Briefingroom

Mixonline Briefing Room

Archive of the Studio News Category

Steve Pederson Picks Penteo 4 Pro for “The Equalizer”

Stereo-to-5.1 Surround Upmixer Delivers Multi-channel Score

Penteo_Pederson_6_400px

Pictured in the Anthony Quinn stage at Sony Pictures Studios with the Penteo 4 Pro plug-in onscreen is re-recording mixer Steve Pederson. Photo by David Goggin.

Academy Award-winning re-recording mixer Steve Pederson recently employed the new Penteo 4 Pro stereo-to-5.1 upmixer plug-in for the current film “Into the Storm” and upcoming, “The Equalizer.” Pederson used Penteo to create multichannel surround mixes from stereo recordings by Moby and Eminem.

“Penteo is the most clever upmixing tool I’ve encountered to create interesting surrounds and musical bass,” says Pederson. “It opens up the theater sound richly and with great detail. Penteo is simple to use and has a variety of useful parameters. It’s the perfect tool to ‘magically’ unlock a 2-track stereo file and fill the theater with surround in a very interesting way.”

Pederson has been nominated for numerous awards including three BAFTAs, and twice for an Academy Award. He won the Oscar for “Apollo 13″ in the category of Best Sound.

“I use Penteo as a ‘one stop shop’ tool to take any stereo track and generate a warm, precise and effective sounding surround mix,” Pederson continues. “I’m impressed how Penteo can isolate channels so cleanly, so discreetly and then spread them through the surrounds.”

Pederson took stereo sources and created multi-channel mixes for the recently released “Into the Storm” (5.1) and Sony’s upcoming “‘The Equalizer” (7.1) “Using Penteo 4 Pro, I upmixed both films to surround formats and was very pleased with the results. Penteo gets you to a great sounding upmix with no fuss, and is an efficient tool to have handy.”

Pederson elaborates on the way Penteo handles lower frequencies: “What I like about Penteo’s subwoofer is the definition. If you mute all the full range speakers in the theater and just listen to the sub you’ll hear a nice, tight, punchy bass. Penteo is more musical, it defines the beat of the music better. It doesn’t rumble and roll, it rocks and rolls.”

In the creation of a soundtrack, “temp” mixers are often used before the final music is composed and produced. “Another area where Penteo can really help is during the early stages of post-production. I take stereo tracks and run them through the Penteo plug-in to immediately give the temp score a full and rich 5.1 feel that emulates a proper mixed final score and really elevates the quality of the temp mix.”

Pederson has worked mostly at Warner Bros. Studios for more than fifteen years, and enjoys the talented community, the historic setting and the top-of-the-line facilities offered. Throughout his career, he has seen the contribution of film sound evolve with more and more channels, greater dynamic range, and higher fidelity to give the audience a more powerful experience to express the story.

“I love this work and I’m a fan of this plug,” he concludes. “I won’t go into a mix without it being part of my tool kit.”

Read the entire Interview with Steve Pederson and other industry leaders in the Perfect Surround Master Class series:
http://tinyurl.com/lq75dwz

Native AAX64 Support
Penteo 4 Pro natively supports Avid Audio eXtension (AAX) for true 64 bit processing.

Free Trials
Hear the Penteo difference for yourself with a free trial: http://www.perfectsurround.com/request-a-trial

About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has won multiple awards been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64/RTAS32/VST32/AU32 formats. For more information, visit: http://www.perfectsurround.com

Rob Macomber Picks Sanken Stereo Mic for Jazz at Lincoln Center

Adjustable Dual Capsule CUW-180 Captures Historic Performances
Sanken_Macomber_350px
Pictured in the Music Studios at Jazz at Lincoln Center is chief engineer Rob Macomber holding the Sanken CUW-180 stereo microphone.

As Chief Engineer of the Music Studios at Jazz at Lincoln Center for SiriusXM Satellite Radio, Grammy and Emmy Award-winner Rob Macomber puts his extensive knowledge of audio, technology and music to use to ensure that the world-class artists performing there nightly sound just as good on live radio, television and internet broadcast as they do in the concert hall.

One of Macomber’s favorite microphones is the unique Sanken stereo CUW-180, comprised of two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detent, providing a versatile microphone for a variety of stereo and Surround recording applications.

