Archive of the Sound for Picture Category
Voiceovers From Across the Country Recorded via ISDN
Pictured (L-R) at Studio Trilogy are MeringCarson ad agency creative director Scott Conway, producer Christina Staal, and Trilogy post-production engineer Chris Konovaliv. Photo by David Goggin.
The cutting-edge MeringCarson advertising agency, with offices in Sacramento, regularly makes the trip to San Francisco’s Studio Trilogy for audio post-production. “We don’t mind the trip at all,” says creative director Scott Conway. “Trilogy has such a creative atmosphere, quality gear, and some of the best post engineers in the country.”
“California Rocks” was a recent campaign posted by Trilogy’s popular post engineer Chris Konovaliv, with agency producer Christina Staal and creative director Scott Conway on hand for the recording of talent from all over the country via ISDN.
“Everything revolves around the ‘California Rocks’ concept,” explained Conway. “We start out with the unspoken rules of California: always bring a sweater to the Bay Area, bug spray for hiking in the Sierras, and finishing with earthquakes and the peace of mind that comes from insurance with the California Earthquake
“We’re recording seven voiceovers today,” added producer Christina Staal, “The first two are at Studio Center in Virginia, the rest are all calling in from their home studio’s ISDN, and then Chris will edit and work his magic with the music.”
With offices in Northern and Southern California, MeringCarson serves a roster of clients that include Walt Disney Parks & Resorts, Visit California, Pebble Beach Resorts, Sacramento Kings (NBA), San Diego Tourism Authority, CA Speedway (NASCAR). The finished “California Rocks” TV spot can be seen on Youtube here: https://www.youtube.com/watch?v=qX-0xl22k2A
Trilogy’s Chris Konovaliv considers post production his speciality, but brings more than 12 years of experience covering all facets of the audio production process. Konovaliv has mixed short and long format television for Current TV as well as spots for advertising clients around the Bay Area, including Evolution Bureau, Venables Bell & Partners, Hal Riney, Ogilvy PR, MeringCarson, Runyon, Saltzman, and Einhorn, BBDO West, Engine Company #1, Hubstrategy and Pond Creative Output!, among others.
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
Hollywood, CA (May 30, 2014) – EASTWEST and Steven Wilson offer an exciting contest starting now through the end of June. Composers and musicians who create a demo with Ghostwriter (or a trial version) can enter to win the full version, 2 VIP tickets to a Steven Wilson concert and the chance to meet the band. A free 10-day license can be obtained at the contest entry page (iLok required).
The demo can be in any style and needs to be 2 minutes or longer and must be made using only the 800+ instruments and presets in Ghostwriter.
Entries can be submitted at the contest entry page. The top 10 entries will be voted on at the EASTWEST Facebook page before the June 30 deadline. Sharing with friends on Facebook will result in extra votes, and the entry with the most votes from Facebook voters will also receive a free fully licensed copy of Ghostwriter.
Producers Steven Wilson and Doug Rogers will select the top 3 entries by July 15. The winners will receive a fully licensed copy of Ghostwriter, plus 2 tickets each to a Steven Wilson concert if he performs in the winners area in the next year, with the option to meet Steven after the concert (please note: any travel or other expenses are not included and are the responsibility of the winner).
The winning demos will be posted at the Ghostwriter product pages as “official demos”. For full contest rules, visit the contest entry page.
GHOSTWRITER TRIAL | GO TO CONTEST
About Steven Wilson
One of the most eclectic and prolific artists in rock music, Steven Wilson has been writing, recording, and producing music continuously since the early nineties. Album releases and touring as leader of his band Porcupine Tree, and as a solo artist, Wilson is seen as the predominant progressive rock musician in the world today.
