer, which is extremely useful while on location. He also employs it to extend the number of preamps on the 633 so that he can capture surround recordings.

The powerful 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. The 633 also offers 10-track, 24-bit, 48-kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode-stamped MP3 recording to CompactFlash and/or SD cards. All six inputs, plus left/right and aux 1/2, can be recorded to individual tracks.

The 633 offers dual-card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card. The 633’s high-accuracy, Ambient-based timecode generator/reader assists in multiple-camera and double-system sound applications. All common production timecode rates and modes are available. Extensive file metadata is supported along with the timecode. The 633 also features a keyboard port for quick and easy metadata entry. Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology.

The two-channel USBPre 2 offers professionals a powerful yet easy-to-use portable interface to interconnect audio sources to both Mac OS and Windows computers over USB. The class-compliant plug-and-play device accepts mic-level, line-level, consumer-line-level and SPDIF-digital (coaxial or TOSLINK) inputs. Its microphone preamplifiers have selectable analog limiters, high-pass filters, 48 V phantom power and high-resolution LED meters. Because the USBPre 2 draws its power solely from the computer’s USB port, no additional power source is required. Sound Devices designed the USBPre 2 for both reference quality input and output. Its balanced XLR outputs offer superior rejection to interference and are switch-selectable between mic or line level. Additionally, a consumer RCA-type output is available for connection to unbalanced inputs. Its headphone amplifier easily drives full-sized headphones with extensive, clean gain.

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 and Highland Park, IL. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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DPA Shows Its New d:screet™ Necklace Microphones At IBC 2014

DPA Microphones has always been renowned for its ability to deliver superb audio, even in the most challenging conditions. Now, thanks to a new range of body worn microphones, the company has overcome the biggest challenge of all – how to give control of mic placement to non-technical actors or reality show contenstants without compromising sound quality.

DPA’s solution, which will be on show at IBC 2014, is the d:screet™ Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace.

“These microphones are perfect for situations where fast costume changes are necessary – or for reality TV shows where the contestants have to place microphones without help from a trained audio engineer,” says DPA’s CEO Christian Poulsen. “The necklace design ensures that the microphone sits in exactly the same place on the body every time, so there is no need for EQ-ing between different recordings.”

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 com (18.3 or 20.9 inches).

At IBC 2014, DPA is exhibiting alongside its Dutch distributor Amptec on booth 8.D70. At 5pm every evening it will be holding a prize draw, which will give one lucky show visitor the opportunity to win a DPA d:screet Miniature or d:fine™ Headset Microphone. At that same time, the company will challenge one of its mics to see exactly how much stress it can withstand. Could it be used as a drumstick, for example? IBC visitors need only come along to 8:D70 at 5 pm to find out.

While there, they can also see DPA’s new heavy-duty d:screet™ 4060 Omnidirectional Miniature Microphones and classic d:screet 4060 Omnidirectional Miniature Mics with reinforced cable relief, making them even more durable for demanding use. These microphones satisfy market demand for high-quality sound combined with a highly-durable housing and cable.

“Incorporated on all d:screet Miniature Microphones, our new robust strain relief version brings much needed reassurance to people who are not used to handling miniatures,” Christian Poulsen adds.

The heavy-duty 4060 microphone is ideal for people who require even more security and for whom the visual appeal is of less importance. It is perfect for placement in rigorous filming situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. Featuring a stainless steel housing, sturdy cable relief and a thicker 2.2 mm (.09-inch) cable, both enhanced versions are exceptionally durable and ideally suited to the rigors of broadcast productions.

DPA will complete its IBC 2014 line-up with its new d:fine™ 66 and 88 Headset Microphones, which are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or one on a stand.

Combining the flexible mechanics of DPA’s modern d:fine ear mount solution with the sound qualities of the legendary 4066 Omni and 4088 Cardioid headworn mics, the new d:fine™ 66 and 88 Headset Microphones join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine family. With so many sound handling and size options to choose from, DPA’s d:fine family now addresses every need that actors, musicians and singers face when working in a live television environment.

