Archive of the Studio News Category
WEST LONDON, U.K. – MARCH 2014: Matt Colton has been mastering albums for fifteen years. He continues to build on his growing reputation, mastering for the likes of Coldplay, James Blake, Gary Numan, and Metronomy, and his work recently earned him the title of “Mastering Engineer of the Year” from the Music Producers Guild. He has worked at several of London’s most esteemed mastering houses, including Porky’s Mastering, Optimum Mastering, AIR Studios, and Alchemy Mastering, the last of which he recently re-launched with original owners Barry Grint and Phil Kinrade. To maintain his edge, Colton installed a pair of ATC SCM150ASL PRO 3-way active loudspeakers in his critical listening room at the new Alchemy Mastering in West London.
For Colton, there’s more to mastering than simply having access to the latest and greatest ear-bending analog and digital signal processing technologies. “The things that are really important are the acoustics, speakers, amps, convertors, and power supplies, along with the wiring that connects them all together – everything that affects the sound in the room,” he said. “You cannot get around that. So I would rather have a great-sounding room and a workstation with a couple of plug-ins than every piece of hardware ever made and a poor-sounding room, because, no matter how much you say you understand the room, we all react to what’s coming out of the speakers and make our judgments based on how it sounds in the room. If the room is too bassy then the recording is going to be bass light, even if we know the room is too bassy.”
Fundamental to Colton’s current way of working is a pair of ATC SCM150ASL PRO 3-way active loudspeakers. “Having worked at AIR on a really lovely pair of hi-fi speakers, I felt I wanted to go back to studio monitoring and have something that maybe sounded a bit less polished in terms of the actual sound that’s coming out of the speaker,” he said. “So I’m working on a pair of SCM150ASL PROs. I’d previously worked on a pair of SCM200s many years ago, which I loved.”
An unconventional demonstration convinced Colton that the SCM150ASL PRO patently met his critical listening criteria: “I did a lecture at Westminster University in Harrow to over one-hundred people in a really big lecture hall with a massive ceiling height of fifty feet or so. Ben Lilly of ATC brought along a pair of SCM150s and I played some James Blake records with really low sub-bass – down at around 35Hz – and they just sounded glorious. It was a wonderful experience to hear those records played in that room only on a pair of speakers. So, on that basis, I’ve got the 150s in my mastering room – sadly, not quite as big as that lecture hall!”
With well-honed listening skills, Colton is perfectly positioned to provide honest insight into the SCM150ASL PRO in action at Alchemy Mastering. “They’re a direct and honest pair of speakers,” he said. “If the mix sounds good, then it sounds good here; if it doesn’t, then it doesn’t. There’s no flattery on the part of the speakers, though they’re wonderful to listen to when you get it right. I’ve really enjoying working on them.”
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
MEMPHIS, TENNESSEE: A 48-channel API Vision console has had a large impact on the fortunes of Ward Archer and his enterprise, Music+Arts Studio. Twenty-five years ago, Archer closed a chapter of his life at the helm of an ad agency to found Archer Records. Six years later, he opened the David Cherry/George Augspurger-designed studio to cater to the label’s artists and has not looked back since.
Music+Arts Studio launched with a 48-channel, discrete, all-analog, surround-sound API Vision console, and prominent members of Memphis’ indie film scene became regular clients over the following years. Like a locomotive building momentum, Music+Arts Studio is currently attracting more and more film work from an expanding geographical base. The ratio of film-related to pure music projects is creeping up on 50:50 thanks, in part, to the API Vision.
“These days, I’m comfortable saying that we have a lot of experience with sound for picture, but that’s owing to some clients that rolled the dice with us in the beginning,” said Archer. “One of our earliest and greatest successes was The Gospel According to Jazz Chapter III, which was recorded live at Reid Temple in Maryland. We took those tracks – which sounded amazing from the moment we pulled them up on the API Vision – and mixed them for stereo and 5.1 [which the Vision is designed to do simultaneously]. The Vision has a transparency and an airiness on the top end that just sounds gorgeous.” The track “It’s What I Do” won a Grammy for Best Gospel Song.