Founded by Doug Rogers in 1988, EASTWEST (soundsonline.com) is the most awarded and critically acclaimed producer of virtual (software) instruments in the world with clientele that spans the who’s who of the music, film, television, games, multimedia and performing arts. EASTWEST has led the industry for more than 25 years and provides composers with the very best music creation tools available. Based in Hollywood, USA, soundsonline.com is a wholly owned division of EASTWEST, and the leading source for professional sounds and virtual instruments. Based in Amsterdam, soundsonline-europe.com distributes EASTWEST/QUANTUM LEAP products in Europe. EASTWEST also owns and operates a large recording studio complex in Hollywood (eastweststudios.com), and sounds and software development divisions in Hollywood and Berlin, Germany.
BEDFORD, Texas – Since 1997, Marcus and Joni Lamb have owned the Daystar Television Network, the fastest-growing Christian television network in the world. Daystar currently operates 70 TV stations across the United States and broadcasts globally. It also operates significant online and mobile broadcast services. Underlying the network’s success is an unwavering commitment to quality, as evidenced by its reliance on HARMAN’s Studer Vista digital audio consoles.
Daystar is a Christian, family-friendly network, featuring specifically religious programming as well as other content, including family-oriented films and music programming. In addition, the Lambs host the network’s flagship program, Marcus & Joni, a variety/chat show that focuses on guest interviews and music, with an in-house band and several guest bands throughout each episode.
David Ribb, Daystar’s Director of Audio, uses a Riedel MediorNet system as the hub and router for its three Studer Vista consoles (two Vista 9 consoles and one Vista 5). One of the Vista 9 consoles is for Daystar’s broadcast mix, while the other Vista 9 is for the studio and band mixes. The Vista 5 is used on a secondary studio/sound stage but is also road-ready, so it can be used on location production.
“Because of our output requirement—auxes and mixes, the combination of interview talent, IFB, house band and singers, guest bands and satellite feeds, the Vista 9 was an ideal solution,” Ribb said. “The all-Studer solution means that if personnel have to change out between the broadcast side and the studio side, they’re already familiar with the console.”
Core wireless requirements in the system total 42 channels, including 28 channels of wireless microphones and belt packs attached to the system, and 14 wireless in-ear belt packs for the band mixes and IFB. There are many more wired mixes allocated to band members. In addition, the studio Vista 9 provides another 10 foldback mixes for each of the sets around the sound-stage, through loudspeakers mounted in the lighting grid.
The Daystar team doesn’t rely much on cue lists or snapshots during the show. They set the consoles up for the day’s work by reallocating I/O as necessary, and operating all sets from a single setup. The consoles also provide multitracking facilities to attached ProTools systems.
“It’s another thing that we’ve integrated into the Studer system,” Ribb said. “We multi-track each program in ProTools on both the broadcast side and the studio side, depending on what the need is. It means we can go back in and fix anything in post or index, or whatever needs to happen.”
“Also, the music the in-house band has played in the shows is often released to albums during the year, and we do some music specials directly from the music that’s captured during the show, using those ProTools sessions to mix them. We try to go in and give them extra attention.”
For more information on the Daystar Television Network, please visit www.daystar.com
HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.
WATCH THE VIDEO, Heinz Kasper – Mystery of Creation (Fragments of The Seasons), Cadman’s College: watch?v=ZqfgTO6n1-4
TDC – The Technical Direction Company is proud to be deploying the full range of its professional and technical expertise in providing core technology and services to Destination NSW for the sixth annual Vivid Sydney festival running from 23 May to 9 June.
Anthony Bastic, Vivid Light Festival Director said: “Vivid Sydney is a unique celebration of light, music and ideas that will see the centre of New South Wales’ vibrant capital transformed by a series of state-of-the-art visual and creative art installations. There are two components to Vivid Light. The first is the Light Walk, which is the public interface of Vivid Sydney. This includes numerous light installations by artists. Secondly, also forming part of the Light Walk, are projections onto some of Sydney’s most iconic buildings including the Museum of Contemporary Art and Customs House. We are thrilled to work with TDC in bringing the artists’ vision to light.”
