Mix News for December

Jan 6, 2004 12:00 PM, By 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 December 16 - 31 (read December 1 - 15 news)

Bill Porter Speaks at New AES Student Section Opening
More than 100 people attended the inaugural event of the recently created Webster University Student Section of the Audio Engineering Society in St. Louis on November 6, 2003.

"The students did an incredible job pulling all this together," said faculty advisor Gary Gottlieb. "They booked the space, promoted the event, arranged for refreshments, dealt with all the logistics and, most importantly, booked Bill Porter as the speaker. They even thought to honor Bill with a plaque to commemorate the event, as well as his longstanding service to the university and the music business. I couldn't be prouder."

Entitled "Bill Porter Live: An Evening With a Legend," the event was held in the conference room of the brand-new Emerson Library at Webster University where Porter reminisced about the music business during the '50s and '60s for two hours.

In addition to being a member of Webster's adjunct faculty for the audio production program, Porter has engineered and produced some of the most prominent artists in the music industry, including Elvis Presley, Roy Orbison, the Everly Brothers, Barbara Streisand, Diana Ross and Sammy Davis Jr. More than 7,000 career sessions have resulted in almost 600 charting records. He was the first engineer inducted into the Audio Hall of Fame, and his work at RCA's Studio B in Nashville earned him accolades as the man who created the Nashville Sound. He also started the first four-year audio program at the University of Miami in 1975.

Meyer Sound MILOs Used During Holiday Parade
At the recent Toys "R" Us holiday parade, two compact 7-foot-high Meyer Sound MILO arrays—each with only three MILO high-power curvilinear array loudspeakers—were used to provide sound up and down a mile of New York City streets.

"MILO proved to be the perfect tool for the job," said the event's sound designer Jim van Bergen of Audio Art Sound says. "I was asked only to cover about a quarter mile on either side of Times Square, but we easily doubled that distance. My clients were surprised at the small footprint of the rig, yet the sound was superb. I received numerous compliments on the quality of the sound."

The two ground-stacked arrays were rolled out into their positions in New York's Times Square only minutes before the parade started. One stack pointed north, projecting up Broadway as far as 52nd Street, while the other fired south and was heard clearly about 10 blocks in the other direction, below 35th Street. Each array comprised three MILO cabinets stacked on top of an M3D-Sub directional subwoofer, with the entire assemblage rolling on the stock M3D transport dolly. At the conclusion of the parade, the MILO-based system provided primary reinforcement for an hour-long entertainment program featuring numerous cartoon character puppets, musical excerpts from hit Broadway shows and a performance by the Radio City Rockettes. Supplementary sound for the immediate performance area (bleachers, in-fill) and monitoring was supplied by 22 UPA-1P compact wide-coverage loudspeakers.

Van Bergen's sound design also encompassed the parade itself, with 14 self-powered Meyer Sound loudspeakers incorporated into various floats and vintage vehicles. The event's producers stipulated that all audio systems must be completely independent of the vehicles and using only their own power sources. On most vehicles, the Meyer systems were powered by special Gaia Power Cube battery packs. However, for one vehicle with particularly tight space restrictions, van Bergen s a pair of UPM-1P ultracompact wide-coverage loudspeakers powered by a rechargeable power that measured 4x6 inches and weighs just over two pounds.

"I contacted Meyer about this particular problem, and Meyer's engineering delivered a spectacular prototype, two custom UPM-Ps each with a rechargeable battery power supply," said van Bergen. "They are compact, robust units built with to the high standards of John Meyer and they performed flawlessly. The children's TV character Clifford the Big Red Dog rode on the back of a tiny, cherry-red MG convertible with two bucket seats. I barely had room to get the two UPMs in the vehicle, but still the battery packs were small enough to squeeze in on the side. They fired up and out to the sides of the vehicle at near full volume, putting about 94 dB into the crowds on the sidewalk." Van Bergen said that he wasn't concerned about the UPM loudspeakers running out of juice, as his earlier shop tests had them working constantly for more than eight hours.

All of the Meyer Sound system components were provided by One Dream Sound of New York, with general supervision and coordination by owner Dave Ferdinand and COO John Petrafesa. Company president Tim Coyle contributed to development of the Gaia Power Cubes, and "A2" systems engineer David Chessman managed on-site support. "One Dream was my primary vendor and both their equipment and support were first rate," said van Bergen.

For more information, visit Meyer Sound online at www.meyersound.com.

TC Works Enters Second Phase of Integration Strategy
TC Electronic has announced the next phase of its plan to merge its hardware and software divisions. Earlier this year, TC Works-branded computer products were brought under the TC Electronic umbrella. While TC Works continues as a development arm of the company, all operations will be managed from the company headquarters in Denmark. With this announcement, Ralf Schluenzen will step down as CEO of TC Works at the end of this year.

"It is very hard for me to leave this seat," said Schluenzen, "but it is the right thing to do as far as what's best for the company and the computer recording product line. Tight integration of development efforts in Hamburg and Denmark will ensure that TC continues to provide superior software and hardware solutions."

Anders Fauerskov, CEO of TC Group, commented about Schluenzen's departure: "It is with sadness that we now see Ralf leaving the organization. In the past seven years, Ralf has built TC Works from a mere startup to a company that continuously delivers superior-quality products to the computer recording market. He built a very strong engineering team, which will continue to work closely together with their colleagues in Denmark. I would like to take this opportunity to thank Ralf for his many contributions, and wish him all the best in the future."

For more information, visit TC Electronic at www.tcelectronic.com.

Angel Mountain Works on Universal Music Releases
During the past few months, Marvin Gaye's Let's Get it on and the Allman Brothers' Live at the Fillmore East have both received 5.1 remixes at Angel Mountain Productions & Sound in Bethlehem, Penn.

The 5.1 projects were spearheaded by Universal's senior director of studio operations east, Jeff Glixman. A veteran producer (Kansas, the Georgia Satellites, Black Sabbath and Yngwie Malmsteen), Glixman chose Angel Mountain because "the equipment and the sound of the room are always an important consideration, and Angel Mountain certainly delivers in that regard. However, the most important aspect to me is the people, and the staff at Angel Mountain not only performs to the highest professional standards, but interfaces transparently with my staff and me."

For Gaye's album, Glixman and Angel Mountain's chief engineer Carl Cadden-James took great care to stay true to the original record while shaping the surround mix, even going so far as to fly in the album's original engineer Cal Harris to join the team. "Harry Weinger [Motown re-issue producer/VP of A&R] and I wanted to take the original album and turn it into 3-D, so there was a lot of referencing back to the original mix," Glixman said. "We found a lot of previously undetectable glitches that became apparent as we started repositioning items across the 5.1 spectrum. Carl and I worked to correct these glitches when necessary, and then replicate the original mixes in the 5.1 landscape. The end result is much cleaner and more listenable than the original. I think it puts the album in broader perspective."

Glixman returned to Angel Mountain with the 5.1 mix of the Allman Brothers' album, where the overriding goal of Bill Levinson [re-issue producer/ VP A&R] and Glixman was to preserve the feel of the original record when making the move to 5.1. Glixman and Cadden-James only retained the crucial elements and ambience of the performance, but also restored the feel of a continuous live concert by eliminating the fades that appeared between each song on the original mix. They also sharpened the focus of the sound, particularly the guitar interplay between Duane Allman and Dickie Betts.

