Archive of the Sound for Picture Category

SOUND DEVICES EXHIBITS LATEST FIRMWARE FOR 664 PRODUCTION MIXER AT CCW 2013

Unit now offers 12 Analog Inputs and 16 Recording Tracks

NEW YORK, NOVEMBER 13, 2013 — Sound Devices, specialists in portable audio and video products for field production, continues its tradition of adding significant features to its products through regular firmware updates. The latest update, Version 2.00 for its flagship 664 Production Mixer, unlocks six additional line-level inputs on this already powerful field mixer. The 664 now offers 12 analog inputs and 16-track recording without requiring the CL-6 Input Controller. Sound Devices showcases the benefits of the 664’s latest firmware update, Version 2.00 at Content & Communications World 2013 (CCW Booth 1140).

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, and input trim control. Version 2.0 firmware provides access to six additional, menu-controlled, line-level inputs for a total of 12 inputs. Inputs 7-12 appear on TA3 connectors shared with the direct outputs. Inputs 1 and 6 can be set to accept AES3 or AES42 for digital microphones, each with its own SRC for simplicity in system clocking.

With version 2.00, the 664 can record 16 track files, which include all 12 inputs plus its four outputs, without requiring the CL-6 Input Controller. The CL-6 continues to be an important accessory for users requiring hardware fader control of inputs 7 through 12. Firmware revision 2.00 also brings additional LCD metering modes to support the expanded input capability. Three menu-set metering modes are selectable from the front panel meter button. Meter modes offer combinations of input and output levels.

The 664 records 16-track monophonic or polyphonic broadcast WAV files or stereo MP3 files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, and feature up to three seconds of record pre-roll. With its dual card slots, the 664 can record content to either or both cards simultaneously, with the ability to assign different tracks to each memory card. With cards not optimized for multi-channel monophonic file recording or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD display when starting a recording. In addition, when formatted in the 664, SD cards 64 GB and larger are automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32.

The 664 offers greater flexibility and ease-of-use with its “LCD Daylight Display” mode, which incorporates a daylight-specific color scheme and solid-bar metering option for improved readability in direct sunlight. In addition, it includes a high-precision, Ambient-based timecode generator/reader for multi-camera and double-system sound applications.

Existing 664 users can download version 2.00 for free by visiting http://www.sounddevices.com/download/664-firmware/.

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.

Documentary Film Makers Take TitaniumZ-5 Shared Storage on the Road

Traveling to remote parts of Kenya while working on Shifting Ground, a documentary film following three women living in the slums of Nairobi, film makers at Seek Films and Ethikos Productions used Small Tree’s GraniteSTOR TitaniumZ-5 shared storage system to provide the entire production team with on-site access to content captured on location.

Following a young girl, a teenage mother and an elderly woman living in the slums of Nairobi, three directors will interweave their stories into a full-length documentary showing a portrait of the slums through the eyes of these women and how women are at the center of a new movement taking place within the slums and the community. An all-in-one Ethernet-based shared storage appliance typically used by professional video editors who require shared access to media files at home, in the office or on location, the portable TitaniumZ-5 was an ideal solution for the Shifting Ground production team during acquisition.

“While in Africa, we were mainly using the TitaniumZ-5 to take footage off of the cards – we were shooting on the Canon C-100 with Atomos Ninja 2 external recorders,” said Daphne Schmon, director and founder of Seek Films. “With the Z-5, we would offload footage from three to four cards at a time, then log and transfer the footage into Final Cut so that multiple workstations could have access to view footage simultaneously. Having a lightweight and robust storage system with us was a tremendous convenience.”

A five-drive system supporting 2TB, 3TB or 4TB disk drives, TitaniumZ-5 is simple to set up and manage, allowing the storage to be available to users within minutes of initial start-up. The Server, Networking and Storage are all accommodated within TitaniumZ-5′s space saving desk top design, while the unit’s capability to support up to 2 ports of 10Gb Ethernet offers peak performance all at an extremely attractive price point.

