Archive by PR Guy

Carl Tatz Design Unveils MixRoom™

– The new Carl Tatz Signature Series™ family of control room acoustic modules by Auralex and the acclaimed PhantomFocus™ System monitor tuning protocol are combined to create the
CTD MixRoom™ -

- MixRoom™ first implemented as turnkey professional mixing suite for legendary
engineer/educator Bob Bullock –

Nashville, TN: “The concept of the MixRoom™ was to emulate the look and performance of my award-winning custom control room designs at a fraction of the cost,” announces studio designer Carl Tatz, principal of Carl Tatz Design LLC (CTD), “and I think we’ve more than succeeded with that.”

The Carl Tatz Signature Series™ family of control room acoustic modules by Auralex® (now featured in a dedicated section on the Auralex website and debuting at the NAMM® Show), combined with the acclaimed PhantomFocus™ System (PFS™) studio monitor tuning protocol, according to CTD, renders a mix room, the performance of which is without peer, thereby defining a new generation of performance for the audio professional. The MixRoom can quickly and affordably transform a simple rectangular room into a world-class mixing environment.

“I am blown away with the evolution of Carl’s work in this second room he has designed for me,” quotes multi-Grammy®-winning engineer Bob Bullock. “Carl’s MixRoom™ concept is the future of personal mix rooms. Incredibly accurate and a total pleasure to use, it has reduced my mixing time dramatically, and with today’s reduced budgets that’s a big thing!” Bullock states. “In my career, I have been privileged to work in studios all over the world, but my experience using the MixRoom trumps them all – and at a very affordable cost.”

Ancillary gear for Bob’s MixRoom includes studio furniture by Argosy Console, featuring the PFS-compliant Dual 15-800 work station, two RR-H10-M Rack ‘N Roll equipment modules and SDT3-C-B Directors Table; Dynaudio Professional M1 monitors and Bryston SST 4B Amplification.

“We’re honored to work with Carl Tatz, one of the top studio designers in the industry, on this exciting new Auralex offering. This new series makes Carl’s signature style easy and affordable enough for any serious studio owner. Now virtually any room can benefit from the same aesthetic and sound control enjoyed by top hitmakers like Rascal Flatts and others,” says Eric Smith, founder and president of Auralex Acoustics.

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Genelec Winter NAMM 2013 Press Kit

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Audio-Technica Winter NAMM 2013 Press Kit

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Auralex Winter NAMM 2013 Press Kit

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Aphex Winter NAMM Press Kit

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The Recording Academy® Producers & Engineers Wing® Announces Sponsors for GRAMMY® Week Event “An Evening Of Jazz” Honoring Multiple GRAMMY Award Recipients Quincy Jones and Al Schmitt

Audio Industry Leaders Support the Sixth Annual P&E Wing GRAMMY® Week Celebration at The Village Recording Studios in West Los Angeles

Annual Gathering Recognizes Achievements and Contributions of the Music Industry’s Production Community

The Recording Academy® Producers & Engineers Wing® will celebrate its sixth annual GRAMMY® Week event, titled “An Evening of Jazz,” honoring 27-time GRAMMY® winner and multi-talented music producer Quincy Jones and 18-time GRAMMY-winning engineer and producer Al Schmitt for their commitment to excellence and ongoing support for the art and craft of recorded music. The invitation-only event will be held on Wednesday, Feb. 6, 2013, at The Village Studios in West Los Angeles. GRAMMY Week culminates with the 55th Annual GRAMMY Awards® on Sunday, Feb. 10, 2013, airing live on the CBS Television Network, at 8 p.m. ET/PT.

Premiere sponsors of the event from the Professional Audio and Musical Instrument market sectors include industry leaders Avid®, HARMAN® Professional brands (AKG® Acoustics, JBL® Professional and Lexicon®), iriver, Iron Mountain, Music Marketing, PMC, Ltd., Presonus, Shure Incorporated, and Ultimate Ears by Logitech. Additional sponsors will be announced soon.

“The Producers & Engineers Wing provides a voice for the producers, engineers, remixers, manufacturers, technologists, and other related creative and technical professionals who work, often behind the scenes, in the recording field,” states Maureen Droney, Senior Executive Director of the P&E Wing. “This year’s honorees, Quincy Jones and Al Schmitt, are legendary in the music industry for their commitment to excellence, and we are very proud to be able to celebrate their achievements. The contributions of our sponsor partners, all of whom support the art and craft of recorded music and are dedicated to excellence in their areas of expertise, make it possible to produce this event. Thanks to them, we are again looking forward to presenting the kick-off evening for another exceptional GRAMMY Week.”

For updates and breaking news, please visit www.grammy.com, and The Recording Academy®’s social networks on Twitter and Facebook: www.twitter.com/thegrammys, www.facebook.com/thegrammys.