“This is our third year of working with Destination NSW on Vivid Sydney, providing a huge range of technologies including 3D media servers, 3D mapping, video projection equipment, projection tower infrastructure and sound installations, not to mention our highly skilled crews to manage the technology,” comments Kain Jones, Special Projects Manager at TDC. “We have used our experience of working on Vivid Sydney for the last three years to apply the insights with have learned to how to adapt and continue to make sure that the elements TDC is involved in are amazing.
“As Vivid Sydney grows, new buildings and locations are added, so initially we spend considerable time analysing which technology is best-aligned to meet the artists’ vision. We get involved from the outset in installation design, mapping the buildings to enable the designers to create content specific to the outline of those buildings. We then work on optimal locations for projector placement, media server selection, lens selection and the number of projectors required to meet specific brightness (lux) output for each installation.”
“Vivid Sydney is a great challenge for our company, the scale of this event is enormous in regard to projection technology required to bring it all together,” comments Michael Hassett, TDC’s Managing Director. “This year over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors. This is a projection technology feat and not something that any company globally could pull together easily. We’re proud to be working with the great team at that Destination NSW again this year, and we look forward to the continued success of Vivid Sydney.”
And the last word goes to Olin Winton, Technical Manager at TDC who says: “It’s always a joy to work on large format projection projects and Vivid Sydney is no exception. The opportunity to display images on iconic buildings takes months of planning and long nights of alignment. This year we have added several new projects to our list, which we are extremely pleased with. Seeing it all come together, working with world class technicians and seeing the end result of people interacting with the buildings is extremely rewarding.”
World firsts from TDC
This year’s Vivid Sydney programme includes a number of significant technological and creative firsts.
Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing). © Technical Direction Company. Photography by Rodney Campbell.
Kain Jones points to one aspect of a unique interactive installation at the new building of the Museum of Contemporary Art Australia (MCA), where artist-in-residence Ross Manning has collaborated with multidisciplinary artistic collective, The Digital Shamans to give visitors the chance to projection-map the façade of the building using only their voice.
“There’ll be two microphones on a slightly raised platform. As the audience uses their voice to interact with the installation, various hidden layers of visuals and soundscapes will be revealed based on pitch,” explains Michael K Chin at The Digital Shamans. “TDC are an amazing company with the technical know how and equipment to cope with the subtleties in our work. Especially with the HD video taken of dichroic filters producing subtle gradients in tones and colour shifts, strong contrast and vivid colour. It’s been a pleasure working with TDC for the first time. They are very professional and their experience with past Vivid Sydney festivals has been invaluable.”
Gamma World, Original Façade, Museum of Contemporary Art Australia. © Technical Direction Company. Photography by Rodney Campbell: http://www.tdc.com.au/news
WATCH THE VIDEO: watch?v=6S0P4LVau-A
Bringing together the worlds of live performance, interaction and visual art onto the original façade of the Museum of Contemporary Art, ‘Gamma World’ combines isometric designs, old school gaming, pop up 3D books and forced perspective using 3D and animation tricks that powerfully takes the viewers on a journey through changing worlds.
Stella Carmody, Producer at Spinifex Group Sydney says: “What makes this projection so special this year is that we were able to combine our love of story-telling with the wonderfully inspiring artwork of Jess Johnson to create an abstract, engaging and playful piece of moving art on this iconic building. Hardware and projection mapping was undertaken by our good friends, large-scale projection experts, TDC.”
Urban Tree Project
Urban Tree Project, MLC Centre, Martin Place http://www.vividsydney.com/events/urban-tree-project
WATCH THE VIDEO: watch?v=0Jr0NkDkgJA
If you ever find yourself wondering what grew in the CBD before monuments of glass and steel, Urban Tree Project in Vivid Sydney 2014 will show you. The CTA building in Martin Place will grow out of the ground to become a magnificent living tree within the surrounding urban environment to celebrate and reflect on Sydney’s original green landscape. Design and animation company, Ample Projects turned to TDC to provide the projection solution.
“This project had unique technical challenges, so the natural choice for us was TDC. Ample designed a complex 3D mapping solution in collaboration with the TDC team. They were highly professional, providing projection design solutions for a cylindrical architecture screen with extreme focal planes. We look forward to working with them again soon,” says Ample Creative Director, Nicholas Tory.