"There were several open mics onstage that really detracted from the image of the recording and the tonality of the guitars," Glixman said. "Carl and I were able to take advantage of automation and eliminate those sound sources from the panorama, which really improves the mixes. With this mix, we are able to provide guitar tones that are much truer to what Duane and Dickie played, as well as compensate for limitations in the original recording. I'm very, very pleased with the way it came out."

Both of the mixes were done in Angel Mountain's "A" room, which features a Solid State Logic XL 9000 K console. "The XL is my console of choice," said Glixman. "I like the ergonomics and the sound. Certain consoles require a lot of outboard gear to achieve the sounds I want, but the XL just sounds terrific. It's very versatile, it's transparent when I want it to be, but if needed it can get aggressive sonically, as well."

Each album will be initially released as an SACD hybrid featuring SACD 5.1 and SACD stereo, with Redbook audio on a second layer for listening in a standard CD player. The SACD releases are slated to be followed approximately 90 days later by DVD-A versions. Glixman said that he plan on returning to Angel Mountain for future projects, including the Allman Brothers' Eat a Peach, which is in the works. "From a 5.1 and large-format mixing standpoint, I consider Angel Mountain my home studio," Glixman concluded. "Different places work for different people, and this one works for me."

For more information, visit Angel Mountain at www.angelmtn.com.

ATC Loudspeaker Part of Cleveland Institute of Music Upgrade
The Cleveland Institute of Music's director of audio services Alan Bise, who also serves on the faculty, has been part of a project to upgrade the Institute's new recital all, which is scheduled to be completed in 2006. The new facility will embody top-of-the-line recording and sound reinforcement equipment, including 24-bit/96kHz PCM and DSD capability. Among the gear on the assembled purchased list is a complete ATC (Acoustic Transducer Company) Loudspeaker 5.1 surround system. Unwilling to wait three years to begin using ATC monitors, Bise and his staff recently purchased a pair of ATC SCM100-ASL Pro loudspeakers for use in their control room.

"Working at CIM is a real pleasure," said Bise. "With 37 members of the Cleveland Orchestra serving on the CIM faculty and 33 CIM alumni currently holding positions in the orchestra, there is a very close relationship between the two institutions. The quality of the performances we hear on a daily basis is quite phenomenal.

"Performances in Kulas Hall, CIM's main primary venue, span an enormous range in terms of the number of forces and the styles of music. While we record roughly 65 performances a year, most of those are student performances, ranging from solo classical guitar to a 110-piece orchestra. Our professional audio engineering staff includes myself and Jennifer Shope, along with 30 or so work-study students."

Bise said that his decision to purchase a pair of ATC loudspeakers for CIM was "a simple choice. I'd been aware of these monitors since Bruce Leek, noted recording engineer, mentioned them to me several years ago. Then Telarc purchased a full set of ATCs a year or two ago. Since Telarc is only about 20 minutes away from us, I went down there and listened extensively to them. By the way, Jack Renner, a multiple Grammy Award-winning engineer at Telarc, is an adjunct faculty member at CIM.

"I immediately noticed that the ATCs were amazingly accurate and detailed. Since we installed them at our Kulas Hall location, they've forced us to work harder on our microphone positioning. We use very high-quality microphones and mic preamps. With the ATCs, there is no doubt whether a microphone move of an inch makes a difference. Rather than make our recordings sound pretty, the ATCs reveal both the good and the bad. What you hear is exactly what you've captured. I do not have to make any compensation. We have no excuses to make poor recordings, and that's good!"

Recordings at Kulas Hall are done using a Ramsa WRS-4416 console that was custom-modified by John Windt. "The board was installed a bit before my time, but I know that John Windt redid the power supply and replaced many of the electronics in the board. Other gear we use includes Millennia Media mic preamps and Apogee converters, along with high-end microphones from B&K, Schoeps, Sennheiser, Neumann and Audio Technica. We try to keep our front-end very high in quality, and right now we're catching up on our data resolution while auditioning converters, microphones and DAWs to complete the system. When the new recital hall is completed, our recording equipment will be state-of-the-art. The one item we won't have to replace is our ATC monitors. They're gorgeous, and we're looking forward to working with a complete 5.1 system from ATC."

For more information on the monitors, visit its distributor, Transamerica Audio Group, at www.transaudiogroup.com. For more information on the Cleveland Institute of Music, visit www.cim.edu.

Broadjam Offers Former MP3.com Members Free Membership, Web Pages
Broadjam Inc. has issued an invitation to MP3.com's recently disenfranchised members: Free memberships, free Web pages and an Internet portal to host musicians' songs. The offer allows eight songs to be uploaded and registered in the Broadjam catalog, eligibility for the Top 10 lists, eligibility, for song reviews and the opportunity to listen to and review music.

"The thousands of songwriters and music executives who already use our Website absolutely love it, and we're extending the powerful benefits of Broadjam membership to all the musicians who no longer have a home at MP3.com," said Broadjam founder and CEO Roy Elkins.

"I encourage displaced users to check out Broadjam and discover their remarkable tools and services," said former MP3.com CTO Delon Dotson. "Broadjam's site is fabulous, head and shoulders above what's out there for independent musicians."

Musicians can signup at www.broadjam.com/signup/mp3.

Philip Tallman Picks Design FX at Todd-AO for 'The Notebook'
Independent music editor Philip Tallman chose Los Angeles-based Design FX Systems to provide him with the complete Pro Tools system he is using on Todd-AO Radford's Stage S for post-production on The Notebook. Tallman worked closely with composer Aaron Zigman in preparation for post-production with re-recording mixers Jon Taylor and Brad Sherman. The film is slated for release in spring 2004.

"I am actually running everything except for video off my FireWire drives," explained Tallman. "This is a first for me, because I have previously always put the material on removable drives, but FireWire is at the point now that I trust it completely." Design FX provided 24-tracks of Pro Tools, a Mac G4, Cinema Display and a Mackie mixer for the project. "I'm running the entire show off of a 200GB drive with an 8MB buffer, including the mix downs of all the cues, source material and anything I might need from the temp material.

"I've worked with Design FX for several years now and what they give me is pure peace of mind," Tallman continued. "There is never a question about the equipment: It's on time, it works properly and on the rare occasion where I have a technical question, it's a phone call away and the response is lightning-quick. When you're working on the stage with the director, the composer and the mixers, there is no room for error and I can concentrate completely on the creative work without any technical worries. In this business, they don't pay you to try, they pay you to deliver."

For more information on Design FX, visit www.dfxaudio.com.

Native Bundle Updated With Sonic Destructor Plug-In, New Price
TC Electronic announced that Native Bundle Version 3.1 is now available and includes the Sonic Destructor plug-in and a newly reduced price of MSRP $295.

The Sonic Destructor plug-in allows Native Bundle users to "vinylize" or otherwise "dirty-up" audio recordings. With an innovative user interface, the plug-in uses extreme compression and downsampling and by narrowing the frequency range. Eight lo-fi effects are available: BandPass, Bitter, Clipper, Crackle, Fuzzer, Noise, Rumble and Squeezer. Sonic Destructor also features a preset randomizer with dynamic parameter knobs, which change depending on the effect loaded. All effects can be used simultaneously, and each module may be loaded multiple times. Additionally, about 80 presets previously available to Native Bundle users as a separate download called the "Artist Kit" are now included in the Version 3.1 software.

