Mix News for August

Sep 9, 2003 12:00 PM, By Sarah Benzuly

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Mix Regional

The Mix Regional section for Mix's September 2014 issue focuses on Miami. Send us your studio news: updates, sessions, new rooms, plus club performances and installations. Let the Mix audience know what is going on! Send photos and descriptions to mixeditorial@nbmedia.com.

News August 18 - 29

(read news for August 4 - 15)

Edirol Announces Compact USB Audio Interfaces
Edirol's new UA-1X (SRP: $95) is a compact USB audio interface that replaces the UA-1A. It offers RCA audio input and output, as well as a combination port that offers both headphone out with volume control and S/PDIF optical output.

The UA-1X includes signal indicators to show when audio signals are present, and functions using the standard USB Audio driver included with the user's operating system (PC or Mac). The UA-1X offers audio recording capability up to 16-bit/48kHz quality.

Other new products from Edirol include the UA-3FX, which offers onboard DSP effects, up to 24-bit/48kHz audio quality, support for both ASIO2.0/WDM and OS standard drivers, and low-latency, direct-monitoring support. The UA-3FX includes RCA and S/PDIF connections, one guitar input and a microphone input. The device is USB bus-powered and comes with a SRP of $215. In the MIDI department, the company's new UM-1X and UM-1SX devices replace its UM-1E and UM-1S with the addition of MIDI signal indicators and a Selection switch to allow the user to choose between the Edirol Advanced driver and the OS standard MIDI driver. The UM-1X offers a complete cable solution from the USB port of the computer to the MIDI device. The UM-1SX offers a MIDI input and a MIDI output port to allow the user to connect his or her own MIDI cable of any length. Suggested retail prices: UM-1X, $50; UM-1SX, $45.

Visit www.edirol.com for more information.

DMT Rentals Adds AMS Neve Channel Amplifiers
DMT Rentals has added to its inventory of state-of-the-art converters, recorders and outboards with the recent purchase of two vintage AMS Neve Model 1081 Channel Amplifiers, which are combination mic preamplifiers and EQ modules.

"The Model 1081 was first produced in 1972," said DMT president Doug Botnick. "The same circuit provided the mic/line amp and EQ sections in much-revered Neve consoles such as the 8048." AMS Neve has resumed production of the 1081 module, using original components and construction methods.

"Our new units are supplied as a stand-alone module," said Jayce Murphy, DMT's general manager, "containing two individual 1081s mounted horizontally in a 3U rackmounting chassis. Located on the rear panel are XLRs for the transformer-balanced I/Os, a 25-way D-type connector for solo, spare switch contacts and unbalanced outputs, plus an IEC power connector."

"We purchased the 1081 modules because they quite simply have an extraordinary sound," Botnick said. "Some clients use them on drums or guitars, some use the EQ across a main mix bus, and others want them for their overall room mics or string mics. For sure, I'll be using them on my own recording projects whenever they're available. I love the fact that the 1081s are virtually identical in every way to the originals, including the transformers, but are brand-new without the dirty switches and bad caps you find in a lot of vintage units. The 1081s are fantastic with ribbon mics too, because they can be switched to a 300-ohm input; impedance matching changes the character of vintage ribbons."

The 1081 channel amplifiers were used most recently by scoring mixer Simon Rhodes during recording dates for the new movie Radio, with composer James Horner.

For more, visit AMS Neve online at www.ams-neve.com. Visit DMT Rentals at www.dmtrentals.com.

Jane's Addiction Visits Indre Studios
A special Y100 radio recording for broadcast took place at Indre Studios (Philadelphia) with Jane's Addiction. Perry Farrell and the gang stopped by and played for a packed house of listeners. Perry sang in the isolation booth until the last song, when he kicked down the door and hit the front of the stage. He even danced with audience members. Mike Richelle manned the console for this session.

In other session news, Train stopped by for another installment of "Live from the World Café" with guest host Michaela Majoun. The band performed songs from their new album My Private Nation, which they are currently on tour promoting, as well as their previous hits including "Drops of Jupiter" and "Meet Virginia." This session was recorded by Indre's Michael Comstock. 103.9's "Behind the Beats" session, with host and producer Colby Colb came by with artist/producer Pharrell Williams. Best known for being half of the production team The Neptunes, Pharrell fielded over an hour's worth of questions from audience members on subjects including money, music and love. His new album is due out at the end of the summer. Comstock recorded the session.

Indre rolled out the remote truck and headed over the bridge to Camden, N.J.'s Tweeter Center to Lollapalooza to record Queens of the Stone Age for a Y100 radio backstage performance in front of a fans. Engineers Pete Girgenti and Geoff Pawlikowski recorded the event.

Get up to speed on other Indre sessions at www.indrestudios.com.

Senator Hillary Rodham Clinton Records Book at Interface Media Group
To record her latest book, Living History, New York Senator Hillary Rodham Clintonreturned toInterface Media Group (Washington, D.C.)to work once again withdirector of audio Dennis Jacobsen.

Living History is a political memoir in which Hillary Clintondiscusses her eight years in the Clinton White House and the watershed events of her husband's presidency. The approximately seven-hour audio book was released by Simon & Schuster Audio (New York City) in conjunction with the hardcover version in June 2003.

Jacobsen worked with Clinton on the session and said, "This makes it a clean sweep for us. Interface has recorded all three of the former First Lady's audio books. She and I previously recorded Dear Socks, Dear Buddy, a compilation of the most amusing, entertaining and thoughtful letters that children had sent the nation's First Pets. Mrs. Clinton's It Takes a Village was also recorded at Interface and was a national bestseller and received the Grammy Award for Best Spoken Word."