“The CUW-180s perform wonderfully anywhere and everywhere,” says Macomber. “On a regular basis I use them as a pair over the stage for ambience. That’s my standard main stereo pickup over the stage. Eight feet up or so, at the lip of the stage angled at 45 degrees. I also use them for ensemble sections, like trombones and trumpets. As a section mic it is fabulous.”

In his nine year tenure at SiriusXM, Macomber has worked with a who’s who of modern day musical giants, including Wynton Marsalis, Bobby McFerrin, Eric Clapton, Willie Nelson, Paul Simon, Sting, Beyonce, Santana, Andrea Bocelli, Chic Corea, Dave Brubeck and Joshua Bell, helping them all sound their best on-air.

“The stereo Sanken mics give me the full frequency spectrum,” remarks Macomber. “On the low end, the proximity effect is very minimal, although I’m primarily not in close-miking situations. The 180 is very flat throughout the frequency spectrum. No boominess, no having to roll off the low end, very smooth on the top end. Off-axis it’s very natural sounding.”

Over the course of his prolific career, Macomber has recorded and/or mixed music for highly-rated television broadcasts such as the Tony Awards, the MTV Video Music Awards, Country Music Awards, American Music Awards, Victoria Secret Fashion Show, Fashion Rocks, VH-1 Divas, VH-1 Storytellers, AOL Sessions, Live from Lincoln Center Series and numerous DVDs and concert films.

Macomber comments on the unique dual capsule design and the precise detente adjustment. “It’s a killer design in a fairly fast-paced environment, where I do get a sound check, but it’s still a live show. Each show is different and when it’s happening I can’t stop the show and say, ‘Hey, we need to reposition that mic.’ I can get that mic position spot-on and know that one click wider or one click narrower on both capsules will land me where I want to be. Then if need be, I can simply adjust the panning on the desk on the fly. The quick paced broadcast environment for a live show is quite a challenge — the Sanken is a great performer.”

Macomber has been honored with many awards and accolades, including two Grammy Awards (for his engineering work on Arturo O’Farrill’s “Song for Chico” and Kurt Elling’s “Dedicated to You,” in 2008 and 2009, respectively). He was also a member of the sound team that received the 2010 Emmy Award for Best Sound Mixing for a Variety or Music Series or Special for “The 25th Anniversary Rock and Roll Hall of Fame Concert.” He is also a two time TEC Award nominee.

To read the entire interview with Rob Macomber,
visit: http://tinyurl.com/nzu6xef
Learn more about Sanken microphones: http://sankenstudio.com

See the entire family of Sanken microphones at AES in LA Booth #1034

RECORD API 1608 SALES ALLOW FOR SUPERIOR COLLEGE AND UNIVERSITY CURRICULUMS ACROSS THREE CONTINENTS

Hochschule_Musik_NurnbergJESSUP, MARYLAND – SEPTEMBER 2014: Since introduced at the 123rd AES Convention in New York City in October 2007, the API 1608 console continues to make its way into colleges and universities across the globe. In the past year alone, more 1608s have been placed in educational institutions compared to any other year since 2007. These full-featured consoles, each with various channels of recording and mixing capabilities, now grant students, ranging from high school to graduate school, the opportunity to learn on the analog technology used in professional studios all over the world.

“We’re very pleased to have placed so many of these highly-versatile consoles in the past year,” said Larry Droppa, president of API Audio. “Each of these 1608s will now join the ranks of top audio schools including the New England School of Communications, American University, and California State University.”

Since the summer of 2013, nearly a dozen consoles have been placed in schools including Nashville’s Pearl-Cohn Entertainment Magnet High School, and Blackbird Academy. Colleges and universities in the United States include Emerson College in Massachusetts, Mesa Community College in Arizona, Broward College in Florida, Glendale Community College in California, and the University of Michigan in Ann Arbor. Locations outside the United States include the University of Western Ontario, Canada, Technologico de Monterrey in Mexico, the University of Örebro in Sweden, and Hochschule für Musik Nürnberg in Germany.

SUNY_PurchaseThe 1608 offers sixteen input channels, each with a mic pre and equalizer. It also has the option of adding sixteen-channel expanders, allowing for a 16, 32, or 48 channel console in total. API also offers its optional motorized fader automation system called P-Mix. Derived from the technology used extensively in API’s large format consoles, P-Mix offers a host of features found only in the most sophisticated console automation systems, often costing many times more.

