Archive of the The Wire Category

Harris Boosts Flexiva Transmitter Range, Demonstrates Power Efficiency at NAB

At the 2012 NAB Show, Harris Broadcast Communications will demonstrate how radio broadcasters can maximize transmission efficiency across all power levels — most notably for high-power HD Radio™, FM and AM broadcast operations.

Last year, Harris introduced its Flexiva™ range of quad-mode, solid-state transmitters in low-to-mid power models, boasting a single, highly power-efficient platform to support analog and global digital standards. This year, the company will introduce two new high-power models (30kW and 40kW) for broadcasters that need to minimize operating costs while covering large areas — including analog FM and high-power HD Radio via elevated sideband levels.

The Flexiva exciter will also debut at the 2012 NAB Show, featuring rock-solid digital, direct-to-channel modulation for maximum on-air stability. Web-based monitoring and control, a host of expansion options and upgrade paths to HD Radio and DRM+ make the Flexiva exciter a feature-rich yet simple and cost-effective alternative to the Harris FlexStar® HDx exciter. Both exciters are well-suited for Flexiva transmitters at any power level.

Harris will also demonstrate its high-power 3DX Destiny® AM transmitter range for Modulation Dependent Carrier Level (MDCL) applications, delivering exceptional power efficiency to high-power AM broadcasters via Harris Adaptive Carrier Control Plus (ACC+) systems. Harris ACC+ systems help AM broadcasters reduce average power consumption by approximately 35 percent — sharply reducing operating costs associated with high-power AM broadcasting.

All Harris Flexiva and 3DX transmitters leverage Harris® PowerSmart® technology to increase power density, reduce footprint, and improve reliability through simpler designs and better operational efficiency.

“Radio broadcasters continue to seek greater operational efficiency through compact and modular transmitter designs,” said Richard Redmond, vice president of product strategy and management for transmission systems, Harris Broadcast Communications. “Harris continues to develop new strategies and technologies that give our customers great performance with lower operating costs.”

Harris will also show its latest generation FlexStar importer and exporter models (HDI200 and HDE200) for more efficient management of HD Radio multicast signals comprising main and supplemental program audio channels. The NAB 2012 Show also marks the first spring show demonstration of IP backhaul capabilities within the Harris Intraplex® HD Link™ fixed microwave STL system. This upgrade enables tighter integration of RF and IP capabilities for single-channel or multicast program transport.

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HD Radio™ is a proprietary trademark of iBiquity Digital Corp.

M3 (Music Mix Mobile) Employs Waves Loudness Meter (WLM) and Other Waves Audio Plugins for 54th Annual GRAMMY® Awards

— M3 employs WLM (Waves Loudness Meter) for consistent loudness monitoring during broadcast —

— Waves’ critically acclaimed plugins allow remote recording specialists M3 to keep the workflow
moving every time —

KNOXVILLE, TN, February 23, 2012 — Having relied on industry standard hardware loudness metering for many years, engineers in the two M3 (Music Mix Mobile) remote trucks at the 54th Annual GRAMMY Awards telecast, broadcast live from L.A.’s Staples Center in 5.1 audio on CBS-TV on the evening of February 12, 2012, made the switch to the WLM (Waves Loudness Meter) plugin from Waves Audio, the industry-leading developer of professional audio digital signal processing technologies. The move for the first time enabled all essential 5.1 and stereo metering to be displayed directly in line-of-sight with the broadcast monitor screen, providing the music mixer with visual feedback at a glance without having to move his head from the soundfield to look at a rack-mounted unit.

The previous setup, which required the music mixer to look in two different directions in order to take in all the metering, was less than satisfactory, according to Joel Singer, Engineer-in-Charge at M3, a New Jersey/California-based remote facilities company. “Visually it didn’t work with the eye too well. We were able to utilize the WLM and its greater visibility and functionality on our front monitoring system for this show. The new set-up worked out perfectly,” he says.