Jacobsen served as sound designer/engineer and was assisted by sound designer Joshua Nelson. They worked closely with Susan Perrin, senior producer and director of Simon & Schuster Audio and associate producer Sarah Ginsberg.

Jacobsen also mentioned that, in recent months, Interface has worked closely with a number of prominent individuals on their recorded books, including former Secretary of State/former U.S. Ambassador to the UN Madeleine Albright's Madam Secretary, due in bookstores next month. (IMG recorded both the abridged version for Time Warner and the 24-hour-long unabridged version for Miramax Publishing); both of Supreme Court Justice Sandra Day O.’Connor's audio books, The Majesty of the Law: Reflections of a Supreme Court Justice, which was released by Random House in April 2003, and Lazy B: Growing Up on a Cattle Ranch In the American Southwest, which the publisher releasedin January 2002; and Jane Alexander reading America's Women: Four Hundred Years of Dolls, Drudges, Helpmates and Heroines by Gail Collins for HarperAudio, released in June 2003.

For more, visit www.interfacevideo.com.

Mercury Sound Studios Installs Twin System 5-Fs
Audio post-production facility Mercury Sound (Glendale, Calif.) has just completed a major digital upgrade that included the installation of two large Euphonix twin-operator System 5-F audio consoles.

Mercury Sound was founded in 2001 by industry veteran Paul Ratajczak, who also founded Ground Control Studios in 1978; he also has over two decades of experience as a record producer/engineer and more than 400 movies to his credit as a re-recording mixer and sound supervisor.

"In 2002, we felt the time had come for a full digital facility upgrade," said Ratajczak. "Our clients demand the best and we wanted to offer the most complete state-of-the-art digital audio post environment available today. I spent a lot of time looking at every type of audio console before choosing the Euphonix System 5s. It was an obvious choice based on their operational reputation in the industry, ease of use and reliability. I also like the way Euphonix is working to integrate the console to control workstations and their overall rapid responses to software upgrade suggestions."

Mercury Sound's two theater-size re-recording stages are THX-certified, 5.1-capable for all digital release formats, and equipped with high-speed 35mm film and digital video projection. Each stage has a dual-operator/computer, 152-channel Euphonix System 5-F console, multiple Pro Tools|HD systems and the latest outboard complement. The facility also features spacious ADR and Foley digital recording stages and complete digital sound editing suites that are networked directly to the central RAID system and to the stages for rapid conforms and changes.

Recent projects at Mercury Sound have included NARC (Paramount Picture), The Devil and Daniel Webster, U-Boat, 18 pictures a year for the Hallmark Channel, and the upcoming three-hour mini-series La Femme and the four-hour mini-series Frankenstein.

For more on the boards, visit Euphonix at www.euphonix.com. Visit Mercury Sound Studios online at www.mercurysoundstudios.com.

RealNetworks Completes Listen.com Acquisition
RealNetworks has completed the acquisition of Listen.com, creator of the Rhapsody digital music service. RealNetworks also announced that Rhapsody delivered more than 12.4 million on-demand songs to its subscribers in July, a 13% increase over June.

"We're delighted to be completing the acquisition of Listen.com today," said Rob Glaser, CEO of RealNetworks. "We're especially pleased that we're bringing in both Listen.com's best-of breed Rhapsody digital music service and the world-class team that has been building Rhapsody for four years. By combining Rhapsody with other major digital music assets, such as our Internet radio and jukebox products, we are poised to create the most compelling digital music experience in the world."

"By joining with RealNetworks, we are poised to take our business to the next level," said Sean Ryan, now VP of music services at RealNetworks and formerly CEO of Listen.com. "In addition to RealNetworks' world-class technology, RealNetworks' broad Internet distribution fits perfectly with our existing distribution partners such as broadband operators. The continued rapid growth of Rhapsody shows that we are absolutely on the right path."

Due to the acquisition, Rhapsody is now offered as RealOne Rhapsody at $9.95 a month subscription. The service supports more than 350,000 tracks available for on-demand listening and more than 240,000 songs available to burn to CD. At only $0.79 for any track, Rhapsody offers the lowest per-burn price available to U.S. consumers. Another feature of the service is that subscribers can build their own Internet radio stations, listen to professionally programmed stations and browse extensive music information and editorial recommendations.

For more, visit www.real.com.

Tekserve Appoints New Audio Sales Director
Christopher Payne, a founding member of Tekserve's audio team, has been named the company's audio sales director.

"Payne's skill and breadth of expertise has helped to build out audio group's industry-wide reputation for professionalism. As audio sales director, he will have the opportunity to enhance that reputation and strengthen Tekserve's position in the audio community," said Tekserve's president, David Lerner.

Besides offering Apple technical support and a reseller, Tekserve also boasts audio as a specialty and is a dealer for Digidesign's full line of gear. The company also offers audio products from Genelec, Emagic, TC Electronic, Eventide and Blue Microphones, as well as many others.

For more, visit www.tekserve.com.

QSC Intros Studio Reference Amp Series
QSC Audio Products' new SRA Studio Reference Amplifier Series is based on the company's flagship DCA Digital Cinema Series.

The three SRA models, ranging from 200 watts per channel to 725 watts per channel at 8 ohms, are designed to offer the exacting professional cinema reference standards of the DCA Series: crisp, clear, defined highs and seat-shaking lows, with performance optimized for demanding production and residential applications.

The SRA Series features an ultraquiet variable-speed fan, individually addressable clip limiters and subsonic filters, balanced XLR connectors, and gold-plated RCA inputs featuring advanced hum-reduction circuitry. The sleek, machined-aluminum front panel is available in a choice of brushed silver or satin-black finishes, and its removable rack ears make it equally at home on a shelf or in a rack.

