Archive of the Production/Music Libraries Category

Remix Moby’s “The Last Day” on Blend

Multi-award winning artist endorses collaboration and shares project files from the album Innocents on premier online network

NYC (September 18, 2014) – Project files for Moby’s single “The Last Day”, from his latest album Innocents, are now available exclusively on Blend in Ableton Live and Avid Pro Tools formats for music producers to re-interpret and remix the song on the online collaboration platform at http://blend.io.

Moby headphones

Moby is a phenomenon in electronic music. He has remained innovative and relevant through fads and trends, and today – once again – proves to be one step ahead by fully embracing technology through online collaboration. He appreciates and encourages input from musicians all over the world, which is why he made the stems of “The Last Day” available for Blend members to remix.

“When people try to control content in the digital world, there’s something about that that seems kind of depressing to me,” read a quote by the artist in an article on CDM. “The most interesting results happen when there is no control. I love the democratic anarchy of the online world.”

Moby’s album Innocents, recorded in his apartment and produced by Grammy-winner Mark ‘Spike’ Stent was released last October and features collaborations on 7 of the album’s 12 tracks. He now invites music producers on Blend to download “The Last Day” project files, deconstruct it and make their own versions of it.

The project is available to be remixed in Ableton Live and in Avid Pro Tools:

The Last Day – Ableton Live by Moby

The Last Day – Pro Tools by Moby

New users can sign up now at this exclusive link: https://blend.io/vip/moby

The Last Day video: https://www.youtube.com/watch?v=x5Dpz6w_jz4

About Blend
Blend was created for musicians to connect and share in-progress tracks and collaborate, or “blend” each other’s works. While other networks focus on publishing completed music, Blend provides a platform for musicians to collaborate directly with each other in their native (source) format, such as Ableton Live, Maschine, Pro Tools, Logic, GarageBand, FL Studio and Reason.

WIN FREE GEAR! Over $17,000 in total giveaways during September.

To celebrate the launch of their new website, Westlake Pro is giving away free gear every day of September! The grand prize is an AVID Pro Tools 11 HD Native Thunderbolt System with an OMNI Interface and a premium plug-in valued at $5,498! Over $17,000 in daily prizes from the top brands in pro audio.

CLICK TO ENTER:

iZotope Releases New BreakTweaker Expansion: Modern Grooves by Black Octopus

Cambridge, MA — iZotope Inc., a leading audio technology company, and Black Octopus, creators of high-quality sounds for music production, have released Modern Grooves, a new expansion pack for iZotope’s acclaimed drum sculpting and beat sequencing plug-in, BreakTweaker.

Featuring modern, clean, and crisp sounds with a dash of retro throwback, the expansion includes more than 300 sounds with 40 presets—all designed to have a timeless feel and work well with a wide range of material.

In an interview with iZotope, Black Octopus founder Toby Emerson describes his approach to creating Modern Grooves: “I hope the pack will provide something for artists of all skill levels. Users can start with the presets and then tweak the sounds to create something original… For people wanting to sketch ideas in the studio, I tried to lay out the patterns in a musically logical way—someone could jam out full tracks on the fly just by switching between the patterns using a keyboard or MIDI controller.”

Modern Grooves can be seen and heard on iZotope’s YouTube channel: http://youtu.be/y801efft7HU

Pricing and availability:

• Modern Grooves is available now at iZotope.com for $39.00.
• BreakTweaker is on sale now through July 31, 2014 for $199 (save $50) or BreakTweaker Expanded for $249 (save $50).
• BreakTweaker is available with demo content as a free 10-day trial at iZotope.com/BreakTweaker.

Visit the iZotope blog for more on Modern Grooves, including a full Q&A with Toby Emerson of Black Octopus Sound.