“We set it up for an ATSC A/85 standard measuring all the channels using the ITU-R BS.1770 spec,” Singer continues. “We have one screen inside the truck dedicated to metering only coming off the Pro Tools mixer system. We’re now able to set up 5.1 and LtRt Durrough meters, we’re able to set up a WLM loudness meter, and we can also see a main bus compressor all the time. The engineer can just look up from the console and see the program in front of him on the 46-inch LED screen, he can look to his right and see all the meters, he can look at previews to his left, and he stays in the zone the entire time. There’s no reason that he has to look for a 1U rack-mount with a little meter giving him numbers.”

The WLM plug-in, which features mono, stereo and 5.1 components, is fully compliant with all current ITU, EBU and ATSC metering specifications and offers comprehensive readout options, including Momentary, Short Term, Long Term and True Peak. Measurements may be selected for foreground, dialog and average loudness, while an intelligent dialog sensor detects and measures speech.

Accurate, visible loudness metering is essential for the mixers to be able to create a dynamic show for the GRAMMY Award show’s broadcaster, CBS, explains Singer. “We want the quiet passages to have the same dynamics as the loud passages. We’re trying to create a very even and properly executed show based on the CBS spec. After a lot of testing and working with Waves on the WLM we decided that this was the year we were going to deploy it.”

The streamlined metering display allowed Singer to also keep an eye on levels and consult with John Harris and Eric Schilling, the GRAMMY Award Show Broadcast Music Mixers, as they moved between M3’s Eclipse live music mix truck and its Horizon offline remix counterpart, where the mix created during show rehearsals was fine-tuned prior to the broadcast. “When they went into remix they could use this metering on more of a constant basis, because then they were not under the gun,” explains Singer. “They were just focused on the remix and could get the level dialed in to where they wanted it.”

Although the Waves WLM was deployed for the first time by M3 at the GRAMMYs, the developer’s plugins are a staple on the trucks. “Waves software was very integrated into the show,” says Singer. “On the Springsteen part of the show, his engineer, Bob Clearmountain, asked if we could put a Waves 5.1 SSL bus compressor on the main output to give it that little pop that he wanted. We used a couple of other Waves plugs that we’ve always used from the SSL 4000 and V-Series collections, and the Chris Lord-Alge CLA-76 Compressor. Chris happened to visit the truck and he saw that we were using all sorts of plug-ins that were part of the signature bundle that he created with Waves.”

For more information, please visit www.waves.com.

METRIC HALO CERTIFIES THUNDERBOLT™ TO FIREWIRE SOLUTIONS

thunderbolt_logo.JPGSAFETY HARBOR, FLORIDA – FEBRUARY 2012: Metric Halo is pleased to officially certify two Thunderbolt adapters for use with their line of FireWire based audio interfaces. According to Allen Rowand of Metric Halo, “We’ve tested the Thunderbolt-to-FireWire adapter in the Apple® 27-inch Thunderbolt Display and the Sonnet Technologies™ Echo 34 adapter combined with their FireWire 800 Pro ExpressCard – both systems provide performance identical to native FireWire ports. Since the display has a Thunderbolt pass-through it’s possible to use both adapters at the same time, allowing the user to create two separate FireWire busses. With two busses the user can connect up to six of our interfaces, or use one for up to three interfaces and the other for hard drives.”

Rowand said the company looks forward to incorporating Thunderbolt into their products. “We’re in discussions with Intel to gain access to Thunderbolt more

INDUSTRY LEADERS UNITE TO SUPPORT THE RECORDING ACADEMY® PRODUCERS & ENGINEERS WING® GRAMMY® WEEK EVENT

Audio Industry Leaders Gather for the Fifth Annual GRAMMY® Week Celebration at The Village Studios in West Los Angeles, Honoring Music Producer, Executive and Entrepreneur Jimmy Iovine

SANTA MONICA, Calif. (February 22, 2012) — On Wednesday, Feb. 8, 2012, The Recording Academy® Producers & Engineers Wing® kicked off GRAMMY® Week with its fifth annual event, this year honoring music producer, entrepreneur and chair of Interscope Geffen A&M Records Jimmy Iovine, who has worked with artists including Bruce Springsteen, Patti Smith, U2, the Pretenders, Dire Straits, Stevie Nicks, Tom Petty & the Heartbreakers and many more. Iovine was recognized for his commitment to excellence in audio and ongoing support for the art and craft of recorded music. The event was held at The Village Studios in West Los Angeles. GRAMMY Week culminated with the 54th Annual GRAMMY Awards on Sunday, Feb. 12, 2012..