The SRA line also incorporates QSC's HD15 DataPort connector to integrate with QSControl, QSC's computer-controlled network audio system that facilitates remote amplifier monitoring and control via a standard Ethernet network, or digital signal processing accessories such as the company's DSP-3. The amplifier also provides a rear-panel 12VDC trigger input that interfaces with all popular remote-control devices.

For more, visit www.qscaudio.com.

PAD, Munro Acoustics Design Boston Skyline Studio
Pete Peloquin and Todd Harris, the owners of Boston Skyline Studios, hired Professional Audio Design (PAD) to design their new facility.

"We had a dream to build a world-class studio in the Boston area and the folks at Professional Audio Design helped us put it all together," said Peloquin. "We knew we needed an SSL board and top-shelf recording, editing and outboard rack equipment, but wanting and actualizing are two different things, and that is where PAD came in. They literally took our dream and helped to create a high-end professional environment to serve the entire music industry. We couldn't be happier with the results."

The owners' top priority was to create a comfortable space to work on projects that range from solo piano to a full-blown band. While PAD handled the system integration, design and wiring installation, Munro Acoustics was recommended by PAD to develop the control room layout and acoustics treatments.

"Choosing Munro Acoustics was a brilliant stroke by PAD," said Harris. "Munro fulfilled our primary objective of creating the best room in New England. The studio room has wonderful acoustics that enhance the performance value of our clients and is set to handle nearly any size job. The control room is highly accurate in its sound reproduction, allowing engineers to capture and shape the sound they want without coloration."

Studio A consists of a large recording room with two isolation booths attached (a third is under construction) and the control room. This room features a SSL 4064 G+ console, Dynaudio M4+ monitors, a Studer 2-inch analog tape machine, Neve preamps and equalization equipment, and a Pro Tools|HD recording/editing system. Studio A was completely rebuilt for this upgrade.

"I had experience working with PAD while teaching audio and media, and was impressed with their capabilities, so choosing PAD to design and equip Boston Skyline Studios was a 'no brainer,'" explained Peloquin. "PAD delivers high-quality professional service from the start and throughout the entire design, construction and start-up process. But perhaps most importantly, PAD continues to service and support Boston Skyline Studios as it begins its commercial operation. The live room is great, the control room is great, but the job isn't finished with PAD. They continue to back up all of the systems with the professional support and expertise required by a world-class, commercial recording studio."

"People and groups are coming to look over the facility and are awestruck by what we've created," said Harris. "Our hats are off to PAD for their great work."

For additional information, visit Boston Skyline Studios at www.BostonSkylineStudios.com or PAD at www.proaudiodesign.com.

SugarHill Hosts The Children
The remaining members of The Children reunited to record Gaylan Latimer's "Think of Me" for the SugarHill Recording Studios Tribute compilation CD. The project was tracked and mixed in Studio A, where it started on analog tape with Dolby SR and then transferred to Pro Tools for further overdubs and mixing. Chief engineer Andy Bradley and engineer Michael Martin worked on the session. The track was produced by the performers (Latimer/Louis Cabaza/Kenny Cordray/Kurt Linhof/Jim Newhouse) and Bradley.

The original version, which Huey P. Meaux produced, was a Top 40 hit in 1966 for Latimer on MGM Records. In 1976, it became a Top 20 country hit when Freddy Fender released a version that Meaux produced at SugarHill. Latimer filled in as lead vocalist for the original lead vocalist of The Children, Steve Perron, who passed away in 1973.

For other recent sessions at SugarHill, visit www.sugarhillstudios.com.

Skywalker Sound Upgrades Z-Systems Router
Skywalker Sound, a Lucasfilm Ltd. company, recently upgraded to a Z-Systems Detangler Proz-128.128r asynchronous digital router in its Scoring Stage.

"We started out with a z-64.64r a couple of years ago. When we went through an upgrade this past fall that necessitated adding several new pieces of digital equipment," said Leslie Ann Jones, director of music recording and scoring at Skywalker Sound. "So we upgraded to the z-128."

The Detangler Pro Series of AES/EBU digital routers are fully asynchronous, allowing them to handle multiple sample rates at the same time. The additional equipment installed on the Scoring Stage at the end of last year functions at a multiplicity of sample rates, from 44.1 to 192 kHz. With the new equipment also including a large Digidesign Pro Tools|HD system and six channels of Pacific Microsonics Model Two converters, the increased number of channels that must be handled necessitated an increase in the capacity of the Z-Sys Detangler.

"We are constantly going back and forth, sometimes on the same session, between the Euphonix R1 and Pro Tools, as well as the Tascam MX-2424 and Benchmark converters, which can and will be used for anything," explained Jones. "Sometimes, the Benchmarks are used as a front end for 24-bit DATs, sometimes they're used as the front end for a Genex recorder or Pyramix workstation. And often the Benchmarks and the Model Twos are used at the same time. Anything goes here.

"We also have router lines throughout the control room, stage and all the iso booths," continued Jones. "We don't want to dictate where someone might want to work by virtue of having lines in only one or two places. So, we wired lines in many places and they're all available on the router."

For more on the router, visit www.z-sys.com.

Dolby Laboratories Documents 5.1-Channel Music Production Techniques
Three years after the launch of the new multichannel music delivery formats, many artists, engineers and producers are still looking for fundamental information on how to best mix and manage music in the multichannel environment. Now available, Dolby Laboratories has authored a primer for the professional music production community on best practices for this rapidly developing market. Available as a free PDF download, "Dolby 5.1-Channel Music Production Guidelines" presents a technical blueprint for creating music in 5.1 channels. The document guidelines can be found at www.dolby.com/tech/Multichannel_Music_Mixing.pdf.

