Mix News for July 2003

Aug 5, 2003 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 July 16 - 31 (Read July news 1 - 15)

Studio Secrets to be Revealed at Skywalker Sound
The San Francisco Chapter of the Recording Academy will host "Digital Workstations: From the Garage to the Grammys," A Grammy Professional Education Series event. Held at Skywalker Ranch on Skywalker Sound's Scoring Stage on Saturday, July 19, 2003, from 1 p.m. to 5 p.m., the event will give studio pros, home recordists and music fans an in-depth look into the technical processes involved in putting top-name acts on the top of the charts.

Atlanta-based engineer Phil Tan (Alicia Keys, Mariah Carey, The Clipse, TLC, Usher) will demo a custom Pro Tools system from Digidesign. Jean-Marie Horvat will share the techniques and tricks on Emagic's Logic Platinum rig that were used on releases by J.Lo, *N Sync and Britney Spears. Working on Steinberg's Nuendo platform, Larry Seyer will show his approach to mixes for country stars the Dixie Chicks and Asleep at the Wheel. After the demonstrations, all three engineers will be challenged to mix down an unknown track on the spot.

More than a dozen pro audio manufacturers will also be on hand to talk about their latest gear and digital audio workstations on the market. Scheduled to appear are representatives from Apogee, Antares, Apple Computer, Cakewalk, C-Tec, Digidesign, Dynaudio, Emagic, Guitar Center Professional, HEAR Technologies, KRK Systems, Mackie, Monster, PreSonus, Shure, Steinberg, Tannoy, TC Electronic, Universal Audio and Waves.

Advance tickets are required for this event: $15 for Recording Academy members and students with ID, and $20 for the general public. For advance registration, call the San Francisco Chapter at 415/749-0779.

Amendments to IEEE Network Standards Announced
The Institute of Electrical and Electronics Engineers Standards Association's (IEEE-SA) standards board approved two amendments to IEEE 802 wired network standards. IEEE 802a allows vendors to assign Ethernet-type numbers without depleting the number space, and IEEE 802.3af addresses how to supply power to low-power data-terminal equipment with local-area network (LAN) connectivity.

IEEE 802a, "Ethertypes for Prototype and Vendor-Specific Protocol Development," gives vendors a small number of Ethernet-type values that they can assign as protocol identifiers for prototype and experimental use. Previously, vendors applied for values from the limited Ethernet-type number space for both development and the final protocols.

IEEE 802.3af, "Carrier Sense Multiple Access With Collision Detection (CSMA/CD) Access Method and Physical Layer Specifications: Data Terminal Equipment (DTE) Power Via Media-Dependent Interface (MDI)," defines how to feed power over balanced cabling to data-terminal equipment having IEEE 802.3 interfaces. The power level is limited by cabling physics and regulatory considerations. The standard specifically addresses a new class of low-power devices having IEEE 802.3 LAN connectivity.

These projects were sponsored by the IEEE Computer Society. For more, visit standards.ieee.org.

AMPAS Purchases Bryston Amps
The Academy of Motion Pictures Arts and Sciences has purchased a number of Bryston amplifiers for its facilities in Beverly Hills.

With-in the facilities, the Academy has an on-site movie screening room that is used to evaluate and decide which movies, soundtracks, actors, etc., receive nominations for Academy Awards each year. The Bryston amps were installed in the in-house theater sound system.

For more, visit Bryston online at www.bryston.ca.

Neutrik to Show New Line of RCA Phono Connectors at AES 2003
At AES 2003, Neutrik will display its new line of RCA phono connectors (jacks and plugs). The new RCA jacks feature isolated recessed sockets in nickel or black-chrome D Series-style housings.

Either connector can be ordered with black, red, yellow, blue, green or white ID rings. The new NYS 373 plugs feature gold-plated contacts. "These new plugs increase the range of options and the level of flexibility for our customers," said James Cowan, president of Neutrik USA. "The new RCA jacks are part of our ongoing efforts to continually develop new products suited to customer needs."

The new RCA phono jacks feature a rated current and voltage of 1A and 50 volts, respectively, with an insulation resistance of 5 GW, contact resistance of 10 mW and dielectric strength of 500 volts. The shell and contacts are brass with gold plating, and the D-style housing features ZnAI4Cu1, gal nickel or black-chrome plating. The products are optimized for use between -25 degrees to +70 degrees Celsius. Individual colored models available in the nickel D-shell include the NF2D-BLK, NF2D-R, NF2D-Y, NF2D-BL, NF2D-GN and NF2D-WT. The jacks available in black D-shell include the NF2D-BLK-B, NF2D-R-B, NF2D-Y-B, NF2D-BL-B, NF2D-GN-B and NF2D-WT-B.

For more, visit www.neutrikusa.com.

Rat Sounds Takes L-Acoustics Rig out With Red Hot Chili Peppers
The Red Hot Chili Peppers have been bringing their own brand of pumped-up alternative funk to the masses for nearly 20 years now and Oxnard-based Rat Sound Systems Inc. has been along for much of the ride. Although the sound reinforcement company has traditionally opted to put up its signature Rat Trap 5 System for the band in the past, this year finds the crew carrying an all-new L-Acoustics V-DOSC/dV-DOSC rig out on the road in support of the Peppers' latest album, By the Way.

Rat Sound's Dave Rat said, "With our own proprietary system already hired out on a tour this season, we were faced with the task of finding another suitable world-class rig. I chose the V-DOSC rig for several reasons. First and foremost, it sounds terrific; not only at standard operating levels but throughout the entire volume range. The Peppers are very dynamic and musically diverse, so having a system where the response remains balanced at both low and high volumes was critical. Furthermore, thanks to L-Acoustics' partner companies like MSI [Japan], Jands [Australia], Gabbison [Brazil] and Dispatch [Europe], I am able to spec nearly identical V-DOSC systems worldwide, giving us show-to-show consistency regardless of the continent we're on. This enables the sound of the tour to consistently progress rather than starting over with each leg or show."