The event was held with the support of leading companies within the musical instrument and professional audio markets. Presenting sponsors included The Village Studios, West L.A. Music and Westlake Professional Sales. Co-sponsors included Harman International brands AKG Acoustics, JBL, and Lexicon; Iron Mountain; Avid; Musician’s Institute; Music Marketing; Shure Incorporated; Beats Electronics; Ultimate Ears; Focusrite Novation; Prism Media Products; Apogee Electronics Corporation; Full Sail University; Guitar Center Professional (GC Pro); Lurssen Mastering; Sennheiser Electronic Corporation; SoundExchange. Eco-friendly cocktails were provided by VeeV.

Producers & Engineers Wing Senior Executive Director Maureen Droney said, “The evening was a huge success, and once again we must offer a sincere thank you to all of our sponsors. It’s a simple fact that we couldn’t have done it without them. Since this was the P&E Wing GRAMMY Week event’s fifth anniversary, this year’s event was particularly meaningful, and it is especially gratifying that so many leading high quality brands joined together and with us to make the night happen. We all look forward to next year.”

Personnel from several of the sponsors also weighed in on the evening’s festivities:

Michael MacDonald, VP, Sales & Marketing, Harman Professional Division, stated, “Each year the P&E Wing’s GRAMMY Week Event brings the most major figures from the industry into one place. It is an honor to support the P&E Wing and to converse with the talented people behind the scenes of today’s music.”

“Everyone at Music Marketing was extremely proud to support The Recording Academy Producers & Engineers Wing GRAMMY Week event. We had a great suite, which enjoyed a solid succession of industry professionals, including honoree Jimmy Iovine, making the experience one to remember,” stated Ray Williams, President of Music Marketing.

Photo File: PE_IovineEvent_Sponsors.JPG
Photo Caption: Key sponsors and P&E Wing personnel gather for The Recording Academy® Producers & Engineers Wing®’s GRAMMY Week event, which this year honored Jimmy Iovine. Photo Courtesy of The Recording Academy/Wireimage.com. ©2012.

Peregrine Andrews Uses Prism Sound’s Orpheus To Record David Tennant For The BBC

Long-time SADiE user Peregrine Andrews has now added a Prism Sound Orpheus FireWire interface to his equipment list to help tackle recording, digital to analogue conversion and monitoring with 5.1 capabilities.

Renowned for his high-end radio and TV mixing work for clients such as the BBC, Mentorn, Wall to Wall and Falling Tree Productions, Peregrine Andrews operates mainly from his own private studio, Moving Air, which is based in west London.

“I spend about half my time mixing, and occasionally producing, radio (documentaries and drama), and the other half mixing TV (documentaries and comedy)… and the odd film,” he says.

“Recently, on the new series of the BBC sitcom Twenty Twelve, I used the Orpheus to record David Tennant’s voiceover. I also used it for all the ADR on the new BBC Dickens-style comedy Bleak Old Shop of Stuff. As a straight wire device, I don’t really expect the Orpheus to have a ‘sound’, but the voice recordings I’ve done where I’ve plugged the mic straight in have sounded excellent with very little EQ added in the mix.”

The Moving Air studio is equipped with SADiE, Nuendo, PMC monitoring and a Smart AV Tango control surface. His reason for buying the unit was to access a high grade DA/AD converter and monitoring controller so that he could replace the old Yamaha O1V desk that had previously been performing that function.

“I mix in the box so I don’t need any kind of console in the room,” he says. “The Orpheus is three things in one box – Preamp, AD/DA and monitoring controller. Prism Sound loaned me a unit and it worked well, sounded good and looked great, so I decided to buy it. I like its precise volume control of multiple outputs and its ability to derive an independent headphone mix. It’s a single box solution and removes any requirement for a separate soundcard, preamp/mixer, volume control etc.”