“Since the 1608 is built to the same standards as our Vision and Legacy large-format consoles, it’s a powerful tool for students to learn with,” said Droppa. “It’s the same equipment used in some of the best recording facilities around the world, where many of the students will want to work after graduation.”

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

(PHOTO CAPTIONS) IMAGE 1: Hochschule für Musik Nürnberg in Germany; IMAGE 2: State University of New York (SUNY) Purchase.

STOP BY AND SEE US AT AES 2014 BOOTH #1219

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

COUNTRY MIX ENGINEER BILLY DECKER DISCOVERS REAL TALENT IN METRIC HALO PLUG-INS

BillyDeckerNASHVILLE, TENNESSEE – SEPTEMBER 2014: Mix engineer Billy Decker scored his first #1 single in 2006 with Rodney Atkins’ “If You’re Going Through Hell,” which is among the first (if not the first) #1 country song to be mixed entirely in Pro Tools and bounced to disc. He recently celebrated his eighth #1 single with Parmalee’s “Carolina.” An in-demand engineer stationed in Nashville, Decker gracefully negotiates the happy demands of a 22-year marriage and two children by maintaining a rigorous work schedule. “I come in at 8:30 in the morning and leave by 5:30 or 6:00,” he said. “I mix entirely in Pro Tools, where instant recall of everything allows me to juggle multiple projects at the same time.”

His knack for delivering radio-friendly mixes that play to the artists’ strengths has earned him work with a who’s who of country music talent: Darius Rucker, Kenny Chesney, Jason Aldean, Colt Ford, Montgomery Gentry, Frankie Ballard, Brett Michaels, Bubba Sparxxx, Josh Thompson, Josh Kelly, Kenny Loggins, Trace Adkins, John Michael Montgomery, and Billy Dean, in addition to the already-mentioned Rodney Atkins and Parmalee. As far back as he can remember, Decker has been using Metric Halo’s ChannelStrip plug-in, including all of his #1 songs, and he recently added Metric Halo’s Production Bundle plug-in collection to his streamlined workflow.

“I once found myself in a situation without ChannelStrip, and I tried to mix anyway,” Decker laughed. “It didn’t work. The mix sounded terrible, and I won’t ever try it again. ChannelStrip is absolutely indispensible to everything I do.” Basically, everything he’s ever mixed has ChannelStrip all over it. Apart from handling all of his routine and unusual equalization tasks, Decker relies on ChannelStrip for the all-important vocal compression. “I typically run three or four instances of ChannelStrip to get multiple compressors going at the same time,” he said. “Each compressor does a little bit, and in a different way, so that in the end I get a vocal that’s locked right in your face and that requires almost no gain riding. Recently, I’ve started adding ChannelStrip’s limiter at the end, which gives me a little bit more control and smooths out the top end.”

To keep his workflow speedy, Decker doesn’t fool around trying to listen for the right frequency to de-ess. He uses Metric Halo’s SpectraFoo sound analysis software, which is always running in the background to quickly diagnose issues. “That gives me the right starting point, and from there, yes, I use my ears to dial it in,” he said. “I use Metric Halo’s Precision DeEsser plug-in to do the de-essing; actually, I use two instances. One for traditional de-essing and the second for what I call ‘de-honking.’ Using so much compression brings a lot of junk to the surface, including the nasty nasal sound that pretty much every voice has between 1.5kHz and 2kHz. By setting the second Precision DeEsser to that frequency, everything smooths out and sounds much nicer. I’ve used a lot of de-esser plug-ins, but I find that Metric Halo’s version is noticeably smoother and more transparent. Where other plug-ins can sound grainy and degrade the signal, Precision DeEsser is colorless and pleasant.”

Decker has also been enjoying Metric Halo’s TransientControl plug-in for snares and toms. “Sam Hunt’s ‘Leave The Night On’ is climbing the charts, and it’s got TransientControl all over the drums,” Decker said. “It set a record for the most-added debut for a male country artist. I love the sound I get from TransientControl. I used to use its main competitor, but Metric Halo’s version sounds smoother. It tops a little tighter, has a better release, and a cleaner decay. I’d say that TransientControl rolls over each peak rather than falling over it. I’ve been very pleased.” Hunt’s single also contains Metric Halo’s HaloVerb on the snare. “I usually like plates on my snare drum with no pre-delay,” Decker continued. “For Sam’s single, I used a medium plate preset with a 700-800ms decay. It’s the perfect snare reverb – very thick and three-dimensional. After every snare hit, I can hear the little bits of dust crumbling in the background, little fairies floating around in the background. It’s very deep!”