In addition to the API Vision and a killer live room, Music+Arts Studio has catered to its client base by adding an eight-foot Stewart Filmscreen and high-definition projector for film mixing. “It’s a nice, cinematic experience for the director or music supervisor,” said Archer. “We’ll even crank up the [5.1 PMC] monitoring system a bit for the full effect.” The scope of Music+Arts Studio’s film work ranges tremendously, from ADR to scoring to mixing. For example, all of the score recording for the Matthew McConaughey-led drama, Mud, were recorded using the warm analog sound that the API Vision’s circuitry provided. Other projects include the indie film, Cigarette Girl, and mini-series, Headshop.
Despite the film industry windfall, Music+Arts Studio still enjoys tackling strictly-music projects for artists on the Archer Records roster. Recently, Amy LaVere completed Stranger Me, her fourth studio album on Archer Records. Studio manager and engineer Daniel Lynn assisted the project’s producer and engineer Craig Silvey, who had just finished mixing Arcade Fire’s Grammy-winning release, The Suburbs. “Silvey loved the Vision,” said Lynn. “I remember that there was one point during the mixing where we wanted to do some complicated bussing, and it wasn’t immediately apparent how to do it. I called API and got someone on the phone right away. Craig was impressed that we had that kind of rapport!”
ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.
(PHOTO CAPTION) Music+Arts Studio Manager/Engineer Daniel Lynn (right) pictured with Colin Hay (Men at Work) during a recent session.
How do the pros do it? What makes great gear great? How is that hit sound achieved? What does it take to become a successful and in demand audio engineer?
These are just some of the questions that Prism Sound will set out to answer when it takes its hugely popular Mic to Monitor series of free seminars and workshops to the USA for a five date tour.
Targeted at music production students, hobbyists and professionals, Mic to Monitor aims to dispel the many myths surrounding the recording process. In conjunction with SADiE and PMC, Prism Sound will be hosting events at SAE Atlanta (March 19th); Full Sail, Orlando (March 21st); the Winter Music Conference, Miami (two days on March 24th and 25th) and the University of Miami (March 26th).
Each seminar features presentations from recording professionals who will answer audience questions on recording techniques. There will also be the opportunity to demo equipment and win recording equipment. The Mic to Monitor event in Orlando will also be webcast live for those who want to be part of the experience but can’t get along in person. To register, please contact firstname.lastname@example.org
Chris Allen, Prism Sound’s SalesExecutive and Support Engineer, says: “Our Mic to Monitor tours are always well received because they give those attending the opportunity to learn tips, tricks and technical know-how directly from top producers and engineers. Our guest speakers are always willing to share their knowledge and to back up their examples with original material from their own studios and projects.”
Guest speakers for Mic to Monitor USA 2014 include Edward J “UK” Nixon of the Grammy Award winning J.U.S.T.I.C.E. League, and multi-Grammy Award winning producer Dwayne ‘Supa Dups’ Chin-Quee.
Edward J “UK” Nixon, who presents the seminars in Atlanta and Orlando, will give an insight into his unique story No Secrets, the rise of his career from early beginnings in the idyllic Lake District in the English countryside to becoming one of the most globally respected engineers of today. Edward will also demonstrate his approach to the workflow, mixing style and processes which earned him his title as Chief Engineer of the production super-group, The J.U.S.T.I.C.E. League (Sir Paul McCartney, Nas, Mary J. Blige, Rick Ross & Drake).
Multi-Grammy award winning Producer and DJ Dwayne ‘Supa Dups’ Chin-Quee, who presents the Miami sessions, will share his knowledge under the heading That Perfect Mix. His production experience is legendary and has resulted in over 25 million record sales to date for his work with Eminem, Drake, Bruno Mars, John Legend, Mary J Blige, Snoop Dogg (aka Snoop Lion), Akon, Rihanna and many more.
As well as guest presenters, Prism Sound’s Mic To Monitor sessions will also feature talks from top British pro audio equipment manufacturers Prism Sound, PMC and SADiE. These will cover hardware design and optimizing your studio setup, converter design and clocking, and speakers and acoustics. Professional mastering will also be discussed, with the chance to have questions answered first hand from leading designers and makers of high-end professional audio products.
Places on Prism Sound’s Mic To Monitor Tour USA are limited and are allocated on a first come, first served basis. Anyone registering and attending will have an opportunity to win prizes from Prism Sound, PMC and SADiE.