Jon Monson, who heads up systems and tours for Rat Sound, said that the company added 50 V-DOSC, 28 dV-DOSC and six ARCS® loudspeaker systems to its inventory in April, most of which quickly went out on the first U.S. leg of the Peppers' worldwide tour. The loudspeaker complement for the recent second U.S. leg, slightly paired down for shed venues, consisted of two primary loudspeaker clusters each comprised of 12 V-DOSC cabinets, plus three dV-DOSC hung underneath for front fill. A center cluster of four dV-DOSC also addressed the area just in front of the stage, while two additional side clusters, both made up of six V-DOSC plus six dV-DOSC, covered the left- and right-wrap areas.

"We did quite a bit of initial research and ultimately chose V-DOSC because of its sound quality, size, coverage and global acceptability, combined with the fact that it has a similar sonic footprint to our Rat Trap 5 System," Monson said. "With versatility, predictable coverage consistency, smooth sound quality, high power handling, ease of setup, sightline considerations, overseas availability and system-to-system consistency from the various vendors all being important issues, V-DOSC gives us more successful outcomes than any other internationally available touring system."

For more on the systems, visit www.l-acoustics-us.com.

Composer Marty Davich Scores With ILIO
As an Emmy-winning television composer for two of NBC's hit series, ER and Third Watch, Marty Davich has enjoyed a successful career writing music for television. Davich has composed scores for TV dramas since the early 1990s and has worked on every episode of those two series since they began.

Davich began his career as an on-air piano player for long-running soap opera Days of Our Lives. He was soon given the opportunity to serve as the music supervisor for the daytime drama series, a position that he held for nearly 10 years. Davich made the leap to prime-time television, composing for such high-profile programs such as Beverly Hills 90210, Trinity and Presidio Med. He received an Emmy award for his theme to Trinity, as well as Emmy nominations for his score to the miniseries Jackie, Joan and Ethel: The Women of Camelot.

Among the products Davich sometimes employs to create his original compositions are sample libraries from ILIO Entertainments. "I remember calling ILIO and discussing the projects I was currently working on," said Davich. "They were very helpful and recommended a few titles based on those programs, and that was the beginning of a solid professional relationship that is still ongoing. For the most part, I use ILIO's percussive libraries because they give me access to so many different sounds simultaneously, especially with the Giga Studio. The extensive menus that their libraries have also put a lot of information at my fingertips. This helps me to not be confined to the same loops over and over. I'm able to mix and match and add in many different sounds so that my compositions are always fresh.

"What I like to do is combine sounds from several different mediums when creating a score. That way, it's just not one little loop taken from one sound library," Davich continued. I'll take a really electronic sound and then add a sound from an African library and also a shaker. Right there I've put together a new and unique piece of work. Basically, these products are just components of my overall work."

For more on the libraries, visit ILIO online at www.ilio.com.

Neumann 150s Star in NYU Film-Scoring Program
For the past three years, New York University and ASCAP have hosted the Buddy Baker Film Scoring Workshops as part of the NYU Film Scoring Program under director Dr. Ron Sadoff. This year, "The 2003 NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker" hosted 22 participating composers who recorded their scores using numerous Neumann microphones.

Sadoff and the veteran independent engineer, Jim Anderson—recently appointed to professor of NYU's Clive Davis Department of Recorded Music—depended on three Neumann M 150 Tube microphones in a Decca Tree configuration to capture the 20-piece orchestra, which included members of the Metropolitan Opera Orchestra. Additional Neumann spotting microphones supported the M 150s.

"When you're doing that kind of work, the M 150 is the gold standard," said Anderson, a Grammy winner who worked for NPR during the '70s. "That's certainly what you start with. I always find that when you're looking for that beautiful bottom-end orchestral bloom, that's the microphone to use.

"The M 150 gives you that beautiful spread and the bottom end that the orchestra just sits right on top of," Anderson continued, noting that additional Neumann microphones were used as spotting mics to help bring out certain sections of the orchestra. "We had U 87s and TLM 170s, as well. The 170s were on the cellos and the piano, and the U 87s were on the woodwinds, flutes and clarinets."

The nine-day workshop featured Terminator 3 composer Marco Beltrami and X-Files composer Mark Snow. Sessions addressed click tracks and free-timing, orchestration techniques and conducting.

For more information on the mics, visit www.neumannusa.com.

Radian Audio Adds 8-Inch Floor Monitor
Radian Audio Engineering has added the compact yet powerful and rugged RMW-1108 to the company's MicroWedge Series of ultracompact, ultralow-profile coaxial floor monitors.

The Radian RMW-1108 comprises an 8-inch woofer with 1-inch compression driver that is capable of delivering 400 watts (program). The smallest of the MicroWedge products, the RMW-1108 weighs in at just 21 pounds.

Although it is only half of the size of the 12-inch RMW-1122, the RMW-1108 maintains the same sonic signature of the larger MicroWedge systems, offering a smooth frequency response, low distortion, and an even, wide dispersion from a single coherent point source. The 8-inch addition to the MicroWedge Series delivers 200W RMS with a sensitivity of 95 dB (1W/1 m) and provides uniform coverage through its nominal 90-degree conical0dispersion characteristic. The frequency response of the new wedge monitor is 100-20k Hz. The RMW-1108 incorporates a front port for concealed cable management, with two parallel Speakon connectors. An additional, rear-mounted Speakon connector allows it to be used as a meterbridge-mounted speaker on FOH and monitor consoles.

Like all Radian Professional Series loudspeaker systems, the new RMW-1108 is made of 3/4-inch, 13-ply Baltic birch and is finished with Radian's rugged, scratch-resistant and waterproof Duradian finish. Overall dimensions are 9x11-3/4x14 inches (HxWxD).

For more, visit Radian online at www.radianaudio.com.

New Extender From Gefen
Gefen's new ex-tend-it USB-500 is engineered to enable USB devices to be operated up to 1,650 feet from the computer. The USB-500 uses extreme USB technology, has a four-port USB hub built-in and employs fiber-optic cables to connect the sender and receiver units. The sender is connected to the computer, and the receiver is connected to the USB peripheral. Both units are connected with fiber optics in lengths up to 1,650 feet. Each unit measures approximately 5x5 inches, weighs less than two pounds and comes with a 15-volt power supply.

The USB-500 is the latest USB extension solution from Gefen. Other products include the USB-400, which extends multiple USB devices up to 330 feet; the USB-200, which extends two USB ports up to 330 feet; and the USB-100, which extends one USB peripheral up to 330 feet.

For more, view the products online at www.gefen.com.