Although collaborators frequently ask Decker to mix on a console at such-and-such famous studio, he staunchly refuses. “Technology has come a long way,” he said. “Digital has caught up, and it’s a much faster way to work. If you can turn on the radio and tell me which songs were mixed in the box and which were mixed on a console, well, I’ll buy you dinner. Hell, I’ll buy ya the whole restaurant!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

Anthony Marinelli Chooses Barefoot Sound

Composer/Producer Works in Film, TV, Commercials and Stage
Barefoot_Marinelli_6_400px
Pictured in his Los Angeles studio with his Barefoot MM27 monitors is composer/producer Anthony Marinelli. Photo by David Goggin.

“Before I got the Barefoots, I had 4 pairs of very high-definition monitors,” says award-winning composer/producer Anthony Marinelli. “I had 8 of them, because I rotate them into the 5.1 arrays I’ve had since I bought the first pair from Michael Jackson. They were his speakers and I just liked them and never could find any replacements. Then the Barefoots showed up and they were the first speakers that truly spoke to me and said I’m your new speakers.”

Marinelli has composed, conducted and performed music for over sixty motion pictures, including “Hotel,” “American Gun,” “Young Guns,” “Internal Affairs” and “Timecode.” He also composed music heard in “Leaving Las Vegas,” the action film “Demolition Man” and hit comedies “Let It Ride” and “Planes, Trains & Automobiles.”

“The sound of the Barefoots translates the best,” Marinelli continues. “It doesn’t hype the sound when I’m recording. It gives me the full audio spectrum from lows to highs. They’re very quick. The transients are very rapid. I deal in a lot of different genres of music and it’s not like I use a certain kind of speaker for one kind of music and another kind of speaker for another. These speakers are just the truest that I’ve ever come across.”

Marinelli has also composed music for thousands of commercials including over 30 Apple Computer spots, spots for Microsoft, Nike, Mercedes-Benz, Chevrolet, Budweiser, Jaguar, Southwest Airlines, Boeing and the iconic “This Is Your Brain on Drugs” campaign.

“You pay now or you pay later,” he comments. “If the monitors make it sound better now, then I go somewhere else and it doesn’t have that enhancement, then I’m going to pay, because I’m going to be missing something or there’s going to be too much of something, whether it’s low or mid or high.”

Marinelli’s LS studio houses an array of choice instruments: two ARP 2600s, a Linn Drum machine, Jupiter-8, Prophet-5, Minimoog, Korg MS-20, ARP Omni, Roland Space Echo, Roland Vocoder, Echoplex, Clavinet Pianet Duo, and a Fender Rhodes. “My Doctor Click is really valuable for syncing all these various instruments and driving quick tracks and creating pulses,” he explains. “And my most prized instrument is a 9-foot Concert Grand handmade piano given to me by David Abell. It was the piano that was used for all the Disklavier recordings.”

Marinelli has been honored with numerous Clio, Silver Lion, Belding and Addy awards. He revolutionized post production workflow as co-originator of Levels Audio Post. By integrating a new style of mixing music and sound for picture, it quickly became the industry’s fastest growing and most in-demand facility. His state of the art complex located at the historic corner of Hollywood and Highland was the first choice of discriminating projects such as American Idol, The Bachelor, and the VH1, ESPN, Teen Choice and MTV award shows.
Read the entire Anthony Marinelli interview and learn more at the new Barefoot Sound website: http://barefootsound.com/audio/a-conversation-with-composer-anthony-marinelli/

Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair

See and hear the entire line of Barefoot Sound monitors at
AES in Los Angeles Booth #1031

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

THE API BOX BREAKS INTO AUSTRALIAN MUSIC SCENE THROUGH FAMED SONGWRITER/PRODUCER STUART CRICHTON

Crichton_Sloss_1VICTORIA, AUSTRALIA: As the API BOX makes its way to recording studios around the world, it has now found its first home in Australia through world-renowned songwriter/ producer, Stuart Crichton. Crichton has been a contributing factor in numerous top ten hits internationally, primarily in the U.K. He consulted Deb Sloss at Studio Connections Australia, API’s Australian distributor, when looking to make the addition to his home studio.

