Mix News for February 2003

Feb 24, 2003 12:00 PM

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

News February 1 - 16

WiebeTech Reduces Pricing on Desktop Drives
WiebeTech (Wichita, Ka.) announced price cuts from $60 to $120 on select models of its high-performance desktop drives, including DesktopGBTM, the FireWireTM/USB2 drive; DesktopGB+TM, the fanless aluminum FireWire drive; Super DesktopGBTM, the bus-powered FireWire drive; and UltraGBTM, the bus-powered, fanless, transportable FireWire drive in an aluminum enclosure.

For pricing and availability, contact the North American distributor at www.drbott.com.

Digital Bear Offer Price Break at Grammys
As part of this year's Grammy celebrations, the Recording Academy will be holding their first Grammy Viewing Party at the Hard Rock Cafe Boston on Sunday, February 23. As part of the festivities, Boston-based Digital Bear Entertainment will be raffling off one free "Breaking Artist Plan." The Breaking Artist Plan is a new block price rate on recording time with Digital Bear Entertainment, offering two songs' worth of studio, engineer and producer time at the private Digital Bear Entertainment Studio for only $995; the Breaking Artist Plan is valued at over $3,800.

The Breaking Artist Plan is designed to give selected artists a trial period with the company. The studio at DBE features a stone-lined live room; high-resolution digital audio; microphones by Neumann and AKG; microphone preamps by Avalon, Millennia, and Summit; and monitors by Genelec. Instruments include vintage guitars, amps, Hammond, piano, drum set and more.

Digital Bear represents veteran music producer Jordan Tishler, who has been working with local and national acts for over 10 years. Tishler specializes in artist development, getting deeply involved with up-and-coming musical talent; most recently, the company has worked with artists including James O'Brien, Labb and Marie's Children.

For more on Digital Bear Entertainment and the Breaking Artist Plan, visit www.digitalbear.com.

TC Electronic Announces Personnel Changes
Coinciding with the news that TC Group has combined the TC Electronic and TC Works brand names (mixonline.com/ar/audio_tc_works_tc/index.htm), Mads Peter Lubeck, COO of TC Electronic Worldwide, announced that the company has named John Maier to the newly created post of VP of sales for North America; longtime TC Electronic U.S. managing director Ed Simeone was also appointed to the Board of Directors and now holds the title of president.

"These moves are designed to position the company for further growth. We want to retain our strength in the higher-end professional audio markets, while continuing to grow our M.I. product offerings," commented Lubeck.

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

Neutrik Donates Equipment to John Lennon Tour Bus
Neutrik USA (Lakewood, N.J.) recently donated a variety of audio test and measurement equipment to the John Lennon Educational Tour Bus. Equipment of note included a MiniSPL calibrated, battery-powered measuring microphone; a Minilyzer ML1 analog audio meter; and a Digilyzer DL1 digital audio meter.

"This bus is involved in such a variety of events throughout the year, and it makes stops at such a range of venues--each with differing sound qualities--that it's sometimes difficult to fully anticipate the sound system and acoustic challenges that await us," said Brian Rothschild, executive director for the John Lennon Educational Tour Bus and John Lennon Songwriting Contest. "With this measurement equipment from Neutrik, we're even more confident that we are providing top-notch audio services to students selected to participate in workshops on the bus and at events at which the bus serves as a stage and sound system."

Neutrik has been closely involved with the bus for several years; recently, the two organizations collaborated on a day-long event of recording, live music, education and community involvement held in New Jersey. The event was part of the John Lennon Songwriting Contest, and the day ended with a live, three-hour location broadcast on a local rock radio station. Local musicians were given the chance to record their own songs using the bus' state-of-the-art recording equipment, and the recorded tracks were played on the air during the live broadcast.

A full-service mobile-recording facility, the bus is outfitted with traditional musical instruments, as well as current and state-of-the-art recording and performing technologies. The interior is divided into two separate recording environments: The front studio offers the ability to produce multimedia projects and can demonstrate an array of audio and video components, with visitors involved in the recording and editing of original material. The back studio is a traditional setup for bands and remote recordings of concerts and special events. It features a full range of instruments, including guitars, basses, keyboards and drums, as well as an onboard P.A. system, enabling performances on the side of the bus.

For more, visit Neutrik at www.neutrikusa.com. Check out the John Lennon Educational Tour Bus at www.jlsc.com/bus.html.

"Live From Bluebird Café" Relies on AKG Mics
The one-hour music program Live From the Bluebird Café , based in Nashville, features performances from some of music's hottest songwriters in a variety of genres, including country, gospel, blues, Americana and folk, and also provides a showcase for up-and-coming performers. Audio producer Vaughn Skow, a longtime AKG supporter and a 20-year veteran of the Nashville music scene, relies heavily on AKG's C 535 EB, CK 577 WR, C 414B-TL II and C 480 B microphones to mike the show.

“We usually have anywhere from three to five performers every week,” Skow said. “I typically use the AKG C 535 EB condenser handheld microphone for the vocals, which get split to the house console. The main concern is that while this microphone must sound good for me 'on tape,' it also has to work well for the house sound. With the C 535 EB condenser microphones and an artist with good microphone technique, I can make the performances sound like a studio recording. I run four AKG C 480 B small-diaphragm condensers in Omni in the four corners of the room and I place an AKG 414 B-TL II in Omni right smack-dab in the middle of the ‘round.' So far, I've only mixed the show in stereo, but with that room mic setup, I could make a really cool 5.1 mix.”

Another production challenge for Skow is achieving the right sound for the performer's instruments. “Some of the performers bring keyboards, even drums, percussion, bass, etc., yet most bring guitars,” said Skow. “For the guitars, I take a split off of the guitars direct, plus I always clip a mini-condenser lavalier mic to the guitar, usually the AKG CK 577 WR so that I can have an actual acoustic sound with very minimal unwanted bleed from the audience or P.A.” Skow finds that by using the mini-mic clipped to the guitar, sometimes even dropped inside, he can get good isolation on the guitar mics.

The show is shot to five D-Beta video decks, with four handheld cameras in the room shooting to Iso decks, and a deck running a live switch of the evening. Skow completes all of the final audio post-production remixes in his studio, Sunset Island Studios, a full-service tracking and mixing post-production facility.

For more information on the AKG mics, visit www.akgusa.com. For more on Live From the Bluebird Cafe, visit www.turnersouth.com/bluebird-cafe/.

Tekserve Opens Pro Audio Division
New York-based Tekserve debuted its professional audio division, headed up by industry vet Ken Patnaude.

This division will provide the audio-recording and post-production communities with complete solutions specializing in emerging and traditional technologies. Recent activity at Tekserve included a surround sound mixing room for HBO Studio Productions and the recent expansion of New York post-production facility Sound Lounge.

Contact Patnaude at 212/929-3645, ext. 307 or kennyp@tekserve.com.

Symetrix Upgrades SymNet Designer Software
Symetrix (Mountlake Terrace, Wash.) recently upgraded its SymNet modular audio mixing, routing and digital signal-processing system to Version 3.0, its fourth upgrade since the product was introduced in August 2001.

SymNet Designer 3.0 software, a PC-based package that allows CAD-style "drag-and-drop" control over audio-processing modules, now incorporates a new category titled Control Modules. By selecting and combining the 50 tools included in the new module, users can exercise a greater degree of logical control over the system involving programming, simple or complex decision-making, and processing sequential, triggered events.

"This is a quantum leap forward in terms of the power, flexibility and capabilities of this system," stated Jim Latimer, director of sales for Symetrix. "It gives our users a clear advantage in designing systems that will be more accommodating to the needs of their clients, as well as integrating more readily into third-party hardware."

Dynamics processors such as automatic gain controllers or compressor/limiters can generate control signals based on audio input, which can then be sent to VCAs watching over groups of audio signals. Also new are capabilities for Supermodules, which appear as user-definable processing objects but have multiple functions nested inside. Supermodules now support audio or control signal inputs and outputs, and can be protected with a password. In addition, a graphical control screen has been added that accompanies the module during import or export between designs.

For more product specs, visit SymNet online at www.symetrixaudio.com.

New York Production Team Embrace OWL System
Producer/engineers Roey Shamir (Run-DMC, Roberta Flack, Quincy Jones, LL Cool J) and Angela Piva (Mary J. Blige, Naughty by Nature, Toni Braxton), who collectively work under the INFX Productions banner, have been putting Electric Lady Studio's EMES OWL System to the test on recent sessions including R&B artist Moos, an upcoming release for Mary J. Blige, ASHArecords.com recording artist AF the King's sophomore release, a debut album for Derryale Barnes and Shiva jazz artist Scott Brown Project.