Steven Klein Completes Two New Project Studios
Steven Klein SCR, a designer and builder of commercial recording studios, project studios and post-production facilities, recently completed two new creative spaces for a talented musician/producer and an actor who is developing a voice-over business. Damian Dragici has converted a spare room in his home into a music production area with companion control room, while Wayne Thomas Yorke has converted garage space into a self-contained production area with a soundproofed voice-over studio. Both projects were designed and supervised by Steven Klein.

"These new spaces presented their own unique challenges," Klein said. "But the end results are flexible, cost-effective environments that enable Daman and Wayne to concentrate on the creative process of making music and preparing commercials."

Damian Dragici is a Rumanian-born film-score composer and music producer who specializes in world music and related music styles. "I wanted to convert a second-floor bedroom into a 350-square-foot control room and tracking space," the producer said. "We ended up with two equal-volume connected areas with a windowed wall between them." The project included the installation of sound-isolation materials, doors, windows and acoustical treatments.

Insulation was blown into the wall cavities, a layer of vinyl barrier placed onto the wall and ceiling, and then capped with an additional layer of 5/8-inch drywall. Steven Klein installed isolation doors, windows were retrofitted with Quiet Windows, and a custom control room window was constructed. "The acoustic treatment was designed to fit a defined aesthetic and budget, and was custom-designed for the use of the space," Klein explained. Recording equipment includes a Digidesign Pro Tools|HD digital audio workstation and Apple's Emagic Logic software running on an Apple Macintosh G4, connected to self-powered Genelec Model 1031 A control room monitors and subwoofer. A piano is housed in a nearby loft. Initial recordings at the new facility include a Chinese ensemble and Cuban music. "It is a great job. The construction is excellent and the sound quality is very, very good. I couldn't be happier," enthused Dragici.

Wanting to branch out into the voice-over market, Wayne Thomas Yorke recently contracted Steven Klein SCR to design and build a compact voice-over booth in his garage. Steven Klein SCR consulted and provided specifications for the voice-over build out, including isolation, electrical, ventilation and installation of acoustical treatments. "Small spaces are challenging, especially for voice," said Klein. "An elaborate 7-inch-deep absorber fills the back wall, floor to ceiling. A 1.75-inch system is on the walls above the chair rail, and a 1-inch system on the ceiling. Upholstered walls hide the acoustic treatments."

"They were the perfect people for me," Yorke said. "As a beginner, I had called friends for advice. They said I should call Steven Klein. His assistant, Jon [Schlesinger], came to see the space and had lots of ideas for me. It was everything I needed as a beginner. The project fell into place and we completed the conversion in one week. It was an excellent experience!" Yorke also worked with a local equipment retailer, RSPE Audio Solutions, which supplied the production equipment and ISDN unit, and Pat Schneider of P.S. Tech, who set up and wired the entire system.

For more, visit Steven Klein SCR online at www.soundcontrolroom.com.

Chromasonic Version 1.1 Now Available
Soundart announced that Chromasonic Version 1.1 multi-effects processing application, or "soundskin" for the Chameleon platform, is now available.

With Chromasonic loaded, the Chameleon becomes a powerful workhorse multi-effects processor for use at the heart of the studio or live rig. It boasts flexible routing; crisp, clean reverbs; and a host of industry-standard features and effects.

Chromasonic features now include: three simultaneous audio effects, including two-tap delay, 5-band parametric EQ, compressor, limiter, noise gate, tremolo, chorus, flanger, phaser, reverb, autopanner, wah (manual, envelope, LFO with tempo sync) and four-voice pitch shifter; tempo sync (external MIDI or internal with auto detect) for all time- based effects, with tap-tempo control; enhanced saving and storing mechanism with reset/compare/name copy functions; assignable front-panel real-time controllers for performance control of almost any internal parameter (nine per preset three sets of three with two operating modes: Catch or Free) and real-time controllers can send MIDI controller data; master volume, input level and global wet/dry mix controllable from the real-time controllers for instant access; assignable Expression controller to almost any effect parameter; input, output and gain-reduction signal meters (for dynamics FX types only); multiple flexible routing configurations between the effects—series, parallel, dual-mono configurations—for endless permutations; 128 user presets with a factory bank of 64 widely varied examples ready for use; and comprehensive MIDI automation and bulk dumps.

Chromasonic 1.1 is available now as a free download for Chameleon users on its Web site: www.soundart-hot.com/english/user1_3.htm.

Recent Sessions at Cutting Room
Sanctuary Recording artists Living Colour locked down Cutting Room's (New York City) Studio A for a few weeks to work on material for their new record.

Independent label Healing Rhythms brought the Chris Berry Project (based in Colorado) for a few days of tracking on the SSL 9000 J. Andy McEwen engineered the sessions with Rakidzioski assisting. Producer Ron Browze laid down some tracks for Ludacris in studio B on the Yamaha DM2000. Marco Bruno assisted. Cutting Room regulars Pharoahe Monch, De La Soul and Talib Kweli all worked on new tracks with engineer Joe Nardone. Sony artists The Bravehearts returned for some more writing and tracking in the A room. After just completing his new record, Mos Def returned to do a commercial spot for Converse.

Contact the Cutting Room by dialing 212/260-0905.

APM Distributes Ded Good Music
Associated Production Music (APM), a provider of production music for use in film, television, advertising and new-media production, has acquired exclusive North American distribution rights to the Ded Good Music library (London), known for its collection of dance, house, techno-pop and electronica music.

"By tapping into London's urban-underground music scene through the acquisition of Ded Good Music, we're making sure our clients have access to the most current popular genres and formats," said Adam Taylor, president of APM. "Our clients want the most current commercial music styles and Ded Good has built a name for itself by continually delivering the most authentic, cutting-edge dance and electronica music available."

Launched in 1996 by former studio musicians and BBC composers Peter Oldroyd and Gary Scargill, Ded Good Music creates and licenses an ever-growing music library comprised of 26 pop/electronica CDs. In addition to composing and recording cues for the collection, Oldroyd and Scargill also acquire and remix tracks from emerging artists.

For more, visit www.apmmusic.com.