In just a short period of time, the BOX has already made a difference for Stuart. “The API BOX has totally changed the quality of my mixes, adding the warmth and width of a large room console,” Stuart shares. “The ease of set up and use is amazing – so straight-forward.”

Quality of sound is the most important feature for Stuart, who works with major artists including Kylie Minogue, Guy Sebastian, and Pet Shop Boys. “The mic pres and EQs are that beautiful API sound that many crave. The bus compressor is also now a major part of my mixes. Once I’m done mixing, I put it over the whole mix and BANG! There it is – a real vintage sound for what are usually digital-sounding mixes.”

Stuart relocated from the U.K. to Australia in late 2009, where he continues to make his footprint in the Australian recording scene, as well as work with top artists from around the world. He’s finding that his new console is the perfect tool to achieve a big studio sound in a relatively small space. “The BOX is an affordable way for a home studio to get that big room sound, which usually costs a lot of money per day.”

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
(PHOTO CAPTION) Stuart Crichton with Deb Sloss of Studio Connections Australia. (PHOTO CREDIT: © 2014 SCA)

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

JOEL HAMILTON RECORDS AND MIXES “PUSS N BOOTS” DEBUT USING ATC SCM25A’s

BROOKLYN, NEW YORK: Puss n Boots is a three-piece, all-female, alt-country band led by singer-songwriter Norah Jones and backed by accomplished vocalists Sasha Dobson and Catherine Popper. All three women learned new instruments for five years before recording their debut album with engineer/musician/producer Joel Hamilton (Tom Waits, Black Keys, Sparklehorse, Elvis Costello) at Studio G Brooklyn. Titled No Fools, No Fun, the album was recently released on Blue Note Records. As co-owner of Studio G Brooklyn with Tony Maimone, Hamilton installed ATC SCM25A three-way reference monitors and ATC SCM0.1-15 subwoofers in Studio A, a change that happily coincided with his first Grammy nomination (Pretty Lights, A Color Map of the Sun), a Latin Grammy nomination (Bomba Estereo, Elegancia Tropical), and a Latin Grammy win (Gaby Moreno, Postales). The ATCs were purchased from Audio Power Tools in New York.

“The ATCs have changed the way I work and improved the quality of my work,” said Hamilton. “I’m lucky to have a nicely tuned control room with an SSL and plenty of vintage outboard gear, and with the ATCs, I’m suddenly able to make decisions that are smaller – and yet more critical – than I have ever been able to make before. I have the ability to resolve a finer shade of the colors I’m hurling at the end-listener, and it’s been a revelation. It’s not a small thing, and that’s why I’m reaching for dramatic words like that. It’s tectonic. The entire continent has shifted.”

The glorious harmonies delivered by Jones, Dobson and Popper are a huge part of Puss n Boots’ magic. They form the emotional foreground. “The balance of those harmonies is crucial,” said Hamilton. “You’ve got these three gorgeous women with gorgeous voices, and they’re all coming at you like gangbusters because they can all project. We recorded everything live to analog tape, including the vocals. That gives a particular nuance to how the instruments sit against the vocals. You can feel the beat push and pull so beautifully. I needed to make sure that all of that nuance would come shining through for the listener. Striking the right midrange balance of those harmonies is critical, and I had to make sure all of that beauty would be immediately apparent to, say, my mom!”

While Norah Jones’ existing albums might safely be described as “polished” and most classic country albums might safely be described as “rough,” Hamilton had to walk the line between those extremes. “The balance is deliberately raw, which is perhaps unexpected by traditional Norah Jones standards, but it also has to be informed,” he said. “We were shooting for a tiny bulls eye, but we also had to make sure that everything felt unfettered and natural; just on the edge of scratchy so that it felt rough but didn’t actually hurt people. With the ATCs, I could find that line and make adjustments with confidence. I could tell where I was overcooking it on purpose. I could dial in just the right amount of ‘road house.’”

With the introduction of the ATCs, gone too is the need to translate for the client how a mix will sound outside of the studio. “After spending a lot of time in front of other monitors, I could tell when certain things would sound bad in the studio but fine outside of the studio,” Hamilton said. “The challenge beyond that, however, was convincing the client that those bad things would be fine later on, which is just one more thing to heap onto the already-skittish nature of an attended mix session. And so clients would ask, ‘why don’t you just get monitors that sound like it will sound like?’ It seems so simple, but of course it’s not.”