Shamir commented, "It's the potential in the toolset that [OWL's] EmbracingSound provides that is the most exciting element--it's the ultimate phase checker!" Piva added, "This concept surpassed the old standard Auratone for my choice of a 'reality' image and EQ reference."

For more on the OWL System, visit www.xvisionaudio.com.

Library of Congress Adds 50 Historic Recordings
Librarian of Congress James H. Billington announced his selection of the first 50 historic sound recordings to be added to the National Recording Registry in Washington, D.C. Congress has charged the Librarian of Congress with the responsibility of selecting recordings annually that are "culturally, historically or aesthetically significant." Nominations were garnered from members of the public and the National Recording Preservation Board, which is composed of leaders in the fields of music, recorded sound and preservation; the Board also helped with the review of nominations.

As a member of the Board, the Audio Engineering Society (AES) advised the Librarian on his selection. Representing the AES on the Board are Elizabeth Cohen, AES past president, and George Massenburg.

The selection, in chronological order, is: Edison Exhibition Recordings (Group of three cylinders): "Around the World on the Phonograph," "The Pattison Waltz;" "Fifth Regiment March" (1888-1889); The Jesse Walter Fewkes field recordings of the Passamaquoddy Indians (1890); "Stars and Stripes Forever" Military Band, Berliner Gramophone disc recording (1897); Lionel Mapleson cylinder recordings of the Metropolitan Opera (1900-1903); Scott Joplin ragtime compositions on piano rolls, Scott Joplin, piano (1900s); Booker T. Washington's 1895 Atlanta Exposition Speech (1906 re-creation); "Vesti la Giubba" from Pagliacci, Enrico Caruso (1907); "Swing Low, Sweet Chariot," Fisk Jubilee Singers (1909); Lovey's Trinidad String Band recordings for Columbia Records (1912); "Tiger Rag," original Dixieland Jazz Band (1918); "Arkansas Traveler" and "Sallie Gooden," Eck Robertson, fiddle (1922); "Down-Hearted Blues," Bessie Smith (1923); "Rhapsody in Blue," George Gershwin, piano; Paul Whiteman Orchestra (1924); Louis Armstrong's Hot Five and Hot Seven recordings (1925-1928); Victor Talking Machine Company sessions in Bristol, Tenn., Carter Family, Jimmie Rodgers, Ernest Stoneman and others (1927); Harvard Vocarium record series, T. S. Eliot, W. H. Auden and others, reciting (1930-1940s); Highlander Center Field Recording Collection. Rosa Parks, Esau Jenkins and others (1930s-1980s); Bell Laboratories experimental stereo recordings, Philadelphia Orchestra, Leopold Stokowski, conductor (1931-1932); President Franklin D. Roosevelt's radio "Fireside Chats" (1933-1944); New Music Recordings series, Henry Cowell, producer (1934-1949); description of the crash of the Hindenburg, Herbert Morrison reporting (1937); "Who's on First," Abbott and Costello's first radio-broadcast version (1938); "War of the Worlds," Orson Welles and the Mercury Theater (1938); "God Bless America," Kate Smith, radio broadcast premiere (1938); "The Cradle Will Rock," Marc Blitzstein and the original Broadway cast (1938); The John and Ruby Lomax Southern States Recording Trip (1939); Grand Ole Opry, first network radio broadcast, Uncle Dave Macon, Roy Acuff (1939); "Strange Fruit," Billie Holiday (1939); Duke Ellington Orchestra "Blanton-Webster Era" recordings (1940-1942); Bela Bartok, piano, and Joseph Szigeti, violin, in concert at the Library of Congress (1940); "Rite of Spring," Igor Stravinsky conducting the New York Philharmonic (1940); "White Christmas," Bing Crosby (1942); "This Land is Your Land," Woody Guthrie (1944); General Dwight D. Eisenhower's D-Day radio address to the Allied Nations (1944); "Koko," Charlie Parker, Miles Davis, Dizzy Gillespie and others (1945); "Blue Moon of Kentucky," Bill Monroe and The Blue Grass Boys (1947); "How High the Moon," Les Paul and Mary Ford (1951);. Elvis Presley's Sun Records sessions (1954-1955); Songs for Young Lovers, Frank Sinatra (1955); Dance Mania, Tito Puente (1958); Kind of Blue, Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans and others (1959); "What'd I Say," parts 1 and 2, Ray Charles (1959); "I Have a Dream" speech by Dr. Martin Luther King Jr. (1963); "Freewheelin,'" Bob Dylan (1963); "Respect!" Aretha Franklin (1967); Philomel: for soprano, recorded soprano, and synthesized sound, Bethany Beardslee, soprano (1971); Precious Lord: New Recordings of the Great Gospel Songs of Thomas Dorsey, Thomas Dorsey, Marion Williams and others (1973); Crescent City Living Legends Collection (WWOZ radio, New Orleans) (1973-1990); and "The Message," Grandmaster Flash and The Furious Five (1982).

Complete annotations for each recording and information on the National Recording Preservation Board can be found out www.loc.gov/rr/record/. For information on the AES Technical Committee on Archiving Restoration and Digital Libraries, please visit www.aes.org.

World Wide Audio Installs AMS Neve Capricorn
Audio post-production house World Wide Audio Inc. (New York City) has installed a 48-fader, 176-path AMS Neve Capricorn digital audio console in its primary mix room for 5.1 surround film and broadcast mixes.

“The Capricorn is simply the best-sounding digital music console on the planet, and we wanted the highest quality available,” explained Georgia Hilton, owner of World Wide Audio. “And we like the fact that it's physically smaller while technically huge. You don't need rollerskates to operate it.”

The Capricorn is digitally connected directly to and from a set of Pro Tools systems for digital editing, mixing and playback. Hilton said she likes the speed and improved sound quality when staying entirely within the digital realm. “By avoiding all of the in-between steps like analog stem printing and other analog submixes, we're able to get work done at a much faster pace and keep the mix at a higher quality."

The Capricorn has already been put to work on one feature film and a short film at the USS Intrepid Air & Space Museum. Hilton said that she's also looking forward to producing some 5.1 remixes for record label Murder Inc., and is eager to begin work with the 7.1 software for Capricorn.

The new board will also be used for one-on-one private tutoring sessions.

Visit World Wide Audio on the World Wide Web at www.globalaudio.net. Check out the Capricorn at www.ams-neve.com.

Sound on Sound Opens Studio D
New York City-based Sound on Sound Recording has expanded with Studio D, a pre-production/overdub suite with a Digidesign Pro Tools|HD3 system at its core, designed by Larry Swist of Lawrence P. Swist Designs.

"What sets this room apart from all of the other Pro Tools rooms is that it is built with the same standards as our two SSL rooms and the Sony Oxford studio," commented Sound on Sound president Dave Amlen. "Clients working in D will also enjoy the same high-end services that we provide to all clients working at Sound on Sound."

Studio D was carved from raw space on the fourth floor at its midtown location and constructed out of an acoustic shell for maximum isolation. The studio was installed at Sound on Sound complete with fabric and hard-wood interior treatments and lighting. "We've been able to build a room that looks good and sounds good, and offers clients more bang for their buck," said Sound on Sound COO Christopher Bubacz. "Studio D is a cost-effective solution for many markets: record labels doing pre-pro, overdubs and demos; independent musicians looking to track, overdub and mix in one facility; and TV program and commercial producers doing all of their audio post and mixing in Pro Tools."

Studio D is equipped with a Pro Tools|HD3 featuring Pro Control surface with 24 faders and Editpack. The studio also features 5.1 mixing capabilities in Pro Tools with custom-designed monitoring from Lawrence P. Swist Designs, which uses TAD components and translate well with the George Augsperger-designed monitors in the studio's other rooms. It also offers a full complement of MIDI gear; additional specialty items are available on a rental basis. Studio D is also video-friendly with video decks in several formats, video capture for hard disk recording and a 42-inch plasma screen.

For more, visit the studio's Website at www.soundonsoundstudios.com.

Cycling '74 Releases New Loop-Based Software
Cycling '74 released radiaL 1.0, a loop-based composition and performance tool designed for Mac users; the OS 9 version of radiaL is already shipping, while the OS X version will be available as a free update for all registered radiaL users by Q2 2003.

