Archive of the The Wire Category

The Recording Academy® Producers & Engineers Wing® Has Strong Showing at 137th AES Convention in Los Angeles

The Mix @ AES 2014 Manufacturers_AES14 GRAMMY SoundTables: Songs That Move The Needle

SANTA MONICA, Calif. (October 30, 2014) — The Recording Academy® Producers & Engineers Wing® had a strong showing at the recent 137th AES Convention (Thursday, Oct. 9 through Sunday, Oct. 12, 2014, at the Los Angeles Convention Center), along with related events outside the convention campus. The P&E Wing’s involvement spanned lectures, keynotes, a cocktail mixer and award presentation, and a manufacturer’s event, among other activities.

Highlights included:

The keynote on Friday, Oct. 10 was presented by Neil Portnow, President/CEO The Recording Academy, The GRAMMY Foundation®, and MusiCares®.

The GRAMMY SoundTables®, presented by the P&E Wing was held on Saturday, Oct. 11. This year’s event, titled “Songs That Move The Needle,” featured multi-talented production professionals Alex Da Kid, No I.D., Michael Brauer, Niko Bolas and Don Was, sharing their unique experiences in the art of music making. GRAMMY® Award-winning producer/engineer Ed Cherney acted as moderator. The panel’s five multitalented, cross-genre hit makers debated the who, what, when, where and why of songs that have left an indelible imprint.

The Mix @ AES 2014, a cocktail reception co-presented by the UK-based Association of Professional Recording Services (APRS) and the P&E Wing, on Friday, Oct. 10, at United Recording (formerly known as Ocean Way Recording Studios). Sponsors included AKG®, dbx®, JBL Professional®, Lexicon®, Focusrite Novation, GC Pro, iZotope, Record Plant and cocktails courtesy of VEEV Spirits. In a special ceremony, BJ Ramone accepted the APRS Sound Fellowship on behalf of his father, the late, legendary producer/engineer Phil Ramone. The presentation was made by Phil Dudderidge (Focusrite) and the citation was given by Peter Filleul (APRS).

A Hi-Res Audio Production Workshop, co-sponsored by the P&E Wing along with DEG: The Digital Entertainment Group on Friday, Oct. 10.The event was moderated by GRAMMY®-winning engineer and director of music recording & scoring at Skywalker Sound Leslie Ann Jones, with panelists Chuck Ainlay (Dire Straits and Mark Knopfler, Taylor Swift, Miranda Lambert); producer and Chief Creative Officer of Concord Music Group John Burk; Bob Clearmountain (Bruce Springsteen, Rolling Stones, Bon Jovi) and Ryan Ulyate (Tom Petty & The Heartbreakers, Electric Light Orchestra, the Traveling Wilburys). These top professionals discussed the music creation process and shared their practices for recording, mixing and mastering in high resolution.

High Resolution Audio—Super Session (Friday, Oct. 10), moderated by P&E Wing Managing Director Maureen Droney, and part of the Convention’s High Resolution Audio (HRA) program. Panelists included Bruce Botnick (Music producer, recording and mastering engineer, VP Content Acquisition for Pono Music), George Massenburg (Producer/engineer/inventor, McGill University), Andrew Scheps (Producer/engineer/mixer) and Bill Schnee (Producer/engineer, Schnee Studio), who explored the most challenging issues facing the recording industry today concerning the adoption of high resolution audio.

The P&E Wing Manufacturer Council Breakfast, held on Saturday, Oct. 11. At their biannual meeting, this group of industry leaders — who are dedicated to the advancement of sound quality and to the overall growth of the professional audio industry — shared ideas and discussed issues of interest to all parties in attendance, with the goal of raising awareness about the importance of high-quality audio, legislative wireless white space and broadband issues, music streaming bit rates and other related topics. The following manufacturers, organizations and publications participated: AKG®, Audio Engineering Society (AES), Audio-Technica, Auralex, Avid, DBX, Electronic Musician, Focusrite Novation, Fraunhofer, GC Pro, Genelec, Iron Mountain, iZotope, JBL®, Lexicon®, Manley, M-Audio, Merging Technologies, Mix Magazine/New Bay Media, Music Marketing/Melodyne, Music Producers Guild (MPG), Presonus, Prism Audio, Pro Sound News, Radial Engineering, Royer, Shure, Sonnox Ltd., Solid State Logic, Universal Music Group, Waves Audio and Westlake Pro.

The P&E Wing ReCharge Lounge. Located in the Demo Room Concourse, the ReCharge Lounge was open to all AES badge-holders and featured charging stations for attendees’ devices, bottled water and snacks, and comfortable seating away from the convention’s crowded exhibit floor.

Maureen Droney, Managing Director of the P&E Wing, stated, “We are always excited to participate in the annual Audio Engineering Society convention in the U.S. We have many of the same values as the AES – for instance, high-resolution audio and advocacy for producers and engineers – and it is wonderful to be given a forum to share our perspectives with the wider audio community at this yearly gathering.”

Photo Caption 1: The Mix @ AES 2014 reception was hosted by UK-based Association of Professional Recording Services (APRS) and The Recording Academy® Producers & Engineers Wing® at United Recording on Friday, October 10, 2014. Pictured L-R: Producer/Engineer and P&E Wing Co-Chair Chuck Ainlay; Managing Director, P&E Wing Maureen Droney; Studio Manager, United Recording Rob Goodchild; Producer/Engineer BJ Ramone; Executive Director [Emeritus], APRS Peter Filleul; and Producer/Engineer and P&E Wing Co-Chair Mike Clink. Photo Courtesy of The Recording Academy®.