“From a technological standpoint, it was great to have an affordable storage solution that would provide redundancy to protect the files we had captured,” remarked Brian Rice, director and founder of Ethikos Productions. “The data on the Z-5 is double protected, which is extremely important because with the long trip from New York to Kenya, and then having to move from location to location in Kenya, it was crucial that the data was protected while the system was being knocked around.”

Small Tree’s TitaniumZ-5 offers optimal flexibility with the ability to work across multiple protocols (AFP, SMB, NFS and iSCSI) and platforms, including Adobe Creative Suite, Avid Media Composer, Avid Pro Tools, Apple Final Cut Pro 7 and Apple Final Cut Pro X.

“The system’s flexibility was vital, as Brian works from Windows, while the rest of the directors work with MacBooks,” Schmon stated. “In our facility in New York, where the Z-5 will be used during video-editing, we’ll be running Mac Pros and a number of MacBook laptops. Additionally, we may use both Final Cut 7 and Final Cut 10 during post-production. Knowing that we’ll be able to work off the Z-5 seamlessly, regardless of the application or platform we use, is one less thing we need to worry about.”

While ease of system set-up for the Z-5 is among its top benefits, upon arrival in Kenya, the Shifting Ground production team needed assistance from Small Tree to configure the unit so that it would meet their specific requirements. The Small Tree team in Minnesota worked via Skype to help the film makers set up their storage system. According to Rice, exemplary tech support demonstrates Small Tree’s commitment to its customers.

“When the device was shipped to us it was configured in a very specific way,” Rice remarked. “The guys at Small Tree were so knowledgeable and were willing to work with us until they had us up and running. For me, that was huge…knowing that not only do we have a solid solution, we also have the support if we need it.”

For more information about Small Tree and its growing line of shared storage and networking products, visit
www.small-tree.com. Follow Small Tree on Facebook at www.facebook.com/SmallTreeComm or on Twitter @SmallTreeComm.

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iZotope Releases Audio Repair with RX 3: Tools, Tips and Techniques

Online Guide Details Strategies for Overcoming Common Audio Repair Problems

Cambridge, MA – November 5, 2013 – iZotope Inc., a leading audio technology company, announced the release of its new digital guide entitled Audio Repair with RX 3: Tools, Tips, and Techniques. The reference guide, available free of charge in the iTunes store and through iZotope’s website, provides invaluable information for audio editors repairing or restoring audio.

Audio Repair with RX 3 outlines the most common types of audio problems in recordings and covers the fundamental concepts of audio repair, while providing helpful tips from professionals for salvaging previously unusable audio. Geared toward helping users approach audio restoration based on their specific goals, readers can navigate through a wealth of tips and techniques from professionals including Emmy award-winning sound mixer Bill Jackson, Pro Tools Expert deputy editor Mike Thornton, and others.

For RX 3 users, audio repair techniques using iZotope’s new RX 3 audio restoration software are also included as subtopics throughout the guide.

Key Features:
Through the 100+ pages of the guide, readers are provided with valuable information on how to:

- Identify the basics of audio repair and restoration, and understand the tools of the trade.
- Learn the use of a spectrogram to identify audio problems.
- Expand efficiency in denoising, including reducing broadband noise, hum and tonal noise, and dialog denoising.
- Removing intermittent noises and gaps, clicks and pops, clipping, and reverb.
- Learn techniques of efficiently exporting and delivering audio.
- Discover tips from award-winning industry leaders, including timesaving advice and guidance through specific modules and plug-ins.

For more information about “Audio Repair with RX 3”, visit www.izotope.com.
For more information about iZotope RX 3, visit http://www.izotope.com/rx.

Pricing and Links to Download
Audio Repair with RX 3: Tools, Tips and Techniques, is free of charge, and is accessible through PDF by clicking here.
The eBook version can be downloaded via iTunes for iPhone and iPad by clicking here.
Users can also download follow-along audio examples here from the iZotope website.

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.

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Music Marcom
Martina McConnon
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v: 610-577-4982

Red TX Help Capture This Year’s Barclaycard Mercury Prize

 

 

Broadcast audio specialist Red TX provided the technical facilities to capture the audio at this year’s Barclaycard Mercury Prize, which took place at London’s Roundhouse on October 30th.