M-Audio Appoints New UK General Manager
M-Audio has promoted Isabelle Alran to the position of general manager for its UK office. Located in Hemel Hempstead, just north of London, the UK office distributes M-Audio products to French dealers and European distributors in addition to the UK reseller channels. Alran has assumed the P&L responsibilities of running the UK operations and overseeing the sales and marketing activities for both the UK and France.

In March 2002, Alran joined the M-Audio UK office with sales and marketing responsibilities for France, and in one year, has grown the territory over 500% from the prior independent distribution.

Woody Moran, M-Audio's VP of sales and marketing, said, "Isabelle has proven her capacity to grow and support the French market, which is no small task. Manuals, sales literature and packaging all had to be translated, advertising placed, dealers visited, as well as artist development to oversee. Isabelle's energy and commitment to excellence are infectious, and we could think of no one better suited to lead our UK sales and marketing operations."

For more, visit M-Audio online at www.m-audio.com.

Apple to Release Soundtrack as Stand-Alone
Apple announced that Soundtrack, the royalty-free music production tool previously available only with Final Cut Pro 4, will be available in August as a stand-alone product for $299 (U.S.).

Soundtrack includes more than 4,000 royalty-free, professionally recorded audio loops and sound effects. Soundtrack scales to meet the needs of audio producers, DJs and remix artists who start their projects in Soundtrack and then migrate to a digital audio workstation, such as Logic or Pro Tools, for the rest of their work.

"Soundtrack is a huge hit with Final Cut Pro 4 users and has enabled video editors without music backgrounds to save time and money by producing their own high-quality, royalty-free music scores," said Sina Tamaddon, Apple's senior VP of applications. "Customers tell us the need for producing original, royalty-free music is everywhere, and we think that other creative professionals such as Web developers and DVD authors are going to find Soundtrack the easiest and most affordable tool for musicians and nonmusicians alike."

"Soundtrack is so intuitive and powerful that within minutes of sitting down on a plane, I created temp tracks for some upcoming projects that would have otherwise taken hours to do in a studio," said recording artist and producer, BT (aka Brian Transeau). "Soundtrack is already one of my most important audio production tools and is set to become a staple for serious composers and hobbyists."

"I'm totally blown away by the extreme music-creation abilities of Soundtrack," said Charlie Clouser, producer, keyboardist and remixer for artists such as Nine Inch Nails, David Bowie, The Deftones and Rob Zombie. "From the way it automatically blends musical elements on-the-fly to its super-intelligent loop searching, Soundtrack is more powerful than any other loop-based audio software out there."

Within Soundtrack, each loop is treated as an audio building block that users simply drag and drop into a composition. Regardless of the musical key or tempo in which the loop was originally recorded, Soundtrack will match the audio loops and sound effects within a composition in real time. Soundtrack's search engine gives users the means to quickly locate desired sounds by instrument, genre or mood. This advanced search engine works with a new open audio format called "Apple Loops" or any .AIFF, .WAV and Acid format audio files.

Soundtrack also ships with over 30 professional, high-quality audio plug-ins from Apple and Emagic. Plug-ins like Platinum Verb, SpectralGate, Multiband Compressor and AutoFilter allow users to combine effects with individual tracks. Also, Soundtrack's support for Mac OS X's Audio Units plug-in architecture allows users to further expand their capabilities with additional third-party audio effects developed through Apple's open-standard plug-in format.

Full system requirements and more information on Soundtrack can be found at www.apple.com/soundtrack.

Sterling Sound Remasters Bob Dylan
On September 16, 2003, Columbia/Legacy will release 15 classic albums by Bob Dylan in the Hybrid Super Audio CD (SACD) format. Sterling Sound's Greg Calbi mastered all of these discs, with five titles being mastered in 5.1 surround by Sterling Sound's George Marino.

Calbi worked from a variety of master tape formats, dating from 1962 to today. Working from these analog masters, the whole of the Dylan project remained in the analog domain. "The analog signal processing in my room is ideally suited for SACD. It does a great job of taking the analog signal and transferring it into the best digital data that's available," said Calbi. "The low end and all of the rhythmic elements are working in such a way that the combination provides a much more musical experience."

Recently, some new features were added to Calbi's room, including complete new console wiring (featuring Wireworld cables), all tube signal processing and a new patchbay to minimize signal path. "Those three elements created an immediacy of the sound on the Dylan project that just blew away anything that existed on the market before," said Calbi. "On all of the releases, the vocal quality, clarity and expressiveness is much more intimate than it ever has been.People are really going to hear things in [Dylan's] vocal that they have never heard before. SACD is much a marked improvement over the PCM Digital, in terms of smoothness, clarity and fullness.It is a much more pleasurable and satisfying experience that has made me a complete believer in SACD."

Earlier this year, Sterling Sound completed the development of a custom analog surround mastering suite for George Marino, which gives him the ability to master multichannel audio for DVD-A, DVD-V and SACD formats. "You have to create proper balance and imaging so that theaudience will appreciate the desired effect," said Marino. "This way, they can experience something refreshing and different from what they're used to in the stereo environment." Marino worked mainly from brand-new multitrack mixes by mix engineers Michael Brauer and Chris Shaw, along with senior VP of A&R at Sony Legacy, Steve Berkowitz. "It was a pleasure to work from the Dylan mixes brought in by Michael, Chris and Steve," said Marino. "They are faithful to the original 2-track stereo mixes while adding a whole new element that Dylan fans will find very interesting."

Bob Dylan albums that have been recently mastered include The Freewheelin' Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde, John Wesley Harding, Nashville Skyline, Planet Waves, Blood on the Tracks, Desire, Slow Train Coming, Infidels, Oh Mercy, Street-Legal and Love and Theft.Marino has mastered the following titles in 5.1 surround: Blonde on Blonde, Love and Theft, Slow Train Coming, Bringing It All Back Home and Another Side of Bob Dylan.

For more, visit www.sterling-sound.com.

Gepco to Show X-Band Cable at AES 2003
Gepco International will be showing its X-Band analog audio cable at AES 2003. Available in single, 4, 8, 12 and 16-pair versions, the X-Band is an ultraflexible, sonically transparent, low-noise and durable balanced audio cable for use in critical studio applications or live sound venues.