Photo Caption 2: Representatives from leading manufacturers, organizations and publications, along with members of the P&E Wing Advisory Council, at the P&E Wing Manufacturer Council Breakfast during the 137th AES Convention in Los Angeles. Photo Courtesy of The Recording Academy®/Clyne Media Inc. © 2014 Photographed by: Corey Walthall, Clyne Media, Inc.

Photo Caption 3: Pictured L-R: Ed Cherney, Alex Da Kid, No I.D., Niko Bolas, Michael Brauer and Don Was, pictured at the GRAMMY SoundTables® event “Songs That Move The Needle” on Oct. 11 at AES137 in Los Angeles. Photo Courtesy of Maury Phillips/WireImage/The Recording Academy®. © 2014. Photographed by: Maury Phillips.

The Recording Academy® Producers & Engineers Wing® Announces Eighth Annual GRAMMY® Week Celebration Honoring Nile Rodgers

56th Annual GRAMMY Awards - Press Room

Annual Celebration Will Highlight Sound Quality and Pay Homage to MusicalIcon at The Village Studios in West Los Angeles on February 3, 2015

SANTA MONICA, Calif. (Oct. 29, 2014) — The Recording Academy® Producers & Engineers Wing® will celebrate its eighth annual GRAMMY® Week event honoring three-time GRAMMY winner Nile Rodgers for his commitment to excellence and ongoing support for the art and craft of recorded music. Michael Ostin and Cameron Strang will serve as honorary event co-chairs at the event to be held on Tuesday, Feb. 3, 2015, at The Village Studios in West Los Angeles. GRAMMY Week culminates with the 57th Annual GRAMMY Awards®on Sunday, Feb. 8, 2015, airing live on the CBS Television Network, at 8 p.m. ET/PT. For updates and breaking news, please visit www.grammy.com, and The Recording Academy®’s social networks on Twitter and Facebook.

“Our Producers & Engineers Wing members are passionate about sound quality, the importance of music creators, and most of all, the integrity of recorded music,” said Neil Portnow, President/CEO of The Recording Academy. “This year, it is with great pride that we honor a musical icon who is the epitome of everything the P&E Wing represents. Nile Rodgers is not only a revered member of the music community but also a founding member of the Wing and we look forward to celebrating his astonishing career, which continues to reach new musical heights and inspire generations.”

A musician, composer, arranger and guitarist, Rodgers is one of the most influential music producers in the history of popular music. He began his career as a session guitarist in New York, first toured as a teenager with the “Sesame Street” band, and played with the house band at Harlem’s world famous Apollo Theater. In 1970 Rodgers and bassist Bernard Edwards met and formed the Big Apple Band. In 1977 the band changed their name to Chic and subsequently generated chart-topping hits such as “Le Freak,” “I Want Your Love,” “Everybody Dance,” and “Good Times.” Chic’s success soon led to producing opportunities for Rodgers and Edwards, among them albums such as Sister Sledge’s We Are Family and Diana Ross’s Diana.

Following Chic’s dissolution in 1983, Rodgers embarked on a solo production career that launched hits for artists such as David Bowie, INXS, Duran Duran, Madonna, Sheena Easton, Jeff Beck, the Thompson Twins, Mick Jagger, Grace Jones, Cyndi Lauper, Howard Jones, the B-52′s, and Al Jarreau, among others. Rodgers’ work with a variety of popular artists soon led to opportunities to share his distinct sound on film soundtracks such as Alphabet City, Gremlins, Against All Odds, That’s Dancing, White Nights, The Fly, White Hot, and Earth Girls Are Easy, in addition to collaborating with Peter Gabriel on Laurie Anderson’s concert film Home Of The Brave. In 1988 Rodgers composed his first orchestral score for the film Coming To America.

In the ’90s Rodgers produced the Vaughan Brothers Family Style, which was released shortly after the untimely death of guitar virtuoso Stevie Ray Vaughan, along with projects for Bowie, Eric Clapton, the B-52s, David Lee Roth, Ric Ocasek, Dan Reed Network, Cathy Dennis, Patty Griffin, Jimmie Vaughan, and The Stray Cats among others, along with continued soundtrack work on films such as Thelma and Louise, Cool World and Beavis And Butt-Head. In 1992, Rodgers and Edwards revisited Chic’s roots and released a new album, Chic-Ism. In 1996 tragedy struck when, during a series of Chic concerts in Japan, Edwards contracted pneumonia and died, a blow that greatly affected Rodgers. Although devastated by the loss of his longtime musical partner and close friend, Rodgers ultimately regrouped and returned to playing live concerts and composing and producing music for film soundtracks including work on Beverly Hills Cop III, Blue Chips, The Flintstones, and Feeling Minnesota (including a collaboration with Bob Dylan).

In 1998 Rodgers founded the Sumthing Else Music Works record label and Sumthing Distribution, an independent music label distributor. The label focused on a fast-growing new genre: video game soundtracks. Its titles include the complete Halo and Resident Evil franchises including Gears of War and Borderlands. During this time, Rodgers focused on additional soundtrack projects such as Rush Hour 2, Snow Dogs and Semi-Pro. In 2002-2003 he co-produced Astronaut, with the original five members of Duran Duran.