Hosted by Lauren Laverne, this year’s Awards Show featured live performances by many of the 2013 shortlisted artists including Arctic Monkeys, Laura Mvula, Jake Bugg, Rudimental and overall winner James Blake.

Red TX worked closely with PA company Plus4Audio and Outside Broadcast company CTV to deliver television coverage of this prestigious event, which was broadcast on both More4 and Channel 4.

Barclaycard Mercury Prize Executive Producer Dan Ford says: “Red TX was commissioned to handle the broadcast audio because the company has a strong reputation for delivering great live sound. We worked with them last year and were very happy with the results they achieved. It therefore it made sense to invite them back as part of our tried and tested production team.”

For this event, Red TX supplied its Red II music recording truck which is designed to cater for 3D and 7.1 surround sound productions. Sound Supervisor Simon Wall, now based at London’s The Hospital Club, has been mixing the audio for the Barclaycard Mercury Prize for a number of years and once again he was the man behind the controls of red II’s Studer Vista 8 mixing console. Red TX’s engineer Ollie Nesham was also on board acting as his technical assistant.

 

Nesham says: “A great deal of preparation went into this show. We arrived at the venue on Monday 28th and spent the next three days setting up, rehearsing and carrying out extensive sound checks to make sure everything was perfect. There were two stages, each with 48 lines of splits that we plugged up to so that all the inputs were available on the desk at the same time. This enabled us to create a set-up for each part of the show, in which typically three bands were performing, so that Simon only had to recall one set-up for each part and one snapshot for each band. Working this way also allows Simon to line check all the bands in each break, which gave us confidence as we could check that we had all the inputs for each band before we started that part of the show.”

Sam Dunlop, Studio Manager of the Hospital Club Studio, adds:  “The Hospital Club treasures its longstanding relationship with Dan Ford and the Barclaycard Mercury Prize, which we have collaborated on since 2007. Throughout that time, Simon has mixed all the Sessions filmed at the Club, as well as the Prize gigs and all the live mixes on the awards night itself.  We’re extremely lucky to have him, and it’s a privilege to be able to work together to produce such fantastic new music content throughout the year with Dan and his team.”

-ends-

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. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.redtx.com

 

LECTROSONICS WIRELESS TECHNOLOGY THRIVES IN THE RUGGED ENVIRONMENT OF “OUTFITTER BOOTCAMP”

** Photo: Jonah Torreano **

Rio Rancho, NM – November 2013… Situated in the wilderness of the Western United States, The Outdoor Channel’s Outfitter Boot Camp is a reality show that looks at six guide school students as they navigate the skills required to survive a wide range of challenging situations. Encompassing everything from horsemanship, camp, and backcountry skills to the not-so-easy-to-learn crisis management and personal skills, the ultimate goal of the students upon completing bootcamp is to get a job as an Outfitter—those who lead hunters into the remote regions to legally harvest large game animals. Production in this rugged environment challenges both the production crew and their equipment. And to ensure audio was ready to go as required, Digital Hybrid Wireless® technology from Lectrosonics was on the scene. more

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Sound Devices Latest Firmware Adds Additional Inputs to 664 Production Mixer

Unit offers 12 Analog Inputs and 16 Recording Tracks

REEDSBURG, WI, NOVEMBER 5, 2013 — Sound Devices, experts in portable audio and video products for field production, continues its tradition of adding significant features to its products through regular firmware updates. The latest update, Version 2.00 for its flagship 664 Production Mixer, unlocks six additional line-level inputs on this already powerful field mixer. The 664 now offers 12 analog inputs and 16-track recording without requiring the CL-6 Input Controller.

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, and input trim control. Version 2.0 firmware provides access to six additional, menu-controlled, line-level inputs for a total of 12 inputs. Inputs 7-12 appear on TA3 connectors shared with the direct outputs. Inputs 1 and 6 can be set to accept AES3 or AES42 for digital microphones, each with its own SRC for simplicity in system clocking.

With version 2.00, the 664 can record 16 track files, which include all 12 inputs plus its four outputs, without requiring the CL-6 Input Controller. The CL-6 continues to be an important accessory for users requiring hardware fader control of inputs 7 through 12. Firmware revision 2.00 also brings additional LCD metering modes to support the expanded input capability. Three menu-set metering modes are selectable from the front panel meter button. Meter modes offer combinations of input and output levels.