The unique construction of the X-Band Series makes it extremely flexible, flaccid and will not retain kinks and bends when flexed, while still maintaining ease of termination. Key features of the X-Band Series include: finely stranded, oxygen-free conductors; reduced high-frequency absorption; special foam dielectric allows for easy cutting and stripping with minimal wickback when soldering; 95% braid shield, which will not open through repeated flexing and compromise; excellent RF and EMI rejection (in conjunction with consistent and tight twisting of balanced pairs); quick ground termination with drain wire and easy-to-trim braid; new G-Flex ultraflexible jacket; and pairs on multi-pair are color stripped and printed for easy ID and attractive appearance when visible after installation.

For more, visit Gepco online at www.gepco.com.

First TL Audio VTC Console Install in Norway
The first VTC console to be shipped to Norway has recently been installed in Gunnar Tønnesen's Klepp Lydstudio, located in the southern coastal town of Egersund. The sale and installation was handled by local TL Audio distributor Lyd Systemer, based in Oslo.

The 32-channel valve console is being used in conjunction with both digital and analog multitrack machines, and has already been employed on a variety of projects including jazz, folk, choral and brass band material through to pop and, most recently, a debut CD of traditional Cuban acoustic music.

Tønnesen said, "I must say that I am very impressed. The mixer is so pleasant-sounding and also reveals qualities in the equipment connected: Not only high-quality microphones and outboard, but also modest stuff like dynamic microphones, cheaper processors and my vintage keyboards now show new sides that I never knew existed."

For more, visit TL Audio online at www.tlaudio.co.uk.

Echo Announces Indigo io
Coming in late July or early August 2003, the Echo Indigo io portable recording system for Windows and Macintosh notebook computers offers the same high-quality hardware and software as the original Indigo, but with the addition of a stereo analog input for professional audio recording. With Indigo io, users can record 24-bit 96kHz audio with low-latency monitoring powered only by a notebook computer.

Indigo io has one stereo 1/8-inch analog input, one stereo 1/8-inch analog output, a high-quality headphone amp with volume knob, eight "virtual" outputs through software and a six-foot audio adapter cable for RCA and 1/4-inch connections. MSRP: $229.

For more Indigo io information, visit Echo's Web site at www.echoaudio.com.

Jim Anderson Appointed Visiting Professor
Jim Anderson, AES VP for Eastern Sections U.S. and Canada, has been appointed visiting professor in the newly created Clive Davis Department for Recorded Music in the Tish School for the Arts at New York University.

The Clive Davis Department of Recorded Music offers a course of study leading to a Bachelor of Fine Arts that is designed to educate students in all aspects of contemporary recorded music. There is a special focus on the art of identifying musical talent and developing creative material within the complex range of recorded music technologies. The program recognizes the creative record producer as an artist in his or her own right, and musical recording itself as a creative medium.

Anderson has been active on the New York recording scene for the past 23 years; prior to that, he was on staff at National Public Radio.

Mackie to Outsource Select Product Manufacturing
Jamie Engen, president and CEO at Mackie Designs, wrote:

The purpose of this letter is to make you aware that Mackie has entered the final stages of an important transition. We believe this transition will further our position as a world-class developer, designer and marketer of professional audio products.

For several years, Mackie has been laying the groundwork to outsource the assembly of a number of high-volume products currently produced in our Woodinville, Wash. headquarters. This transition will allow Mackie to bring more cost-effective and competitive products to market than ever before, while also allowing us to invest more resources in key areas such as product development, engineering and industrial design.

As a result of this new focus, Mackie has issued notices to approximately 200 employees in Woodinville manufacturing who will be directly affected by this transition. It is important to understand that cessation of Woodinville manufacturing is the next phase in a very important and deliberate transition, and not a scaling of workforce to revenue, as industry rumors may suggest.

Manufacturing employees affected by this change will receive completion bonuses and severance packages based on years of service. They may also be eligible for federal help in the form of extended unemployment benefits and retraining benefits.

As we move forward, Mackie will seek out the best possible resources around the world to provide manufacturing expertise equal to our own design and engineering talents. In some cases, these resources will be internal; in some cases, they will be subcontractors carefully selected for their ability to meet our world-renowned quality-control standards.

In the coming months, Mackie will introduce an unprecedented range of new products. These products aim to redefine the pro audio industry with truly amazing features and value. These new products are also a clear indication of what we will be able to accomplish as a result of our new structure.

Mackie remains committed to the creative horsepower of our engineering, product development, industrial design and marketing teams, as well as the pace-setting standards of our sales, sales admin, support and service teams. All of these functions will remain fully active at the company's headquarters in Woodinville.

We feel that we have turned a significant corner at Mackie and are once again on the path to growth. We look forward to building on the passion and product development talents that have made Mackie an industry leader for nearly 15 years.

Oh, and yes, Greg Mackie is still directly involved in product development at Mackie.

For more, visit Mackie online at www.mackie.com.

WEDU to Install Euphonix Console
After demo'ing the Euphonix Max Air, WEDU's VP of engineering and operations, Frank V. Wolynski, immediately purchased the board, with a September install in its high-definition control room that connects the three large studios.

Wolynski said, "The power and ease of use that Max offers have been some of the greatest attributes that the console has to offer. Our focus was to find a console that performed extremely well and that was easy to adapt to. Max fit that bill. Tedious setup of patching and groups are basically eliminated with Max Air. The console can flip from a complex configuration to another in moments, restoring all inputs and outputs for any particular show. This will be especially important in replicating sound setups in Dolby AC-3 mixes."

WEDU plans to use Max Air for broadcasting shows such as "live" election debates, Tampa Bay Week, a news panel discussion, news uplinks for FoxNews, CNN, CNBC, Court-TV and many more.

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

Tommy Vicari Relies on Neumann Mics
Grammy and multi-Emmy Award-winning recording and mixing engineer Tommy Vicari reported that the Neumann M 149 is among the most used on his sessions, which have recently included recording and mixing several feature film and cable television projects with scoring engineer Armin Steiner.

"I frequently use the Neumann M 149 for vocals, various instruments and room sounds," said Vicari. "The M 149 is one of the best mics made in a long time. It sounds great and it has a lot of gain. I really enjoy it." Recent scoring collaborations with Steiner have included Disney/Pixar's animated feature, Finding Nemo and the upcoming Angels in America for HBO. Vicari also used Neumann mics for recording the main title for the HBO series, Six Feet Under.

