Archive of the The Wire Category

Chandler Limited announces REDD.47 Pre-Amp

Chandler Limited REDD.47 Pre Amp - EMI Abbey Road StudiosChandler Limited adds tube pre-amplifier to its Abbey Road Studios series

Shell Rock, IA – October 2014 … Chandler Limited, recognized globally for signal processing and related music and audio products that deliver the classic analog sounds recording and professional musicians seek, announces addition of the REDD.47 pre-amplifier to Chandler’s esteemed Abbey Road Studios product line.

The REDD.47 microphone pre-amplifier, considered a ‘holy grail’ to some, is most closely associated with the sound of The Beatles’ records recorded at Abbey Road Studios from 1964-1968. Today, 50 years later, Chandler Limited revives this legendary sound with its own incarnation of the famous REDD.47.

The origins of the REDD.47 began at Abbey Road Studios’ technical division, the ‘Record Engineering Development Department’,  in 1958. The REDD.47 line amplifier was designed as the replacement for Telefunken’s V72S. The latter was a specially modified version of the Telefunken V72 valve amplifier, used in the early EMI REDD mixing consoles at Abbey Road Studios.

The REDD.47 tube amplifier was introduced as the plug-in all-purpose line amplifier component for EMI’s next generation REDD.51 mixing console, first built in 1959. However, Abbey Road’s Studio Two, home to the majority of The Beatles’ recording sessions, only received its REDD.51 mixing console in 1964. The REDD.47 left its unmistakable sonic character on every Beatles record from 1964 to 1968.

Chandler Limited’s re-imagination of the REDD.47 realizes the punchy, aggressive sound of the original pre-amplifier, while adding new features required for the rigors of today’s recording studio environment. One of the features of Chandler Limited’s REDD.47 design is increased gain, allowing a range of tonal options from pristine clean sound to classic rich, saturated tone with up to 2% harmonic distortion before clipping. The Chandler Limited REDD.47 pre-amp easily reproduces the distortions heard on The Beatles’ ‘Revolution.’

The introduction of the REDD.47 tube pre-amplifier is a milestone for the Shell Rock, Iowa pro-audio manufacturer and Chandler’s heralded Abbey Road Studios product line. Chandler Limited founder and chief designer, Wade Goeke, had this to say,

“Obviously this is a big step for Chandler Limited. The REDD.47 is possibly the most famous mic pre of all time and we all wanted it to be special in sound, function, and appearance. From using the original documentation, to remolding the jumbo old style knobs, to reviving the Rumble Filter, every part of this design has been special . . . and if you’re wondering . . . yes, it distorts in that special way just like on the old songs!”

Equally excited for the new REDD.47 pre-amplifier is Abbey Road Studios’ Head of Audio Products, Mirek Stiles,

“Abbey Road Studios is proud to see the legendary REDD.47 microphone pre-amp brought back to life as a hardware unit. The distinctively warm and sometimes aggressive sound the REDD.47 is known for has made a huge impact on some of the most important historical recordings of all time. It’s very exciting to know the famous ‘edgy treble’ sound will now be available to engineers, producers and artists all over the world.”

Chandler Limited’s REDD.47 pre-amp has the ability to be used as a mic pre-amp, line amplifier, or serve as a D/I, and is sure to become a record production staple of recording studios worldwide.

To learn more about Chandler Limited’s REDD.47 pre-amp visit: http://chandlerlimited.com/redd-47-pre-amp

Chandler Limited expects to begin shipping the highly anticipated REDD.47 pre-amp during first quarter 2015.

 

About Chandler Limited

Headquartered in Shell Rock, Iowa, Chandler Limited, Inc. is a boutique manufacturer of high-end signal processors, mixers, and amplifiers for musicians and audio professionals. Recognized globally for its exquisitely handmade products and the company’s high profile clientele, Chandler’s product offerings include the Abbey Road/TG line, its unique Germanium transistor series of products, the 500 Series Modules, plus its recently introduced guitar pedals and amplifier. For additional information about all Chandler Limited products, please visit the company online at www.chandlerlimited.com.

