Mix News for April 2003

Apr 24, 2003 12:00 PM, Sarah Benzuly


Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

News April 1-15

SurgeX Shows ICE
At NSCA, SurgeX unveiled its ICE (Inrush Current Elimination) remote-control units: the ICE 20C and 20H.

Both products offer remote soft turn-on and fixed time sequencing to prevent tripping breakers by high-powered audio amps. When daisy-chained and controlled by the company's SX2120-SEX, the ICE 20C and 20H act as a sequencer for multiple amplifier applications.

Both the cord-connected ICE 20C and hard-wired 20H feature advanced Impedance Tolerance EMI/RFI filtering to help eliminate line noise.

For more, visit www.surgex.com.

Digidesign Offers Focusrite, Blue Microphone Bundle
Digidesign, the North American distributor for Focusrite products, and Blue Microphones announced the second in a series of product bundles; this bundle is good from April 1 to June 30, 2003.

The Focusrite ISA220 Session Pack Channel Strip and Blue Mouse Microphone will be bundled with a Blue Cranberry Mic Cable and Blue Pop Kit. Price: $2,999.

"Our first bundling experience with Focusrite was with the VoiceMaster Pro and our Blue Baby Bottle," said Skipper Wise, Blue Microphones' co-owner. "It was so successful that we were excited to partner again to offer amazing products that professional recordists can benefit from at a greatly reduced price. The competitive pricing of these bundles helps both companies' high-quality products stand out in a very crowded marketplace."

For more, visit Digidesign at www.digidesign.com.

New England Insitute to Offer Audio, Media Degree
The New England Institute of Art & Communication (Brookline, Mass.) received approval from the Massachusetts Board of Higher Education in order to offer a Bachelor of Science degree in Audio and Media Technology.

"This is a tremendous step forward for the college and for our students," said Tom Dyer, Dean of education. "We offer associate's degree programs in Audio Production, but this allows our students a unique opportunity to hone and refine their skills, take more business-oriented math and science classes, and spend more time on internships and in the studios doing hands-on training."

Two concentrations will be offered: Audio Production and Audio and Video Technology. Students who concentrate in Audio Production "will learn the skills necessary for entry-level careers in sound recording for music and speech applications, in corporate audio/visual, digital post-production, digital editing and for Internet and multimedia applications," said Rob Lehmann, department chair.

For those seeking careers on the repair and maintenance side, the Audio and Video Technology concentration will give students the necessary skills to seek entry-level positions in that field.

For more, visit the College online at www.aine.artinstitutes.edu.

David Parse Appointed Ashly Audio CEO
Ashly Audio's (Webster, N.Y.) president, William Thompson, announced the appointment of David Parse to the newly created position of CEO. Parse previously held the position of VP of sales and marketing at Ashly.

Thompson said, "The sales and business management skills that David brought to Ashly six years ago have been integral in the development of our growth, marketplace image and the business platform upon which we operate. I would anticipate that we will continue to prosper under his new leadership position."

"I enthusiastically look forward to making Ashly a bigger presence in our industry," commented Parse. "The relationships that we foster, our domestic and international accounts and our strategic alliances will continue to be of utmost importance. Our continued success and growth will come through the expansion of these partnerships."

For more, visit Ashly Audio at www.ashly.com.

Video Design Software to Show Liberty Upgrade at NAB 2003
Video Design Software will show Liberty Version 8.3, the next generation of its paint and animation product line for broadcast and film applications. The new release, available on VDS’ turnkey systems or for Windows NT/2000/XP or IRIX platforms, offers new features such as direct file and database support for Pinnacle Thunder and Lightning in the Windows version.

Liberty 8.3 manages stills and video clips directly to most industry-standard 2D/3D graphics systems, NLEs, Character Generators, Still-Stores and Video Clip Servers to easily locate, edit and save any file. The program automatically generates thumbnails for browsing and can display and update database information for each still and video clip on the system. Liberty operators can recall any still directly from the browser, as well as save stills with optional database info and key channel. Video clips can be loaded with transport control functions, including play, stop, cue, jog, shuttle and current timecode.

In the Windows version of Liberty 8.3, direct file support for both Pinnacle Thunder and Lightning via Network Neighborhood is now offered. Embedded within Liberty’s UI, this feature allows users to grab and send stills in the Pinnacle G format to and from Liberty’s canvas, as well as import and export video clips to and from Liberty’s animation or rotoscoping environments.

According to D.R. Worthington, director of marketing and product development at VDS, "Liberty’s direct file and database-management interface maximizes the user’s creativity by placing any still, layer or clip file from most industry display systems right at their fingertips. With the newly integrated Pinnacle file support, Liberty now serves well as a seamless paint and animation package for Thunder and Lightning users."

For more information on Pinnacle Systems, visit www.pinnaclesys.com. For more information on Video Design Software, visit www.videodesignsoftware.com or www.libertydesigntools.com.

QSC Introduces CX 108V Amplifier
QSC Audio Products(Costa Mesa, Calif.) announced its new 8-channel CX 108V 70-volt power amplifier. Housed in a compact 2RU chassis, the CX 108V features QSC’s PowerWave™ switching power-supply technology (to virtually eliminate noise and hum), active inrush limiting technology and the company's DataPort for remote system control.

Connections include detachable Phoenix-style powered input and output. The unit offers 100 watts per channel at 70 volts; all channel pairs can be bridged to provide 200 watts at 140 volts. Each channel pair can be governed by QSC’s QSControl network audio control and monitoring application, allowing the user to control amplifier gain, check clipping and thermal status, as well as monitor additional system parameters.