The 664 records 16-track monophonic or polyphonic broadcast WAV files or stereo MP3 files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, and feature up to three seconds of record pre-roll. With its dual card slots, the 664 can record content to either or both cards simultaneously, with the ability to assign different tracks to each memory card. With cards not optimized for multi-channel monophonic file recording or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD display when starting a recording. In addition, when formatted in the 664, SD cards 64 GB and larger are automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32.

The 664 offers greater flexibility and ease-of-use with its “LCD Daylight Display” mode, which incorporates a daylight-specific color scheme and solid-bar metering option for improved readability in direct sunlight. In addition, it includes a high-precision, Ambient-based timecode generator/reader for multi-camera and double-system sound applications.

Existing 664 users can download version 2.00 for free by visiting http://www.sounddevices.com/download/664-firmware/.

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.

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The Music Producers Guild Opens Voting For Its 2014 Awards

The Music Producers Guild is delighted to announce that voting for its 2014 Awards is now open. All Full Members of the Guild are entitled to take part in this process and their votes will decide which nominees make the shortlist in 12 of the 15 award categories.

MPG Chairman Steve Levine says: “Once again, our call for nominations has generated a fantastic response and we’re thrilled to see such a diverse range of projects and individuals on the list. In the five years since we launched the MPG Awards we have seen a steady increase in the number of nominees. This indicates just how coveted an MPG Award is to those recording professionals who work so hard to create the music that we all enjoy.”

The Music Producers Guild Awards fly the flag for the achievements of the UK’s top producers, engineers, remixers and mastering engineers. The 2014 Music Producers Guild Awards will take place at the Park Plaza Riverbank Hotel in Vauxhall, London, on Thursday February 13th. 2014. As in previous years, the winner of the MPG UK Producer of the Year category will also be awarded the prestigious BRIT Award for Best Producer.

In total there are 15 award categories, three of which are in the gift of the MPG Awards committee. However, MPG Full Members are entitled to vote for the following categories and are encouraged to do so before the closing date of December 1st 2013.

UK Producer of the Year
International Producer of the Year
Breakthrough Producer of the Year
Recording Engineer of the Year
Breakthrough Engineer of the Year
Mix Engineer of the Year
Mastering Engineer of the Year
Re-mixer of the Year
UK Album of the Year
UK Single Song Release of the Year
Studio of the Year
The A&R Award

Voting for Full Members is simple and takes place via the website at www.mpgawards.com. Instructions on how to log in and vote will be emailed to each Full Member individually. Every Full member who completes voting in all the available categories will automatically be entered into a prize draw to win a Dave Hill Designs Europe 1 mic/line preamp, worth £1,200 (including VAT) and kindly donated by KMR Audio.

The shortlists for the MPG Awards and the prize draw winner will be announced in December 2013, with judging for the final winners taking place in January 2014.

-ends-

About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk or www.mpgawards.com

 

HARMAN’s JBL and Crown Provide Sound for National Network of Cinemas Project In Mongolia

MONGOLIA — Most audio/video projects involve a single location and anything from a conference room to a domed stadium. That’s a major endeavor by anyone’s standards – but a project that involves equipping an entire country with a network of cinemas? That’s exactly what the Mongolia Ministry of Culture, Sport and Tourism (MCST) is currently undertaking in conjunction with systems integrator Cinema of Sound LLC and Kinoton Korea, Inc.

In their effort to provide professional high-quality cinemas to Mongolian citizens, Cinema of Sound and Kinoton are building Standard Cinema Point theaters in Mongolia’s aimags (first-level administrative subdivisions), villages and city districts. Twenty installations have been completed to date, spanning across the country’s nearly 604,000 square miles. Audio for all the installations is provided by HARMAN’s JBL JRX125 dual-15-inch loudspeakers and Crown DSi 2000 amplifiers, which are designed specifically for cinema applications.