To register your interest, please visit the relevant link:
Mic to Monitor USA Tour 2014 ATLANTA
Mic to Monitor USA Tour 2014 UNIVERSITY OF MIAMI
Mic to Monitor USA Tour 2014 WMC MIAMI
Mic to Monitor USA Tour 2014 ORLANDO
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
AAX64 Support, New Features and a 33% Promotion Discount
Audiotech Digital Ltd has announced the release of the new Penteo 4 Pro plug-in that discretely converts stereo to 5.1, offering exacting control over sound image placement to create high-quality, sonic-free and natural-sounding surround.
Penteo 4 Pro is 100-percent ITU down-mix compatible to the original stereo. The plug-in features an intuitive visual interface modeled after vintage gear, and offers six automated preset modes as well as advanced manual controls for fine-tuning.
Mike Minkler, multiple Oscar-winning re-recording mixer at TODD-SOUNDELUX, explained, “I’ve used Penteo on almost every project for five years now, such as Django Unchained, Twilight Saga, and Inglourious Basterds. The new plug-in really shines. With a flick of a switch I can take a two-channel mix and get a quality 5.1 mix, which is a huge asset in these budget-conscious times, especially when independent films just can’t afford more than a stereo source for me to work with.”
Native AAX64 Support
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. As a result, Penteo 4 Pro AAX64 uses 52% less CPU processing power thereby allowing a sound designer more flexibility to simultaneously use more tracks in a mix than ever before.
“Penteo produces such a warm surround mix, and we are thrilled that now Penteo supports Avid’s AAX64 format,” said Ed Gray, Director, Avid Partnering Programs. “Now sound designers will benefit by being able to run more instances and tap all the new features of ProTools 11.”
* Touch Screen Controls – In addition to mouse operated controls, Penteo 4 Pro is the first up-mixer to support multi-touch controls. Mixing is not a linear, sequential process — Penteo’s unique multi-touch interface allows a sound designer to control more than one Penteo feature at once, thereby creating a natural mixing experience through simple hand contact. Penteo 4 Pro is the world’s first multi-touch plug-in designed for use with the Raven MTX Surround console.
* Pro Tools Automation Keyboard Shortcuts for all parameters – Quickly add and select parameters for automation using standard control/alt/cmd shortcuts.
* Usage Preferences – With choice of circular or vertical knob drag usage options, a sound designer can select the most natural feeling knob movement for mouse or multi-touch.
* New bypass channel routing – Stereo bypass channels now routes to the ProTools channel output standard.
Special Promotion Pricing
To celebrate Penteo’s AAX release, from March 4 to April 16th, 2014, new purchases of any format of Penteo will receive 33% off the purchase price. Free trials are available here:
Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is the exclusive U.S. distributor of this new plug-in. Penteo 4 Pro will be available beginning March 4, 2014 online at www.GuitarCenter.com, with demos available at multiple GC Pro locations.
About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro is the warmest and best sounding stereo-to-surround up-mixer, because only Penteo remains faithful to the original stereo mix; no artificial sound manipulation is used. The result is that the Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, the most crisp and discrete center-channel available, and only Penteo is 100% ITU down-mix compatible to the original stereo. Through its comprehensive controls, automation settings and advanced low-frequency management, Penteo 4 Pro provides the ultimate mixer experience. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. ADL specializes in the development and marketing of high-quality digital audio software applications.
Discover the world of Penteo at http://www.perfectsurround.com
Two-City National Debut at Vintage King a Huge Success
Pictured at the Avid S6 launch in LA are (L-R) Jeffrey Ehrenberg, Vintage King West Coast Sales Manager; Richard McKernan, Professional Console Sales Manager; Tom Graham, Avid Worldwide Marketing Mgr, Pro Audio; Ozzie Sutherland, Pro Audio Console Specialist; David Casey, Partner Account Manager; and Chris Bolitho, VK Post Sales Manager. Photo by David Goggin.
The simultaneous Los Angeles and Nashville Vintage King “Two-City” launch event for Avid’s highly anticipated all new Avid S6 console was a milestone success, with standing room only for attendees and a live webcast of the presentation.
Leveraging the best of the industry-leading ICON and System 5 product families in a revolutionary new modular design, Avid’s new S6 delivers superior ergonomics and intelligent studio control, providing an intuitive, immersive experience for the modern sound engineer.