Optimized for playing live, the program is based on loop channels represented by circular displays, each with its own multifilter and pitch-shifting/time-scaling. Almost every aspect of the system can be configured for live performance, studio recording or sound exploration, controlled from a variety of sources (control surfaces, MIDI, keyboard or mouse). radiaL features complete multichannel audio I/O support, audio and effects routing, and support for VST plug-ins. radiaL supports all major audio file formats and I/O standards. Users also receive a dozen VST plug-in effects from the Pluggo collection and a tempo-synchronized filter/delay.

radiaL includes: sample-accurate loops and synching; support for .AIFF, .WAV and MP3 files; dynamic interchange of loops and DSP effects; a built-in library of external MIDI controller templates and the ability to add to it; flexible audio routing and support for ASIO, ReWire, DirectConnect and VST on OS 9 and CoreAudio on OS X; and ability to record direct-to-disc.

MSRP: $249, available for purchase or download from www.cycling74.com.

AKG Adds to WMS 40 Series
AKG Acoustics added the PR 40, a UHF portable miniature four-level diversity receiver, to its WMS 40 Wireless Microphone System Series.

The PR 40 is suited for many different applications: Guitarists can use it in their pedal board with the GB 40 guitarbug; public-speaking situations with the MP 40 wireless transmitter; camera-mount applications for broadcast use; or with headsets and headphones used in tour-guide systems and small conference or interpretation systems. A belt clip allows the PR 40 to be attached to the user's clothes. A strip of Velcro fastener is supplied.

The PR 40 features an ultradurable glass-fiber plastic case and heavy-duty swivel joints on the antennas. The receiver can be powered with two AAA-size dry or rechargeable batteries; the battery compartment also accepts a special adapter for powering the receiver from a camera or DC power supply.

The PR 40 provides fixed line-level and adjustable headphone-level outputs. Metering includes RF, audio level and battery status LEDs. A preset squelch mutes the receiver if the received signal is too weak. The PR 40 operates on one fixed, quartz-stabilized frequency in the 710MHz to 865MHz UHF carrier frequency range and uses two swiveling UHF antennas.

List price for the individual PR40 is $250, and is available in handheld and bodypack system configurations, including the PR40/880, which includes an HT880 handheld transmitter for $436; the PR40/407, which includes a PT40 bodypack transmitter with C407L omnidirectional lavalier for $436; and the PR40/55, which includes the PT40 bodypack transmitter with a CK55L cardioid lavalier microphone for $398. All three systems include a MK HP/PR40-C video-camera cable.

The PR40 portable systems include the PR40/SO, which is the PR40 with the SO 40 wireless transmitter at a list price of $428; the PR40/MP, which includes the MP 40 micropenä at a list price of $448. Both systems include the MK HP/PR40-C video-camera cables.

For more, visit www.akgusa.com.

AES Standards Committee Proposes AES10 Revision
The AES Standards Committee (AESSC) has released a call for comment on the revision of Standard AES10-1991, which describes the data organization for a multichannel audio digital interface designed for the serial transfer of digital multichannel audio. It includes a bit-level description, features in common with the AES3 2-channel format and the data rates required for its utilization.

AES10-1991 was prepared as a result of the desire of four digital audio equipment manufacturers to produce a common interface for the serial transfer of digital multichannel audio in recording and broadcast studio applications. The benefit of such an interface is the simplification of multichannel digital audio equipment interconnection alongside the possibilities offered by the nature of the digitized audio signal.

The specification provides for the serial digital transmission of 32 kHz to 96 kHz, with a resolution of up to 24-bits per channel. The format makes possible the transmission and reception of the complete 28-bit channel word (excluding preamble) as specified in AES3, providing for the validity, user, channel status and parity information allowable under that standard. The transmission format is of the asynchronous simplex type, and is specified for a single 75-ohm coaxial cable point-to-point interconnection or the use of fiber-optic cables.

The revised draft, AES10-xxxx, recognizes other uses to which the interface has been put, notably distributed routing, resulting in the increase in channels to the maximum of 64 at 48 kHz, the introduction of 96kHz sampling in digital audio origination and the use of data transmission in the carrier system.

Draft AES10-xxxx can be found online at www.aes.org/standards and then clicking on "Drafts out for public comment."

Allen & Heath Adds to iDR DSP Audio System
Allen & Heath launched the newest addition to its iDR DSP Audio System, the PL-5 remote controller.

The PL-5 works in conjunction with the PL-4 infrared wallplate controller. Working in conjunction with the iDR DSP system, installers can choose a combination of products from the iDR family to create "set and forget" tailored audio distribution and control systems.

The PL-5 is designed to be slim enough to be kept in pockets. The use of the buttons is entirely dictated by how the installer has set up the remote wallplates, and can be programmed to control source selection, volume control, patch selection or EQ. Users can control the remote wallplates with the company's PL-Anet control system over Cat5 cabling.

For more, visit Allen & Heath online at www.allen-heath.com.

POW-R Consortium Announces New Licensees
The POW-r Consortium announced these new licensees for POW-r, the new technique for digital audio wordlength reduction (WLR) for use in professional digital audio products: Apple Computer (E-Magic), BIAS (Peak, Deck), Magix (Samplitude, Sequoia) and Merging Technologies (Pyramix, Mykerinos). Former licensees included Digidesign, SADiE, Sonic Solutions, Telarc International Records, Glenn Meadows, Bob Katz at Digital Domain and many others. The POW-r Consortium development team includes Weiss Engineering, Millennia Media, Z-Systems and Lake Technologies.

“We're very pleased that artists and recording engineers worldwide using audio tools from these new licensees can now assure their customers of the most sonically realistic high-bit reduction technique available,” said John La Grou, chairman of the POW-r Consortium.

For more, visit www.mil-media.com/pow-r.html.

Cinema Audio Society Awards Announces Sound Nominees
The nominees have been determined for the 2002 Cinema Audio Society Awards for Outstanding Achievement in Sound Mixing, to be held on March 8, 2003, at the Sheraton Universal Hotel.

The Society will also be honoring this year's C. A. S. Career Achievement honoree, Mr. Charles Wilborn. Wilborn is a veteran sound mixer and Oscar nominee for such films as Days of Thunder, Godfather II, Dead Poets' Society, all of the Rocky films, Casino, Stuart Little II and many others. The Emcee of the Banquet will be comedian Gary Kroeger, who is a Saturday Night Live alumni and who is currently appearing on the TV show Hidden Hills.

For Outstanding Sound Mixing for Motion Pictures: Catch Me If You Can, Chicago, The Lord of the Rings: The Two Towers, Road To Perdition and Spider-Man.

For Outstanding Sound Mixing for Television Movies and Mini-Series: The Gathering Storm, Live from Baghdad, Martin and Lewis, Shackleton--Part 1 and Steven Spielberg Presents: "Taken"--Part 9.

For Outstanding Sound Mixing for Television Series: Alias--"Cipher", CSI: Crime Scene Investigation--"Fight Night", Six Feet Under--"The Last Time", 24--"11:00 P.M. to 12:00 A.M.", The West Wing--"Posse Comitatus" and The X-Files--"The Truth" 9x20 Finale.

For Outstanding Sound Mixing for Television--Non-Fiction, Variety or Music Series or Specials: Dance in America: From Broadway: "Fosse"; In Memoriam: New York City, 9/11/01; XIX Winter Olympics--Opening Ceremonies; and Robin Williams: Live on Broadway.

For more, visit www.CinemaAudioSociety.org.

SSL Digital Consoles Go to Bat
Peteris Saltans, a freelance broadcast engineer, has been working on events like the World Series, the playoffs and the All-Star Game for Major League Baseball on Fox Sports. Saltans uses the SSL MT Plus and Aysis Air Plus digital consoles on these gigs.

"Very loud arenas, where you get 20,000 to 60,000 people screaming at an event, present unique challenges for an audio engineer," Saltans said. "You always have to compare this overwhelming ambient noise with what you are trying to capture on the field or on the court from a microphone and this is very difficult. Successfully bringing the home audience the essential audio elements of each event, like the obvious crack of a bat hitting a ball or the very subtle sound of a ball being caught in a mitt, creates excitement and interest. The MT Plus and Aysis Air Plus consoles that I use provide excellent sonic accuracy and inherent system flexibility. This stable platform helps to overcome these difficulties and create the excitement.

"I used the MT Plus in National Mobile Television's DX11 truck for the All-Star game several months ago," Saltans continued. "I like the ability to go in and set up the console for a typical baseball game, come back, push the Total Recall button and use this template as a starting point for a particular broadcast."

One of the major factors to consider in live broadcast is the extreme time constraint for setup and the need to do things right the first time. "I have experience from using the SL 8000 analog board at Fox, and I found the transition to the MT Plus very comfortable," Saltans said. "You still have to know exactly what you are doing in a digital sense and there are minor changes here and there, but I know exactly what the nomenclature is. I don't waste precious time overcoming the technology."