“The shape of the structure was great to work on. We decided that the best solution was to map the projection to the curves of the building using Coolux Pandoras Box Media Servers,” comments Pete Lynn, TDC’s Media Server Specialist. “We’re very happy with the results.”
The projections for the Urban Tree Project are synchronised with a stunning laser lighting show as is the case with TDC’s projections for the Vivid Aquatique Water Theatre installation.
Spirit of Patyegarang
Bangarra The spirit of Patyegarang, photo by Greg Barrett
Bangarra Dance Theatre is Australia’s leading Indigenous performing arts organisation celebrating its 25th anniversary this year. To mark this milestone the company presents its new production at the Sydney Opera House Patyegarang until 5 July and participates for the first time in Vivid Sydney with The spirit of Patyegarang. Projected onto the southern pylon of the Sydney Harbour Bridge, The spirit of Patyegarang is a video installation marking the first Indigenous contribution to the Vivid Light Walk.
Bangarra’s Executive Director, Philipe Magid, said: “TDC is providing equipment and video expertise enabling our company to project a stunning work of art on to a section of the iconic Sydney Harbour Bridge. Through a fusion of dance movements and music soundscape and thanks to video projections supported by TDC, the important story of Patyegarang will awake and inspire with the sensations and emotions of ‘first contact’”.
Play Me, Customs House © Technical Direction Company. Photography by Rodney Campbell.
In a poetic explosion of colour, light and sound, ‘Play Me’ will transform the façade of Customs House into a series of massive ‘musical sculptures’ that are individually selected and manipulated by the audience.
“Each of these ‘sculptures’ depicts a family of musical instruments which the audience can ‘play’ in real-time using a touch screen located on a platform in front of Customs House bringing it to life in glorious torrents of ever-changing colour, light form and sound,” says Sergio Carrubba, director and projection designer at Danny Rose, the design team for this project. “We’ve worked with TDC before on the ‘Move Your Building’ exhibit at Vivid Sydney 2013. In all cases, TDC offers exceptional support during planning phases, onsite technical support and the very best in projection equipment to assist with our designs which will all be brought to life at Vivid Sydney.”
Ignatius Jones, Creative Director, Vivid Sydney, comments: “Vivid Sydney is a strange beast: on the one hand it is a major government initiative designed to drive visitation and tourist expenditure during the year’s lowest season, and on the other a celebration of the fusion of Art and Technology that is changing our world forever and for the better. As Creative Director I must split my focus between the exacting contractual and economic demands of government, and the necessity to provide cutting-edge technical solutions to all the issues of larges-scale – or should I say vast-scale – public entertainment.
“TDC has an instinctive and comprehensive understanding of these issues. They are the perfect collaborators: calm, creative and totally competent. I would have no qualms in recommending them to anyone in the tough world of live mass entertainment, and hope to be working with them for a long time to come.”
TDC staff working on this project:
Kain Jones – Special Project Manager
Olin Winton – Technical Manager
Steve Cain – Head Technician/Media Server Specialist
Pete Lynn – 3D Media Server Specialist
Drew Ferors – Projectionist
Gareth Marsh – Projectionist
Katrina Harding – Projectionist
Isaac McKenzie – Projectionist
Adam Fiddler – Technician
TDC are working with following designers for Vivid Sydney:
• Urban Tree Project, Ample Projects – MLC Centre, Martin Place http://www.vividsydney.com/events/urban-tree-project
• Aquatique Show International – Vivid Aquatique, Darling Harbour, http://www.vividsydney.com/events/vivid-aquatique
• Patyegarang, Bangarra Dance Theatre Company – Vivid Light Walk Tour, Harbour Bridge Southern Pylon, http://www.vividsydney.com/events/the-spirit-of-patyegarang
• Starry Night, Brad Miller – Pier 8, Walsh Bay Wharf, http://www.vividsydney.com/events/starrynight
• Digital Shamans – Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing), http://www.vividsydney.com/events/dichroic-dimensions
• Danny Rose – Play Me, Customs House, http://www.vividsydney.com/events/play-me
• Heinz Kasper – Mystery of Creation (Fragments of The Seasons), Cadman’s College, http://www.vividsydney.com/events/mystery-of-creation-fragments-of-the-seasons
• Jess Johnson & Spinifex – Gamma World, Original Façade, Museum of Contemporary Art Australia, http://www.vividsydney.com/events/gamma-world-mca-original-facade
TDC equipment supplied:
• Over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors.