Vicari has been using the M 149 large-diaphragm tube mic ever since its debut, recording a variety of singers. "It virtually works on every singer I've put it in front of. For instance, on projects for the Disney theme parks, when I am faced with a wide variety of vocals, from baritones to sopranos, this microphone seems to work on everyone. In a perfect world, when recording a vocalist, you can put up several mics, experiment and pick the best one. But in most of my recording sessions, there is no room or time for experimentation. However, during a scoring session, I will set up an array of microphones on different instruments so that the musicians can immediately move from one instrument to another."

In addition to the M 149, he said, "I use the Neumann U 67 for percussion and piano. I also use the TLM 170 on woodwinds and vibes. On recent big-band recordings for Gordon Goodwin's Big Phat Band and Sammy Nestico's This Is the Moment, I used vintage U 67s on saxophones."

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

M-Audio Ships Luna Condenser Mic
M-Audio's new Luna (MSRP: $249.95) professional condenser microphone is now shipping.

Geared for first-time purchasers and more experienced recordists, this large-diaphragm, cardioid condenser design is well-suited to professionally capturing vocals, guitar, piano and most sound sources. Luna also sports a solid brass capsule. The 1.1-inch diaphragm is metallized in a proprietary evaporated gold process. Luna uses Class-A FET electronics; all Luna microphones are also +/- 1 dB from the standard reference microphone and from each other.

"Luna addresses the needs of a wide range of recordists," said Adam Castillo, M-Audio's marketing director. "We specifically designed the mic to accommodate the budget of just about anybody who is serious about recording. It has a great sound that is very reminiscent of classic vintage microphones, yet also has a unique character all its own. And there's no getting around the fact that it's one very hot-looking microphone. Luna makes a statement both visually and aurally."

For more information, visit www.m-audio.com.

Liz Phair at the Village
Liz Phair and her band were recently in The Village's Studio A performing live for an on-air broadcast on Los Angeles radio station KCRW's "Morning Becomes Eclectic" program. Phair and company performed in support of their latest CD, this year's Capitol release, Liz Phair. Phair will spend the summer months of 2003 touring the U.S. in support of her new CD. The Village session was engineered by Jason Wormer and assisted by Greg Imler.

Los Angeles-based rockers The 88's were also in The Village's Studio A recently, recording a high-energy, live set of music, also for KCRW's morning program. The 88's performed in support of their debut CD, Kind of Light. The 88's will spend this summer playing shows around Los Angeles. The Village session was engineered by Dan Monti and assisted by Darren Frank.

KCRW's Ariana Morgenstern produced both of the live sessions.

DMOD Ships DMOD WorkSpace Version 3.0
DMOD Inc. (Burlington, Mass.), a provider of secure digital media workflow and distribution solutions, announced that it has released Version 3.0 of DMOD WorkSpace, an upgrade to its software-only solution that helps the entertainment industry prevent piracy during the production and distribution of new releases.

DMOD WorkSpace incorporates industry-leading encryption technology and persistent media-access controls that define an individual's right to playback and/or export media. Version 3.0 features an enhanced architecture that allows project team members anytime/anywhere access via a standard Web browser. WorkSpace 3.0 is available as a client-server enterprise edition and a DMOD-hosted ASP service that can be rented on a month-to-month project basis.

Enhancements in DMOD WorkSpace 3.0 include: no desktop software downloads, installations or complicated security configurations; the new features are instantly available to all users via the browser interface; latest Web-enabling technologies such as Java and PHP, a scalable Web server database and integrated QuickTime support; and flexibility for customization to support co-branding or function-based usage, such as "Send Only" or "Receive Only" browser interfaces.

Pricing for DMOD WorkSpace Version 3.0 ASP averages $3,500 per month for 10 users, with no additional charges and unlimited 24x7 use. A typical DMOD WorkSpace Version 3.0 enterprise solution averages $60,000 per year for one server and 50 users. Both solutions come with an introductory offer of a 30-day money-back guarantee. Maintenance and support are additional. DMOD products support Microsoft Windows 2000/XP, Apple's Mac OS X and Linux platforms.

In other DMOD news, the company and Activated Content Corporation, a provider of watermarking and other audio technology service offerings, announced a strategic relationship to more tightly secure the music production process from pre-release piracy.

Under the terms of the agreement, the two companies will market and sell a bundled offering of the DMOD WorkSpaceSM ASP-hosted service and ActivatedAudio" Watermarking Suite—effectively, offering encryption, digital-rights management and watermarking features in one package. The DMOD/Activated Content bundle is available now.

For more information, visit DMOD at www.dmod.com.

Le Mobile Keeps Truckin' Despite Servicing
At the same time that one of Le Mobile's truck was on its was to receive a complete engine transplant, company owner/engineer Guy Charbonneau was seated behind the Neve console in the truck, mixing tracks for a television special starring country music luminary Kenny Chesney.

After 25 years and nearly a half-million miles, Le Mobile's engine was ready for major servicing. However, in keeping with Le Mobile's maintenance philosophy, Charbonneau eschewed a partial rebuild and instead opted for an all-new replacement under the hood.With solid bookings looming ahead, and a desire by Chesney to mix in the same facility that had recorded the tracks, Charbonneau looked for a way to keep his truck working while this major "engine surgery" was underway.

"I asked Doug Case at G&R Truck Repair if he could install the new engine right here in the garage at Le Mobile headquarters," said Charbonneau. "He said he could do it, though making some of the connections did require a certain amount of gymnastics."

The brand-new engine—a 325-horsepower, turbocharged Detroit Diesel—is the latest in a series of recent mechanical upgrades to the remote truck. Within the past year, Le Mobile also has received new chrome equipment compartments and a fresh coat of glossy black paint.

During the diesel transplant procedure, Charbonneau continued mixing tracks that were recorded by Le Mobile at a concert in Knoxville, Tenn., on June 7. Dubbed The Back Where I Come From Party, the concert—recorded at Neyland Stadium before over 60,000 fans—will be featured in a broadcast special scheduled to air on CMT later this year. Charbonneau also completed pre-production work for possible future DVD (5.1 surround) and CD releases.

For more, visit Le Mobile online at www.lemobile.com.

Olympic Studios Adds Two New Rooms
London's Olympic Studios has continued its expansion plans at the Barnes facility by adding one new programming/pre-production room and a small studio, increasing the total number of client suites to six.