The publication covers a range of topics such as proper equipment and speaker placement, calibration for proper monitoring, metadata planning and implementation, program interchange guidelines and an explanation of the many new terms spawned by 5.1-channel production. It also provides accurate information that dispels myths concerning both center and LFE channel usage. Mix and mastering data sheet templates for 5.1-channel projects are also included.

"This document gives a well-rounded technical overview for those producing music for 5.1-channel delivery to consumers," stated John Kellogg, general manager for multichannel music at Dolby Laboratories. "Dolby will update it regularly as new and better techniques for creating surround music mixes evolve."

Recording Academy's Pacific Northwest Chapter Elects Leadership
The Pacific Northwest Chapter of the Recording Academy (Seattle) announced the results of its chapter officers and Board of Governors. Replacing Glenn Lorbiecki, who stepped down from the position following two consecutive one-year terms, David Meinert, a current Academy Governor, was elected the Pacific Northwest Chapter president. Meinert is the owner of Fuzed Music, an artist-management company that represents Maktub, the Master Musicians of Jajouka, The Catheters and Mountain Consolidated.

"Our new chapter president, David Meinert, and his cabinet will bring a wealth of industry expertise and many diverse relationships," said executive director Deborah Semer. "I look forward to working with our officers and governors to create an exciting slate of programs and services for our membership over the coming year."

Robert Santelli, the new first VP, is also the Experience Music Project's director and CEO. Santelli has written seven books on rock 'n' roll and the blues, including The Big Book of Blues and The Best of the Blues. David Sabee, secretary/treasurer, is a cellist with the Seattle Symphony and a founding member of the Seattle Chamber Players. He is also the founder of Seattle Music and has brought more than 150 scoring projects to the Northwest, including Mr. Holland's Opus and Die Hard With a Vengeance. Glenn Lorbiecki, trustee, is the president/CEO of Glenn Sound, a multiroom A/V post-production facility in Seattle. As an artist, Lorbiecki is working on his third album as the guitarist for Tony Gable and the 206 band. Keith Olsen, also a trustee, is the current president of Pogologo Corporation, and has more than 39 Gold albums in his career, 24 Platinum and 14 multi-Platinum.

Jane Peck, alternate trustee, runs Let's Play Stella Records. She was instructor of voice at Cornish College of the Arts, where she became chair of Music in 1985. Jovino Santos Neto, alternate trustee, is currently the associate professor of music at Cornish College of the Arts. Neto tours worldwide as a solo pianist and also leads his own ensemble in concerts. Marlette Buchanan, VP, is a recording vocalist and is currently the arts manager for Pierce County and a member of the music faculty for voice at Pacific Lutheran University. Tony Gable, VP, is a recording and performing percussionist who has played with Kenny G.

In addition to the officers of the chapter, music industry professionals in the Northwest make up the diverse Board of Governors. Bryan Bell, engineer, producer, technologist and musician who has worked with Carlos Santana, Herbie Hancock and Neil Young; Steve Berlin, a four-time Grammy-winning producer and the saxophonist with Los Lobos; Carla DeSantis, founder of Rockrgrl magazine; Sue Ennis, songwriter with Seattle rock band Heart and feature films The Golden Child; Janie L. Hendrix, president and CEO of Experience Hendrix; Jon Kertzer, director of Smithsonian Global Sound and producer/host on KEXP 90.3 FM; Hummie Mann, two-time Emmy Award-winning composer and arranger; Jonathan Moore, wordsayer of the pioneering musical group, Source of Labor; Alicia Rose, director of sales and marketing of NAIL Distribution; Garey Shelton, bassist, engineer and producer (Grammy-winning album by Tingstad & Rumbel, Acoustic Garden); and Susan Silver, owner of Susan Silver Management (Soundgarden, Alice in Chains, Screaming Trees).

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

DeepMix Remixes Two Songs for 'Spy Kids: 2'
Dave Curtin and partner Brad Colerick—the duo who form DeepMix—contributed two remixes to the Spy Kids 3-D: Game Over.For the soundtrack, Curtin remixed the title song, "Game Over," and the title song from Spy Kids 2, "Isle of Dreams."

All three Spy Kids films were written, directed and edited by Robert Rodriguez, who also scored the film and wrote the two songs remixed by DeepMix.Curtin received the original Pro Tools sessions on which Rodriguez created the tracks. "We were able look at all the tracks and then handpick what we liked about each thing," said Curtin. "We thought the vocal was a great element, which wasn't featured as much in the original versions, so we brought it way up in the mix and filtered it."

Curtin's main task was to ensure that both remixes, while having a vibrant life of their own, remained true to the film's spirit. Working alongside engineers Jim Goodwin and Weston Ganucheau of Eggchair Music, Curtin crafted two pulsating, invigorating and youthful tracks. Both songs feature the vocals of Alexa Vega, who is the teen star of all three films. "We had to walk a fine line," explained Curtin. "It's the kind of thing that Radio Disney would really like, but it could also be played in the clubs. It appeals to a wide demographic, where a 15-year-old is going to like it, as well as a 25-year-old. It was challenging to achieve the right balance: If it sounded too much like bubble gum pop, not everyone would like it, and if it sounded too mature, then the kids wouldn't understand it."

For "Isle of Dreams," Curtin added a more energetic drum loop and created a pulsating rhythm. He and his team of engineers rearranged the song, added new elements, such as records scratches and vocal effects, and created a more contemporary sound.

Listen to "Game Over" and "Isle of Dreams" at homepage.mac.com/deemix. Find out more about DeepMix at www.deepmix.com.