“There is a growing need for durable body worn microphone solutions with excellent sound reproduction for stringent use in live environments and similar settings,” Poulsen adds. “When we launched the d:fine Headset Microphones we believed that they would define a new generation of headsets. They have certainly met our expectations, which is why we have decided to expand the d:fine Headset Microphone series with this brilliant solution to give users a broad assortment of styles and features.”

For more information please visit DPA at IBC 2014. Hall 8, Stand D70.

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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

Getting crowds closer to the action of ‘Le Tour de France’

Calibre LEDView scalers power big screens for Yorkshire’s fabulous ‘Grand Depart’

 

While more than 5 million fans lined the roads of Yorkshire for the opening weekend of the 2014 Tour de France, relatively few got close to the action itself. For those who could not, help was at hand in the form of large LED screens powered by LEDView image-scaling technology from Calibre UK.

 

The key screens were supplied by two companies – Lightmedia and Big TV – both of which specified Calibre’s LEDView530 as their large-display image scaler of choice for the Grand Depart.

 

Lightmedia supply screens from Leeds to Harrogate and from York to Sheffield

 

‘SkyFly’ mobile LED screen from Big TV at Tour de France © Big TV - York, Sunday, 6 July.

Lightmedia supplied 19 LED screens along the route of the two opening stages from Leeds to Harrogate and from York to Sheffield, with many of them acting as the visual centrepiece for official Tour de France fan parks.

 

Eddie Elliot-Smith, Managing Director at Lightmedia, comments: “We use the Calibre LEDView530s as a key part of our rental-and-staging operation, to scale live broadcast content from TV cameras around the course for display on each and every one of the LED screens we supplied.

 

“We use Calibre because, quite simply, they are the most reliable solution in the world. Not only have we used them for this year’s Grand Depart, we also relied on them for other high-profile international events such as the Queen’s Diamond Jubilee, the wedding of Charles and Camilla, the launch of Xbox ONE and, indeed, Calibre’s previous generation of product at the Tour de France the last time it came to Britain in 2007.”

 

LED screens from Big TV for Skipton, York and Leeds

Lightmedia. Harrogate, 5 July, © Photography by David Lindsey, www.photosbydavid.co.uk

 

Big TV head technician Simon Woodcock says: “We went down to Yorkshire fresh from Edinburgh Festival and provided LED screens to various areas on the opening weekend, including Skipton, York and Leeds. The new ‘SkyFly’ mobile LED screen wowed crowds and we also provided screens for a number of private events and parties in Yorkshire as well.

 

“Calibre quality is central to our LED fleet for managing live feeds. The LEDView530 can take anything you throw at it!”

 

A high-quality LED-optimised scaler-switcher and universal interface for LED screens, the LEDView530 provides best-in-class professional image processing in a compact, affordable 1U format. It features a jog-wheel and LCD display on its for front panel for fast and easy set-up in the field, and boasts a plethora of useful features including colour adjustment of all source types, powerful picture resizing with simple pixel-accurate edge drag-and-drop, and superior scaling, de-interlacing and noise reduction to reduce image flicker and artefacts.

 

For mixed rental fleet use the scaler also has a Projection mode in which it supports warp mapping and edge blending, as well as geometry correction and general projection scaling functionality as well as a Scaler-Switcher mode for general purpose scaling and scan conversion making it a truly universal device. The LEDView530 also boasts genlock and I/O lock, making it suitable for on-stage or in-camera use at live events.

 

Pauline Brooksbank, Managing Director, Calibre UK, comments: “As a Yorkshire company ourselves, we were delighted and extremely proud to have supplied LEDView530 units to power so many LED screens along the route of our county’s “Grand Depart”. This unforgettable weekend was not just a celebration of cycling but a unique opportunity for local people to experience a sporting event they had never come so close to before.

 

“The crowds who lined the route were 20-deep in places but, thanks to Calibre’s Yorkshire-manufactured technology’s ability to take live broadcast feeds and process them for large-screen display simply, reliably and with absolutely no sacrifice in quality, everybody felt that they were part of the action.”