Pricing: update from Native Bundle Version 1.0/2.0, $149; update from Native Bundle Version 3.0, free download.

For more information, visit TC Electronic at www.tcelectronic.com.

Sennheiser, Neumann Used on Shania Twain TV Special
Shania Twain's latest network television special, UP! Close and Personal, which featured the singer backed by multiple Grammy-winner Alison Krause and Union Station, was performed and filmed before a small audience in Nashville-based Citation Studios in early November.

"It was all acoustic instruments with no wireless, so it lent itself to quality microphones," reported Steve McCale, Shania's live sound designer and the monitor engineer on the TV special. McCale also works with Faith Hill, Stevie Nicks and Chris Isaak. "It sounded really good and was very tastefully done."

The one-hour show, mixed for the broadcast by Shania's husband, producer Mutt Lange, featured two dozen Neumann and Sennheiser microphones in all. In addition to Twain's trademark Evolution Series 935, Krause and four of Union Station's five bandmembers also used the high-output cardioid vocal mic. Drummer Larry Atamanuik used the Evolution Series mics, with an E 602 on the kick drum, an E 903 on the snare, and E 604s on the rack and floor toms. A pair of Neumann TLM 193s were positioned overhead, with a Neumann KM 184 on hand to pick up the sound of his brushes on the snare, and a TLM 103 for percussion. Front-of-house mixing was handled by Nigel Green, Brad Maddox and Dave Skaff.

Krause and Union Station were miked with a variety of Neumann and Sennheiser gear. Neumann KM 184s were used on mandolin and one of the acoustic guitars, a KM 140 on the second acoustic guitar, TLM 170s on Krause's fiddle and the upright acoustic bass, and a TLM 103 on the dobro. Three Sennheiser MD 441 supercardioid dynamics were also used on fiddle and the two guitars. All of the performers wore Sennheiser Evolution 300 Series wireless monitors.

For more on the mics, visit Sennheiser at www.sennheiserusa.com or Neumann at www.neumann.com.

McDSP Ships Chrome Tone Plug-In
Chrome Tone, McDSP's sixth plug-in for the Pro Tools platform, is a collection of effects that includes distortion, compression, gating, chorus, flange, EQ, wah, tremolo, spring reverb and tape delay effects.

Chrome Tone's initial release is TDM-only for Mac OS 9 and OS X Panther with a retail price of $495.

In other company news, McDSP is now shipping Mac OS X Panther and Pro Tools HD Accel-compatible versions of its entire product line, including Analog Channel Version 2.2.1, Chrome Tone V. 1.0.1, CompressorBank V. 3.2.1, FilterBank V. 3.2.1, MC2000 V. 2.2.1 and Synthesizer One V. 3.0.

In addition, many new features have been added, including FilterBank offering four new variable Q modes. New features in Synthesizer One V. 3.0 include up to 22 voices and six separate FX sections per DSP chip on HD Accel; new OSC filter modes (pass only even, odd or other harmonic multiples); a new user interface; fine control now available in popup sliders; and additional anti-aliasing modes. Analog Channel now has "virtual analog" meters, which are selectable and display input, output and the virtual circuit's gain reduction.

More information on Chrome Tone and the updates (including free downloads) are available at www.mcdsp.com.

Canadian Broadcasting Corporation Purchases Euphonix System 5-Bs
The Canadian Broadcasting Corporation (CBC) Radio, Canada's national public broadcaster, has again selected Euphonix's System 5-B digital audio console. The decision to purchase a second console came shortly after its first System 5-B console, which was up and running this past summer for production work in its world-class Toronto Radio Drama studio.

The 48-fader System 5-B, with 130 channels of processing, will be installed in a new remote truck used for recording and live show production. Radio Network operations manager, John McCarthy, said, "The new System 5-B will be put to heavy use over the next several years to satisfy the demand for our new fully digital remote recording truck. We made the decision to purchase the first Euphonix System 5 due to its powerful and intuitive control surface. We ordered a second System 5-B after discovering how easy the console is to use and understand, and our engineers also love the sound."

Euphonix's executive VP of sales for the Americas, Rich Nevens, commented, "CBC has very stringent requirements for their digital audio consoles and we are delighted that the corporation has chosen Euphonix once again. We have a successful track record of System 5s operating in mobile trucks and are fully confident that the capabilities will comfortably handle any show they throw at it."

For more information, visit Euphonix online at www.euphonix.com.

Barber Shop Studios Installs SSL Board
New studio the Barber Shop (Lake Hopatcong, N.J.) will install a new Solid State Logic XL 9000 K Series SuperAnalogue console as the centerpiece of its facility. Co-owners Scott Barber and Mark Salamone plan to offer a cutting-edge, high-power recording facility located in an historic early-1900s church for a perfect creative environment.

"The XL 9000 K Series, outfitted for surround sound mixing, will provide the studio with the superior sonic performance and powerful automation necessary to attract top-shelf talent," said Salamone. "The XL 9000 K ensures industry interest because of its tremendous popularity with top-end talent."

The Barber Shop Studios occupies a stone church that was built in the early 1900s. In the early 1970s, the church was converted into a live music venue called the Lighthouse and hosted a number of prominent performing artists. The 6,000-square-foot facility, with an additional marina and restaurant, provides a relaxing creative environment with an incredible view that is accessible to New York City.

"We have assembled a group of professionals including executives, producers, engineers, designers and consultants with over 150 years of combined experience in the music industry to work with us," said Barber. "The goal of this amazing team is to create one of the most impressive and unique recording facilities in the world, and the XL is critical to this goal. SSL has established itself as the maker of the world's premier recording consoles. We feel the XL Series console is the best choice for our clients. We were particularly impressed with the Ultipan function in the 5.1 section of the console."

Fran Manzella is supervising the acoustic design of the studio, while the electronic design encompass both new and old recording technologies. The studio, due to open this spring, will offer a vast collection of vintage microphones, outboard gear and instruments, along with up-to-date digital equipment and tools. The studio will also feature full-service analog and digital recording and post-production, including 5.1 and 7.1 digital recording, editing, mixing and mastering services.

For more information on the SSL console, visit www.solid-state-logic.com. Stay tuned to Mix for more information as the studio gears up to open.

Trillium Lane Labs Ships TL EveryPhase Version 1.1
Trillium Lane Labs announced the immediate availability of TL EveryPhase 1.1, an update to the recently launched Pro Tools phaser effects plug-in. TL EveryPhase delivers classic analog phaser effects, ranging from subtle modulation and tremolo to extreme filtered feedback. Offering complete phaser models with up to 18 stages, TL EveryPhase combines the sound of outboard phaser units with the latest plug-in power to provide rich phaser effects in any Pro Tools session.

New features include a new Resonance control for enhanced feedback tweaking, extended depth controls for different phaser tones, support for 5.1 surround sessions on Pro Tools|HD Accel and more than 120 presets in eight categories. TL EveryPhase is available for Mac OS 9/X and Windows XP in both TDM and RTAS formats. TL EveryPhase is compatible with the new Pro Tools|HD Accel hardware and Mac OS X 10.3 (Panther).

TL EveryPhase is available for $249 (U.S.). Further information and free seven-day downloadable demos are available from www.tllabs.com.

