Archive for September, 2014

SALZBRENNER ANNOUNCES POLARIS EVOLUTION NETWORK AUDIO MIXING SYSTEM

**** Photo: Polaris Evolution ****

**** Photo: Polaris Evolution ****

Los Angeles, CA – AES Booth 1547… Salzbrenner is pleased to announce the North American debut of the network controlled Polaris Evolution cloud-based digital audio mixing system with the Polaris Scala audio DSP unit. Polaris Scala is the node where all aspects of the Evolution system’s simultaneous audio processing operations originate and come together. The Polaris Scala is where controllers are connected via Ethernet or Wi-Fi, resources are allocated for the tasks at hand, and where signal sources and output devices are connected. The system’s radically new cloud-based operations and flexibility usher in a new era in digital audio mixing and processing. more

GC Pro Helps DCP Productions Take Commercials On The Road

DCP_MobileRig

— Boutique Baltimore commercial production house created a mobile production rig that, like their six-suite studio, was built with both equipment and expertise from GC Pro —

WESTLAKE VILLAGE, CA, September 22, 2014 — Don Cherel, the Founder and Director/Producer with DCP Productions, created the iconic Motorcycle Money Man for commercial client GEICO, along with spots for Planet Fitness, the Washington Nationals MLB team and the Washington Capitals NHL team. Now DCP Productions, like their mobile GEICO creation, itself is ready to go on the road, with a flypack rig that will let it shoot, record, edit and mix on location, vastly increasing the boutique shop’s productivity while giving it access to new sights, sounds and talent. And that road rig, like DCP Productions’ six-room video and audio production facility in Baltimore, was sourced with a combination of technology and expertise provided by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

Eight-year-old DCP Productions’ business model is predicated on Cherel’s “concept to completion” notion, which enables clients to work with one entity for concept creation; original music creation; and pre-, field- and post-production. “By simply eliminating the layers of multiple companies in the advertising development process, DCP is able to create content and transform it into quality advertising media much less expensively and faster than traditional ad agencies,” Cherel explains. “That savings is passed on to the client.”

The new mobile rig, which tackles its first official project in July for the next GEICO campaign, is made up of two 12-space racks that hold gear including a Universal Audio® Apollo high-resolution interface, an Avid Pro Tools system with Thunderbolt connectivity, an Avid MC Mix controller, an API 550 EQ, Crane Song Falcon compressor and two Rupert Neve Designs 542 tape emulators.

All of this equipment was sourced through GC Pro Account Manager Mitch Shaivitz at GC Pro’s Baltimore-area office. The mobile rig’s make-up grew from Shaivitz’s conversations with Cherel about what the producer/director wanted to accomplish. “I called up Mitch and said, here’s what I want to do,’ and he came back with equipment suggestions that matched our workflow at the studio,” Cherel explains. “This mix of equipment and systems really make the mobile rig an extension of the studio — our workflow remains the same on the road and in the studio, so the end product is totally consistent.”

“Every product choice was well thought-out,” says Cherel. “With the exception of cameras and lenses, virtually every piece of equipment we have, in the studio and on the road, came through GC Pro. “They have the products and the expertise. But mostly, they get what we’re trying to do.”

For more information, please visit www.gcpro.com.

Hal Leonard Publishes Alan Parsons’ Art & Science of Sound Recording

Alan Parsons and Julian Colbeck to present ASSR, The Book based on the award-winning DVD set at the 137th AES in Los Angeles

Montclair, NJ (September 24, 2014) – Alan Parsons’ Art & Science of Sound Recording: The Book, is a complete rewrite and reappraisal of the award-winning video series. Parsons takes his approach to sound recording to the next level as the book provides ample space to present more technical background information, more detailed diagrams, and more in-depth discussion on each of the twenty-four topics, from “A Brief History of Recording “ to the now-classic “Dealing with Disasters.”

AlanParsons_cover

Written with the DVD’s co-producer, musician, and author Julian Colbeck, ASSR: The Book offers readers a classic “big picture” view of modern recording technology in conjunction with an almost encyclopedic list of specific techniques, processes, and equipment. The Book has a logical flow of chapters, looking at how sound is created and how it behaves before moving on to the different processes of manipulating sound recordings such as EQ, reverb, delays, compression; covering how to work and record with live musicians as well as the art and science that go into the mixing process.