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Auralex® Helps Producer Glenn Rosenstein Control Sound for the Best-Selling Advent at Ephesus Album by the Benedictines of Mary, Queen of Apostles

— Producer Glenn Rosenstein faced a critical noise transmission issue when he went on location to the Benedictines of Mary, Queen of Apostles priory to record Advent at Ephesus, and Auralex® Acoustics had the exact isolation solution, allowing a perfectly noise-free recording —

Advent at Ephesus has become a true phenomenon – the recording by the Benedictine sisters of the Mary, Queen of Apostles priory – has reached number one on both the Billboard and Barnes & Noble Classical music charts and number four on the Amazon chart. These flawless recordings of traditional chants and carols, which were made at the Catholic sisters’ monastery near St. Joseph, Missouri, by Producer Glenn Rosenstein and engineered by David Schober, presented a unique acoustical challenge – one that was easily overcome thanks to a unique product from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary.

Rosenstein realized that the sisters’ remote abbey would have noise transmission issues as vibrations traveled through the wooden floors and into the microphone stands he was using to hold carefully matched pairs of Sony, Neumann and Miktek microphones. To solve the problem, Rosenstein looked to Auralex’s ISO Series™(Instant Sound Optimizers) PlatFeet II microphone stand isolation pads. The PlatFeet II are the most effective tool to “float” a microphone stand, improving clarity while reducing feedback and preventing structure-borne vibrations before they transfer to the microphone.

“I like to look for projects that are outside of my box,” says Rosenstein, whose eclectic range of work has earned him three GRAMMY® Awards, five GRAMMY nominations and both an OSCAR® and a Golden Globe award for production, engineering and mixing for artists including U2, Madonna, Talking Heads, Livingston Taylor, Ziggy Marley, James Taylor, Carly Simon and more.

Eric Smith, Auralex’s Founder & President, had stopped by Rosenstein’s Nashville recording studio several months before he was called to work on the Benedictines of Mary project. He was intrigued by the challenges of the project and proceeded to show Rosenstein Auralex’s recently expanded line of acoustical control products, including the new PlatFeet II.

“The priory is an incredible building and has a great natural sound, but I knew immediately that those Auralex pads were what I would need to make sure the microphones were completely isolated,” Rosenstein explains. “And that’s exactly what they did – the sound was recorded flawlessly, no mechanical noise at all through the microphone stands. These are products that are simple yet effective, and that I’ll be using again on projects in the future.”

Eric Smith added, “I was very eager to show Glenn our new acoustic isolation offerings. I knew he would appreciate what they can accomplish and immediately put them to good use. I am not surprised that his work on such a unique project – the Advent at Ephesus album – has turned into such a phenomenon, and I am thrilled that Auralex could help solve the recording’s special challenges.”

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

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Aphex® Model 188 and 1788A Mic Pre’s Shape the Sound of 12-12-12 Concert for Sandy Relief

— Longtime Aphex® users Music Mix Mobile (M3) choose Aphex as the backbone of the audio system at all-star benefit —

The 12-12-12 Concert for Sandy Relief raised in excess of $30 million, according to its non-profit charity organizer, the Robin Hood Foundation, and delivered more than three hours of music by some of the biggest names in the business to a global television and streaming audience of two billion. Every single note of music performed onstage at New York’s Madison Square Garden passed through Aphex® Model 188 and 1788A eight-channel remote controlled microphone preamplifiers, provided by Music Mix Mobile (M3), the New Jersey/California-based remote recording, mixing and production company that supplied the music mixing trucks and expertise for the 12-12-12 event.

The 12-12-12 Concert for Sandy Relief featured musical talent from both sides of the Atlantic, including Paul McCartney (who performed a tune with the surviving members of a reformed Nirvana), Bruce Springsteen and the E Street Band, Bon Jovi, Roger Waters, Eric Clapton, the Rolling Stones, The Who, Kanye West, Billy Joel, Chris Martin with surprise guest Michael Stipe, and Alicia Keys. Celebrity announcers included Kristen Stewart, Billy Crystal, Chris Rock, Jon Stewart, Stephen Colbert and Jimmy Fallon, among others.

According to Pete Gary, Engineer-in-Charge, M3 fielded two trucks: “Voyager”, based on the East Coast, and California-based “Horizon”. Music mixers John Harris and Bob Clearmountain mixed alternate performances throughout the evening, aided by Jay Vicari, who mixed Billy Joel and Bon Jovi. M3 partner Mitch Maketansky was audio coordinator for the event, which was delivered to the audience at the Garden by Red Hook, NY-based Firehouse Productions and in the U.S. was broadcast over 37 television networks, live streamed from numerous web sites and simulcast into movie theaters nationwide.