Abbey Road Installs ADAMs
ADAM Audio recently installed a S3-A 5.1 system at Abbey Road Studios.

According to Peter Cobbin, who chose the system for Abbey Road, "I was working on the Lord of the Rings DVD with my Nautilus 5.1 set up, but I needed to have a reference for my stereo mix, as well. So that was actually the first time I checked the S3-As out. I then used them on a project with Paul Shwartz, and we both liked them. But the crunch or acid test was to hear them on a rock 'n' roll project, because that's the other requirement for me: to be able to have something that works with pop/rock music, as well as orchestral or classical/film. This is why I then tried them with the U2 project that I was mixing [which is for the band's live DVD due out later this year].

"For their size, the S3-As have an unbelievable bottom end," Cobbin said. "You can hear the depth in the music: It's very three dimensional, rather than just sounding flat. And from a critical monitoring point of view, sitting right in the middle, they offer the classic stereo imaging for mixing.

"The other thing is, because I do so much work in surround, I have been looking for a near-field monitor that I can use comfortably in a 5.1 set up," Cobbin continued. "The requirement for this is that all monitors [excluding the sub] have to be the same, of course. and, finding something that offers a considerable depth without being too big is a real advantage. So, having tried the S3-As in stereo, I thought I would try them out in 5.1, and I was absolutely blown away by the generous sound field in a surround context. I am genuinely excited by the S3-As. I believe that they are a great product and would recommend them to anyone."

For more, visit ADAM online at www.adam-audio.com.

Weston Entertainment Joins Forces with the Elefante Brothers
In a multi-million-dollar deal, San Antonio, Texas-based Weston Entertainment has acquired a major portion of ownership in recording studio The Sound Kitchen. Located in the booming Cool Springs area of Franklin, Tenn., The Sound Kitchen is the largest recording facility in the Nashville market and the second-largest recording facility in the Southeast. In recent years, The Sound Kitchen has become the venue of choice for recordings by such artists as Lee Ann Womack, Brooks & Dunn, Faith Hill, Bruce Springsteen, Jewel, Amy Grant, Vince Gill, Jonny Lang, Elton John, Steven Curtis Chapman, Michael W. Smith and many others.

As part of the new agreement, Weston Entertainment has also acquired a major stake in 3.1 Productions, the production company owned and operated by Grammy- and Dove Award-winning songwriters/producers John and Dino Elefante. "Weston Entertainment is excited about partnering with John and Dino Elefante and acquiring a major stake in what we feel is one of the finest recording complexes in the world," said Gregg Weston, chief manager of Weston Entertainment. "We believe that the synergy between The Sound Kitchen and our other interests, along with the fusion of our new relationship with 3.1 Productions, will bring a significant contribution to the industry."

Longtime business affairs manager David Del Sesto has added general manager responsibilities to his credits at The Sound Kitchen, and he emphasized that "clients can expect the same high level of service that they have always experienced at The Kitchen. The entire staff is staying onboard and the meals won't stop at The Sound Kitchen."

Janet Leese, who joined The Sound Kitchen from Quantegy, is the studio manager of the facility. Leese had previously served as production coordinator for producer/songwriter David Malloy (Reba McEntire, Billy Gilman, Andy Griggs, Kenny Rogers). "Janet has many great relationships within the entertainment scene and will be networking with her vast list of national contacts to take The Sound Kitchen to the next level," added Del Sesto.

"While we will still be very involved in the day-to-day at The Sound Kitchen, this new agreement will give Dino and myself more time to focus on our production work," said John, the former lead singer of the rock band Kansas, who founded 3.1 Productions with his brother Dino. The Elefante brothers have written and produced hit songs for labels such as Atlantic, A&M, Benson, Curb, EMI, Word, Epic, Warner Brothers, Reunion, StarSong and many others. As producers, they have worked on over 150 pop, rock and Christian albums, and have published over 400 songs, with multiple Gold and Platinum credits. "John and I have been honored through the years to work with many friends and colleagues at The Sound Kitchen, and we will continue to do all of our production work there," said Dino. "We at 3.1 Productions, along with Weston Entertainment and Gregg Weston, feel that the opportunity to develop quality artists for pop release is now and needs to be aggressively pursued. We're very excited about our future as an A&R outsource and artist-development resource.

A virtual tour of the facilities and descriptions along with a gear listing can be found at www.soundkitchen.com.

Bill Daly, ProMix Elecrotec Honored for Contributions to Emmy Win
Bill Daly, an audio designer/mixer and employee of Production Resource Group's ProMix Electrotec subsidiary, has been honored by Peter Baird, production mixer for The Wayne Brady Show, for his contributions to an Emmy Award received by Baird for Outstanding Achievement in Live and Direct-to-Tape Sound Mixing on the show. In addition to its audio award, the show won Emmys for Best Talk Show and Best Talk Show Host.

Other television shows supported by Daly through PRG have included four of the six Survivor finales and the remote productions of Wheel of Fortune and Jeopardy.

For more, visit www.prg.com.

Dane Davis Uses Sennheiser Mics for 'Matrix 3'
Sound designer Dane A. Davis, who is currently working on The Matrix: Revolutions, has been working with Sennheiser mics.

Davis continually amasses sound effects in the Danetracks library. While collecting sounds for use in the third Matrix installment, in which the machines invade the humans in the city of Zion, one of the machines being recorded exacted its revenge on a pair of Sennheiser MKH 800-P48 variable-pattern condenser microphones. Subsequently repaired by Sennheiser, they have now been returned to active duty.