“With the videos we strove to keep you visually and aurally entertained. Now, you can be reading this at home, or in a busy Starbucks, or on a plane… you can read one page at a sitting or one chapter, or just dive in here and there using the index or the glossary,” said Parsons.

For all its heft and authority – authored by a man trained at London’s famed Abbey Road Studios in the 1970s – ASSR: The Book is also written in plain English and is packed with priceless anecdotes from Alan Parsons’ own career working with the Beatles, Pink Floyd, and countless others. Not just informative and packed with colorful pictures, but also highly entertaining and inspirational, ASSR: The Book is the perfect platform on which to build expertise in the art and science of sound recording.

Alan Parsons and Julian Colbeck will present ASSR, The Book at AES in Los Angeles with a book signing on October 10, 2014 at 12 pm in the Hal Leonard booth #1141.

About the authors
Alan Parsons’ recording career got off to a great start with the Beatles when he served as their assistant engineer on Let It Be and Abbey Road. With an illustrious engineering career that included The Dark Side of the Moon, Parsons went on to become one of the most sought-after producer/engineers of the seventies and eighties, scoring No. 1 hits with multiple artists. In 1976, he formed the Alan Parsons Project, enjoying multiplatinum success with hits such as “Eye in the Sky”, “Time”, and “Games People Play”. Parsons remains an active recording artist and producer.

Julian Colbeck was a professional keyboardist for over twenty-five years, working with Yes/ABWH, Steve Hackett, John Miles, and his own group, Charlie. He has also authored a dozen books on music and music technology, including the groundbreaking Keyfax series, and he has written and produced numerous instructional DVDs on recording, live sound, and synthesizer technology. CEO of Keyfax NewMedia since 1994, Colbeck has most recently been on active duty with the creative and advocacy platform Musicians Guild.

Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group – please visit alanparsonsbook.halleonardbooks.com.

Alan Parsons’ Art & Science of Sound Recording – THE BOOK
$49.99 (US)
Inventory #HL 00333735
ISBN: 9781458443199
Width: 8.75″, Length: 11.25″, 272 pages
alanparsonsbook.halleonardbooks.com

Win a Pro Tools Rig from Westlake Pro

Final Week of Westlake Pro’s 30 Days of Giveaways

Los Angeles, CA (September 23, 2014) – Westlake Pro, a leading retailer of professional audio, recording gear, live sound equipment, and technical services is heading into the final week of their month-long September Gear Giveaway and will draw the Grand Prize on September 30.

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Entry remains open until 12:00 noon (PST) on September 30 after which the Grand Prize of an AVID Pro Tools HD Native Thunderbolt System with an OMNI Interface, Pro Tools 11 and a premium AVID plug-in valued at $5498 will be drawn. Entrants can also win daily prizes drawn each day of September. Remaining prizes include a MOTU MachFive 3 software sampler, a Sound Radix Radical Bundle, Sennheiser HD600 headphones, a Mojave Audio MA-201fet, a Universal Audio Apollo Twin Solo, a Zynaptiq Zap Bundle and a Waves Gold Soundgrid Bundle.

Throughout September, Westlake Pro is giving away a total of $17,000 worth of gear from the top brands in pro audio. Winners have already claimed gear from Shure, Zoom, A Designs, Hosa, Rob Pappen, Toontrack, Synthology, Exponential Audio, Focusrite, iZotope, Vienna Symphonic, Slate Audio, JBL, Radial, McDSP, Anglebird, Furman, Spectrasonics, and SSL.

Enter Westlake Pro’s September Sweepstakes – 30 Days of Giveaways here.

About Westlake Pro
Based in Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.

AES Educational Foundation Announces Awards for 2014

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New York, NY, September 18, 2014 — The Educational Foundation of the Audio Engineering Society (AES) has announced the recipients of the 2014 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.

