Archive for September 5th, 2013

Antelope Audio Goes Atomic on Rihanna’s Internationally Acclaimed “Diamonds World Tour”, Bringing Unmatched Sonic Depth and Clarity

Santa Monica, CA, September 5, 2013 – Rihanna’s “Diamonds World Tour” is making its mark as one of this year’s most successful tours to date. According to a mid-year chart by Pollstar, it already ranks as the 11th largest grossing worldwide tour, having generated more than $50 million in ticket sales to date. Already well into its U.S. leg, “Diamonds World Tour” features several performances in North America, Europe, Asia, Africa and Australia. At the core of the production system is Antelope Audio, whose products facilitate clocking for the entire rig, including playback for synchronization, lighting, MIDI, sound effects and vocals.

“This is the best sounding tour I’ve ever been a part of and we’ve been running really hard,” says Demetrius Henry, playback engineer for the Diamonds World Tour. “We didn’t think we could get our playback rig to sound any better, but the Orion32 interface has taken things to another level —the difference was like night and day.” Currently, the tour is running two Antelope Audio Orion32s and a 10M atomic clock on playback, in addition to a Trinity | 10M combination at front of house (FOH). The Trinity | 10M combination, which is a favored selection among the world’s top mastering engineers, serves as the primary clocking duo for the entire production.

In addition to playback and FOH, there are two Antelope Audio Zodiac+ converters being used in conjunction with the keyboard rig on stage, providing artifact free, high-resolution audio for the duration of each performance. Kenny Scharetts, keyboard technician for the Diamonds World Tour, appreciates the piece of mind that comes with using the Zodiacs: “We have the Zodiacs racked up directly beneath the keyboards and they are so compact and rock solid. When I turn them on, I know they are going to be there for me — it is a dream to have this kind of stability and reliability.”

Since the beginning of the tour, which is now about half way through the North American dates, the Orion32, Trinity | 10M and Zodiac units have been performing flawlessly. Before hitting the road, the production crew put all of the equipment through its paces with several rehearsals, including two full dress rehearsals in Buffalo with a full P.A. before hitting the road. “Every department was able to get a full testing of their gear to make sure it was show ready,” says Kyle Hamilton, FOH engineer, Diamonds World Tour. “From the beginning, the Antelope gear has been running smoothly.” Sonically, it has taken the sound quality to the next level, according to Hamilton: “For me, the Trinity | 10M combo has given me an audio image full of depth and clarity, unlike anything I’ve ever experienced. The mix has always been clear, but now it has an extra sheen, sort of like what you might find on a nicely waxed car.”

The tour is massive in both musical content and technical scope. With a runtime of 97 minutes and a total of 36 songs, including interludes, the production team is running about 115 inputs in total. With such an extensive rig, the production team decided to take a holistic approach and clock the entire rig using Antelope, in addition to using its premium quality converters across nearly every part of the audio system. “Sonic changes don’t just occur at the console,” observes Hamilton. “It also has to do with the converters that are used throughout the system, in addition to the clocking. Also, it would not make any sense to have just one aspect of the system clocked — clocking the entire rig with Antelope gives us a consistently high quality result.”

On the Diamonds World Tour, the production team is focused on not just quality, but efficiency too. “Rack space is a precious commodity out here on the road — it’s like real estate: you only have so much land.” says Henry. “The fact that we are able to fit 32 channels of I/O on the Orion32 is a dream come true.” At playback, two Antelope Orion32s and a 10M are run through a pair of Apple MacBook Pros, which Henry says are lightning fast.

With a rock solid production team and reliable, great sounding equipment in place, FOH engineer Kyle Hamilton couldn’t be happier with the results they are achieving night after night. “It is immensely satisfying for us to be setting new standards in the quality of our live sound productions,” he says. “Every time we plug in another Antelope device, everything goes up a notch.”

About Antelope Audio

Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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All brands and trade names are the property of their respective owners.

Photo captions:
1. Rihanna onstage at The Staples Center in Brooklyn, NY during the Diamonds World Tour.
2. The playback rig for the Diamonds World Tour includes two Antelope Audio Orion32 interfaces and a 10M atomic clock.
3. At front of house on Rihanna’s Diamonds World Tour, an Antelope Audio Trinity | 10M handles clocking for the overall production.
4. An Antelope Audio Zodiac converter sits beneath the keyboard rig onstage during Rihanna’s Diamonds World Tour.