Hamilton used to switch between a number of monitors and loudspeakers all day long, but now he just hangs out on the ATCs. Depending on the task at hand, he can turn the ATC subwoofer on or not. “With the sub on and the volume cracked, the ATCs rock and serve as ‘mains,’” he said. “When I’m listening closely and resolving small moves, the ATCs are my nearfields. Either way, I now have complete confidence in what I’m hearing and doing. When a mix sounds good on the ATCs, I know it will sound good everywhere else. With Puss n Boots, we were able to make solid decisions that stuck. We totally avoided the hell of endless revisions!”

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

WIND OVER THE EARTH ADDS AN API 1608 TO ITS DEMO ROOM STUDIO

BOULDER, COLORADO: Situated in the foothills of the Rocky Mountains, Wind Over the Earth (WOTE) offers recording sessions for local bands, singer/songwriters, and voice-overs, as well as post-production and training services within its demo studios. It doesn’t promote itself as a commercial studio, but rather uses its space as a base of knowledge to be shared with the community. As a longtime user of API gear, WOTE has now commissioned an in-house 1608 console to offer real world knowledge and applications to its customers.

“Jumping into the 1608 is something we wanted to do for quite some time,” stated Mark Venezia, studio manager at WOTE. “The classic sound of API is something WOTE has been advocating for years, so when we were making the decision to install a console, the 1608 was the right fit.”

Since the commissioning, the 1608’s headroom, imaging, and overall depth of sound have made an immediate impact. “The 1608 has brought us up to another level of visibility,” shared Venezia. “It has made our life that much easier. The work flow on everything we do is smoother.”

Part of what makes the 1608 a success at WOTE is the setup. “We have everything wired into four bays as of right now, and the ease of use revealed itself in our first session. We custom-build all of our cables here at WOTE, and the last two 1608 consoles we have sold have included custom wiring packages for specific client needs,” explained Venezia. “In each case, customers who have been in our demo room learned first-hand the ease of use. The versatility of moving modules around is nice as well.”

With some post-production projects, recording sessions, and a series of live shows using the 1608 already complete, WOTE is eager to pursue further trainings. “We are putting together a series of master’s mixing seminars, where we will be flying out some high-profile engineers for an evening of knowledge sharing in the mixing environment. We love hosting seminars like this, as community is our number one priority,” shared Venezia. Part of the glue that holds all the future works together is the knowledge WOTE is able to pair with the gear it offers. “The 1608 is the centerpiece of the room, and everything is based around it.”

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

L.A.’s CHALICE RECORDING GETS DOWN WITH DANLEY

HOLLYWOOD, CALIFORNIA: The client list at Chalice Recording Studio in Hollywood, California is so extensive that it is challenging to think of a celebrity who is not on it. For example, the “B” section includes the Backstreet Boys, Barbara Streisand, Beastie Boys, Justin Bieber, Beyoncé, the Black Eyed Peas, Blink 182, and Britney Spears and the “P” section includes Paris Hilton, Perry Farrell, Prince, and Puff Daddy. Those clients use Chalice Recording Studio as the medium through which they turn ideas into platinum albums and Grammy Awards. So Chalice is always humming – almost literally – with the next big thing. Because top-volume monitoring (think 120dB+) and deep, authentic bass at those extreme SPLs have become so critical to so many hip-hop and top-40 artists, engineers, and producers, Chalice Recording Studio has installed Danley Sound Labs TH-115 subwoofers in studios A and B.

“Before we installed the Danley subs, we were blowing our subwoofer drivers once or twice a week,” said Lowell Pickett, head studio tech at Chalice. “It’s because the monitoring volume is often really extreme; more and more, our clients are using the main system to gauge the music’s impact at club volumes. It’s a visceral thing – they want to feel it as much as hear it. Anyway, I did some research, and more than one person suggested that I check out Danley.”

Compared with conventional designs, Danley Sound Labs’ patented Tapped Horn (TH) subwoofer technology delivers deeper low-end extension, a more even frequency response, and much lower distortion. Indeed, few people understand how distorted conventional subwoofers are until they hear a Danley Tapped Horn subwoofer. To help make their decision, the Chalice staff A/B’d the Danley TH-115s against their existing big-name subwoofers in Studio A.