Find out more at www.solid-state-logic.com.

Millennia Mic Preamps Help Rolling Stones Live Show
More than 80 channels of Millennia HV-3D microphone preamplifiers were chosen for the Rolling Stones live HBO concert from Madison Square Garden, which aired on January 18, 2003. Recording engineers Ed Cherney and David Hewitt specified the mic pre's, which were split to FOH, monitor, recording and live TV mix.

According to Hewitt, "We used a total of 82 channels of HV-3Ds onstage to drive about 800 feet of wire down to the Remote Recording Services' Silver Truck five stories below. We took the inputs in line-level to our Neve VRM and Studer 961 Series consoles and mixed them down to Dolby Stereo for broadcast. We also recorded the show to Studer D827 digital 48-track recorders for later remix. Ed Cherney was the music mixer and Don Worsham was the broadcast production mixer. I am absolutely amazed at how good it sounded.”

For more, visit Millennia online at www.millenniamedia.com.

PostWorks Finishes Lenny Kravitz DVD
Editor Barney Miller recently finished up work on the DVD documentary about artist Lenny Kravitz (Lenny Live) at Post Works New York.

"We were happy to get the chance to work with both Barney and Mark [Seliger, photographer and music video director] again," said Post Works COO Billy Baldwin. "They had a great deal of footage to work with and it made perfect sense for them to use our Avid Symphony systems, as well as our staff. We were willing to do whatever it took to make this project a success."

Miller is the founder of New York's Company X Media and has worked with Seliger on previous music video projects for Elvis Costello, Willie Nelson and Kravitz. He said that the project began with a small test back in July of 2002, when Seliger began shooting Kravitz onstage and off during his recent summer tour.

"We cut the backstage footage on a laptop with Avid DV Xpress," said Miller. "Lenny even helped edit some of the DV footage from a coffee shop around the corner from his hotel. From 300 hours, we cut it down to about four. We then created select reels and made DV tapes, which we transferred to Digibeta in order to blend it as closely as possible with the live concert footage. One of the concerts used just one camera, while the other two used four and six cameras. It was like blending 11 cameras into one seamless look. We used two laptops for the backstage stuff, but cut the live concert footage on the Avid Media Composer."

"The team at Post Works are always great to work with," Miller said. "They are technically proficient and impeccably equipped for a job such as this one. It only made sense to finish the project on their Symphony systems, given that we used Avid products for the rest of the project. I was able to take the footage, conform and tweak it, and then perform tape-to-tape corrections at Post Works. I could just send the Media Composer bins over, and they made all the necessary changes to the uncompressed version on their Symphony."

Check out Post Works New York at www.pwny.com.

Independent Labels Topic at Next NARIP Program
Managing independent labels to stability and commercial success will be the subject of the National Association of Record Industry Professionals' (NARIP) February 26th program, which will be held at Platinum Live in Studio City, Calif., at 7:30 p.m.

Topics that will be covered include strategies to advance an independent label's development, including strategic planning, finance, domestic and international marketing and distribution, creating sales demand for records, touring, merchandising and ancillary markets, branding, product cross-promotion, Internet presence and deal making.

Guest speakers include: Richard Reines, president of Drive-Thru Record; Tom Osborn, general manager at iMUSIC/ARTISTdirect; Alan Beck, president of ITP Records & Pacific Concert Group; and Tess Taylor, panel moderator and president of the NARIP.

Register online at www.narip.com.

News February 17 - 28

Spectrasonics Begins Shipping Trilogy
Spectrasonics has begun shipping its all-new Trilogy Total Bass Module. Trilogy, a software plug-in instrument, integrates a custom 3-gigabyte core library of more than 1,000 brand-new bass sounds with an interface to create custom user patches. Trilogy is designed to function as a native plug-in instrument without the need for a sampler in hosts such as Logic, Digital Performer, Cubase VST, Nuendo and Pro Tools.

Trilogy also offers analog synth-style legato triggering and Glide, two unique features in the software sampler category that allow for synth bass sounds to play like a vintage analog synth. Additionally, Trilogy’s Zone editing feature allows users to create distinctive synth parameters for each key by touching the key and moving the appropriate faders.

Other features include: new "True Staccato" sample mapping for realistic repeated notes; Minimoog-style legato triggering; built-in auditioning system with rapid load times; easy-to-use built-in patch-management system; fully programmable; Total Recall; multimode resonant filters for each layer, plus master filters; three envelopes per layer for pitch, filter and amplitude; matrix-style modulation routing and four LFOs; powered by custom 32-bit UVI engine; and cross-platform plug-in compatibility. MSRP: $399 MAS, RTAS and VST Mac/PC included.

For more information, visit Spectrasonics at www.spectrasonics.net.

Korea Live Venues Adds Euphonix Board
A Euphonix System 5 console has recently been installed in the Hoam Arts Hall in Seoul, Korea. Hoam Arts Hall offers classical music programming, the Seoul International Dance Festival and other top international entertainment, and is one of the main concert venues in Seoul, presenting artists such as Korea-based Ahn Trio and the Poz Dance Theater.

"With the increasing complexity of live events, performance spaces are looking for a solution to control each nuance of the sound," commented Russell Waite, VP of international sales for Euphonix. "There are several reasons why System 5 has attracted the attention of the live market. SnapShot Recall of all console parameters is perfect for complex changes in live shows. In a live situation, reliability is very important, and the System 5 is well-proven with over 120 installations worldwide. The other main reasons are its familiar analog look and feel and the excellent visual feedback, a real necessity for a live sound engineer under pressure."

Russell also said that the System 5 offers audio-networking features that are attractive to live venues. "System 5 can handle hundreds of inputs with a small control-surface footprint and has a built-in digital router called PatchNet. The routing and patching system on the S5 is so clearly laid out and easy to navigate that many operators claim that it is exactly what they need. A clear overview and many patch points to get in and out of the console is essential, especially on complex projects that require many externals for main loudspeakers, foldback and broadcast lines."

For more, visit Euphonix on the Web at www.euphonix.com.

Le Mobile Upgrades Mobile Mix Arsenal
Le Mobile owner/engineer Guy Charbonneau recently added a Yamaha DM2000 Digital Production Console to the truck’s equipment roster.

Over the past two years, Charbonneau has been evolving the design of his highly modified Neve 8058 with the addition of digitally controlled analog circuitry to add full surround capability, recall functionality and other features. "As part of that concept, we’re integrating the DM2000 when we need to add submix capability or to mix surround," he said. "While the Neve is always the ‘heart’ of Le Mobile, the DM2000 integrates very well and has become an extra ‘arm.’ The combination of both the Yamaha and the Neve consoles is fantastic."

Charbonneau adds that the Yamaha DM2000 will also be very useful for surround DVD projects. "I’ll start to incorporate some of the surround and panning functions," he said. "Those projects will be a combination of analog and digital: recorded on Studer DASH format and Tascam hard disk/Pro Tools recorders, mixed through the Neve to Studer analog recorders with Dolby SR, then to the DM2000 for the surround parts, and finally to high-definition digital. Other targeted applications include TV shows and situations with multiple setups where I need to recall the monitoring quickly."

Le Mobile’s chief engineer, Charlie Bouis, recalled a recent Josh Groban special that he thought would be an excellent event to test the Yamaha DM2000. "We had a full band setup [with Groban] with about 50 inputs, plus a full orchestra with about 48 inputs," Bouis said. "I was able to concentrate on the orchestral mix, while Guy and the guest engineers did the main mix. I had all of the outputs needed for multitrack recording and a stereo mix for broadcast. For one show, I even did a submix of the orchestra for FOH, sending back submixes of the various sections. It’s really incredible having that kind of quality and flexibility in such a small console." The console was later used at a Tom Petty show and then at Don Henley’s Stormy Weather 2002 benefit.

Visit www.yamaha.com/proaudio for more on the DM2000. Check out Le Mobile at www.lemobile.com.

DMOD Ships Version 2.5 of Workspace Software
DMOD Inc. announced that it has shipped Version 2.5 of its DMOD WorkSpace, a software solution that streamlines the media-production process and provides content owners and creators with tighter control over their digital assets using the Internet.

With Version 2.5, WorkSpace provides expanded media-format compatibility, including QuickTime 6.0, MPEG-2 and MPEG-4, as well as several enhancements that make it easier for production teams to share, track and review digital media.

