Archive of the People Category

At Skaggs Place Studio in Nashville, Ricky Skaggs Depends on Neumann KH 120 Monitors to ‘Tell the Truth’

Nashville, TN – July 12, 2012: Once again, multiple GRAMMY winner and Christian artist Ricky Skaggs has been hard at work with “the boys” — his longtime band Kentucky Thunder, which have been playing bluegrass music alongside him for over 15 years. Each time Skaggs and his band enter the studio — usually at his own “Skaggs Place Studio” — the resulting music pays homage to the early trailblazers of bluegrass music, while forging entirely new paths within the seemingly timeless genre.

As an artist, Skaggs is wholly committed to authenticity and detail in his recordings. He is an avid collector of vintage microphones and esoteric gear, and constantly in pursuit of the latest sonic building blocks that will help make his recordings stand the test of time. The latest addition to his studio? The new Neumann KH 120 studio monitors. We chatted with Ricky to learn more about his recent projects, and why it’s important to have a loudspeaker that tells the truth…..

What have you been up to lately?
“Me and the boys [Kentucky Thunder] have gotten together and will be putting out a bluegrass record — the first one since Honoring the Fathers, which we recorded several years ago. We’ve cut two days of tracks, about six songs on which we are now working on overdubs. In the coming weeks, we will be doing more tracks, as well as singing and overdubs. For this record, which will have a lot of variety, I’ve brought in Gordon Kennedy [producer] for moral support. I really wanted him involved because I didn’t want it to be just another bluegrass record. Gordon is able to bring some input and creativity that I wouldn’t necessarily think to bring to the project. Beyond this, I’ve been working on a live CD of Bruce Hornsby and myself. Last time we toured, we did a lot of live recordings on the road and we’ve been going through those live shows and hope to get a record out soon.”

Tell us about your first experiences with the Neumann KH 120 monitors
“When I found out that Neumann was doing monitors, I knew they wouldn’t do anything unless it was excellent — because they have never done anything outside of excellence. If it was Neumann, it was going to be great. I first heard the KH 120s out at Winter NAMM and I was just blown away. I really loved what I was hearing. There is something in the midrange that highlights the acoustic instruments and strings, and the highs are not too bright or harsh. Finally, I just can’t believe how small they are and how great they sound.”

How about the low end?
“Typically it is a little bit harder to define the low end, but everything translates great through the KH 120s. In general, I was really impressed and surprised with their performance given their small size, and could not believe that that such clarity in the low end could be achieved without a subwoofer. The low end of my mixes sound tighter now — and in bluegrass, this is important on instruments like the upright bass and the acoustic guitar. We know that when we get to the mastering facility, that the entire low end will be nice and tight.

Why is the crossover important and how does the KH 120 perform in this regard?
“For any instrument that occupies the midrange, you’ve got to have crossovers that are extremely quick, smooth and transparent. The crossover on the Neumanns is very smooth and you can really hear this on acoustic guitars and mandolins. This is exactly what I hear from the KH 120s, and highlights the thing that I love most about them: the midrange. My instruments sound like I know they should.”

Why have the KH 120s earned a place at Skaggs Place Studio?
“I want the safety net of having a great monitor system — it takes the guesswork out of recording and mixing, and you can be more confident in what you are putting down to tape. I know the low end is there, as well as the mids and the highs. Nothing is falsified and it is the real thing. I don’t like cutting any corners — especially in the recording studio. Once you cut something and put it out, it is out there forever. As an artist, I want to make sure that the recording represented the best that I could be at that moment in time.”

You are no stranger to Neumann. Tell us about your collection of Neumann microphones

“My history with Neumann goes back a long way, and to me, the company’s microphones represent the gold standard. I have a U 47 that was once used by folks like Dolly Parton, George Jones and Johnny Cash. I also have two U 69s, which we use on everything including the piano on the recent Bruce Hornsby recording. I bought some KM 64s years ago that had been owned by a traveling gospel band, The Happy Goodman Family. My Neumann KM 66, an early version of the KM 86, is our all-time favorite guitar mic. I also use and appreciate the newer Neumann microphone models such as the TLM 102, TLM 103 and of course the M 149 and U 87.”