This year the foundation proudly offers a special scholarship marking Bruce Swedien’s 80th birthday and recognizing over six decades of recording artistry. This scholarship is funded by his colleagues, family, fans and friends. The scholarship will aid young recording engineers who believe in putting “Music First!” For more information, visit http://www.swedienscholarship.org.

The inaugural Bruce Swedien Scholarship is awarded to Pawel Leskiewicz, a graduate student in Sound Recording at the Schulich School of Music, McGill University. He earned his BM with honors from the Royal Conservatory of Music, The Hague, Netherlands. Pawel has won top prizes at several international competitions on classical guitar in his native Poland. He has also completed internships with Channel Classics Records and Polyhymnia International (formerly Philips Classics).

Two special grants are being generously provided by HARMAN International Industries to support graduate education in audio. The Board of Directors has decided to renew these grants for last year’s 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 a Ph.D. (EE and Computer Science) 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 Charlotte Desvages, who will earn a Ph.D. in audio and acoustics at the University of Edinburgh. Her previous degrees are from Edinburgh (Acoustics and Music Technology) and Universitè de Caen Basse-Normandie (physics). This award, honoring former AES Foundation President Torick, is awarded to an outstanding student with exceptional career goals.

The John Eargle Award, given annually to a student who excels in both technology and music, is a renewal award for Elizabeth Marston towards her M.M. in Sound Recording at McGill University. Ms. Marston holds a B.A. in Music from Seattle Pacific University.

Javed Hamza receives a renewal award to pursue a Ph.D. in Speech and Audio Processing from Imperial College London, where he also completed his previous degrees. Marlene Mathew earns a renewal award towards her Master’s in Music Technology to NYU. She has a BS in Computer Science from CWPost.

Dziedzic Tomasz is a Ph.D. candidate at AGH University of Science & Technology, Poland, where he also received his M.A.; Tomasz is in the department of Mechanics and Vibroacoustics. Robert Fernandes is studying for an M.M. in Sound Recording at McGill; he has a B.M. from Humber College. Jiayue Wu is a Ph.D. candidate in Media Arts and Technology at University of California, Santa Barbara; she has a BS from the Beijing Institute of Fashion Technology and an MA from Stanford University.

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 awards 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, the families of John Eargle, David Smith and Emil Torick, and the family and friends of Bruce Swedien. 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.

AES to Unveil Its Inaugural “Raw Tracks” Series at 137th Audio Engineering Society Convention

— New series will offer an intimate, behind-the-scenes look at the making of various recordings by influential artists spanning decades and genres —

New York, NY, September 16, 2014 — The Audio Engineering Society (AES) is pleased to debut their new “Raw Tracks” series as part of this year’s Recording and Production Track at the upcoming 137th Audio Engineering Society Convention, taking place October 9-12, 2014, at the Los Angeles Convention Center. This new series features top-name producers and engineers who will discuss and deconstruct influential, classic recordings from some of music’s most highly regarded artists. Attendees can learn firsthand about details of the sessions — the gear that was used, recording technique, and other insightful production information.

Sessions in the new series include:
Recording & Production: RP1 – Raw Tracks: Fleetwood Mac — A Master Class presented by Ken Caillat about the recording of a classic song from the hit album, Rumours.

Recording & Production: RP2 – Raw Tracks: David Bowie — A track-by-track Master Class featuring a classic David Bowie recording, presented by Ken Scott.

Recording & Production: RP3 – Raw Tracks: Pet Sounds — A Master Class by three-time GRAMMY®-winner Mark Linett about two songs – “Wouldn’t It Be Nice” and “God Only Knows” – from the Beach Boys’ seminal album Pet Sounds.

Recording & Production: RP7 – Raw Tracks: Red Hot Chili Peppers — A Master Class featuring Andrew Scheps that explores the classic song “Pink As a Floyd.”

“We are pleased to be able to offer this new ‘behind-the-scenes’ track featuring the names behind the hits. Attendees are in for a truly unique experience – when it comes to learning about how the biggest hits came to life in the studio, there’s nothing like hearing it directly from those who were there,” said Bob Moses, AES Executive Director.

For further information about the Raw Tracks series, FREE Exhibits-Plus badges (pre-registration required), premium All Access badges, Hotel and Technical Program information, and more visit http://www.aes.org/events/137/.