Andrews adds that although he had good practical reasons for buying an Orpheus, there were also more sentimental concerns at stake – not least his long association with SADiE, which is now part of the Prism Sound group.

“I’ve been a SADiE user since 1995 and rely heavily on it to make my business work,” he explains. “For precise speech and music editing it’s unequalled. The slip function and the trim editor alone make intense speech editing and assembly very fast. A lot of radio now is recorded in stereo by default (e.g. using flash recorders with built-in mics) but sometimes only one leg is really useful. SADiE allows stereo pairs to be split or re-joined in a keystroke. Also, the ability to have multiple EDLs is very useful at the assembly phase of documentary-making.”

Given this background, it’s no surprise that sentiment played a part in Andrews’ buying decision.

“Prism Sound has an excellent reputation – I’ve never read a bad review and I know, from talking to them, that they design their products using a sensible engineering approach,” he says. “I admit I was looking for a way of continuing to invest in Prism Sound/SADiE because it’s been a long time since I sent any money their way, yet I use their systems almost daily with fantastic support.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

Waves Audio Releases InPhase Plugin

— New Plugin Corrects Track Phasing and Alignment Issues —

KNOXVILLE, TN, February 21, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, is now shipping its InPhase plugin. Designed for recording, mix, mastering and live FOH/monitoring engineers, InPhase has been developed to correct phasing issues between tracks. Phasing can cause drops in volume and wreak havoc on frequency response and stereo image; InPhase gives users a comprehensive tool to correct such problems.

As many engineers and producers know, phasing problems are encountered during all stages of the production process:

In recording, when multiple sources such as microphones and direct signals are used to capture the same sound (e.g., individual drums and drum overheads, guitars recorded using both an amp and DI, amps recorded using multiple mics, etc.).
In mixing, when phase issues that were not addressed during the recording process need to be corrected.
In mastering, when the stereo mix has phasing issues.

Even small timing differences can cause subtle drops in volume as well as reduced punch and clarity. Waves’ InPhase gives users the power to align their tracks and restore phase coherence.

InPhase is the ultimate phase correction plugin, featuring high resolution dual waveform displays with up-to-sample resolution zoom; phase shift filters with adjustable frequency and Q; and an intuitive correlation meter, which shows users just how much they are in or out of phase. Users can move their waveforms manually or using the delay control, and even align them in relation to a sidechain input. The phase shift curve window shows users the phase shift curve across the frequency line; the correlation meter shows to what extent tracks are in- or out-of-phase; and the plugin features dual second-order allpass filters. InPhase includes mono, stereo, and dedicated live components, plus InPhase LT, a simplified version that gives you easy access to creative phase manipulation.

InPhase Controls:

Alpha and Beta processing sections.
Process controls let us choose what to process.
Activity LED shows when there is input signal activity.
Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Monitor selects the output monitor configuration.
Output LED displays the peak signal output level.
Collapse closes the waveform display section.
Capture, with Automatic & Manual modes, captures up to two seconds of signal.
Scroll Bar scrolls the x axis of the captured waveform.
Correlation Meter displays general correlation metering between the Alpha and Beta waveforms.
Correlation Markers display the maximum value of the correlation meter.
Correlation Value Box displays the current correlation value.
Zoom X zooms in on the x axis, at up to sample resolution.
Zoom Y Alpha zooms in on the Alpha section y (amplitude) axis.
Zoom Y Beta zooms in on the Beta section y (amplitude) axis.
Zoom Y Link links Zoom Y Alpha and Zoom Y Beta.
Reset Zoom resets the zoom to its default setting.
Alpha Waveform is the waveform captured in the Alpha section.
Beta Waveform is the waveform captured in the Beta section.