Photo captions:
1. Ricky Skaggs, pictured alongside the Neumann KH 120 monitor
2. The Neumann KH 120 monitors are the latest edition to Nashville’s Skaggs Place Studio

Sennheiser’s Mentorship Program Immerses Students in Top Flight Broadcast Environments, Courtesy of HBO and Fox Sports

Old Lyme, CT, July 11, 2012– Since 2009, when audio specialist Sennheiser launched its Mentorship Program to help encourage the next generation of audio engineers to enter the field of televised sports, the company has initiated collaborations among a variety of higher education institutions and professional broadcast networks. For its most recent mentorship program, Sennheiser selected students Zachary Templin, from the New England Institute of Art in Boston, and Shawn Brewer, from the Conservatory of Recording Arts and Sciences near Phoenix, to participate in covering the Mayweather vs. Cotto fight by HBO Boxing and NASCAR’s Coca-Cola 600 race by FOX Sports, respectively.

According to Randy Flick, senior audio mixer, HBO Boxing, immersing a student for several days in the setup and broadcast of a major sports event provides an experience that simply cannot be provided by the majority of audio schools. “You’ve got to have a grasp of all the technology in your head before you can even think about getting into a show,” says Flick. “Zach proved to be a great asset, and my senior RF guy, Lloyd Jacobsen, was very impressed with him.”

Templin got hands-on experience with two set-ups for the broadcast, one for the weigh-in and another for the fight, and was also introduced to the importance of the communications systems. “Randy placed an emphasis on covering the intercom system, which was the biggest mystery to me and is the backbone of any broadcast,” recalls Templin. “The A2s — Lloyd, Shep and Paul — covered RF, PLs, and IFBs with me, and taught me how to make sure they are set correctly for each different position.”

Broadcast Talent for Hire
For Jason Cohen, director of live events, HBO Sports, Sennheiser’s Mentorship Program serves to increase the talent pool in the industry. “But, altruistically,” observes Cohen, “it allows us to use the power and the tools that we have and give these young, aspiring, career-minded audio technicians the experience and learning that many of us were not fortunate enough to have when we were younger.”

“This is an initiative that is really on the shoulders of Sennheiser,” Cohen adds. “Sennheiser has to research and interview and weed through the potential candidates; they have to put their name behind the person; and they pay for their expenses and their time. We do the easy part — we just let them in our door!”

Fred Aldous, audio consultant and senior mixer for FOX Sports, notes that there is a big difference between the typical training a student receives at an audio school and an event such as the Coca-Cola 600. The long-distance race, one of the most-watched on the NASCAR calendar, was broadcast from Charlotte, NC last May. “It’s a bit overwhelming when students emerge from the nice, protected environment of a recording studio into this hostile live environment on the road,” says Aldous. “I don’t think even people in the industry know or understand what it takes to put together a show of this magnitude.”

The many benefits of giving back
Aldous says he became involved with the Mentorship Program because he believes in giving back. “When I was younger, I would have liked to have had somebody to spend a weekend with, and get an idea of what happens behind the scenes. That’s why I do it; I want to give somebody the opportunity to get a head start on a possible career.”

The race broadcast was done in conjunction with NASCAR, conducted onsite from Game Creek Video’s FX truck. During his three days on-site at the racetrack, Brewer was introduced to the main audio production room as well as the track effects and competitor communications submix positions, head-end patchbays, announce booth, track effect microphone setups and communications systems. “It was really valuable to be able to get into an actual broadcast event and see what kind of equipment they’re using, how fast everything moved and what actually goes into running a race of that caliber,” says Brewer.

What particularly struck him, Brewer says, was the change in tempo of the calls Aldous had to listen to from the producer, a director and associate director from the practice sessions and qualifying, on SPEED, to the race, which was broadcast on FOX. “During qualifying it was kind of laid back; there weren’t as many calls coming through. But when the actual race started it was a mile-a-minute. They were moving just as fast as the cars were!”

Photo captions:
1) Fred Aldous, A1 and senior mixer for FOX Sports, pictured alongside the Conservatory of Recording Arts and Sciences student Shawn Brewer.

2) Zachary Templin of New England Institute of Art participated in covering the Mayweather vs. Cotto fight by HBO Boxing.

3) Randy Flick, senior audio mixer, HBO Boxing, pictured alongside student Zachary Templin of New England Institute of Art.

Sennheiser Silent Disco brings interactive club atmosphere to The Governors Ball Music Festival

New York– July 9, 2012 – Audio specialist Sennheiser hosted a Silent Disco during The Governors Ball Music Festival on Randall’s Island on June 23 and 24. Thousands of festival-goers donned Sennheiser RS 120 wireless headphones and danced under a ‘big top’ tent to energetic mixes from international DJs. To onlookers, it appeared as though participants were dancing in silence as the mixes could only be heard by those wearing Sennheiser wireless headphones.