“The Danley subs were way, way better,” Pickett said flatly. “Previously, there was no place in the room where the bass seemed focused. With these subs, I could really hear what was going on in most places in the room. Everything tightened up and became clearer, and our low end got even lower.” “There’s a magic that happens when the Danley subwoofers at Chalice pair up with the full-range system,” added Kenny Andrews, the area Danley rep. “It’s a very musical sound.”

As part of the Danley installation, Chalice did something very few studios are willing to do (yet). They put the entire monitoring signal through a Danley DSLP48 digital processor, which provided clean crossovers, as well as flexible equalization and filtering for tuning the room. “We were nervous,” Pickett admitted. “We had previously used high-end analog crossovers and equalizers. This was a jump, but everyone agrees it has been all up side and no down side. The sound is as transparent as ever, and the uniform channel processing has tightened up the stereo imaging. The DSLP48′s equalizers are great and have helped the acousticians who tune the room.” As a bonus, Chalice uses the DSLP48 to provide different presets to different clients.

Output from the Danley DSLP48 feeds a Danley DSLA3.3K dual-channel amplifier, which in turn powers the two Danley TH-115 subwoofers. The processor output also feeds the existing full-range system, an Augspurger GA215H with 15-inch TAD 1601 B woofers and TAD 4002 beryllium compression drivers. All the loudspeaker components, as well as the Danley TH-115 subwoofers, are soffit mounted.

“Our clients noticed the improvement right away, and we stopped replacing subwoofer drivers on a weekly basis,” said Pickett. “With the Danleys, the volume can be so great that the light fixtures fall from the ceiling! That really tickles the clients!” With Studio A booked out completely, Chalice made the same change in Studio B. Now Studio B has a pair of Danley TH-115s, backed by additional Danley processing and amplification.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Recording, Studio News |

The Studio Prodigy Master Class Series announces Session Six: Jim Scott | From the Ground Up

Studio_Prodigy_Session_6_Jim_Scott

The Studio Prodigy Master Class Series continues with Session Six:  Jim Scott | From the Ground Up, on November 8 and 9 at Jim’s notorious personal studio, PLYRZ Studios, in Valencia California.  This is a two-day advanced class encompassing recording, mixing and production techniques, along with special presentations from our sponsors throughout the event.

Renown for clean, vibey and impeccable sounding recordings, Jim Scott has brought his sense of style and his mid-western work ethic into the studio, making memorable records with remarkable artists for over three decades.  His techniques for capturing the essence of a band have been refined through the making of classic albums with the likes of Sting, Tom Petty, the Red Hot Chili Peppers, the Dixie Chicks, Wilco, and Whiskeytown.  Jim has won 7 Grammy awards, including Best Engineered Recording, Non-Classical, for Tom Petty’s Wildflowers.

Just up the freeway from Los Angeles, Jim’s studio is a veritable playground for musicians; an enormous warehouse space full of instruments, clad in tapestries and lights, always ready to rock.  PLYRZ studio is centered around a classic Neve 8048 and two BCM-10 sidecars, augmented by Jim’s collection of vintage outboard gear and sizeable mic collection.

Saturday begins with an overview of Jim’s recording setup at PLYRZ Studios, and a discussion of Jim’s philosophy of making records.  Through the course of the day, we will record a complete song with a fantastic band, and in the process, Jim will show you everything he does to capture a great performance, from micing techniques to production ideas to mentoring the artists and getting the best performances out of them.

Sunday’s session will start with wrapping up overdubs and continue with mixing the track.   Jim will walk you through his mix process, answering questions and demonstrating how he thinks about and feels a mix.  Combining the best of old school technique with a little bit of modern technology, this will prove to be a very hands-on experience for attendees, as Jim mixes everything by hand, with little help from automation!

At the end of day two, Studio Prodigy hosts a Gear and Beer fest in the stunning lounge area of PLYRZ Studios, with a view of the Santa Clarita Valley. Here you will be able to check out the great gear with representatives from our sponsors, and hang with Jim as he relates stories from his lengthy career of making records that we all know and love.

If you are interested in attending this exceptional two-day recording workshop visit Studio Prodigy Master Class Series to learn more.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: Recording, Studio News |

Calendar

September 2014
M T W T F S S
« Aug    
1234567
891011121314
15161718192021
22232425262728
2930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication

Fairlight Xynergi Media Production Centre


Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.