About Calibre

Multi-award winning British company, Calibre has over the past 26 years achieved world recognition providing image scaling and processing technologies for use in broadcast/television, digital cinema, large venue projection, LED videowalls and surgical medical applications.  Calibre manufactures products under its own brand-names as well as providing products and technology to several market leaders in the Pro-AV market worldwide. Calibre is a market leader in innovation, utilizing its own, UK & Germany-based in-house hardware and software design teams for all its product developments and its own UK manufacturing.

 

Some useful links:

 

Twitter: @CalibreProAV

 

Website: www.calibreuk.com

 

Trevor Morris Studios Mixer Phil McGowan Picks Penteo 4 Pro

Stereo-to-Surround Upmixer Used for Powerful “Vikings” Score

Pictured at Trevor Morris Studios is scoring mixer and studio manager Phil McGowan. Photo by David Goggin.

Phil McGowan, scoring mixer and studio manager at Trevor Morris Studios in Santa Monica has been utilizing the Penteo 4 Pro stereo-to-surround up-mixer for the past year on a number scores for both film and television, notably the hit show “Vikings.” He recently upgraded to Penteo 4 Pro, which supports Avid’s AAX plug-in format for true 64 bit processing.

Multi-tasking engineer McGowan keeps busy at TMS, oftentimes serving concurrently as co-producer, mix engineer, and Pro Tools consultant on various projects for Morris and other composers. He first learned of Penteo through GC Pro, the professional audio division of Guitar Center.

“I was looking for a new stereo up-mixer because the ones I had been using weren’t being updated and were not porting to 64 bit,” McGowan recalls. “Penteo ended up blowing away my expectations of what an up-mixer really can do — taking two track stereo material and up-mixing it into a surround field, typically 5.0 or 5.1. ”

But how was McGowan doing it before Penteo? “I used various reverbs and panned material into the surrounds. At the time, it was all very time consuming and took a lot of effort, but now with Penteo I get immediate, great sounding surround from stereo sources. A lot of the composers that I mix for will give me stereo material that has a lot of very stylized effects, delays and reverbs and Penteo handles it all. Somehow, Penteo figures out how to keep the source material in the center channel and then spreads out all those effects into surround, really well and really quickly.”

McGowan mixes on a Euphonix System 5 console, and uses Avid’s Pro Tools 11 running AAX 64-bit processing. For monitoring, the LCR or front speakers are a trio of PMC IB2′s with built-in M&K tripole surrounds and a pair of JL Audio Fathom 13 subwoofers for the LFE channel. The LCR is lightly bass managed on the monitoring end into the subs as well as for a little extra low end extension.

What type of music does Penteo handle the best? “Penteo handles everything well,” says McGowan “Our projects may be rock based scores, with lots of drums, guitars, and synths, but I frequently put orchestral samples through Penteo as well. I mix all of the surround sound stems that we send to the dub stage, and Penteo is useful in converting the stereo samples coming directly from the composers’ studios. It’s great being able to turn them into surround and wrap them around the listener. Penteo is definitely the cleanest up-mixer that I’ve ever heard and when you fold it back into stereo, every translates perfectly, and it sounds really clean.”

Penteo offers six different pre-set modes. “I generally leave it on the Penteo Music mode,” he explains. “That works 95 plus percent of the time for me. I’ve also experimented with the ‘Quad’ mode where all the energy is in the four corners, which gives leaves the center channel free to mix in dialogue. There’s also a ‘Triangle’ setting that just generates center and surround, which leaves left and right open for the original stereo sample to remain in it’s original form.”

Enter “Vikings”
McGowan recently utilized Penteo to mix the score for the second season of the hit TV show “Vikings,” which has been picked up for the upcoming third season. “It is an interesting show because not many of the cues are what you would really call traditional scoring — it’s predominantly synthetic and percussive material with some ethnic elements. We’ve been working with a Norwegian composer, Einar Selvick, who we’ve been collaborating with over the internet. He sends me a variety of stems: stringed instruments, his own vocals, group vocals, chants and percussive elements, as well as effects. Using Penteo I can get a big wide surround spread on those different sound effects and it really feels cinematic, really warm, really full. Penteo doesn’t add any coloration to the sound. With orchestral elements, we’re very careful to not color the sound too much when mixing it into surround, Penteo delivers.”