“The Sennheiser Silent Disco was one of the festival’s biggest draws,” said Tammi Montier, senior vice president of partnership marketing for Revolution Marketing, who worked closely with Sennheiser and The Governors Ball Music Festival to host the event. “At a festival like this, there is always dancing by the stages while the bands are playing, but there are plenty of people who want to interact with friends and express themselves in more of a dance club experience — it creates a memory. With Sennheiser running the silent disco, it heightens the quality of the experience for music fans while bringing even more credibility to the festival as a whole.”

The Sennheiser Silent Disco began at 2:00 p.m. on each day of the festival. International DJs such as Nobody Beats the Drum, Cont^ct, DJ Sookai and Hype Machine pumped out mixes for 10 hours straight each day before the festival closed at 11:00 p.m. each night. During the evening hours, the silent disco tent was illuminated with strobes, colored lights and a mirrorball, adding a psychedelic visual touch to the audio experience.

Amsterdam-based act Nobody Beats the Drum, longtime users of Sennheiser’s legendary HD-25 DJ headphones, gave headline performances each day and were enthusiastic about the event: “I really like the vibe,” commented Sjam Sjamsoedin, one third of Nobody Beats the Drum. “It is a very intimate style of performance where everyone hears exactly what you are doing. As far as our equipment is concerned, we’ve been using Sennheiser HD 25 headphones for ages and prefer their quality both in the studio and on the road. The one I am using is 11 years old — the entire frequency range holds up and they just don’t distort.”

Sennheiser is in a unique position of being able to provide a complete solution at silent discos such as this, which are becoming more popular at top-level music festivals around the world. “For an event like this, we are able to provide not only premium wireless consumer headphones, but also professional wireless systems that are used by top touring artists around the world,” said Tim Moore, artist relations manager at Sennheiser’s U.S. headquarters. “Both of these products work seamlessly together to offer a complete solution for the Governors Ball NYC, or any other large festival.”

Photo captions:
1. Sjam Sjamsoedin of Nobody Beats the Drum works the Sennheiser Silent Disco on the first day of The Governors Ball Music Festival.
2. In the evenings, the Sennheiser Silent Disco was illuminated with a mirror ball, colored lights and strobes, adding a psychedelic visual element to the audio experience.
3. Sjam Sjamsoedin and Jori Collignon of Amsterdam-based DJ act Nobody Beats the Drum are long time users of Sennheiser’s HD 25 headphones.

Renowned Psy-Trance Group Infected Mushroom Takes Music to the Next Level with SmithsonMartin Emulator

HOLLYWOOD, June 28, 2012— Multi-touch software developer SmithsonMartin Inc., announced that renowned Israeli trance band Infected Mushroom is using Emulator DVS to enhance the stage performance of the band’s current world tour.

Infected Mushroom has been pushing the edge of electronic psychedelic trance music since the duo emerged on the electronic music scene with its ground-breaking 1999 album, The Gathering. Known for its combination of analogue and digital instruments and vocals in the evolving psy-trance sub-genre, the group recently turned to SmithsonMartin’s Emulator DVS to makes its live show more technically and visually stunning.

The Emulator DVS, which was introduced in November 2011 as the next generation of DJ systems, provides a multi-touch MIDI control interface on a huge transparent screen to artists. For electronic artists, the software and technology offers the ability to customize the multi-touch layout of the screen so it fits to the artist, rather than forcing the artist to conform to it.

“In the beginning, we thought it might just look cool, but it’s actually useful,” said Erez Eisen, one-half of Infected Mushroom. “This is obviously the only product that does and looks something like that.”

With a futuristic stage design by Vita Motus supported by 3D visuals by another company using Emulator, V-Squared Labs, Infected Mushroom found Emulator DVS fit right into the atmosphere they were trying to create while also offering a unique control experience provided by no other system. Reliable and flexible in its design and application delivery, Emulator Modular has transformed electronic music and provided Infected Mushroom with a system that has prompted spectacular reviews from audience members and critics alike.

“It’s open. You can do whatever you need. If you need the basic stuff for DJ-ing, it has presets ready, which is great. If you want to go beyond that and do crazy controlling, you design your own interface. It’s simple with drag-and-drop,” said Eisen, who is planning on adding two more Emulator DVS units to his repertoire for studio recording purposes.