In other company news, Trillium Lane announced its products (including TL EveryPhase V. 1.1, TL Metro V. 1.3, TL InTune V. 1.3 and TL Fauxlder V. 1.2) are compatible with Pro Tools|HD Accel and Panther; these updates were tested for use on Pro Tools 6.2 on Macintosh G5 hardware. An update for TL MasterMeter V. 1.1 will be available soon.

Spectrasonics Virtual Instruments Updated for Apple G5, Panther
Spectrasonics has released new updates to its virtual instrument plug-ins Trilogy, Stylus and Atmosphere. The updates add enhanced compatibility for the Apple Macintosh G5 and OS X Version 10.3, Panther. All Mac OS X plug-in platforms have been updated, including Steinberg VST, Digidesign RTAS and Apple's new Audio Units plug-in format. The updates also support the previous OS X version, Jaguar V. 10.2. The plug-ins are available for registered owners as a free download from the Spectrasonics Website.

Spectrasonics' Trilogy Total Bass Module plug-in is a virtual instrument plug-in kind that specializes in powerful realizations of all three categories of bass sounds: acoustic bass, electric bass guitar and synthesizer bass. Unique features include True Staccato, Release Triggering and Trilogy's dual-layer architecture. The company's Atmosphere Dream Synth Module plug-in is a sample-based, dual-layer synthesizer module with more than 1,000 unique sounds and layer elements that can be manipulated with its interface to shape new textures. More than 1 million layer combinations are available for a range of sonic colors.

The Stylus Vinyl Groove Module plug-in integrates a massive core library of thousands of cutting-edge groove elements, loops and samples, with a powerful user interface to create completely new grooves. Stylus uses Spectrasonics' "Groove Control" feature, which offers dynamic pitch, tempo and feel changes to mix and match grooves.

All three 32-bit plug-ins offer massive 3GB core libraries and have powerful and intuitive interfaces to customize sounds with onboard multimode resonant filters; envelopes for pitch, filter and amplitude; matrix-style modulation routing; multiple LFOs; parameter automation; and more. Each plug-in has total recall of all settings using a host sequencing program.

Updates are available at www.spectrasonics.net/updates.

Denon Debuts DN-X1500 DJ Mixer
Denon DJ's new DN-X1500 4-channel 12-inch mixer is designed to complement the company's DN-S5000 and DN-S3000 tabletop CD/MP3 players, and features a built-in sampler, matrix switching, effects and a USB port.

The DN-X1500 offers four full-featured channels integrated with an 8-channel input matrix control. Each channel features 45mm channel faders, gain control with PFL levels and 3-band EQ (on/off switchable) with parametric frequency adjustment, as well as a studio-quality 45mm P&G multichannel assignable crossfader with contour control. Main mic and aux mic inputs (one XLR and two 1/4-inch TRS) are included with main and aux/sub level control and EQ; on/Off talk over and post switches are also provided.

The DN-X1500 comes with a host of onboard digital effects and features such as an eight-second sampler, nine effect types and an auto/tap/manual bpm counter. The sampler uses audio from any of six mixer sources (channels1/2/3/4, mic, master), and offers edit options including loop, reverse, reverse loop and single playback, with overall pitch control adjustment of up to +/-100 percent. Effects include DSP processing, along with delay, echo1, echo 2, filter 1, filter 2, flanger, auto pan, trans and key %.

An external stereo send/return effects loop is provided and can be used in conjunction with the internal effects. Aux out options include REC out (stereo, RCA) and booth out (unbalanced, RCA) with level control, which offers a unique and practical assign switch to monitor any channel and effects beforehand. The digital (coaxial) output uses audiophile-quality 24-bit Burr Brown converters. The DN-X1500's master out section has separately attenuatable balanced (stereo, XLR) and unbalanced (stereo, RCA) outputs with master balance VR control and stereo/mono-select switches on all XLR and RCA jacks. A stereo headphone output with preset selectable EQ features headphone cue, effects cue, mono/split/stereo and cue/PGM/pan controls.

The DN-X1500's feature set is further enhanced with easy-to-read individual PFL input meters and a highly luminescent FL Tube display to control effects. Denon has also outfitted the unit with a USB port for onboard software and effects upgrades, which are created in response to user input and offered free of charge via Web download. An optional 19-inch rackmount kit will also be available.

The Denon DN-X1500 will be available January 2004 with an MSRP of $999.

For more, visit Denon DJ at www.usa.denon.com/dj.

Tony Maserati Uses SSL Board on New Beyonce Album
Using Solid State Logic's XL 9000 K Series SuperAnalogue console for the first time, Tony Maserati completed the production on Beyonce's recent Number One album Dangerously in Love at the Hit Factory, Studio 3.

Although Maserati has worked on Solid State Logic consoles since 1985, he was still surprised by the ease of his transition to mixing on the SSL XL 9000 K. "I was really amazed at how quickly I was able to start mixing on this console," said Maserati. "In the blink of an eye, I was going back and forth between Pro Tools and the XL 9000 K's new faster console computer, helping me to take the creative ideas that I had in my head and seamlessly integrate them through the console. Overall, working on the 'K' made the entire mixing process better and faster. One of the other features on the XL 9000 K that I really appreciated was the mix bus. I like a big wide-open two bus with a lot of headroom so I can hear the depth of field and imaging better. Also, the XL 9000 K's improved bandwidth leads to the console's overall enhanced sound.

"When you are mixing an album, there is a challenge every day and every minute," he continued. "The XL 9000 K enabled me to overcome the challenges associated with every song quicker than any other console I've ever worked on. The ability to have Pro Tools in the center section of the console was clearly a significant upgrade that led to the console's increased functionality for me."

For more information on the SSL console, visit www.solid-state-logic.com.

SpinAudio Releases RoomVerb M2 V. 2
Version 2.0 of the RoomVerb M2 VST/DX audio plug-in offers a redesigned interface, all plug-in controls are now grouped into eight view pages, an added easy page where the user can control essential reverb parameters without going deep into editing and a completely new preset-management system that allows the user to search presets by categories and keywords.

The reverberation engine has been enhanced with two new unique technologies and highly optimized for using SSE/SSE2 instructions. Other features include: a virtual room acoustics modeler; plate and outdoor acoustic space simulation modes; unique time and spectral domain spatial decorrelation technology; reverb modulation with a choice of random LFOs; comprehensive control of early and late reflections; separate 3-band parametric equalizers for early and late reflections; acoustic space environment modeling through air and material frequency-dependant absorption simulation filters with a set of more than 40 presets; two built-in gates with true stereo RMS detection; 200-plus factory presets; and highly optimized code for modern processors.

System requirements are Windows 98/ME/2000/XP; RoomVerb M2 versions for Mac OS X, TC PowerCore FireWire, Soundscape Mixpander are under development and will be announced in the year 2004. To find more about the product, visit www.spinaudio.com/products_rvm2.html. Free demo version is available for download from www.spinaudio.com/downloads_trial.html and audio demos are available at www.spinaudio.com/downloads_audio.html.

Megatrax Production Music Lands Radio Promo Deal
Megatrax Production Music, a Hollywood-based supplier of high-quality production music for film, broadcast, advertising and multimedia, has landed a radio ID package for Premiere Radio Networks/Clear Channel in conjunction with the new American Top 40 syndicated radio series, starring Ryan Seacrest, who is replacing Casey Kasem.