GUITAR CENTER APPOINTS GENE JOLY AS NEW PRESIDENT OF MUSICIAN’S FRIEND

Kevin Kazubowski to succeed Joly as Senior Vice President of Stores for Guitar Center

ANNOUNCEMENT HIGHLIGHTS:

GC veteran Gene Joly appointed to accelerate growth at Musician’s Friend division.
Longtime store ops executive Kevin Kazubowski to succeed Joly as new Senior Vice President of Stores for Guitar Center.

(September 4, 2013 – Los Angeles, CA) – Guitar Center (GC), the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, has named longtime GC executive Gene Joly as the new President of its Musician’s Friend (MF) division. MF is the largest direct-response retailer of musical instruments and professional audio equipment in the U.S. The announcement was made by Mike Pratt, Guitar Center Chief Executive Officer, and further underscores GC’s long-term strategic multi-channel business model.

In his new position, Joly will be responsible for guiding the direction of Musician’s Friend while capitalizing on his extensive experience in merchandising, vendor relations, distribution, supply management and direct marketing. Prior to his appointment, Joly was Guitar Center’s Executive Vice President of Stores, a position he held since 2008. Replacing Gene as the new Senior Vice President of stores will be longtime GC ops vet Kevin Kazubowski.

“There’s no doubt that Gene is the man to lead Musician’s Friend and our Music 123 Business into a bold new direction as 2014 approaches. Over his 38-year career in the M.I. industry, he has earned the respect and trust of our entire organization and countless others across our industry. I’m looking forward to watching Gene put his own unique stamp on the company as its next President, and I wish him continued success.” Mike Pratt – CEO, Guitar Center

“The opportunity to lead Musician’s Friend is both exciting and bittersweet for me. Over the last 5 years, I’ve been hard at work on a host of transformational business projects with the help of an exceptional Guitar Center team. These folks mean a great deal to me. At the same time I relish the opportunity to work with my new MF team, which includes some of the all-time greats from the Medford, OR campus. We’re going to take the direct business to a whole new level.”Gene Joly – President, Musician’s Friend

AES Educational Foundation Announces 2013 Awards

New York, NY, September 4, 2013 — The Educational Foundation of the Audio Engineering Society (AES) has announced the recipients of the 2013 AES Educational Grants for Graduate Studies in Audio Engineering. The announcement was made by Don Puluse, President of the AES Educational Foundation (AESEF), on behalf of the foundation’s Board of Directors.

Puluse stated, “We began awarding these distinctions in 1984, so this is our 30th year honoring the great potential of our community’s bright minds. The honorees for this landmark year are extraordinary talents, with impressive academic resumes and real-world experience. If this is part of the brain trust that will guide our industry into the next era in audio engineering, I think we are in great hands.”

Two new special grants are being generously provided by HARMAN International Industries to support graduate education in audio. These grants are being awarded to HARMAN Scholars Brecht De Man and Kai Siedenburg. Mr. De Man has undergraduate and graduate degrees in electrical engineering from University of Ghent, Belgium, and is studying for his Ph.D. at Queen Mary University of London. Mr. Siedenburg has an M.S. in Mathematics from Humboldt University Berlin, and is a Ph.D. candidate in Music Technology, Department of Music Research, at McGill University. He was previously a Fulbright visiting student at UC Berkeley and did his master’s thesis at University of Vienna.

The Emil Torick Scholar distinction is being given to Kathleen Gray, who is earning an M.A. in Acoustical Studies, specializing in Psychoacoustics, at the Peabody Institute of John Hopkins. She holds a B.M. in Violin Performance from Towson University. The Emil Torick Award honors an outstanding student with exceptional career goals. Former AESEF president Torick, coincidentally, was also a fine violinist.

The John Eargle Award, given annually to a student who excels in both technology and music, is presented to Elizabeth Marston towards her M.M. in Sound Recording at McGill University. Ms. Marston holds a B.A. in Music from Seattle Pacific University and has completed coursework at the Berklee College of Music.

Repeat awards are granted to Areti Andreopoulou and Ross Penniman. Andreopoulou is studying for her Ph.D. in Music Technology at the Steinhardt School of NYU. She has a degree from the University of Athens, Greece, and an M.M. from Steinhardt. Mr. Penniman holds a B.M. and a B.S. from University of Michigan, and will receive an M.S. in Music Engineering Technology from the University of Miami.

Other AES Educational Foundation Awards for Ph.D. studies are offered to Javed Hamza and Rebecca Vos. Mr. Hamza is pursuing a Ph.D. in Speech and Audio Processing from Imperial College London, where he also completed his previous degrees. Ms. Vos has a B.S. in Physics from Manchester University, an M.S. in Audio Acoustics from the University of Salford, and will earn her Ph.D. in Electronic Engineering from the University of York.