WATCH FULL INTERVIEW HERE: http://youtu.be/jvgGPfXeLGA

In the future, Infected Mushroom plans to expand on its use of the Emulator DVS platform for modular synths and to continue using it to enhance the futuristic multimedia atmosphere of its live shows.

“It’s not just beauty. It’s a really, really powerful tool,” Eisen said. “I learned the tool in two days while I was doing other things. I don’t know how I didn’t have it before.”

Sennheiser Appoints Andrew Kornstein as House of Worship Market Development Manager

Old Lyme, CT – June 15, 2012: Audio specialist Sennheiser [InfoComm 2012 booth C9736] announced that Andrew Kornstein has been appointed to the position of House of Worship Market Development Manager, effective immediately. In his new position, Kornstein will be responsible for identifying and driving opportunity for Sennheiser in the U.S.-based HOW (House of Worship) market. He will report directly to Dawn Birr, Vice President Sales & Marketing, Integrated Systems, Sennheiser.

Kornstein, who brings eight years of HOW A/V experience to his new role at Sennheiser, has applied his expertise at a broad range of worship environments, including mega-churches. As Worship Market Development Manager, he will be tasked with raising awareness of Sennheiser’s product line within the HOW market as well as engaging churches and worship facilities to help them find Sennheiser products to improve their overall ministry and worship experience.

“Andrew comes to us with several years of HOW audio and business experience. We are pleased to have him join the Sennheiser team,” Birr commented. “I believe our HOW end-user customers will find Andrew to be both very capable and personable. Additionally, he brings incredible enthusiasm to his role, which I believe our customers will find inspiring.”

Kornstein, who will be based out of Kansas City, MO, has been using Sennheiser products in HOW environments for many years and is very familiar with the entire product line. “I believe in Sennheiser products,” stated Kornstein. “They have always been my preferred product of choice in both microphone and wireless applications, and I have firsthand experience of their quality and performance in many different worship scenarios.

“I am very interested in not only raising awareness of Sennheiser in the entire church market, but also in helping communicate how Sennheiser solutions can improve the overall worship experience,” he continued.

Caption:
Andrew Kornstein, House of Worship Market Development Manager, Sennheiser

DPA Microphones Appoints Eric Mayer as President of U.S. Operations

DENVER, CO, JUNE 7, 2012 – To strengthen its market position further in the Americas, DPA Microphones has chosen Eric Mayer to serve as president of the company’s U.S. operations. A fixture in the pro audio industry for more than two decades, Mayer will utilize his expertise in the market to help the company continue its growth stateside.

Eric Mayer, President of U.S. Operations for DPA Microphones

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Moog Music Celebrates Namesake Pioneer with One Day Birthday Promotion Event to Benefit Bob Moog Foundation

ASHEVILLE, NC, May 21, 2012 — In celebration of Bob Moog’s 78th birthday Moog Music, Inc. will donate 50% of all online clothing and merchandise sales on May 23rd to the Bob Moog Foundation. For every $350 raised, the company will also donate one Etherwave Theremin to the Foundation’s educational initiative, Dr. Bob’s SoundSchool, to complete the DBSS Educational Kit that is provided to each participating school. Dr. Bob’s SoundSchool teaches elementary school students the science of sound through the magic of music.

Moog Music will feature a brand new line of product-inspired apparel boasting graphics bold enough to induce a geekfest for synth enthusiasts everywhere. DVDs, CDs, mugs and other ephemera will be part of the benefit promotion.

Moog Music clothing and merchandise can be purchased from the company’s online store: www.moogmusic.com/products/clothing and http://www.moogmusic.com/products/Merch

Moog instruments are not included in this annual fundraising event for the Bob Moog Foundation.

The promotion was created to include Moog customers around the world in the company’s support of the Bob Moog Foundation’s educational outreach efforts. Dr. Bob’s SoundSchool is a STEAM-based initiative, combining science, technology, engineering, art and math. It brings the late inventor’s work and spirit alive for children by teaching the physics of sound through intuitive engaging educational materials, including the theremin.

“Moog Music and our customers celebrate Bob’s pioneering legacy. In a time when science achievement is declining in this country, we are proud to support the Bob Moog Foundation in their efforts to bring science alive through electronic music. We invite all of our customers to make a purchase online on May 23rd and support the Foundation’s important work,” said Mike Adams, Moog Music President & CEO.