"The new CX 108V is a feature-packed, versatile power solution capable of addressing a wide range of 70-volt applications," said Greg McLagan, QSC's marketing manager for Installed Sound. "This new amplifier packs a wealth of power, features and flexibility into a small, lightweight form factor."

For more, visit QSC online at www.qscaudio.com.

Angelus Temple Intalls L-Acoustics Loudspeaker System
The 80-year-old, dome-shaped Angelus Temple in Echo Park, Calif., recently wrapped up a $7 million renovation project, part of which included the installation of a full L-Acoustics loudspeaker system. Designed by McKay Conant Brook Inc. (MCB) of Westlake Village, Calif., the systems were integrated by Santa Clarita-based contractor AMT Systems Inc.

To create a high direct-to-reverberant ratio of sound, left/right line source arrays were deployed using components supplied by 28 L-Acoustics' dV-DOSC small-format array elements, 10 dV-SUB enclosures and eight SB218 subwoofer cabinets.

According to AMT's Tim Carlson, "The rig went up just as we predicted. With the digital inclinometer showing exactly the angle predicted to provide the required vertical coverage, we used a laser placed on the array to verify the aim points and upper edges of the coverage pattern at ear-height in the back row."

According to the MCB plan, each left/right array incorporates 14 dV-DOSC enclosures as mid-high elements flown in a classic line array arc at the side of the stage, along with adjacent arrays of flown dV-SUBs numbering five apiece on each side. For LF punch, the SB218 subs were relegated to groundstacks of four on either side, making the frequency response of the system 28 Hz to 18 kHz (+3 dB).

"When you think of line array technology, traditionally long, deep throws come to mind," said MCB's Randy Willis. "But in this facility, we were facing relatively short, wide throws. All that considered, we still needed a high degree of control to maintain the tight coverage patterns required. Our acoustics group did all they could to minimize the sonic anomalies inherent within the space, but we were still concerned about throwing unnecessary energy onto the walls and into the dome, because there was certainly a limitation to the amount of corrective measures the project could afford both aesthetically and financially. By necessity, then, we had to find line array technology that would allow us to maintain the control coverage and provide the SPL we needed, but still get the width. Based upon their tight response and high-energy, low-frequency impact, the small-format L-Acoustics product was ultimately chosen."

"We are more than pleased with the capabilities of the new audio system," said executive associate pastor David Hanley, who presides over the house of worship's musical ministry. "It's perfect for the room, and I really couldn't ask for more. I'm especially impressed with the coverage. Vocals are crystal clear, and it doesn't have that 'honk' characteristic of conventional horn-loaded systems. Bottom line, the sound is transparent and goes a long way in covering a multitude of problems we'd have experienced in this room otherwise."

For more, visit www.l-acoustics-us.com.

DPA Establishes Independent Sales, Distribution Office in U.S.
DPA Microphones A/S announced that it is establishing a wholly owned subsidiary in the United States. The new company is responsible for comprehensive marketing, sales, technical support and customer service in North America. Operations will be headquartered in Lyons, Colo., and began on March 1, 2003.

Bruce Myers will head the new U.S. subsidiary.

"To strengthen and expand our North American presence, we felt that 'being there' was an essential move," said Morten Stove, CEO and co-founder of DPA Microphones. "We are consciously laying the foundations for future growth and accelerating the internationalization of our business. The size of the North American market alone makes it strategically significant."

Previously, DPA had been represented by Tannoy North America in Kitchener, Ontario, which was the sole distributor of the product for the past 10 years. Initially, DPA plans to use the existing U.S. network of rep firms and dealers.

For more, visit www.dpamicrophones.com/eng_pub/.

Caesars Tahoe Installs BSS Soundweb
This winter, Caesars Tahoe updated the audio facilities in its convention center. XXXX Audio Systems, a live sound reinforcement provider and systems integration firm located in Sacramento, Calif., provided the design and installation of the new setup, which is based around BSS Audio's Soundweb product range.

Five 9088ii DSP units, used in conjunction with two 9000ii network hubs, provide loudspeaker processing and room combining for the 9,500-square-foot ballroom, which may be divided as required into up to eight individual meeting rooms. Further, nine wall-mounted 9010 "Jellyfish'"programmable remote controllers (including one for the adjacent Senate boardroom) have been installed for control over basic system parameters.

Each of the breakout rooms, which range from approximately 450 to 3,300 square feet in size, is equipped with between two and eight microphone inputs that feed into the Soundweb units housed in the control room. "We've created dedicated presets that work best for each of the hotel's different mics," said XXXX systems engineer Carl Sagen, who served as the project supervisor and system designer. "In doing so, a Caesars employee can plug in a particular mic, push the appropriate button for that product on a Jellyfish and Soundweb provides a tailor-made EQ for that microphone signal."

Four lines of DMX music are also fed into the BSS units for background music options that can be dialed up in any room via the Jellyfish. "The banquet captains are very appreciative of the fact that they can get up and turn on music without having to call in an A/V guy," added Sagen.

After audio signals have been appropriately processed and matrixed by Soundweb, they're routed out into an all-new amplifier and ceiling loudspeaker setup comprising 10 4-channel Crown CTs 4200s driving 65 JBL 2152H 12-inch coaxial transducers and eight Control 26Cs.

For more information on the Soundweb, visit BSS online at www.bss.co.uk.