"We never intentionally abuse mics," said Davis, "but we put them in all kinds of difficult situations. Considering that we're firing 50-caliber rifles and machine guns and cannons at targets within a few feet of these mics, it's pretty amazing how rarely they get damaged.

"We're always trying to find new sounds," he continued. "A lot of times, these are new machines that haven't been recorded before." Having captured the sounds of an arc welder, the next session involved an electronic discharge machine. "The arcs are normally very tiny, unlike the arc welding, where I was deliberately disintegrating all kinds of small pieces of metal. This machine made these tiny arcs that are normally submerged in solvent. It made unbelievably cool, electronic gurgling sounds. The arcs were only about one-eighth of an inch long, and although the solvent would sometimes spatter, nothing seemed to go through the screens of the 800s, which were set up about 10 inches away in an X-Y pattern pointing at the arc. These tiny arcs must have been throwing microscopic pieces of hot slag out, and maybe the 48-volt charge across the capsule attracted it and somehow pulled it through the screen onto the capsule. It seems so far-fetched, but it's the only explanation. There were little pieces welded to the capsule."

"For that tiny of an amount to get through the screen of the microphone and adhere to the capsule, it would have to be microscopic," agreed Danetracks technical engineer Del Martin.

The recording setup also included a Pro Tools|HD system. "We do almost everything at 192k now, especially when we're using the Sennheiser 800s, because they have an absolutely lovely, extended high-frequency response," Davis noted.

For more information, visit Sennheiser online at www.sennheiserusa.com.

EARS Audio Distribution Introduces Ultrasone HFI-550
The Ultrasone HFI-550 Beatmaster professional headphone is now available in North America. Ultrasone headphones are distributed in the United States, Canada and Mexico by EARS Audio Distribution LLC, a newly formed company that is co-founded by Linda Albright, sole proprietor of Franklin, Tenn.,-based EARS Audio, a professional audio sales and rental company since April 1984.

The HFI-550 Beatmaster is a foldable, closed-back, circumaural studio headphone featuring Ultrasone's patented S-Logic Natural Surround Sound technology and is available in reduced magnetic field emissions versions incorporating ULE(tm) Ultra-Low Emissions technology. The Beatmaster offers a frequency response of 15Hz to 22kHz and an impedance of 32 ohms, and can handle sound pressure levels up to 100 dB.

Unique to Ultrasone, S-Logic technology utilizes decentralized transducer positioning to create a 3-D sensation without using processing, producing a broad, stereophonic surround soundfield that is located in front of the listener. Also, listeners perceive the same volume with sound pressure levels at the eardrum reduced by up to 40%. All Ultrasone headphones are available in versions that offer two levels of shielding against EMF radiation in accordance with international and German standards. Ultrasone LE Low-Emissions versions offer a reduction of up to 60%, while ULE Ultra-Low Emissions models reduce EMF radiation by as much as 98%.

For more information about Ultrasone, visit www.ultrasone.com. Ultrasone AG and EARS Audio Distribution LLC will be at Booth #843 at the 115th AES Convention (Jacob K. Javits Center, New York City, October 10-13, 2003).

Soundworks' New Studio Incorporates SSL Board
Studio owner Tony Espinoza recently built a major facility in San Francisco that incorporates a Solid State Logic SL 9000 J Series SuperAnalogue Console.

"I have an extensive background in music technology and, through involvement with the Internet business models for the music industry, I decided to build San Francisco Soundworks, a studio with a different viewpoint," said Espinoza. "The main room is designed around the 9000 J Series because of the legendary sound the board produces."

San Francisco Soundworks offers four control rooms that offer the Pro Tools|HD system. The main room has Pro Tools|HD and the 9072 J Series for tracking and mixing, while the other three will be used for project development.

"Three of the control rooms will be very inexpensive to rent, so we expect them to be busy all the time," Espinoza said. "The vision here is to experiment with various artists and music styles to help define a new sound, using the 9000 J room to finish internal projects and to service established acts. For the established acts, they no longer need to migrate out of the area to mix their projects. For new acts, our goal is to work with artist management and bring talented artists to the Bay area."

The building was an existing post-production facility and home to the Gumby cartoons. Espinoza purchased the building, renovated the workspace and added three stories to the building for living space and a large lounge for studio clients. "The idea is that we are going to try and build a community center around the studio, with producers and artists and acts going through all the time," said Espinoza. "Some people say that you can't compete with home studios, and I think that is all wrong. We aren't competing, we're enhancing. To do great records, you still need great acoustics to capture sounds, an acoustically controlled room to mix the sound and a great-sounding board."

Iso-Wall System Sound-Proofing Kit Now Available
Acoustic Sciences Corporation (ASC) is making available its proprietary recording studio wall and ceiling construction system in a do-it-yourself soundproofing kit.

The company is now offering individual studio owners and building contractors the proprietary ASC Iso-Wall System. Originally developed for larger commercial recording studios, the Iso-Wall System Kit provides for the construction of exceptionally quiet music production rooms. Equally important is the system's ability to contain sound within the room and minimize sound leakage to other areas in the home or work facility.

The Iso-Wall system utilizes construction-grade, vibration-absorbing, visco-elastic WallDamp polymer tiles and isolation strips. Additional components of the soundproofing system include damped resilient channels, perimeter gaskets, wall-bearing felt and construction-grade acoustic sealant.

The Iso-Wall system is available at $4 per square-foot of surface area, and is easy to install by any contractor or as a DIY project. Various kits are available to accommodate a wide range of room sizes, and the various Iso-Wall components can be shipped via UPS anywhere in the U.S. or internationally.

For more, visit ASC online at www.acousticsciences.com.