InPhase LT Controls:

Gain controls the level of the signal going into the processing section.
Phase Invert flips the phase by 180 degrees.
Phase Shift Curve Window displays the phase shift curve across the frequency line.
Type sets the phase shift curve, and toggles between Off, Shelf and Bell.
Frequency selects the frequency at which the phase shift is 90° using the 1st order allpass filter, and 180° using the 2nd order allpass filter.
Q sets the width of the Bell (2nd order allpass filter).
Delay moves the signal up to 20 milliseconds in either direction. (Live components forward only.)
Output LED displays the peak signal output level.

Waves InPhase is now available with a special introductory price of USD $99.00 Native / $149.00 TDM. It is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage. InPhase LT, included with InPhase, is also available separately with a special introductory price of USD $59.00 Native / $99.00 TDM.

For more information, please visit www.waves.com.

GUITAR CENTER, THE NATION’S LARGEST INSTRUMENT RETAILER, OPENS NEW STORE LOCATION IN EMERYVILLE, CALIFORNIA

— Guitar Center’s new Emeryville location features on-site lessons and guitar repair services —

Westlake Village, CA (February 15, 2012) – On February 2, 2012, Guitar Center opened its newest retail location, Guitar Center Emeryville, at 5925 Shellmound St., Emeryville, California, 94608. The Emeryville location replaces Guitar Center’s store in El Cerrito, and now offers customers in the Bay Area an even wider selection of products and services. Guitar Center Emeryville’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To celebrate the store opening, Guitar Center hosted a Grand Opening Weekend celebration (Feb. 2-5) featuring exclusive savings, gear giveaways and free events catered to local musicians. The grand opening events also included free performances throughout the weekend.

Guitar Center’s newest Northern California location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. In addition to the special Grand Opening Weekend programming, shoppers who came out early also enjoyed exclusive savings throughout opening weekend, including deals on guitar and drum essentials.

The new store also features Guitar Center Studios, Guitar Center’s state-of-the-art destination that offers music education, professional rehearsal studios and certified Pro Tools and Logic training. Guitar Center Emeryville additionally includes GC Garage, Guitar Center’s on-site guitar repair service. Musicians were able to try out the GC Garage for free on Grand Opening night, with any guitar purchased, and those customers also received a free, 22-point personalized set-up.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Emeryville offers unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry are able to come to the store to interact with and pick the brains of several industry leaders. Free “Recording Made Easy” classes are conducted every Saturday from 10:00 to 11:00 am. Emeryville shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Emeryville inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new Emeryville store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Emeryville residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording three songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at the state-of-the-art Brooklyn-based Converse Rubber Tracks studio and $10,000 cash. The grand finale takes place in Los Angeles on Feb. 18.

Guitar Center’s King of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center Emeryville is open seven days a week. Store hours are 10 a.m. to 9 p.m. Monday through Friday, 10 a.m. to 7 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studio hours are 10 a.m. to midnight Monday through Saturday and 11 a.m. to 10 p.m. Sunday.

Guitar Center Professional Makes Moves for Continued Growth in 2012

— After a strong 10th-anniversary year in 2011, GC Pro is poised for further expansion and enhanced customer services in the coming year —

WESTLAKE VILLAGE, CA, February 14, 2012 — Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is proud to have capped off a strong 2011, its banner 10th-anniversary year, with a number of initiatives that position GC Pro for further growth in 2012.

“GC Pro had a fabulous 2011,” stated GC Pro Vice President Rick Plushner. “We performed above expectations with greater than 30% growth over 2010 – the biggest one-year jump we’ve had in our history. We’re proud of our success and our growing reputation in the industry. In 2012, we are focusing on reinforcing our infrastructure in an effort to provide the best possible customer service, as well as increasing our sales force.”

A number of recent hires reflect this emphasis on customer service and sales. The following sales personnel have been added to their respective GC Pro locations:

Jason Block Atlanta, Georgia
Adam Muraski Brookfield, Wisconsin
Chris Hodkins Denver, Colorado
Ricardo Jimenez Hallandale, Florida
David Touloumian Hollywood, California
Michael Merrill Houston, Texas
Eric Kreuzer Nashville, Tennessee
Javier Willis San Diego (La Mesa), California
Nic De La Riva San Francisco, California
Maryam Haddad Seattle, Washington

Aside from that, these logistics coordinators have been appointed, to help GC Pro fulfill orders, optimize efficiency and expedite delivery to ensure customer satisfaction.