DPA Microphones, Lectrosonics and Sound Devices Host ‘The Sound Summit LA’

Sound_Summit_LA_graphicLOS ANGELES, SEPTEMBER 23, 2014 — On Wednesday, October 8 at The Sportsmen’s Lodge in Studio City, CA (http://www.thesoundsummit.org/la), just prior to the start of the 137th International AES Convention at the Los Angeles Convention Center, DPA Microphones, Lectrosonics and Sound Devices will host The Sound Summit LA event. The three manufacturers represent the pinnacle of the location audio capture side of professional audio, with products commonly used in the field, including DPA’s d:screet™ Miniature Microphones and d:dicate™ 4017B Shotgun Microphone, Lectrosonics’ new L Series and DSW wireless microphone systems and the Sound Devices 664 Field Mixer and rack-mounted 970 64-Track Dante and MADI Audio Recorder.

The event will take place from 3 to 9 p.m., with short technology presentations from the manufacturers at 4 and 7 p.m. Breakout sessions presented by location sound practitioners will take place at 5 and 8 p.m. Additionally, leaders from all three companies; Eric Mayer, president of DPA Microphones, Inc.; Karl Winkler, director of business development for Lectrosonics and Jon Tatooles, co-founder and chief business development officer for Sound Devices, LLC; will be available during the event to discuss the best practices for utilizing all three brands during a production.

Fernando Delgado and his team from Stickman Sound will be in attendance and will demonstrate their unique audio solutions for a variety of hit shows, including UFC’s The Ultimate Fighter (FX) and Top Chef (Bravo). In addition, Daniel McCoy, C.A.S. with ToneMesa, Inc. will be on hand to discuss his equipment and techniques on shows such as Shark Tank (CNBC), The Ellen DeGeneres Show (NBC), Tosh.O (Comedy Central) and Jim Henson’s Creature Shop Challenge (Syfy).

“I have known both Karl and Jon since the mid-90s and we all share the same sensibilities when it comes to meeting the needs of our common marketplace,” says Mayer. “By joining forces, we hope to bring together a large audience that wishes to meet and see our respective products, and to hear the latest and greatest from each of us. This event will be a great opportunity for attendees to meet each other and talk about their experiences in the field using many of the solutions that we manufacture. Think of the Sound Summit as sort of a ‘Meet Up’ for users of DPA Microphones, Lectrosonics and Sound Devices products. I’m confident it will be fun for all!”

“We’re excited about this event because it gives us a chance to get to know the community in a casual, sharing atmosphere,” states Winkler. “We anticipate this taking off rather well, leading, hopefully, to similar events in other large metropolitan areas such as New York, Chicago, Atlanta and other cities along the way.”

Tatooles is equally enthusiastic about the upcoming seminar, “Events such as the Sound Summit are an excellent opportunity for companies, like ours, to meet with our customers, listen to their feedback, share experiences, and learn from them. We are pleased to be an integral part of this program.”

To sign up for this event, please register at http://www.thesoundsummit.org/la/.

ABOUT DPA Microphones
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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, visit www.dpamicrophones.com/en.

About Lectrosonics
Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.

About Sound Devices
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

With the Promise of Audio over IP (AoIP) Fully Realized, Telos Systems Helps Broadcasters Carry High Resolution Broadcasts ‘Anytime, Anyplace, Anywhere’

Greg Shay, Chief Science Officer of Telos Alliance, Describes the Birth of Livewire and How the Industry Has Finally Embraced AoIP Nearly Twenty Years Later

CLEVELAND, September 22, 2014: Greg Shay, Chief Science Officer at Telos, began working on Audio Over IP (AoIP) 18 years ago in order to help the professional audio community close the loop on a pressing challenge: moving large amounts of audio data more efficiently, while retaining sonic quality and integrity. After joining Telos Systems in 1996, Shay worked with Steve Church and Frank Foti of The Telos Alliance to make Audio AoIP a reality, combining the company’s unique technology achievements with existing state of the art switches and network-ing solutions from companies like Cisco.