Moog Music, Inc. is the world’s leading producer of innovative analog synthesizers. The Bob Moog Foundation is an independent non-profit organization with a mission of igniting creativity at the intersection of music, science and innovation.

Read more about Moog Music at www.moogmusic.com
Read more about the Bob Moog Foundation at: www.bobmoogfoundation.org

Sennheiser Appoints Alexander Schek Vice President Sales, Latin America

Old Lyme, CT – May 2, 2012: Audio specialist Sennheiser announced that Alexander Schek has been promoted to vice president sales, Latin America, effective immediately. In his new position, Schek will be responsible for Sennheiser’s sales strategy across each of its business lines, as well as managing the company’s area sales managers within the Latin American region. He will report directly to Markus Warlitz, general manager, Latin America.

Schek began his career with Sennheiser in 2009 as area sales manager for Central America and the Caribbean, where he was responsible for managing Sennheiser’s business across each of its divisions. In this role, he was very successful in increasing the overall distribution of Sennheiser products across Central America. As Vice President Sales, Latin America, Schek replaces Oliver Baumann who left Sennheiser in March.

“As one of the fastest growing economies in the world, the Latin American region represents a very important part of Sennheiser’s international growth strategy,” commented Markus Warlitz. “During his tenure at Sennheiser, Alexander has achieved remarkable sales performance while also possessing drive to take our business to the next level in Latin America. I congratulate him on this well deserved promotion.”

A German citizen who grew up in Brazil and Chile, Schek has an acute understanding of the Latin American market and business culture in addition to over a decade of executive level sales experience in the Consumer Electronics and Audio Industry. He holds a degree in Marketing from the University de las Américas, Santiago de Chile. Alexander is located in Miami, FL and will travel to the Latin American region on a frequent basis.

NYCTaper, Archivist of New York’s Live Indie Music Scene Captures the Best of Austin’s Music Festival with Sennheiser

Austin – April 11, 2012: Since starting his NYCTaper website in the mid-nineties, Dan Lynch (a.k.a. NYCTaper) has been recording and streaming hundreds of recordings over the Internet, reflecting the best that New York City’s live indie scene has to offer. Lynch, who strives to make the listener feel like he or she ‘was actually there,’ is well known to indie music lovers in New York City and well beyond — his listening audience extends from not only major U.S. metro cities like New York, Los Angeles and Chicago, but to more distant geographies such as Japan, Europe and the far reaches of Australia.

While his own backyard is New York City, NYCTaper decided to capture the best of what Austin had to offer during its famous music week last month — listen to some of the results here. Armed with a pair of Sennheiser MKH 8040 cardioid microphones, his HD 280 closed back headphones and a trusty Edirol digital four-track portable recorder, he became “AustinTaper” for a week and recorded some of the best live set lists south of the Mason Dixon line.

What did you record while in Austin?
I have a pretty good relationship with Brooklyn Vegan over the years and the list of bands they were hosting was impressive. So I set up at Hotel Vegan in the afternoons and at the Impose Magazine parties during the evenings and recorded everything I could. In terms of genre, I am particularly drawn to indie rock but I also like any artist that has talent, imagination and something a little different than all the other music out there. For me, it can’t be a formula or promoted by any particular product — I want to see original talent.

What are some of the challenges you encountered in Austin versus what you’re used to in New York City?
Well, there is obviously a lot of extraneous noise when you are recording outdoors. The Sennheiser MKH 8040s are cardioid microphones and this makes them perfectly suited for this kind of thing. Normally, you’d have wind noise to deal with, but this was not an issue since the 8040s have a cardioid pattern and also come with these gigantic windscreens, which are very useful. Wind noise aside, there is not much you can do about the typical chatter you hear during these outdoor type shows, as well as some of the extraneous noise coming through from neighboring stages, but the pattern on the 8040 helped minimize these issues as much as possible.

Did you get a chance to audition the 8040s before you left for Austin?

Yes. Just before I left, I did back-to-back shows in New York City: I recorded Sharon Van Etten at the Bowery Ballroom and Craig Finn from The Hold Steady at Mercury Lounge. I used only the two channels of 8040s in both of these rooms, which I happen know very well, and they worked great. A typical problem I get in some rooms are reflections you get from the ceiling — which sound very ‘claustrophobic.’ With the 8040s, it was the first time I heard my recordings without these annoying reflections. So I knew they would work perfectly well in Austin well before I left.