Dwayne Wright Dallas, Texas
Martina Mehta Hallandale, Florida
Nick Zamora Houston, Texas
John Maxson Indianapolis, Indiana
Karla Kennedy Manhattan, New York

“Several offices now have three-person teams improving our ability to spend more time consulting and fulfilling customer orders,” noted Plushner. “The Logistics Coordinators are a significant addition. Once a sales engineer develops specifications and provides consultations for a client, the Logistics Coordinator plays an integral role in ordering the products – whether from a surrounding Guitar Center store, our distribution center or a special order from vendors – and then tracks the order and coordinates delivery. Getting orders right and delivering on time, every time, is what our clients have come to expect from GC Pro, and the Logistics Coordinators serve to strengthen customer service and satisfaction.”

The Dallas location hosts one of the teams benefiting from a recently appointed Logistics Coordinator. Jeff McDaniel, Senior Account Manager based out of Dallas, notes, “Dwayne [Wright, Logistics Coordinator] joined us starting January 1, and it has made a huge impact in the way we do business. We already had a great workflow and relationship with our clients, but with a Logistics Coordinator, we are able to keep things running just that much more smoothly, fully serving our clients to an even greater extent. And Dwayne is a great fit – he is super-nice, well-connected and great with customers.” Wright notes, “This is a great office with a really cool vibe, and I’m proud to join the team. I am looking forward to a big year for me and for GC Pro. I think the new team infrastructure puts us in a position to maximize all of our tools and help customers get to the next level. Already we can see and feel things going the right way. It’s all positive.” Rounding out the Dallas team is Account Manager Kevin Deal, a recent transplant from the Plano location. He states, “It is a pleasure to be working with such an outstanding team here in Dallas. 2012 is going to be an excellent year for our office, and I’m proud to be a significant part of moving us forward for years to come.”

GC Pro is also expanding its Technical Services operation. In 2011, GC Pro opened a Technical Services office in the Hollywood location, and in April 2012 a new office in Nashville will open, with a dedicated GC Pro Technician, providing services direct from the Nashville GC Pro location, building up custom CTO Mac systems for turnkey recording purposes in installation in the Nashville area.

Additionally, GC Pro is establishing a national headquarters based out of the Hollywood location, including offices for GC Pro executive staff, technical services and sales. This location will also be equipped to host vendor and customer meetings, as well as an upgraded pro audio demonstration facility. Plushner stated, “We already have an excellent demo facility, but we’re going to be improving upon that and making it truly a world-class working recording studio where people can come and see the gear that we recommend. We’re very excited about seeing that in action, and we hope our customers are too. With our expanding staff and enhanced services, we are refining what we do well, and that is customer relations, and that will lead to another strong year for GC Pro and our customers, both new and returning.”

For more information, please visit www.gcpro.com .

The Recording Academy® Producers & Engineers Wing® Star-Studded GRAMMY® Week Event Salutes Music Producer, Executive and Entrepreneur Jimmy Iovine

An Advocate for Artistic and Sonic Integrity Is Feted by the Music Production Community

Audio Industry Leaders Support Fifth Annual GRAMMY® Week Celebration at The Village Studios in West Los Angeles