• Coolux Pandoras Box Media Servers
• Dataton WATCHOUT™ multi-image display and presentation software
Digital Recorder Provides Flexibility Needed for Range of Feature Film Productions
NEW YORK, MAY 21, 2014 – Veteran Sound Mixer Danny Michael, whose recent portfolio includes the high-profile feature films The Secret Life of Walter Mitty with Ben Stiller, John Wick, starring Keanu Reeves and Non-Stop, with Liam Neeson, understands the importance of capturing pristine audio in the field, which is why he relies on Sound Devices’ 788T-SSD Digital Recorder for his audio production needs.
For his work on The Secret Life of Walter Mitty, Michael utilized two rigs, one portable and one cart-based, each outfitted with the 788T-SSD Digital Recorder and Sound Devices CL-WIFI interface. Michael was tasked with capturing all audio, including dialogue, effects and ambience, for the film. While the majority of the movie is set in New York, the production team spent five weeks shooting in Iceland.
“I redesigned my cart so it could be a little more flexible, portable and useable for the remote situations we were going to be presented with,” says Michael. “While I had the capability of using the 788T-SSD over my shoulder for the more challenging situations of working atop glaciers; there were times where I knew we would have more complicated work, and I wanted to have my cart. It wouldn’t have been possible to make it as small and durable as it was if it wasn’t for the 788T.”
Along with his Sound Devices 788T-SSD and CL-WiFi interface, Michael’s cart also includes the Lectrosonics VRT-Venue System, Lectrosonics radio mics, Schoeps CMC-6U and CMIT-5U microphones, a Cooper Sound 208 mixer, Blackmagic dual seven-inch monitors and a Denecke Dcode GR-1 as the main time clock.
Michael used this same cart for John Wick and Non-Stop. As John Wick was action-oriented, with a lot of gun fights and quick movement, it required a lot of sound effects. It also employed a file-based workflow. Sound Devices ability to seamlessly swap out removable storage was a huge asset onset, as Michael simply supplied his CompactFlash cards to Light Iron, a post-production company specializing in on-site dailies, digital intermediate, archival and data services for projects originated on file-based motion cameras, for them to process the dailies on set.
“I was basically handing over my sound every time a camera roll changed, to a person who was literally five feet away from me,” says Michael. “They then took my material and synched it with what was coming off the cameras, on the spot. We would rotate CF cards throughout the course of the day.”
The majority of Non-Stop was shot on an airplane-based set for nearly 40 days. The multiple track count on the 788T proved worthwhile in this situation, as there were times when Michael not only needed these high-track counts, but felt at ease in knowing that if he needed more tracks, he could easily have access to them.
I’ve been doing this a long time, and have used a wide range of gear,” adds Michael. “I gravitated towards Sound Devices when it was time to upgrade my recorder because of its high-quality audio, portability and reliability. The fact that it is both made and serviced right here in the U.S. was a huge additional selling point for me.”
In addition to his feature work, Michael has also filmed in Africa on multiple occasions with Bill Clinton for an upcoming documentary on the former President’s global initiatives. “From the frigid cold of Iceland to the scorching heat of Africa, Sound Devices gear has been exposed to extreme weather and has consistently held up great,” concludes Michael. “The 788T is incredibly flexible and is now my recorder of choice for all my future projects.”