Other AES Educational Foundation Awards for master’s studies are offered to Kevin Fallis, Charles Holbrow and Marlene Mathews. Kevin Fallis will receive an M.M. in Sound Recording from McGill University, where he also received his B.M. before receiving a Diploma from Vancouver Film School. Charles Holbrow completed his undergraduate studies at U.Mass. Lowell, and will receive a Masters from M.I.T. in Media Arts and Sciences. Marlene Mathews is studying for an M.M. in Music Technology at McGill University. Her previous degree is a B.S. in Computer Science from Long Island University. She also attended Recording Engineers Institute.

The AES Educational Foundation was established in 1984 to encourage talented students to enter the profession of audio engineering. Grants for graduate studies with emphasis on audio topics are awarded annually. Recipients are selected on the basis of demonstrated talent, achievements, goals and recommendations. Since its inception, the AESEF has presented nearly 200 grants at 60 universities worldwide, totaling over seven hundred thousand dollars. Grants have been made possible by contributions from AES, Inc., HARMAN International Industries Inc., the estate of John K. Hilliard, JBL Inc., the Mix Foundation for Excellence in Audio, and the families of John Eargle, David Smith and Emil Torick. The AES also receives support from other benefactors such as in-memoriam donors, and individuals and companies that support education in audio. Application forms and additional information are available from the Audio Engineering Society, 60 East 42nd Street, New York, NY 10165, USA, or on its web site: www.aes.org/education/foundation/.

Photo Caption: Don Puluse, president of the AES Educational Foundation

DPA Diversifies Its Highly Directional Microphone Palette

Broadcasters and film makers who are searching for a high quality boom microphone capable of capturing audio in challenging locations need to look no further than DPA Microphones’ IBC 2013 booth (8:D76).

On show for the first time at IBC is the new DPA MMC4018 – a modular supercardioid condenser capsule that is an integral part of the company’s d:dicate™ Recording Microphone range. Thanks to its directional pattern, the MMC4018 has an extremely controlled off-axis response and very uniform directional shape (independent of frequency), thus ensuring exceptionally smooth and controlled sound.

Unlike the DPA d:dicate 4017 Shotgun, which includes an interference tube and is therefore more directional at the sides, this new variant offers more consistent rear rejection making it an interesting alternative to a conventional shotgun. While the MMC4017 is exceedingly directional, especially at higher frequencies, the sleek and compact MMC4018 focuses on low noise and high sensitivity, making it more suited to long-distance voice capture.

The DPA MMC4018 is the counterpart to the MMC4018V capsule, which is used in DPA’s popular d:facto™ Vocal Microphone. This means it offers extremely good isolation and feedback rejection, making it ideally suited to applications where clarity and audio quality are critical.

Christian Poulsen, CEO of DPA Microphones, says: “Our new MMC4018 supercardioid condenser capsule expands the flexibility of DPA’s d:dicate range by offering the broadcast, film and music recording industries the perfect microphone for long-distance boom miking, spot miking in orchestras, foley and speech recording. Due to its shorter length, it is very easy to boom in low-ceilinged rooms or to mount in challenging film recording sets such as the inside of cars.”

The modular nature of DPA’s d:dicate Recording Microphone range has enabled the company to expand its remit by entering the installation market. To this end it has introduced new desktop and podium microphones that give AV installers and conference organisers the clear, transparent and precise sound they demand.

DPA’s new MMC4018 capsule is the standard recommendation for the d:dicate podium microphone. By combining the capsule with different active booms and cables, installers can specify the exact microphone for their needs. For example, an MMC4018 capsule combined with an MMP-C compact pre-amp makes an ideal desktop microphone, while the same capsule combined with an MMP-E modular active cable is perfect for applications where the microphone needs to be hung from the ceiling because the preamp only adds 12mm to the capsule – and thanks to its integrated cable it is very inconspicuous.

“Given the flexibility of our d:dicate range, creating a microphone for the installation and conference markets was an obvious step,” Christian Poulsen adds. “We already had the high-end capsule and pre-amplifier technology needed to fulfil the brief, so all we had to do was employ some ingenious mechanical solutions. By doing this, we have been able to adapt our boom and cable technology so that we can deliver installation solutions for a wide variety of applications. Whether this is for a podium, a desk top, a stage stand or even suspended from the ceiling, we have it covered with visually elegant and sonically superior products that boast all the robustness inherent in DPA’s ingenious engineering techniques.”

For more information about DPA’s microphone range, please visit DPA’s IBC stand – Hall 8, D76. Visitors to the booth will also have the opportunity to win a DPA microphone by having their badge scanned and entering a free draw, which will be drawn each day at five pm throughout the show.

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit
www.dpamicrophones.com

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