Megatrax composed and produced a new show main title/opener and closer, as well as five other musical and vocal cuts. Regarding the new music package, Jim Cook, Clear Channel VP of creative services, said, "Our creative challenge for this project was to take a highly recognizable and famous audio logo and update it by giving it a 21st-century sound warp. They made it happen."

According to Benjamin Trust, Megatrax general manager, "Megatrax is pleased to now be offering our clients custom radio music packages. The American Top 40 ID package is a notable, high-profile project for us. It represents the beginning of another phase of new products and services that our rapidly growing and highly successful radio division can regularly offer to radio stations and syndicators across the country."

For more information about Megatrax, visit www.megatrax.com.

Ableton Offers Free Sample Downloads
In conjunction with M-Audio, Ableton has selected 100 samples from its ProSessions Sound and Loop Library collection that until December 30, 2003, can be downloaded free of charge by registered Live users (full retail versions of Live only).

If you are a Live user and wish to get this collection of samples, then visit www.ableton.com to obtain your holiday gift.

Meyer Marketing Expands Operations
Meyer Marketing, one of the leading manufacturer's rep firms for the professional A/V, musician and security markets, announced the opening of a new and expanded 50,000-square-foot headquarters, administration center and warehouse in Wellington, Fla. According to company founder and president Larry Meyer, the expansion underscores his group's ongoing commitment to provide manufacturers, dealers, integrators and customers with more comprehensive, value-added support services.

"The definition of a manufacturer's rep firm in 2003 is radically different from that when we started the company," Meyer explained. "The difference lies in the ability of rep firms to partner manufacturers more effectively and in doing so, to provide dealers and customers with added value. By creating a more integrated supply chain from manufacturer to end-user, rep firms can help share intelligence, improve efficiency and increase responsiveness. Our new facilities here in Wellington will significantly enhance Meyer Marketing's ability to provide this depth of support."

Meyer Marketing has served the Florida, Puerto Rico and the Caribbean sales territories since 1964, and represented such manufacturers as Middle Atlantic Products, JBL Professional, Crown International and Allen & Heath. "Our ability to consistently provide manufacturers and dealers with business-building resources and services has largely been a function of the high quality of people we've had join our firm," company VP Larry Boscarino added. "Now with the expansion of the central office in Wellington, we're positioned to take that service to an even higher level with better inventory capabilities, more advanced training facilities, and superior administration and market support."

For more information, visit meyermarketing.com or call 800/352-8346.

Margarita Mix de Santa Monica Chosen for DVD Project
Margarita Mix de Santa Monica, a post-production sound facility that is a subsidiary of The L.A. Studios Inc., recently completed the 5.1 DVD sound design and mix for the Stone Temple Pilots Thank You CD/DVD. The project was given to the facility by Dean Gonzalez of rOOm (formerly The Cutting Room), who edited the three-hour DVD.

A part of the DVD was an hour's worth of bootleg footage contributed by fans. Gonzalez sifted through 12 years of VHS and Beta concert footage for this section of the DVD. "Some of the footage was bootleg; the producers reached out to fans to obtain this, letting them know that no legal action would occur. This footage, as well as some live pieces, had bad audio and we wanted to make sure it was mixed really well," said Gonzalez. "I've worked with Jeff Levy at Margarita Mix de Santa Monica several times and I know he is an amazing mixer."

One of Gonzalez' concerns was the 5.1 mix: "I knew that Jeff had experience with 5.1, as well as mixing long-form," Gonzalez said. "I really like his style and sensibility toward clients, so I knew he'd be perfect for this project."

Levy, who has been with L.A. Studios since 1985 and with Margarita Mix de Santa Monica since its 1999 inception, came to the project with experience mixing high-end commercials, including Super Bowl spots, film trailers and music videos for major hip hop and rap artists.

On the mix, Levy worked closely with STP guitarist Dean DeLeo, whom he described as "having the best ears I've ever encountered." The major challenge, recalled Levy, is that the original material was all in stereo, which he had to format for the 5.1 surround sound mix. "We EQ'd all of the tracks in one way or another to try and bring out different elements in the stereo mixes."

Working with the Postation by DSP Levy spent three weeks meticulously going from song to song, balancing out levels. "As we were working, the project evolved," he said. "We wanted things to flow seamlessly so the locked picture was important."

The resulting DVD includes an hour of music videos and an hour of live footage from the fans. "There's talk right now of doing another STP documentary," said rOOm's Gonzalez. "If we do that, we will definitely be returning to Jeff and Margarita Mix de Santa Monica."

University of Michigan Installs Grace Design Mic Pre's
The University of Michigan School of Music recently installed three Grace Design model 801R 8-channel remote-control microphone preamplifiers and an 801RCU remote-control unit. The sale was handled by Grace Design dealer Vintage Loop in Shelby Twp., Mich.

The School of Music is in the process of constructing a new 5.1-capable Goff Smith Recording Studio within the 4,000-seat Hill Auditorium concert hall, which was originally built in 1913. Recording, mixing and editing will be accomplished via both PCM and DSD format multichannel recording systems for subsequent release in 5.1. The new facility will primarily be used for live concert recording and teaching audio engineering to undergraduate students. The 24-channel 801R system will function as the primary microphone preamplifiers and will be remotely controlled directly from engineers in the control room.

"Much of the music we'll be recording in Hill Auditorium will be acoustic and recorded to-high definition PCM and DSD systems for 5.1 release," noted assistant professor of audio engineering Dr. Jason Corey. "We chose the Grace model 801R mic preamps to ensure we'd capture the high level of detail, clarity and transparency that we need."

For more information on the gear, visit Grace Design online at www.gracedesign.com.

Allen & Heath Launch New DJ Mixer
A collaboration with cutting-edge artists, Allen & Heath's new Xone:92 is a 6-channel (four phone or line with two mono/mic or stereo returns) mixer that will be available in either rotary or linear Voltage-Controlled Amplifier (VCA) fader options.

With more DJs now incorporating live elements and digital effects to their performances, one new feature, a MIDI controller output, offers users the ability to manipulate virtually any piece of outboard MIDI equipment from controls on the mixer surface. For additional sound manipulation, the Xone:92 also incorporates two LFOs with a tap-tempo feature and two independent filter systems. LFO depth, filter resonance and frequency can be adjusted. Channels can be assigned to either of the two filters, and the VCF controls can be linked together for the simultaneous manipulation of both filters. Each filter can also be controlled by the crossfader with the LFOs still interacting.

The Xone:92 also features a new 4-band +6dB EQ with infinite cut on HF and LF and -30 dB available on both hi- and lo-mids. The mid-EQ provides a wide cut but narrow boost to prevent cumulative gain with all controls at maximum. Furthermore, VCA faders and filters are used throughout, so that no audio signals pass directly through the faders. As a result, there is no risk of the sound being degraded by worn components.

Other features include an active crossfader, which can be varied using a rotary control from smooth to scratch mix; two headphone outputs, 1/4-inch and 3.5mm jack; two auxiliary sends with selectable pre/post-fader and crossfader; extensive channel output and cue metering; an intelligent cue system allowing pre- or post-EQ monitoring; and a talkover facility on mono/mic channel that attenuates music by 20 dB.

The Allen & Heath Xone:92 mixer will be available in February 2004. Further information about the mixer and its features can be found at www.xone.co.uk.