Vintage King’s Avid launch events are a great opportunity for audio professionals to hear from Avid applications specialists about this revolutionary console. Built on proven technology and trusted by top audio professionals in the most demanding production environments, the S6 delivers the performance needed to complete projects faster and deliver optimum sounding mixes.
“Vintage King Audio became a full line Avid dealer and added its post division VK Post in 2012,” explained Chris Bolitho, Vintage King Post Sales Manager. “Just over one year later we are incredibly proud to have been awarded Avid’s Pro Audio America Dealer of the year award, and to be partnering with Avid on the first S6 launch event as a partner dealer here in Los Angeles. This product has great cross-discipline appeal, and Vintage King Audio is uniquely placed to provide systems incorporating S6, and all the equipment that will surround it in the studio. Our friends and clients from all walks of professional audio life are here, from Grammy-winning producers, and educators, to Emmy-winning sound designers. Vintage King will be leading the charge on the adoption of the S6.”
“We love the opportunity to get out and meet with mixing’s top pro’s and hear what their challenges are and the key workflows that they need,” added Tom Graham, Avid Worldwide Marketing Mgr, Pro Audio. “The S6 was born out of feedback from Pro’s and specifically designed to meet those needs. The VK events were really well attended and had a ton of excitement about S6. ”
Learn more about the S6 at Vintage King: http://vintageking.com/avid-s6
Watch the presentation here: http://youtu.be/v8a3p5FemD0
Check out photo’s from LA: http://goo.gl/8HI2jd
Check out photo’s from Nashville: http://goo.gl/6KXYNU
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals, from selecting a new microphone to designing a studio from the ground up, Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit: http://www.vintageking.com/about-us
MiniMain 12s for The Roost Plus MM27s for the Road
Pictured in his studio The Roost is producer/engineer Matt McClure and his new Barefoot Sound MM12 main monitors.
Top Nashville producer/engineer Matt McClure has installed Barefoot Sound’s flagship MiniMain12 monitors in his studio, The Roost. “The listening position is spot on and I just did a little bit of tweaking and man, the first listen would blow your mind,” McClure explains. “They’re ridiculous. I have worked in all of the big installs all over this town and my control room sounds as World Class as any of them.”
In the last few years, McClure has become one of the most in-demand mixing/tracking engineers in Nashville, working with some of Music City’s finest hit songwriters, including Tom Shapiro, Jim Collins, Tony Martin, Mark Nesler, Rodney Clawson, Wendell Mobley, Ashley Gorley, Shane McAnally, Wade Kirby, Jennifer Hanson, Doug Johnson, Kyle Jacobs, Lee Brice, Ben Glover, Terry McBride, and David Lee Murphy, whose combined success has resulted in over 150 #1 singles on the country and pop charts, a number of which were originally demoed, produced and mixed by McClure.
McClure’s experience with Barefoot Sound goes back eight years when he demoed a pair of the smaller MM27s through Vintage King Audio. “They brought them over and I stuck them up on the console and finished the mix and then gave it to the client and everybody passed it around. It translated perfectly. I got the biggest compliments I had gotten to date on any mix I’d done.”
Producers and record labels that have benefited from Matt’s work include Mark Bright (Carrie Underwood, Rascal Flatts), Doug Johnson (Doug Stone, Shenandoah, Ty Herndon, James Bonamy, Lee Brice), Phil O’Donnnell (Craig Morgan), Sony Music Group, UMG Records, Warner Brothers Nashville, Broken Bow Records, and Curb Records.
“I called Vintage King back and I told company co-founder Mike Nehra, ‘Man, I know these were demos, but I’m keeping them. I’ll pay you full price for them. I’m serious, you can’t have your demos back. I will not go another day without them.’ That’s how serious I was. And then later I got a second pair of 27s with cases so I could easily set up in tracking rooms and have the identical sound I had at my studio. And recently, I traded up from the 27s to the new MM12s in the studio.”
In 2008, McClure was asked to become a partner in a startup entertainment company, “The Fringe”, a joint venture between Matt and two hit songwriters, Kyle Jacobs and Ben Glover. Part publishing, part production, “The Fringe” became one of the fastest growing entertainment companies in Nashville.