“Mongolia is a country that has vast areas of scattered settlements and sparse population, so sparse that our country’s most remote citizens watch movies only on television, as there are no theaters,” said Jigjidsuren Khurelbaatar, CEO of Cinema of Sound LLC. “Thanks to our Standard Cinema Point project, which is part of the MCST’s efforts to bring a richer cultural environment to Mongolians, people throughout Mongolia will be able to enjoy a true cinema experience with high-quality sound and projection.”

Cinema of Sound LLC standardized on the JBL JRX125 loudspeakers and Crown DSi 2000 amplifiers for the Standard Cinema Point installations to achieve consistent sound, performance and reliability in every venue. “By standardizing the equipment we’re using, we know we can depend on a high level of audio quality and dependable day-to-day operation no matter where the theaters are located,” Chris Bae, Managing Director of Kinoton Korea, Inc.

The JRX125 incorporates features including dual 15-inch woofers with large 2.5-inch (64mm) edgewound ribbon voice coils, titanium-diaphragm compression high-frequency drivers and high-voltage crossover components to ensure exceptional performance under the most demanding conditions of day-to-day use. Crown’s DSi Series amplifiers are specifically designed to meet the needs of cinema applications and feature onboard digital signal processing including crossovers, EQ filters, delay and output limiting to deliver exceptional sound quality.

Cinema of Sound and Kinoton Korea are contracted to build 50 more Standard Cinema Point theaters in the remainder of 2013, bringing the total of theaters in Mongolia to 70. Theaters are currently installed in capital city Ulaanbaatar and in locations throughout the country.

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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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Composer PJ Hanke Scores With Dangerous Music

Composer/Producer believes in the analog advantages of Dangerous Music gear —

Composer PJ Hanke in his studio with the Dangerous Music 2-Bus, Monitor and MQ

Composer PJ Hanke in his studio with the Dangerous Music 2-Bus, Monitor and MQ

Edmeston, NY – October 29, 2013 – Almost ten years ago, composer and producer PJ Hanke realized that ‘in-the-box’ mixes from his personal composing studio just didn’t have the quality of previous projects he had completed on large format analog consoles in his past work. His search for a solution led him to purchase the Dangerous 2-Bus analog summing mixer, the Dangerous Monitor and the Dangerous MQ to get him back to the sound he liked and remembered. “For nearly a decade, my studio setup of 2-Bus, MQ, and Monitor has allowed me to treat my Pro Tools HD rig like an analog setup with a proper mixing desk,” says Hanke. “The Dangerous Music gear is fantastic.”

A search for an analog summing device is how Hanke found Dangerous Music, “I had come up as a young composer working with large format consoles and 2-inch tape machines and when I came out to LA to collaborate with Hans Zimmer at Media Ventures, I had the opportunity to put a new studio and a new rig together. I wanted to make sure that what came out of my writing room would be mixes that could be distributed or would go right to mastering, and I’d never felt like ‘in-the-box’ mixing sounded like.”

“I was researching the idea of summing and I discovered Dangerous Music, so I invested in the Dangerous 2-Bus, the Dangerous MQ, and the Dangerous Monitor system,” recalls Hanke. “As soon as I started working with the Dangerous 2-Bus I could immediately tell the bottom end of my mixes was tighter. It did things that I was used to hearing in analog recordings. I felt like the depth of the music was much clearer too. And I think the most obvious thing was the stereo field just moved out to the left and the right when I was mixing through the 2-Bus, versus just doing a straight stereo bounce-to-disk in my computer.”

“I really wanted a monitoring section so I could snap back and forth from what I was hearing on input, such as virtual instruments, and also listen to my work after being digitally recorded as though you would between the repro and record heads on a tape machine,” adds Hanke. “I am able to do that on the analog side of the Dangerous Monitor system. And to have the stepped volume control was a big deal for me because I like to write and listen to things at the same levels to hear the current mix reacting in the room in the same way day after day”

Hanke chose the MQ for several reasons, “Because I record live in the studio, I wanted to make sure I had good sounding and powerful headphone feeds to the musicians and artists, and I wanted VU meters that I could see at a glance, that’s what the MQ gave me.”