Greg_Shay_webThe result was a watershed breakthrough for radio broadcasters in 1999 with Telos’ Livewire solution. This enabled end users to dramatically reduce cabling and I/O points, while retaining pristine audio quality and facilitating easier management of their systems infrastructure — which often consisted of anywhere between 100 and 1,000 channels of audio. While it was a long road of innovation, Telos succeeded in solving a widespread industry problem — now, the company estimates that Livewire is present in more than 5,000 broadcast studios around the world. Greg Shay was a key architect of Livewire and an important stakeholder in the development of AES67, the AoIP interoperability standard that was published by the Audio Engineering Society (AES) in September of 2013. In the following interview, Shay describes the breakthroughs and nearly ubiquitous adoption of AoIP.

How did your work on AoIP begin?

My work on AoIP predates my coming to Telos, which was 18 years ago. I developed ‘Digital Audio Work Station’ (DAWS) in the late 1980s and early 1990s as part of a company that was eventually acquired by Euphonix. In the early 1990s, you had this interesting work problem of multiple people in separate control rooms working with DAWS, but no real solution for sharing work among them. So the whole problem of audio networking came about and this planted the seed of how can we move large amounts of audio back and forth by just using the network.

How did the discussion of leveraging the network infrastructure come about?

Livewire_BadgeWhen I first came to Telos and met Steve Church and Frank Foti in 1996, my very first conversa-tion with Steve Church was about this new thing Audio over IP. We thought, wouldn’t it be great if we could do all this audio I/O on the hardware that already exists on computer device plat-forms? Of course back then, network speeds were slow: 10MB was considered fast, and the industry wasn’t very mature so it was a lot harder. So we always had it on our back burner and began waiting for the right opportunity and context of a solution while working on the develop-ment of what would become Livewire. This was about 1998, and we got our patents filed in 2002. Since then, Livewire has been very successful — there have been approximately 5,000 studios built with the technology so far, and many of these include very large ones around the world. In the radio market, it is a leading technology.

When and why did you really see the broad market adoption occur?

Early adopters went ahead and started using it around 2003, because it delivered efficiencies but also saved costs. We were able to outfit many studios because our solution helped end-users minimize required cabling — there was much less I/O involved because you were leverag-ing all that computer horsepower. Then the hump period was around 2005 when the broader adoption occurred. All of the sales were based on specific problems that were being solved. It’s hard to convince people to buy a new product when it is more expensive, but since Livewire saves costs and brings technology innovation, it became much easier.

Our solution had lots of features and worked really well, and setting up installations became so fast. It is very analogous to hooking up computers; the difference of having 100 computers in a building and trying to hook them all up with RS 232 cables and a switching box versus just plug-ging it into the network and it’s done. We got that same kind of efficiency, because a typical radio station facility has hundreds of audio channels — the biggest ones have thousands. The sheer logistics of organizing and dealing with that many audio channels delivers unprecedented econ-omies of scale and along with it, cost savings.

What were some of the ways you were able to manage your own risk in develop-ing Livewire?

From the very beginning, the technology strategy — and this is something that Steve Church was just great at -— was the realization that radio on the whole is a relatively small industry, so let’s not try to do all of our own R&D and not reinvent the wheel. Let’s figure out how to leverage what the giants have done already. So we ended up hitching our wagon to the billions of dollars of R&D the big networking companies had. We had to figure out many things that were never done before, but all the while leveraging these bigger technologies. We accomplished this, and to me, this is the number one reason we’ve been successful. In developing Livewire, we made a num-ber of good technology choices that blossomed and matured over the 12 years.

Where do you think some of the future evolution is going to happen?

I believe the telecommunication companies will eventually lay down more fiber, and we are just riding on that progression and evolution. When we developed Livewire, we chose to use stand-ard IP networks formats — so our equipment is future proof and will work on these huge networks once they are deployed. This is where the real payoff will come on the decisions we made while developing Livewire, and it is also the huge problem that many of our competitors will face who made different choices. I have been giving whitepapers about this particular transition happening inside the studio, which will essentially open them up to the whole world. Interconnectivity is coming, but the missing piece is the telcos have to interconnect more cities with fiber. This is going to happen though. The power of networking will mean that the physical location of where people are and where the equipment is doesn’t matter much anymore. We are already seeing that happen in various ways. There is always going to be a human being at a microphone, be-cause of course it is all about the content. How you get that content to interested listeners how-ever, is up for grabs in terms of the technology.