G&E Music Work on 'Charlie's Angels Uncensored'
Recent renovations to G&E Music's New York City studio enticed producer/director Billy Taylor and his CTB Films to call on G&E to execute an aggressive mix on the high-energy audio tracks for Charlie's Angels Uncensored, a half-hour movie preview that aired in June on MTV. An MTV-style preview of the latest movie, Charlie's Angels Uncensored encompassed an intense musical score, requiring an energetic mix from G&E's Brian Quill. G&E also recorded voice-over narration with MTV VJ, Su Chin Pak.

Quill received an OMF from editor Steve Beal at Keyframe Post on a weekday morning and finished the mix that day for the premier the following evening. Quill miked the MTV VJ with a Neumann TLM 103 in G&E's newly installed VO booth and ran the vocal through an Avalon VT737 and into the Pro Tools MIXPlus system. The multitrack audio included many sound effects, movie clips and excerpts from songs by Jurrasic 5, The Strokes, Sum 41, Jay-z, Wu-Tang, Santana and more.

"They wanted the mix to have a 'Top 40' rock, MTV kind of vibe," said Quill. "There are all these chicks flying through the air, explosions and fight scenes: very aggressive, quick cuts and changes. And as this second Angels' movie is bigger and more extreme, they wanted me to illustrate that in the mix. I had to make sure a real energy was maintained throughout; it had to really punch."

To make the score really "punch" and blend in the narration smoothly, Quill applied some new tools, including Waves 4.0, using the new L2 ultramaximizer and Renaissance compressor extensively within Pro Tools. With the facility's recent renovation, G&E's mix-to-pic setup has been refined with an NHT Pro surround monitoring system, Audient ASP 510 surround sound controller, Yamaha NS-10s and Sony 32-inch Wega Trinitron.

Taylor, along with co-producer Sean O'Brien and segment producer Colin Moore, spent time at G&E providing direction for Quill when needed and were pleased with the studio environment, as both a mix room and a comfortable place to hang out. "The studio really worked out brilliantly," added Quill. "We couldn't have really done the gig before this upgrade. Not only was it a huge success, but the guys felt really relaxed working here."

For more on G&E Music, visit www.gemusic.com.

Disc Makers Intros DAD for Indie Musicians
Disc Makers has announced DAD (Digital Audio Distribution), a service that provides independent bands and artists the opportunity to sell their songs online on sites like Apple's iTunes Music Store, Listen.com's Rhapsody, AOL's MusicNet, Emusic and newcomer BuyMusic.com.

"It usually takes awhile before breakthroughs in music distribution are available to independent musicians, but with DAD, Disc Makers is ahead of the curve," said Tony van Veen, VP of sales and marketing for Disc Makers. "Our goal is simple: to give independent musicians the tools they need to sell more music."

In order to qualify for this program, an artist needs to have a CD out on the market. Once an artist completes the sign-up process, he/she automatically gets his/her CD(s) distributed through CD Baby. CD Baby will administer the program and use its encoding and tracking system to distribute and monitor CD sales, keeping 9% of the net income generated from online digital sales.

The DAD service is free with new CD orders with Disc Makers.The service is also available to artists who do not make their CDs with Disc Makers for $75.

For more information on Digital Audio Distribution (DAD), visit www.discmakers.com/dad.

Cycling '74 Releases Windows Version of Max/MSP
San Francisco-based Cycling '74 announced the release of its Windows versions of the Max and MSP graphical programming environments. Max and MSP are now cross-platform products with both Mac OS and Windows versions in the same package. Customers who purchases after July 1, 2003, will receive the cross-grade product for free.

Max allows a user to build programs ( "patches") by connecting graphical objects together. Some objects perform calculations and others make up the user interface of the program. MSP adds a large set of objects that connect together to make audio patches where signals flow from one object to the next. The Windows version of the software allow for cross-platform development of applications. Max/MSP patches developed on one platform will open seamlessly on the other, and use consistent abstractions for all types of media protocols and interfaces, including MIDI, digital audio soundfiles and interfaces. The Windows version supports PCs running Windows XP with audio devices supported by .WAV or ASIO. Max/MSP hosts ReWire devices and VST plug-ins, and supports all major audio file formats. Features are essentially identical between the Windows XP version and the current version of Max/MSP for Mac OS X. Users will be able to develop their own Max or MSP external objects written in C, and distribute their work to others using the free MaxMSP run-time application. Support for developing VST plug-ins on Windows will be available shortly.

MSRP: Max, $250; and Max/MSP, $495. Customers who purchased before July 1, 2003, will have the option to purchase a $29 crossgrade. For more, visit www.cyling74.com.

Horizon Christian Fellowship Installs Soundcraft Board
Horizon Christian Fellowship, a Calvary Chapel affiliated church in Rancho Santa Fe, Calif., recently finished a complete upgrade of its sanctuary sound system, which included the installation of a new Soundcraft MH4 mixing console.

Michael Mendoza, Horizon's head audio engineer said this about the redesign: "Bob Botsford, our senior pastor, and I had a discussion about the major 'holes' with our former system: hot spots and quiet areas. We wanted to install a system that would be of exceptional quality and value without compromise. This new system is very balanced throughout the entire room, which is impressive because it's a somewhat acoustically challenging environment. Everyone here is much happier with the current setup. It's truly meeting all of our needs."

Specified and installed by All American Audio Visual (AAAV), the 48-mono/4-stereo-channel MH4 is set up in the rear of the sanctuary and utilized to provide both FOH and monitor mixes for the 700-seat fan-shaped room. The console's matrix sends are also employed to provide feeds for tape and video recording in addition to delivering audio signals to other areas around the facility, such as lobbies and restrooms.