Working in areas of music creation from composing for movies, TV and commercials, to pop music, with the Dangerous 2-Bus Hanke is able to use analog techniques he was used to, “In a pop application, I’ll mono things up just like I would on a large format desk.” Recently one of those pop projects Hanke co-wrote, produced and recorded on, “The Sirens” by recording artist Holly Conlan, featured one of his tracks as a chosen single – it was produced and recorded at his studio using the Dangerous Music setup.

On the movie side of his composing work, Hanke gets musicians into his studio to record as well, “We’ll do a lot of live recording before I score the movie. On certain projects I might compose pre-records and write to an imaginary scene, per the director’s notes and the script notes. We’ll record those tracks that will be played back on set and then I help direct those scenes as the musical director. When they edit the movie, we revise the music if needed and then I score the movie. That’s also why I like the Dangerous Music gear, because I’m not just writing in a rig and sending it off to a dub stage, there’s a lot of live music recording that’s done through the Dangerous gear here in my room.”

“I’ve built a number of rigs over the years around different Pro Tools systems and Apple Logic systems, using various digital interfaces, and they all sound fantastic through Dangerous Music gear, it’s the common thread. These three pieces of Dangerous gear are nearing 10 years in my control room and none of it is going anywhere. I’ve been a Dangerous user since 2004 and love their stuff.”

Hanke is currently providing scores for TF1 Television in France and scoring advertising through his commercial production company, Sovereign. Recent movies include the jazz-inflected drama “Notes from Dad” and the upcoming romantic comedy, “Cupid’s Bed & Breakfast.” Before attending Northwestern University to study composition, he was already playing B3 organ with Ray Charles at 16 years old. Since then he’s done commercial advertising for Nike, Coca Cola, Apple Computer and BMW, and sung on stage with Frank Sinatra. In 1997 he was invited to join Media Ventures/Remote Control as a composer in-residence for Hans Zimmer, where he contributed to classic movies such as “The Thin Red Line,” “The Prince of Egypt” and “As Good As It Gets.” Today Hanke has completed more than 1,000 scores for film, TV and commercials and collaborated with many directors including Jason Reitman, David Fincher and Robert Altman.

Find out more about PJ Hanke at: and http://www.sovereignla.com/
And see further credits at IMDB: http://www.imdb.com/name/nm0359948/

About Dangerous Music
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor, Dangerous Source and Dangerous Bax EQ.

For more information on Dangerous Music visit http://www.dangerousmusic.com phone 607-965-8011 or email: info@dangerousmusic.com

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

Israel’s Channel 10 Commits To HARMAN Studer Vista 9 Amidst Major Relocation

JERUSALEM, Israel – Channel 10, the third-largest TV studio in Israel, recently acquired a HARMAN Studer Vista 9 digital console from Kilim Electronics, Studer’s Israeli distributor. This upgrade in broadcasting equipment was justified by the studio’s relocation from Tel Aviv to Jerusalem, due to government regulation.

As the producers and technicians of Channel 10 were eager to convert from its old analog format to digital, they weighed many factors in choosing the best brand for their new sound setup. On both technical and financial levels, Studer came out on top, presenting its flagship Vista 9 console as the ideal solution for the new studio.

Besides its reliability and affordable price range, Studer offers unique advantages that include the reassurance of back-up, as well as technical support from the 63 year old broadcast specialists, led by MD Meir Kilim. Yaron Heizler, head of sound for JCS Studios (host of Channel 10) oversaw the integration of the Vista 9.

“Another asset which convinced the studio’s technicians was VistaMix,” said Kilim. “They were immediately impressed by this function, and it worked wonders in terms of increasing the clarity of our broadcasts.”

VistaMix was designed to clean up the mix of unscripted broadcasts such as multi-participant talk shows. Since programs of this nature inherently suffer from both microphone spill and background noise, VistaMix intelligently increases the mic gain on the active speaker almost instantly, while reducing that of the inactive ones. This solves the problem and creates a balanced mix.

“We also favored the Vistonics™ interface over any other UI we have tried in the past, since it is so quick and easy to operate,” Kilim added. “It is also very easy to understand, which is critical due to our high technician swap rates. Most of them have only operated analogue consoles until now.”

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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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