“Every input that you heard on the show hit an Aphex,” stated Harris. Gary added, “Voyager had 120 channels of Aphex 188 mic pre’s, and Horizon was running 112 channels of 1788As. Our main infrastructure for the show was built around Aphex. They’re reliable and they’re clean. We didn’t want the sound to be drastically different between acts and trucks, and they don’t color the sound too much, unlike other mic pre’s, so you can do a lot with that front end. The Aphex pre’s made everything easy — like always!” says Gary, noting that M3 originally adopted the Model 188 in time for the 2009 GRAMMY® Awards broadcast, shortly after it was introduced.

At Madison Square Garden, artists were set up on a rotating turntable divided into stages A and B, alternating from one performance to the next. “We had two guys per stage dialing all of the mic pre levels independently, storing them, and making sure the recalls came back exactly as saved,” Gary continues. “When the table would turn for the next performance, we would flip over to the other truck.”

Harris observes that the recall abilities of both models of Aphex preamp were critical to the delivery of a consistent mix throughout the evening. “Over the days of soundcheck and rehearsal, once we got all the mic gains set perfectly we were able to store settings in the units. Each time the stage turned around we would hit the recall button and—boom—all the settings come back exactly the way they were stored at rehearsal. We were on the air in seconds with the exact same settings that we had from days before.” Harris further notes that every signal not only passed through an Aphex mic preamp but also through each unit’s A-to-D converters.

Gary elaborates, “All of the inputs from the stage were fed via analog splits and fanned out to our Aphex racks. We then changed the Aphex Toslink into a MADI stream and transmitted everything over fiber to the trucks. It’s the absolutely cleanest signal path that we could produce to get to the trucks 1,500 feet away, five floors down and out on Eighth Avenue. The networking protocol made it super easy to integrate into our systems and network the entire infrastructure together. On one network, from one master computer, I could view the entire network of mic pre’s from the truck, because of their TCP/IP addressing.”

Aphex CEO, David Wiener, was on hand, both in the M3 mobile studios and backstage lending support. “John, Joel, Mitch and the rest of the M3 crew did a fantastic job as usual. Their talent and mobile technology is really impressive – that’s why they do all the big jobs – and it’s a real compliment that Aphex is the backbone of so many of these major events and broadcasts.”

With so much production equipment on the deck and a constant stream of backline gear being staged for each performance, the compact size of the Aphex Model 188s, at just a single rack space per eight channels, was also beneficial, according to Harris. “As well as being so great sounding, the 188s are so small that we were able to get all 120 channels into just one corner of monitorworld there on the floor of the Garden. Sometimes it can be important to get everything into a small footprint.”

More importantly, concludes Harris, “The Aphex mic pre’s have always been 100 percent dependable. You’ve got to have that on a show where you’re broadcasting to two billion people. Aphex is the sound of 12-12-12!”

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Waves Audio Announces AAX Native Support

NAMM SHOW, ANAHEIM, CA, January 24, 2013 — In response to user requests, Waves Audio (booth 6824) announces support for the AAX Native plugin platform. Waves has always strived to support as many plugin platforms as possible, including VST, RTAS, TDM, AudioUnits and others. With this new development, Waves plugins now support the AAX platform, used by Avid HDX systems.

“AAX Native support has been a frequent suggestion from users,” Gilad Keren, Waves CEO and co-founder. “We are happy to respond to market demand with this new compatibility.”

Ed Gray, Director of Partnering Programs for Avid remarks, “Waves’ arrival onto the AAX platform with its AAX Native plug-ins is great news for our mutual users of Pro Tools 10 and Pro Tools HDX. The range and quality of processors offered by Waves remains superior, and AAX compatibility will make Waves plug-ins an obvious addition to new and upgraded Pro Tools systems. We are grateful for this support.”

Visit www.waves.com for more information.

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Waves Audio Introduces GEQ Graphic Equalizer Plugin

NAMM SHOW, ANAHEIM, CA, January 24, 2013 — Waves Audio (booth 6824) introduces its GEQ graphic equalizer plugin. Developed primarily for live users (but sure to find a home in the studio as well), GEQ features selectable cut and boost at 1/3 octave intervals, using two unique filter types.

GEQ Features

Classic component with proportional Q
Modern component with independent non-interactive filter types
30 ISO bands
6 dB, 12 dB, 18 dB selectable cut & boost
Independent HPF, LPF and a parametric bell per side
Zero latency
2 input RTA with external input options
RTA input difference mode with auto-suggest function
Link L/R
Touch Support with Fader Draw functionality

The GEQ Graphic Equalizer Plugin will be available soon with U.S. MSRP TBA. Visit www.waves.com and www.waveslive.com for more information.

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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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