Top record producers Stephen Street (Blur, The Smiths/Morrisey, The Cranberries) and Cenzo Townshend (Skin, Lightning Seeds and U2) have moved into the larger suite, which boasts an adjacent overdub booth for vocals or guitars. Working on an Audient desk and recording to RADAR and Pro Tools|HD, they have also incorporated a host of vintage outboard equipment.

The second suite, dubbed "The Green Room," is available for lease and is currently housing a few short-term projects.

Siobhan Paine, Olympic Studio's manager, said, "We are thrilled that Stephen and Cenzo are joining us here, and with the multitude of studios and mix rooms available at Olympic, the two new rooms add an extra dimension to the services we offer. Projects can make an easy transition from programming to production all under one roof."

For more, visit www.olympicstudios.co.uk.

Soundtracs Launches New Web site
Soundtracs announced its brand-new Web site: www.soundtracs.com.

The new site, which opened with the newly launched DS-00 digital modular post-production and broadcast mixing system, features more detailed product information, greatly improved navigation and visual design, and full technical support contacts.

Also included are the complete range of Soundtracs' digital consoles, worldwide distributor listings, downloadable technical PDFs and details of trade shows where Soundtracs will be exhibiting.

Marketing director Dave Webster commented, "The pace of product development at Soundtracs continues to accelerate and we have completely redesigned the Web site to reflect this. People can access a lot of information in a clear and easy-to-access format."

Adobe Launches Audition
Adobe Systems announced Adobe Audition software, a complete multitrack recording studio for Windows-based PCs. Previously named Cool Edit Pro 2.1, this award-winning product was acquired from Syntrillium Software in May 2003.

Delivering advanced audio mixing, editing, mastering and effects-processing capabilities, Adobe Audition is a professional-level audio tool that allows users to edit individual audio files, create loops, import more than 45 DSP effects and mix up to 128 tracks. "The introduction of Adobe Audition into our digital video product family is an important step in providing a complete, high-performance workflow for video professionals," said Bryan Lamkin, senior VP of digital imaging and video products at Adobe. "Going forward, Adobe Audition will continue to provide the advanced editing capabilities professional audio editors and musicians expect, while delivering close integration with the entire Adobe digital video product line."

Audition provides a fully integrated audio editing and mixing solution for music, video, radio and sound design professionals with integrated multitrack and edit views, real-time effects, looping support, analysis tools, restoration features and video support. Users benefit from real-time audio effects that allow them to hear changes and track EQ instantaneously. Flexible looping tools and thousands of high-quality, royalty-free music loops are included to assist in soundtrack and music creation. In addition to support for .WAV, .AIFF, MP3, MP3PRO and WMA, can handle files with bit depths of up to 32-bit and sample rates in excess of 192 kHz.

Adobe Audition for Windows 98/2000/XP is expected to ship in the U.S. and Canada by the end of August 2003. Adobe Audition will be available for an estimated street price of U.S. $299. Registered users of previous versions of Cool Edit Pro can upgrade to Adobe Audition for an estimated street price of U.S. $99; Adobe plans to offer a free upgrade from Cool Edit Pro 2.x to Adobe Audition.

For more information, visit www.adobe.com/audition.

Summer NAMM: New Mic Clamp for Evolution E 604 Microphone
Responding to suggestions from the drumming community, Sennheiser introduced the new and improved MZH 604 drum-mounting microphone clamp at Summer NAMM 2003. The rim-mounting system, which has been designed for the Evolution 604 drum microphone in consultation with a number of drummers, replaces the older MZH 504.

The clamp redesign has fine-tuned the previous version to ensure that the E 604 microphone may be optimally positioned on any drumhead without the risk of the mic being struck by an errant drumstick. Featuring a new straight upright bracket that prevents the microphone from projecting too far into the center of the head, the new MZH 604 is available separately, allowing users to upgrade to the new version if they are already using the E 604 or the older MD 504 drum microphones.

For more, visit www.sennheiserusa.com.

Cakewalk Announces VST Adapter 4.3.1 Patch
At Summer NAMM 2003, Cakewalk released a free 4.3.1 patch for the Cakewalk VST Adapter, which allows access to hundreds of available freeware and shareware VST effects plug-ins and VSTi software synths readily available on the Internet. Additionally, Sonic Foundry customers can now use the Cakewalk VST Adapter to extend their studios to include VST audio effects.

Earlier this year, Cakewalk acquired FXpansion's VST adapter technology, which offers sample-accurate timing, full support for the latest DXi and VST plug-in specifications, MIDI and DX8 envelope automation, and full preset-management implementation.

The Adapter is now available; registered Cakewalk VST Adapter customers can download the 4.3.1 patch for free at www.cakewalk.com. The Cakewalk VST Adapter download is available for $59 U.S. Registered Sonar customers can purchase the Cakewalk VST Adapter for $39; there is a free upgrade for all registered FXpansion VST-DX adapter users.

DMT Rentals Offers Super Pro Tools|HD System for 'Radio' Score
Leading music scoring mixer Simon Rhodes (A Beautiful Mind, The Mask of Zorro, the Harry Potter film, Angela's Ashes) once again turned to DMT Rentals for the high-precision recording systems used to capture James Horner's lilting musical score for Revolution Pictures' Radio, starring Cuba Gooding Jr. and Ed Harris. Rhodes specified several Pro Tools digital audio workstations—including a custom-designed DMT Super Pro Tools|HD System—while working at Todd Scoring, Studio City, Calif.

The DMT Super Pro Tools|HD System comprises a combination of eight channels of Pacific Microsonics Model Two AD/DA converters working at 192 kHz and 40 channels of Genex Audio GXA8 A/D converters running at 96 kHz, with 40 channels of DMT-customized dB Technologies "Blue" M.DA824 24/44-96 units for D/A conversion. "We also used [DMT-customized] Prism ADA-8 8-channel, 24/96 A/D converters on the main 6-track surround mix," said Rhodes.

The DMT Super Pro Tools|HD System captured a 100-piece orchestra and vocals from India Irea, a second 64-track/96kHz system replayed various synthesizer overdubs and related elements, while a third recorded the main 5.1-mix bus outputs that will be delivered to the dubbing stage. "I was very impressed with the sonic performance of DMT's Super Pro Tools|HD System," Rhodes said. "Digital has come of age at last with the advent of this system. In terms of outstanding audio quality and technical advances, DMT has really taken command of the high ground. The company is continually pushing the standard formats to make them fully accessible to the scoring industry."