Since August 2011, McClure and Jacobs have co-produced two #1 hit singles for Lee Brice, “Hard To Love” (penned by Glover), and “I Drive Your Truck” which became the 2013 CMA “Song Of The Year”, as well as earning two Grammy nominations in 2014, and 5 upcoming ACM nominations.
“The Vintage King crew, especially Jeff Leibovich in Chicago and Chad Evans here in Nashville, have made tremendous strides in taking care of us,” adds McClure. “Jeff understands that I’m doing this every single day of my life, 12-14 hours a day. Most of the time when I’m calling them, I already know pretty much what I want. I don’t need someone trying to steer me in a different direction because there’s a product that’s being pushed on the shelves and they’re going to get more commission. That doesn’t happen with Vintage King.”
Learn more at : http://vintageking.com/barefoot-sound-minimain12-pair
Barefoot Sound’s MiniMain12 is a 4-way active system with 7 drive units housed in sealed enclosures spanning 20Hz to 40kHz with vanishingly low distortion, exceptional dynamic range and ultra-fast transient response. Every driver has an under-hung voice coil moving inside an advanced geometry motor that enables it to make extremely long linear excursions. The ring radiator tweeter is incredibly detailed and produces very wide dispersion out to its highest frequencies. The aluminum cone subwoofers, woofers and midranges radiate as perfect pistons to at least 2.5 octaves beyond their respective bandwidths.
Barefoot teamed up with the brilliant Bruno Putzeys of Hypex to develop the powerful and completely transparent amplifier stage of the MM12. Melding the system together is a groundbreaking DSP crossover that has taken Thomas Barefoot more than 4 years to develop. With beautifully designed high end converts and cutting edge proprietary filtering techniques the MiniMain12 produces a seamless and coherent wavefront that allows a listening distance of less that 3 feet with no sonic compromise, yet work perfectly at far field distances as well, producing SPLs equivalent to large monitoring systems.
ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second guessing , Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.
For more info visit: http://www.barefootsound.com tel: 503.894.8602
Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has added Pearl Microphones to its distribution roster.
“Having used and loved Pearl Microphones for more than 20 years, I was delighted when the opportunity arose to represent the brand in the UK,” says Funky Junk’s founder Mark Thompson. “These microphones have an exceptional pedigree and history. They deliver great results, particularly on acoustics instruments, and they are built to last. It’s no surprise to me that vintage Pearl Microphones are as much in demand as new ones.”
Pearl’s Chairman, Sven Olof Andersson, says: “We are extremely happy to be working with Mark Thompson and his crew of dedicated professionals in the UK. Pearl goes a long way back in Britain and we will now continue to grow there with an exciting line-up of products and new developments.”
Founded in 1941, Pearl is renowned for its award-winning rectangular membrane technology, which is used for natural and transparent recording all over the world. All Pearl microphones are crafted in Sweden.
Today Pearl is owned by Bernt Malmqvist and a group of private investors who have brought a new business savvy to the company and a renewed passion for the use of Pearl microphone technology.
About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Spain and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.
For more information please visit www.proaudioeurope.com
Focus on spatial and 3D audio set to drive its growth and market dominance.
Recognised globally for its multi-award winning technology, innovation and development as well as customer support, realtime tracking technology creator CAST BlackTrax Ltd is set to accelerate and increase its international presence over the next few months in the audio world. To drive this forward, effective 22 January 2014 BlackTrax has appointed Christopher Jenkins to be General Manager, BlackTrax Audio. The newly formed division’s mandate is to focus on increasing market share and presence by leveraging its advanced 3D and spatial audio applications and installations with BlackTrax. Jenkins is President and CEO of BISBY Corporation, located in Agoura Hills, CA.
As a two-times Academy Award-winner and senior leadership executive in the entertainment industry, Jenkins has enjoyed an illustrious career with over thirty years of solid experience in production and post-production of major motion pictures, television programs, videos, and commercials earning an enviable reputation in growing business revenues. BISBY Corporation is a leading motion picture, television post production and audio consultancy company working for clients such as Warner Brothers, Sony, Universal Studios and numerous independent media companies. BISBY is involved in using audio technologies in new and exciting ways, often co-inventing technologies and providing valuable user feedback to manufacturers’ research and development teams.