Elliot Mazer Remixing Sinatra Recordings
Producer and engineer Elliot Mazer has been digitally remixing some of Frank Sinatra's recordings using Euphonix's high-quality Model Two Processor converters. Set for DVD-Audio are a live unreleased Rat Pack session recorded in the early '60s in Chicago, the Sinatra/Jobim collaboration and September of my Years.

"The Model Two provides the best digital conversion you can get, bar none," Mazer said. "I’ve run a lot of A/B comparisons in the past with other converters including the Pro Tools|HD and the Model Two clearly comes out on top."

The Sinatra transfers are done from 3, 4 and 8-track masters through four Models Two converters (8-track) into Pro Tools|HD where they are remixed and then digitally transferred back through the Model Two into a Sonic Solutions for 5.1 mastering. Mazer rented his Model Twos, Pro Tools|HD rigs and Ampex ATR-104 recorders from Doug Botnick’s Burbank, Calif.,-based Digital Music Technologies

Visit Euphonix online at www.euphonix.com. Visit DMT Rentals at www.dmtrentals.com.

Sennheiser Shows New Mic System at NAB 2003
Sennheiser has introduced its Encore HS1 Performance Head-Worn Microphone System for professional broadcast and live performance applications. The modular head-worn system is designed to be used withthe company's ME 105 supercardioid capsule; it will also accommodate both ME 102 omni-directional and ME 104 cardioid capsules.

Available in beige or black, the lightweight brass-tube construction of the Encore HS1 offers high mechanical strength. The fully adjustable telescopic headband suits a variety of hands-free applications while fully maintaining capsule position. The headset is available with integrated cables that can be used with Sennheiser's 3000, 5000 or EW Series belt-pack wireless transmitters.

The ME 105 miniature condenser capsule uses a supercardioid pickup pattern that, coupled with the close address distance of the headset, offers optimal isolation with very effective feedback rejection and rear-field noise suppression. Other features include high-SPL handling, uniform directivity across its full frequency range and an optimized low-end frequency response.

Visit Sennheiser on the Web at www.sennheiserusa.com.

Propellerhead Releases Reload Utility
Propellerhead Software has released Reload, a utility program for Mac OS X and Windows XP that allows Reason and ReCycle users to load Akai S1000/S3000 sound discs. Reload can also be used to import .WAV files.

Features include: ability to load complete Akai programs and samples, including full keyboard mapping and parameters, into the NNXT; load Akai samples into the NN-19 and Redrum, including looping; and load samples into ReCycle, including looping parameters.

Reload is available as a free download for registered Propellerhead users and is $49 for unregistered users. Visit www.propellerheads.se.

Pragmatic Upgrades TPA System
Pragmatic's (Santa Clara, Calif.) upgraded its TPA-Twisted pair audio system, which now features metal shielding and advanced circuitry to prevent potential noise from outside sources.

The TPA system consists of a powered sending unit and a receiving unit. The TPA pair can transmit up to 3,000 feet, and is capable of being daisy-chained as many times as needed, allowing for sound transmission to many speakers on the same Cat-5 cable. The system uses advanced circuity to eliminate ground loops, distortion and interference.

The TPA receiver can be mated to any self-powered speaker that accepts a line-level input,

For more, visit www.wireless-experts.com.

TC Applied Technologies Launches Dice II Chip Set
TC Applied Technologies (Risskov, Denmark) introduced its Dice II chip set, which handles all standard pro audio I/O formats, most notably the IEEE-1394 (FireWire) interface.

The company's managing directory, Morten Lave, said, "With the introduction of the new Dice II technology, we will now be able to offer significantly improved performance and convenience, taking computer integration to a new level. In recording and post-production environments, easy-to-add DSP and I/O modules providing extensive additional processing power, can be plugged in according to your needs. Also, in the installation market, the option of using a single cable to network a large number of audio channels will eliminate the hassle and cost of working with bundles of cables. The Dice II handles audio channels at 96 kHz."

Features include: total of 96 FireWire audio channels at 96 kHz sample rate; two sample-rate domains, each featuring an on-chip PLL; AES receiver/transmitter handling eight channels in each direction; ADAT receiver/transmitter with S-MUX support for 96 kHz; glueless connection of AD/DA (more than 16 channels in ech direction); glueless connection of a high number of commodity DSP processors; ARM 32-bit RISC processor; and IEEE-1394 Link Layer Controller.

Several recording and installation equipment partners provided input during the development process. These partners will now be implementing the chip in audio gear to be made available in the future. According to Lave, "We have now gone into the synthesis phase and will have physical chips available this summer. Due to the high bandwidth of the streaming engine, combined with the state-of-the-art digital PLL technology and support of 100m Ethernet-style cable, we believe that this solution overcomes the last hurdles for FireWire being broadly applied in pro audio.

Threshold Sound + Vision Masters Ginuwine Album
Threshold Sound + Vision's (West Los Angeles) chief mastering engineer Stephen Marsh recently completed final mastering for Epic Records' artist Ginuwine's fourth album. Titled The Senior, Ginuwine's latest effort features Snoop Dogg, Method Man and the Big Tymers, among others.

In other studio news, Threshold's director of engineering Peter Barker finished mixing J.Lo and LL Cool J's "All I Have" performance for air on England's Top of the Pops and is currently ensconced in the company's mix room working on a 5.1 mix for Dick Dale: New Years 2003 live performance DVD.