About Abbey Road Studios

Abbey Road Studios are the most famous recording studios in the world and an iconic symbol of British music.  They have been home to countless landmark recordings and pioneering advances in recording technology.  Opened in November 1931, Abbey Road Studios were the world’s first purpose-built recording studios.  The hallowed building has a phenomenal history spanning over 80 years, during which the studios have hosted many of the world’s most famous artists, including the Beatles, Pink Floyd, the Hollies, Kate Bush, Oasis, Florence and the Machine, Adele and Lady Gaga.  Abbey Road is also one of the world’s premiere locations for movie scoring.  Since the 1980s, scores for films such as Raiders of the Lost Ark, the Lord of the Rings Trilogy, Braveheart, and The King’s Speech have been recorded there.  The list continues with many other major titles, including Shrek, Prometheus, Harry Potter, Skyfall, and The Hobbit.

 

Abbey Road Studios, EMI, REDD and their associated logos are trademarks of EMI (IP) Limited.

137th AES Convention to Feature “Chicks in the Mix” Panel

New York, NY, October 9, 2014 — The upcoming 137th Audio Engineering Society Convention, taking place October 9-12, 2014, at the Los Angeles Convention Center, will feature a panel exploring the experience of female audio/recording professionals. “Chicks in the Mix” will take place Saturday, October 11, from 1:00-2:30 p.m. in Room 403 AB. Historically the audio and recording industries have represented a male-dominated workplace – although the atmosphere has changed, there are still many challenges faced by female engineers, product designers, producers, mixers, managers, songwriters and artists that are not faced by their male counterparts. This panel brings together well-known female industry professionals to discuss their personal experience in these terms and how they do what they do.

Moderated by acclaimed producer and mixer Chris Lord-Alge, the discussion will feature the following panelists:

Marcella Araica, Recording & Mix engineer (Britney Spears, Madonna, Pink) – Miami, FL, USA; Los Angeles, CA, USA
Amy Burr, Larrabee Sound Studios, Studio Manager – North Hollywood, CA, USA
Emily Lazar, September Mourning (Lead Vocalist for the band) – New York, NY, USA
Lisa Loeb, GRAMMY®-nominated Singer/Songwriter – Los Angeles, CA USA
Brenda Russell, BMPR – Los Angeles, CA, USA

This dynamic panel, debuting at the AES137 Convention, is set to offer lively debate and discussion across all boundaries. No matter your gender, you will want to hear what these “Chicks in the Mix” have to say.

“I am very much looking forward to the ‘Chicks in the Mix’ panel at the AES convention,” stated Lord-Alge. “These five professionals each offer a distinct point of view and a different skill set, and their stories will help illuminate the experience of women in our industry.”

For further information about AES137 Special Events, as well as further Registration, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

History Gets Its Due at the 137th Audio Engineering Society Convention

New York, NY, October 9, 2014 — Music/audio production is by its nature an inherently historical and archival discipline, and the 137th Audio Engineering Society Convention, taking place today through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, sees the past come alive with the annual History Track.

AES Convention Historical Events Chair Mark Gander have assembled a winning collection of presentations. These include the perfect pairing of “The Evolution of Studio Acoustic Design” and “Audio Architects of the Nashville Sound,” which portrays highlights from the AES Nashville Lifetime Achievement Awards event.

Attendees will also enjoy listening to Michael Petersen of Shure, Inc., narrate the life and career of Benjamin Bauer, who developed the Uniphase network and the iconic Shure Model 55 Unidyne® Microphone, which celebrates its 75th anniversary this year. Bauer, an immigrant from Ukraine, developed the network at age 24, and it earned him the first of over 100 patents in audio technology. Included in the presentation are photos and details of the first Unidyne mic elements constructed by Bauer, uncovered December 2013 in the Shure Archives and not seen since the early 1940s.

In another fascinating panel, representatives from companies including Empirical Labs, Universal Audio and Great River Electronics – all engaged in manufacturing modern versions of classic audio products – will each profile one or more products, describing some of the methods that they use to duplicate the performance of the classic pieces. The participants will include representatives from manufacturers who develop hardware as well as software plug-ins. Each manufacturer will present products, methods and techniques, with discussion of measured and sonically judged faithfulness and/or improvements, followed by panel interaction and questions from the audience.