About Telos:

For three decades, the companies of The Telos Alliance have revolutionized radio and television audio technology. Our goal is to help our clients, from global networks to local stations, produce better programming to improve audience engagement and ratings.

The companies of The Telos Alliance – Telos Systems, Omnia Audio, 25-Seven Systems, Axia Audio and Linear Acoustic – develop game-changing technologies and products that raise the bar for quality and innovation in the radio and television industries.

Powersoft to Present on Advanced Subwoofer Design and its Patented M-Force Loudspeaker Technology at 137th AES Convention

Moving Magnet Linear Motor Technology in Subwoofers Can Deliver Greater Conversion Efficiency and Sound Quality in the Lower Frequency Ranges

Los Angeles, September 22, 2014: Powersoft, a world-leading manufacturer of professional power amplifiers, announced that it will present working methodologies and loudspeaker application scenarios on its patented M-Force linear motor technology, which was introduced at the 136th AES Convention in Berlin [A Novel Moving Magnet Linear Motor: Convention Paper 9060, by Claudio Lastrucci]. The presentation will take place on Friday, October 10th between 2:00 p.m. and 4:30 p.m., and explores applications such as cabinet design using new, electro-dynamic transducers based on a moving magnet linear motor instead of a traditional moving coil.

motorassemblyThe presentation, which will be conducted by Mario di Cola of Audio Labs Systems and Claudio Lastrucci — who both co-authored a new paper for this session — will demonstrate the practical use of M-Force linear motor technology with full measurement results. In the paper presented at the 136th AES, Claudio Lastrucci, Research and Development Director at Powersoft, articulated the benefits of this new technology, including improved conversion efficiency and sound quality in the lower frequency range as well as significantly lower distortion. Additionally, moving magnet technology offers considerably increased power handling, enabling it to reproduce upper bass frequencies with unprecedented level of quality and output. The presentation is open to all AES convention badge holders.

Who:
Mario di Cola, Audio Labs Systems and Claudio Lastrucci, Powersoft

What:
AES Paper Session: P9-4 Subwoofer Design with Moving Magnet Linear Motor

When:
ventedboxdesignFriday, October 10th, 2:00 p.m. to 4:30 pm.

Where:
AES 137th Convention, Los Angeles Convention Center — Room to be announced

To obtain a copy of A Novel Moving Magnet Linear Motor: Convention Paper 9060, please contact the AES online or request to The Audio Engineering Society, 60 East 42nd Street, New York, NY 10165.

About Powersoft:

Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

Image Captions:
1) Moving magnet linear motor assembly with polymeric 30″ diaphragm
2) High output, high quality vented cablnet design

Register for GameSoundCon and win EastWest’s Complete Composers Collection Pro 2!

Only 8 days left to receive $100 off admission to the premier game music and sound design conference GameSoundCon and be automatically entered to win a virtual instrument suite worth up to $5,000.

Click here to get a special coupon to register for GameSoundCon and for the chance to win EastWest Complete Composers Collection Pro 2!

GameSoundCon’s 10th conference will be held October 7-8 at the Millennium Biltmore Hotel in Los Angeles and features two days of sessions, panel discussions and hands-on workshops from over twenty of the game industry’s leading composers, sound designers and audio directors. This year’s featured keynote speaker will be Marty O’Donnell, creator of perhaps the most iconic game soundtrack of the recent era with his work on HALO and Destiny. The conference tracks will cover
* How to Write and Implement a Video Game Score
* How Creating Music and Sound for Games Differs from Traditional Media
* Essential Game Audio Tech
* Game Music and Sound Design Tools
* Integrating Audio Using Game Engines Such as UDK and Unity
* Navigating the Video Game Music Business
* and many more
EastWest sponsors this year’s GameSoundCon with a Complete Composers Collection 2 Pro – don’t miss out and enter to win now!

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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