About iZotope
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

EASTWEST Launches Educational Program

Industry Leader Launches Aggressive Educational Program for Budding Composers and Music Professionals

Hollywood, CA (April 2, 2014) – EASTWEST has been the market leader in virtual instruments and sound libraries for the past 25 years and their products have been used by leading composers for countless scores in blockbuster movies, video games, TV shows, and music production. Hollywood’s elite composers like Danny Elfman, James Newton Howard, David Newmann, JJ Abrams, and more, rely on EASTWEST/Quantum Leap instruments for their realism, depth and accessibility in scoring today’s biggest films, while musicians look for the same quality in their own productions. A high percentage of the music produced for all media today is produced using EASTWEST/Quantum Leap Virtual Instruments.

Musical instrument collections of this caliber come at a price that reflects their quality. They are often unattainable for the next generation but in order to compete with the world’s top composers, today’s young musicians need the same composing tools. For this reason, EASTWEST is launching an educational program with special pricing for active students and educators, starting with the Complete Composers Collection 2. This bundle, already discounted 70%, is now available for students at an additional 50% off. Qualifying students and music educators can choose any 7 or more collections from a total of 20, including:

Hollywood Strings Gold
Hollywood Brass Gold
Hollywood Orchestral Woodwinds Gold
Ministry of Rock 2
The Dark Side
Solo Violin
Spaces
Fab Four
Goliath
Gypsy
Ministry of Rock
Pianos Gold
Ra
Silk
Stormdrum 2
Stormdrum 2 Pro Bundle
Symphonic Choirs Platinum Bundle
Symphonic Choirs Platinum
Symphonic Orchestra Gold
Voices of Passion
If students were to choose the default set with the first 7 collections listed above, they would pay only $399.50 for this selection while the combined retail value of the individual collections is $2,685. The educational price represents an 85% savings! Students may customize their CCC2EDU by choosing any 7 or more of the 20 collections listed. While customization may change the CCC2EDU price, the discount will be at 85% off, regardless of which and how many products are selected.

Pricing & Availability
All of these EASTWEST collections are available for download athttp://www.soundsonline.com/Educational-Program. The price varies depending on the products selected and will be discounted by 85% off MSRP. The CCC2EDU may also be ordered pre-installed on a USB3 Pocket HD for an additional $99.
iLok is required. First time customers may purchase an iLok for 50% off: $20.

This limited time offer is valid for active students and educators enrolled in an accredited educational facility. Educational pricing for EASTWEST products is available exclusively at http://www.soundsonline.com/Educational-Program. EDU discounts of 50% on single collections will be available here as well throughout the year.

About EASTWEST
EASTWEST (www.soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com and soundsonline-europe.com.

The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

-ends-

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

The Music Producers Guild Gets BPI and AIM Backing For Its Broadcast WAV Initiative

Just months after officially launching its ‘ISRC in Broadcast WAV’ initiative, the Music Producers Guild has received the support of the BPI and AIM, two trade bodies representing the music industry. Both have agreed to adopt Broadcast WAV as standard.

“We are really delighted to have the support of the BPI and AIM,” says Alchemy Mastering’s Barry Grint, who has led the MPG ISRC campaign. “This is fantastic news for all recording artists and copyright owners because adopting Broadcast WAV will make file identification and content tracking much easier and more accurate. It will also help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of artists and copyright owners when their recordings are played on air.”

With two major UK music industry organisations now firmly behind the new format – and with a number of mastering hardware equipment manufactures also on-board – the Music Producers Guild believes it is only a matter of time before Broadcast WAV is adopted by the music industry world-wide.

“WAV is the standard format for music interchange in the production process, but MPG members were frustrated that there was no method of embedding industry standard ISRC information in the format to enable more accurate identification the content of files,” Grint explains. “Working in collaboration with the European Broadcasting Union, which created a professional version of the WAV format called Broadcast WAV, we have been able to ensure the carriage of ISRC information in this type of file, thus removing the need for it to be re-entered and reducing the opportunity for error.”

The inherent good sense of using Broadcast WAV is now being recognised.

BPI Chief Executive Geoff Taylor says: “BPI is pleased to support this MPG initiative and we’ll be encouraging our members to adopt Broadcast WAV as a standard. By incorporating ISRC data into the WAV file, we can provide a more accurate and reliable means of identifying recordings when they are exchanged between labels and studios.”