At the editing helm for both projects is Threshold's Marc Schrobilgen. Other recent projects for Schrobilgen include a new music video for "Headstrong" by New Line Records artist Trapt with director Brian Scott Weber.

For more recent projects at Threshold, visit www.thresholdsound.com.

Shure Acquires UK Distributor HW International
Shure Incorporated announced the purchase of its longtime UK distribution center, HW International, from Wilton Investments. The new Shure subsidiary will keep all current employees, as well as the distribution of its other existing product lines, including Phonic, QSC and PreSonus. Dennis Harburn will continue as managing director at HW.

"The purchase of HW International provides an opportunity for Shure to have more direct contact with its customer base in the UK, one of Europe's largest markets," said Mike McGinn, Shure's executive VP of global marketing and sales. "This supports our plan to further develop the brand there."

Markus Winkler, managing director of Shure Europe, said, "From the standpoint of our UK customers, the change in ownership of HW will be transparent, as we will continue to utilize the excellent staff that HW has assembled, adn continue to carry the same product lines."

For more, visit www.shure.com.

Avid Acquires Rocket Network's Assets
Avid Technology (Tewksbury, Mass.) announced that it has acquired the assets of privately held software company Rocket Network (San Francisco). Future plans include Avid providing (through its Digidesign audio-business unit) collaboration and delivery products or services based on Rocket Network's technology. Terms of the deal were not disclosed.

"Rocket Network developed technology that has greatly excited and creatively charged the Digidesign Pro Tools audio community," said Dave Lebolt, VP and general manager of Digidesign. "By integrating this technology into our current offerings, we plan to provide Pro Tools customers the means to take advantage of smooth, collaborative workflow between Pro Tools systems over local area networks or the Internet. With powerful tools for easy and secure digital delivery of large media files of any type, including audio or video, this new technology will help our customers move vast amounts of media over the Web at high speed."

Prior to the acquisition, Digidesign had incorporated Rocket Network's technology into Pro Tools as part of the DigiStudio online service for track-based collaboration over the Internet, which used near-real-time interaction with a remote centralized data server for storage and billing. The technology will further enhance Avid's end-to-end digital workflow by increasing efficiency and speed from tighter integration between Pro Tools and Avid workgroup shared-storage technology.

For more, visit Avid online at www.avid.com, Digidesign at www.digidesign.com or Rocket Network at www.rocketnetwork.com.

Wi-Fi Turns Three
The Wi-Fi Alliance (Mountain View, Calif.) announced that its Wi-Fi product-certification program is now three years old; certification began in March of 2000.

"This has been an amazing three years for Wi-Fi," said Dennis Eaton, chairman of the Wi-Fi Alliance. "As with any new technology, we had high expectations for Wi-Fi's growth potential. However, what happened turned out to be nothing short of amazing: Not only has Wi-Fi grown beyond our expectations, it has turned out to be a rallying point for entrepreneuers, large technology companies and grass-root organizations. Looking back on this experience, it is clear that true interoperability and open standards were a key component of Wi-Fi's success. What made it even more remarkable was that this took place during one of the most significant downturns in the history of the technology industry.

"Certainly," Eaton continued, "the increased number and diversity of Wi-Fi products is one indicator of Wi-Fi's evolution, but more importantly, entirely new industry segments based on Wi-Fi technology, like public access, have emerged. Another measure is that only two years ago, less than 5 percent of laptops were shipped with Wi-Fi built in. This year, we expect greater than 50 percent will ship with Wi-Fi, and an even higher percentage is anticipated in the future."

The Wi-Fi Alliance was formed in August of 1999 by 3COM, Aironet (now Cisco), Lucent Technologies (now Agere), Intersil, Nokia and Symbol Technologies for the purpose of certifying interoperability of 802.11b products. Shortly thereafter, the Wi-Fi Alliance coined the term "Wi-Fi" to indicate that products had passed the organization's interoperability-certification program.

For more, visit www.wi-fi.org.

Recording Academy Increases Grant-Griving
The Recording Academy (Santa Monica, Calif.) announced that almost $550,000 will be presented to 27 organizations and individuals in the form of Recording Academy grants. This represents a 27% increase in funding and a 69% increase in the number of award recipients as compared to last year.

Now in its 16th year, the Academy grant program funds projects that advance archiving and preservation of America's recorded sound/music heritage, studies related to the impact of music on human development, and research concerning the medical and occupational well-being of music professionals.

"These grants will benefit of wide range of preservation and medical-research programs that not only protect our nation's rich cultural legacy but also benefit the health and wellness of musicians, children and the public at large," said Recording Academy president Neil Portnow. "The Academy is committed to supporting projects that document the educational and therapeutic effects of music. Music is a powerful force with the ability to inspire, to teach and to heal, and the goal of many of these programs is to enhance an individual's quality of life. We applaud the efforts of our grant recipients and others who endeavor to do the same."

Grant recipients are determined by the Academy's National Professional Education Committee based on criteria such as merit, uniqueness of project and the ability to accomplish intended goals. The deadline for each year's grants is October 1; applications are available at www.grammy.com/grant.pdf.

The following is a list of grant recipients:

Archiving & Preservation
American Music Center Inc. (New York City): restoration, reconstruction, recording, documentation and preservation of 11 unpublished musical works for big bands created by legendary jazz composer, arranger and performer Thad Jones.

Center for Southern Folklore (Memphis): to catalog music and the stories of blues greats, fife makers, fiddlers, country, jazz and gospel quartets, and others who have been recorded by the Center of Southern Folklore in performances or in interviews at the Center or in their homes.

