Archive of the Studio News Category

NUAGE Road Tour and Nuendo Masterclass at RSPE Audio Solutions

BUENA PARK, Calif.—A Yamaha NUAGE Demo and Nuendo Masterclass will be held by top Yamaha Commercial Audio Systems and Steinberg engineers and hosted by RSPE Audio Solutions on Tuesday, August 5, 2014 from 7:00 PM to 9:00 PM at 4130 Cahuenga Blvd. #210, Universal City, CA. The event is free of charge.

A joint collaboration between Yamaha and Steinberg, the NUAGE Advanced Production System is the brainchild of workflow efficient hardware and Nuendo 6 software operating together in perfect harmony. Offering unprecedented productivity and flexibility as well as premium audio quality in an innovative design, NUAGE is making waves across the world.

David Lees and Marcel Mauceri from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system along with a Nuendo masterclass presented by Steinberg’s Greg Ondo discussing the latest news, tips and tricks in Nuendo. Plus get hands on with Yamaha’s Nuage, the dedicated, scalable, DAW control surface/recording mixer for Nuendo.

Spots are limited so registration is required at: https://www.eventbrite.com/register?orderid=321450975521&client_token=a2951db3596148c782f325bc5a917688&eid=11858933389

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Ethan Mates Upgrades His Personal Studio with SSL Matrix

“Bottom line is, I can get stuff out of my room now that’s big-studio quality…that, to me, is the biggest thing”

LOS ANGELES – Solid State Logic is proud to announce that mixer, engineer and producer Ethan Mates has entrusted the SSL Matrix to deliver big-room results in his newly relocated purpose-built private studio. Mates has been using SSL equipment since the early 1990s, when he meticulously sliced and diced composite vocals in 4000G+ rooms for the biggest pop divas of our time, under the tutelage of Ric Wake in New York. A few decades and a cross-country trek to Los Angeles later, he’s had the pleasure of recording and mixing for acts like Tupac Shakur, Korn, Red Hot Chili Peppers, Stone Temple Pilots, The Doors and many more. Threading much of this, Mates has also been an indispensable production member of nu-metal/rapcore outfit Linkin Park. For the group’s sixth studio album, The Hunting Party (2014, Warner Bros/Machine Shop), Mates recorded much of the material at Larrabee’s new Studio 4 on its classic 4000G, with Andy Wallace handling mix duties in their 9080K room. Meanwhile, Mates was looking for just the right console to tie his home facility together. He chose the SSL Matrix SuperAnalogue™ console to deliver the classic analogue SSL sound and flexibility he’d come to demand.

“I’ve always had some kind of studio at home, but I’ve never really mixed there – just tons of editing, production, programming, and writing for film and things like that,” says Mates. “I didn’t want to be completely in-the-box anymore. In searching for my console, I knew I wanted to have an SSL stereo bus, so that I would be summing through an SSL. That was imperative to me. Matrix just seemed like the obvious choice. The first couple of projects I mixed on the Matrix were smaller, more organic sounding, and I ended up taking it as a challenge to mix them the way that I used to do — rough mixes and just mixed it all by hand. I’m still learning things like A-FADA mode, but it was a really cool experiment…and a lot of fun. I really like having the routing capabilities of Matrix and the dedicated tactile monitor section. The big green button for flipping between analogue and Pro Tools® control is awesome. It makes a huge difference to my hybrid workflow! Plus, I totally love having 40 inputs on mix down, should I need them, and I have the Matrix effects returns all filled up with Pro Tools outputs. So, it’s just a really nice package for what I need.”

Mates recalls the first time hearing Matrix summing in action, saying it took him back to the 9K series. “You know, how SSLs have that familiar kind of mid-range area. Well, I just put up some stuff through the 2-mix, that I knew what it sounds like at the studio and was like, yeah, this sounds like SSL, this sounds totally familiar to me. Nothing exaggerated and nothing new, just familiar. I totally feel like I’m working on an SSL console with Matrix. The summing just lends this beautiful, collective, cohesive distortion. You know, one of my main problems – and that of all engineers, I think – inside the box has not always been the sound of individual channels, but rather summing through master faders. That’s when things start to fold and not be as big and cool anymore. The more you can spread out the mix and have it in the analogue domain, just so that it has that extra headroom to breathe, the better. With Matrix, that classic clean wide-open SSL sweet spot is clearly there. That’s the key to the whole thing for me.”