Prompted by the Sept.11 tragedies, Rodgers created the We Are Family Foundation to help promote the healing process and organized a rerecording of “We Are Family,” the GRAMMY Hall of Fame®-inducted song he and Edwards wrote for Sister Sledge. The rerecording was performed by more than 200 musicians, celebrities, and personalities and included a music video filmed by Spike Lee, a documentary filmed by Danny Schechter and a video version for kids that included more than 100 beloved children’s characters. Rodgers has been recognized for his humanitarian efforts as well as music achievements by being honored with innumerable awards, among them The Recording Academy’s NY Chapter’s Heroes Award, induction into the Dance Music Hall of Fame, No. 1 Singles Producer In The World by Billboard, and the Winter Music Conference Lifetime Achievement award.

Rodger’s career has seen a strong resurgence in the electronic dance community through his work with such acts as Avicii, Disclosure and Tensnake. His collaboration with Daft Punk on their album Random Access Memories garnered him three GRAMMY Awards for 2013 including Album Of The Year and Song Of The Year. Rodgers continues to tour worldwide and remains one of the most in-demand producers and artists of his time.

As the Producers & Engineers Wing 2015 honoree, Rodgers joins an impressive list of past honorees: Chris Blackwell; T Bone Burnett; Tom Dowd; Ahmet and Nesuhi Ertegun; Jimmy Iovine; Quincy Jones; Arif Mardin; Al Schmitt; Jerry Wexler; and Neil Young.

Photo Courtesy of The Recording Academy® /Wireimage.com © 2014
Photographed by: Dan MacMedan

MAGNANIMITY REIGNS AS SONNOX KICKS OFF “BOGOF” TWO FOR ONE PRE HOLIDAY PLUG-IN PROMO

OXFORD, UK: In anticipation of the swiftly approaching Holiday Season, Sonnox has announced a “Buy One Plug-in Get One Free” promotion. For shoppers wishing to avail themselves of this special offer the process is the essence of simplicity. Select the two Sonnox Plug-ins you most wish for, and enter NOV14 in the Promo Code box. The less expensive of the two plug-ins will be free. Customers can order as many times as they like, and providing they order plug-ins in pairs, they will save money. This offer will run until November 30th. Full terms and conditions on the Sonnox website.

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Photo Sonnox BOGOF Promo

Sonnox-BOGOFFor detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

McGill University’s Schulich School Students Tackle Loudness Control with RTW TM3 TouchMonitor

Renowned Recording Engineers Richard King, Martha de Francisco and George Massenburg Count on Audio Meter to Help Students Create Dynamite Mixes

MONTRÉAL, QUÉBEC, CANADA, NOVEMBER 3, 2014 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce that the sound recording department at McGill University’s prestigious Schulich School of Music now uses the company’s TM3 TouchMonitor audio meter to instruct students in the art of loudness control.RTW_SchulichSchool_TM3_Students

Recording engineer and inventor George Massenburg, an adjunct professor of recording arts and sciences at McGill, the largest university-based school for professional music training and music research in Canada, sees loudness normalization as the next major trend to hit the music industry. He points out that Apple iTunes, for example, already features controls for normalizing the sound across one’s library of songs (“Sound Check”). “Normalization for music is spreading, and we want to educate students to take advantage of this trend the best way they can,” he says. “We want them to be able to make good mixes so they can work going forward.”

The RTW TM3 is one way sound recording at The Schulich School of Music is helping his students prepare for this future. With its easy-to-use 4.3-inch touchscreen and large number of graphical and numerical instruments showing single-channel and summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation, the TM3, part of RTW’s TouchMonitor line of audio meters, is a perfect tool for students learning how to measure loudness control for the first time. Its flexible user interface enables the selection of up to 10 presets with the swipe of a finger, allowing students to focus energy on training their ears for loudness differences.
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“Another benefit of having the TM3 readily accessible is when the students are working with multiple projects at once,” explains Massenburg. “To give the students references when they’re learning how to mix, we’ll have them do a new mix but refer to another piece of work. It may not even be the same song—it may be something else, but to reference that on an equal playing field—meaning equal loudness—they’ve got to measure the loudness of that external file. So it’s very useful to have the meter right there. It’s not software. It doesn’t come and go with the project. It’s a part of the setup.”

That setup is located in the Schulich School’s Studio A, where the RTW TM3 is part of a range of solutions the students use to conduct mixes. These include Euphonix MC mixers, Merging Technologies Pyramix, Avid Pro Tools, ATC, Genelec and JBL loudspeakers and monitoring systems, among others.

“The TM3 helps the students adjust the loudness of a mix until it’s roughly in the ballpark of their reference mix,” adds Massenburg. “Then they can move ahead with making better mixing decisions. We find that elements that are punchier, such as a snappier snare or kick drum, really don’t affect the loudness as much as a constant, dense mid-to-upper frequency range, so students don’t have to squash their mixes to make them stand out. It leads to more dynamic mixes. It’s a tool that we think is going to be more and more important to students and practitioners [as loudness normalization becomes more prevalent in the music industry].”