City Lore Inc. (New York City): restore, archive and disseminate historic audio recordings embodying all of the concerts presented by the pioneering New York City organization Friends of Old Time Music.

Country Music Foundation (Nashville): transfer of 78 rpm recordings to archival CD-Rs and to .WAV or MP3 files stored on a server for public access.

Ginger Group Productions (New York City): create a searchable index of the existing filmed and videotaped appearances by the pioneers of American Music.

Haleakala, The Kitchen (New York City): preserve and modernize The Kitchen's extensive archival collection of historic audio and videotapes.

Library University of Hawaii at Manoa (Honolulu): to develop a framework for a "Hawaii Music Archive." The archive will preserve Hawaiian music in all formats and provide public access.

Louis Armstrong House Archives (Flushing, N.Y.): to archive preservation tape copies of Louis Armstrong materials and to reformat the tapes on CD to make them available to researchers and visitors at the Archives.

Naropa University (Boulder, Colo.): reformat 200 hours of recordings focused on the connection between poetry and music.

New Orleans Jazz & Heritage Foundation (New Orleans): archive a re-recording of 274 oral histories. The interviews were conducted on the Allison Miner Music Heritage Stage at the New Orleans Jazz & Heritage Festival from 1995 to 2002.

Newark Public Radio/WBGO (Newark, N.J.): transfer tape recordings of WBGO live recordings to CD.

92nd Street Young Mens and Young Womens Hebrew Association (New York City): a multi-year project to preserve and digitize its archives.

Northwest Folklife (Seattle): to identify, preserve, index and provide access to more than 30 years of recordings from the annual Northwest Folklife Festival in Seattle, the KBOO World Music Festivals in Portland, and field recordings of fiddlers and other musicians in the Pacific Northwest.

Pacifica Foundation/Pacifica Radio Archives (PRA) (North Hollywood): to undertake a professional preliminary appraisal and assessment of its collection, resulting in recommendations for best practices and actionable plans for preservation priorities, conservation strategies and improved access and descriptive documentation.

San Francisco Performing Arts Library & Museum (San Francisco): to clean, re-house and catalog 751 rare acetate instantaneous 16-inch discs of the Standard Hour, a radio program that broadcasts live performances by many of the greatest conductors, musicians and composers of the 20th century.

Sebastian Zubieta (New Haven, Conn.): digitize, edit and make available on CD and online recordings held at the archives of the Instituto Nacional de Musicologia in Buenos Aires, Argentina.

UCLA Ethnomusicology Archive (Los Angeles): initiate the copying of the archives collection of Native American field recordings onto both analog and digital formats.

University of New Orleans/American Routes: archiving, preserving and preparing for CD production artist performance and interview recordings from the Folk Masters series now in the American Routes Library.

University of North Carolina at Chapel Hill: preserve and provide access to the Goldband Collection in its Southern Folklife Collection (SFC) Manuscripts Department .

International Foundation for Music Research (Carlsbad, Calif.): research will explore the question: Is there a correlation between enhancements in cognitive skills and structural brain growth due to music training?

Kenneth M. McGuire, Ph.D. (Tuscaloosa, Ala.): Research will answer the following questions: Is a preschooler's ability to remember songs affected by the type of song presentation? And does the level of children's involvement during the song presentation have an effect on their song recognition?

Music Intelligence Neural Development Institute (M.I.N.D.) (Irvine, Calif.): to evaluate, improve and modify the MST Math program before it is fully implemented nationwide during the 2003-'04 school year. The program is designed to help children learn to think, reason and create using their innate spatial-temporal skills.

Steven Brown, Ph.D./Research Imaging Center (San Antonio, Texas): Functional Magnetic Resonance Imaging (fMRI) of brain blood flow will be used to elucidate the psychological and neural processes underlying human aesthetic responses to music.

Health and Wellness
Denver Center for the Performing Arts (Denver): to explore the factors that cause musical theater performers, opera singers and chorus members to fatigue vocally.

Medical Program for the Performing Artists/Rehabilitation Institute of Chicago (Chicago): to demonstrate that not only loss of voluntary control of certain hand muscles due to focal hand dystonia can be retrained, but that the underlying causative changes in the brain can be permanently reversed.

University of North Texas Health Science Center (Fort Worth, Texas): to develop an educational module for music instructors, music students, musicians and their health-care providers about proper practices to reduce the risk of occupational and potentially career-ending injuries.

University of Texas at Arlington, Human Performance Institute: pilot test to demonstrate a new task analysis/modeling methodology that quantitatively relates musician subsystem performance capacities to the level of performance that can be achieved in playing a musical instrument and identify which capacities are maximally stressed for a given individual.

For more, visit www.grammy.com/recipients.html.

Megatrax Announces Restructuring
Megatrax Production Music (North Hollywood), a supplier of original, high-quality production music for film, television, advertising and multimedia, has undergone a restructuring, resulting in three clearly defined new divisions: Megatrax for Film & TV, Megatrax for Broadcast and Megatrax for A/V.

Benjamin Trust, Megatrax' newly hired general manager, said, "We at Megatrax strive to build successful working partnerships with each and every one of our clients. We pride ourselves on our ability to produce and supply top-quality music, whether original or library, that will enhance each client's producion. With our streamlined new operating units, our experienced team members can now better deliver personalized and highly customized customer service coupled with access to one of the finest and most comprehensive production music catalogs."