With a regained trust in his private studio, Mates views Matrix as both a wise music choice and great business decision. “I’d say maybe one out of every six clients that I have has the budget for me to sit in a huge room for $1,200 a day mixing,” he adds. “It’s just reality. So, if I’m not going to be in a huge studio, or I don’t want to pay $2,000 a month in air conditioning and electrical bills to have a G in my room, this to me is the best possible solution. Even if I’m just doing rough mixes or programming and I need to send somebody something, just being able to have the kind of quality that translates to other SSL studios all the time – it’s very important. So much of having skills as a mixer, producer or whatever is about having a foundation that you can work off, where there are just certain things that you know are right and sound right! When you’re mixing in-the-box, you’re constantly second-guessing your decisions. Having something like Matrix, where it sounds immediately familiar and I know how hard I can hit the bus and I know what the gain staging is going to be like, it just really makes you feel at ease and not have to worry about it at all.”

More about Ethan Mates: www.ethanmates.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Studio Trilogy Engineer Rebounds After Serious Bicycle Accident

Willie Samuels Back for Sessions with Punk Band Enemy You

Pictured (L-R) at Studio Trilogy are recording engineer Willie Samuels and Enemy You members David Jones, Ken Yamazaki, Luke Ray, and Chris Matulich.

San Francisco, CA — On the evening of Father’s Day, June 15, Studio Trilogy recording engineer Willie Samuels was found unconscious on the side of the road, presumably after being hit by a car while on his bicycle. Determined to finish a project with the punk band Enemy You, Samuels was back in the studio for sessions two weeks later on June 29.

“It’s really a mystery what happened,” says Samuels. “A good samaritan found me unconscious and I have no recollection of the accident or the following few days.” With a major concussion, his forearm broken in half and his left hand nearly separated from his arm, Samuels spent the next ten days in the hospital. After five surgical procedures, he refers to himself as “a man of steel.”

Enemy You was formed in 1997, and Samuels first worked with the band in 2003 for the album “Stories Never Told” on the Red Scare label. The project was tracked and mixed at Samuels’ Nu-Tone studio in Pittsburg, CA. The Enemy You lineup is David Jones, lead vocals, guitar; Ken Yamazaki, guitar; Luke Ray, drums; and Chris Matulich, bass guitar.

Ten years later, the label asked Enemy You to record a new song for their ten year anniversary compilation. “Initially we weren’t sure if we were going to be able to pull it off,” commented guitarist Ken Yamazaki. “It had been over ten years since we last played together, but we got together and started working on a demo at home.”

“It was a blast working with this band in the past,” said Samuels. “I was thrilled when they contacted me for their new project. I assured the band I’d be out of the hospital and ready to go because I’ve always prided myself in not canceling or rescheduling sessions,” said Samuels. “I was released from the hospital on June 25 and we were in the studio on the 29th.”

“I was a bit worried that Willie would be in pain or be uncomfortable after the serious injuries,” said Yamazaki. “I was wrong. He was fast and didn’t miss a beat. Studio Trilogy was beautiful and relaxing. The session went smoothly, Willie was awesome and all of us were happy.”

Samuels acknowledges much help from Trilogy assistant engineer Noah Kileen and the studio’s interns. “I soon realized it wasn’t easy to setup or move microphones with one arm, but we had a cool time and it was a great reunion with the band.”

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

NASHVILLE’S HISTORIC SOUND EMPORIUM STUDIOS INSTALLS AN API LEGACY PLUS

NASHVILLE, TENNESSEE – JULY 2014: Sound Emporium Studios is a go-to destination for artists including Willie Nelson, Kenny Chesney, and Alison Krauss, not to mention major projects by T-Bone Burnett. The facilities, built by “Cowboy” Jack Clement in 1969, are the birthplace of legendary recordings including Kenny Rogers’ The Gambler, REM’s Document, Sammy Davis Jr.’s final album, as well as Taylor Swift’s first. To meet the growing needs of its diverse clients, Sound Emporium consulted Rob Dennis at API reseller Rack-N-Roll, who directed the studio towards a 48-channel Legacy Plus console.