Jenkins has held positions at Universal Studios including simultaneously running operations as Senior Vice President, Post Production Media Services, and Lead Recording Mixer working on high profile and independent projects. Prior to this Jenkins was President and Member of the Board of Directors at Todd-AO Corporation where he spearheaded efforts to make it the world’s largest post-production company. As a Lead Recording Mixer, Jenkins creative expertise earned him esteemed recognition inspiring success in business, technical and creative operations during times of rapid changes in the technological landscape.
“Jenkins’s global depth, knowledge, and skills, underpinned by the powerful mix of business acumen and talent, will help establish BlackTrax as the preferred supplier of realtime tracking for spatial and 3D audio for live productions as well as for TV and film production,” said Bruce Freeman, Chairman at the CAST Group. “The advancements in recent years in technology for recording, processing (including post-production) and delivering audio are astonishing. The next step brings it all home. Imagine hearing sound that your ears and your eyes agree is absolutely genuine, so much so that you are virtually immersed into the scene. How will your concert, live theatre, rock concert, or movie-going experience change? Imaging pinpointing the sound emanating from the lips of the person onstage or onscreen speaking/singing to you, not to mention all the other sounds that naturally fit into and around that scene, which in the whole, puts you into that virtual reality? 3D is already done on the visual side, and now, using the upstream live data stream from BlackTrax and new audio technology, that same experience can be delivered on the audio side. BlackTrax delivers the data which pinpoints the 6D precise target information to bring “live” alive, and life into playback. While 3D audio is the holy grail for sound engineers and scientists, it’s audiences that are the big winners!”
“Taking advantage of his strong audio experience, Jenkins is charged with bringing BlackTrax to the innovators in the audio industry. In fact, BT supports 4 downstream technologies – 3D &/or spatial audio plus automated lighting, multimedia, robotic video cams — provided the manufacturer of any such device writes the protocol/interface necessary to connect either directly or nearly directly to receive BT’s streaming output,” added Freeman.
Excited by his appointment, Jenkins said: “BlackTrax is a beautiful creative tool that will transform the way that we experience audio integrated with lighting, visuals and performers to engage, thrill and immerse audiences. Taking advantage of developments in audio digital signal processing technology, we’ll be actively embracing opportunities for BlackTrax in Europe and The Americas.”
Woodworm Studios, a classic 30-year old rural residential facility, recently enjoyed a complete technical refurbishment with a Solid State Logic Duality SE console as the centrepiece for the studio complex. The original creative home to Fairport Convention, Jethro Tull and an early incarnation of Radiohead, among others, Woodworm Studios is under new management, which has upgraded the entire equipment collection and technical installation for the two-building facility. Duality was the key investment, bringing together the outboard gear, DAW and multiple recording spaces within a new control room. more
Chris Muth-designed compressor redefines “sidechain” while offering a uniquely transparent take on both transient and average level control for tracking, mixing, as well as mastering —
The new 'Dangerous Compressor' for tracking, mixing & mastering
– February 25, 2013
– Dangerous Music
has released the new ‘Dangerous Compressor
‘ a dual-mono/stereo compressor for tracking, mixing and mastering designed by legendary mastering gear guru Chris Muth. Like all Dangerous Music equipment, the compressor achieves musical, yet transparent results; in the words of producer and mixer Michael James
(New Radicals, Hole, Robben Ford, L7, Edwin McCain, The Coronas) “The new Dangerous Compressor is a ‘must have’ in my world. It’s a refreshing complement to the currently fashionable boxes that indiscriminately add color to your sound-whether you want it or not.” The new ‘Dangerous Compressor’ is available through dealers worldwide and has a street price of $2799 USD (2520€ Euros, 2090£ UK pounds).
The Compressor was field-tested and tweaked for almost two years before being previewed at the 2013 New York AES show. For example, Sterling Sound mastering engineer, Greg Calbi, (Tame Impala, The National, Sara Bareilles), stated, “From simple dynamics control to complete mix balance transformation, the Dangerous Compressor does both and everything in between.” While record producer and mix engineer Rob Chiarelli (Charlie Wilson, Mary Mary, Kirk Franklin), exclaimed, “I love this compressor! It’s perfect on Hip-hop, R&B tracks, vocals, drums, and the mix buss. It does it all.”