NHK Sapporo Installs SSL C200 Board
NHK Sapporo has become the latest facility in Japan to install Solid State Logic's new C100 Digital Broadcast Console. The studio's 32-channel console replaces an old analog desk at the broadcaster's largest T-1 facility in Sapporo, Hokkaido. It features 3-channel DSP cards (96 channels), 48 mic inputs, 96-channel analog line in/outs and 128 channels of digital in/out.

With digital terrestrial broadcast due to start in Japan this month, NHK Sapporo said that the C100 console will prove highly efficient for this application, as well as for surround productions. The broadcaster has already been using its new desk to produce a daily magazine program, which is broadcast live to air every weekday, and to produce two documentary programs and special programs such as general election coverage.

Tetsuo Ueno, chief engineer at NHK Sapporo, said, "The size of the console was a major consideration for us. The T-1 Sub control room is not large and after looking at a number of different desks, we chose the C100 because its 32-channel frame fitted so well into this very limited space. We also saved space in the machine room by installing SSL's new Centuri Core processor." Ueno added that NHK Sapporo was also impressed by the C100's ability to offer 96-channel mixing, its cost-effectiveness and the fact that, at only 1.5KVA, it is very economical to run. "The C100 offers a number of advantages, not least that we can graphically see both dynamics and equalization. It is very flexible and easy to operate and, because it has a flexible signal router, our engineers don't need to patch regular programs, thus saving an enormous amount of time. Another advantage is the C100's ability to mix mono, stereo, surround and down mixes. We particularly like the fact that we can control 5.1 material in both directions using either a single fader or a spread of six faders."

For more information on the board, visit SSL at www.solid-state-logic.com.

Glenn Berkovitz Uses Sanken CS-1 on 'Karen Sisco'
Production mixer Glenn Berkovitz, C.A.S., recently employed the new Sanken CS-1 Short Shotgun microphone for the ABC series Karen Sisco. "We used the CS-1 for dialog inside a van," explained Berkovitz. "We were using my favorite, the Sanken CS-3e shotgun, for exteriors but found ourselves in really cramped quarters and I swapped it for the CS-1. This new Sanken short shotgun worked perfectly, and the dialog from the two mics matched beautifully."

"Both the CS-1 and the CS-3e have a nice targeted range without being too pin-pointy like a hypercardioid shotgun where the mic really has to be on a very tight target," added Berkovitz. "The Sanken shotguns are ideal for episodic TV, film and ENG production sound."

For more information on the Sanken mic, visit the company's distributor, plus24, at www.plus24.net.

LOUD Technologies Sells Italy-Based Operations
LOUD Technologies Inc. announced the divestiture, as of December 10, 2003, of Mackie Designs (Italy) S.p.A. (formerly Radio Cine Forniture (RCF) S.p.A.) for a nominal amount.The divestiture occurred by means of the sale of all shares of Mackie Italy by Mackie Designs (Netherlands) B.V. The divestiture, which included the sale of the former RCF factory and administrative office in Reggio Emilia, the RCF brand name and all Italian-based assets, also results in the immediate removal of more than $23 million (U.S.) in related bank debt from LOUD's consolidated financial statements.

"This is the next step in the modernization and streamlining of our worldwide manufacturing and product development resources," commented LOUDTechnologies' CEO Jamie Engen. "In the last year, we've established a network of worldwide manufacturing resources and have added significantly to our product development and engineering teams for both the Mackie and EAW brands. This sale will allow us to better leverage these resources, unencumbered, to bring the most innovative products to market in a timely manner."

LOUD will continue selling products to the Italian market through an independent distributor, and is planning to address the worldwide commercial sound market with a new line of products under the EAW brand. Ken Berger, senior VP of marketing and product development at LOUD Technologies, commented, "Over the last year, we've been focused on developing a coherent brand strategy for all of our products and markets. The strength of EAW in the engineered systems market makes it the natural brand under which to consolidate all of our commercial audio products."

The first products from the new EAW commercial systems group will be unveiled in early 2004. During the transition to EAW Commercial, LOUD will continue to provide its worldwide network of dealers, distributors and system designers with key commercial audio products.

For more information, visit www.loudtechinc.com.

Southern Tracks Brings 1-Inch Analog to Atlanta
With the purchase of a new ATR-102 1-inch 2-track machine, Southern Tracks Recording (Atlanta) now offers clients "wide-track" analog mixdown to stereo. The ATR-102 was modified and completely remanufactured by Michael Spitz of ATR Services in York, Pa.

"I'm a die-hard analog guy," said Southern Tracks co-owner Mike Clark, "and when I heard one of these at an AES show, I thought it sounded great."

The first project (not yet released) for the new machine was for Incubus; sessions were produced by Atlanta-based producer Brendan O'Brien. The sessions were tracked on Studer A827 analog, overdubbed and edited on Pro Tools, and then mixed to the 1-inch ATR. "It sounded great," said Clark. "Everybody was pleased with the results."

For more information about ATR, visit www.atrservice.com. For more information about the studio, visit www.southerntracks.com.

UPJ-1P Gets EDDY Award
Meyer Sound's UPJ-1P compact VariO loudspeaker has been selected to receive an EDDY Award as Sound Product of the Year, according to the editors of Entertainment Design magazine. Regarding the UPJ-1P, the panel of judges, which is comprised of internationally renowned sound designers, commented that the new compact loudspeaker "fills in the gap between line arrays and single boxes, and sounds very musical."

Introduced earlier this year, the UPJ-1P is a powerful yet compact self-powered loudspeaker incorporating a 10-inch low-mid driver and a 3-inch-diaphragm (0.75-inch exit) compression driver mounted on a field-rotatable 50°x80° horn. The rotatable horn, coupled with the UPJ-1P's various rigging options, provides mounting, flying and arraying flexibility.

The EDDY awards will be formally presented during ceremonies scheduled for June 18, 2004, in New York City, which coincide with the Broadway Sound Master Classes.

For more information about the UPJ-1P, visit www.meyersound.com. For more information about the EDDY Awards, visit entertainmentdesignmag.com.

Surround Conference Used Grace Design Monitoring System
The recently held 5th annual International Surround Conference & Showcase (Beverly Hills) used a pair of the new Grace Design m906 5.1 reference monitoring systems for the demonstration and discussion of audio program material.

"From a sonic standpoint, our primary goal was to provide a highly detailed and transparent representation of the 5.1 music mixes being presented. Everything in the signal path was carefully considered, including the acoustic space, source playback systems, monitoring control and monitors," noted Surround Conference director of engineering Curt "Catfish" Hoyt. "It was also important that presenters had an easy way to control and manage their source material. The m906s were invaluable in this regard, as they provided access to analog and digital source switching, gain and dim control, as well as the ability to solo or mute specific channels in the surround field. The Grace m906 units turned out to be an indispensable tool to have at the conference and played a big part in its success."

Grace Design VP of sales and marketing, Doug Wood, added, "The Surround Conference is widely regarded as the most important event of its kind during the year, and we're absolutely thrilled that Curt and his team choose to include our new m906 units as an integral part of the 5.1 monitoring system."

For more information about the m906 system, visit www.gracedesign.com.