"DMOD WorkSpace will dramatically improve the way we interact with clients," said Bernie Laramie, president of MOSSync, a motion picture production firm located in Los Angeles. "We can send MPEG-4, MPEG-2 and QuickTime files securely over the open Internet and our clients can view those files in full-screen. The entire cycle of distributing, reviewing and approving digital dailies will be significantly shorter." DMOD WorkSpace solutions are also in use at RCA Records, Sterling Sound and NBC's post-production staff, among other labels, studios and video-production firms.

Other features in 2.5 include: encrypted save-to-disk, which allows owners to select target recipients, assign media access permissions and save an encrypted media bundle for subsequent burning to CD/DVD; offline digital media review; browser-based access; digital media tracking to log and report media-distribution activities, including recipient, time of receipt and play and/or export; and group addressing and group permissions.

DMOD's WorkSpace Version 2.5 client/server solution is priced starting at $17,500 per year for one server and five client seats. Maintenance and support are additional. For more information, visit DMOD at www.dmod.com.

Stubblebine Mastering Masters With Z-Systems
For nearly 30 years, Paul Stubblebine has been working in the San Francisco Bay Area mastering records for a varied clientele that includes Richard Strauss, Roy Rogers, Jerry Gracia, Herbie Hancock, Sly Stone and Tony Bennett. For the past three years, his mastering studio has been using Z-Systems technology.

"I first became familiar with Z-Systems through their switchers and routers when I was mixing a project at Skywalker Sound," Stubblebine said. "Although I'm purchasing some of this equipment now, the first pieces we brought into our facility were the z Q6 6-Channel Mastering Equalizer and the z CL6 6-Channel Dynamics Compressor/Limiter." Stubblebine said that he has been using these two pieces of gear almost exclusively on surround projects: "If I'm working in surround sound on a music recording, the producers might have taken one instrument--the kick drum, let's say--and put it in all four corners but not the center speaker. In that case, when it comes to the mastering process I'd probably want to apply compression to every speaker but the center. Z-Systems has designed their equipment to let me dial-in those choices very quickly. Let's say we're doing a film mix the next day. In that case, the rears will probably be receiving ambience, which is totally different material than is being sent to any of the other speakers. So I won't want either of these speakers linked to anything else."

Stubblebine decided to incorporate a Z-Systems 64.64.r Digital Detangler Pro with Router Remote Control into his facility because he does not use a mixing board. "We've got three workstations here: Sonic Solutions, SADiE and Sonoma," said Stubblebine. "Since the dawn of the workstation, I've made them the center of the signal flow. I surround these workstations with outboard gear, and over the years, the number of pieces has grown significantly. The Z-Systems 64.64.r Detangler is a delightful, fabulous piece of gear with 64 input/output ports serving as a patchbay router/format converter and distribution amplifier. This router performs at least two essential tasks for us. For one thing, it cleans up the clocking in the room, which makes the whole system sound better. It also gives me complete flexibility with regard to routing, memorizing settings that we use repeatedly and reconfiguring the studio on command. Software that runs on either a PC or Mac gives the user a visual confirmation of the routing scheme. With all of the equipment that a facility like ours uses, it's easy to get confused. But Z-Systems has tackled routing with the same intelligence that they brought to equalization and compression."

John Greenham, a staff engineer at Paul Stubblebine Mastering and DVD, recently used all of the studio's Z-Systems equipment on a release by the popular Latin band, Quetzal. Michael Romanowski serves as another key staff engineer. Contact the studio at info@paulstubblebine.com. Visit Z-Systems online at www.z-sys.com.

Gibson Guitar Awards Nominees Announced
Gibson Guitar announced the nominees for the annual Orville H. Gibson Guitar Awards, to be held on Thursday, February 20, at the Cutting Room in New York from 11:30 a.m. to 1 p.m. The nominations include over 50 artists in 11 categories that encompass guitar-driven music genres of rock, blues, country, jazz and contemporary Christian music. The D. H. Baldwin Award will be presented to legendary pianist Marian McPartland.

The Orville H. Gibson Guitar Awards recognize guitar players (and players of related fretted instruments) for their artistic accomplishments and to honor musicians who reflect the spirit of Orville H. Gibson and his belief in quality, prestige and innovation. Members of the music media vote upon nominees and winners. The awards benefit, through financial assistance, the Nordoff-Robbins Music Therapy Foundation, which helps disabled children through music-therapy clinics, research and programs throughout the world.

And the nominees are: Lifetime Achievement Award: James Taylor, Slash, Johnny Cash, Bono and Dolly Parton; Acoustic Guitarist (male): Ryan Adams, Graham Nash, Jackson Browne, Chris Isaak and Tommy Emmanuel; Country Guitarist (male): Buddy Miller, Steve Earle, Dwight Yoakam, Keith Urban and Pat Green; Blues Guitarist: B.B. King, Buddy Guy, Lee Roy Parnell, Jimmy Vivino and Bonnie Raitt; Contemporary Christian Band: Third Day, Paul Colman Trio, NewSon, Audio Adrenaline and Jars of Clay; Les Paul Horizon Award: Deryck Whibley (SUM 41), Nick Perri (Siilvertide), Marc Copely, Coldplay and Allison Robertson (The Donnas); Rock Guitarist: Zakk Wylde, Lenny Kravitz, Charlie Sexton, Richie Sambora and Slash; Acoustic Guitarist (female): Alana Davis, Michelle Branch, Sheryl Crow, Patty Griffin and Jewel; Country Guitarist (female): Dolly Parton, Gail Davies, Jennifer Hanson, Natalie Maines and Shania Twain; Jazz Guitarist: Ronny Jordan, Mark Whitfield, Larry Carlton, David Torn and Lee Ritenour; Bassist: Tony Levin, Mike Gordon (Phish), Drew Parsons (American HiFi), Shavo (System of a Down) and Charlie Colin (Train).

For more information, visit Gibson's Website at www.gibson.com.

Secret Sound Adds All-Digital Lexicon 960L
Secret Sound (Los Angeles), the personal recording facility for composer/producer Chas Sandford, has recently installed a Lexicon 960LD Multichannel Digital Effects System. The 960LD, purchased from Professional Audio Design in Rockland, Mass., complements the facility’s Digidesign Pro Tools|HD 7 system, which features 48 channels of 192 I/Os and a 32-fader ProControl system with Edit Pack.

Sandford, who has produced tracks for artists including Chicago, Stevie Nicks and Roger Daltrey, as well as penned hit songs such as John Waite’s "Missing You," said that he has been an ardent fan of Lexicon reverbs for many years. "I’ve always loved the way Lexicon reverbs sound," Sandford said. "No other outboard processor sounds as natural as a Lexicon. So as my recording system evolved and grew, I knew I wanted a 960L to keep up with it.

"A lot of plug-ins are great," Sandford continued, "but on any digital audio workstation system, it’s hard to allocate the processing power needed to make great, dense-sounding reverb effects. The 960L is a digital box that does exactly that, and since they made a version without the analog I/Os, I can access that kind of DSP quality at a more cost-effective price."

For more, visit Lexicon on the Web at www.lexicon.com.

SADiE Ships New Series 5
Unveiled at the 113th AES Convention in Los Angeles, SADiE's next-generation PCM and DSD editing workstation products—the Series 5—has begun shipping.

The first systems in North America have been delivered to Bernie Becker Recording (Burbank, Calif.), John Golden Mastering (Ventura, Calif.), The Boiler Room (Chicago), Back to the Bible (Lincoln, Neb.), KAS Music (New York City), Michael Romanowski (San Francisco) and Heading North Mastering (Toronto).

Visit SADiE online at www.sadie.com.

On Stage Audio Purchases Drawmer Gear
On Stage Audio (Chicago), the audio division of OSA International, has been supplying A/V systems to the corporate industrial arena and special-event markets. The company recently expanded its scope into the live sound market with five new "entertainment" systems. Terry Murphy, a live sound professional with eight years of experience, joined On Stage Audio in November 2002 to head up this area of growth.

Since then, the live sound division has added more than 10 new accounts, including the Fremont Street Experience, Station Casinos, Rain at the Palms, Mandalay Bay/Encore Productions and the University of Nevada/Las Vegas.

Recently, On Stage Audio purchased a host of new Drawmer gear, including 30 DL241 2-channel compressors, 10 DL404 4-channel compressors, 20 DS501 power gates and seven 1969 mic pre's. Commenting on the purchase, Murphy said, "Basically, it's the [Drawmer] sound. Drawmer is known for its transparent sound quality. Let's face it, in a rental situation, you accommodate riders and the vast majority of them specify Drawmer. No one ever says 'no' to Drawmer."

On Stage Audio has already completed more than 25 live shows with the new equipment, including sound for six stages this past New Year's Eve.

For more, visit distributor TransAmerica Audio Group at www.transaudiogroup.com.