SANTA MONICA, Calif. (February 14, 2012) — In what has become a much-anticipated evening that kicks off music’s biggest week ahead of the annual GRAMMY Awards®, Wednesday, February 8, 2012, saw the fifth annual GRAMMY® Week event held by The Recording Academy®’s Producers & Engineers Wing®. The event, which took place at The Village Studios in West Los Angeles, brings to center stage the irreplaceable contributions made by the recording engineers and record producers whose technical expertise and brilliance warrant GRAMMY Awards of their own. Created specifically to honor individuals who, in the words of Recording Academy President Neil Portnow, have “championed creative freedom” throughout their career, the event has previously honored T-Bone Burnett, Island Records’ Chris Blackwell, and five individuals associated with Atlantic Records: Tom Dowd, Ahmet and Nesuhi Ertegun, Arif Mardin and Jerry Wexler. This year’s Producers & Engineers Wing event, which preceded the 54th Annual GRAMMY Awards on Sunday, Feb. 12, 2012, airing live on the CBS Television Network, singled out music producer and entrepreneur Jimmy Iovine, engineer and producer for artists including Bruce Springsteen, Patti Smith, U2, the Pretenders, Dire Straits, Stevie Nicks, Tom Petty & the Heartbreakers and many more. Portnow presented The Recording Academy President’s Merit Award to Iovine in front of a star-studded audience that included such individuals as Alex da Kid, Mary J. Blige, Colbie Caillat, Diddy, Simon Fuller, Brian Grazer, Dave Koz, Nigel Lithgow, Stevie Nicks, Robbie Robertson, and will.i.am and Taboo from the Black Eyed Peas.

After musical performances by singer/songwriter and “I Love The Way You Lie” co-writer Skylar Grey and singer/songwriter Lana Del Rey, Iovine arrived onstage to receive The Recording Academy President’s Merit Award from Portnow. By that time, the crowd was charged, applauding Iovine both for his contributions to record making and for his entrepreneurship. Iovine founded Interscope Records, one of the most successful labels in the world, and more recently he established Beats Electronics, his consumer headphone venture with colleague Dr. Dre, one of many GRAMMY Award winners in the audience that night.

Iovine singled out many people to honor with a personal note of thanks, including Stevie Nicks (whom he praised for her unique vocal style), Elliot Scheiner – the first producer Iovine ever worked with and whom he credits for giving him the studio bug (“He wore boots and a leather jacket with a matching leather bag, and at the end of the night he went home with a beautiful woman and I said, ‘That’s what I want!” Iovine recalled to the delight of the crowd) – as well as engineer Roy Cicala, label head and producer Doug Morris, the late studio owner Eddie Germano and artists such as Mary J. Blige and Tom Petty. Even as he celebrated his current role as chairman of Interscope Geffen A&M Records, a unit of Universal Music Group, and his 20 years as a label head, Iovine credited others for guiding him and for teaching him to give that back throughout his career. He noted, “People were constantly giving me opportunities I wasn’t really ready for,” but that prompted him to rise to meet those challenges and do the same for several generations of artists, producers and engineers over more than four decades.

Iovine also praised the pro audio manufacturing community for its contributions, and indeed The Village was filled with technology demonstrations from sponsors West L.A. Music and Westlake Professional Sales, as well as co-sponsors including Harman International brands AKG Acoustics, JBL, and Lexicon; Iron Mountain; Avid; Musician’s Institute; Music Marketing; Shure Incorporated; Beats Electronics; Ultimate Ears; Focusrite Novation; Prism Media Products; Apogee Electronics Corporation; Full Sail University; Guitar Center Professional (GC Pro); Lurssen Mastering; Sennheiser Electronic Corporation; SoundExchange. Eco-friendly cocktails were provided by VeeV.
Looking over the crowd of audio professionals gathered at The Village that evening, Maureen Droney, Senior Executive Director of the P&E Wing, observed, “Each year, we take a night to honor the people who work behind the scenes to make great-sounding recordings. You are the glue, the foundation that holds the music business together. Day after day, you are the problem solvers, and the creatives who help others to shine. This is your night to shine. It has been challenging in recent times to keep commercial studios in operation and to maintain a focus on the importance of creating music that sonically reflects the artist’s intention. Thanks to the dedication and outspokenness of Jimmy Iovine and others like him, that trend is starting to change. The public is beginning to realize that the sound of the music they are listening to is not as good as it can be and they are starting to demand better. Producers and engineers deserve recognition for being in the forefront of the quest for better sound.”