The full Historical Track program is here:

Thursday, October 9, 2:15 pm — 4:15 pm
Session H1 Evolution of Studio Acoustic Design

Thursday, October 9, 5:00 pm — 6:30 pm
Session H2 Audio Architects of the Nashville Sound: Highlights from the AES Nashville Lifetime Achievement Awards

Friday, October 10, 5:30 pm — 6:30 pm
Session H3 Benjamin Bauer and the Shure Unidyne Microphone: 75 Years of Audio Legend

Saturday, October 11, 12:15 pm — 1:15 pm
Session H4 History of Audio Measurement Technology

Saturday, October 11, 5:30 pm — 6:30 pm
Session H5 History of Line Arrays

Sunday, October 12, 2:30 pm — 4:30 pm
Session H6 Authentic Replication and Modeling of Vintage Audio Gear

“We put an enormous amount of care and thought into curating the Historical Track at the AES Conventions, because there is so much history in this industry, and so much more being made every day,” states Gander. “And it’s gratifying that they tend to be among the most well-attended sessions of the entire event. It’s clear that those involved in professional audio care deeply about its legacy.”

Further detailed information on the Historical Track at the AES137 Convention, as well as Registration, Hotel, and Technical Program formation are available on the AES137 webpage at http://www.aes.org/events/137/.

Powersoft Launches Armonia Pro Audio Suite™ 2.5.0, With New Interface and Advanced Control of Powersoft X Series

Software Upgrade Represents a Milestone in the Development of Powersoft’s Pro Audio Suite

Ventura, CA, October 9, 2014: Powersoft, a world-leading manufacturer of professional power amplifiers, announced the launch of Armonía Pro Audio Suite 2.5.0™. Since the first software edition was released in 2009, Armonía Pro Audio Suite™ has gained a reputation as a powerful solution that helps audio professionals significantly improve sonic performance and system reliability in their loudspeaker systems.

armoniascreeshotArmonía Pro Audio Suite 2.5.0™, which is able to control the all new X series amplifiers, is designed to facilitate seamless remote control and monitoring of Powersoft amplifiers. With the new software version, system engineers can easily perform on-line or off-line system setup and tuning — as well as manage and monitor all vital functions in real-time from a remote PC via a single intuitive GUI.

The new release of Armonía Pro Audio Suite 2.5.0™, which is most relevant update to the digital signage monitoring and processing software to date, is able to maximize interaction among loudspeakers, as well as manage the entire range of Powersoft products.

New Software Interface:

armoniaxThe update to Armonía Pro Audio Suite includes a new interface to control the advanced features of Powersoft’s X Series (e.g. Matrix / Speaker Routing / Redundancy Priorities, and improves control functionality for the new DigiMod DSP-D amp modules: such as parameter settings, bank preset management, grouping information and preset locking functions.

Armonía can also control and monitor a complex system with greater ease and intelligence by leveraging LivingWorkspace, an innovative component that is able to render a quick overview of the entire system status on the workspace. With LivingWorkspace, users can access critical information about signal presence, muting, gain reduction and clipping instantaneously. Additionally, link state and alarms state are clearly visible by icons, which appear on both the border and background.

Finally, a software update has been included allowing OEM manufacturers to significantly raise their own brand profiles. While using Armonía ProManager, the software is able to configure any IK Series amp modules combination, so loudspeakers manufacturers can make their custom-branded products accessible in Armonía. This provides an added benefit of customization and visibility.

Learning and Collaboration Resources:

There are many ways to for users to become more familar with Armonía Pro Audio Suite, including a rich tutorial section on the Powersoft website available here: http://www.powersoft-audio.com/en/software/armonia-tutorial. This includes a host of training videos that cover comprehensive topics such as handling presets, digital signal, running a system and many others. Additionally, Powersoft hosts a very active Armonía support forum [http://www.powersoft-audio.com/en/armonia-forum] where users can gain valuable insight directly from their peers. Finally, the Armonía Sound School has been established as an ongoing resource to help disseminate knowledge in the field of sound engineering.

Armonía Pro Audio Suite 2.5.0™ is accessible via a free download and fully compatible with Windows 8.1 and earlier. For more information on Armonía Pro Audio Suite, please visit http://www.powersoft-audio.com/en/software/armonia-pro-audio-suite.