Ainlay Projects Use SNS A/V SAN
Chuck Ainlay has been using Studio Network Solutions’ A/V SAN on recent recording projects, such as artists George Strait, Everclear, Shedaisy and a Mark Knopfler/Emmylou Harris duet.

"I first heard of the A/V SAN system through a demonstration here in town," said Ainlay. "Because of the increased demands on my hard drive, I decided to give the A/V SAN a try. No matter how good the software system is, the piece of equipment that gets the workout is the hard drive. The hard drive must work flawlessly or you will lose your project. I put the A/V SAN system in, ran it through its paces and it did everything that I could possibly ask of a hard drive system. It works great."

Ainlay loaded a set of 96k tracks he recorded and duplicated this set out to 70 tracks total. He performed edits on individual tracks and across all 70 tracks. The single A/V SAN drive on his system never missed a beat. "This level of performance is remarkable," added Ainlay. "The A/V SAN completely works for the way I need my system to work: reliably, quickly. When you work with high-level acts, there just can’t be excuses about the computer system crashing or hiccuping the playback. Everything must work all the time."

For more, visit Studio Network Solutions online at www.studionetworksolutions.com.

Sony Disc Manufacturing to Add SACD Production Line
Sony Disc Manufacturing will install a new hybrid Super Audio CD (SACD) line at its U.S. manufacturing facility in Terra Haute, Ind., by April 2003, with production slated to begin the following month. The line will initially produce 15,000 hybrid SACD discs per day; replication services will also be available to third-party clients.

"As a developer of the SACD format, Sony is dedicated to expanding the awareness for, and broadening the acceptance of, this trailblazing technology," said Michael Mitchell, VP and general manager at Sony Disc Manufacturing. "Our new hybrid Super Audio CD line reflects Sony's and Sony Music's shared commitment to providing the most advanced recording and playback technologies so that every music fan can experience unsurpassed SACD sound quality on equipment that is fully compatible with their existing CD collection, stereo and home-entertainment systems."

For more, visit sdm.sony.com.

Mach Speakers, Pioneer Form Alliance
Mach Speakers and Pioneer Electronics have formed a strategic alliance to increase brand awareness for both companies' products.

For Mach, the agreement allows the company to co-market its speaker products alongside Pioneer's, adding to the idea of "one-stop shopping," or Martin's Total Club Supplier concept. Now, clients can purchase Mach audio, Martin lighting and Jem smoke in a single package.

Pioneer also joins the Total Club Supplier concept by using Mach's speakers at exhibitions, regional shows and other events.

Eric Loader, managing director of sales at Martin and Mach in the U.S., said, "We strongly support this exciting and positive move; it has great potential not only for us, but for our customers to truly benefit from our one-stop shop Total Club Supplier concert."

For more, visit Mach at www.mach.dk. Check out Pioneer at www.pioneerelectronics.com.

San Francisco Radio Station Purchases Neumann Mics
Radio and television live broadcast chief sound engineer Raul Velez at Hispanic Broadcasting Corporation (San Francisco) has recently upgraded the studio that's home to stations KSOL/KSQL and KMER. Part of this upgrade was the purchase of seven additional TLM 103 microphones, bringing the number of 103s to 14.

"My predecessor at the station turned me on to this mic, and I'm phasing out all of the other mics that the station had in favor of these," Velez said. "The 103 is about 95-percent perfect for this market." With the spoken word as the primary audio source, Velez said radio stations need mics that can straddle a fine line in vocal reproduction. "They're accurate enough to capture the spoken word and still retain a bit of warmth to them to where they're not an 'edgy' mic," he said. "The 103s deliver clarity and detail without having a muffled or fat sound. It's that good, clean sound Neumann is famous for, plus the talent really likes working with them."

Velez also said that the 103s are easy to set up and require little tweaking. "I use minimal processing in my productions, partly because these mics sound so good right out of the box, and are so consistent from mic to mic."

The mics were purchased from Oakland, Calif.-based Leo's Pro Audio. "Mark Haynes, who I've worked with for years at Leo's, knew the 103s would fit the bill," Velez commented.

For more on the 103s, visit Neumann online at www.neumannusa.com.

Molex to Manufacture, Sell GbX Connector
Teradyne Inc. Connection Systems Division, a provider of high-performance interconnect and electronic-manufacturing services, and Molex Incorporated announced that they have signed a second-source licensing agreement that grants Molex the right to manufacture, market and sell the GbX connector worldwide.

Under the terms of the agreement, the two companies will work jointly to deliver intermateable, interchangeable products by sharing design and manufacturing processes. Molex expects to begin production of the four-pair configuration of the GbX connector in September 2003.

“The Teradyne/Molex partnership is unique in that the two companies deliver products that share design, not just specification,” said Rick Schneider, president of Teradyne Connection Systems. “We collaborate continuously over the product lifecycle to improve our respective production and process capabilities. OEM users can source either company’s components with confidence that the parts will work together and meet their performance and reliability requirements.”

For more, visit Molex online at www.molex.com. Visit Teradyne at www.teradyne.com.

Wizoo Releases English-Language "Cubase SX/SL Reference"
Cubase SX/SL--Reference, originally published in Germany, is now available in English through Wizoo. This version was officially authorized and co-written by Steinberg, and now includes the official manual for Cubase SX/SL, an exclusive 50-page tutorial by Cubase guru Mark Wherry and a foreword by Steinberg CEO Manfred Ruerup.

A demo version of Cubase SX and example projects are provided on an accompanying CD.

In other Wizoo news, the company continues its successful Quick Start Series of beginners’ guides with three new titles: Windows XP Music Studio, Cakewalk Home Studio and Fruityloops.

Windows XP Music Studio (U.S. $19.95) by Mark Wherry is aimed at anyone who wants to make music via Windows XP, explaining the hardware and software needed and how to use it. The accompanying CD-ROM contains all of the demo software and freeware needed to turn a user's PC into a fully blown digital music studio to record, play with software synths, sequence and more.

Cakewalk Home Studio (U.S. $14.95) by Craig Anderton is for readers who are interested in the entry-level version of Cakewalk Sonar. Home Studio provides conventional MIDI and digital audio recording, as well as offering loop-based features for DJ, groove and soundtrack projects. This book features a CD-ROM packed with video tutorials, learn-by-doing examples, Cakewalk program demos, a free software synthesizer and a selection of exclusive guitar and drum loops.

Fruityloops (U.S. $14.95), by former Keyboard U.S. senior editor Jim Aikin, guides readers through creating their own sounds, beats and songs in Fruityloops. The included CD-ROM offers fully functional trial versions of Fruityloops, FruityTracks, EZ-Editor and SimSynth, plus song and MP3 music files to accompany the hands-on tutorials.

Get your copies at www.wizoo.com.

Avatar Studios Celebrates Grammy Noms
Avatar Studios announced that 21 2003 Grammy nominees' albums were recorded either entirely or partly at the facility.

Said Kirk Imamura, president at Avatar, “We strive to do everything we can to make the highest-quality recordings possible. When the outcome of our labor gets recognized in this manner, especially in these difficult business conditions, it is very rewarding. We are very honored to have contributed in some way to the success of the great artists who record at Avatar.”

Among the Grammy-nominated artists who worked at Avatar are: Sheryl Crow (Best Female Pop Vocal Performance, Best Female Rock Vocal Performance, Best Rock Album), Natalie Cole and Diana Krall (Best Pop Collaboration With Vocals), Elvis Costello (Best Male Rock Vocal Performance and Best Rock Album), Foxy Brown (Best Female Rap Solo Performance), the John Scofield Band (Best Contemporary Jazz Album) and Herbie Hancock (Best Jazz Instrumental Solo). For a complete list of Avatar-related nominees, go to www.avatarstudios.net/news/45thGrammys.htm.

Aaron Neville (Verve Records) recently recorded in Avatar’s Neve 8068-equipped Studio A with Rob Mounsey producing, Dave O’Donnell engineering the sessions to Pro Tools and Aya Takemura assisting. Artist Pat McGee (Warner Bros.) also employed Studio A for his new record, produced by Gregg Wattenberg, engineered by John Agnelio and assisted by Ross Petersen. A two-record project for Nagel-Heyer Records, using Avatar’s Steinway B piano, was engineered by Jim Anderson, produced by Frank Nagel-Heyer and assisted by Peter Doris. Studio A also hosted K Fox (Def Jam Records), who recorded strings and horns for a forthcoming release that was engineered by Niko Bolas and assisted by Brian Montgomery.