James Farrelly, membership manager of AIM, adds: “In an environment where labels of all sizes now understand that effective metadata management is the key to maximising revenue from their master rights, the work MPG is doing to adapt the BWF format will result in a clearer, more accurate approach to identifying tracks and minimising potential mis-allocation of income from repertoire usage. AIM is proud to support this initiative and looks forward to working with the MPG and their partners to build industry wide adoption of the format.”

The MPG is now planning to address mastering engineers by holding a seminar to demonstrate the ease with which Broadcast WAV can be implemented. This will take place in London in early November (see www.mpg.org.uk for more details).

“For engineers using Magix/Sequioa or Merging/Pyramix, switching to Broadcast WAV will simply involve a software upgrade as both of these workstation manufacturers are already backing the Broadcast WAV initiative, ” Grint explains. “Now that this issue is higher up the priority list, we hope other manufacturers will quickly follow their lead.”

-ends-

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

EASTWEST Virtual Instruments, the Perfect Fit for Pro Tools 11

EASTWEST PLAY 4 Software Provides Full AAX and 64-Bit Support

Hollywood, CA (October 1, 2013) – EASTWEST (soundsonline.com), the industry leader in soundware and virtual instrument development for 25 years, announces Pro Tools 11 compatibility for their entire catalog of award-winning instruments. With clientele that spans the who’s who of the music, film, television, games, multimedia and performing arts, EASTWEST provides professionals with the very best music creation tools available, now ready to be used with Pro Tools 11 including AAX and 64-Bit support.

The company released the newest version of its proprietary software PLAY 4 to support all their collections with Avid’s new AAX format. This will allow Pro Tools 11 users to work with EASTWEST’s virtual instruments in 64-bit, greatly improving performance. Doug Rogers, founder of EASTWEST, says: “PLAY 4 and Pro Tools 11 make the perfect combination. Many of the top composers in the world rely on EASTWEST and in the past have had to make compromises to their workflow to achieve their creative goals. At EASTWEST, we strive to help composers create outstanding music with the highest quality Virtual Instruments, without compromise, using innovative engineering and technology. The quality of the instruments we provide put a lot of demands on the DAW software, but Pro Tools 11 is now perfectly suited to meeting those demands and allowing professional media composers to take their creativity to a higher level.”

PLAY 4 also includes new time-stretch software optimized for loops (with sync to sequencer); offers a new mixer page (with sub-channels for mic positions), background loading, SSL/EW FX suite that includes SSL EQ & Dynamics Channel, SSL Transient Shaper, SSL Stereo Compressor, EASTWEST Expanded Convolution Reverb, and many other new features.

Andrew Wild, Avid Marketing Manager, commented: “Play 4 coming to AAX 64-bit for Pro Tools 11 is exciting news for musicians and composers who will experience an exponential boost in power for the creative freedom to use more of EASTWEST’s vast collection of Virtual Instruments than they ever thought possible and press beyond technical limitations to make the best sounding music.”

Over 30 EASTWEST/Quantum Leap award-winning collections are now Pro Tools 11 compatible, including EASTWEST’s famous Hollywood series including Brass, Strings and Woodwinds (all editions), the Symphonic Orchestra and Symphonic Choirs (all editions), Fab Four, Goliath, Gypsy, Ministry of Rock, Ministry of Rock 2, Pianos (all editions), Ra, Silk, Solo Violin, Stormdrum 2 and 3, Voices of Passion, The Dark Side, collections such as Complete Composers Collection 2, Complete Composers Collection 2 Professional (which will include a site license for recording studios), and Spaces. “We are proud to be a leader in the music creation industry and to be able to offer Pro Tools 11 compatibility to our customers,” says Doug Rogers.

About EASTWEST
EASTWEST has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com and soundsonline-forums.com on Facebook and Twitter.