With the influx of multi-tracking both in the field and on set, the Sound Devices 788T has become the next-generation digital audio recorder of choice for advanced sound mixers that require additional isolated tracks. The 788T boasts eight full-featured inputs and records up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in one compact package. Routing flexibility allows each input to be routed to mix tracks, isolated tracks or aux tracks.
The 788T has several options for recording media, including an internal hard drive (SSD in the 788T-SSD), CompactFlash media with UDMA support and an external FireWire hard drive. Any or all of these can be used simultaneously. Additionally, when connected to Mac OS, or Windows computers with high-speed USB or FireWire 400/800, the 788T functions as a high-speed mass storage device.
To simplify interconnection with mixers and cameras with AES3 connectivity, the 788T has eight channels of balanced AES3 digital input and six channels of balanced AES3 output. The 788T can be clocked from an external word clock or from video sync. The 788T is also equipped with a high-accuracy time code reader/generator on board, and includes auto-record features to chase external rec-run video sources. To simplify metadata entry, the 788T directly accepts USB keyboards. Keyboard shortcuts can be programmed to control menu items and machine transport. The 788T, like all Sound Devices products, is versatile and designed to withstand the physical and environmental extremes of rigorous field production.
The CL-WiFi interface accessory adds remote iPhone, iPad and iPod Touch functionality to 788T and 788T-SSD Recorders. When the CL-WiFi hardware is used with the downloadable application from the Apple App Store, 788T users can remotely view, control and edit audio and file-related information from their Apple device using the CL-WiFi iOS app.
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.
Major update to leading audio analysis suites is currently a Featured App and named a “Best New App” on the Mac App Store
Minneapolis – (May 16, 2014) – Audiofile, a leading music technology company, today announced a major update to Spectre, the popular real-time audio analysis suite for OS X. The new version, currently featured on the Mac App Store and named a “Best New App”, is available for 50% off the original price for a limited time.
Ideal for any audio professional working today—from producers to broadcast engineers to video editors—Spectre is packed with 20 different multi-channel and multi-trace meters including Level, VU, Spectrograph, Oscilloscope, Spectrogram, LU and LU History. With version 1.7, Spectre has been rewritten from the ground up to support the latest loudness standards as well as making it even more powerful and beautiful.
“Spectre has always been incredibly accurate,” said Matthew Foust, Audiofile Managing Partner and co-founder. “But the enhanced performance in version 1.7 makes your meters more detailed and responsive, providing an even clearer picture of your audio.”
Beyond its significant performance upgrade, Spectre’s updated meters are now even easier to configure. Additionally, they are now Retina-ready and fully optimized for OS X Mavericks, including improved full-screen and multiple display support.
New additions and enhancements to Spectre include:
• Greatly improved performance and stability
• Fully optimized for Retina displays
• Audio bundles enable the creation of groups of channels for audio input hardware, making configuration even easier
• Comprehensive full-screen support
• Meter configuration is now built into each meter
• Traces have their own spectral analysis settings
Spectre includes all of these improvements for it’s original low price, making it ideal for students and professionals alike. And, to celebrate its release, Audiofile is offering an introductory discount on Spectre for only $49.99, 50% off the original price for a limited time.
For more information about Spectre, visit http://www.audiofile-engineering.com/spectre/. To buy Spectre through the Mac App Store, visit https://itunes.apple.com/us/app/spectre/id436872608?mt=12.
Audiofile is a boutique technology company building apps that power the world’s musicians and audio engineers. Founded by Ev Olcott and Matthew Foust in 2006, 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.
Available now as part of the new Iris+8 bundle
iZotope Inc., Cambridge, MA – iZotope Inc., a leading audio technology company, has released the eighth sound library for Iris, an award-winning software synth built on spectral selection technology.
Designed for exclusive use with Iris, Resonant features a fresh palette of playable, acoustically inspired patches built around bell, glockenspiel, kalimba and vibraphone-like samples. Choose from more traditional musical instruments, or experiment with wild and unusual sounds based on cans, tubes and lampshades. Featuring metal, wood, plastic, and other pitched percussion sources, Resonant offers bright and clean sounds ready to fit right into your next session.