What’s so Different about the Dangerous Compressor?
The ‘Smart Dynamics’ feature employs two independent slopes in the detection circuit. One stage of the detector controls the average level. The other handles only rapid transients. Normally a spike would shove down the entire track, creating an audible faux-pas moment. Instead, with the Dangerous Compressor, the normal slope stage handles the smoothing of the entire content and the other deals with the spikes. This results in a higher average level relative to peak, without the stereo image collapsing. “The ‘smart dynamics’ feature helps address the level issue in a really great way that let’s me use less of-or even turn off-my digital limiter!” says mastering engineer Jonathan Wyner (Javier Limon, Josh Groban, Nirvana, David Bowie).
By default, the unit is set to ‘Auto Attack / Release’ mode which uses time constants carefully selected for versatility. Engaging the ‘Manual Attack/Release’ button allows the manual use of the attack and release knobs. Michael James says, “I was shocked to find that the Dangerous Compressor’s auto attack/release preset always sounded ‘just right’-so good, in fact, that I found myself trying to match it manually!”
The Dangerous Compressor may be operated in either ‘Stereo’ or ‘Dual Mono’ mode. Dual Mono has two completely independent paths; for example, kick drum in one channel and snare in the other. Stereo Mode may be applied to stereo instruments, stems or complete mixes. Many stereo compressors sum the left and right channel audio and feed that signal to one detector, resulting in any out of phase material will either not get compressed or will be under compressed. This will over-represent mono (content in the middle of the mix) and under represent panned instruments to the VCAs, making normal single-detector compressors potentially overreact to kicks, snares, and the lead vocal while ignoring the panned toms, guitars and keys. The stereo button on the Dangerous Compressor still uses both its detector circuits to drive each channel’s VCA for a more musical result. Michael James explains his experience, “The Stereo button is NOT an image killer! So many compressors collapse when you push the Link button, but the Dangerous Compressor stays wide open.”
The audiophile ‘Sidechain’ circuit offers both Bass Cut – sensitivity reduction to low frequency energy to keep the compressor from “dunking” with loud bass or kick drum levels-and Sibilance Boost, which increases sensitivity to high frequency energy causing the compressor to react more to the top end, taming the harshness without resorting to EQ changes. Users can control sibilance by reducing “S” sounds from a singer or gently tame the harshness from cymbals recorded with cheap condenser mics or poorly sampled loops. “This stuff remains natural sounding while doing heavy gain reduction. And it manages to not duck down the mix when the kick shows up. Is it really made by humans?” quips, mastering engineer Alex Saroudakis (Sony music, Universal music, Virgin).
Because of its transparency and audiophile sidechain and detector circuitry the Dangerous Compressor performs like an automated fader for riding vocals: no more manual volume drawing; Just a natural, transparent vocal sound, and it boasts extremely low distortion, even with 20dB of gain reduction. “If I were able to conjure up the compressor of my dreams, I’m pretty sure this would be it. It just works,” says mix engineer Ryan West, who has engineered records by Jay Z, Eminem, Rihanna and T.I.
Mastering engineer Mike Wells tried the Compressor and said, “With multiple sidechain options, the innovative ‘Smart Dynamics’ feature, and the signature transparent musicality Dangerous Music brings to all their products-we have a winner!” Wells has mastered projects for Nicki Bluhm and the Gramblers, Tony Sly, and STS9 among many others.
Chris Muth has spent over 20 years working in top studios as a chief technician, and designed custom gear for them, including Sterling Sound, The Hit Factory and Masterdisk, and has worked as a recording, mixing and mastering engineer himself. Dangerous decided it was time the world had an alternative compressor that was both easy to use and powerful, and in the mold of all Dangerous Music gear: transparent. They also wanted a compressor that is useful in recording and mixing-as well as mastering-and designed for both professionals who are at ease with manual settings and up and coming engineering talents as well, who would welcome professional ‘auto’ compression modes. Enter the Dangerous Compressor.
The new ‘Dangerous Compressor’ is available through dealers worldwide and has a street price of $2799. For more information visit: http://www.dangerousmusic.com/products/compressor
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, Dangerous BAX EQ, and the Dangerous Compressor.
For more information on Dangerous Music visit http://www.dangerousmusic.com phone 845-202-5100 or email: email@example.com
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