About Avid
Through Avid Everywhere, Avid delivers the industry’s most open, innovative and comprehensive media platform connecting content creation with collaboration, asset protection, distribution and consumption for the most listened to, most watched and most loved media in the world—from the most prestigious and award-winning feature films, music recordings, and television shows, to live concerts and news broadcasts. Industry leading solutions include Pro Tools®, Media Composer®, ISIS®, Interplay®, and Sibelius®. For more information about Avid solutions and services, visit www.avid.com, connect with Avid on Facebook, Twitter, YouTube, LinkedIn, Google+; or subscribe to Avid Blogs.

Media Contact for EASTWEST:
Music Marcom
Martina McConnon
e: martina@musicmarcom.com
v: 610-577-4982
www.musicmarcom.com

Clear-Com Takes The University Of Salford To The Head Of The Class

Eclipse Matrix, V-Series Panels and FreeSpeak Integra Wireless System
Enable Communications Across The Multilevel Facility

SALFORD, UK, 21 NOVEMBER, 2012Clear-Com, a global leader in critical voice communication systems, is allowing students at the University of Salford’s £30-million digital learning, teaching and research facility at MediaCityUK to communicate like production professionals. Students and staff across the multilevel campus use Clear-Com’s Eclipse-Median digital matrix intercom system, V-Series lever key-panels and FreeSpeak digital wireless beltpacks to coordinate the productions of one-on-one interviews, news programmes, panel discussions and music series.

The Clear-Com installation at the University has vastly improved production workflow with a set of intercom systems at every key communication position in the facility. The new building is made up of three floors, and nearly every room on each of those floors either has a V-Series key-panel or FreeSpeak wireless beltpack. This includes the editing and post-production spaces located on the second floor and two live TV studios—Studios A and B—along with the galleries and a digital performance lab on the ground level. All beltpack and panels are routed through the Eclipse-Median matrix. This gives students and staff immediate access to communications wherever they are located in the building, whenever it is needed.

“In our old facility, we didn’t have a system for multilevel, group conversations,” says Ash Tidball, TV Studio Manager for the University of Salford at MediaCityUK. “Our previous intercom was very simple. You were in the studio, you had four channels, and you could talk to each other in that studio, and that was it. Coming into the new building, we wanted a system that would allow us to converse in different areas of the site, but without the crosstalk that might occur due to our close proximity to the BBC. The main goal was being able to talk to whomever we needed to, without interference.”

The Clear-Com equipment has accomplished this for Tidball, his colleagues and students. Not only does the FreeSpeak integration to the matrix offer up to 40 wireless beltpack users, but it also provides six channels per beltpack for many group and point-to-point connections.

“We have the Clear-Com system set up so we can talk just to production, sound or the floor techs,” adds Tidball. “Or we can select all three of those groups and speak with them all at the same time. It’s a very expansive system.”

Operating within the license-free 1.8GHz-1.93 GHz frequency band, away from the crowded spectrum where other wireless devices operate, FreeSpeak delivers a reliable, uninterrupted signal. FreeSpeak also combines DECT and wireless auto-roaming technologies to allow users to move about the campus freely without fading or losing connection.

The Clear-Com Eclipse is highly modular, a key specification Tidball and his colleagues had wanted in the intercom system for the new facility. The Eclipse and IP-enabled V-Series panels operate on the facility’s Ethernet and fibre network, making future upgrades simple. Further, the Eclipse Configuration Software (ECS) simplifies programming and automates the setup of intercom communications. This is especially useful in the frenetically paced work environment, where operators may not always have time to manually program the system. Staff members can also log onto the ECS through any of the main terminals in the building, conveniently changing inputs and outputs as needed.

“The University of Salford’s educational facility at MediaCityUK marks a major milestone in broadcast education in the UK, establishing what will no doubt become a premier training ground for the country’s future top broadcasters,” says Dan Muchmore, Regional Sales Manager, UK, Ireland and Scandinavia, Clear-Com. “Clear-Com is proud that this prestigious institution has selected the Eclipse-Median and FreeSpeak intercoms to train its students in professional production communications.”