Resonant is available on its own or as part of the new Iris+8 bundle, featuring all eight sound libraries for Iris: Wood, Glass, Food, Toys, Voice, Modular, Altered, and now, Resonant.
Free Guide for Iris Updated
In support of Iris Resonant and Iris+8, iZotope has also expanded its Iris Cookbook to include brand new recipes with step-by-step instructions and example presets. Aimed at helping users get the most out of Iris, this guide offers pro tips and tricks to help you get that perfect sound.
Iris Pricing and availability
Iris Resonant is available now through May 29, 2014 for $29 USD (reg. $49).
Iris+8 is available now through May 29, 2014 for $249 USD (reg. $349).
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.
Los Angeles, CA – May 2014…
** Photo: Didrik Johnck **
Location sound work—by its very nature—almost always poses a variety of technical challenges: be it RF agility in dense metropolitan areas or range and related issues in remote locations. Capturing clean, broadcast quality audio is never something to be taken for granted. Welcome to the world of travel documentaries. Regardless of the destination, quality audio performance is a key issue and, to ensure the best possible sound, the production team of White Nile Media, Inc. relies on Digital Hybrid Wireless® technology from Rio Rancho, NM-based Lectrosonics. more
Emerging UK artist Joel Compass has become the latest in a long line of singers to join the DPA Microphones’ fan club.
Compass, a 21 year old from South London who is rapidly making a name for himself as an up and coming R&B star, was switched on to DPA’s award-winning d:facto™ Vocal Microphone by his tour manager Mark Portlock and his engineer Liam Halpin.
“DPA microphones are renowned for their audio quality and very low noise floor, so I initially considered the d:facto Vocal Microphone for another artist I am working with who has a particularly quiet voice,” Portlock says. “However, once Liam and I demo-ed it we realised it would also work really well for Joel’s voice, which has a great dynamic range. We introduced him to the microphone and he absolutely loved it. He is now using d:facto for all his live vocal performances.”
Liam Halpin adds that DPA’s d:facto Vocal Microphone has made his life as an engineer much easier because he can use it with any professional wireless microphone system.
“DPA’s UK distributor Sound Network supplied us with an adapter that gives us seamless integration with all of the professional wireless systems we usually encounter,” Halpin says. “I am a big fan of Shure’s wireless system but that doesn’t preclude me from using other brands of microphone. There is a correct microphone for every situation and in Joel’s case, when it comes to live vocals, it’s the DPA d:facto. With this microphone all I need is an adapter, a capsule and a grill and I can walk into any venue and use any wireless system – I don’t have to take in my own. That saves us having to rent in a wireless system and allows us to use the right microphone for the artist and the performance space.”
Joel Compass has been making waves in the UK after getting an early buzz from media outlets such as MTV and Digital Spy. As well as performing his own material, Compass also writes for other artists and is making a name for himself as a producer – indeed his ballad, Run, was written with Rihanna in mind. His latest single Forgive Me is currently climbing the UK Top 50 and he has been making high profile appearances at the MTV Brand New awards, at London’s Red Bull Studios and live support shows with Rudimental and US star J Cole. He is also working on projects with established artists and his own debut album Science. A busy summer including live shows at Glastonbury and Wireless and secret garden festivals awaits.
Mark Portlock and Liam Halpin believe that introducing Compass to the d:facto has had a number of hidden benefits, not least helping him redefine his microphone technique.
“DPA’s d:facto Vocal Microphone seems to work best when artists use In Ear Monitors, because that’s when they can really hear the difference it makes to their voice,” Halpin says. “With Joel, we started out using wedges but this was a real pain because he would sing right off the mic, often with his hands covering parts of the grill. Eventually, when we switched to d:facto, we persuaded him to move to IEMs, which he now has in both ear. The change this made to his mic technique was dramatic. Suddenly he could hear his own voice properly and he got right on the microphone because he was enjoying the improved sound so much. It’s made a huge difference to his performance and to the consistency of his sound – in fact I would go so far as to say that this microphone has done more than anything else to get his live performance to where it is now.”