Mendoza continued, "The MH4 is very intuitive and simple to operate, which is important in an environment like this where volunteers often have to run it. When you mute a channel, everything's muted; you don't have to worry about double-checking your auxes and all that kind of stuff. The VCAs and mute groups are terrific. The board is also nice and quiet, not to mention very forgiving. I love the mic pre's on this desk: They sound wonderful. With our previous console, after about 30 minutes of listening to it, I'd be tense and experiencing ear fatigue. I could listen to the MH4 all day and be fine."

AAAV also installed a pair of BSS FDS-366 Omnidrives at the house mix position to handle EQ, delay and other loudspeaker processing functions. "I love the Omnidrives," said Mendoza. "We went with a 'less is more' approach and replaced a whole rack full of processors with just these two pieces. They're great-sounding little units." Also new are QSC PowerLight amplifiers, which are driving a new loudspeaker rig custom-built by AAAV.

Horizon Christian Fellowship can be found online at www.horizon.org. Visit AAAV at www.allamericanaudio.com. Find out more about the board at www.soundcraft.com.

alchemy/east Sets Up Shop in New York
New York City composer John Petersen recently launched alchemy/east music house in the Long Island town of Sagaponack, N.Y. Soon after opening its doors, editor/director John Zieman dropped by to score a high-profile documentary for The Friends of the High Line, a short film for the "Designing the High Line" exhibition in Vanderbilt Hall at Grand Central Station. The 12-minute film is part of an installation that showcases the results of the extremely popular design competition for the future of this rail relic.

"I wanted to create a studio that would offer my clients New York-caliber music services in an easygoing, resort-style atmosphere," said Petersen about the new site. "I still had the option to either use my studio in the city or come out to Sagaponack to compose. Technology has come such a long way that I can instantly upload whatever I am working on to anywhere in the world. But, also, I was hoping that, if I built it, they would come."

Petersen began renovating the new space and installed a new Mac G4 with Digital Performer, a Synclavier, a Mackie D8B digital mixing console, and a host of software plug-ins and sound-processing equipment early this May.

Petersen created an engaging score that supports the film's message with a fusion of musical styles. Atmospheric and rhythm-infused music underscore the film's documentary style, while transitions into pop-country accompany many of the historical images and beauty shots. Petersen's modern rockabilly riff helps end the film on a high note.

With Avid DV Express on his new Mac PowerBook G4, Zieman brought the film edit to the mix. "I've worked with John for years, he brings a surprising vision to every new project," said Zieman. "His new studio was amazingly ready to go, with not one problem."

For more information on the project, visit www.thehighline.org. For more information on alchemy/east, call 631/537-7446.

Symetrix Named Creston I(2)P Partner
Symetrix has become a member of the Creston Electronics Industry Integration Partnership I(2)P. The I(2)P program facilitates the seamless integration of manufacturing members' equipment with Crestron systems.

Through its I(2)P program, Crestron pursues an open-platform approach that allows partner products to perform to their specifications as plug-and-play devices in a Crestron system environment. "The addition of Symetrix to Crestron I(2)P initiative allows our mutual dealers to seamlessly incorporate Symetrix products into a Crestron system environment," said Chris Wildfoerster, director of market development for Crestron. "Symetrix dealers can easily download the Symetrix I(2)P Certified module from the Design Center portion of our Website for easy integration into their system." The operating system supports any combination of UDP/IP, TCP/IP, RS-232, IR, 422 and 485 communication methods to allow any number of devices to be seamlessly integrated into the environment.

Membership in the I(2)P program allows the Symetrix SymNet Audio Matrix family of network, linkable audio matrix DSP processors to be completely integrated with Crestron control products. Designed for the installed sound market, SymNet is a modular, networkable DSP-based mixing, routing and audio processing system that includes the Control I/O system accessory, which expands SymNet's ability to control and be controlled from external devices such as RS-232 media controllers from Crestron.

"We had always intended for the SymNet system to be compatible with Crestron controllers," said Jim Latimer, director of sales for Symetrix. "It is now that much simpler for an installer to access the necessary resources to integrate Crestron control into a SymNet design."

For more, visit www.symetrixaudio.com.

Bob Power Produces at Avatar Studios
Bob Power recently co-produced and recorded a jazz project with bass luminary Meshell NdegeOcello for Verve Records. Tracked in Avatar Studio's Studio A, guests included a diverse roster of jazz greats, including Jack DeJohnette, Kenny Garett, Joshua Redman, Oliver Lake, Neil Evans (of Soulive), Larry Goldings and Cassandra Wilson. Power mixed in Sony's (New York City) Studio D.

Also in at Avatar's Studio A were producer Russ Titelman tracking a new Epic Records release by Cyndi Lauper. Bill Whitman engineered the sessions with help from Peter Doris. In Studio B, engineer/producer Kevin Killen completed mixing of Elvis Costello's latest record AGAIN. This time it was mixed for 5.1 surround. Peter Doris assisted. Engineer Chris Shaw recently finished mixes for Vagrant Records act No Motiv with Brian Montgomery assisting. In Studio C, Telarc Records stopped by with Titelman and artist John Pizzarelli. The new album was engineered by Robert Friedrich and was recorded entirely in the DSD format for 5.1 surround. Montgomery assisted. Producer Todd Barkan has taken residence in Studio C, churning out records for singer Simone, Dave Hazeltine, Jay Leonhart, Charles McPherson and Ian Shaw. James Farber engineered the sessions with help from Aya Takemura. Working in Studio D were producer/DJ Premier tracking and mixing with new artist Roscoe. with engineers Eddie Sancho and Avatar's Anthony Ruotolo.

For more, visit Avatar online at www.avatarstudios.net.






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