Megatrax for Film & TV, with Andrew D. Robbins at its helm, will provide music–from pre to post–for the major motion-picture and television studios, as well as independent TV and film-production companies. State-of-the-art in-house live and electronic recording studios, equipped with Pro Tools|HD and outfitted for 5.1 allow the division to quickly turn around virtually any scoring project.

Aaron Davis is head of Megatrax for Broadcast, which wil primarily work with TV/radio stations and cable networks.

Megatrax for A/V is the newest unit of the Megatrax company, and will be under the direction of Caitlin Hill. This division provides access to the entire Megatrax collection to a wide array of clients including ad agencies, ad producers, network promo producers, consultants, corporations, government agencies, independent promo producers, infomercial and multimedia producers, not-for-profit organizations, online/interactive companies, religious organizations, schools and others.

For more on Megatrax and its new divisions, visit www.megatrax.com.

'Showtime In Harlem" Brings in XTA Gear
NBC’s late-night variety series Showtime In Harlem recently switched venues from the legendary Apollo Theater in Harlem to the larger space of the Hammerstein Ballroom in Midtown. One Dream Sound, the New York-based company that provided the program's P.A. system, brought in a wide array of XTA processing equipment for complete audio control in the cavernous 3,000-seat venue.

One Dream Sound provided a large Martin Audio P.A. with 10 mid-high boxes per side on a stage that was set up to re-create the Apollo’s. "It is a big P.A., but we specialize in large systems for broadcast and live events." said David Ferdinand, CEO of One Dream Sound. "The space is quite large, and the trick in doing music for television is to get the room under control: keep the volume in check, but still get the excitement level up."

One Dream Sound also brought in a broad array of XTA processing equipment, including six XTA C2 dual/stereo compressors, six G2 gates, a pair of GQ600 dual/stereo 30-band EQs, four each of the DP200 and DP224 speaker-management systems, two DP226 systems and a pair of XTA SIDDs. The C2 was used on all vocal microphones, while the G2was employed on the entire drum kit. The SIDDs were utilized, in Ferdinand’s words, to "act as a ’mastering system’ for the overall P.A."

Ferdinand continued, "One of the key things is not to let the room get away from you. That takes compression and limiting. But with most comp/limiters, you can hear them ‘breathin,’ or even hear distortion when the compression kicks in. That’s never the case with the XTA C2 compressor. It’s incredibly clean and transparent in its operation and its sound. The client was extremely happy with the system’s performance."

The crew for the show included One Dream Sound’s Greg Rosenkranz and Thom Wright, and FOH mixer Kevin Hartman of client Good Brothers Sound.

For more on the XTA gear, visit www.xta.co.uk.

Symetrix Intros AirTools Studio Matrix at NAB
Symetrix Inc. (Mountlake Terrace, Wash.) showed its latest system under the AirTools brand: the Studio Matrix. Built on the Symetrix SymNet Audio Matrix technology, this system provides a scalable, modular, redundant solution for audio routing and processing needs of small to medium-sized radio and audio-for-video production facilities.

Systems can be configured by networking up to 15 redundant pairs of specialized, 1U DSP-driven devices into a matrix, allowing hundreds of input and output signals to be brought into the systems and routed via mixers, selectors and/or crosspoint matrix/mixers up to 32x32 (stereo). Users can also route between any two (or more) points in the system.

Each network device contains two SHARC processors to handle audio signals including dynamics, equalization, filtering, mixing, switching, routing and logical control. Local access and control is offered from a variety of sources including Ethernet control, RS-232/485, or analog pots and closures.

Signals originating from outside of the central network location can be brought into the system through a 4x4 interface known as Homer (model 7000). This device converts signals between the analog and digital domains and transmits them in and out of the network as AES/EBU audio over Cat-5 cable. Homer also supports a microphone preamp with phantom power.

For information about AirTools, visit the new Symetrix Website at www.airtoolsaudio.com.

EMI Partners With Asset Digital for DVD-A Production
Canadian artists will soon be showcasing their tracks on the DVD-Audio format. In an effort to push DVD-Audio, EMI has partnered with one of Canada's leading DVD production facilities, Asset Digital. Presently Canada's only DVD-Audio house, Asset Digital has completed two projects for EMI: Trapeze"–The Tom Cochrane and Red Rider Collection and Machine Punch Through–A MOIST Compilation.

EMI Music Canada's VP of marketing and operations, Rob Brooks, said, "For a number of years now, consumers have been enjoying 6-channel audio in the movies they watch, and with the recent DVD hardware changes to include a DVD-Audio option, they can now enjoy listening to their music in 6-channel, advanced-resolution surround. It's a truly amazing experience."

With over 500 DVD-Video releases to its name, Asset Digital is focused on creating titles that truly take advantage of the format. "We've come a long way with DVD since its introduction," said Asset executive producer Andrew Buck. "DVD-Audio was a logical extension to our DVD-Video program and we share EMI's enthusiasm. t truly sounds fantastic, and it's only a matter of time before consumers come to the same realization."

For more, visit Asset Digital at www.assetdigital.com.

Genex Audio Supplies Converters for Nneena Frelona Recording
Genex Audio recently supplied an array of GX Series High-Precision Multiformat Converters to Digital Music Technologies, one of the West Coast's suppliers of rental systems to the recording, scoring and post-production industries. The converters were used in late February, alongside four Genex GX8500 recorders, during a series of 32-track Direct Stream Digital recordings of Nneena Frelon at New York's Kennedy Center with producer John Newton.