Producer Andrew Lippa, himself a Grammy Award winner, recently worked at the studio's SSL 9000 J-equipped Studio B, producing music for the upcoming Legally Blond II release (MGM Studios), with engineer Vince Caro and assistant Aya Takemura. Bruce Springsteen’s E Street Band member Patty Scialfi also used Studio B to put the finishing touches on her album, working with Grammy-winning engineer Trina Shoemaker and Ross Petersen assisting on the strings sessions.

For more recent projects, visit Avatar online at www.Avatarstudios.net.

Euphonix Console Provide Feeds for Australian Tennis Open
During the 2003 Australian Tennis Open (January 13-26), host broadcaster Seven Network relied on three Euphonix audio consoles, including two of the new all-digital Max Air systems, to provide exclusive Australian coverage for its own broadcasts, as well as feeds to 25 international broadcasters.

Seven Network employed over 300 of its staff, who had to make available all matches on any of the five major courts to international broadcasters as separate mono, stereo and multiformat live feeds. "The system complexity made the analog or digital decision for us," said John Hancock, head of technical production for Seven Network in Melbourne. "After seeing Max Air in October last year, we were confident that it had all the facilities and operational flexibility that we needed, and we were right!"

George Hennessy, audio supervisor at Seven Network Melbourne, said, "For me, Max Air was power and control with heaps of both. It's a wonderfully flexible, sonically accurate, intuitive broadcast mixer. Throughout the whole tournament, 14 days of competition plus seven days of setup, we found the consoles to be easy to operate, easy to setup and completely stable."

Visit Euphonix online at www.euphonix.com.

SPL Offers Nugget Bundles
SPL is now offering its new Nugget microphone in bundles with the TrackOne and ChannelOne channel strips, as well as with the GoldMike preamp.

SPL Input Bundle 1 consists of its TrackOne and Nugget for an MSRP of $1,199. Features include: complete channel strip with optimized microphone and instrument inputs; auto-detecting de-esser and compressor/limiter stages, and 3-band EQ stage; output stage, PPM output and gain-reduction meter; balanced XLR and 1/4-inch TRS I/O connectors, parallel use possible; and 115dB dynamic range, 60dB mic gain and ›70dB gain with optional Lundahl input transformer.

SPL Input Bundle 2 consists of its ChannelOne and Nugget for an MSRP of $1,899. Features include: fully featured channel strip with tube preamp and headphone monitor stage; auto-detecting de-esser and compressor/limiter, 3-band EQ stage (pre/post-comp) and noise gate; output stage, central display shows PPM output, gain-reduction meters and all status LEDs; insert (send/return), balanced XLR and 1/4-inch TRS I/O connectors; and 118dB dynamic range, 60dB mic gain and ›70dB gain with optional Lundahl input transformer.

SPL Input Bundle 3 consists of its GoldMike and two Nuggets for an MSRP of $1,699. Features include: Class-A, dual-channel tube mic preamp and dual mono design for best channel separation; sound optimizing during recording; tube warm-up circuitry, 80Hz highpass, phase reverse, -30dB pad; and balanced XLR and 1/4-inch TRS I/O connectors, 111dB dynamic range, 72dB mic gain, noise figure is 3.8 and EIN is 135.4 dBu.

For more, visit SPL online at www.spl-usa.com.

Gold Line Celebrates Five Years With TEF
Gold Line will celebrate its fifth anniversary of manufacturing and supporting the TEF20 audio analyzer. Originally designed and built by the Techron Division of Crown International, Gold Line purchased the rights to manufacture the product in early 1998.

"It seems hard to believe, but it has now been five years since we took over TEF from Crown," said Gregory Miller, VP of Gold Line's TEF division. "There are so many people to thank for their tireless support: Don Eger, Blair McNair, Steve McManus, Doug Jones, Don Washburn, Clyde Moore, Martin Miller, the members of the TEF Advisory Committee and each of the TEF Heyser Award winners. A huge debt of gratitude also goes out to all of the TEF20 users who have believed in the product and supported us throughout the past half-decade to whom I say the best is yet to come."

Visit Gold Line at www.gold-line.com.

Soundcraft Expands Digital Broadcast Console Range
Soundcraft has released several new products and upgrades to its RM1d digital radio console family.

The RM1d--a dual-purpose console for production and on-air studios--is now joined by the RM1ds, which includes start and stop functions for each channel, as well as front panel and control menu labeling more in line with the terminology used on such dedicated consoles. The RM1d family features an all-digital processing path with assignable input selection from analog mic/line, S/PDIF, TDIF and AES/EBU sources. The two models each have integrated dynamics processing and Lexicon effects, cue speaker and dual timers; users can store and recall up to 128 console presets of desk settings. Both the RM1d and RM1ds are available in 6- and 12-fader formats, with optional script tray frames.

New to both the RM1d and RM1ds is integration with RCS Master Control, the on-air digital audio system. Using a 4-channel stereo TDIF audio interface (analog interfacing is also possible) and an RS-232 control interface, the desks indicate which channel is handling the currently playing track and which channel will cue the next track using the LED in the channel-on buttons.

Soundcraft has also announced the release of Version 3 operating software for the RM1d, which provides additional functionality for the console. The new software includes password lockout facilities so that unauthorized changes to the console setup are not possible. Additions to the control surface include new menus for setup, dynamics and Lexicon effects. A variable highpass filter function is also included.

Existing RM1d users can contact Soundcraft through its Website (www.soundcraft.com) for information on upgrading to V. 3 software, which is available free of charge.

Audio-Technica is Vocal at the Grammys
For the fifth consecutive year, Audio-Technica microphones were used at the annual Grammy Awards ceremony, held this past Sunday, February 23, at Madison Square Garden in New York City. The 45th Annual Grammys was the first major awards show to be broadcast in HDTV and 5.1 surround sound. Audio-Technica supplied over 230 microphones, which included a broad selection of hard-wired mics, as well as several of the new Artist Elite 5000 UHF Wireless Systems.

ATK/Audiotek provided the sound system with FOH Ron Reeves, while the broadcast audio was supervised by the Recording Academy’s Producers & Engineers Wing chairman Phil Ramone, advisory council member Hank Neuberger and Murray Allen for Cossette Productions. New York-based 5.1 sound designer Randy Ezratty and his Effanel Music mobile remote trucks, with music mixers John Harris and Jay Vicari, provided the 5.1 and stereo feeds. Additionally, All Mobile’s "Resolution" high-definition production truck with production mixer Ed Greene provided the fiber-optic cable feed for the broadcast.

A wide range of Audio-Technica microphones was employed at the show, including AE3000 (rack and floor toms), AT4033 (hi-hat), AE2500 (kick), AT4050 (overheads and guitar amps), AE5100 and ATM35 (orchestra), AE5400 (back-up vocals), and AT4053 (acoustic guitars, cellos and bass). The new A-T Artist Elite 5000 Series UHF Wireless System was used for front-line vocals on Coldplay, Sheryl Crow, Kid Rock, No Doubt, John Mayer, James Taylor, Dave Grohl (Foo Fighters), Bruce Springsteen, Patti Scialfa and Steven Van Zandt.

Jay Vicari, co-music mixer for the Grammys, said, "I chose Audio-Technica because I think their microphones have superior sound quality, as well as being more versatile than other mics I’ve used in the past. Of course, there are a lot of other microphones that sound great, but they don’t work in almost every application—Audio-Technica does. I’ve been using the new AE2500 dual-element kick drum mic religiously on all the shows I’ve recently mixed. I know I can depend on Audio-Technica [mics] and they will sound great."

John Harris, co-music mixer for the Grammys, recalled, "This year’s show is largely wireless by design. Five years ago, I started using A-T hard-wired microphones for vocals instead of the old standbys. I had remarkable success with those mics and since then, I’ve used them in every application I could. This year, many of the acts are using the new Artist Elite 5000 Series UHF Wireless System, which has the same capsule as the AE5400 hard-wired mic, so now I’m able to have the capsule that I like on a truly stable RF system. I complement the wireless with the AE5400 hard-wired mics for backup vocals. That’s one way I can achieve consistency in the audio and make my life easier.

Harris continued, "Since you can split the signal from the AE2500, I had it come into the Neve Capricorn Digital console as two separate inputs, which allowed me to copy and link equalizers. I brought the AE2500 in as two separate inputs, balanced them so that the volume and level were about the same and then I linked everything to them. Using this technique, the result is great coherence. The AE2500 is rapidly becoming my new favorite kick drum mic."

Check out the mics in action at www.audio-technica.com.

Reason Nominated for Three MIPA Awards
Propellerhead Software's Reason has been nominated for three different Musikmesse International Presse Awards (MIPA) Awards. Reason has been nominated in the categories of "Most Innovative Product," "Best Software Instrument" and "Best DJ Software/DJ Tools." Reason won "Best Software Instrument" in 2002.