About Powersoft:
Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

GatesAir Minimizes Long-Term Operating Costs for Minnesota Broadcaster KFMC(FM)

Radio station reduces monthly power bills, maintenance requirements with high-efficiency Flexiva™ solution

CINCINNATI, October 9, 2014
GatesAir, a global leader in wireless, over-the-air content delivery solutions for radio and TV broadcasters, is helping a Minnesota FM station slash monthly bills and long-term operating expenses to enhance total cost of ownership. The station, KFMC(FM) in Fairmont, has significantly reduced energy use and utility costs since installing a GatesAir Flexiva™ high-efficiency transmitter this summer.

KFMC Flexiva Close

The 30kW solid-state Flexiva transmitter replaces an aging tube model from another vendor that was increasingly more costly to operate. Since installing the Flexiva transmitter, the station has reduced its annual energy consumption by over 28kW, resulting in a more than $3000 power bill reduction. These savings, along with vastly simplified maintenance procedures, deliver exceptionally low total cost of ownership over the transmitter lifecycle. Due to the evidence of significant long-term energy reduction with the GatesAir Flexiva transmitter, KFMC was also granted a rebate from its local utility company exceeding $1200.

“Our previous transmitter was nearly three decades old, requiring constant maintenance made more difficult by a dwindling supply of spare parts,” said Woody Woodward, general manager of KFMC and sister station KSUM(AM). “The money we were putting into maintenance exceeded the value that the transmitter delivered. The Flexiva solid-state transmitter is affordable even at higher power levels, and we no longer have to worry about replacing tubes every three years. The PA modules are plug-and-play and the spare parts are minimal, further simplifying maintenance. The dollar savings from reduced energy use and maintenance offer a clear economic incentive that will help us reap more benefits in the long term.”

Flexiva transmitters are based on GatesAir’s ultra-efficient PowerSmart® 3D architecture, with broadband designs that eliminate complex maintenance requirements. Hot-swappable module and power supply replacement ensure that stations continue to operate at high power while supporting a simple exchange of components to enhance safety and working conditions. The PowerSmart 3D architecture also delivers the highest transmitter power density in the industry, reducing size for more efficient real estate use. In the case of KFMC, the compact footprint also improves cooling and circulation.

“The Flexiva is about 45 inches less in length, which allows us to move around the building and work more efficiently,” said Woodward. “The compact footprint enables more airflow for cooling, which results in better transmitter performance and lower bills over the long haul. In the winter months, we’ll recirculate the transmitter heat within the building to reduce demand on our furnaces, saving additional energy.”

In addition to the cost- and energy-reducing benefits, Woodward reports that the Flexiva transmitter, with its built-in GatesAir FAX exciter, has delivered a noticeable sound quality improvement.

“The audio quality has been amazing since we put the Flexiva on the air,” he said. “We sat out in my vehicle after turning on the transmitter, switched between KFMC and our competitors, and adjusted the output for the best presence on the dial and the best possible sound quality. We are filling the signal to its maximum capacity without the compressed sound that you experience with a lot of rock stations on the air today. The FAX exciter has a lot to do with that, and it also gives us an all-in-one package with its built-in Orban processor card, RDS display and remote monitoring capabilities.”

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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Broadcast Leaders Join DTV Audio Group Forum at the Upcoming 137th AES Convention

— Full program announced for “The Implications of Streamed Content Delivery on the Evolution of
Television Audio Services,” which will be held Friday, October 10, 1 p.m. through 6 p.m. —

— Featured panelists include personnel from such organizations as Warner Bros Studios, Fox Networks, Skywalker Sound, Sony Pictures Digital, Disney Digital Studio Services, Turner Sports, Technicolor Sound Services and more —

New York, NY, October 8, 2014 — The upcoming 137th Audio Engineering Society Convention, taking place October 9-12, 2014, at the Los Angeles Convention Center, will feature the return of the forum curated by DTVAG (DTV Audio Group) – an organization of senior-level broadcast network executives promoting best practices and successful strategies for digital television audio production and delivery. Expanding on the popularity of last year’s debut, Roger Charlesworth, Executive Director of DTVAG, and his team have put together a program that will continue to discuss the hot topic of streaming content delivery and its impact on today’s TV landscape. The forum is produced by the DTV Audio Group in association with the Sports Video Group (SVG) and sponsored by Calrec, Dale Pro Audio, Dolby Laboratories, DTS, Lawo and Linear Acoustic.

Some of today’s brightest minds in television audio will participate in this year’s forum, entitled: “DTV Audio Group Forum: The Implications of Streamed Content Delivery on the Evolution of Television.” This event will take a look at the way content delivery is increasingly following a streamed model and being deployed with very short lead times via a virtualized delivery infrastructure, which allows for further advancements in related broadcast services including audio quality, spatially immersive sound, personalization and bandwidth efficiency. A series of five engaging panels, presentations and discussions will dig deep into each topic, and teach attendees about some of the tools and workflow approaches required to manage and exploit the capabilities of next-generation audio standards and take television audio into the future.

Speakers are scheduled to include the following:

Mike Babcock, Supervising Sound Editor/Designer/Re-Recording Mixer, Warner Bros Studios
Mark Brunner, Senior Director, Global Brand Management, Shure Inc.
Roger Charlesworth, Executive Director, DTV Audio Group (moderator)
Kevin Collier, Director of Engineering, Post Production, Warner Bros Studio Facilities
Craig Cuttner, Senior Vice President, Technology Development & Standards, HBO
Thomas Edwards, Vice President Engineering and Development, Fox Networks
Will Files, Sound Designer, Re-Recording Mixer, Skywalker Sound
David Fluhr, Rerecording Mixer, Disney Digital Studio Services
Mark Francisco, Fellow, Premises Technology, Office of the CTO, Comcast
Jeff Haboush, Re-Recording Mixer, Sony Pictures
Steve Harvey, West Coast Editor, Pro Sound News (moderator)
Steve Morris, Director of Engineering, Skywalker Sound
Michael Novitch, Chief Engineer, Technicolor Sound Services
Nathan Oishi, Chief Engineer, Sony Pictures Digital
Skip Pizzi, Senior Director, New Media Technologies, National Association of Broadcasters (moderator)
Tom Sahara, Vice President of Operations and Technology, Turner Sports
Steve Silva, Vice President of Technology and Strategy, Fox Networks
Jim Starzynski, Director and Principal Audio Engineer, NBCUniversal
Jeffrey Taylor, Chief Engineer Universal Studios

Commenting on the state of streamed content delivery and the common thread among each forum topic, DTV Audio Group Executive Director Roger Charlesworth notes, “The pace of change has increased considerably as the delivery landscape has evolved from a rigid linear model to a virtualized stream-based environment. Object Audio in the home sounded a long way off just a year ago. Thanks to streaming, the fact is, for premium theatrical and episodic content, object and immersive, are here already.”

Itinerary for DTV Audio Group Forum at AES, Friday, October 10, 2014, “The implications of Streamed Content Delivery on the Evolution of Television Audio Services”:

1:00: Wireless Microphone Spectrum Update:
Mark Brunner, Senior Director, Global Brand Management, Shure Inc.

1:15: This Is Not Your Father’s MVPD:
Cable infrastructure’s transition to streamed-delivery
Mark Francisco, Fellow, Premises Technology, Office of the CTO, Comcast

1:45: So Long SDI and MADI:
Migration to IP infrastructure within the broadcast plant
Thomas Edwards, Vice President Engineering and Development, Fox Networks

2:15: ATSC 3.0 Audio Update:
Jim Starzynski, Director and Principal Audio Engineer, NBCUniversal

2:30: Distribution of Next Generation Audio Services:
Skip Pizzi, Senior Director, New Media Technologies, National Association of Broadcasters (moderator)
Craig Cuttner, Senior Vice President, Technology Development & Standards, HBO
Mark Francisco, Fellow, Premises Technology, Office of the CTO, Comcast
Tom Sahara, Vice President of Operations and Technology, Turner Sports
Steve Silva, Vice President of Technology and Strategy, Fox Networks

3:30: Post Workflow and Facility Implications for Object Audio:
Roger Charlesworth, Executive Director, DTV Audio Group (moderator)
Kevin Collier, Director of Engineering, Post Production, Warner Bros Studio Facilities
Steve Morris, Director of Engineering, Skywalker Sound
Michael Novitch, Chief Engineer, Technicolor Sound Services
Nathan Oishi, Chief Engineer, Sony Pictures Digital
Jeffrey Taylor, Chief Engineer Universal Studios

4:30: Mixing for Immersive Audio, from Cinema to Tablet:
Steve Harvey, West Coast Editor, Pro Sound News (moderator)
Mike Babcock, Supervising Sound Editor/Designer/Re-Recording Mixer, Warner Bros Studios
Will Files, Sound Designer, Re-Recording Mixer, Skywalker Sound
David Fluhr, Rerecording Mixer, Disney Digital Studio Services
Jeff Haboush, Re-Recording Mixer, Sony Pictures

For further information about the DTV Audio Group Forum, which is available to all attendees, as well as further Registration, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

Antelope Audio Introduces Satori — a Next Gen Monitoring Controller, Combines True Analog Monitoring and Summing Capabilities

Satori Offers a Comprehensive Feature Set and Extreme Efficiency in a Sleek 1U Rack

Los Angeles, October 8, 2014: Building on its unrivaled pedigree of high-end mastering solutions like Eclipse 384, leading professional audio gear manufacturer Antelope Audio [AES booth 1019] introduces a true analog monitoring and summing system. Satori, a Japanese Buddhist term referring to enlightenment, is designed to deliver an ‘epiphany’ experience to the sound engineer. Antelope’s renowned relay-controlled stepped attenuator, the extremely versatile connectivity options and great selection of stereo effects such as mid-side monitoring, place the Satori among the most advanced monitoring controllers in the world, equally suited to both commercial and project studios.

Extremely Transparent, Coherent Audio Processing:
SatoriFrontSatori expands upon the acclaimed design architecture of Eclipse 384 – Antelope’s award-winning mastering AD/DA and monitoring controller. Carefully designed analog circuits and fast, transparent relay attenuators ensure the audio integrity throughout the whole signal path. The 0.05 dB platinum relays provide supremely accurate volume control and perfect L/R balance, even at the lowest listening levels.

“We wanted to design a clean and transparent monitoring controller that would not compromise the quality of our converters and will provide sound engineers with a genuine listening experience,” commented Igor Levin, founder and CEO of Antelope Audio. “Satori is a part of our concept for creating a coherent signal path all the way from the analog source through conversion, recording and playback. Along with Satori, this philosophy is expressed in our latest product additions: MP32, Pure2, and Orion32.

Dedicated Headphone Amps:
satoriFour independent headphone outputs allow individual source selection and volume control, enabling separate feeds for musicians or vocalists. The headphone drivers on Satori employ the same audiophile-grade circuitry found in Antelope’s line of premium home audio products, and are able to drive both low and high impedances.

Great Flexibility and Efficiency:
Satori offers a plethora of functionality such as talkback and level trims, as well as stereo effects like mute, mono, dim and mid-side. The mid-side effect is rarely implemented in monitor controllers, yet routinely requested by mastering engineers. Gain offset is available for any input and output, making A/B testing extremely easy and efficient. In addition to providing outstanding monitoring capabilities, Satori includes a fully analog 8-channel summing mixer. This kind of analog summing, with warm punch and excellent dynamics, allows engineers who work completely “in-the-box” to mix signals in the analog domain for a more natural blending of instruments.

Abundant Input/Output Options:
SatoriRearWith a generous amount of connectivity options, Satori fits perfectly in any studio and represents the ultimate in user flexibility. With eight stereo inputs, four stereo outputs, a range of connectivity options including XLR, 1/4″ TRS and D-Sub 25, the 1U unit is unique in its class. In addition to four stereo speaker outputs, Satori features a dedicated subwoofer output. The unit also features D-Sub 25 connectivity, elegantly solving the issue of connecting to multi-channel converters such as Orion32.

User-friendly Front Panel and Remote Control:
Satori’s delicately machined aluminum volume knob and large LED front panel push buttons allow easy access to the most commonly used monitoring functions such as input and monitor selectors, gain adjustment and level trimming. The unit also ships with the next generation of software application [Mac and PC] enabling flexible and accurate control. The software control panel allows fast and responsive source and speaker switching, accurate volume control, stereo effects selection, headphone controls and user-recallable presets. Analog summing is fully controllable via the software application.