Massenburg says his students find it easy to work with the TM3. “It’s very clear. We have it pre-set so that 85dB SPL is the target playback level, and -24dBFS is the target recording level. Since its relative between their work and an outside work, we can just kind of stay in that one setup. It’s nice that it’s flexible, but we don’t want it to change too much, so everyone is already up to speed on how it is set up.”

For Massenburg, much of his work at the Schulich School ultimately comes down to training students to be excellent critical listeners. “We train our students to listen hard and to pay attention to detail,” he says. “The better they’re trained in critical listening and evaluation skills, the better they’re able to deal with the more varied situations they could encounter out in the workplace.”

This training is obviously a resounding success, as graduates of the Schulich School have gone on to successful, high-profile careers in many different fields. One former student, for example, is the chief engineer of Symphony Hall in Boston. Another handles sound for some of the most popular musical shows in Las Vegas, including Cirque du Soleil’s Beatles LOVE presentation.

“We give our students the skills that they can take anywhere,” says Massenburg. “They can continue with music production, work for a classical operation, go into television production, or go further with their research. We provide them the skills to be able to say, ‘Sure, I can do that.’ [Loudness and the RTW TM3 is part of that.]”

Apple and iTunes are trademarks of Apple Inc., registered in the U.S. and other countries.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

GatesAir Transitions WRLY-LP to Intelligent IP Networking Solution

North Carolina FM station installs Intraplex® IP Link for dual-path STL connectivity, leverages built-in Opus codec for pristine audio quality

CINCINNATI, November 3, 2014GatesAir, a global leader in wireless, over-the-air content delivery solutions for radio and TV broadcasters, has transitioned a low-power FM station in North Carolina to an IP transport architecture for studio-to-transmitter link (STL) connectivity. With the GatesAir Intraplex® IP Link as a foundation, the intelligent networking solution solved the challenge of efficiently moving program audio and data over a studio-to-transmitter path that offered no line of sight for traditional fixed RF STL connections.

WRLY-LP in Raleigh made the switch following its studio relocation to more accessible commercial space, creating a greater distance to the transmitter facility. Unlike higher power stations, low-power stations typically do not transmit signals off high towers, making RF STL links impractical. Transitioning to IP proved the most budget-friendly option for the station.

GatesAir IP Link_close

WRLY selected the IP Link based on its feature-to-price ratio, including support for the emerging Ogg Opus audio codec. GatesAir was the first broadcast codec adopter of Ogg Opus audio coding, which incorporates technology from the Skype-developed, speech-oriented SILK codec and CELT, a low-latency, next-generation music codec. Broadcasters benefit from Opus’ combined strengths of high-quality audio and very low delay, which distinguishes it from audio codecs that excel in one area but fall short in the other.

“I’m very budget-constrained as a low-power station. IP was readily available, more cost-efficient than an enterprise T1 solution, and eliminated the challenges of erecting rooftop structures in a commercial zone,” said Steven White, owner of WRLY-LP. “I was an early adopter of voice over IP technology, and had been monitoring the capabilities of Opus from an audio quality perspective. Much of our music library has been encoded in high-end formats, so I needed a codec that wouldn’t over-compress the audio and develop artifacts in the stream. GatesAir was the only codec supplier that built Opus into the feature set, and since there was no extra expense for Opus, the overall costs remained low. The flexibility of the IP Link and its software-driven features struck the right balance of features, cost and quality.”

WRLY is also benefiting from built-in redundancy that shares IP packets across a dual-path stream. Called Dynamic Stream Splicing, this IP Link feature allows the primary stream to borrow data from the secondary stream in the event of dropped packets en route to the transmitter.

“The IP Link provides excellent statistical information that show if, and where, packets have dropped,” said White. “The dual-path architecture of the IP Link ensures that instances of dropped packets that make it through are very, very rare, and never noticeable on the air. The reliability is exceptional.”

“Intelligent networking solutions are proving their value for broadcasters across all power levels, as radio stations large and small recognize the cost- and operational benefits of transitioning audio and data connectivity to IP,” said Joseph Mack, vice president of sales, Americas. “Our low-power customers like WRLY are building a networked foundation that begins with simple STL connectivity, and opens the door for advanced contribution and distribution applications thanks to a scalable and cost-efficient architecture.”

About GatesAir
GatesAir, Inc. provides complete solutions for over-the-air radio and television broadcasting, leveraging wireless spectrum to maximize performance for multichannel, mission-critical services. Powering over-the-air networks worldwide with unparalleled reliability for nearly 100 years, GatesAir’s turnkey solutions enable broadcasters to create, transport and transmit radio and TV content. With customers in more than 185 countries, the company leads the industry in innovation and design breakthroughs, improving efficiency and reducing total cost of ownership. Visit www.gatesair.com for more information, and follow us on Twitter at @GatesAir.

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Groove3 Unveils $99 All Access Annual Web Pass

Become a better producer with unlimited access to online audio tutorials for about the cost of 2 cups of coffee a month!

Austin, TX – October 30, 2014 – Beyond one-day events like Black Friday or Cyber Monday, Groove3 has launched the Black November Sale and is offering new customers an All Access Annual Web Pass for just $99 during entire month of November. Normally $150, customers gain instant online access to every video tutorial currently available on Groove3.com as well as new videos that are added during their 1-year membership.

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Groove3.com hosts nearly 900 hours of innovative, inventive and progressive online video training for music producers of all levels, covering all of the top digital audio workstations, plug-ins, and virtual instruments on the market as well as essential audio topics like recording, mixing, and mastering. Groove3’s expert trainers are working musicians and audio professionals that know how to get the most from their gear and apply that knowledge to real-world workflow. New content is added weekly and is accessible with the All Access Annual Web Pass.

While there is plenty of video instruction on YouTube, Groove3 takes the guess work out of finding consistently high-quality instruction backed by more than 10 years of experience in working closely with audio experts and directly with manufacturers. This saves the end-user countless hours of searching the web for relevant, high quality video instruction.

“My schedule is so hectic that I don’t have the time it takes to fully learn the latest and greatest software,” said Trace Foster, engineer and guitar tech for Joe Perry of Aerosmith. “Now I just put on a Groove3 video while we’re flying or on the bus and before long, I’m so far ahead of the learning curve! It really makes my life easy.”

There has never been a better time to become a Groove3 member. In addition to the Black November Sale price of $99, members will have access to new content from a recent development partnership with publishing giant Hal Leonard, which will include titles on drums, guitars, bass and keyboard playing and more. Several new titles are due out in November and December as well as many more in 2015.

For more information and to purchase an All Access Annual Web Pass for just $99 during the Black November Sale, visit http://www.groove3.com/str/access-it-all.html.

About Groove3:
For over 10 years, Groove3 has been on providing informative and effective training and content that is in-depth yet easy to follow. Their products are currently in use by thousands of musicians, engineers, producers, project studio owners, colleges, universities, trade schools, and working professionals. They were the first to offer training videos specifically targeted to the pro audio community via online access and the first to offer regular video content updates for their members. Groove3 offers the most flexible options for purchasing their training and viewing the content with DRM free downloads, iOS and Android apps, as well as an intuitive streaming player.

iZotope Releases Ozone 6: Creative Mastering Platform

Ozone 6 features a redesigned interface, standalone application, and new Dynamic EQ module

Cambridge, MA (October 30, 2014) – iZotope, Inc., a leading audio technology company, has launched the latest version of its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-Advanced-box

Ozone 6 is a creative mastering platform that enables both project studio producers and mastering engineers to easily add a final level of professional polish to their mix.

The modern new workflow is centered around creativity. A fully redesigned interface and real-time visual feedback in every module assist users in creating masters with ease.

“Our goal was to create an elegant visual aesthetic and fluid workflow,” says iZotope Product Manager Brett Bunting, “in order to bring the creative elements of mastering front and center and allow users to define their own sound.”

Ozone 6 takes the guesswork and the manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices. Using Ozone’s presets as a starting point, pros and newcomers alike can immediately achieve authentic sounds in any genre.

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Ozone also produces great sound, providing the warmth and character of analog sound without the restrictions of hardware. And since Ozone 6 works as either a standalone application or a suite of plug-ins, users can choose to work exclusively in Ozone, or to complement their audio editor of choice.

For professional users, the Advanced version’s Dynamic EQ module lives and breathes with your music, harnessing the precision of an equalizer and the musical ballistics of a compressor. It’s an ideal tool for transparently sculpting audio.

“Ozone is full of great mastering tools,” says Adam Ayan, GRAMMY-winning mastering engineer at Gateway Mastering, “and it just keeps getting better!”

Learn more at www.izotope.com/ozone6.

Watch the video at http://youtu.be/GZMvIxPZ-50.

Availability
Ozone 6 is available now at www.izotope.com/ozone and at select retailers.

Pricing
Ozone 6 – Promotional Price: $199 USD, Regular Price: $249 USD

Ozone 6 Advanced – Promotional Price: $599 USD, Regular Price: $999 USD

Upgrade from Ozone 1-5 to Ozone 6: Always available at a special price of $99 USD

Upgrade from Ozone 1-5 to Ozone 6 Advanced – Promotional Price: $399 USD, Regular Price: $750 USD

Upgrade from Ozone 5 Advanced to Ozone 6 Advanced: Always available at a special price of $299 USD

For international customers, check with your local reseller for Ozone 6 pricing.

Grace Period Purchases
Customers who purchased Ozone 5 after September 1, 2014, will receive a free upgrade to Ozone 6 upon release.

Customers who purchased Ozone 5 Advanced after September 1, 2014, will receive a free upgrade to Ozone 6 Advanced upon release.

About iZotope, Inc.
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®. For more information on iZotope products, please visit www.izotope.com.

BERKLEE COLLEGE OF MUSIC PREMIERES TEN STUDIO WSDG-DESIGNED COMPLEX + 400 SEAT “CAFÉ” PERFORMANCE/RECORDING VENUE IN 160 MASS. AVE. TOWER

BOSTON, MASS. Berklee College of Music opened the doors to its 160 Massachusetts Avenue, residence tower in January 2014. The building now features one of the largest, most progressive, and versatile professional audio teaching/production/performance complexes in the U.S. Over three years and $100 million have been invested in the development and construction of this cusp point educational compound. Situated over four dedicated floors in a striking, sixteen-story, 155,000 sq. ft. William Rawn Associates building, the ten-studio Walters-Storyk Design Group – designed, audio education component represents a pinnacle of contemporary studio planning.

A commanding floor-to-ceiling glass wall overlooking Massachusetts Ave. distinguishes the 21,400 sq. ft., 400-seat ‘Berklee Café.’ Originally conceived as a student-dining hall, early in the design phase, Berklee senior staff recognized an opportunity to utilize the space (replete with a 38′ high ceiling, and a gracefully curved, 2nd floor balcony), as a live performance/recording venue for students. WSDG was tasked with devising optimal acoustical treatments for the showplace and with providing total connectivity to multiple control rooms throughout the 23,800 sq. ft.’ A & B level, recording education complex. Nightly student performances began in January, quickly establishing the room as a superb talent platform and (not incidentally), an outstanding ‘live recording room.’

“WSDG has not only designed many of the world’s best studios, they closely monitor the smallest construction details to insure that they are built to impeccable standards,” states Roger H. Brown, President, Berklee College of Music. “We are delighted with the outcome, both in the studios they designed for our campus in Valencia, Spain and with this new suite of studios in our 160 Massachusetts Avenue building. Berklee students deserve the best, and now they have the best.”

Level A

Two stories below the Café, on Level A, the 2200 sq. ft. Studio 1 features a 1300 sq. ft., 13′/h, live room designed to accommodate an orchestra of up to 50 musicians. As the largest 160 Mass studio, this cutting edge recording/mixing suite includes: a 600 sq. ft. Control Room for classes of up to 16 students, and two oversized 110 sq. ft. ISO rooms. Extremely useful for multi artist recording projects, they compliment the WSDG-designed studios at the Berklee Valencia campus.

“Our Basel, Switzerland-based partners, Dirk Noy and Gabriel Hauser ran extensive auditory simulation and modeling tests to establish optimal acoustics for the performance café, the studios, and the critical listening environments,” reports WSDG Co-Principal/ Interior Designer, Beth Walters. “160 Mass. incorporates architectural elements and acoustic treatments which epitomize our 40+ years of studio design experience. These rooms are World Class.”

“Studio 1 engaged a number of innovative design elements,” reports WSDG Partner/ Project Manager, Romina Larregina. “Because it is clearly a ‘star’ attraction, Berklee College of Music President, Roger Brown and the executive team envision an on-going series of student tours through the complex. Faculty members were concerned that the panoramic 12′/w x 5′/h corridor window into the live room might prove a distraction to student musicians. To ameliorate this anticipated problem, WSDG recommended fitting the window with clear glass Quadratic Residue Diffusers. These custom-built treatments were precisely calibrated to diffuse the studio’s frequency range. Joined together as a single ‘sill-to-top’ installation they enhance the live rooms’ acoustics, provide visitors with an expansive view, and maintain the privacy required by working student musicians.

“The 1500 sq. ft. Studio 2 was designed for smaller ensemble recording projects, and features a 120 sq. ft. ISO Booth, and 360 sq. ft. Control Room,” Larregina continues. “The Lee Kennedy Co. Inc. contractors deserve tremendous credit for their contribution to this project. Each studio represents the latest word in room-within-room construction. Each studio is acoustically de-coupled and allows for zero tolerance in terms of sound leakage,” she adds.

Level A also features one of two 120 sq. ft. ‘tiered’ Central Machine Rooms (CMR), which represent a formidable achievement in ‘enhanced connectivity.’ “Due to the extensive amount of technology required by 160 Mass., we split the distribution within two fully integrated rooms, The Level A CMR is positioned directly above the Level B CMR,” Larregina explains. “This vertical configuration was extremely logical. Our long-time Systems Design & Integration Specialist Judy Elliott-Brown accomplished literal miracles in one of the most challenging wiring projects we have ever encountered.”

A twenty-five year WSDG veteran, Elliott-Brown has been involved with the 160 Mass. Ave. project since the project was awarded in 2011. Tasked with routing, running and connecting upwards of 100,000 feet of analog audio, video, CAT-6 and speaker wire with over 30,000 connections via some 5500 individual connectors throughout the three-floor recording, producing, mixing and teaching complex, Elliott-Brown considers 160 Mass one of the most complex assignments of her career, (a track record that includes NYC’s Jazz At Lincoln Center; SF’s Ex’pression College of Digital Arts; Village Studios, Guangzhou, China; and NYU’s James L. Dolan, Music Recording Studio/Teaching Complex). Collaborating with Berklee College of Music Chief Engineer Burt Price, and Jerry Smith, Senior Director of Technology for the Writing and Technology Division, and enlisting the creative design assets of the entire WSDG global team Elliott-Brown encountered and resolved innumerable systems infrastructure issues.

“Over the three years that this project evolved from initial drawings to fine tuning, our primary mandate was to remain open to change. Technology shifts, room repurposing and functionality remained fluid well into the construction period,” Elliott-Brown says. “The most significant refocus was the decision to refashion the Cafeteria from a traditional dining hall into a performance venue. In retrospect this seems like an obvious call, but it was a brilliant expansion of the iconic role this three story high, glass-walled hall will now play in this complex. It presented some interesting acoustic and wiring challenges, but the benefits to Berklee students and guests will be enormous. Fortunately, the decision was reached early enough in the construction stage for us to accomplish the changes in a timely and efficient manner.” Elliott-Brown supervised the system installation crew led by Redco Audio of Stratford, CT. She estimates that over the past three years she has devoted upwards of 2240 hours to 160 Massachusetts Ave.

Level B

Level B is comprised of five independent suites of varying size and purpose. Created for small ensemble recording, the 1100 sq. ft. Studio 3, features a 320 sq. ft. Control Room, a 140 sq. ft. ISO booth, and a 600 sq. ft. Live Room. Larregina refers to the 400 sq. ft. Mastering/ Critical Listening Lab, as a ‘self-contained Sweet Spot.’ “The precise acoustic tuning of this studio will provide classes of up to twelve students with an impeccable listening experience, one which will be difficult to match in the ‘real world,’” Larregina adds.

Another 160 Mass. ‘signature room’ is Level B’s 700 sq. ft. Dolby Atmos(tm) -ready Dubbing Stage which features twin 150 sq. ft. ISO Booths, and a 120 sq. ft. Overdub Booth. The 1400 sq. ft. Production Control Suite features four 170 sq. ft. Control Rooms, three of which are equipped with 100 sq. ft. ISO Booths, and all adjacent to a communal 400 sq. ft. lounge.

Fourth Floor Ensemble Rooms

The (7454 sq. ft.) fourth floor at 160 Mass. is dedicated to practice and rehearsal. Three conjoined, 250 sq. ft. Ensemble Practice Rooms were constructed with pro studio isolation and acoustic treatments to enable musicians to practice at peak volume without concern for sound leakage into neighboring rooms. Additionally, twenty Individual Practice Rooms of varying size were designed to accommodate a diverse range of rehearsal configurations. The fourth floor also houses a student fitness room.

Beth Walters, and WSDG interior design supervisor Silvia Campos Molho and interior designer Charlotte Ross collaborated with Berklee College of Music Assistant VP Carl Beatty on the overall 160 Mass interior design “VP Beatty suggested introducing subtle inflections of color to ‘warm and refine’ the atmosphere. To facilitate this goal, we developed a custom palette to compliment the college’s distinctive red and black motif,” Walters said.”

“As a former professional engineer I’ve logged countless hours in recording studios,” Carl Beatty remarked. “My interior design experience began with WSDG on Berklee’s Valencia, campus which has a ‘Destination Studio’ rather than a classroom vibe. Because 160 Mass. is a dedicated teaching facility, we envisioned an unequivocal pro studio setting. Beth and Sylvia prepared an expansive canvas of gold, ocher, lavenders, blues and other harmonizing colors, to enhance each room’s distinctive character. This complex bristles with technology, but its variable acoustic treatments, silver diffusers, dramatic ceiling clouds and other auditory elements are complimented by carefully considered aesthetics orchestrated by WSDG.”

Walters describes the three-year design/construction mission as, “An exceptional opportunity for WSDG to collaborate with brilliant clients and an outstanding architectural firm. Our challenge was compounded by the fact that we were simultaneously engaged in integrating our design for Berklee’s five studio Valencia Campus, in Spain,” she says. “The major differences between these two projects were scale and location. Berklee Valencia is set within the ultra-modern, Palau de les Arts Reina Sofia arts/performance complex, a world-renowned building. Boston’s four-floor, 52,654 sq. ft. audio education complex is the hub of a 16-story, ground-up building. Virtually every member of our international team made a meaningful contribution to both of these formidable endeavors. It is extremely gratifying to walk through 160 Mass. today, and know that WSDG helped to bring it to life.”

WSDG co-founder/architect/acoustician, John Storyk concludes, “Projects on this scale are extremely rare. Berklee College of Music President, Roger Brown, Assistant VP Carl Beatty, Jay Kennedy, Vice President for Academic Affairs/Vice Provost, and their entire executive cadre are among the most astute and forward thinking educators we have ever worked with. Their insights and recommendations were invaluable, particularly in proposing the Café as a performance/live recording space. A brilliant decision, albeit one, which presented considerable acoustic design challenges at that stage of the project. However, their prescience reflects a unique grasp of student needs. And, The Café was immediately recognized as the jewel in the 160 Mass. crown. Berklee College of Music has introduced a new standard of professionalism and commitment to a rapidly evolving career path. WSDG was privileged to contribute to this significant addition to America’s educational infrastructure.”

###

Photos:

1. Berklee College of Music 160 Massachusetts Ave. Café / Performance space
2. Berklee College of Music 160 Massachusetts Ave. Control Room 1
3. Berklee College of Music 160 Massachusetts Ave. Control Room 2
4. Berklee College of Music 160 Massachusetts Ave. Control Room 2 (vertical)
5. Berklee College of Music 160 Massachusetts Ave. Control Room 3
6. Berklee College of Music 160 Massachusetts Ave. Dub Stage
7. Berklee College of Music 160 Massachusetts Ave. Equipment Closet
8. Berklee College of Music 160 Massachusetts Ave. Mastering Suite
9. Berklee College of Music 160 Massachusetts Ave. Production CR
10. Berklee College of Music 160 Massachusetts Ave. Studio 1 C v1
11. Berklee College of Music 160 Massachusetts Ave. Studio 1 Live Room v2
12. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v1
13. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v3
14. Berklee College of Music 160 Massachusetts Ave. Exterior Day

Photos by: Cheryl Fleming/James Lane www.CherylFleming.net

Berklee College of Music 160 Mass. Ave. Audio Education Complexnull1. 160 Mass. Cafe Horizontal LR