Producer Oliver Leiber Adds Soundelux Mics to Closet
On the advice from his engineer, producer and songwriter Oliver Leiber (Paula Abdul's Forever Your Girl, guitarist for Rod Stewart while on tour, The Corrs, Fleetwood Mac's Dreams, BB Mak, Beth Hart, Jennifer Paige) recently purchased two Soundelux ELUX 251 microphones prior to production on new band Antigone Rising.

"With Silvertide and now Antigone Rising, I'm making much harder-sounding records than I've been known for in the past. Believe it or not, this has heightened my awareness of the sounds of the individual components of the recording chain—all starting with the mic," said Leiber. "The very first day in the studio, we did a vocal mic shootout with Cassidy, lead singer from Antigone. We put up an ELUX 251, a very good-condition vintage Telefunken ELAM 251 and a Neumann M 49 all using the same Neve 1081 input module. The thing about the Soundelux was that is was just really natural and open. The Tele 251 had this 'spikey' quality that worried me. I didn't know if I'd cut a whole record with it. The Tele might have worked on some songs where Cassidy wasn't belting out and not in her upper register, but I was really concerned on the rock songs where she is pushing and I knew the sound would be piercing with the Tele. The Soundelux had all the warmth and openness we wanted, but it didn't have that spike and it wasn't dull either. It has plenty of top end.

"When recording, I am looking for transparency and naturalness. If I close my eyes, I have to feel like that instrument or that singer is in front of me in as pure form as possible, and I've discovered the ELUX 251 gives me just that," Leiber continued. The ELUX 251 also was used for all of Chynna Phillips' vocals and her background parts. "Once again, on these demos, it was smooth sailing with this mic. Even stacking up loads of vocal backing tracks, I never had a stridency problem. It always sounded 'right!'"

During tracking sessions with Antigone Rising, Leiber used one of the ELUX 251s for live lead vocals and the other for all of the acoustic guitar parts. "For acoustic guitar, we just set it up in cardioid 10 to 14 inches in front of the sound hole and it was unbelievably woody. You could hear the warmth and feel the flesh on the strings—wow! Myself, my engineer and my Pro Tools operator all immediately agreed: Now that sounds like a record!"

For more information about the mics, visit Soundelux's distributor, Transamerica Audio Group, at www.transaudiogroup.com.

AiRR Support Upgrades Mic Stands
AiRR Support, a division of Network Pro Marketing (Corona, Calif.), announced functional and aesthetic upgrades to its line of large professional-grade boom microphone stands.

For extra stability, especially in applications requiring an extended reach of the boom arm, a second sandbag is now included for additional counterweight. The larger, steel-reinforced height-adjustment crank has an improved gear ratio for smoother operation, while the counterweight features a higher-quality set screw mechanism for greater sturdiness. The overall look of AiRR stands has also changed, with an all-black electroplated finish.

Available in three sizes, AiRR professional-grade boom stands are ideal for overhead recording applications such as drums, background vocals, string sections, brass sections, orchestral recording, lead vocal recording, location recording and a variety of broadcast applications. Additional features include a removable three-wheel tripod base, telescopic adjustable locking legs, fast locking and unlocking of the boom angle, and a custom carrying bag.

For more information, visit www.networkpromktg.com.

Clavia Releases Nord Modular G2
Clavia's new Nord Modular G2 platform, designed with a focus on live performance, offers a fully assignable modulation wheel, pitch stick and rotary encoders to turn, bend and tweak. The four separate LCDs on the front panel provide an overview on the user's patch creation.

The G2 also provides features such as rotary encoders with circular LED graphs (the LED graphs instantly show the correct values of the parameters the user chooses), programmable parameter pages (which guide in sound editing work and patch creation), patch variations (which lets the user create and store eight different complete parameter setups per patch), a Performance mode (which allows the user to set up multipatches from the four individual synthesizer slots) and the eight morph groups per patch allows the user to control sets of parameters from single internal control sources and via MIDI.

The G2 also boasts four analog audio inputs including an XLR mic input with built-in amplifier to insert external signals and patch them. To use the Modular G2 Patch Editor, users just need to hook up the G2 to a PC via the USB connection. The logical architecture and visual overview, including user-defined coloring of modules and color-coded module groups, make it easy to patch and "lay out" sounds. Thanks to the real-time USB communication, the G2 immediately responds to patching and follows the user's moves. Most of the modules are self-optimizing, meaning that they adapt their bandwidth to the patched signals. The flexible modules also make it easy to alter functionality without needing to replace modules. The Modular G2 Patch Editor comes with more than 150 modules, including oscillators, filters, envelopes, a vocoder, physical modeling, reverb, delay, frequency shifter, pitch tracker, sequencers, LFOs, MIDI modules and more.

For more information, visit www.clavia.se.

Microsoft, Loudeye Team Up to Offer Digital Music Solutions
Loudeye Corp. introduced two customer-branded product offerings based on Microsoft Windows Media 9 Series and the Loudeye Media Framework. Companies using the branded products on the Windows Media platform include AT&T Wireless and Gibson Audio, a new consumer electronics division of Gibson Guitar Corp.

The Loudeye Digital Music Store is an outsourced digital music store that can be integrated with customers' existing technology, branding and infrastructure to give them instant access to a digital music business. Features include digital music download delivery, branded players to provide both live and on-demand audio and video content to end-users, digital rights management using Windows Media Digital Rights Management, usage reporting and analytics, digital music royalty settlement, streaming music samples and cover art, music metadata and rich media ringtones. The Loudeye iRadio Service offers 100 channels of preprogrammed music, which can be delivered to any Internet-connected device supporting Windows Media 9 Series and Windows Media Digital Rights Management.

In related news, Microsoft Corp. announced that it is joining forces with Loudeye to enable the rapid deployment of branded digital music services and stores using the combination of Loudeye's new products and Windows Media 9 Series.

"Loudeye's digital music solutions are important for helping customers go to market with high-quality music offerings built using Windows Media 9 Series," said Dave Fester, general manager of Windows digital media division at Microsoft. "Loudeye's industry leadership and technical expertise enable companies using Loudeye's solutions to rapidly build and launch a world-class branded music store or radio services using the Windows Media platform."

The Loudeye Digital Music Store and Loudeye iRadio Service provide a means for any company to launch a digital music store and/or Internet radio service under their own brand rather than spending millions of dollars to develop their own service utilizing a third-party player.

"We've just seen the first wave of digital music stores and services hit the market and quickly demonstrate the potential of online music as a powerful marketing and branding tool, revenue driver and important business component," said Jeff Cavins, Loudeye's president and CEO. "In coming months, we'll see a second wave of deployments, this time extending beyond online retailers and other core music companies to new industries we've never thought to connect with digital music.

For more information on Loudeye's Digital Music Store and iRadio service, visit www.loudeye.com.

LOUD Technologies, Universal Audio Announce New Distribution Strategy
Recently announced, Universal Audio is now marketing and distributing future versions of LOUD Technologies' UAD-1 DSP card and Powered Plug-Ins bundle. Since January 2002, the UAD-1 card has been distributed by LOUD Technologies as a Mackie-branded product.

"This is not the end of our relationship with Mackie," stated Matt Ward, president of Universal Audio. "Mackie's efforts in marketing the UAD-1 have helped to establish the Universal Audio brand throughout the world. This relationship has been a part of Universal Audio's growth as a company. We are now able to assume marketing and distribution efforts for the UAD-1 while continuing to pursue new cooperative ventures with Mackie."