Photo File 1: Jam_Portnow_Iovine_Droney.JPG
Photo Caption 1: Shown L-R: Producer Jimmy Jam; President/CEO of The Recording Academy®, Neil Portnow; honoree Jimmy Iovine; and Producers & Engineers Wing® Senior Executive Director Maureen Droney, at the P&E Wing Event at The Village Recording Studios on February 8, 2012, in Los Angeles, California. Photo courtesy of The Recording Academy/WireImage.com/Michael Kovac. Photographed by Michael Kovac. © 2012.

Photo File 2: Portnow_Iovine.JPG
Photo Caption 2: Shown L-R: President/CEO of The Recording Academy® Neil Portnow and honoree Jimmy Iovine, posing onstage during The 54th Annual GRAMMY® Awards P&E Wing Event at The Village Recording Studios on February 8, 2012, in Los Angeles, California. Photo courtesy of The Recording Academy/WireImage.com/Lester Cohen. Photographed by Lester Cohen. © 2012.

Peregrine Andrews Upgrades His Studio With A White Mark Fast Studio System

Recording engineer Peregrine Andrews, who specializes in mixing radio and television, has installed a White Mark Fast Studio acoustic system in his west London-based private studio.

Developed by studio and design consultancy White Mark Ltd, Fast Studio allows producers, composers and studio owners to build high performance facilities in far less time and at far less cost than would normally be anticipated. The system uses properly constructed and individually specified acoustic modules that are assembled off-site, making them very quick and easy to install. It is ideal for rooms using free-standing monitors and in which there is no need for full isolation.

White Mark’s managing director David Bell says: “Fast Studio meets market demand for high quality studios that are acoustically accurate, quick to install and preserve more of the character of the original building. Not everyone has the time or the requirement to invest in high levels of isolation. With Fast Studio, we can install a room that sounds good and delivers great acoustic results. We always insist that Fast Studio customers have their initial drawings and monitor set-ups carried out by our team of experts so that we can guarantee both the viability of using the system and the level of performance that will be achieved, but, provided the room meets our criteria, we can deliver a studio that satisfies our customers’ requirements – and in a fraction of the normal time.”

Peregrine Andrews says he chose White Mark for his studio upgrade on the basis of the company’s reputation for excellence in acoustics.

“My studio is a converted room in my flat and I use it for all my radio work and an increasing amount of TV,” he explains. “It is equipped with SADiE and Nuendo, a Smart AV Tango control surface set into a bespoke desk and stereo PMC monitoring, although I’m planning to install surround sound monitoring soon.

“I chose White Mark because I knew they had designed a lot of the top audio post rooms in London and a couple of friends in the business had used them. David Bell recommended the Fast Studio system as suitable for my needs and the company installed a set of panel absorbers and a bass trap in a void at the back of the room. David and Matt Dobson optimized the height and position of my speakers using their measurement system and they achieved an impressively flat response. I am really delighted with the sound of the room and the speed at which the work was carried out.”

Andrews, who trained at the BBC and now runs his own company Moving Air, has already put the studio through its paces mixing a variety of projects.

“In radio I do a lot of fast turnaround mixes, mainly documentaries, for the BBC
and also some drama. Recent TV work for the BBC includes the comedies “Twenty Twelve” and “The Bleak Old Shop of Stuff”, the Queen music doc “Days of their Lives”, and a series of “Motorway Cops”.

White Mark’s Fast Studio system has now been used to great effect on a number of other studio projects including an advertising agency in Mexico City, Giles Martin’s new room at Abbey Road and Cenzo Townshend’s new mixing facility in Suffolk.

For more information about Fast Studio visit www.whitemark.com

For more information about Moving Air, please contact Peregrine Andrews. Email: pez@moving-air.com

-ends-

About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last decade it has designed and supervised the construction of over 170 audio production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Hit Factory in New York (for which the company won a coveted TEC Award for Best Acoustic Design), Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 100 studios for more than 40 companies in Soho alone. The list includes Grand Central, Hackenbacker, Envy, Scramble, Lipsync, Molinare, Ascent Media, Wave and Boom. This impressive achievement means that a significant proportion of mainstream British television output passes through rooms designed by White Mark.

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