"Our custom-developed Super Pro Tools|HD System," said DMT Rentals president Doug Botnick, "bypasses the normal Digidesign converters, operates at mixed sampling frequencies and combines all system components in a fully integrated rack-unit."

To record the score, Rhodes used a conventional Decca Tree array of his five favorite Neumann M50 microphones as his main orchestral pickup, plus two AKG C 12s as string outriggers, two [B&K/DPA] 4006s as dedicated surrounds and a Neumann KM130 as a dedicated "boom" mic, plus omnis on woodwind and cardioids on the other instruments. Various Messenger, Millennia and Avalon mic preamplifiers are featured in Rhodes's equipment array.

Normally based at Abbey Road Studios in England, the Radio score was the first session in the United States during which Rhodes tracked an orchestra to digital, using Digidesign Pro Tools and iZ Technology RADAR 24 hard disk as backup. "While I have used various digital systems in England, this is the first time I have been exposed to DMT's high-tech systems. The company is really pushing out the boundaries of quality for scoring mixers and providing us with highly accessible tools."

For more, visit DMT Rentals on the Web at www.dmtrentals.com.

Swiss Studio Hosts Top Acts
Swedish mix engineer/producer Niklas Flyckt, who owns Khabang private studio, recently installed an SL 9000 J Series SuperAnalogue console and has been hosting top acts such as Amy Studt, Britney Spears, Clay Aiken and S ClubÕs Rachel Stevens.

A mixer for 22 years with an established international reputation, Flyckt has spent the past 10 of them at Khabang, a studio built on top of a former psychiatric hospital in the southern part of Stockholm. In the control room, the 56-channel console replaced a Neotek desk. ÒWeÕre incredibly busy here,Ó Flyckt said, Òand I wanted a console that would satisfy the increasing demand for high quality, as well as the ability to cope with an arduous workload. IÕm very familiar with SSL, having used an SL 4000 Series for recording and mixing on many occasions.Ó

Used primarily for mixing, FlycktÕs studio also features an 80-square-meter live area and an isolation booth. A string of international hit albums and singles including, most recently, Dannii Minogue (Put the Needle on It), Ms. Dynamite (Put Him Out) and Sophie Ellis Bextor (Get Over You).

For more, visit www.solid-state-logic.com.

Broadjam Releases MetaJam
Broadjam Inc., a provider and licensor of Internet-based search tools and metadata for the professional music industry, announced that it is now shipping MetaJamª, a desktop software application that allows bands and artists to manage and promote themselves, as well as distribute their own music.

Using BroadjamÕs proprietary Song-Management System, MetaJam delivers metadata management to independent musicians. Musicians can organize their songs, photos, gigs and events; build their own Web site and press kits; and batch upload their music to the Internet. MetaJam also allows musicians to provide potential licensors with their proper information, whether for film, television, advertising or recording purposes.

ÒThe feedback on MetaJamÑfrom artists, recording industry executives, retailers and Internet music sitesÑhas been overwhelmingly positive,Ó said industry veteran and company founder Roy Elkins. ÒEveryone weÕve shown it to immediately gets it and sees that it successfully addresses a huge need in the music industry."

MetaJam has a MSRP of $199. The initial product is designed for the Windows platform, with a Macintosh OS version to be released shortly after. For more information about MetaJam, visit www.broadjam.com.

Trillium Lane Offers Oversampling Digital Meter for Pro Tools
Trillium Lane Labs announced TL MasterMeter, a digital meter software, for the Digidesign Pro Tools platform.

TL MasterMeter digitally models the same conversion process that occurs inside the D/A stage of a consumer CD player, allowing mixing and mastering engineers to identify potential intersample peaks and ensure that a final mix will not create undesirable digital clipping by producing peaks that exceed 0 dB.

"Industry trends are demanding louder and 'hotter' mixes and mastering than ever before," said Jared Vogt of Trillium Lane Labs. "We are excited to announce the first plug-in for Pro Tools that enables an engineer to model how digital mixes are reproduced on a CD player, and use that knowledge to avoid distorted mixes and deliver the best possible audio quality."

TL MasterMeter features 2x, 4x and 8x oversampling DSP models and displays both regular and intersample peaks. A sample-accurate historical peak list allows an engineer to identify peaks anywhere in a Pro Tools session. Peak lists can be saved to the clipboard for later review.

Trillium Lane Labs released a white paper outlining how digital distortion occurs and how oversampling meters can help engineers produce better mixes. The white paper is available for download from www.tllabs.com.

TL MasterMeter is available for Pro Tools 6.x on Macintosh OS X, and has a MSRP of $199; it is also available in a bundle with TL Metro and TL InTune for $349. Further information and free seven-day downloadable demos are available from the company's Web site.

TL Audio Adds to Ivory Series
The latest addition to TL AudioÕs Ivory 2 Series is the 5000 Valve Condenser Microphone and Preamp, which starts shipping this September.

The microphone comes with its own matched power supply and preamp unit; boasts a 1-inch, dual gold diaphragm; and offers nine variable patterns, including omni, cardioid and figure-8, along with six intermediate stages. Both low-cut filter and 10dB pad switches are also provided on the microphone, and an elastic suspension mount and foam windshield are supplied as standard.

The 5000 microphone comes with TL AudioÕs matching power supply and preamp, which allow users to benefit from a first-class, discrete mic preamp stage. The power supplyÕs output includes the heater and 200-volt DC supply for the microphoneÕs internal 12AT7 triode valve, while the preamp stage offers control of input and output gain, phase reverse and output level metering. The preamp provides a balanced line-level output on XLR, although this output can also be switched to bypass the preamp stage.

A separate monitor output is provided on 1/4-inch jack, and the optional DO-2 digital output card can be fitted, providing a 24-bit S/PDIF output switchable between 44.1 and 48 kHz, along with an external wordclock input. "Link In" and "Link Out" sockets on the preamp allow a stereo pair of mics to be set up and outputted digitally on a single DO-2 card.

For more, visit www.tlaudio.co.uk.

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