What was your specific set up during each performance?
I had two Sennheiser MKH 8040s mics set up about eight inches apart in a 110 degree pattern on a stand, which was approximately 8 feet high. In addition to the two live mics, I sourced the left and right main mix feeds via direct outputs from the board. My recorder is an Edirol R44 4-track recorder with modded preamps, and I was capturing 24-bit audio. I was monitoring the recordings through my Sennheiser HD 280s, which are closed back, over the ear headphones.

How did the MKH 8040s perform on the ground in Austin?
First off, there was absolutely no issue capturing the high sound pressure levels on these mics — they can handle anything you throw at them and I have experienced virtually zero distortion. I am getting an extremely clean signal, and in terms of frequency response, the MKH 8040 delivers a sweet and crisp lower end and the highs are very tight. In general, the frequency response was so good that I didn’t have to EQ at all. The mic had basically a zero signal to noise ratio and there was no handling noise or self noise. Ultimately, the combination of the 8040’s cardioid pattern and its ability to perform without any audible distortion makes it the right mic for this kind of festival recording.

Tell me about your monitoring setup while you’re in the field.
For what I’m doing, maintaining isolation is very important because there is just so much noise happening all over, and to that end, I just can’t say enough good things about the Sennheiser HD 280s. Using these headphones, it was the first time I’ve ever recorded a show where I could only hear what was coming through the mics and the board — you are literally inside the cans and I love that. This means I can focus much more, because now I can hear what I’m doing and adjust things like mic positions or levels. They are also fit just right over my ears — I recorded over 35 shows while in Austin and experienced no discomfort whatsoever.

Do you also use the HD 280s while editing and mixing?
Yes. When I am using the HD 280s in hotel room for editing and mixing after a show, I can hear everything. Maybe there is a kick or a snare drum that was a little hot — now I can pinpoint that and make adjustments if necessary. I also enjoy the experience of just listening to music I’ve recorded on the HD 280s while I’m relaxing. One of the nice things about being NYC Taper or AustinTaper is that eventually I get to go home and actually listen to all these recordings, just like the fans of my site.

Listen to some of NYCTaper’s Austin tracks here: http://www.sennheiserusa.com/nyctaper

Sennheiser to Host Series of Online Recording Sound Academy (RSA) Webinars between April and October

Old Lyme, Conn. – April 2, 2012 –Audio specialist Sennheiser announced that it will begin hosting a series of online webinars featuring Grammy-award winning engineers and producers this week. The webinars will teach attendees how to use various recording techniques aimed at achieving the best possible studio sound.

The first webinar, which will focus on EQ and compression techniques, will held free of charge this Thursday April 5th at 5:00 p.m. EDT as a special introductory offering to program participants. To register for this Online RSA, or learn about other upcoming webinars that will be taking place, please visit http://www.sennheiserusa.com/RSA.

Topic/Host
Avoiding Too Much Equalization and Compression, hosted by David Thoener, Grammy-winning producer/engineer (Santana, AC/DC).

When:
Thursday, April 5th at 5:00 p.m. EDT

Attendees will learn:

– How to use EQ constructively
– When to use compression—and when not to
– How to add the final sheen to the mix with gentle use of EQ

Sennheiser: Supporting Aspiring Producers/Engineers
The Online Recording Sound Academy borrows instructional elements from Sennheiser’s highly successful on-site Recording Sound Academy seminars, such as valuable tips and instruction on microphone selection and placement, recording and mixing techniques. The RSA webinars — which run between April and October — feature instruction by accomplished producers and engineers on a variety of recording topics, and also feature a thorough Q&A session with the instructor. Following is a summary of upcoming dates and topics:

May 3: Modern Compression Tactics
Hosted by Karl Richardson, nine-time Grammy-award-winning producer

June 13: Recording Vocals
Hosted by Tom Young, Grammy award-winning engineer

July 17: Mixing
Hosted by Tim Palmer, Grammy-nominated producer/mixer

August 13: Re-Mixing, Beats and Percussive Rhythms
Hosted by: Cool & Dre, production/songwriting team

September 12: Reverb, Spectral Energy and Human Positional Perception
Hosted by: Greg Lukens, engineer and founder of Audio Fabricators

October 25: Engineer’s Roundtable: Award-winning Engineers Discuss Recording Tips, Tricks and Trends
Moderated by: Al Schmitt, 21-time Grammy-winning producer/engineer

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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