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IsoAcoustics Introduces Arista Isolation Stands for Studio Monitors and Speakers

Arista Sep18 2014
Los Angeles, CA (Sept 26, 2014) —At this year’s AES Show in Los Angeles, IsoAcoustics (booth #1651) is pleased to introduce Arista, a stylish and sleek new aluminum acoustic isolation stand for medium-sized professional studio monitors and bookshelf speakers for Home Entertainment and hi-fi applications.

The new Arista stands provide an aesthetically pleasing and cost-effective means to markedly enhance the sound clarity of speakers, using the patented “floating design” that this award-winning company has become known for.

The new IsoAcoustics Arista stands feature a unique integrated tilt adjustment that enables the user to dial-in the optimum tilt angle. With an overall size of 6”(w) x 7.5”(d), the Arista stands are designed for medium size studio monitors and speakers weighing up to 35 lbs.

“IsoAcoustics is very pleased to introduce the Arista stand, which offers a handsome and cost-effective isolation solution for the pro studio and hi-fi market,” says Dave Morrison, CEO of IsoAcoustics.
The Arista stand will be available in black and aluminum in December 2014.

See the new Arista and IsoAcoustics entire line of award-winning acoustic isolation stands at booth 1651 the AES Show at the Los Angeles Convention Center, October 10-12, 2014.

About IsoAcoustics Inc.
IsoAcoustics stands provide superior acoustic isolation and enhance the sound clarity of virtually all speakers and amplification systems, including monitors for the professional studio and sound reinforcement, home theatre systems, musical instrument amplifiers, subwoofers and large monitors. AlI IsoAcoustics stands are built with a unique, patented isolation technology that allows speakers to float in free space, resulting in authentic, clear uncolored sound.

For more information, visit www.isoacoustics.com.

Hal Leonard Publishes Alan Parsons’ Art & Science of Sound Recording

Alan Parsons and Julian Colbeck to present ASSR, The Book based on the award-winning DVD set at the 137th AES in Los Angeles

Montclair, NJ (September 24, 2014) – Alan Parsons’ Art & Science of Sound Recording: The Book, is a complete rewrite and reappraisal of the award-winning video series. Parsons takes his approach to sound recording to the next level as the book provides ample space to present more technical background information, more detailed diagrams, and more in-depth discussion on each of the twenty-four topics, from “A Brief History of Recording “ to the now-classic “Dealing with Disasters.”

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Written with the DVD’s co-producer, musician, and author Julian Colbeck, ASSR: The Book offers readers a classic “big picture” view of modern recording technology in conjunction with an almost encyclopedic list of specific techniques, processes, and equipment. The Book has a logical flow of chapters, looking at how sound is created and how it behaves before moving on to the different processes of manipulating sound recordings such as EQ, reverb, delays, compression; covering how to work and record with live musicians as well as the art and science that go into the mixing process.

“With the videos we strove to keep you visually and aurally entertained. Now, you can be reading this at home, or in a busy Starbucks, or on a plane… you can read one page at a sitting or one chapter, or just dive in here and there using the index or the glossary,” said Parsons.

For all its heft and authority – authored by a man trained at London’s famed Abbey Road Studios in the 1970s – ASSR: The Book is also written in plain English and is packed with priceless anecdotes from Alan Parsons’ own career working with the Beatles, Pink Floyd, and countless others. Not just informative and packed with colorful pictures, but also highly entertaining and inspirational, ASSR: The Book is the perfect platform on which to build expertise in the art and science of sound recording.

Alan Parsons and Julian Colbeck will present ASSR, The Book at AES in Los Angeles with a book signing on October 10, 2014 at 12 pm in the Hal Leonard booth #1141.

About the authors
Alan Parsons’ recording career got off to a great start with the Beatles when he served as their assistant engineer on Let It Be and Abbey Road. With an illustrious engineering career that included The Dark Side of the Moon, Parsons went on to become one of the most sought-after producer/engineers of the seventies and eighties, scoring No. 1 hits with multiple artists. In 1976, he formed the Alan Parsons Project, enjoying multiplatinum success with hits such as “Eye in the Sky”, “Time”, and “Games People Play”. Parsons remains an active recording artist and producer.

Julian Colbeck was a professional keyboardist for over twenty-five years, working with Yes/ABWH, Steve Hackett, John Miles, and his own group, Charlie. He has also authored a dozen books on music and music technology, including the groundbreaking Keyfax series, and he has written and produced numerous instructional DVDs on recording, live sound, and synthesizer technology. CEO of Keyfax NewMedia since 1994, Colbeck has most recently been on active duty with the creative and advocacy platform Musicians Guild.

Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit alanparsonsbook.halleonardbooks.com.

Alan Parsons’ Art & Science of Sound Recording – THE BOOK
$49.99 (US)
Inventory #HL 00333735
ISBN: 9781458443199
Width: 8.75″, Length: 11.25″, 272 pages
alanparsonsbook.halleonardbooks.com

Studio Technologies Model 215 Dante-Enabled Announcer’s Consoles Translate the Next Generation of Gamers with Microsoft Production Studios

Xbox LIVE Multi-Lingual Interpreters Rely on Six Model 215 Units for GamesCom 2014

SEATTLE, WA, SEPTEMBER 23, 2014 – Microsoft Production Studios recently installed six Studio Technologies Model 215 Dante™-Enabled Announcer’s Consoles in its state-of-the-art production facility to handle multi-lingual translations for a program produced in conjunction with Xbox LIVE, Microsoft’s online gaming and media delivery service. The American English Xbox LIVE production streamed audio and video content during the recent 2014 GamesCom convention in Germany, the world’s second largest video game trade fair, attracting over 340,000 visitors, 6,000 journalists and 635 exhibitors from 88 countries.Microsoft Production Studios Audio Control Room

“Because GamesCom is primarily focused on a European audience, we needed to quickly produce interpretations of the American English Xbox LIVE production into Castilian and Latin American Spanish, French, Italian and German,” says John L. Ball, systems engineer for Microsoft Production Studios. “We had to figure out a way to produce the simultaneous interpretations within our existing facility space and, because the Model 215 Announcer’s Console is Dante-compatible, we could literally plug each unit into an available space and begin producing the live streaming broadcast instantaneously. The Model 215s worked perfectly, set up quickly and provided great audio quality.”

Designed to serve as the audio control center for announcers, commentators and production personnel, Studio Technologies’ Model 215 Dante-Enabled Announcer’s Console integrates all on-air talkback and cue audio signal routing in a compact tabletop unit. It offers three pushbutton switches with LED indicators that allow the user to control three audio output channels: one main and two talkback.

Studio Technologies Model 215 Dante Announcers Console in a Microsoft Production Studios Edit Room Used as a Voiceover Room during GamesCom 2014
Ball and his team set up Microsoft Production Studios’ main studio room, which boasts a Dante-based infrastructure, to broadcast the English language edition of the streaming show. Since all the room’s audio equipment was able to connect to any Dante-enabled device, Microsoft Production Studios’ video editing suites were then transformed into temporary voice-over rooms for the translating staff.

“The entire process was quite amazing from a technical perspective,” adds Ball. “We simply took the Model 215s into the different rooms, plugged them into the existing Ethernet network, made the appropriate routing through Audinate’s Dante Controller software application, and we were up and running in all five rooms in less than 30 minutes. It saved us a day’s worth of setup compared to running discrete analog audio lines. With Dante and the Model 215s, we could deliver the English version into the headsets of the interpreters and they, in turn, could quickly translate the audio and feed the content into the microphone plugged into the Model 215 that was connected to our network. We did not miss a beat and the worldwide Xbox community thoroughly enjoyed the production.”

Studio Technologies recently became a Dante licensee, and is embracing the audio-over-Ethernet movement by developing a line of Dante-enabled products that offer unique solutions using the most advanced, interoperable, proven networking technology. Studio Technologies currently offers the Model 214, 215 and 216 Announcer’s Consoles, Model 45DR and Model 45DC Intercom Interfaces, the Model 5202 Dante to Phones and Line Output Interface, and the Model 5204 Dual Line Input to Dante Interface as the first products embracing Dante.

About Studio Technologies, Inc.
Studio Technologies, Inc. provides tailored, high-performance video, audio and fiber optic products for the professional audio and broadcast markets. The company was founded in 1978 with a commitment to design and manufacture dependable, individualized solutions for broadcast studio, stadium and corporate environments. Known for “designing for the way professionals work,” the company is recognized as an industry leader that has never wavered from its individualized design pledge. Product categories include fiber-optic transport, broadcast support, mobile broadcast, intercom and IFB, announcer consoles, and loudspeaker monitor control systems. For more information, please visit the Studio Technologies website at www.studio-tech.com or call 847.676.9177.

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ARGOSY Presents Video Interview with Producer/Mixer/Songwriter (and Financial Advisor) Glenn Rosenstein to Celebrate Company’s 20th Anniversary

GlennatArgosyEldon, MO (September 18, 2014) — ARGOSY Console is very pleased to announce the release of their new video interview with renowned producer/engineer/mixer/songwriter (and financial advisor) Glenn Rosenstein, the first in a series of video interviews with their outstanding customers, as part of the celebration of the company’s 20th Anniversary.

Glenn Rosenstein started his career in his native New York City at the Power Station Recording Studio, and then Sigma Sound Studios, where he became a highly sought-after mixer and remix engineer, working with artists such as U2, Madonna, Talking Heads, The Ramones, Lisa Lisa & Cult Jam and many others. As a producer, mixer and engineer, Glenn’s projects have won 3 Grammy Awards, garnered 5 Grammy nominations, and have won both an Oscar and a Golden Globe award. His music production & mixing credits for film & television include top shows such as The Sopranos, Married to The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy the Vampire Slayer. His music production and mixes continue to be diverse, working with artists from Ziggy Marley, Livingston Taylor and Andrew St. James to James Taylor, Carly Simon, The Soft White Sixties, and Bif Naked. In addition to music production, Rosenstein is also a partner in Wealthpoint Financial Group in Brentwood, TN.

And whether its making great records or great financial deals, Rosenstein recognizes the importance of having a great workspace, “As a record producer, I got used to the privilege of having a certain level of quality gear at my disposal, so I wanted to take it all with me into the financial world,” says Rosenstein. “My Argosy Aura desk gives me a sense of comfort and familiarity, with great design and ergonomics. It enhances my workflow, whether in music or financial services or whatever else I do.”

See the entire interview with Glenn Rosenstein at: http://www.argosyconsole.com/transformed/contest.html.

About ARGOSY
ARGOSY is the leading designer and manufacturer of high-end technical furniture for leading recording control rooms, post-production houses, film facilities and high tech venues worldwide. The company prides itself on responding to clients’ individual application-specific needs using a variety of custom materials and unique finishes, with careful attention to aesthetic design and ergonomic details. Since 1994, Argosy products have been installed at thousands of award-winning facilities in countries worldwide.

Build your own Dream Studio by visiting www.argosyconsole.com

ARGOSY® and Dream Studio® are registered trademarks of Argosy Console, Inc.

Future Youth Records Mission Girls at Studio Trilogy

First Project Empowers San Francisco Teens

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Pictured (L-R) at Studio Trilogy are students Mariacel Gutierrez and Kianna Farr-Zunig, FYR founder Jason Wall, singer Thia Megia, engineer Tyler Crowder, songwriter/producer Ben Thompson, and composer/producer/multi-instrumentalist Mo Pleasure.

Future Youth Records, which has a long-term association with San Francisco’s Studio Trilogy, has completed a preliminary chapter of the Mission Girls Remonstrance Project. Spearheaded by FYR founder and producer Jason Wall, the project aims to create music that rallies against songs and videos that objectify and degrade women in the hip-hop music community.

“We started out by creating an original song and music video that will be used to inspire and empower young women,” explained Jason Wall. “At the same time, this will serve to educate Bay Area residents about the growing problem of disesteem towards women in this musical community.”

“When we first came together on this partnership,” commented Mission Girls’ director Susana Rojas, “We expected to get a song out of it and for the girls to be exposed to a new field in a professional way. Mission Girls not only got the song and the exposure but so much more. Through this partnership we were able to build empowerment for our girls by hearing their own voices and without a doubt claiming that they are now rising up.”

Successful musicians who came to Studio Trilogy for the sessions included Morris Pleasure (Michael Jackson, David Foster), Nathan East’s brother Marcel East (Phil Collins, Phillip Bailey), and Thia Megia (Amercian Idol).

The long-range goal of the project is provide ten at-risk young women from the Mission Girls Services organization (MGS) with the tools and platform to draw awareness to the growing problem of women degradation and exploitation in rap and hip-hop music. Each participant will write and record one original song and produce a music video alongside professional songwriters, engineers and filmmakers.

The initial song produced at Studio Trilogy to launch the project was “Rise Up” “A couple of weeks after we finished,” recalled Jason Wall, “Susan Rojas, the director, told me that one of the girls was suicidal the week before coming into our program and through it was able to overcome those feelings and now wants to help other girls who feel the same way she felt.”

The proposed project will run March 3 – 27, 2015. Participants will work over a four-week period to write and record one original song at Studio Trilogy and spend two additional weeks creating a professional music video in San Francisco. Participants along with FYR and MGS will work with local merchants to secure physical distribution of free download cards. High profile musicians Dr Fink (Prince & The Revolution) & Marcel East are already confirmed to act as mentors.

To learn more about Future Youth Records, visit:
http://futureyouthrecords.org

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

Steve Pederson Picks Penteo 4 Pro for “The Equalizer”

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

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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
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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

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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

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Anthony Marinelli Chooses Barefoot Sound

Composer/Producer Works in Film, TV, Commercials and Stage
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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

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