The DMT shipment comprised GXA8 8-channel A/D and GXD8 8-channel D/A converters capable of both 192kHz PCM and DSD conversion. Also supplied were optional AES-format expansion cards, MADI optical and single-cable 192kHz interfaces.

"DMT president Doug Botnick is a longtime Genex fan," said Genex Audio president Kevin Brown, "and is now the proud owner of 80 channels of GX Series converters. Doug has purchased an additional three pairs of the ultraversatile GXA8 and GXD8 converters and has also ordered multiple sets of I/O cards to complement his purchase."

"We carefully evaluate every piece of equipment we plan to own," said Botnick, "by pushing it beyond the manufacturer's testing. Then, when we are fully convinced that the units will withstand the hard life any rental item experiences day-to-day in studios, scoring stages and post facilities, we offer it to our clients."

DMT's GX Series converters were also used in mid-March to record Jerry Goldsmith's score for Timeline, directed by Richard Donner, with session engineer Bruce Botnick at Paramount Stage M.

For more, visit www.genexaudio.com.

5.1 Production Services Finishes Norah Jones Live DVD
Blue Note Records sought Los Angeles-based 5.1 Production Services' expertise to produce the new DVD Norah Jones, Live in New Orleans, including surround mixing, compression and authoring. In addition to music mixes for DVD, 5.1 Production recently completed a variety of surround mixes for Paramount Pictures box office hit, How to Lose a Guy in 10 Days.

"We’ve grown accustomed to the quick turn-times required from the music and entertainment industries. We have the staff to react, and have built a very loyal customer base because they know they can count on us to respond immediately," said Bob Michaels, president of production services at 5.1 Entertainment.

Ten-year-old 5.1 Production Services, a division of the 5.1 Entertainment Group, provides full-service, state-of-the-art production services to the music and movie industries. 5.1 Production has produced and mixed over 180 DVD-Audio albums and was the first studio to produce DVD-Audio three years ago. The company has mixed and produced projects for companies including Warner Music Group, EMI, Capitol, Virgin, Interscope, Vagrant, Blue Note, Paramount Pictures, Fox Pictures, Sony Pictures and Universal Music.

For more on 5.1 Production Services, visit www.5point1.net/productions.php.

Ocean Studios Adds New Gear
Ocean Studios (Burbank, Calif.) recently purchased six more Neve 1081 modules, expanding its large-frame vintage 80 Series Neve console up to 40 1081, six 1073 and two 1084 modules, with a total of 96 inputs in mix mode.

It has also recently added two Ridge Farms "Gas Cooker" stereo Tube DIs, an EAR (Esoteric Audio Research) 660 compressor/limiter, a "Beatles/Pink Floyd" Telefunken U73b limiter, and some Telefunken/Seimens V78, Langevin AM-16, and Klein & Hummel preamps. Also newly added are pairs of Tannoy SGM-10B with Mastering Lab crossovers, Tannoy SRM-10B speakers, more channels of API 550a and 560 EQs, and an NTI EQ3 (with "air band") equalizer.

In other studio news, Ocean welcomed back producer/engineer Mark Trombino with Arista artists Gob for tracking and overdubbing. Ocean's Dean Nelson assisted. Trombino was also in with Dreamworks band My Chemical Romance to track and overdub new material, and then returned again with Australia's The Living End on Warner Brothers to track and overdub their new album. Ocean's Jason Cupp assisted.

For more, visit Ocean Studios at www.oceanstudiosburbank.com.

Sanken Shows New Broadcast Mics
At NAB, Sanken introduced its new microphone products for broadcast, film and studio applications.

The CS-1 Short Shotgun Microphone employs the same technology as previous Sanken mics in a new, smaller, ultra-compact housing. The new, 100kHz CO-100K omnidirectional condenser microphone is designed for professional recording and not for measurement purposes.  Designed by Sanken in conjunction with NHK Science and Technical Research Laboratories, the CO-100K allows for high-frequency response to record SACD, DVD-A and future high-resolution formats. The HAD-48  Microphone Preamplifier provides switched gains of +20 dB or +40 dB to improve signal levels. The preamp also an XLR-style barrel (XLR-3M - XLR-3F) that is 105.3mm long. The HAD-48 does not require batteries; rather, it runs off 48V phantom and draws 3 mA.

For more information, contact Sanken's distributor, plus24, at www.plus24.net.

AES Hosts Design Competition
At the 115th AES Convention in New York City, the Audio Engineering Society will sponsor a competition for audio projects made by students at any university or recording school. Entries will be judged by a panel of industry experts in design and manufacturing. Projects that may be submitted include loudspeaker designs, electronic circuits, audio/music software, microphones, musical instruments or anything else that can be made for use in the audio field. Application deadline is September 13, 2003; visit www.aes.org for an entry form.

InnovaSon Compact Sy40 at Schuster Center Opening
The new InnovaSon Compact Sy40 was on hand at the opening of Dayton, Ohio's, Benjamin and Marian Schuster Center for the Performing Arts on March 1, 2003. The Center was designed by Cesar Pelli, architect of the Petronas Towers in Kuala Lumpur, Malaysia. The new facility is expected to draw 500,000 people to 200 performances during its first full year of operation.

Steve Colby, of Evening Audio Consultants in New Hampshire, joined the team as audio producer for the event using the InnovaSon console at FOH. "The console did everything that it needed to do," said Colby, who was using the Sy40 for the first time. Colby is a senior sound engineer for the Boston Pops and a frequent engineer and consultant for the Boston Symphony Orchestra, which last year installed an InnovaSon Compact Live at its Symphony Hall as part of a new sound system designed and installed by Evening Audio Consultants.