Also nominated in the "Most Innovative Product" category are Line 6's Variax and Steinberg's VST System Link. Other nominations for "Best Software Instrument" are Native Instruments' Reaktor V3 and Spectrasonics' Virtual Instruments. In the "Best DJ Software/DJ Tools" category, nominations also included Native Instruments' Traktor 2.0 and Stanton's Final Scratch. For a complete list of nominees, visit www1.mipa-award.de.

The MIPA Awards are voted on and presented by a coalition of over 55 magazines from over 25 different countries. The awards will presented to the winners at a special MIPA party/awards ceremony held during the Musikmesse/ProLight & Sound Show, March 5-9, 2003. More than 300 international representatives of manufacturers and distributors of musical instruments and audio equipment will attend the Fourth MIPA Awards.

Check out Reason at www.propellerheads.se.

L-Acoustics Intros High-Power Subwoofer
Oxnard, Calif.-based L-Acoustics U.S. will debut its new SB118 high-power subwoofer at this year's NSCA Expo, booth #2705. Developed to complement all of the company's loudspeaker systems--including dV-DOSC, MTD and XT--the SB118 features a single 18-inch transducer loaded in a dual-chamber, vented bandpass configuration. Boasting a power handling capacity of 600 watts RMS (2,400 watts peak) and response down to 32 Hz, the new subwoofer is designed for applications that require exceptional low-end impact from a highly compact, low-profile enclosure.

For permanent installation, the SB118's compact dimensions (17.4x31.5x32.3 inches, HxWxD) provide a high degree of flexibility for applications where space is at a premium. The SB118 cabinet is constructed of 18- and 24mm Baltic birch plywood (with sealed, screwed and rabbeted angles, and internally braced) and equipped with a black-epoxy perforated steel grille with acoustically transparent foam. Rear-panel connections are 4-pin Neutrik Speakons.

Engineered for high-performance DJ, mobile, club, regional, touring and installed sound reinforcement, the optimally reduced front dimensions of the SB118 allow for the creation of compact-sized subwoofer arrays with minimum footprints. The SB118 is highly suitable for FOH use in theaters, clubs or multipurpose venues, and provides an excellent solution for corporate events. Standard are a built-in polemount socket that allows the user to create a compact FOH system when used with L-Acoustic's MTD, XT and other similar enclosures.

When combined with the manufacturer's 115FM floor monitor or MTD/XT systems, the SB118 can be used for stage-monitoring applications such as keyboard, sidefill or drumfill monitoring.

OEM factory presets for digital processors, such as BSS FDS-366 and Soundweb, and XTA DP224 and DP226, are available when used in conjunction with the XT line and other L-Acoustics products.

For more, visit L-Acoustics online at www.l-acoustics-us.com.

Sennheiser Expands A&R Functionality
Sennheiser launched its Sennheiser Network, which allows artists and engineers to gather an array of product news and technical services support provided by Sennheiser worldwide. This exclusive Sennheiser Web-based network was the brainchild of Rolf Meyer, Sennheiser GmbH president of sales and marketing, and Paul Whiting, managing director of Sennheiser UK.

Managed by Sennheiser's worldwide artist relationship manager Paul Hugo, the Network is centered on a password-protected, members-only Website that links the artist or engineer to a Sennheiser subsidiary (or, in some cases, a Sennheiser independent distributor) in the country or region in which they require support. To access the network, the artists or engineers must be signed on as a Sennheiser Network member. Once members, they can access the site and find country-by-country wireless microphone frequency-coordination support, technical troubleshooting, product information and more.

The network was recently used on the Kylie Minogue European tour; Minogue's engineers were already signed up as members of the network in the UK. While making plans to go to the U.S., they logged on to the Sennheiser Network site and found Paul Hugo's name and contact information to coordinate the Sennheiser wireless frequencies and gear needed when Kylie arrived in the U.S. for performances and television dates. Hugo, backed by Sennheiser's U.S. headquarters, and Kristy Haima, the newly appointed USA artist relations manager, had everything setup and ready to go when Minogue and her band and crew arrived in the U.S.

For more, visit www.sennheiserusa.com.

Z-Systems Debuts z-Qualizer Digital EQ
Z-Systems (Gainesville, Fla.) announced its new z-Qualizer, a high-end, 6-band, stereo digital parametric EQ. The half-rackspace unit boasts an exceptionally wide dynamic range and an MSRP of $1,200.

"Our z-Q2 and z-Q6 digital equalizers are cherished by many top mastering engineers and have found their way onto scores of Grammy Award-winning recordings," said Z-Systems president Glenn Zelniker. "Yet, Z-Systems' EQs have remained an elusive dream for many engineers due to price points that put them out of reach. The z-Qualizer, however, changes that by offering the exact same world-class EQ algorithms at a price everyone can afford."

Like its siblings, the z-Qualizer has a 40-bit floating-point DSP chip running the company's proprietary digital-filtering algorithms. Capable of handling up to 24 bits at sample rates of up to 192 kHz, the unit can output 24, 20 or 16 bits, and features both TPDF and POW-r wordlength reduction. Dynamic range is greater than 135 dB; THD+N is better than -130 dB.

The new digital EQ supports both M/S encoding and decoding in addition to stereo-linked and dual-mono operation modes, allowing the unit to handle separate processing on the mid and side components.

Users can save and recall presets from a computer running any MIDI sequencing program. Center frequency, gain and bandwidth all feature wide variability, while filter bands are fully overlappable. Rear-panel connections are AES/EBU I/O and MIDI in and thru.

Find out more www.z-sys.com.

Steinberg Offers Rebate for Cubase SL
Steinberg (Chatsworth, Calif.) is offering a $50 instant rebate promotion for Cubase SL (PC and Mac) through March 31, 2003. Customers need to download a coupon www.us.steinberg.net and bring it to any Steinberg dealer for a $50 discount.

According to Brian McDonnon, Steinberg's U.S. marketing manager, "This promotion will allow more musicians to experience the next generation of Cubase."

Cubase SL, the successor to Cubase VST, has been completely redesigned with a new code base to harness the processing power of today's PCs. New features include: Windows 2000/XP and Mac OS X compatibility; VST System Link technology; 24-bit/96kHz support; unlimited undo/redo; offline process history for all integrated audio processes; graphic automation for all parameters; loop editing with automatic tempo matching and groove extraction; musical real-time MIDI processing; new set of virtual instruments and effects processors; Waldorf synthesizer technology; and much more.

Wi-Fi Alliance Announces IEEE 802.11g Certification Plans
The Wi-Fi Alliance (Mountain View, Calif.) announced plans for Wi-Fi certification of products based on the IEEE (Institute for Electrical and Electronics Engineering) 802.11g amendment to the IEEE 802.11 wireless LAN standard; certification will begin after the IEEE has approved the final standard.

"Wireless LAN product interoperability is fundamental to a good user experience," said Dennis Eaton, chairman of the Wi-Fi Alliance. "That is why the Alliance is committed to providing users with an indicator of quality for wireless LAN technology as it evolves. To do this, we need to work on new interoperability tests ahead of time. Therefore, we have already started development of the Wi-Fi certification program for IEEE 802.11g products even though the standard is not finalized.

"As more products include wireless LAN technology," Eaton continued, "users are often not able to choose which vendor's product is used in their laptop at work, at a favorite public-access venue or even in consumer electronics devices. Although the Alliance expects products based on the 802.11g draft amendment to be used in these and older applications, we will only certify products after the standard amendment is approved."

The IEEE 802.11g draft amendment currently includes both mandatory and optional components; the Alliance plans on certifying all mandatory features, including backward interoperability with Wi-Fi-certified 802.11b products and simultaneous operation of IEEE 802.11b and 802.11g devices in a mixed network. Optional elements include support for the 54Mbps data rate and other features that will optimize performance and network utilization.

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

NAB Announces First Product Awards
The National Association of Broadcasters (NAB) will launch an awards program recognizing exhibitors for outstanding products during NAB 2003, April 5-10, at the Las Vegas Convention Center. The first NAB Award for Innovation in Media will fall into three categories that cover digital media technologies: content creation, content management and content delivery.

Based on votes from attendees at NAB 2003, the awards will highlight the technological innovations that best address current and upcoming issues for those who work in electronic media industries; such issues include boosting efficiency, increasing user flexibility and creativity, and/or lowering operating costs.

Five winners from each category will be selected; in addition, editors of key industry publications will select one overall winner in each of the categories.

For more, visit www.nab.org.






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