About Clear-Com
Clear-Com, an HME company, is the global leader in critical voice communication systems for professional productions. Since 1968, Clear-Com has developed and marketed a comprehensive range of analogue, digital and IP-based wired and wireless intercom technologies for party-line and point-to-point communications. Recognised for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communication solutions. More information about Clear-Com can be found at www.clearcom.com.

Sound Devices Showcases PIX 260 Production Video Recorder at IBC 2012

AMSTERDAM, SEPTEMBER 8, 2012Sound Devices, experts in portable audio and video products for field production, showcases its new PIX 260 production audio/video recorder at IBC 2012 (Stand 8.D74). Based on Sound Devices’ field-proven PIX 220 and PIX 240 recorders, the rack-mounted PIX 260 is a file-based video/audio recorder/player that seamlessly replaces tape-based video decks in production and post-production environments.

“Our PIX line of production video recorders has been very well received by a wide range of production professionals,” says Jon Tatooles, managing director at Sound Devices. “We are excited to showcase our latest edition, the PIX 260, to the European market at IBC 2012.”

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260 records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video. It also records 32 tracks of 48 kHz audio. Files from the PIX 260 are ready for direct import into Avid and Final Cut editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260 for real-time applications.

Continuing the company’s deep heritage in production sound, Sound Devices has infused the PIX 260 with 32-track record/playback capability. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260 can accept and transmit up to 32 channels of audio over Ethernet.

The PIX 260 has a built-in five-inch 800 x 480-pixel IPS video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260 is a flexible video playback source that is compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions. The PIX 260 can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260 simultaneously. All four drives can be recorded to simultaneously, for RAID-1 type redundancy and to eliminate the need for post-record copying when multiple copies are required.

The PIX 260 includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady multi-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-codes can be read from the SDI stream, the HDMI stream or from an external source.

Like PIX 220 and PIX 240, the PIX 260 includes a sophisticated scaler and frame rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up, down or cross-conversion at the same rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

PIX 260’s convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Sound Devices PIX-DOCK Now Shipping

Data Dock for PIX-CADDY with Thunderbolt Connection

AMSTERDAM, AUGUST 30, 2012Sound Devices, experts in portable audio and video products for field production, announces that its PIX-DOCK is now shipping, in time for the 2012 IBC Show (Stand 8.D74). Having first made its debut at this year’s NAB Show, PIX-DOCK connects drives mounted in a Sound Devices PIX-CADDY 2 to computers equipped with Thunderbolt™ high-speed I/O over a single Thunderbolt cable.

The PIX-CADDY 2, which is used to connect SSD volumes to all PIX recorders, is an SSD mounting accessory that also operates as a multi-format interface to attach drives to a computer for file transfer and management. With the introduction of the PIX-DOCK, users can now leverage Thunderbolt’s fast transfer speeds between drives and computers. Thunderbolt offers up to 10 Gbps interconnection speeds, making the file copying of large-capacity drives fast and easy. When using fast storage drives, its high throughput allows realtime playback of multiple streams of high-data-rate video.

The PIX-DOCK provides both power and data over a single cable and is compatible with SATA drives. It includes a six-foot Thunderbolt cable that connects to the PIX-CADDY 2 using its eSATAp connection. It also offers a secure, latching connection to PIX-CADDY, and its weighted base prevents sliding on desktop surfaces.

“After a successful launch at this year’s NAB show, we are thrilled to announce that our PIX-DOCK is available,” says Jon Tatooles, managing director at Sound Devices. “PIX-DOCK simplifies and speeds the transfer and management of files when using our PIX recorders. By utilizing Thunderbolt, we are able to provide our users with blazing fast and reliable transfers.”

The PIX 220i, PIX 240i and PIX 260 record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making the workflow simple and fast. The PIX 240i and PIX 260 add even more flexibility, with their time code, sync-generator, and simultaneous SDI and HDMI outputs. All PIX recorders incorporate the company’s award-winning audio expertise and performance.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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.

Calendar

October 2014
S M T W T F S
« Sep    
 1234
567891011
12131415161718
19202122232425
262728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication