Archive of the The Wire Category

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.]”

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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.

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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.

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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.”

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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

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2. BCM_Control Room 1_01 LR

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5. 160 Mass. Control Room 3 LR

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9. 160 Mass. Production CR_02 LR

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11. 160 Mass. Live Room  1_02_LR

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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.

Audio Engineering Society Welcomes New President Andres Mayo

Andres_Mayo

New York, NY — Following the highly-successful 137th Audio Engineering Society Convention, which took place Thursday, October 9, 2014, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, the AES is pleased to welcome new President Andres Mayo as he takes over the leadership role from Dr. Sean Olive. Mayo currently serves as Owner and Senior Mastering Engineer at Andres Mayo Mastering and Audio Post in Buenos Aires, Argentina, and, as an award-winning producer and engineer, he is set to guide the AES into the coming year and through AES138 in Warsaw, Poland and the Convention’s return to New York City for AES139 in the fall of 2015.

Mayo’s skills in the studio have earned him professional success and renown throughout the industry as an audio engineer and producer. He holds a Master’s degree in Electronics Engineering from the National Technology University (U.T.N.) in Argentina. Since 1991, Mayo has been a pioneer in the art of mastering, working for several facilities in Latin America as well as London, New York and Ludwigsburg, Germany. In 1994 Andres was co-founder of Mr. Master, the first pro mastering facility in Argentina, which later became “Andres Mayo Mastering and Audio Post,” boasting full 5.1 mixing and mastering capabilities. With credits on over 2,000 albums, two GRAMMY® Awards as a producer and six Carlos Gardel Technical Excellence Awards, Mayo continues to set a high standard for the AES and for furthering professional audio advancements around the world.

Additionally, Mayo has served as the AES VP for Latin America for two consecutive terms, co-chairing more than 50 AES events in the region, including the first Latin American Conferences in 2007 (Buenos Aires), 2008 (Mexico) and 2009 (Sao Paulo), as well as the first Latin Producers Panel, in Spanish, at an international AES Convention (AES137). Mayo has also served four years as Chair of the AES Argentina Section and still serves the Society as Vice Chairman of the Technical Committee for Recording Technology and Procedures (TC-RTP). Andres speaks fluent Spanish, English and Portuguese and has been invited as keynote speaker to more than 60 conferences held throughout Latin America, the U.S. and Canada. He has been presented with the AES Board of Governors Award (2009) and the AES Citation Award in recognition of outstanding contributions to the Latin American Professional Audio Community (2011).

Commenting on the recent AES137 Convention in Los Angeles, California, as well as his new role as President, Mayo states “I strongly feel that the recent L.A. Convention has been a resonant success in all aspects. With over 300 exhibitors and 350+ presentations, workshops, tutorials and papers, not only have we proved that the AES is alive and kicking, but also that there is absolutely no convention in the world that can provide the audience with such a high level of education in all aspects of Professional Audio. My special thanks to our Executive Director Bob Moses, Co-Chairs Michael MacDonald and Valerie Tyler, and an amazing team of over 50 people, for putting together the best AES Convention ever, and I look forward to serving as President as we expand the reach of the AES in the upcoming year.”

For further information on the Audio Engineering Society and upcoming events, please visit http://www.aes.org/.

Pensado’s Place Has Eventful AES137 Convention

Pensado_PlatinumPanel Pensado_Trawick_HalLeonard

Program co-hosts Herb Trawick and Dave Pensado were the focus of the convention’s Platinum Engineers Panel, Audio-Technica’s AMA event, and two events launching their new book The Pensado Papers, published by Hal Leonard

LOS ANGELES, CA — Pensado’s Place – the acclaimed weekly web series known as the most influential show for engineers, mixers and producers – and its co-hosts Herb Trawick and Dave Pensado had a strong presence at the 137th AES Convention and concurrent events in Los Angeles. Throughout the convention (Thursday, October 9, through Sunday, October 12, 2014), Trawick and Pensado made 11 appearances; highlights included the Platinum Engineers Panel (of which Trawick and Pensado were the focus), an “AMA (Ask Me Anything)”-style Q&A hosted by Audio-Technica, and two events launching the new book The Pensado Papers, published by Hal Leonard. The Pensado Papers is the behind-the-scenes story of Dave Pensado’s and Herb Trawick’s incredible and inspirational journey in the music business and how they have worked to raise awareness and give recognition to everyone working behind the glass.

On Thursday, October 9, 2014, Vintage King Audio Los Angeles featured a book signing/intro with Trawick and Pensado and Hal Leonard staff.

The following day, Friday, October 10, 2014, at AES137 at the LA Convention Center, the Platinum Engineers Panel “The Script Is Flipped” featured Trawick and Pensado interviewed by Convention co-chair Michael MacDonald. Convention-goers got the chance to see what Trawick and Pensado have learned from their superstar guests – from studio technique and engineering, to the pressures of creating online television for 180 straight weeks (and counting). MacDonald moderated the event, drilling Pensado and Trawick on what they would like their legacy to be, their favorite and least favorite sounds, what they would do if they worked in other professions, and more.

The following day, Saturday, October 11, 2014, featured two events at the convention with Trawick and Pensado – the first was an introduction and book signing at Hal Leonard’s exhibition booth, and the second was the AMA event at Audio-Technica’s booth, with questions submitted both in person and online.

Trawick stated, “Throughout the course of the AES convention, Team Pensado ended up making 11 appearances in 72 hours, including parties, dinners etc. We were approached by a ton of people during all these times, offering an amazing amount of love, handshakes, pictures and the like. And the prevailing discussion was how great the convention was, from attendees to vendors to press. We were proud to participate in such a wonderful gathering.”

ABOUT PENSADO’S PLACE
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, Pensado’s Place includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats. http://www.pensadosplace.tv/

Audio-Technica Presents “How to Mic A Zombie”

AT_HowToMicAZombie_play

Zombies exist solely in the realm of fiction — or DO they? Audio-Technica thinks it better to be safe than sorry. Surviving in a zombie apocalypse relies on preparedness in every aspect of life — even microphone technique. In this spooky video, Audio-Technica teaches you “How to Mic a Zombie.” Sit back, enjoy, and remember to check under the bed, in the closets and behind the curtains.

Watch here: http://youtu.be/a62BRu7CVE0

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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