2. BCM_Control Room 1_01 LR

3. Control Room 2_01 LR

4.160 Mass. Control Room 2_02 LR

5. 160 Mass. Control Room 3 LR

CHERYL FLEMING

CHERYL FLEMING

8. 160 Mass. Mastering_01_ LR

9. 160 Mass. Production CR_02 LR

CHERYL FLEMING

11. 160 Mass. Live Room  1_02_LR

CHERYL FLEMING

CHERYL FLEMING

CHERYL FLEMING Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969′s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho, Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

Sennheiser Encourages Microphone Owners to Petition to the FCC in Light of Impending UHF Spectrum Auction

Company Says FCC Should Retain Two Blocks of Clean UHF for Hypercritical Mics and Ear Monitors, and Mic Owners Should Receive Compensation As a Result of Spectrum Repacking

Old Lyme, CT, October 29, 2014: Audio specialist Sennheiser, which continues to file comments with the Federal Communications Commission (FCC) in light of the pending spectrum auction now scheduled to take place in early 2016, recently filed a Petition For Reconsideration with the FCC on its Incentive Auction Ruling. The company also encourages microphone owners and customers to write to the FCC in support of the Petition for Reconsideration before the initial reply deadline of November 12th, 2014, and is offering to help with any filing or procedural requirements.

Sennheiser’s recently filed Petition For Reconsideration argues two primary points:

• There should remain two blocks of clean UHF for hypercritical microphones and ear monitors (the FCC plans to eliminate the two reserve mic channels);
• Mic owners should be compensated by the auction winners for their equipment, purchased to comply with the previous 700 MHz reallocation, that will be displaced as a result of this next spectrum repacking.

“The FCC has an enormously difficult task to repurpose spectrum from traditional over-the-air TV broadcast to mobile broadband services — this is a matter of content distribution,” says Joe Ciaudelli, Spectrum Affairs, Sennheiser. “However, spectrum is crucial for content creation as well. It is essential that productions have access to reliable prime spectrum for their most critical wireless links. Also, responsible mic owners invested in new equipment just a few years ago to comply with the Commission’s mandate to vacate the 700 MHz band. They should not be subjected to another premature obsolescence of their gear without some compensation. In our petition we detail options for addressing these important issues.”

Last April, Sennheiser launched a website to keep its customers informed on developments concerning the future of wireless microphones and the UHF spectrum. The website [http://sennheiser.com/spectrum] also contains a template for a sample support letter that microphone owners can download and use to express their own views to the FCC concerning equipment replacement costs they will incur as a result of spectrum reallocation.

In early 2016, the FCC plans to hold an ‘incentive auction” with the intent of transferring spectrum currently allocated for over-the-air (OTA) TV service to mobile broadband. The auction offers TV broadcasters the opportunity to relinquish or share their spectrum license in exchange for a portion of the proceeds generated by the auction. The broadcasters that operate on channels in the 600 MHz range that choose to stay on the air will be moved to a different TV channel during the subsequent repacking process, scheduled to be completed 39 months after the new channel assignments are determined.

For more information, please visit http://sennheiser.com/spectrum or contact Joe Ciaudelli directly at spectrum@sennheiserusa.com.

About Sennheiser:

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available at www.sennheiser.com.

EASTWEST’s Flagship Orchestral Series Now Available

The most comprehensive orchestral collection on the market includes Hollywood Orchestral Strings, Brass, Woodwinds, and Percussion

Hollywood, CA (October 29, 2014) – With the recent release of Hollywood Orchestral Percussion, EASTWEST now offers the most detailed and comprehensive orchestral virtual instrument collection on the market: Hollywood Orchestra. The company’s flagship product includes Hollywood Strings, Hollywood Brass, Hollywood Orchestral Woodwinds and Hollywood Orchestral Percussion, all produced by award-winning team comprised of Doug Rogers, Nick Phoenix, Thomas Bergersen, and engineer Shawn Murphy.


“This has been our labor of love – we’ve worked over a five year period as we completed each of the sections,” says Doug Rogers. “We are proud to now offer a complete professional orchestra that is able to meet any demands composers might have. It’s a true EASTWEST milestone.”

Each individual section of Hollywood Orchestra has received multiple awards from the international press for its unprecedented detail, superior true legato, sound quality, and sound control with five user-controllable mic positions, including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.

Producer Mark Linthicum says: “I love the realism of these Hollywood instruments. For the first time I can go for a big bombastic Hollywood sound, or an intimate sound with the mic options included. There’s really nothing else that can do this. It’s a game changer!”

Truly the Holy Grail for serious film, television, videogame, and music composers, Hollywood Orchestra is the culmination of over five years of recording in the famous EASTWEST Studio 1, the home of major Hollywood Soundtracks and Television Themes. It includes PLAY 4 32-bit/64-bit software, powerful scripting for ease of use, and more user control than any other virtual instrument.

For more details, please visit www.soundsonline.com/Hollywood-Orchestra

System Requirements
680GB free hard disc space, iLok security key (not provided)

Pricing & Availability
Gold and Silver versions are downloadable, Diamond is supplied on a hard drive due to the size of the collection. To purchase and for more information, please visit www.soundsonline.com/hollywood-orchestra

• Diamond Edition: MSRP $2996, Introductory price $1495
• Gold Edition: MSRP $1996, Introductory price $995
• Silver Edition: MSRP $996, Introductory price $495 (coming soon)

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, on Facebook and Twitter.

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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