“Our clients have long requested an API in that room,” said studio manager, Juanita Copeland. “The flexibility, build and sonic quality, along with the reputation of API made it an easy decision. It just brings together a lot of great API sonic solutions into one user-friendly package. Having the 2500 bus compressor is the icing on the cake.” Copeland also mentioned having 48 inputs, 48 returns, and 12 aux inputs is a huge improvement to the studio’s former setup. The room can also be used for mixing now thanks to the Uptown 2 automation.

Since commissioning the console early this summer, it’s been used for tracking, overdubs, and some mixing. The Legacy Plus is already booked for major clients in the coming months, including one of the top 100 guitar players of all time, and a critically-acclaimed alternative country artist. Recordings for the hit ABC show Nashville are also booked for when filming resumes this month, as well as several rock projects later in the year. “We are just thrilled to finally have such an amazing console in that historic room!” adds Copeland.

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

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SUMMER PRICING ON NEW ATC SCM20PSL MONITORS

LAS VEGAS, NEVADA – JULY 2014: TransAudio Group, U.S. distributors for ATC UK, announces special introductory pricing on the ATC SCM20PSL MkII near-field reference monitor. The passive ATC SCM20PSL MkII improves upon the previous ATC six-inch, two-way passive and is ATC’s smallest and least expensive monitor in the ATC Professional line up. Built to the same exacting standards as its active pro range siblings, the SCM20PSL MkII is ideal for those already using passives but seeking a new level of resolution in a compact passive package. Purchases made before September 1, 2014 benefit from the reduced price of $2,990 per pair. After that, the price rises to a (still very reasonable) $3,490 per pair.

“ATC is well-known for designing and building studio monitors that are unflinchingly truthful and that help engineers deliver mixes that translate everywhere,” said Brad Lunde, president of TransAudio Group. “ATC founder, Billy Woodman, and his team of R&D engineers never tire in the pursuit of perfection, and our request for a smaller monitor has led them to develop the SCM20PSL Pro MkII. We’re offering the special introductory pricing to both celebrate and motivate.”

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

The ATC SCM20 PSL Monitors are now shipping.
MSPR: Now until September 1st – $2,990.00 pair • After September 1st – $3,490.00 pair.

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ZONA RECORDING STUDIOS ADDS API’s THE BOX

LONG ISLAND, NEW YORK – JULY 2014: Recording engineer John Zona works with much of the talent in the artistic-rich area of Huntington, New York through Zona Recording Studios. While currently running the studio around his full-time gig of pin striping motorcycles, he is transitioning his time mixing and recording from a hobby to a full-scale operation. As part of that transition, Zona has added API’s THE BOX to help bring enthusiasm and excellence to clients, ensuring they’ll come back and refer others.

“I am very pleased with my decision to purchase THE BOX,” recalls Zona. “After shopping around, doing research, and even demo-ing the board at the API headquarters in Maryland, it became clear API was the way to go. I am very impressed with the quality of the EQs, mic pre’s, as well as the reputation, construction, and warranty of the board.”

Zona, who is also an accomplished drummer, bass guitarist and composer, is presently taking the final steps in reconfiguring and wiring his updated studio space. While doing that, he’s using THE BOX to re-mix music he’s previously recorded. “I am getting results I had not even anticipated,” shares Zona. “I look forward to being an API customer for years to come.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

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Artspace Studio Buys a Prism Sound Titan Audio Interface

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.
“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed! I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”
Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.
“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”
Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.
Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.
“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.
Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”
For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.
“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”
Gillieron has recently remixed PHORIA and his re-mix can be heard at this link: https://soundcloud.com/phoriamusic/emanate-tom-gillieron-remix
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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 company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com

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Rui Da Silva invests in a Prism Sound Lyra 2 Audio Interface

Rui Da Silva, writer of international number one single Touch Me amongst many other diverse projects, describes himself as a Producer, Engineer, Beatmaker, Remixer, Writer, DJ and Programmer. He can now add Lyra 2 owner to the list as well, having recently bought one of the audio interface units from Prism Sound.
“I first heard about Prism Sound’s Lyra 2 through a magazine article,” he says. “I’ve been a longtime user of the company’s Orpheus audio interface and have also used the Dream AD-2 converter in the past. The Lyra 2 integrates perfectly in my new setup. Studio space is at a premium and while I still use the Orpheus in my studio in Windsor, Lyra 2 is the right fit for my central London studio and for travelling work. It has sufficient inputs and outputs to be able to run most of my sessions and has a small enough footprint for me to just put it in my backpack.”
For Da Silva, this makes Lyra 2 a ubiquitous tool in his kitbag. He not only used the unit to write, record and mix all of the debut album from Lisbon Kid, but also to record Chloe Howl and much of his latest solo productions and remixes.
“In fact, you can hear it on every single release I have put out in this past year,” he says.
The Lyra family of audio interfaces is proving to be an extremely popular one for Prism Sound. Built from a design brief that demanded Prism Sound quality at an even more accessible price point, Lyra has the same no-compromise analogue front and back ends as its bigger brother Orpheus, with the same fully-balanced-throughout architecture and the same isolation barriers protecting the analogue from digital and computer interference. And it achieves all this in a 2.1kg, 2/3 width, 1U 19in rack mountable unit.
“It has also allowed me to not have a mixer in the studio as I use the Lyra Control Panel instead,” comments Da Silva. “And it allows me to give a separate headphone feed to the singers when we are doing vocals. The latency — even if it is not an absolute zero — is very workable for almost every scenario.”
Da Silva adds that Prism Sound support has been brilliant and staff are ‘a pleasure to deal with’. But it’s the Lyra 2′s portability along with that ‘Prism Sound’ that is the real advantage for him.
“I have to make a long trip to Portugal this year to record some new material for Lisbon Kid and, of course, the Lyra 2 will be in the bag with me,” he says.
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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 company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.
For more information: www.prismsound.com

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“Weird Al” Yankovic Has “Mandatory Fun” at Bedrock.LA

New TELEFUNKEN C12 Mic For Hit Parodies and New Originals

Pictured with a TELEFUNKEN C12 microphone at Bedrock.LA are (L-R) "Weird Al" Yankovic, Bedrock.LA partners KamranV and Phil Feinman, recording engineer Brian Warwick, and studio manager Eric Rennaker. Photo by David Goggin.

“Weird Al” Yankovic returns July 15 with “Mandatory Fun,” his 14th studio album and first since 2011′s “Alpocalypse.” The reigning King of Pop Parody chose to work at Bedrock.LA studios in Echo Park, the new creative heart of Los Angeles music, art and culture.

“This was my first visit to Bedrock,” Yankovic said. “I was impressed by how enormous it is — over a hundred rooms. It’s really a wonderful experience to be here where there’s so much art going on, so many musicians, so many people rehearsing, recording.”

Few would have guessed that “Weird Al” Yankovic, who as a shy, accordion-playing teenager got his start sending in homemade tapes to the Dr. Demento Radio Show, would go on to become the biggest-selling comedy recording artist in history with over 12 million album sales. Now in his fourth career decade, he has won 3 Grammys (with 14 nominations) and countless awards and accolades for Weird Al classics like “Eat It,” “Like a Surgeon,” “Fat,” “Smells Like Nirvana,” “Amish Paradise” and “The Saga Begins.” His 2011 album Alpocalypse (featuring the Lady Gaga parody “Perform This Way”) debuted in the Billboard Top 10, and was nominated for two Grammy Awards (Best Comedy Album and Best Short Form Video).

“Bedrock has been so accommodating,” commented Al’s recording engineer Brian Warwick. “It’s got a great vibe, like working in an old studio where you constantly have people around, where there’s always something happening. Al and I were walking around here late one night, just trying to find out who was playing the interesting music we were hearing. In a lot of the bigger studios these days, they shut down late at night, but here it’s still really, really active. And everything we’ve recorded sounds great. This room in particular is really well designed for doing vocals and overdubs.”

The “new Mandatory Fun” album features parodies of some of the biggest hits of the past year, including Pharrell Williams’ “Happy” (“Tacky”), Robin Thicke’s “Blurred Lines” (“Word Crimes”), Lorde’s “Royals” (“Foil”), Iggy Azalea’s “Fancy” (“Handy”) and Imagine Dragons’ “Radioactive” (“Inactive”). The album also features several inspired originals and pastiches (“Lame Claim to Fame,” “Sports Song,” “My Own Eyes,” “Mission Statement,” “First World Problems” and “Jackson Park Express”) along with Al’s latest accordion-fueled medley, “NOW That’s What I Call Polka!”

"Weird Al" Yankovic is seen outside Bedrock.LA's 12,000 square foot mural by the art duo Cyrcle with a TELEFUNKEN custom red, white and blue M80 dynamic microphone. "There is just nothing like the natural reverb in Echo Park," he quipped. Photo by David Goggin.

For the vocal sessions at Bedrock.LA, Yankovic chose a new TELEFUNKEN C12 large diaphragm condenser microphone. “This mic is great, with all the characteristics of the classic C12,” Warwick continued. “If anything, I feel a little more secure using this one versus a vintage C12, because you never quite know the age of the tube. You don’t know when the last time the capsule was redone or if you have the right power supply. With a beautiful new C12, it just gives you a little more confidence when you walk into the studio.”

Al added, “The equipment at Bedrock is state of the art, and the studio just feels like home. I’ve been in situations before where I felt like I was in the middle of nowhere and sequestered away. That’s another way to work, but I prefer to be around creative people and feel like I’m part of a community.”

Further in the spirit of Mandatory Fun’s bid for world domination, beginning July 14th Al began releasing 8 music videos in 8 days. Yankovic’s production partners for the world premiere videos include Nerdist Industries, College Humor, Yahoo, Funny or Die and TruScribe, as well as talented auteurs like Liam Lynch, Jarrett Heather and Tim Thompson.

Weird Al, along with his band of over three decades, has performed thousands of live rock and comedy multimedia shows throughout the world, and will be back on the road in 2015 for The Mandatory Tour.

Check out “Mandatory Fun”:
http://www.weirdal.com

Learn more about TELEFUNKEN Elektroakustik at:
http://www.telefunken-elektroakustik.com/

Learn more about Bedrock.LA: http://Bedrock.LA

Music Students Step Up To CAD Headphones

Understanding the need for professional equipment when learning how to play and record musical instruments and vocals, CAD Audio recently donated a number of MH510 studio headphones to music students in Cincinnati, Ohio.

Aaron O’Keefe, a private music instructor and owner/co-owner of the Loveland, Maineville and Lebanon music academies, describes how his students got involved with CAD.

“Carmen Mark ‘Squiggy’ DiGiacomo of the MAD Consulting Group contacted us about the manufacturer’s tent at the Rock On The Range Festival in Columbus where music product and audio manufacturers demonstrate their products. CAD Audio was one of those companies and they were good enough to donate a number of their professional headphones to our music school programs.”

Aaron’s students typically range from age six to 16 and he personally teaches piano, guitar, voice, drums, bass, double bass, vibraphone, mandolin and ukulele, to name a few. “We’ll usually take a song like ‘Heart Shaped Box’ by Nirvana or ‘Sober’ by Tool,” he explains. “I’ll teach the song individually to my drum, guitar, bass player and voice students, we’ll put them together in a band, rehearse the song, then actually record and videotape the final performance.

“These CAD headphones are going to be used in countless studio recordings, Aaron continues, “because too often, the kids have cheap, walkman-style phones that don’t do the job. The Sessions MH510s are perfect for the studio because they have a closed-back design and there isn’t any bleed through into the microphones, which is really important. Plus the audio quality is exceptional. We’re using them extensively for tracking and overdubs, which is great because they’ll eventually appear in our videos. They’re the best headphones we’ve ever used.”

Knowing that his students’ version of Tool’s “46 and 2” bit.ly/1rbMKFv on YouTube has had well over six million, four hundred thousand views to this point, appearing in their videos has added significance for supporting manufacturers such as Zildjian, Jackson, ESP, Dunlop, Kramer and CAD Audio.

Describing the adventure of taking young music students to a night out at Rock on the Range, Aaron concludes, “Guns ‘N’ Roses was headlining and the kids got to meet members of Killswitch Engage, Asking Alexandria and Matt Pinfield of MTV.
“Taking eight kids to a Metal show was a little stressful because I had a nine, ten and a few fifteen year olds and I didn’t have any other chaperones which was crazy. But it worked out fine, the kids got equipment, met their heroes and the nine year old, Eva, called it ‘the best trip ever.’”

For more information about CAD Audio, please call 800.762.9266 or visit www.cadaudio.com.

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