After incorporating Penteo into his workflow over the past year, McGowan is eager to share his experience. “I’ve actually introduced Penteo to a lot of other mixers,” he explains. “I’ve been calling it ‘Dark Magic’, because it’s always surprising what Penteo delivers when you feed it stereo material. I don’t know how Penteo figures out certain things, how it actually can spread reverbs separately from the dry elements. Sometimes Penteo will take delays from the front and they will pan behind you. It’s already been printed onto the stereo, but Penteo just figures it out and just unwraps it. I’m always happy with the results that Penteo gives me.”

Read the entire Interview with Phil McGowan and other industry leaders in the Perfect Surround Master Class series:
http://www.perfectsurround.com/surround-master-class/

Native AAX64 Support
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Learn more here: http://tinyurl.com/npc6j8v

Penteo Summer Sale
Now save 20% – a $200 value – off the regular purchase price for Penteo 4 Pro! For more information, see the website or get a free trial here:
http://www.perfectsurround.com/request-a-trial

About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. For more information, see the website:
http://www.perfectsurround.com

Red TX Joins The Remote Recording Network

 

Broadcast audio specialist Red TX has joined Europe’s leading live recording initiative Remote Recording Network. Whilst contributing to managing and engineering music and broadcast assignments on a global and cost-effective basis, RRN offers bespoke solutions that cater for all kinds of transmission, recording, mixing, mastering, duplication and publishing.

Remote Recording Network GmbH had last year joined forces with Dutch mobile recording company Eurosound bv and had integrated the German ‘RemoteTaxi’ enterprise to establish the initial ‘Network’.

Peter Brandt, head of Remote Recording Network and a man with over 30 years’ experience of recording and mixing international rock, pop, jazz, and classical artists, says: “Bringing Red TX into RRN will benefit our European customers by giving them access to a fully digital truck based in Europe that can handle high-end surround sound projects, particularly for broadcast.”

Tim Summerhayes, CEO of Red TX, adds: “I have known Peter Brandt for many years and we have worked together on numerous projects in the past. I am very excited by this collaboration because it allows us to utilize our combined technical resources in a very effective way. There is a huge requirement for mobile digital recording facilities in Europe and by joining forces with the Remote Recording Network we can now provide the necessary human and technical resources to meet this demand.”

Red TX has two state of the art recording units, RED 1 and RED 2. Both are equipped with Studer Vista 8 Digital Mixers, PMC 5.1 surround sound monitoring and Pyramix, Pro Tools and Reaper recording systems. They also have extensive racks of outboard equipment and digital effects, and are internally designed to very high acoustic specifications. RED 2, which is the larger of the two units, will be located as required, between the RRN HQ in Germany and Eurosound bv’s base in The Netherlands, while RED 1 will remain at Red TX’s premises in the UK.

“Our model of using international partners to combine resources and equipment is very valid, especially in a world where businesses need to reduce their carbon footprint as much as they can,” Peter Brandt adds: “By tapping into facilities that are already stationed on different continents, we don’t need to transport huge trucks around the globe. Instead we can ‘travel lite’, frequently only needing to transport an engineer, which minimizes travel costs and keeps our carbon footprint to a healthy low. It also means that we can keep our rates very competitive, too.”

Red TX’s RED 2 unit will make its Remote Recording Network debut in June at the Tuckerville Festival in Enschede, The Netherlands. From there it has a busy summer ahead, working at live events and festivals in various countries.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD www.remoterecording.net
www.red-tx.com

About Remote Recording Network:
Remote Recording Network is a new initiative that brings together the market-leading live recording companies Peter Brandt Remote Recording and Eurosound GmbH. Years of experience, knowledge and network are now combined to supply an unrivaled, world-class, world-wide recording service.
www.remoterecording.net
For more information, please contact Tony Andrews – tony@awandrews.com

 

Mastering Engineer Eric Boulanger Extolls the Benefits of SADiE’s New Mastering Toolkit

 

The new mastering features that SADiE has incorporated into its popular SADiE 6 editing and production software have been hailed as a major improvement by internationally acclaimed mastering engineer Eric Boulanger – not least because they are saving him an enormous amount of time.

Eric Boulanger is based at the world famous The Mastering Lab (TML), which was America’s first independent mastering facility when it was opened in 1967 by Doug Sax. Originally in Hollywood but now based on Ojai, California, TML remains a revolutionary state-of-the-art company that uses unique concepts of signal flow and electronics pioneered by Doug’s brother, Sherwood Sax. All of its custom electronics and console are all purpose designed and handcrafted, and this attention to detail has earned TML more Grammy nominations for engineering than any other mastering facility.

As well as being an eminent mastering engineer, Boulanger is also responsible for ensuring TML’s custom analogue equipment stays in tip-top shape. In keeping with TML’s pioneering spirit, Boulanger was the first Mastering Engineer to produce a ‘Mastered for iTunes’ release (in 2011) – a format that is now the mainstay for all major record label releases on iTunes thanks to the popularity of digital downloads.

When Boulanger isn’t working, he lets his creativity loose in the studio as a professional violinist. He is also on the Steering Committee of NARAS, the GRAMMYs Producers & Engineers Wing.

Boulanger has been a SADiE user since 2007 when he started working at TML.

“We have five operational systems that range from the early Artemis to our current SADiE 6.1 systems,” he says. “These are our workhorses, but when we are working with DSD, we use an older SADiE 5 DSD8, which is still the finest DSD editor I’ve encountered.”

TML’s decision to upgrade its SADiE 6 software to the latest version, which includes the new mastering tools, came as a result of changes within the music business. Boulanger explains: “These days, artists and labels are mainly releasing Hi-res files (for example HDTracks); MFiTs, 16Bit digital downloads, and (maybe) CDs. Thanks to the new mastering features in SADiE 6, I can generate all of these files with just a few clicks of the mouse. The new software will also generate WAV file masters that are cut gapless and therefore maintain any track spacing, or fancy crossfades between tracks (like Pink Floyd’s Dark Side of the Moon, for example, or a live concert with applause segues). Now all the different products will match track length, etc.”

The main benefit the new version of SADiE 6 has brought to Boulanger’s workflow is time saving.

“It is literally saving me hours and hours of production time because I no longer have to recreate separate EDLs and jump through hoops to create WAV bounces that match other sample rate or CD products,” he says. “I also don’t have to bounce grouped clips with extra space tagged on to maintain correct gapless track spacing.”

Boulanger adds that, thanks to the efforts of the European Broadcasting Union and the UK Music Producers Guild, SADiE 6 also supports Broadcast WAV, an extended WAV format that allows ISRC codes to be embedded into the XML Metadata of WAV files.

“This is a solid step forward in making WAV file masters a professional format,” Boulanger says. “Prior to getting this new software I had to manually rename files – and, of course, there was no possibility of including ISRC codes in the metadata.”

Since installing the latest version of SADie 6, Boulanger has been working on various albums, all of which have benefitted from the speed at which he can now turn project around.

“The day I received the new features, I was working on a popular Christian group’s live album,” he says. “They had attended the session and were in a rush to make a flight, so I gave the new features a whirl since there were many edits and crossfades to create the live album experience. To my delight, everything worked perfectly right off the bat, and the band made their flight, masters in hand.”

Boulanger, who has worked with artists such as Eric Burdon, Colbie Caillat, OneRepublic, The Plain White T’s, Serena Ryder, Chris Botti, Sarah Jarosz, and Jackson Browne, has most recently finished an album with multiple formats for singer Anais Mitchell. Produced and mixed by Gary Paczosa, it will be released on Wilderland Records later this year.

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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

Focal Now Shipping New “Alpha” Powered Studio Monitors in 3 Models

Three new models of active near field monitors offer Focal quality-sound with home studio affordability now shipping in the US and Canada —

New Focal powered monitors, Alpha 80, Alpha 65, & Alpha 50

New Focal powered monitors, Alpha 80, Alpha 65, & Alpha 50

Montreal, CanadaJune 25, 2014 — Renowned French speaker designer Focal Professional, with their North American Distributor Audio Plus Services, have announced that their latest “Alpha” monitors are now shipping in the US and Canada. The new monitors are available in 3 sizes, Alpha 50, Alpha 65, and Alpha 80, with 5”, 6.5” and 8” woofers respectively. The new monitors offer legendary Focal sound at an affordable price for home studio musicians and DJs creating and listening to their own music and remixes. The monitors are easily integrated into many types of music environments; even small untreated home studios. Focal Alpha monitors are very natural sounding, yet highly revealing and present a very even tonal balance from low to high volumes. In addition, the new monitors were designed to have a ‘wide sweet spot’ to help mixing in challenging, smaller studio environments. Priced per monitor, the Alpha series ranges from $349 for Alpha 50, $449 for Alpha 65 to $599 for Alpha 80.

“Focal is famous for great sounding monitors that professionals around the world in many types of music production rely on daily,” says Simon Cote, National Pro Audio Sales Manager at Audio Plus Services. “Previously the realm of mastering engineers, top mix and recording engineers, and high-end post production studios, now everyone can afford the Focal quality sound and unique monitor design in their own home music studios with the new Alpha monitor series. These new monitors use many of the same technologies in our CMS series such as the polyglass woofers, but are available at a lower cost. We did not compromise the amplifiers in the Alpha series and use the traditional Focal bi-amped Class AB models.”

Key ingredients in the success of previous Focal monitors such as the Solo6 be, Twin6 be and SM9 models are also used in the new Alpha series including custom made Focal inverted dome tweeters which offer more dynamics and less directivity, manufactured in rigid aluminum for lower distortion. The Focal-designed polyglass cones in each woofer reveal a neutral sound with less distortion in the low mid and mid frequencies. And Focal has voiced each model the same regardless of the woofer size, even with the increase in mid and low mid output with the size of the woofer, the monitor’s character is designed to remain the same. The 8-inch model is specifically designed not to create a ‘scooped’ mid range sound (like many other comparably-sized monitors), but to balance the mids and add more punch.

As commonly found on all Focal monitors is a bass-reflex front-ported cabinet allowing placement of monitors nearer to walls while still projecting correct imaging and low-end. The speaker drivers are paired with powerful bi-amped Class AB amplifiers allowing increased dynamics, high SPL, and also include thermal protection and electronic protection with a built-in limiter and compressor. Alpha monitors include a unique ‘Auto-Standby Mode’ where if no audio signal is present for 30 minutes, the speaker automatically goes into power standby, while ‘Auto-Power On’ is activated in the monitor by audio signal detection. The monitors have balanced XLR and unbalanced RCA inputs, 6dB of gain sensitivity, and Low Frequency and High Frequency variable shelving to help match the monitor’s output to their studio environment.

The new Alpha series monitors are available now from dealers in the US and Canada, for more information on the monitors visit the Focal Professional website: http://www.focalprofessional.com/en/239-alpha

About Focal
Since its foundation, Focal has grown to become one of the world’s leading Hi-Fi and professional loudspeaker companies. Headquartered in Saint-Etienne, France, it is now internationally recognized as a world leader in the design and manufacture of drivers for Hi-Fi and professional loudspeakers. Focal is also a pre-eminent designer and manufacturer of for car-audio and pro-audio. The company’s key strength is its complete integration and quality control of the loudspeaker manufacturing process, from the design of speaker driver units, cabinets and crossovers, to the assembly of the finished product. Focal maintains an intense, continual research program and development in speaker driver technologies. Five patents have been registered to Focal since 2003. Please visit: http://www.focal-fr.com and http://www.audioplusservices.com

About Audio Plus Services
Established in 1979, Audio Plus Services is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal monitors, Moon mic pre, Vovox cables and Lauten Audio microphones. Based in Montreal with U.S facilities in Champlain, NY, Audio Plus has sales personnel located throughout the United States to professionally service their active roster of more than 300 specialty A/V and Pro Audio dealers. Audio Plus specializes in products and services for the professional audio and performing musician markets, and the home theater and custom integration (CI) market – both residential and commercial – for North America. For more information about Audio Plus Services visit their website at http://www.audioplusservices.com/ or call (800) 663-9352

All trademarks are the property of their respective holders.