As part of this transition, Mackie will continue to sell the existing Mackie UAD-1 card and Powered Plug-Ins bundle until remaining inventory is depleted in early 2004. In addition, Universal Audio's after-market plug-ins, including the forthcoming Fairchild compressor, will be fully compatible with the Mackie UAD-1 card. On January 1, 2004, Universal Audio will assume all sales of after-market plug-ins from Mackie and will also assume technical support responsibilities for the Mackie UAD-1 card.

"The current Mackie UAD-1 card remains an exceptional value and a great way to take advantage of classic processors like the LA-2A and 1176LN," commented Ken Berger, senior VP of marketing and product development at LOUD Technologies. "We are very proud of our relationship with Universal Audio and are confident that Mackie UAD-1 customers will benefit from their ongoing support and development for the platform."

In other Universal Audio news, the company will unveil a new UAD-1 package, called the UAD-1 Studio Pack, at the upcoming NAMM show (January 15-18, 2004). The UAD-1 Studio Pak includes the existing plug-in bundle available in the Mackie UAD-1 with the addition of Dreamverb, Cambridge and Fairchild 670 plug-ins.

For more information, visit Universal Audio at www.uaudio.com or LOUD Technologies at www.loud-technologies.com.

PRG Announces Company Restructuring, Staff Promotions
Production Resource Group (PRG) announced that it is consolidating equipment in three major offices that will effectively become the depots in a "hub and spoke" inventory-management system. Inventory for larger events will be maintained, prepared and shipped from the company's depots. PRG's smaller offices will continue to maintain inventory to support most local events, but will receive temporary shipments of equipment from the depots as needed to support larger events.

According to Kevin Baxley, PRG's COO, "Concentrating our assets in regional depots will help us standardize both equipment maintenance and preparation efforts. Using the depots, we can ensure that the best practices in the industry are utilized in preparing our equipment for delivery to our clients. The depots will also enable us to maintain greater control over the types of equipment our clients request the most. Concentrating those items in the depots, rather than leaving them spread out in small numbers among many offices, will ensure greater client access to them in large numbers when needed."

PRG's New Jersey, Orlando and Las Vegas offices will serve as the company's regional equipment depots. Other PRG offices will continue to maintain local inventories but will draw on the extensive additional stock in the depots when needed. Portions of the inventory at PRG's Atlanta location have recently been transferred to PRG's Orlando depot, and the inventory at PRG's Newbury Park (N.J.) location has been consolidated with the company's inventories in Las Vegas and Burbank, Calif. PRG's sales and account management teams in Atlanta and Newbury Park will not be affected by these changes.

PRG will be able to manage its inventory via TEAM, a proprietary asset-management software developed internally by the company. TEAM enables PRG's asset managers to instantaneously locate any item in PRG's $250 million inventory of rental equipment and quickly route it to where it is most needed.

As part of the restructuring, several staff promotions were announced. Bill Campbell, formerly the general manager of PRG's lighting operation in Atlanta, will become general manager of PRG's lighting operation in Las Vegas. Cathy Gilligan, formerly the asset manager for the Atlanta office, will become the asset manager for the Las Vegas office. Erin Byrnes, formerly the asset manager in Las Vegas, will assume a national asset-management responsibility at PRG. David Patton, formerly general manager of PRG's Las Vegas lighting operation, will become the company's national director of lighting operations.

For more information on PRG, visit www.prg.com.

BIAS Updates Peak for Panther Support
BIAS has released Peak 4.0.2, an update to the company's line of audio editing and mastering software that offers support for Mac OS 10.3 (Panther). The 4.0.2 update is free to all Peak 4.0x owners and is downloadable via www.bias-inc.com/downloads/updates/.

The new update is applicable to all versions of Peak, including Peak, Peak LE and Peak DV. New features include in Peak 4 include support for Audio Units; ability to write 32-bit floating-point .AIFF files; ImpulseVerb sampling reverb with library of "hundreds" of impulse responses; redesigned interface; a new mastering compressor called Sqweez; integrated CD burning; and much more.

In other BIAS update news, BIAS Deck and SoundSoap plug-in are now OS 10.3-compatible. The stand-alone version of SoundSoap will require a software update. The update will be a free patch for all SoundSoap owners and will be downloadable from www.bias-inc.com.

Arturia Reproduces Yamaha CS-80 With CS-80V
Arturia's CS-80V is a reproduction of Yamaha's CS-80, offering the same features but adding new functions such as a multimode and modulation matrix.

The CS-80V is based on a set of algorithms created by the company's sound engineers and gathered under the name TAE, True Analog Emulation. It brings a high-quality sound when reproducing analog circuits; in particular, TAE avoids any sort of aliasing and also emulates the typical instability of hardware oscillators, bringing the warm sound of vintage synths. The CS-80V is fully compatible with industry-standard protocols and systems. It can be used as stand-alone software or as a virtual instrument, and with the ability to work at 32-bit/96 kHz, it offers the same qualities of a hardware synth.

The CS-80V is loaded with more than 400 presets made by a selection of top artists and musicians. Required minimum configuration on a PC or Mac OS 9/X includes 128MB RAM with a 500MHz processor.

For more information, visit www.arturia.com/en/cs80v.lasso.

Audio Ease Releases VST Wrapper 4.0 for DP 4
MOTU Digital Performer 4 users can now use Mac OS X VST plug-ins and instruments with the VST Wrapper 4 from Audio Ease.

The VST Wrapper 4 supports multiple outputs for instruments, VST bank and preset saving and loading, sample-accurate MIDI timing, beat lock and parameter automation. OS X VST plug-ins are wrapped to become MAS plug-ins, the original Digital Performer plug-in format.

The VST Wrapper has an MSRP of $69.95 online at www.audio-ease.com, and includes Version 3, which loads VST plug-ins and instruments in Digital Performer 3; upgrades cost $39.95. However, the upgrade is free to anyone who has purchased the VST Wrapper after November 15, 2003.

Acon Digital Releases Acoustica 3.0
Version 3.0 of Acon Digital's Acoustica audio editor is now available.

New features include ultrafast audio editing based on a completely rewritten nondestructive audio editing engine; unlimited undo/redo levels; create audio CDs or import audio tracks from CDs; support for sample rates with 24- or 32-bit resolution and 192kHz sampling rate; support for DirectX audio effect plug-ins; reads/writes many new file formats, including Ogg-Vorbis, Windows Media Audio and MP3 (writing is limited to 56 k-bit/second); preset manager for all audio effects; and multitask background processing.

Shown: wave editor

A fully functioning trial version is available for free for 30 days at www.acondigital.de/english/index.html. Registered Acoustica 2.x users can upgrade for $15.

For more information, visit www.acondigital.de.

TOA Offers Speaker System Design Software
TOA Electronics Inc. is now offering new speaker system design software to help simplify distributed speaker system layout. The easy-to-use software was developed by TOA's speaker engineer, Ken Iwayama, and includes all six of the company's new F Series ceiling speakers with more models to be available soon. Features include automatic layout, interactive frequency response plots, recommended power and more.

The new software can be downloaded by visiting www.toaelectronics.com.

"As a follow-up to our popular Speaker Design Guide, the software is a great educational tool to help our customers design better systems," commented Steve Mate, marketing manager at TOA Electronics. "However, there's still no substitute for a qualified and experienced design professional."

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