"The big change is that you now have the advantage of stereo inputs and stereo group/aux outputs," continued Colby of the new console. The Compact Sy40 supports up to 72 physical inputs and 48 outputs through 48 faders: 32, including eight stereo, for the 40 input channels, 12 faders for the stereo mix buses and three faders for the LRM/C masters, plus an automation control fader. "I love the look of the new console. Cosmetically, it's very beautiful and easier to read in the dark than previous versions. The new software has enhanced the graphics dramatically. InnovaSon has also improved the system's insert capability."

According to Colby, the P.A. system for the gala primarily comprised the center's custom EAW system. "We had additional monitor gear brought in from LIVE Technologies Inc., from Columbus, Ohio," he said. RF microphone specialist Kevin Sanford's New York and Boston-based Wireless First supplied Sennheiser MKE 2 miniature lavalier microphones and bodypacks that were used by the hosts and performers.

For more, visit InnovaSon at www.innovason.com or Sennheiser at www.sennheiserusa.com.

Tascam, Frontier Design Group Intro Control Surface, FireWire Interface
Tascam showed at NAB the FW-1884, a professional DAW control surface and audio/MIDI interface that uses the FireWire high-speed data-transfer protocol. Co-designed between Tascam and Frontier Design Group, the FW-1884 ($1,599 MSRP) is an expandable audio and MIDI interface and control surface for professional DAW users.

The FW-1884 provides audio and MIDI interfacing to computers, as well as control of DAW parameters via eight 100mm motorized, touch-sensitive channel faders, one master fader, and controls for pan, solo, mute and select functions on each channel. Tactile control of four bands of parametric EQ, a weighted jog wheel and a variety of shortcut keys for various popular software applications are also included.

DAW control capabilities include comprehensive mixing, automation, editing and navigation tools. In addition to its faders, dedicated controls and assignable/pre-assigned shortcut keys, the FW-1884 provides eight balanced XLR analog mic/line inputs with high-quality mic preamps, phantom power and inserts on every channel. Using 24-bit/96kHz AD/DA converters, the FW-1884 offers full 96kHz operation on all analog I/O channels with compatible DAW software, including Digital Performer, Cubase, Nuendo and Sonar.

For use with condenser microphones, the FW-1884 offers phantom power that can be switched in groups of four channels. In addition to its two FireWire (IEEE-1394) computer interfaces, the FW-1884 gives users eight channels of ADAT Lightpipe and stereo S/PDIF inputs and outputs. The FW-1884 also provides eight analog outputs that default in L/R and 5.1 surround modes; a headphone output is also provided.

Users who require more dedicated tools for DAW control can add the FE-8, an 8-channel fader expander. The FE-8 offers all of the channel strip capabilities (100mm motorized faders, dedicated control buttons, etc.) of the FW-1884, minus the master section and interfacing. As many FE-8s may be added to an FW-1884 system as needed.

For additional information on the FW-1884, visit Tascam’s Website at www.tascam.com.

RealTraps Introduces MiniTraps
RealTraps (New Milford, Conn.) offers its new membrane trap: MiniTraps ($159.99).

Absorbing midrange and high frequencies, MiniTraps are small and easy to handle, and because they are made with rigid Fiberglas and metal instead of foam, they are fire-resistant.

According to RealTraps co-owner Ethan Winer, "The main problem in most studios and listening rooms is standing waves that cause severe variations in the low-frequency response. Many engineers and audiophiles cover their walls with foam, which just makes the room too dead at mid and high frequencies, while doing nothing for the low end. MiniTraps are much more absorbent than foam at low frequencies, so they do a superior job overall and with fewer pieces. Their light weight and small size also makes them ideal for larger installations like churches and auditoriums. Best of all, they install easily with one nail or hook without glue or wall damage."

Complete product details and performance data are on the RealTraps Website, www.realtraps.com. Also at the RealTraps site is room treatment advice, showing solutions for common problems, and a detailed explanation of acoustic product-testing methods.

Henninger Media Services Completes Reorganization
According to Henninger Media Services (Arlington, Virg.), it has satisfied all conditions for the reorganization plan following less than nine months under Chapter 11 court protection.

Rob Henninger, HMS founder and CEO, attributed the swift emergence from Chapter 11 to Henninger’s cost-cutting moves to eliminate duplicative facilities, as well as its push into business and corporate communications, and–with its recent GSA approval–into government contracting. "It’s no secret that the advertising and post-production businesses have been in an industry-wide slump for a couple of years," Henninger said. "So we’ve made a concerted effort to diversify our efforts into areas expected to see high growth in the years ahead."

Under the reorganization plan confirmed April 2 by the U.S. Bankruptcy Court for the Eastern District of Virginia, Alexandria Division, HMS has secured financing from Advisco Capital Corp. and established equipment financing on favorable terms. Since entering Chapter 11, liabilities have been significantly reduced; the workforce has been reorganized to include 100 employees across its three facilities, absorbing key staff and equipment into its Arlington headquarters from several of the closed facilities. During this process, Henninger has built new Telecine suites, as well as new Discreet smoke and flame suites for its design and editorial talent. It also has added capacity for duplication and format conversion at Commonwealth Film Labs & Transfer in Richmond. In addition, the company has increased its market share in nontraditional media outlets.

For more information, visit the company online at www.henninger.com.

Read page two of Mix news for April 2003

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