DPA’s d;facto Vocal Microphone now features on the equipment rider for every gig that Joel Compass does and as a result Portlock and Halpin’s favoured rental company, Encore, has invested in its own stock. The microphone is also proving popular with the studio and broadcast engineers the team have encountered during the filming of some of Joel Compass’ gigs.
“It’s really funny how their faces light up when you tell them your artist is using a DPA microphone,” Halpin laughs. “Studio and broadcast engineers are usually pretty disdainful about live mics but with this one they are more than happy. They know all about the audio quality of DPA so the d:facto gives us credibility.”
Portlock adds that the d:facto Vocal Microphone also gives Joel Compass credibility, especially among other artists who recognise that it is a significant investment. He gives DPA’s UK distributor Sound Network much of the credit for making it possible to move Compass onto a d:facto – and for supporting the team while they made the switch.
“The d:facto is not cheap and there is no way we would have committed a developing artist to such an expensive microphone if we hadn’t had fantastic distributor support,” he says. “The fact that Sound Network was able to lend us the d:facto Vocal Microphone in various forms so that we could try them all out – with cable bodies, adapters, different coloured grills etc – made a huge amount of difference. It gave us the confidence to go with the microphone and it also inspired our rental company to buy stock of its own so we now have access to mics that we can rent through them.”
To see Joel Compass in action at Transmitter Live using DPA’s d:facto Vocal Microphone, please follow this link: https://www.youtube.com/watch?v=F7stBS5lYtI
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
Pro Audio Dealer Helps Sony Picture Studios Revamp Its Culver City Facilities
North Hollywood, CA (May 7, 2014) – Location Sound completed their largest Q1 sale to Sony Picture Studio’s Culver City, CA, which is undergoing a revamp of its production facility. Sony’s purchase of eight live sound consoles—five Soundcraft Vi4s, one Soundcraft Vi6, and two Yamaha CL5s— will be used for audience sound reinforcement as well as recording of production dialog.
Sony’s choice of Soundcraft Vi4 and Vi6 consoles carries forward some continuity as the company had employed earlier analog models of Soundcraft Series FIVE consoles. Aside from the consoles’ smaller footprint and extensive modern features, upgrading to the latest digital models allows them to tap into the extensive fiber optic and Dante network that is instlled between stages and studios in the complex.
Val Asuncion, Location Sound’s Assistant Sales Manager, has been working with the Sony revamp project since November 2013. “The consoles are part of Sony’s production sound packages that are rented for various shows produced on the Sony lot, as well as other lots around Southern California. Since they were familiar with the sound and ergonomics of Soundcraft consoles, the Vi Series seemed a perfect fit”, Val said. Soundcraft’s Tom Der points out the long-standing relationship Location Sound has with Sony “made them the natural go-to vendor” for the deal.
Sony also had specific integration requirements for the Yamaha consoles used on the stage where Jeopardy and Wheel of Fortune were taped. For this reason, Jonathan Peirson, Yamaha’s District Manager, brought in twoYamaha CL5s and Rio stageboxes, a system that offered the best solution for integrating with the existing infrastructure. Since the consoles will be used in portable applications on stages with frequent changes, its ease of use, size, and features—such as scene memory and networking capabilities—played heavily into the buying decision.
“Location Sound has been on the forefront of showing products that work on a Dante network. And having recently become a Yamaha CL dealer, we partnered with them to show these capabilities on the consoles. It turned out to be perfect timing as Sony was looking to upgrade to consoles that would support a Dante network”, said Peirson.
David A. Panfili, Location Sound’s CEO says “Sony’s complex system integration requirements also serve to reinforce our commitment to aligning ourselves with technologies that advance and enhance our clients’ sound recording capabilities.”
About Location Sound Corporation
Location Sound opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 37 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound remains committed to providing sound professionals the equipment they need for their critical recording needs, while delivering unmatched support services before and after the sale.
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