Satori is scheduled to ship later in Q4 of 2014 and will be priced at $1,475.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

Photo captions:
1) Antelope Audio’s new Satori, a true analog monitoring and summing system.
2) Teaser video for Antelope Audio’s new Satori monitoring and summing system.
3) Rear panel of Antelope Audio’s new Satori monitoring and summing system.

From World Class Mastering Rooms to Your Own Living Room: Antelope Audio Introduces the Unparalleled Combination of Zodiac Platinum DSD DAC and 10M Atomic Clock

Rocky Mountain Audio Fest Attendees will be Among First to Experience Depth and Clarity Made Possible by Antelope’s Quad DAC Architecture and Ultra Stable Clocking

Denver, October 8, 2014: Leading digital audio manufacturer Antelope Audio [exhibit Marriott Tower, Suite 1125] is once again setting new standards of audio fidelity at this year’s Rocky Mountain Audio Fest (RMAF) by demonstrating its new Zodiac Platinum DSD DAC in combination with its 10M Audiophile Atomic Clock. Attendees of RMAF will be among the first in the U.S. to experience the unrivalled sound quality made possible by the high rate, quad DAC architecture present in the Zodiac Platinum when connected to the ultra stable Audiophile 10M Atomic Clock, an upgraded and enhanced version of Antelope Audio’s renowned Isochrone 10M clock.

Zodiac_platinum_10m_bundle_1080x1080During the demonstration at RMAF, the Antelope suite will consist of two systems built around Zodiac Platinum DACs, with one system connected to the 10M Audiophile Atomic Clock and the other functioning solely as a DAC/preamplifier. The digital signals will originate from a Music Vault M7 music server by Sound Science. The first system (which includes the 10M) will also consist of a Lyngdorf 2170 integrated amplifier with Room Perfect room correction, powering a pair of King Sound Prince 3 electrostatic full range loudspeakers.

The Second system, which will use the Zodiac Platinum as a DAC/preamplifer, will receive its digital signal from Second Music Vault Music Server. The Zodiac Platinum will be used to feed a M20 stereo vacuum tube headphone amplifier, which will drive two Kingsound H3 electrostatic headphones. The Zodiac Platinum will also feed a Kingsound M10 solid state headphone amp that will be driving another pair of Kingsound H3 electrostatic headphones.

Antelope Audio is widely regarded as an authority in digital clocking and audio conversion technologies and is well-known in the professional audio community. The same technology featured in the Audiophile 10M Atomic Clock is also present in the company’s flagship 10M Atomic reference generator and routinely used at the best recording, mastering and postproduction facilities around the Globe.

Zodiac Platinum DSD DAC
The Zodiac Platinum features custom, ultra low jitter USB for streaming up to DSD128 and 384 kHz PCM, plus comprehensive analog and digital I/O. It also features fully reclocked and de-jittered digital outputs along with analog preamp inputs, ensuring sonic purity at the input stage. With its 64-bit precision 8x linear phase PCM and DSD upsampling capabilities and quad DAC architecture, the Zodiac Platinum is able to achieve stunningly transparent imaging and dynamics in the most demanding audiophile environments. With high precision relay attenuators for fast and precise control of main outputs and dual variable impedance headphone outputs, Zodiac Platinum puts power control into the hands of the listener.

10M Audiophile Atomic Clock
The 10M Audiophile Atomic Clock is an upgraded and enhanced version of Antelope’s legendary Isochrone 10M master clock, which has become an industry standard for ensuring audio quality and accurate sound reproduction among leading producers, sound engineers, artists and movie post-production studios worldwide. When coupled with Antelope’s 10M Audiophile Atomic Clock, the Zodiac Platinum Acoustically Focused Clocking (AFC) jitter management technology, reaches an even higher standard of professional-grade performance and a noticeable improvement on audio depth and clarity.

Voltikus PSU: The Ultimate Power Supply
Voltikus PSU is a second generation power supply that is purpose built for the Zodiac Platinum. Hear the difference that a triple regulated power supply with integrated power line filtering can make in combination with an uncompromising DAC and clocking environment.

The Zodiac Platinum DSD DAC & Audiophile 10M Atomic Clock Bundle sells for $12,995. The Zodiac Platinum ships with a dedicated aluminum IR remote and as well as a custom software control panel for PC, Mac or mobile control applications.

Stop by the Antelope Audio suite at RMAF for a complete demonstration by contacting Antelope representative Neal Van Berg at (720) 308-4000, or visit the Antelope website at: www.antelopeaudio.com.

About Antelope Audio:
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

iZotope Announces New Version of Mastering Software

Ozone 6, a complete mastering platform featuring an elegant and modern interface, will preview to the public at AES 137

Cambridge, MA (October 8, 2014) — iZotope, Inc., a leading audio technology company, has announced an update to its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-box

Launching this fall, Ozone 6 is the latest version of iZotope’s complete mastering system. For the first time, the mastering workflow is centered around creativity: Ozone 6’s modern visual paradigm guides and inspires users of all experience levels at every step, so they can freely experiment with ease—or dial in their signature sound in just a few clicks.

Whether they are mastering engineers or home studio producers, Ozone 6 gives users everything they need to effortlessly produce professional-sounding masters in one elegant standalone application.

iZotope at AES 137
iZotope product specialists will preview Ozone 6 to the general public at AES (Booth 1100) in Los Angeles from October 9 – 12. AES attendees can view a demo of Ozone 6, hear from top audio industry figures, and learn the latest research and technology information. iZotope plans to release further information about Ozone 6’s features throughout the coming weeks.

Pricing
Ozone 6 - $199 USD Promotional Price ($249 USD Regular Price)
Ozone 6 Advanced – $599 USD Promotional Price ($999 USD Regular Price)
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 – $399 USD Promotional Price ($750 USD Regular Price)
Upgrade from Ozone 1-5 Adv. to Ozone 6 Adv. – Always available at a special price of $299 USD

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

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

Availability
Be among the first to hear when Ozone 6 and Ozone 6 Advanced become available. Sign up for the iZotope newsletter and learn more at www.izotope.com/ozone6.

Learn more about AES 137 at www.aes.org.

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.

Expanded Project Studio Expo at AES137 Hosts Sunday Sponsor Events

— Presented in association with leading recording technology publication Sound On Sound, the Project Studio Expo is intended to give home recordists a new perspective on how they can better use their tools and their ears —

New York, NY, October 7, 2014 — A wide range of on-stage sessions have been announced for Sunday’s Project Studio Expo Sponsor Day at the upcoming 137th Audio Engineering Society Convention, scheduled for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. The PSE offers 3 days of events covering such topics as getting big-studio results on a tight budget; audio separation; recording and songwriting; and studio/live networking.

Project Studio Expo, Sunday Sponsor Events:

Session PSE14 – Mixing Perspectives: Tales of achieving big studio results on a project studio budget (led by Focal Press)
Sunday, October 12, 11:00 am — 11:45 am

Session PSE15 – Audio Separation (led by Audionamix)
Sunday, October 12, 12:00 pm — 12:45 pm

Session PSE16 – Recording and Songwriting with Focusrite Novation
Sunday, October 12, 1:00 pm — 1:45 pm

Session PSE17 – Real-World AVB Networking in the Studio and on Stage Using MOTU AVB Audio Interfaces
Sunday, October 12, 2:00 pm — 2:45 pm

Full PSE sessions, including events for Friday and Saturday, can be found here: http://www.aes.org/events/137/projectstudioexpo/.

“There has been tremendous response to our Project Studio Expo over the past three Conventions, and the addition of Sunday sessions offers even more resources for Convention attendees,” states Bob Moses, AES Executive Director. “With the help of our partners and sponsors we have seen the PSE grow into a program that really offers something for everyone in the audio community. I feel this serves as a real incubator and inspiration for seasoned professionals as well as those who are attending an AES event for the first time. These are top-notch educators and engineers who are giving as close to a one-on-one dialog as you can get. And to have this included as part of our free Exhibits-Plus badge offerings is really a great way to expand the mission of the AES – to educate and provide support to those audio engineers that play a large part in our audible world.”

The AES gives Special Thanks to presenting PSE Sponsors; Audionamix, Focal Press, Focusrite Novation, and MOTU along with additional sponsors; AVID, Sennheiser, TC Electronic, and Universal Audio.

For information on the Project Studio Expo, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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