LECTROSONICS A SAFE BET FOR CASTROL’S FOOTKHANA FILM

Barcelona, Spain – June 2014… Video production specialists La Fabrica de Carbon have recently completed a film for Castrol and Ken Block which truly stretched their Lectrosonics audio recording equipment. Entitled ‘Footkhana’ the film combines world-famous gymkhana driving with world-famous football skills in a head-to-head competition of man in a machine versus man and his feet. more

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Pensado Awards Debuts June 28 Honoring New Breed of Music Makers

Vintage King Sponsors Live Ceremony Followed by Global Internet Broadcast

Pictured at Fairfax Recording Studios, formerly Sound City, are (L-R) Vintage King founders Mike and Andrew Nehra, "Pensado's Place" producer Herb Trawick and host Dave Pensado. Photo by David Goggin.

Over the past three years, Pensado’s Place has become one of the most watched professional audio programs on the Internet. The weekly interview show, hosted by the one-man hit-making mix machine Dave Pensado, has now spawned an annual celebration of music makers.

The inaugural Pensado Awards takes place on June 28, at The Fairmont Miramar in Santa Monica, California. With a mission of recognizing the people who make and control the sounds, the award show features a unique judging panel made up of artists, producers and engineers that will select the winners.

To recognize this new generation of non-traditional music makers, the Pensado Awards is comprised of groundbreaking categories including the OMG Mix of the Year, Game Changer Producer Award, Break Thru Songwriter, Spin Doctor DJ, and the Unique Project Studio Award.

Handling the hosting duties will be a group of mixers and producers including Chris Lord-Alge (Green Day, Prince, David Bowie), Young Guru (Jay Z, Beyonce), Marcella Araica (Britney Spears, Madonna) and singer/songwriter Lisa Loeb.

“We founded these awards to acknowledge the professionals, as well as the talented newcomers,” said Dave Pensado. “As an engineer and mixer myself, I am acutely aware that so many of the most talented people in the industry never get the recognition they deserve.”

“The hybrid music maker of today is a composer, a songwriter, an engineer and a producer,” says Herb Trawick, Pensado’s manager and co-host of the weekly show. “An entire generation of people now do it all. Our goal with the Pensado Awards is to recognize the professionals working in the non-artist sector of mainstream audio – the hugely creative producers, engineers, and educators who are reshaping the music industry.”

The brilliance and hard work of these producers, songwriters, DJs, engineers, mixers, live wizards and behind-the-scenes technicians in audio are now being given the spotlight. Over 100 leading music makers and manufacturers, representatives from 75 countries and 100 schools are active supporters and participants in the Pensado Awards. The live awards show will be followed one week later by a global online broadcast.

Committee members for the Pensado Awards include Al Schmitt, Alex Da Kid, Andrew Scheps, Brad Blackwood, Da Internz, Joe Barresi, Luca Pretolesi, Manny Marroquin, Steven Slate, Young Guru, Tony Maserati, Rose Mann-Cherney, and Greg Wells.

Supporting the awards is an important group of sponsors vital to the music industry: Avid, Vintage King, The Recording Academy Producers & Engineers Wing, Audio-Technica, Slate Digital, Blackbird Academy, Barefoot Sound, Recording Radio Film Connection, Blackout, Studio 202, and others.

Learn more about the Pensado Awards: http://pensadoawards.com/

Check out the Vintage King blog:
http://vintageking.com/blog/2014/06/pensado-awards

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